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Journal Article

Rosalia, Aloysius, and Arcangelo: A Genealogy of the Sequence

Daniel Harrison
Journal of Music Theory (2003) 47 (2): 225–272.
DOI: https://doi.org/10.1215/00222909-47-2-225
Published: 01 October 2003
... . “Musical Issues of the Late Seicento : Style, Social Function, and Theory in Emilian Instrumental Music.” Ph.D. dissertation, Princeton University. Bass, Richard. 1996 . “From Gretchen to Tristan: The Changing Role of Harmonic Sequences in the Nineteenth Century.” 19th Century Music 19 : 263 -85...
View articletitled, Rosalia, Aloysius, and Arcangelo: A Genealogy of the <span class="search-highlight">Sequence</span> View PDF for article titled, Rosalia, Aloysius, and Arcangelo: A Genealogy of the <span class="search-highlight">Sequence</span>
Journal Article

Schubert, Chromaticism, and the Ascending 5-6 Sequence

David Damschroder
Journal of Music Theory (2006) 50 (2): 253–275.
DOI: https://doi.org/10.1215/00222909-2008-017
Published: 01 October 2006
...David Damschroder A diverse selection of wondrously creative renderings by Franz Schubert of the ascending 5-6 sequence serves as the foundation for a reevaluation of the procedure and of the analytical tools used to describe it and to assess its role within a musical and (for texted music...
View articletitled, Schubert, Chromaticism, and the Ascending 5-6 <span class="search-highlight">Sequence</span> View PDF for article titled, Schubert, Chromaticism, and the Ascending 5-6 <span class="search-highlight">Sequence</span>
Image
Example 12. Candite's first step sequence. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 1, Candite, mm. 1–12.

Candite's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no...

in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky > Journal of Music Theory
Published: 01 April 2021
Example 12. Candite's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 1, Candite , mm. 1–12. More
Image
Example 13. Miettes's first step sequence. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 3, Miettes, mm. 1–8.

Miettes's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no...

in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky > Journal of Music Theory
Published: 01 April 2021
Example 13. Miettes's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 3, Miettes , mm. 1–8. More
Journal Article

Generic Sequences and the Generic Tonnetz

Julian Hook
Journal of Music Theory (2020) 64 (1): 63–103.
DOI: https://doi.org/10.1215/00222909-8033433
Published: 01 April 2020
...Julian Hook This article employs concepts from diatonic set theory, transformation theory, and neo-Riemannian theory in an investigation of sequences in generic (mod-7) pitch space. Sequences may be described using generic transposition operators , mod-7 analogs of the more familiar mod-12...
View articletitled, Generic <span class="search-highlight">Sequences</span> and the Generic Tonnetz View PDF for article titled, Generic <span class="search-highlight">Sequences</span> and the Generic Tonnetz
Image
Figure 1. Graph of Intermission 6. Each of the fifteen sounds is represented as a vertex, and the edges represent the possibility of playing the sounds in sequence.

Graph of Intermission 6 . Each of the fifteen sounds is represented as a v...

in Performance Spaces for Improvised and Notated Music > Journal of Music Theory
Published: 01 April 2023
Figure 1. Graph of Intermission 6 . Each of the fifteen sounds is represented as a vertex, and the edges represent the possibility of playing the sounds in sequence. More
Journal Article

On the Prosody of German Lyric Song

Robert Snarrenberg
Journal of Music Theory (2014) 58 (2): 103–154.
DOI: https://doi.org/10.1215/00222909-2781749
Published: 01 October 2014
... phonology: intonation units, various rhythmic aspects of intonation (pulses, pauses, and lengthening), intonation sequences, and intonation contours. The study develops new methods of textual analysis specifically for use in forming and comparing interpretations of nineteenth-century German lyric song...
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Image
Figure 3. Graph of Intermission 6 based on the performance corpus. The thickness of each edge indicates the number of times a sequence occurred, and the size of each vertex indicates the number of edges directed toward it.

