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Diatonic hexachord
A Theory of Spatial Acquisition in Twelve-Tone Serial Music
Composing Each Time Robert Morris
Prolongation, Expanding Variation, and Pitch Hierarchy: a Study of Fred Lerdahl’S Waves and Coffin Hollow
Divisions of the Tetrachord Are Potentially Infinite in Number
Reginald Smith Brindle's El Polifemo De
Special Collections Jason Yust, Draft 4/29/2016 Special Collections
The Relation of Analysis to Performance of Post-Tonal Violin Music: Three Case Studies
Some Characteristics of Stravinsky's Diatonic Music Author(S): Pieter C
Perspectives on Order, Disorder, Combinatoriality, and Tonality in Schoenberg's Opus 33A and 33B Piano Pieces1
MTO 17.4: Temperley, Scalar Shift
1 Schubert's Harmonic Language and Fourier Phase Space
Geometric Demonstration of the Generalized Unique Intervallic Multiplicity Theorem 1 Prelude
Tonal Function in Harmonic Scales
On Musical Self-Similarity
What Makes Music Sound Good?
Analysing Debussy: Tonality, Motivic Sets and the Referential Pitch-Class Specific Collection Author(S): Annie K
On Musical Self-Similarity
Listening to Babbitt: Perception and Analysis Of
Top View
The First Movement of Bartók's Second String Quartet: Sonata Form and Pitch Organization James N
Liszt's Experimental Idiom and Music of the Early Twentieth Century Allen
A Derivation of the Tonal Hierarchy from Basic Perceptual Processes
Lutosławski's Worlds
2 the Tonal Properties of Pitch-Class Sets: Tonal Implication, Tonal Ambiguity, and Tonalness
Portmantonality and Babbi’S Poetics of Double Entendre *
MTO 4.4: Lewin, Spatial Saturation?
Why Topology?
MTO 8.3: Scotto, Transformational Networks, Transpositional
Framing New Music the Effect of Preparatory Conditions on Audience Response to Morris’S Clear Sounds (2013)
A Geometric Approach to Hexachordal Combinatoriality
Mild Dissonance Preferred Over Consonance in Single Chord Perception
Functional Transformations and Octatonality in Selected Works by George Crumb