Voice-leading spaces

Music Theory Spectrum

Volumn 20, Issue 2, 1998, Pages 175-208

  Morris, Robert D ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33745897455     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/746047     Document Type: Review

References (32)

1. Felix Salzer, Structural Hearing (New York: Dover, 1982);
2. Roy Travis, "Directed Motion in Schoenberg and Webern," Perspectives of New Music 4/2 (1966): 85-89;
3. Edward Laufer, "Schoenberg's Klavierstück Opus 33a: a Linear Approach," paper delivered at the joint meeting of the Music Theory Society of New York State and the Arnold Schoenberg Institute, Barnard College, Columbia University, 4 October 1991.
4. Joseph N. Straus "The Problem of Prolongation in Post-Tonal Music," Journal of Music Theory 31/1 (1987): 1-21.
5. Robert Morris, Composition with Pitch-Classes: a Theory of Compositional Design (New Haven: Yale University Press, 1987).
6. David Lewin, "Klumpenhouwer Networks and Some Isographies that Involve Them," Music Theory Spectrum 12/1 (1990): 83-120;
7. Henry Klumpenhouwer, "A Generalized Model of Voice-Leading for Atonal Music" (Ph.D. diss., Harvard University, 1991).
8. Alan Chapman, "Some Intervallic Aspects of Pitch-Class Set Relations," Journal of Music Theory 25/2 (1981): 275-90;
9. John Roeder, "Harmonic Implications of Schoenberg's Observations of Atonal Voice-Leading," Journal of Music Theory 33/1 (1989): 27-62;
10. idem, "Voice-Leading as Transformation," in Musical Transformation and Musical Intuition: Essays in Honor of David Lewin, ed. Raphael Atlas and Michael Cherlin (Roxbury, Mass.: Ovenbird Press, 1994), 41-58.
11. Joseph N. Straus, "Voice-Leading in Atonal Music," in Music Theory in Concept and Practice, ed. James Baker, David Beach, and Jonathan W. Bernard (Rochester: University of Rochester Press, 1997), 237-74.
12. David Lewin, "A Formal Theory of Generalized Tonal Functions." Journal of Music Theory 26/1 (1982): 23-60;
13. idem, Generalized Musical Intervals and Transformations (New Haven: Yale University Press, 1987);
14. Brian Hyer, "Reimag(in)ing Riemann," Journal of Music Theory 39/1 (1995): 101-38;
15. David Kopp, "A Comprehensive Theory of Chromatic Mediant Relations in Mid-Nineteenth Century Music," (Ph.D. diss, Brandeis University, 1995);
16. Richard Cohn, "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions," Music Analysis 15/1 (1996): 9-40;
17. idem, "Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations," Journal of Music Theory 41/1 (1997): 1-66.
18. David Lewin, "Cohn Functions," Journal of Music Theory 40/2 (1996): 181-216,
19. idem, "Some Ideas on Voice-Leading Between Pcsets" (unpublished paper, 1997).
20. Robert Morris, "Compositional Spaces and Other Territories," Perspectives of New Music 33/1-2 (1995): 328-58.
21. James Tenney and Larry Polansky, "Temporal Gestalt Perception in Music," Journal of Music Theory 24/2 (1980): 205-41.
22. Jay Rahn, "Coordination of Interval Sizes in Seven-Tone Collections," Journal of Music Theory 35/1-2 (1992): 33-60.
23. David Lewin, Musical Form and Transformation: 4 Analytic Essays (New Haven: Yale University Press, 1993), passim.
24. Robert D. Morris, "Generalizing Rotational Arrays," Journal of Music Theory 32/1 (1988): 75-132.
25. Andrew Mead, "Some Implications of the Pitch-Class/Order-Number Isomorphism Inherent in the Twelve-Tone System; Part Two: The Mallalieu Complex, Its Extensions and Related Rows," Perspectives of New Music 12/1 (1989): 180-233;
26. idem, "Set Groups, Complementation, and Mappings Among Pitch-Class Sets," Journal of Music Theory 26/1 (1982): 101-44;
27. and idem, "Pitch-Class Complementation and its Generalizations," Journal of Music Theory 34/2 (1990): 175-245.
28. George Perle, Twelve-Tone Tonality (Berkeley: University of California Press, 1977).
29. Paul Lansky, "Affine Music" (Ph.D. diss., Princeton University, 1973).
30. Robert Morris, "Combinatoriality Without the Aggregate," Perspectives of New Music 21/1 (1983): 432-86.
31. David Lewin "Forte's Interval Vector, My Interval Function, and Regener's Common-Note Function," Journal of Music Theory 21/2 (1977): 194-237.
32. Wayne Slawson, "Connectivity and Completeness in Pcset Partition Graphs with Applications to Subaggregate Chains," Perspectives of New Music, forthcoming.