Graph of Intermission 6 based on the performance corpus. The thickness of...

in Performance Spaces for Improvised and Notated Music > Journal of Music Theory
Published: 01 April 2023
Figure 3. Graph of Intermission 6 based on the performance corpus. The thickness of each edge indicates the number of times a sequence occurred, and the size of each vertex indicates the number of edges directed toward it. More
Journal Article

Parsimony and Extravagance

Robert C. Cook
Journal of Music Theory (2005) 49 (1): 109–140.
DOI: https://doi.org/10.1215/00222909-2007-003
Published: 01 April 2005
... practice supports intuitions of fluency and coherence that may be separate from diatonic tonal relatedness. I. One Extravagant Sequence and One Parsimonious Sequence Two passages from the first movement of the Piano Quintet in F minor by César Franck, both of which move sequentially by minor...
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Journal Article

Exploring the Rhythm of the Palestrina Style: A Case Study in Probabilistic Grammar Induction

Panayotis Mavromatis
Journal of Music Theory (2012) 56 (2): 169–223.
DOI: https://doi.org/10.1215/00222909-1650406
Published: 01 October 2012
... outlined so far? This section sets out to address these questions. Section 2.1 outlines the formalism of probabilistic grammars, highlighting key concepts such as data sequences and the probability distributions defined on them. Following standard prac...
View articletitled, Exploring the Rhythm of the Palestrina Style: A Case Study in Probabilistic Grammar Induction View PDF for article titled, Exploring the Rhythm of the Palestrina Style: A Case Study in Probabilistic Grammar Induction
Journal Article

Schoenberg's “SINGLE SECOND OF MAXIMUM SPIRITUAL Excitement”: COMPRESSION AND EXPANSION IN ERWARTUNG , Op. 17

Kathryn Whitney
Journal of Music Theory (2003) 47 (1): 155–214.
DOI: https://doi.org/10.1215/00222909-47-1-155
Published: 01 April 2003
... pitch sources exhibit a number of similarities. Each pitch sequence is divisible into two, trichord-defined pitch groups that are sep- arated within the complex by structural, pivot-pitches and appear to have functional application in the first scene. Both pitch groups exploit a sub- tle method...
View articletitled, Schoenberg's “SINGLE SECOND OF MAXIMUM SPIRITUAL Excitement”: COMPRESSION AND EXPANSION IN ERWARTUNG , Op. 17 View PDF for article titled, Schoenberg's “SINGLE SECOND OF MAXIMUM SPIRITUAL Excitement”: COMPRESSION AND EXPANSION IN ERWARTUNG , Op. 17
Image
Example 1. At reh. 20 of Britten's Curlew River, a D-pedal tonic frames the Madwoman's inversionally symmetric melodies. (In the introduction to the published score [Britten 1983: ix–x], Imogen Holst uses the term figure to refer to the ordered sequence of reference points within Curlew River. For the sake of clarity, this article will use the term rehearsal number [abbreviated “reh.”].) Score excerpts are reproduced by kind permission of Faber Music, London (all rights reserved).

At reh. 20 of Britten's Curlew River , a D-pedal tonic frames the Madwoman...

in Benjamin Britten's Musical Characterization of the Madwoman in Curlew River > Journal of Music Theory
Published: 01 April 2024
Example 1. At reh. 20 of Britten's Curlew River , a D-pedal tonic frames the Madwoman's inversionally symmetric melodies. (In the introduction to the published score [Britten 1983 : ix–x], Imogen Holst uses the term figure to refer to the ordered sequence of reference points within Curlew More
Journal Article

Journeys through Galant Expositions

Danuta Mirka
Journal of Music Theory (2022) 66 (2): 273–279.
DOI: https://doi.org/10.1215/00222909-9930937
Published: 01 October 2022
... is “to clarify some of Koch's ideas and terms that may seem foreign to modern readers” and “to defamiliarize some of Koch's concepts, showing that at times they are more foreign than is typically supposed” (19). The first clarification concerns the standard punctuation sequence of what Koch calls the first main...
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Journal Article

