There is little theoretical consensus on what constitutes a closing theme in a sonata-form exposition. William Caplin’s formal-functional theory essentially rejects the notion, while conversely it is upheld in James Hepokoski and Warren Darcy’s sonata theory. For them, a “C-theme” is defined contextually, as occurring after a decisive cadence. Yet there appear to be exceptions to this rule, more prevalent in the nineteenth century, which concern “apparent C-zones in the absence of an EEC,” or “Sc themes,” in which rhetorical factors override the lack of preceding cadential closure. This concession opens up a theoretical minefield that has until now been barely explored; nevertheless, it speaks to a genuine feature of nineteenth-century sonata practice. This article examines the use of apparently rhetorical C themes in a precedential situation in the first half of the nineteenth century, taking the sonata expositions of Felix Mendelssohn as a case study. Mendelssohn’s music highlights this issue particularly well owing to his customary avoidance of cadential closure and regular recourse to primary-theme material toward the end of an exposition. Combining form-functional and sonata-theoretical perspectives, I identify in his music a characteristic structure whereby the functions formerly reserved for a single theme are expanded to encompass what would have formed multiple themes in the late eighteenth century. Moreover, the P-based closing idea generally functions as a large-scale cadential phrase in an enormous sentence initiated by the secondary theme, thus highlighting a latent terminological ambiguity over whether the word “closing” indicates “already closed” or “in the process of closing.” I argue for the need to refine existing terminology in order to distinguish between these two meanings when applied to the nineteenth-century repertory.
{"title":"Closed, Closing, and Close to Closure: The Nineteenth-Century “Closing Theme” Problem as Exemplified in Mendelssohn’s Sonata Practice","authors":"Benedict Taylor","doi":"10.1093/mts/mtae009","DOIUrl":"https://doi.org/10.1093/mts/mtae009","url":null,"abstract":"\u0000 There is little theoretical consensus on what constitutes a closing theme in a sonata-form exposition. William Caplin’s formal-functional theory essentially rejects the notion, while conversely it is upheld in James Hepokoski and Warren Darcy’s sonata theory. For them, a “C-theme” is defined contextually, as occurring after a decisive cadence. Yet there appear to be exceptions to this rule, more prevalent in the nineteenth century, which concern “apparent C-zones in the absence of an EEC,” or “Sc themes,” in which rhetorical factors override the lack of preceding cadential closure. This concession opens up a theoretical minefield that has until now been barely explored; nevertheless, it speaks to a genuine feature of nineteenth-century sonata practice.\u0000 This article examines the use of apparently rhetorical C themes in a precedential situation in the first half of the nineteenth century, taking the sonata expositions of Felix Mendelssohn as a case study. Mendelssohn’s music highlights this issue particularly well owing to his customary avoidance of cadential closure and regular recourse to primary-theme material toward the end of an exposition. Combining form-functional and sonata-theoretical perspectives, I identify in his music a characteristic structure whereby the functions formerly reserved for a single theme are expanded to encompass what would have formed multiple themes in the late eighteenth century. Moreover, the P-based closing idea generally functions as a large-scale cadential phrase in an enormous sentence initiated by the secondary theme, thus highlighting a latent terminological ambiguity over whether the word “closing” indicates “already closed” or “in the process of closing.” I argue for the need to refine existing terminology in order to distinguish between these two meanings when applied to the nineteenth-century repertory.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141920164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is little theoretical consensus on what constitutes a closing theme in a sonata-form exposition. William Caplin’s formal-functional theory essentially rejects the notion, while conversely it is upheld in James Hepokoski and Warren Darcy’s sonata theory. For them, a “C-theme” is defined contextually, as occurring after a decisive cadence. Yet there appear to be exceptions to this rule, more prevalent in the nineteenth century, which concern “apparent C-zones in the absence of an EEC,” or “Sc themes,” in which rhetorical factors override the lack of preceding cadential closure. This concession opens up a theoretical minefield that has until now been barely explored; nevertheless, it speaks to a genuine feature of nineteenth-century sonata practice. This article examines the use of apparently rhetorical C themes in a precedential situation in the first half of the nineteenth century, taking the sonata expositions of Felix Mendelssohn as a case study. Mendelssohn’s music highlights this issue particularly well owing to his customary avoidance of cadential closure and regular recourse to primary-theme material toward the end of an exposition. Combining form-functional and sonata-theoretical perspectives, I identify in his music a characteristic structure whereby the functions formerly reserved for a single theme are expanded to encompass what would have formed multiple themes in the late eighteenth century. Moreover, the P-based closing idea generally functions as a large-scale cadential phrase in an enormous sentence initiated by the secondary theme, thus highlighting a latent terminological ambiguity over whether the word “closing” indicates “already closed” or “in the process of closing.” I argue for the need to refine existing terminology in order to distinguish between these two meanings when applied to the nineteenth-century repertory.
