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Figure 7.4. The quartal hexachordal voicing chains together hexachordal 0236 and 0136 sets.

The quartal hexachordal voicing chains together hexachordal 023 6 and 013 ...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 7.4. The quartal hexachordal voicing chains together hexachordal 023 6 and 013 6 sets. More
Journal Article

Upper-Voice Structures and Compositional Process in the Ars nova Motet

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Sarah Fuller
Journal of Music Theory (2023) 67 (1): 171–186.
DOI: https://doi.org/10.1215/00222909-10232105
Published: 01 April 2023
...Sarah Fuller 8 Zayaruznaya uses the term taleaic to indicate the degree of rhythmic conformity between musical passages in tenors or upper voices. Tenors are normally uniformly taleaic; upper voices, less so. 9 For a longer exposition of this type of simplified ars nova notation...
View articletitled, Upper-<span class="search-highlight">Voice</span> Structures and Compositional Process in the Ars nova Motet View PDF for article titled, Upper-<span class="search-highlight">Voice</span> Structures and Compositional Process in the Ars nova Motet
Journal Article

A Blaze of Light in Every Word: Analyzing the Popular Singing Voice

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Kristal Spreadborough
Journal of Music Theory (2023) 67 (2): 339–347.
DOI: https://doi.org/10.1215/00222909-10699751
Published: 01 October 2023
...Kristal Spreadborough [email protected] Victoria Malawey . A Blaze of Light in Every Word: Analyzing the Popular Singing Voice . Oxford University Press , 2020 . Copyright © 2023 by Yale University 2023 statements about the highly evocative nature...
View articletitled, A Blaze of Light in Every Word: Analyzing the Popular Singing <span class="search-highlight">Voice</span> View PDF for article titled, A Blaze of Light in Every Word: Analyzing the Popular Singing <span class="search-highlight">Voice</span>
Journal Article

Flow: The Rhythmic Voice in Rap Music

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Jeremy Tatar
Journal of Music Theory (2022) 66 (2): 303–314.
DOI: https://doi.org/10.1215/00222909-9930974
Published: 01 October 2022
... . de Lacey Alex . 2020 . “ Review of Flow: The Rhythmic Voice in Rap Music , by Ohriner Mitchell .” Journal of the Society for Musicology in Ireland 15 : 31 – 35 . Duinker Benjamin . 2019 . “ Good Things Come in Threes: Triplet Flow in Recent Hip-Hop Music .” Popular Music...
FIGURES
View articletitled, Flow: The Rhythmic <span class="search-highlight">Voice</span> in Rap Music View PDF for article titled, Flow: The Rhythmic <span class="search-highlight">Voice</span> in Rap Music
Journal Article

Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles

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Dmitri Tymoczko
Journal of Music Theory (2023) 67 (1): 1–70.
DOI: https://doi.org/10.1215/00222909-10232057
Published: 01 April 2023
...Figure 7.4. The quartal hexachordal voicing chains together hexachordal 023 6 and 013 6 sets. ...
FIGURES | View All (53)
View articletitled, Approximate Set Theory: Chord Categories, <span class="search-highlight">Voicings</span>, and Interval Cycles View PDF for article titled, Approximate Set Theory: Chord Categories, <span class="search-highlight">Voicings</span>, and Interval Cycles
Journal Article

Voice Leading: The Science behind a Musical Art by David Huron

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Elizabeth Hellmuth Margulis
Journal of Music Theory (2019) 63 (1): 139–144.
DOI: https://doi.org/10.1215/00222909-7320639
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...
View articletitled, <span class="search-highlight">Voice</span> Leading: The Science behind a Musical Art by David Huron View PDF for article titled, <span class="search-highlight">Voice</span> Leading: The Science behind a Musical Art by David Huron
Journal Article

Generic (Mod-7) Voice-Leading Spaces

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Leah Frederick
Journal of Music Theory (2019) 63 (2): 167–207.
DOI: https://doi.org/10.1215/00222909-7795257
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...
View articletitled, Generic (Mod-7) <span class="search-highlight">Voice</span>-Leading Spaces View PDF for article titled, Generic (Mod-7) <span class="search-highlight">Voice</span>-Leading Spaces
Journal Article

Outer-Voice Conflicts: Their Analytical Challenges and Artistic Consequences

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Peter H. Smith
Journal of Music Theory (2000) 44 (1): 1–43.
DOI: https://doi.org/10.2307/3090668
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...
View articletitled, Outer-<span class="search-highlight">Voice</span> Conflicts: Their Analytical Challenges and Artistic Consequences View PDF for article titled, Outer-<span class="search-highlight">Voice</span> Conflicts: Their Analytical Challenges and Artistic Consequences
Journal Article

