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tempo
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Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
...David Epstein 1999 © Yale University, New Haven, Connecticut 06520 1999 Drake, C., and Botte, M.C. 1993 . “Tempo sensitivity in auditory sequences: Evidence for a Multiple-look Model.” Perception and Psychophysics 54 : 277 -86. Jones, M.R., and Boltz, M. 1989 . “Dynamic Attending...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
...Ruth I. DeFord Grant Roger Mathew , Beating Time and Measuring Music in the Early Modern Era , Oxford University Press , 2014 : viii + 309 pp. ( $45.00 cloth) Copyright © 2017 by Yale University 2017 Works Cited Bank J. A. 1972 . Tactus, Tempo, and Notation...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
...—of pitch and metric systems, starting with familiar ton-
netz representations of pitch and pitch-class space. Using mathematical
graph theory, I will show that pitch/pitch-class space and an analogous
“meter/tempo space” are fundamentally non-isomorphic. This non-
isomorphism stems from the fact...
Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
.... J. Decker, 1771-79. Cooper, Grosvenor and Leonard B. Meyer. 1960 . The Rhythmic Structure of Music . Chicago: University of Chicago Press. Fraisse, Paul. 1982 . “Rhythm and Tempo,” In The Psychology of Music , ed. Diana Deutsch. New York: Academic Press. Hasty, Christopher. 1997...
Journal Article
Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
...
blocks around which complete operatic numbers—arias, duets, and so on—
are constructed. “Casta diva” is a typical pezzo chiuso: it is a self-contained piece,
in a single key and tempo, with complete closure at its end.8 But it consti-
tutes only one movement...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... Symphony
is deciding upon a common pulse. The movement involves tempo changes
among its sections that are not uncommon in some minuet–trio–minuet or
scherzo–trio–scherzo designs, but Brahms turns these familiar designs inside
out. As Rheinhold...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
.... The larger formal
structure on the recording consists of an out-of-tempo introduction lead-
ing into six choruses of the song “Summer Night,” the latter merging into
a central transition (beginning out-of-tempo, ending in tempo) to seven
choruses of “Night and Day,” followed by a coda (beginning in tempo...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... impulse. The dancer lives in a continuous space-time; the musician, especially at a fast tempo, lives in a discrete one. 4 One result is that the fastest speed projected by the dancing body is “fillable.” There is a “space” between the onset of “five” and the onset of “six.” 3 By contrast...
FIGURES
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
..., as
a visual-spatial supplement to Bunk’s transcription, readers might find it
helpful to dub the streamed recording and scroll through a spectral analysis
of the resulting sound file while listening to the work in real time or at a
slower tempo (e.g., using SPEAR freeware). Although not persistently...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... . “ On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I) .” Tempo 154 : 2 – 10 . Busch Regina . 1986a . “ On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (II) .” Tempo 156 : 7 – 15 . Busch Regina . 1986b...
Journal Article
Journal of Music Theory (2011) 55 (1): 161–166.
Published: 01 April 2011
... and irregular meters
and the different ways tempi are employed (chapter 12). But one sentence
here really struck me. As part of this discussion, Everett asserts, “Of course,
what’s really interesting is not the song that maintains its tempo, but the one
in which tempo changes for one reason or another...
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
... much of our sense of
rhythm stems from our different ways of moving to music, whether
marching, dancing or doing repetitive work.3 Our terminology certainly
reflects this: one need only consider the range of familiar tempo mark-
ings that reflect speeds and qualities of locomotion. I suspect...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
...-
nificance of his ideas.
Symmetry and Rhythm. Fétis defined musical rhythm, somewhat ob-
scurely, as “the symmetry of duration, of tempo, and of accent,” (Fétis’s
italics) with a footnote that “this definition, which I believe is complete,
is suitable only for the rhythm of music.”10 Interest...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
... Bryn Hughes and Dominique T. Vuvan ( forthcoming ) provide empirical support for the relationship between the backbeat and a sense of perceived tempo in popular music. 37 For example, Lerdahl and Jackendoff ( 1983 : 18) note explicitly that “beats, as such, do not have duration.” 38...
FIGURES
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Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... on this graph. However, most of the recorded performances
that I surveyed4 produce a distinct version of path A at a slower tempo, in
response to Brahms’s new tempo indication ziemlich langsam at that point in the
song. Figure 3b shows Elly Ameling and Norman Shetler’s path A9, of the same...
Journal Article
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
...
3
3
rit. Tempo
3 3
von from men Trä nen. . . Durch Mor gen gär ten klingt es
Tempo
rit.
3...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
... in relation to five “social-musical
variables”: role (soloist vs. tabla accompanist), familiarity (musicians that had
or had not played together previously), context (rehearsal or performance),
tempo (slow, fast, or unmetered), and set (formal location and structural
function in the music). Moran...
Journal Article
Journal of Music Theory (2022) 66 (2): 223–253.
Published: 01 October 2022
... on the performer's part: Den Boer recalls learning this and other passages very slowly, meticulously internalizing her movement patterns before eventually performing the passage at tempo. These passages illustrate that, for Den Boer, production of musical structure could not occur without first learning to embody...
FIGURES
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Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
...)
a4 (T I) “Alternating” (thumb/index)
a5 (I M) “Alternating” (index/middle)
a6 (T)(I)(M) (Eighth-note style)
between them, given the fast tempos and rhythmic energy commonly associ-
ated...
