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Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
...Benjamin Steege Myles W. Jackson Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany MIT Press, 2006: x+395 pp. ($40.00 cloth, $23.00 paper) Matthias Rieger Helmholtz Musicus: Die Objektivierung der Musik im 19. Jahrhundert durch Helmholtz' Lehre...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
...Scott Murphy Scott Murphy is an associate professor of music theory at the University of Kansas. Cohn Richard . Audacious Euphony: Chromaticism and the Triad’s Second Nature . Oxford University Press , 2012 : xviii+237 pp. ( $35.00 cloth ) © 2014 by Yale University...
Journal Article
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 Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... just-intonation systems. On the other hand, various families of generated tone systems based on subchromatic comma lattices provide relevant models of structures found in chromatic music. They include families of triads, seventh chords, and heptachords. Special attention is paid to three families...
Journal Article
Journal of Music Theory (2016) 60 (1): 1–21.
Published: 01 April 2016
... tonality and dissonance in more detail, with particular emphasis on his idea that dissonant prolongations are based on tonicizable but nontonic triads; by examining a number of extended, if partial, precedents for such prolongations in his final publication, Der freie Satz ; and by supporting the article's...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
..., there are many examples where the prolonged chord differs from the one being arpeggiated. Many of these involve a downward arpeggiation of a triad from fifth to root that connects two different harmonies. This article examines the prolongational issues involved in this type of arpeggiation. The first section...
Journal Article
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 Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
...; secondary chromatic , in which a secondary triad is tonicized by a chromatic chord; and secondary diatonic , whereby a hierarchical relationship is established between relative tonics. The article concludes with an analysis of Neil Young’s “Down by the River” (1969), demonstrating how the concepts discussed...
Journal Article
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
..., perhaps no other has entered the common parlance so thor- oughly as “parsimonious voice leading” and its variants. Richard Cohn first used the phrase to describe the ability of the consonant triad to gen- erate more of its own kind through (1) the movement of a single pitch class by step...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... Tunings. Princeton: Princeton University Press. Callender, Clifton. 1998 . “Voice-Leading Parsimony in the Music of Alexander Scriabin.” Journal of Music Theory 42 : 219 -33. Childs, Adrian P. 1998 . “Moving Beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... .” Nineteenth-Century Music 23/3 : 303 – 4 . ———. 2000b . “ Weitzmann’s Regions, My Cycles, and Douthett’s Dancing Cubes .” Music Theory Spectrum 22/1 : 89 – 103 . ———. 2012 . Audacious Euphony: Chromaticism and the Triad’s Second Nature. New York : Oxford University Press . Cone...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... is the Tonnetz, where major and minor triads are triangles, and where parsimoni- ous voice leadings are reflections (“flips”) preserving a triangle’s edge. In chord-based graphs, by contrast, each point represents an entire sonority, and efficient voice leading corresponds to short-distance motion...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... Reviews    Roeder on Tymoczko 167 fourths/fifths, that is, Tn class 05] are very close to their six-semitone transpo- sitions, nearly even three-note chords [such as major triads—Tn class 047] are very close [to] their four- and eight-semitone transpositions, nearly even four...
Journal Article
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
... derivation of secondary triads. Riemann’s role in opening up the concept of key to chromaticism, for example, via sec- ondary dominants, is positively and correctly emphasized, while serving as a further explanation for the very limited acceptance of his theories by those for whom the connection...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
... counterpoint is organized first around a bass using only primary triads, and then a more complicated texture in which sixth chords are per- 292 JOURNAL of MUSIC THEORY mitted in the bass (1961, 22). The normal sequence of root position triad followed by sixth chords...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... of relationship with one or another of the primary chords. [16] We begin with thetic chords in the major mode: I, VI, (III). VI has as its upper third the major third of the tonic triad and is perceived easily as a substitute for tonic harmony, especially in the position of thetic fifth, or in deceptive...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... model of the gamut are listed in the example labeled “Interval qualities above each pitch-class of the basic gamut” (60; reproduced here as Example 2), earlier described as the basic triads “found above each step of the cantus durus signature” (59...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
..., Hermann. [1863/1877] 1912 . On the Sensations of Tone as a Physiological Basis for the Theory of Music . Translated by Alexander Ellis. 4th ed. London: Longman, Green. ____. 1867 . Handbuch der physiologischen Optik . Leipzig: Voss. Jackson, Myles. 2006 . Harmonious Triads: Physicists...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
... uncanny specifically for theory, see Lerdahl 2001, 84–86; Hook 2002, 58–59. what he refers to as “hexatonic poles”: a major and minor 3  See Cohn 1999, 2006; Darcy 2005. Darcy argues that triad that combine to form a complete hexatonic...
Journal Article
Journal of Music Theory (2004) 48 (1): 99–141.
Published: 01 April 2004
...-elements may be likened to nouns referring to musical objects such as “notes,” “durations,” “triads.” A space contains the musi- cal objects upon which actions are performed; a group contains the actions themselves. In Figure 1, G is the familiar T/I group of atonal theory consisting of the twelve...