Voice Leading in Set-Class Space

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Joseph N. Straus
Journal of Music Theory (2005) 49 (1): 45–108.
DOI: https://doi.org/10.1215/00222909-2007-002
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...
View articletitled, <span class="search-highlight">Voice</span> Leading in Set-Class Space View PDF for article titled, <span class="search-highlight">Voice</span> Leading in Set-Class Space
Journal Article

On Voice Exchanges

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Timothy Cutler
Journal of Music Theory (2009) 53 (2): 191–226.
DOI: https://doi.org/10.1215/00222909-2010-002
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...
View articletitled, On <span class="search-highlight">Voice</span> Exchanges View PDF for article titled, On <span class="search-highlight">Voice</span> Exchanges
Journal Article

On Pitch-Class Set Cartography: Relations between Voice-Leading Spaces and Fourier Spaces

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Justin Hoffman
Journal of Music Theory (2008) 52 (2): 219–249.
DOI: https://doi.org/10.1215/00222909-2009-016
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...
View articletitled, On Pitch-Class Set Cartography: Relations between <span class="search-highlight">Voice</span>-Leading Spaces and Fourier Spaces View PDF for article titled, On Pitch-Class Set Cartography: Relations between <span class="search-highlight">Voice</span>-Leading Spaces and Fourier Spaces
Journal Article

Set-Class Similarity, Voice Leading, and the Fourier Transform

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Dmitri Tymoczko
Journal of Music Theory (2008) 52 (2): 251–272.
DOI: https://doi.org/10.1215/00222909-2009-017
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...
View articletitled, Set-Class Similarity, <span class="search-highlight">Voice</span> Leading, and the Fourier Transform View PDF for article titled, Set-Class Similarity, <span class="search-highlight">Voice</span> Leading, and the Fourier Transform
Includes: Supplementary data
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Figure A2. The basic hexachordal voicings.

The basic hexachordal voicings.

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure A2. The basic hexachordal voicings. More
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Figure 5.5. Efficient descending-fifth voice leading connecting quartal voicings, in both diatonic and chromatic space.

Efficient descending-fifth voice leading connecting quartal voicings, in bo...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 5.5. Efficient descending-fifth voice leading connecting quartal voicings, in both diatonic and chromatic space. More
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Figure A1. The basic trichordal, tetrachordal, and pentachordal voicings, categorized by the standard twelve-tone operations. Cyclic voicings are shown with open note heads. Numbers show the spacing in intrinsic steps.

The basic trichordal, tetrachordal, and pentachordal voicings, categorized ...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure A1. The basic trichordal, tetrachordal, and pentachordal voicings, categorized by the standard twelve-tone operations. Cyclic voicings are shown with open note heads. Numbers show the spacing in intrinsic steps. More
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Example 4. Interpreting chromatic semitones in settings with three or more voices.

Interpreting chromatic semitones in settings with three or more voices.

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in An Intervallic Approach to Sixteenth-Century Chromaticism > Journal of Music Theory
Published: 01 October 2021
Example 4. Interpreting chromatic semitones in settings with three or more voices. More
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Figure 4.1. Chromatic voice-leading possibilities understood with reference to a diatonic (or equiheptatonic) template. In each column the chromatic voice leadings can be understood as manifestations of the diatonic template at the top. Beneath each column is a heuristic description of the underlying pattern.

Chromatic voice-leading possibilities understood with reference to a diaton...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 4.1. Chromatic voice-leading possibilities understood with reference to a diatonic (or equiheptatonic) template. In each column the chromatic voice leadings can be understood as manifestations of the diatonic template at the top. Beneath each column is a heuristic description More
Image
Figure 7.2. Quintal, tertian, and clustered voicings in Berg's Violin Concerto. In the last case, we have a chord progression whose efficient upper-voice counterpoint produces a cluster.

Quintal, tertian, and clustered voicings in Berg's Violin Concerto. In the ...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 7.2. Quintal, tertian, and clustered voicings in Berg's Violin Concerto. In the last case, we have a chord progression whose efficient upper-voice counterpoint produces a cluster. More
Image
Figure 7.7. Clustered, tertian, and quartal voicings of the hexachord from Schoenberg's Violin Concerto. The asterisk and dagger mark the voicings used in Figure 1.8. The hexachord marked with the dagger appears inverted.

Clustered, tertian, and quartal voicings of the hexachord from Schoenberg's...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 7.7. Clustered, tertian, and quartal voicings of the hexachord from Schoenberg's Violin Concerto. The asterisk and dagger mark the voicings used in Figure 1.8 . The hexachord marked with the dagger appears inverted. More
Image
Figure 1.7 Using octave displacements to create “smeared” quartal and quintic voicings. A. A rootless G7 voicing. B. A quintal hexachordal voicing.

Using octave displacements to create “smeared” quartal and quintic voicings...

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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles > Journal of Music Theory
Published: 01 April 2023
Figure 1.7. Using octave displacements to create “smeared” quartal and quintic voicings. A . A rootless G 7 voicing. B . A quintal hexachordal voicing. More