Skip Nav Destination
Close Modal
1-20 of 214 Search Results for
six
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
..., Jehan. 1623. “Au lecteur.” In Hymnes de l'église pour toucher sur l'orgue, avec les fugues et recherches sur leur plain-chant. Paris: Pierre Ballard. Repr., Geneva: Minkoff, 1987 . HEAVENLY DISSONANCES:
THE CADENTIAL SIX-FOUR CHORD
IN FRENCH GRANDS MOTETS...
Image
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos , Eight Lines , Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music , proportionally scaled. Values are normalized by power (the sum of squared magnitudes).
More
Image
in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Figure 9. A closed network for “Wiatr,” Iłłakowicz Songs : (a) six twelve-tone chords formed by contiguous tetrachords ([0235], [0123], and [0257]) related by T 4 and T 8 ; (b) intervallic arrangements of twelve-tone chords suggest affinity cycles, where each inscribes two tetrachordal
More
Image
in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Figure 3. Metrical map of variations 1–5 from the prologue pas de six . IAC, imperfect authentic cadence; PAC, perfect authentic cadence
More
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
... voice leading with motion through Fourier space. Voice-leading displacements of each of the six interval classes can be associated with specific changes of position in each of the six Fourier spaces for twelve-tone equal temperament. Likewise, displacement spaces, showing all of the sets that can...
Image
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
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
Image
in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 15. Music and dance articulate D2−1, a dissonance. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 5, Violente , mm. 52–59.
More
Image
in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 4, Canari qui chante , mm. 1–12.
More
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... for the analysis of this repertoire. To this end, an alternative to standard theories of genre is advanced, one that draws on actor-network theory to destabilize categories too often conceived as fixed, solid, and binding. This revised theory of genre is applied to Gérard Grisey’s six-part cycle, Les espaces...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... cadential six-four chord. 2009 2009 Timothy Cutler is professor of music theory at the Cleveland Institute of Music. He is the creator of the Internet Music Theory Database ( www.musictheoryexamples.com ), a collection of roughly 1,500 categorized examples of tonal harmonic and contrapuntal...
Image
in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 14. The dancer articulates R2−1, consonant with the music's R4−3. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 4, Canari qui chante , mm. 9–12.
More
Image
Published: 01 October 2023
Appendix Example 3-2. Dor in no. 5 (“Ma se con la pietà”) mm. 23–27; the schema, marked with a bracket, is buried in a longer line; the quinto (stems down in mm. 25–26) has the characteristic ascending steps in the highest voice, but the last chord is a six-three chord; the schema is preceded
More
Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 2.2. Some common voicings for fourteen genera: clustered, tertian, and quartal chords with three to six notes, along with equipollent trichords and tetrachords. Each line contains chords of a particular size. Above the staff I label chord categories and voicing types. The characteristic
More
Journal Article
Journal of Music Theory (2022) 66 (1): 43–62.
Published: 01 April 2022
... is tri-formality : a triad takes three forms, namely, the five-three, six-three, and six-four chord. Because each of the triad's three notes may be shifted down or duplicated at an octave or more below, any may appear in the lowest-sounding voice, yielding those three chord types. The latter two, where...
FIGURES
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...Figure 3. Metrical map of variations 1–5 from the prologue pas de six . IAC, imperfect authentic cadence; PAC, perfect authentic cadence ...
FIGURES
| View All (18)
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... of harmony. As a matter of fact, the feature that most clearly differ-
entiates the Rule-of-the-Octave harmony in the eighteenth and nineteenth
centuries from the harmony of the seventeenth century is the compelling
assignment of the (dominant-function) six-four-two chord...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
..., or could occur, as a six-four chord. The tonic scale
degree C thus changes from root [of I] to fifth [of IV], and then to fourth
in the six-four chord, by which means it appears in conflict with itself.10
It is then suppressed completely by the upper dominant so as to be sum-
moned again.
[11] I see...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... moving by fifth are very familiar, but any of the six generic transposition operators can give rise to a simply generated sequence, which may ascend or descend by step (t1 or t6), third (t2 or t5), or fourth/fifth (t3 or t4). Among sequences moving by third may be mentioned the neo-Riemannian RL -chain...
1
