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Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
.... and ed. Albert Seay. Rome: American Institute of Musicology. Wolf, Johannes. 1914 . “Ein Beitrag zur Diskantlehre des 14. Jahrhunderts.” Sammelbände der Internationalen Musikgesellschaft 15 : 504 -34. Rehearing Machaut’s Motets Taking the Next Step in Understanding Sonority...
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Published: 01 April 2023
Figure 8. The Scambi performance space annotated with step classes relative to family 3. Each step class is illustrated with a different line style. 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. 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. More
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Published: 01 April 2023
Figure 1.4. The “So What” and “Farben” chords as open-position pentachords. Above, the voicing's intervals are measured in chromatic semitones (CHR), scale steps (diatonic and melodic minor; DIA), and intrinsic steps (INTR). More
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types...
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Published: 01 April 2023
Figure 3.2. The two forms of the melody are produced by the same algorithm, interchanging the terms third-step trichord and cluster . More
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Published: 01 April 2023
Figure 1.1. Close-position, open-position, “drop-2,” and “drop-3” voicings expressed as patterns of steps along the intrinsic scale. More
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Published: 01 October 2023
Figure 14. Transformation f = (i0, i7), mod 12. The transformation f either shifts a given pc(x) to T 0 (x) located 11 clockwise steps away, in a different local context (solid lines), or it shifts a given pc(x) to T 7 (x), 11 clockwise steps away, which neighbors the same pair of pcs More
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... and defining patterns and suggests that deriving the schemata from underlying principles may be a step toward validating them. Further, it highlights the significance of invertible counterpoint and explores the relations between the schemata’s soprano skeletons and the Rule of the Octave, which is presumably...
Journal Article
Journal of Music Theory (2019) 63 (1): 71–102.
Published: 01 April 2019
... a richer and more multidimensional concept, one that betrays its origins in chemistry in depicting the transformation of states, for example, from solid to liquid. Acknowledgment of the range of influences embodied in Schoenberg’s choice of the term liquidation represents a first step to unlocking a fuller...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
... displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist...
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Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves. Copyright © 2021 by Yale University 2021...
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Published: 01 April 2023
Figure A1. The basic trichordal, tetrachordal, and pentachordal voicings, categorized by the standard twelve-tone operations. Cyclic voicings are shown with open note heads. Numbers show the spacing in intrinsic steps. More
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Published: 01 April 2023
-step voice leadings among equiheptatonic set-classes. More
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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
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Published: 01 April 2023
Figure 5.7. The single-semitone layer of chromatic tetrachordal set-class space, superimposing the one-step layer of diatonic tetrachordal set-class space. Circles represent generated collections. Shapes represent clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent More
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Published: 01 April 2023
voicing is in bold and shown with open note heads; it creates a stack of approximately equal intervals. Additional voicings show how the chord can be represented as a gapped or smeared stack of some other category. Underneath each voicing is its pattern of spacing in intrinsic steps. More
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... Hermann , ed. 2006 . Arvo Pärt: Die Musik des Tintinnabuli-Stils . Köln : Verlag Christoph Dohr . Dembski Stephen . 1988 . '' Steps and Skips from Content and Order: Aspects of a Generalized Step-Class System .'' Paper presented at the Society for Music Theory meeting , Baltimore, MD...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 1–56.
Published: 01 October 2002
... of Example 1 carry an implicit assumption that scales fill an octave span. Even if this assumption is set aside, we will still think of scales as repli- cating the same pattern of steps throughout pitch space at some interval of recurrence. Rahn (1977, 1981) has attempted to define boundaries that would...