Jason Yust
Biographic Data
| ID | 1609333 |
|---|---|
| NAME | Jason Yust |
| GIVEN NAMES | Jason |
| FAMILY NAME | Yust |
| SIGNATURE | YUST J |
| AFFILIATIONS | Boston University |
| ORCID | 0000-0001-5978-1153 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Rhythmic Regularity Beyond Meter and Isochrony
Classical meter theory, derived from European, notation-based musical practice, requires notionally absolute isochrony. This article proposes a more flexible concept of rhythmic frequencies (or periodicities) represented by continuous functions over time, and develops rhythmic theory from it that is more global in scope. A rhythm is a good fit to a given frequency if its onsets are close to peaks of one of these functions, without having to preci…
Dimensions of Atonality: A Response and Extension of von Hippel and Huron (2020)
This commentary addresses von Hippel and Huron's (2020) work on "tonal and anti-tonal" structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms
Ganymede's Heavenly Descent
Schubert's song Ganymed has attracted a great deal of interest from analysts on account of its progressive tonal plan, which is often seen as a challenge to Schenkerian theories of tonal structure, as well as its evocative text. This article draws upon a spatial theory of tonal meaning which helps both to resolve the epistemological impasse faced by reductive theories of tonal structure and to better access Schubert's interpretation of Goethe's t…
Stylistic information in pitch-class distributions
This study examines pitch-class distributions in a large body of tonal music from the seventeenth, eighteenth and nineteenth centuries using the DFT on pitch-class sets. The DFT, applied over the pitch-class domain rather than a temporal domain, is able to isolate significant and salient qualities characteristic of tonal pitch-class distributions, such as diatonicity and triadicity. The data reveal distinct historical trends in tonal distribution…
Organized Time: Rhythm, Tonality, and Form
This text presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of mathematical network, is common to all modalities, particularly rhythm, tonality, and form. As a result, we can develop tools to talk about the experience of musical time in abstraction from any particular modality, and make analogies from structural phenomena …
Voice-Leading Transformation and Generative Theories of Tonal Structure
Numerous generative approaches to explaining tonal structure and/or Schenker's theories have been proposed since Babbitt noted a resemblance between Schenker's analytical method and Chomskian generative grammars in 1965. One of the more challenging features of Schenker's theory to replicate in a generative system is the interaction of counterpoint and hierarchy. Many theorists, such as Lerdahl and Jackendoff, skirt the problem by developing non-c…
Organized Time: Rhythm, Tonality, and Form
This text presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of mathematical network, is common to all modalities, particularly rhythm, tonality, and form. As a result, we can develop tools to talk about the experience of musical time in abstraction from any particular modality, and make analogies from structural phenomena …
Voice-Leading Transformation and Generative Theories of Tonal Structure
Numerous generative approaches to explaining tonal structure and/or Schenker's theories have been proposed since Babbitt noted a resemblance between Schenker's analytical method and Chomskian generative grammars in 1965. One of the more challenging features of Schenker's theory to replicate in a generative system is the interaction of counterpoint and hierarchy. Many theorists, such as Lerdahl and Jackendoff, skirt the problem by developing non-c…
Organized Time: Rhythm, Tonality, and Form
This text presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of mathematical network, is common to all modalities, particularly rhythm, tonality, and form. As a result, we can develop tools to talk about the experience of musical time in abstraction from any particular modality, and make analogies from structural phenomena …
Stylistic information in pitch-class distributions
This study examines pitch-class distributions in a large body of tonal music from the seventeenth, eighteenth and nineteenth centuries using the DFT on pitch-class sets. The DFT, applied over the pitch-class domain rather than a temporal domain, is able to isolate significant and salient qualities characteristic of tonal pitch-class distributions, such as diatonicity and triadicity. The data reveal distinct historical trends in tonal distribution…
Dimensions of Atonality: A Response and Extension of von Hippel and Huron (2020)
This commentary addresses von Hippel and Huron's (2020) work on "tonal and anti-tonal" structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms
Ganymede's Heavenly Descent
Schubert's song Ganymed has attracted a great deal of interest from analysts on account of its progressive tonal plan, which is often seen as a challenge to Schenkerian theories of tonal structure, as well as its evocative text. This article draws upon a spatial theory of tonal meaning which helps both to resolve the epistemological impasse faced by reductive theories of tonal structure and to better access Schubert's interpretation of Goethe's t…
Rhythmic Regularity Beyond Meter and Isochrony
Classical meter theory, derived from European, notation-based musical practice, requires notionally absolute isochrony. This article proposes a more flexible concept of rhythmic frequencies (or periodicities) represented by continuous functions over time, and develops rhythmic theory from it that is more global in scope. A rhythm is a good fit to a given frequency if its onsets are close to peaks of one of these functions, without having to preci…
Neuroscience and Music Perception (5 works) · Art (4 works) · Linguistics (4 works) · Music Technology and Sound Studies (4 works) · Musicology and Musical Analysis (4 works) · Philosophy (4 works) · Computer Science (3 works) · Literature (3 works) · Musical (3 works) · Music and Audio Processing (2 works)