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Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
...Peter H. Smith 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 unusual for basic analytical decisions to pose significant...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
...Joseph N. Straus VOICE LEADING IN SET-CLASS SPACE Joseph N. Straus Introduction to Transformational Voice Leading Figure 1 shows four pairs of chords and says something about the voice leading between Chord X and four...
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 9930974.
Published: 08 September 2022
...Jeremy Tatar jeremy.tatar@mail.mcgill.ca Mitchell Ohriner . Flow: The Rhythmic Voice in Rap Music . Oxford University Press , 2019 : xl +248 pp. ( $41.95 hardcover). Copyright © 2022 by Yale University 2022 ADVANCE PUBLICATION REVIEWS Mitchell Ohriner Flow: The Rhythmic...
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Published: 01 October 2021
Example 4. Interpreting chromatic semitones in settings with three or more voices. Example 4. Interpreting chromatic semitones in settings with three or more voices. More
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Published: 01 October 2021
Figure 16. Music for Eighteen Musicians , m. 109, clarinet and voices (alternate stemming added) (a), and m. 321, clarinet and voices (alternate stemming added) (b), and spectra for the 2-2-3-2-3 and 3-4-5 subsets of the signature rhythm (c). Figure 16. Music for Eighteen Musicians, m. 109 More
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Published: 01 April 2022
Example 2. A realization of the “example” described by Ramos. As the intervals of the tenor (lower voice) increase in size, those of the added voice decrease. 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. 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
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...
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Published: 01 October 2021
Figure 17. (a) Canon from Music for Eighteen Musicians V (pianos, m. 372). (b) Spectra for the rhythm of the dyads (2-3-2-5) and the canon configuration (2-2-8). (c) The canon on dyads only, and the resultant rhythm appearing at m. 382 (marimbas, piano, voices). Figure 17. (a) Canon from More
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. WHEN EVEN BECOMES ODD...
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...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
...-Philippe Rameau, but that study neither advanced his compositional abilities nor later shielded him from the scorn of Rameau himself. Had Rousseau found a master of the then fashionable Italian style of music, he would have studied exercises in partimenti and solfeggi . Solfeggi were studies for voice...