{"title":"Closed, Closing, and Close to Closure: The Nineteenth-Century “Closing Theme” Problem as Exemplified in Mendelssohn’s Sonata Practice","authors":"Benedict Taylor","doi":"10.1093/mts/mtae009","DOIUrl":"https://doi.org/10.1093/mts/mtae009","url":null,"abstract":"\u0000 There is little theoretical consensus on what constitutes a closing theme in a sonata-form exposition. William Caplin’s formal-functional theory essentially rejects the notion, while conversely it is upheld in James Hepokoski and Warren Darcy’s sonata theory. For them, a “C-theme” is defined contextually, as occurring after a decisive cadence. Yet there appear to be exceptions to this rule, more prevalent in the nineteenth century, which concern “apparent C-zones in the absence of an EEC,” or “Sc themes,” in which rhetorical factors override the lack of preceding cadential closure. This concession opens up a theoretical minefield that has until now been barely explored; nevertheless, it speaks to a genuine feature of nineteenth-century sonata practice.\u0000 This article examines the use of apparently rhetorical C themes in a precedential situation in the first half of the nineteenth century, taking the sonata expositions of Felix Mendelssohn as a case study. Mendelssohn’s music highlights this issue particularly well owing to his customary avoidance of cadential closure and regular recourse to primary-theme material toward the end of an exposition. Combining form-functional and sonata-theoretical perspectives, I identify in his music a characteristic structure whereby the functions formerly reserved for a single theme are expanded to encompass what would have formed multiple themes in the late eighteenth century. Moreover, the P-based closing idea generally functions as a large-scale cadential phrase in an enormous sentence initiated by the secondary theme, thus highlighting a latent terminological ambiguity over whether the word “closing” indicates “already closed” or “in the process of closing.” I argue for the need to refine existing terminology in order to distinguish between these two meanings when applied to the nineteenth-century repertory.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141919681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The connections between musical improvisation and society are a topic of frequent scholarly interest. These investigations take a range of analytical approaches, often adapted to the specifics of the improvised musicking being examined. This paper synthesizes existing concepts and theories to produce a framework for improvisation that is applicable to the social analysis of a wide range of improvisatory musical practices. The three foundational tenets of this framework are: (1) improvisation is one musical property among many that occurs to varying degrees and in different ways that fluctuate across space, time, and relevant actors; (2) the interactions between musical improvisation and the other properties of a given musical event are crucial for understanding its social implications; and (3) understanding these properties and their interactions requires examining the specific actions taken by improvisers in context. After outlining these tenets, the paper explores the role of various social, material, and individual factors in shaping improvisation and why examining these is crucial to social analysis. Finally, the paper demonstrates this model with a brief analysis of musical improvisation’s political impacts during the cacerolazos of the 2001–2002 Argentine Financial Crisis. The result of this paper is a theorization of improvisatory musicking especially suited to social analysis.
{"title":"Theorizing Musical Improvisation for Social Analysis","authors":"Ryan Martin","doi":"10.1093/mts/mtae005","DOIUrl":"https://doi.org/10.1093/mts/mtae005","url":null,"abstract":"The connections between musical improvisation and society are a topic of frequent scholarly interest. These investigations take a range of analytical approaches, often adapted to the specifics of the improvised musicking being examined. This paper synthesizes existing concepts and theories to produce a framework for improvisation that is applicable to the social analysis of a wide range of improvisatory musical practices. The three foundational tenets of this framework are: (1) improvisation is one musical property among many that occurs to varying degrees and in different ways that fluctuate across space, time, and relevant actors; (2) the interactions between musical improvisation and the other properties of a given musical event are crucial for understanding its social implications; and (3) understanding these properties and their interactions requires examining the specific actions taken by improvisers in context. After outlining these tenets, the paper explores the role of various social, material, and individual factors in shaping improvisation and why examining these is crucial to social analysis. Finally, the paper demonstrates this model with a brief analysis of musical improvisation’s political impacts during the cacerolazos of the 2001–2002 Argentine Financial Crisis. The result of this paper is a theorization of improvisatory musicking especially suited to social analysis.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141614465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Trans composers, like other people marginalized by race, gender, or sexuality, are often caught in the trap of identity constructs, which both envoice minorities and also pigeonhole their possible range of musical expression. In this essay on US-based transgender Indigenous Mexican choral composer Mari Esabel Valverde, I let my consideration of “trans music theory” be guided by her view that writers have sensationalized trans identity, and that while she celebrates trans lives in her choral work Our Phoenix (2016), she is not attempting to create music that “sounds” transgender. With Valverde in mind, I construct an intersectional interpretive framework that calls for various kind of limits (the limits of queering, of authorial subjectivity, and of the notion of “unconscious” expression of identity) and proposes essential conditions (the centrality of the voices, bodies, and musical structures of trans composers) that create an ethical environment for a compassionate trans music theory to emerge.
