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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...Jean-Paul C. Montagnier HEAVENLY DISSONANCES: THE CADENTIAL SIX-FOUR CHORD IN FRENCH GRANDS MOTETS AND RAMEAU’S THEORY OF THE ACCORD PAR SUPPOSITION Jean-Paul C. Montagnier By the 1620s, French musicians seem...
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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 Figure 3. Metrical map of variations 1–5 from the prologue pas de six. IAC, imperfect authentic cadence; PAC, perfect authentic cadence More
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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). Figure 33. Spectra More
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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. Example 12. Candite's first step sequence. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 1, Candite, mm. 1–12. More
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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. Example 13. Miettes's first step sequence. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 3, Miettes, mm. 1–8. More
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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. Example 15. Music and dance articulate D2−1, a dissonance. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 5 More
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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. Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 4, Canari qui chante, mm More
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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. Example 14. The dancer articulates R2−1, consonant with the music's R4−3. Tchaikovsky, Sleeping Beauty, prologue 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...
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...
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 (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 Figure 3. Metrical map of variations 1–5 from the prologue pas de six. IAC, imperfect authentic cadence; PAC, perfect authentic cadence ...
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Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... and nineteenth centuries from the harmony of the seventeenth century is the compelling assignment of the (dominant-function) six-four-two chord to the descending fourth degree.16 It is precisely that new role for the “false” fifth and “major” fourth that differentiates the Rule of the Octave...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... is demonstrated by the fact that in cadences it almost always occurs, 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...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
.... As a doubly generated sequence, a twin sequence is self-conjugate: the sequence of Figure 5b will yield the equation t3t3 = t6 regardless of which chord is taken as the starting point. Sequences moving by fifth are very familiar, but any of the six generic transposition operators can give rise to a simply...
Journal Article
Journal of Music Theory (2004) 48 (1): 1–24.
Published: 01 April 2004
.... These six pcs correspond to the pcs of T6K(Z) in Example 1. On the second line, Carter orders these six pitches in register from low to high (changing D4 to D3) and adds a second 2–4 member, {C4, A≤5}. The union of {C4, A≤5} and {E4, B5, B≤4, F5} corresponds to the pitches of T0K(Z) in Example 1...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... through all twelve pitch classes. In each case the perturbation is a minimal one. The diatonic scale can be arranged as a stack of six “perfect fourths” (five- 229 Example 5. The diatonic and pentatonic scales as “near” fourth chords...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
... or more array lynes of the six-lyne array to particular instruments for a given array block (p. 142).15 Through similar examples of relating array structure to many musical dimensions, Mead leads us to the conclusion that a Babbitt work offers a listener the possibility of exploring an intricately...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... in this extremely strong sense, his twenty-six-page transcription of the work’s streamed record- ing, although understandably somewhat indeterminate, should prove valuable to those who would study this genre in detail. Bunk’s transcription employs square noteheads on a single horizontal line...