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Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... OF HARMONIES RELATED TO THE HARMONIC SERIES IN EARLY POST-TONAL MUSIC Olli Väisälä 1. Introduction In the history of music theory, the notion that a significant relationship exists between musical harmony and the harmonic, or overtone...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple hypermeter...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
... interested in a transformation in which one or more notes of a series or col- lection are fixed and the remaining notes invert around them: “The configu- rations being associated are inversionally equivalent, and the key contextual feature that relates...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... of their audiences. Characteristically, we watch dance and listen to music. 1 Dancers communicate to their watchers through motions large enough to be seen from afar, involving weight transfer, legs, and body core. Most music is generated by a series of tiny motions, in some cases invisible even to an up-close...
Journal Article
Journal of Music Theory (2001) 45 (2): 489–490.
Published: 01 October 2001
...Margaret Kartomi 2001 © Yale University, New Haven, Connecticut 06520 2001 COMMUNICATIONS The University of Illinois Press announces a new series, the Beethoven Sketchbook Edition, with William Kinderman as Editor-in-Chief. Beethoven’s creative process is more richly...
Journal Article
Journal of Music Theory (2013) 57 (2): 433–449.
Published: 01 October 2013
... ends. At first, this was facilitated by early and relatively comprehensive translations of Boulez’s major writings, allowing English, German, and Italian readers to follow the writings and compositions of the composer from his early years through the late 1970s. Then, a series of translated...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... Nederlandse Akademie van Wetenschappen , Series B , 71 : 251 – 66 . ———. 1969 . “ Unison Vectors and Periodicity Blocks in the Three-Dimensional (3-5-7-) Harmonic Lattice of Notes .” Proceedings of Koninklijke Nederlandse Akademie van Wetenschappen , Series B , 72 : 153 – 68 . Glaeren...
Journal Article
Journal of Music Theory (2016) 60 (2): 263–279.
Published: 01 October 2016
... events are directly related are serial clarity (whether the events are unambigu- ously analyzable as part of a twelve-tone series form) and symmetry (consider- ing inversional symmetry in pitch space, palindromic retrograde symmetry, or both).4 These criteria serve...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... an important cause of technical-aesthetic discomfort with Rosalia for contrapuntists, different perhaps from those affecting Schubart et al. For the series of ascending five-three chords exhibits a careless disregard for cherished values of composition—namely, variety in harmony, interval, and linear...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
..., 4) orders the pitch-class num- bers of S as if in a series of “diatonic descending thirds.” Changes by this STEP do not correspond to normal transposition in Z12, since the interval from one pitch class to the next varies. (e) let S 5 Z7, representing...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... the remainder of the multiplication table on the left side is derived. It results from modifying the products of the multiplications operations in each successive system of Boulez’s sketch (e.g., ab, ac, ad), through the transpositional scheme defined by the series of anchor notes shown in Figure 2...
Journal Article
Journal of Music Theory (2006) 50 (1): 7–23.
Published: 01 April 2006
... Berry    JMT under Allen Forte’s Editorship 17 ume 10/1 (1966).33 With it, Forte wished to inaugurate a series of symposia, which he felt would be of “interest to those concerned with problems of ana- lytic method.” The procedure would be straightforward: a “short composition [would...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... (a) Scales, Sets, and Modes: Some Terminological Preliminaries A scale is a series of pitches ordered by register. This ordering under- writes a measure of musical distance distinct from the more general met- rics provided by chromatic semitones and frequency ratios.7 The interac- tion between...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... internal organs. We experience containment at a particularly visceral level through the expansion and contraction of the lungs, which give rise in turn to feelings of tension and relaxation. We also experience ourselves as nested within a series of ever-larger containers—a room, a building...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... Fachs im Mittelalter , ed. Frieder Zaminer, 253 -86. Geschichte der Musiktheorie 3. Darmstadt: Wissenschaftliche Buchgesellschaft. Bower, Calvin, trans. 1989 . Boethius, Fundamentals of Music . Edited by Claude V. Palisca. Music Theory Translation Series. New Haven: Yale University Press...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... a series of theoretical-pedagogical works forming a comprehensive aesthetics of music in a letter to his publisher in 1911.16 The components are to be Harmonielehre, a volume on counterpoint, a treatise on composing for orchestra, a preliminary study of form...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... 6 found in BWV 1091. The direct chromaticism is broken by the passing A3 harmony.6 The above reference to the semitones F–E and A–G≥ naturally leads to a consideration of the chromatic series of half-steps that pervades the accom- paniment of the composition. The passus...
Journal Article
Journal of Music Theory (2011) 55 (1): 147–153.
Published: 01 April 2011
... Exposé” is to specify his octatonic forms within a “table of the 3 series A, B, C” (161). Series A alter- nates half- and whole-steps starting on C, series B adopts the same principle on B, and series C starts on C≥. As noted in the introduction of ISNS (5...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... Digital Interface) format that is the lingua franca of many student musicians but also capable of representing non-equal-tempered and nondodecaphonic tone systems. A basic musical object (henceforth BMO, an acronym Tymoczko does not employ) is defined as a series of pitches in which ordering has...
Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... Music.” Music Analysis 10/3 : 345 -55. Rahn, John. 1980 . Basic Atonal Theory . New York: Longman. Roeder, John. 1987 . “A Geometric Representation of Pitch-Class Series.” Perspectives of New Music 25/1-2 : 362 -409. Roig-Francoli Miguel A. 2001 . “A Theory of Pitch-Class-Set...