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Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. More
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
...Peter H. Smith This article explores musical and theoretical issues raised by a particular type of parallel form that has been interpreted in two strikingly contradictory ways—either as a birotational type 2 sonata form or as a sonata form with a reversed recapitulation. Insights drawn from...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
...Robert P. Morgan 1999 © Yale University, New Haven, Connecticut 06520 1999 ARE THERE TWO TONAL PRACTICES IN NINETEENTH-CENTURY MUSIC? Robert P. Morgan Article/review of The Second Practice of Nineteenth-Century Tonality, William Kinderman and Harald Krebs...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...
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Published: 01 October 2021
Figure 4. The rhythms of first two parts of Music for Pieces of Wood (a and b) and a different truncation of the first rhythm (c). More
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Published: 01 April 2022
Figure 9a. Quinn's fuzzy C + SIM formula for two fuzzy contours (Quinn 1997 : 257). More
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Published: 01 October 2022
Figure 4. Two analyses from Auerbach of the secondary theme from Rossini's overture to The Barber of Seville . More
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Published: 01 April 2023
Figure 3.2. The two forms of the melody are produced by the same algorithm, interchanging the terms third-step trichord and cluster . More
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Published: 01 April 2023
Figure 3.5. Two exact analyses by Allen Forte. A . Measure 17 of Schoenberg's Herzgewächse op. 17. B . The opening of Schoenberg's op. 11/1, analyzed in Figure 3.1. More
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Published: 01 April 2023
Figure 4.6. A reduction of mm. 4–6 of Rite of Spring , along with two recompositions that shift the parallel motion to other pairs of voices. This moves the position of the gapped quartal voicings. More
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Published: 01 April 2023
Figure 21. Two realizations of Intermission 6 depicted in inversional pitch center versus semitonal span performance space, by (a) Sabine Liebner and (b) Philip Thomas (second version). More
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Published: 01 April 2023
Figure 23. Two hypothetical “once-through” performances of Intermission 6 depicted in inversional pitch center versus semitonal span performance space: (a) a minimally contrasting performance (smallest average distance traversing each vertex once) and (b) a maximally contrasting performance More
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Published: 01 April 2021
Image 1. Two representations of a meter. More
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Published: 01 April 2021
Image 11. Diagrams of the last two figures of “Les spectacles.” More
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Published: 01 April 2021
Example 4. A Mozart theme in comparison to two themes from La Cuisse. More
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Published: 01 October 2021
Figure 28. The vibraphone part from Sextet iv (a) and its spectrum with those of the two canonic configurations (b). More
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Published: 01 October 2021
Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. More
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Published: 01 October 2021
Figure 13. The basic pattern of Violin Phase (a), the double-stops of the pattern (b), and spectra of the double stop rhythm and two canons that serve as the goals of phasing processes (c). More
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Published: 01 April 2023
Figure 6. Families of audio segments represented as directed edges in the Scambi compositional space. Orthogonal line segments form virtual edges that connect the two halves of the space. More
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Published: 01 April 2023
Figure 1.5. Eddie Harris's “Freedom Jazz Dance” opens with an octave-displaced open-position pentatonic voicing; the rest of the phrase hints at two other open-position pentatonic voicings. More