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Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...Stephen C. Brown Starting in the late 1960s Shostakovich used twelve-tone rows in many of his most significant compositions. These rows usually occur melodically within individual vocal or instrumental parts and function as part of a larger musical fabric that does not otherwise involve twelve-tone...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
...Marek Žabka This article introduces basics of a theory of generated tone systems. It is built on an explicit conceptualization of the notion of comma and yields illuminative insights into diverse areas of music-theoretical discourse. Superchromatic and chromatic comma lattices lead to well-known...
Journal Article
Journal of Music Theory (2016) 60 (2): 263–279.
Published: 01 October 2016
...Zachary Bernstein REVIEWS Jack Boss Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea Cambridge University Press, 2014: xxviii + 437 pp. ($110.00 cloth) Zachary Bernstein Defying the laws of historical gravity...
Journal Article
Journal of Music Theory (2018) 62 (2): 369–370.
Published: 01 October 2018
...Charlotte M. Cross Works Cited Bernstein Zachary . 2016 . Review of Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea, by Jack Boss . Journal of Music Theory 60 / 2 : 263 – 79 . Boss Jack . 2000–2001 . “ The ‘Musical Idea’ and Global Coherence...
Journal Article
Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
... in Schoenberg's Twelve-Tone Rhetoric.” Ph.D. dissertation, Harvard University. Kurth, Richard. 1996 . “Dis-Regarding Schoenberg's Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twelve-Tone Music.” Theory and Practice 21 : 79 -122. Lewin, David. 1977 . “A Label-Free...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
...Matthew Arndt As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living...
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Published: 01 October 2021
Example 14. The eight leading-tone classes. More
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Published: 01 October 2021
Example 21. Accidental inflections and leading-tone (LT) implications. More
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Published: 01 October 2021
Example 22. Perfect consonances and leading-tone implications. More
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Published: 01 October 2021
Example 23. Contrapuntal context determines leading-tone interpretation. More
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Published: 01 October 2021
Example 38. Idioms where the first note is a non-leading-tone member of an imperfect consonance. More
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Published: 01 October 2021
Example 42. Common chromatically deflected leading-tone idioms. More
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Published: 01 October 2021
Example 19. Competing leading tones. More
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Published: 01 October 2021
Example 13. Major sixth leading tones. More
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Published: 01 October 2021
Example 46. Chromatically thwarted leading tones. More
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Published: 01 October 2021
Example 49. Chromatically thwarted leading tones. More
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Published: 01 October 2021
Example 51. Chromatically thwarted leading tones. More
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
...Brian Moseley In his late compositions Webern exhibited a predilection for many types of cyclic organization, involving intervals, motives, contours, and twelve-tone rows; in particular, cyclic row organization provided Webern a means of serial structure beyond the row. Much as the twelve-tone...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
...Example 14. The eight leading-tone classes. ...
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Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... are familiar from neo-Riemannian theory; the third relates a major triad to the minor triad with a root three semitones higher (such as C major and E♭ minor). The PSM framework exhibits two properties ideally suited to an atonal triadic style. First, as each relation belongs to a different common-tone class...