Audacious euphony: Chromaticism and the triad's second nature

Click to increase image sizeClick to decrease image size Notes R is excluded in this chapter since its non-common-tone voice moves by two semitones rather than one; it is introduced later in Chapter 4. Originally derived from Cook, equivalent to LPL or PLP 1 Cook, R. Alternative transformational aspects of the 'Grail' in Wagner's. Parsifal, Music Theory Midwest Conference;. Bloomington. sIN. [Google Scholar]. As outlined in Cohn's introduction to the Journal of Music Theory's special issue on neo-Riemannian theory, these models were a result of ongoing correspondence between Cohn and Douthett 3 Cohn, R. 1998. Introduction to Neo-Riemannian theory: A survey and historical perspective. J. Music Theory. J. Music Theory, 42: 167–180. (doi:10.2307/843871)[Crossref], [Web of Science ®] , [Google Scholar] 4 Douthett, J. and Steinbach, P. 1998. Parsimonious graphs: A study in parsimony, contextual transformations, and modes of limited transposition. J. Music Theory., 42: 241–264. (doi:10.2307/843877)[Crossref], [Web of Science ®] , [Google Scholar]. A notable exception is Roeder's tutorial to transformational spaces 5 J. Roeder. Constructing transformational signification: Gesture and agency in Bartók's Scherzo, op. 14, no. 2, measures 1–32. Music Theory Online. 2009;5. [Google Scholar]. In some ways this is suggestive of recent work by Gollin, Childs, Capuzzo, and others, although Cohn's approach is closer to Hook's cross-type transformation, to be discussed shortly 6–9 Gollin, E. 1998. "Some aspects of three-dimensional Tonnetze". In J. Music Theory Vol. 42, 195–206. Childs, A. 1998. Moving beyond Neo-Riemannian triads: Exploring a transformational model for seventh chords. J. Music Theory., 42: 181–193. (doi:10.2307/843872) Capuzzo, G. 2004. Neo-Riemannian theory and the analysis of Pop-Rock music. Music Theory Spectr., 26: 177–199. (doi:10.1525/mts.2004.26.2.177) Hook, J. 2007. "Cross-type transformations and the path consistency condition". In Music Theory Spectr Vol. 29, 1–40. . Cohn adapts the concept of Tonnetz neighbourhood from the work of Hostinský and Popovic 10 O. Hostinský. Die Lehre von den musikalischen Klängen: Ein Beitrag zur aesthetischen Begründung der Harmonielehre, H. Dominicus, Prague; 1879. [Google Scholar] 11 I. Popovic. Common principles in music-theoretical systems. [Ph.D. dissertation]. Yale: Yale University; 1992. [Google Scholar]. Admittedly, one could understand the transformations as occurring between pitch classes rather than chordal objects, which Cohn does when using the Tonnetz; however, this is clearly not the case in Cohn's larger networks and spaces which treat entire chords as the primary objects of transformation. While my dissertation explores such interpretations extensively, my article on Schafer's Seventh String Quartet provides a shorter example, juxtaposing chromatic transformations of complete collections with mode-contextual transformations of smaller motives 12 S. Lind. Interpreting gesture as motive: A transformational perspective on replication in R. Murray Schafer's Seventh String Quartet. Intersections. 2008;28:63–71. [Google Scholar]. Ricci presents several analyses in two simultaneous diatonic keys coupled with a sequential analysis examining transpositional/voice-leading shifts, while Straus's recent analyses of Stravinsky focus on both complete row forms and contextual inversions of tetrachords that produce RI chains 13 A. Ricci. Non-coinciding sequences. Music Theory Spectr. 2011;33:124–145. [Google Scholar] 14 J. Straus. Contextual inversion spaces. J. Music Theory. 2011;55:43–88. [Google Scholar].

Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.