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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 Zachary Bernstein is assistant professor of music theory at the Eastman School of Music. He received the 2014 Patricia Carpenter Emerging Scholar Award from the Music Theory Society of New York State. Boss Jack . Schoenberg's Twelve-Tone Music: Symmetry...
Journal Article
Journal of Music Theory (2018) 62 (2): 369–370.
Published: 01 October 2018
...Charlotte M. Cross Boss Jack , Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea , Cambridge University Press , 2014 : xxviii + 437 pp. ( $110.00 cloth) Copyright © 2018 by Yale University 2018 Works Cited Bernstein Zachary . 2016 . Review...
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...
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 (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...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
... of Hermann von Helmholtz's On the Sensations of Tone , used the concertina as a demonstration tool in public lectures intended to popularize Helmholtz's acoustic theories. The English concertina's history reveals the peculiar fissures and overlaps between scientific and popular cultures, speculative...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
... voice leading with motion through Fourier space. Voice-leading displacements of each of the six interval classes can be associated with specific changes of position in each of the six Fourier spaces for twelve-tone equal temperament. Likewise, displacement spaces, showing all of the sets that can...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
..., chromaticism in this period comprises many different phenomena. I therefore provide a model for separating chromatic tones according to their structural function and an analytical method for reducing chromatic works to their diatonic foundations. I present examples of each of the chromatic techniques that I...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
... principles. Such principles would include the very parameters of modern tonality, so the status of tonal “affinity,” a seemingly given and predictable attribute of musical tones, coexists uneasily in Helmholtz's writing with a humanist appreciation for the unpredictability of cultural choice and change...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
...Daphne Tan Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
..., for instance, a rising whole-tone scale (an interval 2-cycle) simultaneously with a rising chromatic scale (an interval 1-cycle). This article extends beyond prior discussions of aligned cycles by exploring the different combinations and rotations of these cyclic structures and investigates how...
Journal Article
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 Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
...Benedict Taylor Sibelius’s late tone poem Tapiola is routinely held up as an exceptional example of a piece that is both monothematic and monotonal. Nevertheless, the broader notion of tonality transmitted by Tapiola invites deeper investigation, since tonality by the early twentieth century...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
...-Riemannian L, P, and R) preserve common tones. Sequential enchaining of contextual inversions will generally define simple, straight-line motions within the spaces described in this article. The musical motions of works by Webern, Schoenberg, and Stravinsky are measured against the systematic standard...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... contrast the perspectives of both types of movable- do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
...Brian Alegant This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index...
Journal Article
Journal of Music Theory (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...