{"title":"Hermeneutic Limits; or, When Not to Theorize: Notes for Interpreting Our Phoenix by Trans Indigenous Mexican-American Composer Mari Esabel Valverde","authors":"Gavin S K Lee","doi":"10.1093/mts/mtae004","DOIUrl":"https://doi.org/10.1093/mts/mtae004","url":null,"abstract":"Trans composers, like other people marginalized by race, gender, or sexuality, are often caught in the trap of identity constructs, which both envoice minorities and also pigeonhole their possible range of musical expression. In this essay on US-based transgender Indigenous Mexican choral composer Mari Esabel Valverde, I let my consideration of “trans music theory” be guided by her view that writers have sensationalized trans identity, and that while she celebrates trans lives in her choral work Our Phoenix (2016), she is not attempting to create music that “sounds” transgender. With Valverde in mind, I construct an intersectional interpretive framework that calls for various kind of limits (the limits of queering, of authorial subjectivity, and of the notion of “unconscious” expression of identity) and proposes essential conditions (the centrality of the voices, bodies, and musical structures of trans composers) that create an ethical environment for a compassionate trans music theory to emerge.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141608602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the relationship between tonal and narrative structures in Alfred Hitchcock’s 1958 film Vertigo. I argue that this relationship is reciprocal and that Bernard Herrmann’s score for the film affects the perception of the plot despite the generally accepted conventions of understanding film music as subordinate to overall cinematic structure. Using methodologies ranging from Schenkerian theory to analytical approaches to popular music, I suggest that the tonal structure unfolds in two broad episodes that segment the film and help us interpret it from the protagonist’s psychological perspective through the alignment of strong cadential points with important kernel events in the plot.
{"title":"Narrative and Tonal Structure in Herrmann’s Score for Vertigo","authors":"Oğuz Şehİraltı","doi":"10.1093/mts/mtae003","DOIUrl":"https://doi.org/10.1093/mts/mtae003","url":null,"abstract":"This article examines the relationship between tonal and narrative structures in Alfred Hitchcock’s 1958 film Vertigo. I argue that this relationship is reciprocal and that Bernard Herrmann’s score for the film affects the perception of the plot despite the generally accepted conventions of understanding film music as subordinate to overall cinematic structure. Using methodologies ranging from Schenkerian theory to analytical approaches to popular music, I suggest that the tonal structure unfolds in two broad episodes that segment the film and help us interpret it from the protagonist’s psychological perspective through the alignment of strong cadential points with important kernel events in the plot.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141608603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler’s Ninth Symphony. Motivic counterpoint problematizes the movement’s main rondo theme, placing initial cracks in the movement’s rondo façade. Through thematic and formal counterpoint, the rondo genre itself destabilizes as signifiers of sonata-form rhetoric intrude. To interpret how counterpoint and generic mixture contribute to the burlesque character of the movement, I consider theoretical accounts of parody and the burlesque, and I adapt, as a generative metaphor, Mikhail Bakhtin’s notion of the carnivalesque. In the context of the Ninth Symphony’s transsymphonic narrative, the Rondo-Burleske performs a carnival parody of the symphonic finale genre, functioning as a brazen, iconoclastic, but in the end, failed counterpart to the first movement.
{"title":"Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske","authors":"Sam Reenan","doi":"10.1093/mts/mtae006","DOIUrl":"https://doi.org/10.1093/mts/mtae006","url":null,"abstract":"This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler’s Ninth Symphony. Motivic counterpoint problematizes the movement’s main rondo theme, placing initial cracks in the movement’s rondo façade. Through thematic and formal counterpoint, the rondo genre itself destabilizes as signifiers of sonata-form rhetoric intrude. To interpret how counterpoint and generic mixture contribute to the burlesque character of the movement, I consider theoretical accounts of parody and the burlesque, and I adapt, as a generative metaphor, Mikhail Bakhtin’s notion of the carnivalesque. In the context of the Ninth Symphony’s transsymphonic narrative, the Rondo-Burleske performs a carnival parody of the symphonic finale genre, functioning as a brazen, iconoclastic, but in the end, failed counterpart to the first movement.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141516508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Catherine’s study a poster “The Masters of Classical Music,” representing the history of music as a tree rooted in medieval Europe. the of the like on the branches of the an array of beards and and whiskers and nearer the of the moustaches and spectacles. a testosterone brigade. The only woman, at the very bottom of the tree trunk, did not have a picture. That was how the poster had been printed, but when she was teaching Catherine had changed it. At the top right- hand corner she had, with a mapping pen, printed with extreme neatness her own name and a brief biography. It was in the tone of the other entries and she stuck it into a gap between Harrison Birtwistle and Karlheinz Stockhausen, just above Luigi Nono.
