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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Example 8. Lutosławski's “Prologue,” Musique funèbre : vertical “open sonorities”: (a) mm. 1–4; (b) mm. 33–37.
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Published: 01 April 2023
Figure 16. A potential clique space for Novara . Vertices are labeled using the numbering scheme from Table 1 . Each edge represents the exchange of one constituent event for another.
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in Investigating Music-Dance Relationships: A Case Study of Norwegian Telespringar
> Journal of Music Theory
Published: 01 April 2021
Figure 4. Plots showing (a) the dancers' libration curves, (b) the vertical acceleration of the dancers' libration curves, and (c) the vertical acceleration of the fiddler's foot stamping. All three are chunked into segments of two measures and plotted on the same graph. The dancers' libration
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Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however...
Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
...Example 8. Lutosławski's “Prologue,” Musique funèbre : vertical “open sonorities”: (a) mm. 1–4; (b) mm. 33–37. ...
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Journal Article
Journal of Music Theory (2024) 68 (1): 35–58.
Published: 01 April 2024
... the Madwoman's music for difference through immobilizing harmonies (i.e., dissonant vertical stacks of notes) and inversional symmetry. Though inversional symmetry in music carries many potential meanings, two pertinent interpretations—coded sexuality and disability—formerly were accompanied with a shared...
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Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
... temperament. Cohn’s abstract tonnetz is
given in figure 3.
Figure 3. Cohn’s Abstract Tonnetz, from Cohn 1997, figure 6, p. 10
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Like Hyer, Cohn notes that “if x and y [Cohn’s variables for horizontal
and vertical relationships in the tonnetz] are assigned to acoustically pure
intervals...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... geometrical dual, called the
“chicken-wire torus” by Douthett and Steinbach (1998). Here, points represent chords
and edges represent single-step voice leading.
Dmitri Tymoczko The Generalized Tonnetz 3
shared vertices...
Journal Article
Journal of Music Theory (2023) 67 (1): 99–139.
Published: 01 April 2023
...Figure 16. A potential clique space for Novara . Vertices are labeled using the numbering scheme from Table 1 . Each edge represents the exchange of one constituent event for another. ...
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Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Figure 4. Plots showing (a) the dancers' libration curves, (b) the vertical acceleration of the dancers' libration curves, and (c) the vertical acceleration of the fiddler's foot stamping. All three are chunked into segments of two measures and plotted on the same graph. The dancers' libration...
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Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... and C4. The space pitch is discrete, so it can be represented as a graph a mathematical structure consisting of discrete vertices connected by edges. Since each edge of this graph represents motion by single semitone, the fig- ure as a whole can be considered a rudimentary example of a discrete voice...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
..., and Cyclic Structures in Thomas Adès's ‘Chori.’” Music Theory and Analysis 2 / 2 : 204 – 18 . Straus Joseph N. 1999 . “Stravinsky's ‘Construction of Twelve Verticals’: An Aspect of Harmony in the Serial Music.” Music Theory Spectrum 21 / 1 : 43 – 73 . ———. 2001 . Stravinsky's...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
...—container, cycle, vertical-
ity, balance, center-periphery, and source-path-goal—are also
among the most pervasive in everyday experience. These schemas reflect
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basic features of our bodily experience of space, time, force, and motion,
as follows:
1) We experience space as made up of bounded...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... 6 6 6 6 6 . . . differences (ics): 0 2 4 6 4 2 0 . . .
The spiral model reveals the salient characteristics of even index num-
bers: both the sums and the differences between corresponding pcs are
even. As a result, even index numbers project even interval-classes as
verticals: ics 0, 2...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... 20/3 ( 1967 ): 434 -39. Cherlin, Michael. “Schoenberg und Das Unheimliche: Spectres of Tonality.” Journal of Musicology 11/3 ( 1993 ): 357 -73. Dean, Jerry. “Schoenberg's Vertical-linear Relationships in 1908.” Perspectives of New Music 12 ( 1973-74 ): 173 -79. Dahlhaus, Carl...
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in Investigating Music-Dance Relationships: A Case Study of Norwegian Telespringar
> Journal of Music Theory
Published: 01 April 2021
Figure 3. (a) A simplified transcription of “ Sud-Kåsen ” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern
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Journal Article
Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
... to investigate some of its interesting properties. In principle there are eight types that start and end on perfect vertical intervals, as shown in Appendix Figure 2-1 . 27 Each of these types can be labeled by the first vertical interval, then the direction of the Canto motion, and the span...
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Published: 01 April 2023
Figure 15. Simplified graph of Novara . All events sharing the same instrumentation are represented by a single vertex. All triangles between vertices represent cliques.
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Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... . “ A Quantitative View of Serial Analysis .” Music Theory Spectrum 39 / 1 : 109 – 23 . Busch Regina . 1985 . “ On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I) .” Tempo 154 : 2 – 10 . Busch Regina . 1986a . “ On the Horizontal and Vertical...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... of musical form, both within the music itself and within the dance-music composite. Applying now the same criterion to “Greensleeves,” we get “| Alas my love, you do me wrong | To cast me out discourteously | and I have loved you oh, so long | delighting in your company. |” The new vertical lines form...
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