Skip Nav Destination
Close Modal
Search Results for
transpose
Update search
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Authors
- Author Affiliations
- Full Text
- Abstract
- Keywords
- DOI
- ISBN
- eISBN
- ISSN
- EISSN
- Issue
- Volume
- References
NARROW
Format
Subjects
Journal
Article Type
Date
Availability
1-20 of 119 Search Results for
transpose
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Sort by
Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 6.1A. A transformational graph relating pentachordal voicings. Moving along the pentagon transposes along the chord; moving between pentagons relates voicings by octave displacement.
More
Image
in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 15. Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form and 8,8,6 phrase rhythm. The “Caldonia”-like opening is transposed to the second phrase and the vocal responses fuse with the caesuras.
More
Image
Published: 01 April 2024
Figure 1. Steinbeck's example 1.1, a transcription of the opening of “Ornette,” by the Roscoe Mitchell Sextet. NB: all instruments notated at transposing pitch, though discussed in the main text at concert pitch. Initials to the left of each stave indicate the players.
More
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... agnostic. By contrast, Rings s (2011: 44 46) heard scale degree pairs generic scale degrees with pitch classes as (sd, pc), so the T(6th,0) transposition between the second and third snippets does acknowledge the tonic shift by transposing sd by a sixth and pc by 0 (Figure 1e). Rings 2011 lacks scale-theo...
Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
...-
sisting of two eighth rests, and the third with G5 followed by a quarter
rest. Together, these pitches form a C-minor triad. The passage begins
with an ascent from G4 to A≤4 and finally to C5 in m. 1. The trill on C5
introduces D≤5, completing a four-note ascending gesture that returns,
transposed...
Journal Article
Journal of Music Theory (2004) 48 (1): 99–141.
Published: 01 April 2004
... findings will be illustrated. First, given any non-commutative
GIS, one can always discover another system, its dual, which exists in
a sort of “parallel universe” of transformations. Second, in any non-
commutative GIS, transposing a pair of notes by the same amount can
actually change the interval...
Journal Article
Journal of Music Theory (2024) 68 (1): 172–182.
Published: 01 April 2024
...Figure 1. Steinbeck's example 1.1, a transcription of the opening of “Ornette,” by the Roscoe Mitchell Sextet. NB: all instruments notated at transposing pitch, though discussed in the main text at concert pitch. Initials to the left of each stave indicate the players. ...
FIGURES
| View All (4)
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... transpositional scheme that generates
the remaining portions of the table. Open noteheads in Figure 4 show the base
subset for the system—the multiplicand built on the series of anchor notes.14
Each system of the left table is transposed by the directed interval from...
Journal Article
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
..., bracketed on the example, namely H
itself, an inverted form h, the complement H* of H, the T11-transpose of
h, and so forth. When we explore the pc-intervals spanned between notes
of OTN and notes of H, an interesting feature is manifest:
There are three ways to span interval 0 between OTN and H...
Journal Article
Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
... [ sic ]” (1775: 192). Martini prints the piece a fourth lower (with a sharp in the signature), where high-clef pieces like this one were to be transposed. 8 David Gagné ( 1987 : 61–64) and Susan McClary ( 1989 : 209–12; and 2004: 179) have found Romanesca patterns underlying music by Monteverdi...
FIGURES
| View All (44)
Journal Article
Journal of Music Theory (2004) 48 (1): 1–24.
Published: 01 April 2004
.... Carter, sketch for Gra
member that a) is an inversion of Z; b) leaves invariant the 4–9[0167]
subset of Z; and c) transposes the remaining 2–4[04] member by either
5
T1 or TB.
Carter’s sketches for Gra shed light on the relation of {E4, B5, B≤4,
F5} to the 2–4[04] members. In Example 2...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
... a corresponding descent from 4ˆ to 1ˆ. The Urlinie
is thus projected as a pair of descending tetrachords (F to C, and B≤ to
F), borne upon transposed (but otherwise identical) cadence phrases.
Schenker’s graph (and the accompanying commentary) draw attention to
another descent through the fourth B≤ to F...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... deal of attention.6 Berg’s chart contains promising harmonic possi-
bilities, but the rich variety of sonorities this cyclic design yields has not been
systematically investigated. For example, all twelve cycles in Berg’s array
begin on a unison C2. If we transpose one of the cycles to begin...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...
adjustment, entry 3’s second half is transposed without adjustment. The rea-
son is that entry 3 has a modulatory function: to reach V/V and thus prepare
entry 4, which is entirely in the key of V (D). Entry 4 is simply a transposition
of entry 2 up a fifth...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
..., embellishing various original or substituted segments,
and transposing segments to other scale degrees. Riepel’s techniques for
deriving solo material from a ritornello do not differ in principle from
those he used to derive longer binary forms from simple dance pieces;
they are typical of the theorist’s...
Journal Article
Journal of Music Theory (2022) 66 (2): 255–261.
Published: 01 October 2022
... distinguishes the theoretical concept of the confinalis as used from the ninth through fifteenth centuries—“a note in the gamut five steps above the finalis to which entire compositions could be transposed”—from a later concept of the confinalis —the fifth step of the modal octave and an alternative...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... Hook 2011. 3 The chord roots trace a sequence in mod-12 space that could be identified by the equation T2T3 = T5. The actual chords, however, are not transposed chromatically by T2 and T3, because the two seventh chords in each block dif- fer in quality. 4 The flatwise shift of diatonic collections may...
Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 4.4. Voice leadings at the opening of Schoenberg's op. 11/1. To obtain the progression, apply the perturbation and then the transformation. For example, starting with the first chord, move B to A and then transpose up by four semitones. Almost all the trichords are in the “A” arrangement
More
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... set [027] is transposed by T5 on the final beat of the measure.
This first measure of the introduction is then itself transposed by T5 in the
second measure of the introduction. Thus, Hancock here pursues the
interval-class-5 relation on several levels: first in the opening introductory...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
..., Shostakovich, Brit-
ten, and others, eschew it nearly altogether in favor of other kinds of
transposed repetition. At the other extreme, the sequence is hardly used
before the advent of common-practice procedures in the later seventeenth
225...
1