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Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... in E ♭ major, D. 899, and Piano Sonata in B ♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled...
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17). Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17). More
Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. Example 10. The first two dance positions of the first movement and the first two dance positions of the third More
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
...Christopher Segall Numerous late twentieth-century composers grappled with the problem of using triads in non-tonal ways. Alfred Schnittke’s atonal music of 1974–85 offers a solution by relying on three triad-to-triad relations: P (parallel), S (slide), and M (minor third). The first two...
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
..., a metric cube connects two meters if their ordered factor representations differ by only one factor. Metric cubes, and metric operations that act on the contents of a cube, reveal patterns of metric structure in three works by Brahms: the first movement of the Third Symphony op. 90, the third movement...
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
...Anna Gawboy The English concertina, invented by the physicist Charles Wheatstone, enjoyed a modest popularity as a parlor and concert instrument in Victorian Britain. Wheatstone designed several button layouts for the concertina consisting of pitch lattices of interlaced fifths and thirds, which he...
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... to quantify similarity of interval content. The first section of the article shows how to find the minimal voice leading between chord types or set-classes. The second uses voice leading to approximate the results of Quinn's Fourier-based method. The third section explains how this is possible, while...
Includes: Supplementary data
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
... of a direct product of orbit restrictions is a wreath product of the commuting group of one orbit restriction (as above) by the symmetric group on the set of orbits. Third, the commuting group for any group with any type of action is a direct product of such wreath products for each union of orbit...
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
...: First, Rameau revised his account of supposition continually. Second, the impetus for these revisions was, in many cases, the intervention of a prominent critic. Third, these critics did not, as has been claimed, misunderstand Rameau’s account of supposition; rather, they disputed it (the second...
Journal of Music Theory (2010) 54 (1): 107–120.
Published: 01 April 2010
... modernism. Cavell's commitment to intentions, his frustration with the preponderance of precompositional schema sustained by rationalized composition, and his preoccupation with the practice of criticism lead him to develop a humanist metaphysics built around the responsibility of third parties to determine...
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... and the emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... by David Lewin and Ian Quinn but uses primarily the phases of Fourier components, unlike Lewin and Quinn, who focus more on the magnitudes. The space defined by phases of the third and fifth components closely resembles the Tonnetz and has a similar common-tone basis to its topology but is continuous...
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... and then elaborates on the relation between those key depictions and multiaggregate cycles. Ultimately, it argues that augmented and diminished triads—the harmonies disjunctive to the alternating major and minor thirds that generate Hauptmann's representations—form the primary basis for Bartók's multiaggregate cycles...
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
... monologues within realistic conversations. The third part analyzes the much “looser” lyric form in “Wotan's Farewell” from the end of Die Walküre , which displays both Wotan's intimate, self-expressive communication and Wagner's increasing flexibility with the template. These analyses show that operatic...
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Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... for modeling Tymoczko’s claims. follow from the fact that such chords are close to their minor-third transpositions, for voice-leading size is not a transitive relation. 168 Journal of Music Theory that can be construed either as scales (that is, as means of measuring distance...
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
..., since Hauptmann could not decide— or it did not occur to him—to look for his notions of octave-unity, ﬁfth- disunity, and third-uniﬁcation in temporal succession, without which a piece of music is inconceivable.3 Abstract concepts such as “key system” may still be deﬁned through a complex...
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
...- ing third, A≤–B≤–C, followed by a descending sixth from C down to E.10 (The third and sixth are marked by brackets on the example.) We add the observation that the initial ascent from A≤ to C embeds a compressed ver- sion of itself, as shown by the nested bracket. The C–E sixth which closes...
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... third but to different effects, suggest different transformational models. Example 1a is the score of the later passage (mm. 90–102), which I treat first because it serves as the lens through which I see the distinctions between parsi- mony and extravagance and interpret their effects...
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
...), 114. (Original given here as “maj 7”) 1 2 3 4 5 6 7 8 9 1011 121314 | Dmaj7 | C≥mi7 | Bmaj7 | B≤mi7 | A≤maj7 | Gmi7 | Fmaj7 Dmaj7 15 16 17 18 19 20 21 22 | E≤maj7 Cmaj7 Table 1 for chromatic third relationships involving major...