Abstract. Uniform Triadic Transformations, more commonly referred to as UTTs, are certain functions from the set of consonant triads to itself. Con-ventionally, these consonant triads are major and minor triads, when in fact Hook observed they can be arbitrary sets of pitch classes as well. This paper will examine two tone rows written by the composer Anton Webern and sho
This article shows how the intervals produced by specific realizations of the row can define the mus...
The choice of doubled pitches in the spelling of triads in Western four-part harmony is shown to cor...
ABSTRACT: Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic m...
Recent developments in music theory have offered new ways of analyzing and interpreting music that u...
The expression P3,0 refers to one class of parsimonious voice-leading transformations between sevent...
Recent developments in music theory have offered new ways of analyzing and interpreting music that u...
Tonalumo ir konkrečių su tonaliąja muzikos kalba tapatinamų muzikos kalbos elementų apraiškos postto...
Historically, music theorists have claimed that the major triad functions as a strong instantiator o...
Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, t...
textAnalytical treatments of Anton Webern’s compositions between 1910 and 1925 fail to provide a “r...
The composing of the 'Dehmel Songs' marks a pivotal juncture both in Webern's oeuvre and in the hist...
Motivated by analytical methods in mathematical music theory, we determine the structure of the subg...
Twentieth-century Russian music exhibits a diversity of approaches to triadic composition. Triads ap...
This paper considers groups of musical contextual transformations, the most famous of which is the g...
It is well known (from Riemann, Lewin, Cohn and others) that two voices of a triad (set class 3–11) ...
This article shows how the intervals produced by specific realizations of the row can define the mus...
The choice of doubled pitches in the spelling of triads in Western four-part harmony is shown to cor...
ABSTRACT: Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic m...
Recent developments in music theory have offered new ways of analyzing and interpreting music that u...
The expression P3,0 refers to one class of parsimonious voice-leading transformations between sevent...
Recent developments in music theory have offered new ways of analyzing and interpreting music that u...
Tonalumo ir konkrečių su tonaliąja muzikos kalba tapatinamų muzikos kalbos elementų apraiškos postto...
Historically, music theorists have claimed that the major triad functions as a strong instantiator o...
Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, t...
textAnalytical treatments of Anton Webern’s compositions between 1910 and 1925 fail to provide a “r...
The composing of the 'Dehmel Songs' marks a pivotal juncture both in Webern's oeuvre and in the hist...
Motivated by analytical methods in mathematical music theory, we determine the structure of the subg...
Twentieth-century Russian music exhibits a diversity of approaches to triadic composition. Triads ap...
This paper considers groups of musical contextual transformations, the most famous of which is the g...
It is well known (from Riemann, Lewin, Cohn and others) that two voices of a triad (set class 3–11) ...
This article shows how the intervals produced by specific realizations of the row can define the mus...
The choice of doubled pitches in the spelling of triads in Western four-part harmony is shown to cor...
ABSTRACT: Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic m...