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twelve-tone technique

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Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
... technique. Though a number of previous scholars have addressed this phenomenon, some of its crucial aspects are thus far underexplored or even unacknowledged. After reviewing several basic characteristics of Shostakovich's twelve-tone usage, this article expands and refines our understanding of his twelve...
Journal Article
Journal of Music Theory (1 October 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 of...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 263–279.
Published: 01 October 2016
... into a viable modern analytical method for the study of Schoenberg’s twelve-tone music. Boss’s analyses amply demonstrate this point, although, as discussed below, the approach requires flexibility if one is to adapt it to Schoenberg’s varied techniques...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 21–82.
Published: 01 April 1999
... 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 (1 October 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 (1 October 1999) 43 (2): 193–230.
Published: 01 October 1999
... Considerations Inversion, or axial symmetry, is widely recognized as a fundamental twentieth-century technique. Milton Babbitt was the first to formalize the properties of pitch-class inversion. In “Twelve-Tone Invariants as Com- positional Determinants,” he uses the term index number to describe the...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 201–242.
Published: 01 October 2017
... version of Domaines are rooted in the common-subset and common-tone relationships of the multi- plication tables from which it was crafted. Second, it provides insight into the structural concerns that underlie Boulez’s derivation techniques by exam...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 121–140.
Published: 01 April 2010
... Adorno in his 2000 essay on Schoenberg, focusing in particu- lar on the moment noted above: the point at which Cavell rejects Adorno’s considerations of twelve-tone technique and turns toward his own. Here, it argues that Cavell passes over the fact that Adorno’s...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 45–108.
Published: 01 April 2005
... 34 : 1 –28. Kameoka, A., and M. Kuriyagawa. 1969 . “Consonance Theory: Part I: Consonance of Dyads.” Journal of the Acoustical Society of America 45 : 1451 –59. Krenek, Ernst. 1940 . Studies in Counterpoint Based on the Twelve-Tone Technique . New York: G. Schirmer. Lerdahl, Fred...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 57–65.
Published: 01 April 2014
... (both 1920–23), when he was exploring the techniques of “working with tones of the motive” and composing his first pieces using ordered twelve-tone rows. In line with Die glückliche Hand, op. 18, and in contrast to his earlier approach with pieces like op. 11...
Journal Article
Journal of Music Theory (1 April 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 (1 October 2014) 58 (2): 179–233.
Published: 01 October 2014
... twelve, which is thus the determinant of the chromatic comma lattice. Example 5 presents a series of generated tone systems. In Example 5a, the fundamental parallelogram given by the syntonic comma and diesis, shaded in gray, marks a selection of twelve tones from the tone lattice with...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 483–487.
Published: 01 October 2001
.... Chapter 2. “Melody and Counterpoint” offers an examination of the relationships among the diatonic tones of major and minor scales, and leads to a discussion of structural levels and introduces the concept of pro- longation: “Stepwise motion provides the greatest possible continuity in a melody” (p...
Journal Article
Journal of Music Theory (1 October 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...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 71–102.
Published: 01 April 2019
... . Spinner Leopold . 1960 . A Short Introduction to the Technique of Twelve-Tone Composition . London : Boosey and Hawkes . Spinner Leopold . 1987 . “ Zwei Scherzo-Analysen .” In Leopold Spinner , by Busch Regina , 180 – 91 . Bonn : Boosey and Hawkes . Stein Erwin . 1962...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 219–294.
Published: 01 October 2004
... worth saying a word about why the scales dis- cussed in Section I are linked by the voice-leading and common-tone relationships discussed here. The reason is that the DS, NCS, and DT constraints identify scales that resemble the diatonic collection—which divides the twelve-note chromatic scale into...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 251–272.
Published: 01 October 2008
... integers) in the range [0, 12), with C as 0.4 Here the octave has size 12, and familiar twelve- tone equal-tempered semitones have size 1. This system provides labels for every conceivable pitch class and does not limit us to any particular scale; thus, the number 4.5 refers to “E quarter-tone sharp...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 181–212.
Published: 01 October 2016
... Conclusion of Bartók's Second String Quartet.” In The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective , ed. Biró Dániel Péter Krebs Harald , 170 – 84 . New York : Oxford University Press . Headlam David . 1995 . “Tonality and Twelve-Tone Tonality: The...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 349–358.
Published: 01 October 1999
... with the composer’s comparatively unorthodox serial techniques as compared to his colleagues Schoenberg and Webern.6 Perle’s position clarifies the situation: Berg’s language, whether using serial aggregates or not, rests atop a “background” of the symmetry of the twelve-tone equal-tempered...
Journal Article
Journal of Music Theory (1 April 2011) 55 (1): 43–88.
Published: 01 April 2011
...://mto.societymusictheory.org/issues/mto.08.14.1/mto.08.14.1.gur.html . Haimo Ethan . 1990 . Schoenberg's Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914–1928 . Oxford : Clarendon Press . Heetderks David . 2009 . '' A Tonal Revolution in Fifths and Semitones: Copland's Quiet...
Includes: Supplementary data