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sonority

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Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 179–234.
Published: 01 October 2010
...Jared C. Hartt The extant fourteenth-century contrapunctus manuals are concerned almost exclusively with counterpoint in two parts, but one treatise, “Quicumque voluerit duos contrapuncti,” sheds light on three-voice composition and lays the groundwork for a refined classification of sonority types...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
... distinctions for the sonorities involved (as defined by Schenkerian analysis), and the interconnection of these sonorities in processes of motivic development. Through this motivic interconnection, the sonorities achieve an ontological status partially independent of their individual linear-contrapuntal...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
... use of instrumental “residue” creates an “articulate unity” in a passage from Lohengrin , Theodor Adorno describes how Alban Berg’s orchestration of the Frühen Lieder combines particular instrumental colors and generalized orchestral sonorities into articulate Mischfarben that distinguish whole-tone...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 121–167.
Published: 01 October 2012
... fifth, it emerges from this inquiry that supposition is not solely a means of accounting for melodic suspensions; it is also an attempt to explain a number of idiomatic sonorities that are endemic to French baroque music, and to the grand motet in particular. In general, this article aims to provide a...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 29–57.
Published: 01 April 2017
...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however, there are...
Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 325–362.
Published: 01 October 2003
... de Machauts.” Die Musikforschung 25 : 301 -7. Earp, Lawrence. 1995 . Guillaume de Machaut: A Guide to Research. New York: Garland. Fuller, Sarah. 1986 . “On Sonority in Fourteenth-Century Polyphony: Some Preliminary Reflections.” Journal of Music Theory 30 : 35 -70. ____. 1992...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 45–79.
Published: 01 April 2000
... processes of analysis and of editing (of “fixing” a particular manuscript version for performance) are not fully distinct. If counterpoint analysis both precedes and drives the analysis of tonal process, then there is a certain circularity in that the tonal emphases (both linear and in terms of sonority...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 255–304.
Published: 01 October 2009
... article is best introduced by an analogy to tonal music. I present the two progressions given in Example 1 in order to explain their relevance to the present subject. Each example uses the same chromatic sonority, the B≤ major chord in the second half of m. 2, in different ways. In Example 1a, the...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 181–212.
Published: 01 October 2016
...-Cycle Spaces 183 a great deal of attention.6 Berg’s chart contains promising harmonic possi- bilities, but the rich variety of sonorities this cyclic design yields has not been systematically investigated. For example, all twelve cycles in Berg’s array begin on a unison C2. If we transpose one...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 1–45.
Published: 01 April 2013
... 71 : 4 – 9 . Holt Fabian . 2007 . Genres in Popular Music . Chicago : University of Chicago Press . Hurel Philippe . 1991 . “ Le phénomène sonore, un modèle pour la composition .” In Le timbre, métaphore pour la composition , ed. Barrière Jean-Baptiste , 261 – 71...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 3–8.
Published: 01 April 2008
.... ____. 1971 . “Hidden Polyphony: A Reappraisal.” Journal of the American Musicological Society 24/2 : 169 -92. ____. 1985-86 . “A Phantom Treatise of the Fourteenth Century? The Ars Nova.” Journal of Musicology 4/1 : 23 -50. ____. 1986 . “On Sonority in Fourteenth-Century Polyphony: Some...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 419–431.
Published: 01 October 2013
... musica falsa). Leach’s edition of the balade contains several flats and many sharps that do not appear in the manuscript she selected as a basis for her notation. As Leach observes, cer- tain E s in the original source increase the contrast between passages that conclude♭ with a perfect sonority...
Journal Article
Journal of Music Theory (1 October 2011) 55 (2): 271–281.
Published: 01 October 2011
...- sumed the older notion of diatonic space—in which a nascent awareness of musical affect was conveyed by the hexachordal articulation of the gamut— into a new taxonomy of major and minor vertical sonorities, now viewed as “categories of sonic character . . . that...
Journal Article
Journal of Music Theory (1 April 2007) 51 (1): 5–49.
Published: 01 April 2007
... harmony and melody, of line and Klang (i.e., a sonority perceived as a chord), is the central theme of the entire Harmonielehre tradition (Kühn 1994). In the seventeenth and eighteenth centuries, considering the typical case, thoroughbass figures had not only vertical but also linear...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 193–230.
Published: 01 October 1999
... “holes”; 199 and the effect caused when trichords, dyads, and especially singletons crop up in a four-voiced texture is unmistakable. Another way to distin- guish Even from Odd sonorities is by cardinality, since inversionally- generated one...
Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 305–323.
Published: 01 October 2003
... 7 - James R. Anthony again drew scholarly attention to this ≥5 chord— “obtained by constructing a ninth chord on the third degree of a minor scaleand] including a major seventh and an augmented fifth”—sug- gesting that it was “a favorite sonority of” Marc-Antoine Charpentier be- fore providing...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 9–12.
Published: 01 April 2008
... Musicological Society 35/3: 586–87. 1985–86. “ A Phantom Treatise of the Fourteenth Century? The Ars Nova.” Journal of Musicology 4/1: 23–50. 1986. “ On Sonority in Fourteenth-Century Polyphony: Some Preliminary...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 109–140.
Published: 01 April 2005
... notation in Example 4, on the other hand, transmits an impression of pervasive motion constrained by set-class. I do not include all possible sonorities created by semitonal movement of all voices because, unlike in Example 3, here I am not interested in judging the interaction of some or part of...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 103–123.
Published: 01 April 2003
...-Pitch Formations.” Perspectives of New Music 41/1 ( Winter ): 180 -239. Parncutt, Richard, and Hans Strasburger. 1994 . “Applying Psychoacoustics in Composition: `Harmonic' Progressions of `Nonharmonic' Sonorities.” Perspectives of New Music 32/2 : 88 -129. Rahn, John. 1989 . “Toward a...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
... proper. Thus, our most important task in analyzing a cadenza is to ask whether it is essential or inessential in two contexts: on the local level for bridging the gap between two vertical sonorities (most usually Vfl and Vfi‰ or V and I) and on the global level of the musical form in which it...