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Fundamental structure
Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form by David Beach
The Form of the Preludes to Bach's Unaccompanied Cello Suites
Schenkerian Analysis in the Modern Context of the Musical Analysis
Further Considerations of the Continuous ^5 with an Introduction and Explanation of Schenker's Five Interruption Models
Universality-Diversity Paradigm: Music, Materiomics, and Category Theory
Concept of Tonality"
Schenkerian Analysis for the Beginner Benjamin K
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
Beginning Harmony: the Post-Schenkerian Dilemma Christopher Lewis
An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists
Introduction to Schenkerian Analysis Techniques
The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin
Structural Analysis Through Ordered Harmony Transformations in the Early Works of Arnold Schoenberg
A Wagnerian Ursatz; Or, Was Wagner a Background Composer After All?
Schenker's Conception of Musical Structure Author(S): Allen Forte Source: Journal of Music Theory , Apr., 1959, Vol
Trinastic, Dissonant Harmony
Schenker's Theory, Schenkerian Theory: Pure Unity Or Constructive Conflict?
Melody Beyond Notes a Study of Melody Cognition
Top View
The Cognitive Reality of Prolongational Structures in Tonal Music
Basic Concepts and Principles in Modern Musical Analysis
Automatic Derivation of Musical Structure: a Tool for Research on Schenkerian Analysis (Extended Version)
Arvo Pärt and Three Types of His Tintinnabuli Technique
Unraveling Schenker's Concept of the Auxiliary Cadence 161
University of Cincinnati
The Cognitive Reality of the Prolongational
How to Build a Development Section: a Schenkerian Perspective
Musical Algorithms and Fundamental Structures
Prolongation in Post-Tonal Music: a Survey of Analytical
The Fundamental Unity in Brahm's Horn Trio, Op. 40
Redalyc.Schenkerian Analysis and Popular Music
Counterpoint of Lines Or Voices Mart Humal
Prolegomena to a General Description of Motivic Relationships in Tonal Music
Schenker's Leading Linear Progressions
Schenker's Organicism Revisited 3
Tonality As Drama