{"title":"Correction to: Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft","authors":"B. Ravenscroft","doi":"10.1093/mts/mtae001","DOIUrl":"https://doi.org/10.1093/mts/mtae001","url":null,"abstract":"In Catherine’s study a poster “The Masters of Classical Music,” representing the history of music as a tree rooted in medieval Europe. the of the like on the branches of the an array of beards and and whiskers and nearer the of the moustaches and spectacles. a testosterone brigade. The only woman, at the very bottom of the tree trunk, did not have a picture. That was how the poster had been printed, but when she was teaching Catherine had changed it. At the top right- hand corner she had, with a mapping pen, printed with extreme neatness her own name and a brief biography. It was in the tone of the other entries and she stuck it into a gap between Harrison Birtwistle and Karlheinz Stockhausen, just above Luigi Nono.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140445257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Music in the Data: Corpus Analysis, Music Analysis, and Tonal Traditions","authors":"Matt Chiu","doi":"10.1093/mts/mtad025","DOIUrl":"https://doi.org/10.1093/mts/mtad025","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139445827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although most songwriting teams in the Great American Songbook wrote music first and lyrics second, most studies of music-text interaction in this repertoire still evince a lyrics-first mindset, in which the music is viewed as text-setting. In this article, I propose the opposite approach: considering lyrics as a form of music-setting, in which the lyricist’s superimposition of a verbal form (the rhyme scheme) upon the composer’s pre-existing musical form counts as an act of analysis. I examine in turn: (1) the most common phrase structures and their associated rhyme schemes in songs from 1919 to 1943; (2) Lorenz Hart’s negotiation of the unusual XYYZ phrase structure that Richard Rodgers frequently employed; and (3) special cases where the lyricist contests the composer’s form and the effect that this can have on performers’ choices.
{"title":"Lyricist as Analyst: Rhyme Scheme as Music-Setting in the Great American Songbook","authors":"John Y Lawrence","doi":"10.1093/mts/mtad015","DOIUrl":"https://doi.org/10.1093/mts/mtad015","url":null,"abstract":"Although most songwriting teams in the Great American Songbook wrote music first and lyrics second, most studies of music-text interaction in this repertoire still evince a lyrics-first mindset, in which the music is viewed as text-setting. In this article, I propose the opposite approach: considering lyrics as a form of music-setting, in which the lyricist’s superimposition of a verbal form (the rhyme scheme) upon the composer’s pre-existing musical form counts as an act of analysis. I examine in turn: (1) the most common phrase structures and their associated rhyme schemes in songs from 1919 to 1943; (2) Lorenz Hart’s negotiation of the unusual XYYZ phrase structure that Richard Rodgers frequently employed; and (3) special cases where the lyricist contests the composer’s form and the effect that this can have on performers’ choices.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139053318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article draws on the mathematical approaches of Tymoczko (2011) and Hook (2008) to construct a transformational space of closed-position diatonic triads. The group acts on a set of twenty-one objects: the seven diatonic triads differentiated by the three closed-position inversions. After constructing the transformation group as an abstract voice-leading space, I interpret the system as an instrumental space (De Souza 2017) that captures the chord shapes required to play triadic progressions on a keyboard. This emphasis on the space’s ability to capture such chord shapes leads to generalizations of the system that explore interactions between voice leading and chord spacing using geometric and diatonic theory.
{"title":"Diatonic Voice-Leading Transformations","authors":"Leah Frederick","doi":"10.1093/mts/mtad017","DOIUrl":"https://doi.org/10.1093/mts/mtad017","url":null,"abstract":"Abstract This article draws on the mathematical approaches of Tymoczko (2011) and Hook (2008) to construct a transformational space of closed-position diatonic triads. The group acts on a set of twenty-one objects: the seven diatonic triads differentiated by the three closed-position inversions. After constructing the transformation group as an abstract voice-leading space, I interpret the system as an instrumental space (De Souza 2017) that captures the chord shapes required to play triadic progressions on a keyboard. This emphasis on the space’s ability to capture such chord shapes leads to generalizations of the system that explore interactions between voice leading and chord spacing using geometric and diatonic theory.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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