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Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
...Timothy Cutler The voice exchange is an elementary concept that can help solve some of tonal music's most difficult analytical problems. Although many essays allude to the subject of voice exchanges, there have been few direct investigations of the topic. Why such an important compositional...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
...Justin Hoffman Recent music-theoretical research has proposed two ways of mapping the pitch-class set universe. Fourier spaces, constructed by Quinn, relate sets to one another based upon their composition from members of interval cycles, reflecting what might be called “harmonic quality.” Voice...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
...Dmitri Tymoczko In this article, I consider two ways to model distance (or inverse similarity) between chord types, one based on voice leading and the other on shared interval content. My goal is to provide a contrapuntal reinterpretation of Ian Quinn's work, which uses the Fourier transform...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2019) 63 (1): 139–144.
Published: 01 April 2019
...Elizabeth Hellmuth Margulis Huron David Voice Leading: The Science behind a Musical Art MIT Press , 2016 : vii + 263 pp. ( $38.00 cloth) Copyright © 2019 by Yale University 2019 Works Cited Huron David . 2006 . Sweet Anticipation: Music and the Psychology...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
...Leah Frederick This article constructs generic voice-leading spaces by combining geometric approaches to voice leading with diatonic set theory. Unlike the continuous mod-12 spaces developed by Callender, Quinn, and Tymoczko, these mod-7 spaces are fundamentally discrete. The mathematical...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
...Peter H. Smith 2000 © Yale University, New Haven, Connecticut 06520 2000 OUTER-VOICE CONFLICTS: THEIR ANALYTICAL CHALLENGES AND ARTISTIC CONSEQUENCES Peter H. Smith As anyone familiar with Schenkerian analysis can attest, it is not at all...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
.... Buchler, Michael. 1998 . “Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity.” Ph.D. diss., University of Rochester. Callender, Clifton. 1998 . “Voice-Leading Parsimony in the Music of Alexander Scriabin.” Journal of Music Theory 42 : 219 –34...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
...Jared C. Hartt The extant fourteenth-century contrapunctus manuals are concerned almost exclusively with counterpoint in two parts, but one treatise, “Quicumque voluerit duos contrapuncti,” sheds light on three-voice composition and lays the groundwork for a refined classification of sonority types...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... these permutations create different families of harmonies. In particular, this article focuses on three-voice aligned cycles. I show how the different combinations, alignments, and rotations of the individual voices of an aligned cycle create a unique collection of aligned-cycle classes and, at a more large-scale...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... (i.e., preserves a different number of common tones), the framework affords voice-leading flexibility. Second, each relation is maximally distant within its class, minimizing the possibility of suggesting a key. Examples drawn from Schnittke’s works demonstrate how the PSM framework is used to create...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... as a scientific thinker. This emphasis on the voice, moreover, lets him situate rhetoric in terms of the relationship between the voice and the soul, thus linking delivery with divinity. With both oratory and music being understood as specialized forms of sound production, music is shown to aid rhetoric just...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
..., Section 4 considers the analytical implications of the preceding points, paying particular attention to questions about voice leading. 2009 2009 Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. His book, A Geometry of Music: Harmony and Counterpoint...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... as “structurally insignificant shells of traditional forms.” Reevaluation of Schumann’s expositions reveals both the genuine connections he forges with eighteenth-century practice and the integral role this creative appropriation plays in his distinctive compositional voice. A positive reassessment emerges via...
Journal Article
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
...Seth Monahan For centuries, metaphors of agency have pervaded music-analytical writing. Today, as in generations past, critics routinely vivify their analytical narrations by ascribing sentience, emotion, and volition to musical works, their internal elements (pitch classes, contrapuntal voices...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... the geometry, the article develops a number of concepts for the analysis of chromatic harmony, including a geometric concept of interval as direction (intervallic axis), a novel approach to triadic voice leading (triadic orbits), and theories of tonal regions. I thank JMT ’s anonymous reviewers...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
... interpretation of musical narratives must be invested in the semantic level (topics, codes, conventions, genres) as well as the syntactic one (harmony, voice leading). The four archetypes function as structures of the musical text and as master signifiers that the listener uses to organize an interpretation...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... to reduce polyphonic surfaces to note-against-note backgrounds and to evaluate the realizations of inversional designs. Part III generalizes the partitional model to enumerate and classify the distinct background structures for two-, three-, and four-voice inversional settings. 1999 © Yale University, New...
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...