Transformational streams: Unraveling melodic processes in twentieth-century motivic music

Journal of Music Theory

Volumn 48, Issue 1, 2004, Pages 69-98

  Pearsall, Edward ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 65849270323     PISSN: 00222909     EISSN: None     Source Type: Journal    
DOI: 10.1215/00222909-48-1-69     Document Type: Review

References (47)

1. Antokoletz, Elliot. 1984. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press.
2. Baker, James. 1993."Post-Tonal Voice-Leading." In Models of Musical Analysis: Early Twentieth-Century Music, ed. Jonathan Dunsby. Oxford: Basil Blackwell, 20-41.
3. -. 1990."Voice-Leading in Post-Tonal Music: Suggestions for Extending Schenker's Theory." Music Analysis 9: 177-200.
4. -. 1983."Schenkerian Analysis and Post-Tonal Music." In Aspects of Schenkerian Theory, ed. David Beach. New Haven: Yale University Press, 153-86.
5. Benjamin, William E. 1979."Ideas of Order in Motivic Music." Music Theory Spectrum 1: 23-34.
6. Benjamin, William E. 1974."The Structure of Atonal Music by Allen Forte." Perspectives of New Music 13/1: 170-90.
7. Bernard, Jonathan W. 1987. The Music of Edgard Varèse. New Haven: Yale University Press.
8. Brown, Stephen C. 2003."Dual Interval Space in Twentieth-Century Music." Music Theory Spectrum 25/1: 35-57.
9. -. 1999."Dual Interval Space in Twentieth-Century Music." Ph. D. diss., Yale University.
10. Carpenter, Patricia. 1983."Grandgestalt as Tonal Function." Music Theory Spectrum 5: 15-38.
11. Cohn, Richard. 1997."Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations." Journal of Music Theory 41/1: 1-66.
12. Debussy, Claude. 1987 [1884-1918]. Debussy Letters. eds. François Lesure and Roger Nichols, trans. Roger Nichols. London: Faber and Faber.
13. nd ed. New York: Plenum Press.
14. Forte, Allen. 1973. The Structure of Atonal Music. New Haven: Yale University Press.
15. Friedmann, Michael L. 1985."A Methodology for the Discussion of Contour: Its Application to Schoenberg's Music." Journal of Music Theory 29/2: 223-48.
16. Gell-Mann, Murray. 1960. The Quark and the Jaguar. New York: W. H. Freeman and Company.
17. Gilbert, Steven E. 1970."The Trichord: An Analytical Outlook for Twentieth-Century Music." Ph. D. diss., Yale University.
18. Gingerich, Lora L. 1986."A Technique for Melodic Motive Analysis in the Music of Charles Ives." Music Theory Spectrum 8: 75-93.
19. Hasty, Christopher. 1981."Segmentation and Process in Post-Tonal Music." Music Theory Spectrum 3: 54-73.
20. Hyer, Brian. 1995."Reimag(in)ing Riemann." Journal of Music Theory 39/1: 101-38.
21. Johnson, Mark. 1987. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press.
22. Kennett, Chris. 1998."Segmentation and Focus in Set-Generic Analysis." Music Analysis 17:127-59.
23. Lerdahl, Fred. 1988."Atonal Prolongational Structure." Music Perception 5/3: 73-74.
24. Lester, Joel. 1970."A Theory of Atonal Prolongations as Used in an Analysis of the Serenade, op. 24 by Arnold Schoenberg." Ph. D. diss., Princeton University.
25. Lewin, David. 1962."A Theory of Segmental Association in Twelve-Tone Music." Perspectives of New Music 1/1: 89-116.
26. Martino, Donald. 1961."The Source Set and its Aggregate Formations." Journal of Music Theory 5/2: 224-73.
27. Morgan, Robert. 1976."Dissonant Prolongation: Theoretical and Compositional Precedents." Journal of Music Theory 20: 49-91.
28. Marvin, Elizabeth West and LaPrade, Paul A. 1987."Relating Musical Contours: Extensions of a Theory for Contour." Journal of Music Theory 31/2: 225-67.
29. Morris, Robert. 1987. Composition with Pitch-Classes. New Haven: Yale University Press.
30. Nichols, Roger and Smith, Richard Langham. 1989. Claude Debussy: Pelléas et Mélisande. Cambridge: Cambridge University Press.
31. Nolan, Catherine. 1995."Structural Levels and Twelve-Tone Music: A Revisionist Analysis of the Second Movement of Webern's Piano Variations op. 27." Journal of Music Theory 39/1: 51-55.
32. Parks, Richard S. 1989. The Music of Claude Debussy. New Haven: Yale University Press.
33. -. 1985."Tonal Analogues as Atonal Resources and Their Relation to Form in Debussy's Chromatic Etude." Journal of Music Theory 29/1: 33-60.
34. Pearsall, Edward and Schaffer, John Wm. 2005."Shape/Interval Contours and Their Ordered Transformations: A Motivic Approach to the Aural Analysis of Twentieth-Century Music." College Music Symposium 45: 57-80.
35. Pearsall, Edward R. 1993."Trees and Schemas: A Cognitive Approach to Music Analysis." Ph. D. diss., University of Wisconsin.
36. -. 1991."Harmonic Progressions and Prolongation in Post-Tonal Music." Music Analysis 10/3: 345-55.
37. Rahn, John. 1980. Basic Atonal Theory. New York: Longman.
38. Roeder, John. 1987."A Geometric Representation of Pitch-Class Series." Perspectives of New Music 25/1-2: 362-409.
39. Roig-Francoli Miguel A. 2001."A Theory of Pitch-Class-Set Extension in Atonal Music. College Music Symposium, 41: 57-90
40. Smith, Richard Langham. 1989."Motives and Symbols." In Claude Debussy: Pelléas et Mélisande. Roger Nichols and Richard Langham Smith, eds. Cambridge: Cambridge University Press, 78-106.
41. Saslaw, Janna. 1996."Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music." Journal of Music Theory, 40/2: 217-43.
42. Schoenberg, Arnold. 1967 [1937-48] Fundamentals of Musical Composition, eds. and trans. Gerald Strang and Leonard Stein, Boston: Faber and Faber.
43. nd edition. Upper Saddle River, NJ: Prentice Hall.
44. -. 1982."A Principle of Voice Leading in the Music of Stravinsky." Music Theory Spectrum 4: 106-24.
45. Travis, Roy. 1966."Directed Motion in Two Brief Piano Pieces by Schoenberg and Webern," Perspectives of New Music 4: 83-89.
46. Väisälä, Olli. 1999."Concepts of Harmony and Prolongation in Schoenberg's Op. 19/2." Music Theory Spectrum 21/1: 230-59
47. Yih, Annie Ka-Po. 1992."Continuity and Formal Organization in Debussy's String Quartet." Ph. D. diss., Yale University.