Defining modular transformations

Music Theory Spectrum

Volumn 21, Issue 2, 1999, Pages 200-229

  Santa, Matthew ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949176717     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/745862     Document Type: Review

References (26)

1. Béla Bartók, Harvard Lectures, in Béla Bartók Essays, ed. Benjamin Suchoff (New York: St. Martin's Press, 1976), 381.
2. Bartók's Compositional Process: 'Extension in Range' as a Progressive Contour Transformation, paper presented at the annual conference of Music Theory Midwest, 15 May 1998.
3. Milton Babbitt, "The Structure and Function of Music Theory I," College Music Symposium 5 (1965): 49-60;
4. Hubert Howe, "Some Combinational Properties of Pitch Structures," Perspectives of New Music 4/1 (1965): 45-61;
5. Carlton Gamer, "Some Combinational Resources of Equal-Tempered Systems," Journal of Music Theory 11/1 (1967): 32-59;
6. Robert Cogan and Pozzi Escot, Sonic Design (Englewood Cliffs, N.J.: Prentice Hall, 1976);
7. Jay Rahn, "Some Recurrent Features of Scales," In Theory Only 2/11-12 (1977): 43-52;
8. Richmond Browne, "Tonal Implications of the Diatonic Set," In Theory Only 5/6-7 (1981): 3-21;
9. Robert Gauldin, "The Cycle-7 Complex: Relations of Diatonic Set Theory to the Evolution of Ancient Tonal Systems," Music Theory Spectrum 5 (1983): 39-55;
10. John Clough and Gerald Myerson, "Variety and Multiplicity in Diatonic Systems," Journal of Music Theory 29/2 (1985): 249-70;
11. Norman Carey and David Clampitt, "Aspects of Well-Formed Scales," Music Theory Spectrum 11/2 (1989): 187-206;
12. Jay Rahn, "Coordination of Interval Sizes in Seven-Tone Collections," Journal of Music Theory 35/1 (1991): 33-60.
13. Stephen Dembski "Steps and Skips from Content and Order: Aspects of a Generalized Step-Class System," paper presented at the annual meeting of the Society for Music Theory, Baltimore, 5 November 1988.
14. David Lewin, Musical Form and Transformation: 4 Analytic Essays (New Haven: Yale University Press, 1993), 97-159.
15. Elliott Antokoletz, Twentieth-Century Music (Englewood Cliffs, N. J.: Prentice Hall, 1992), 10-14,
16. Ethan Haimo, "Atonality, Analysis, and the Intentional Fallacy," Music Theory Spectrum 18/2 (1996): 167-199.
17. Allen Forte, "An Octatonic Essay by Webern: No. 1 of the Six Bagatelles for String Quartet, Op. 9," Music Theory Spectrum 16/2 (1994): 171-95;
18. idem, The Atonal Music of Anton Webern (New Haven: Yale University Press, 1998);
19. David Lewin, "Some Notes on Pierrot Lunaire," in Music Theory in Concept and Practice, ed. James M. Baker, David W. Beach, and Jonathan W. Bernard (Rochester: University of Rochester Press, 1997), 433-57.
20. Jack Boss, "Schoenberg on Ornamentation and Structural Levels," Journal of Music Theory 38/2 (1994): 187-216.
21. Arthur Berger, "Problems of Pitch Organization in Stravinsky," Perspectives of New Music 2/1 (1963): 11-42;
22. Pieter van den Toorn, The Music of Igor Stravinsky (New Haven: Yale University Press, 1983).
23. Matthew Santa, "Studies in Post-Tonal Diatonicism: A Mod7 Perspective" (Ph.D. diss., City University of New York, 1999).
24. Christopher Wintle, "Milton Babbitt's Semi-Simple Variations," Perspectives of New Music 14/2-15/1 (1976): 111-54;
25. David Lewin, Generalized Musical Intervals and Transformations (New Haven: Yale University Press, 1987), 23-30;
26. Robert D. Morris, Composition with Pitch-Classes: A Theory of Compositional Design (New Haven: Yale University Press, 1987), 301-5.