CHALLENGING VIEWS OF SEQUENTIAL Repetition: FROM SATZLEHRE TO MELODIELEHRE

Jairo Moreno
Journal of Music Theory (2000) 44 (1): 127–169.
DOI: https://doi.org/10.2307/3090672
Published: 01 April 2000
... of a recording of the Prelude and Liebestod from Wagner’s Tristan Richard Taruskin notes how the fast tempi chosen by Roger Norrington “greatly cheapen the music by calling unwanted attention to its glaring overreliance on melodic sequences” (1996). Consider also this statement from a lecture on “Music...
View articletitled, CHALLENGING VIEWS OF SEQUENTIAL Repetition: FROM SATZLEHRE TO MELODIELEHRE View PDF for article titled, CHALLENGING VIEWS OF SEQUENTIAL Repetition: FROM SATZLEHRE TO MELODIELEHRE
Journal Article

Performance Spaces for Improvised and Notated Music

Drake Andersen
Journal of Music Theory (2023) 67 (1): 99–139.
DOI: https://doi.org/10.1215/00222909-10232081
Published: 01 April 2023
...Figure 1. Graph of Intermission 6 . Each of the fifteen sounds is represented as a vertex, and the edges represent the possibility of playing the sounds in sequence. ...
FIGURES | View All (28)
View articletitled, Performance Spaces for Improvised and Notated Music View PDF for article titled, Performance Spaces for Improvised and Notated Music
Journal Article

Showing Off: Variation in the Display Episodes of Mozart's Piano Concertos

Roman Ivanovitch
Journal of Music Theory (2008) 52 (2): 181–218.
DOI: https://doi.org/10.1215/00222909-2009-015
Published: 01 October 2008
... a descending 5–6 sequence, describ- ing an upper neighbor-note configuration in outer-voice parallel tenths; the cadential stretch turns to arpeggiated figuration.) The second phrase of this archetype usually redoes and outdoes the first, retracing its trajectory, but this time with orchestral...
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Journal Article

On Voice Exchanges

Timothy Cutler
Journal of Music Theory (2009) 53 (2): 191–226.
DOI: https://doi.org/10.1215/00222909-2010-002
Published: 01 October 2009
.... Wed May H 5aydn 12:10 immediately2010 Rev.2.14 100% establishes By: bonnie the Page subdominant 1 of 1 pages as the starting point of the development section and through an ascending chromatic sequence arrives at the minor dominant several measures...
View articletitled, On Voice Exchanges View PDF for article titled, On Voice Exchanges
Journal Article

Béla Bartók's Evolution of Tonal Resources

James N. Bennett
Journal of Music Theory (2017) 61 (1): 111–140.
DOI: https://doi.org/10.1215/00222909-3855732
Published: 01 April 2017
... and minor thirds, the (4,3)-cycle gives rise to overlapping major and minor triads. He then notes that the (4,3)-cycle’s periodicity—the interval at which its sequence begins to repeat, found by summing its intervals mod 12—is 7 (4 + 3), the distance traversed by the “dominant transformation.” The 7...
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Journal Article

Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler

Megan Kaes Long
Journal of Music Theory (2015) 59 (2): 235–271.
DOI: https://doi.org/10.1215/00222909-3136010
Published: 01 October 2015
... Daniel . 2003 . “Rosalia, Aloysius, and Arcangelo: A Genealogy of the Sequence.” Journal of Music Theory 47 / 2 : 225 – 72 . Hassler Hans Leo . [1601] 1968 . Lustgarten Neuer Teutsche Gesäng. Vol. 9 of Hans Leo Hassler: Sämtliche Werke . Edited by Russell Crosby C...
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Journal Article

Transformational Aspects of Arvo Pärt's Tintinnabuli Music

John Roeder
Journal of Music Theory (2011) 55 (1): 1–41.
DOI: https://doi.org/10.1215/00222909-1219187
Published: 01 April 2011
... these claims, the article presents a math- ematical model for pitch spaces, a minimal set of functions on those spaces, and an interpretation of the pitch sequences and harmony of Pärt’s music in terms of these spaces and functions. The essential...
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