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N th Roots of Pitch-Class Inversion
12 references·2 citing·24 second hop
N th Roots of Pitch-Class Inversion (2011)N th Roots of Pitch-Class InversionA geometry of music: harmony and counterpoint in the extended common practice (2012)A geometry of music: harmony …A geometry of music: harmony and counterpoint in the extended common practice (2011)A geometry of music: harmony …Categorical gestures, the diamond conjecture, Lewin's question, and the Hammerklavier Sonata (2009)Categorical gestures, the dia…Generalized Voice-Leading Spaces (2008)Generalized Voice-Leading Spa…Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations (1997)Neo-Riemannian Operations, Pa…Composition with Pitch Classes: A Theory of Compositional Design (1990)Composition with Pitch Classe…Generalized Musical Intervals and Transformations (1989)Generalized Musical Intervals…Generalized Musical Intervals and Transformations (1988)Generalized Musical Intervals…Composition With Pitch-Classes (1987)Composition With Pitch-ClassesThe Structure of Atonal Music (1974)The Structure of Atonal MusicThe Structure of Atonal Music (1973)The Structure of Atonal MusicHarmoniesystem in dualer Entwickelung : Studien zur Theorie der Musik (1866)Harmoniesystem in dualer Entw…Old and New Isometries between Pc sets in the Planet-4D Model (2015)Old and New Isometries betwee…A Hypercube-Graph Model for n-Tone Rows and Relations (2013)A Hypercube-Graph Model for n…Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition (1998)The meanings of musical meanings (2011)Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity (2018)Statistical characteristics of tonal harmony: A corpus study of Beethoven’s string quartets (2019)Scale Networks and Debussy (2004)The Geometry of Musical Chords (2006)The Oxford Handbook of Neo-Riemannian Music Theories (2011)Aspects of Well-Formed Scales (1989)Action and Agency Revisited (2013)A Cognitive Theory of Musical Meaning (2000)Liszt's Experimental Idiom and Music of the Early Twentieth Century (1987)Atonal prolongational structure (1989)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Relating Musical Contours: Extensions of a Theory for Contour (1987)Self-Similar Pitch Structures, Their Duals, and Rhythmic Analogues (1996)A Platonic Model of Funky Rhythms (2016)The quilting points of musical modernism: revolution, reaction, and William Walton (2013)Musical Syntax I: Theoretical Perspectives (2018)Q-analysis, or a language of structure: an introduction for social scientists, geographers and planners (1980)(Ac)cumulative Form in Pop-Rock Music (2004)Voice-Leading Spaces (1998)Essay: In Order to Stay Asleep as Observers: The Nature and Origins of Anti-Cartesianism in Lewin'sGeneralized Musical Intervals and Transformations (2006)Diagrams, gestures and formulae in music (2007)Musical intervals and special linear transformations (2007)
this work references cited by second hop

References

  • 1973The Structure of Atonal Music501 cited
  • 1988Generalized Musical Intervals and Transformations487 cited
  • 1997Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations332 cited
  • 1974The Structure of Atonal Music297 cited
  • 2011A geometry of music: harmony and counterpoint in the extended common practice292 cited
  • 2008Generalized Voice-Leading Spaces235 cited
  • 2012A geometry of music: harmony and counterpoint in the extended common practice204 cited
  • 1987Composition With Pitch-Classes167 cited
  • 1990Composition with Pitch Classes: A Theory of Compositional Design91 cited
  • 1989Generalized Musical Intervals and Transformations72 cited
  • 2009Categorical gestures, the diamond conjecture, Lewin's question, and the Hammerklavier Sonata28 cited
  • 1866Harmoniesystem in dualer Entwickelung : Studien zur Theorie der Musik10 cited

Cited by

  • 2015Old and New Isometries between Pc sets in the Planet-4D Model6 cited
  • 2013A Hypercube-Graph Model for n-Tone Rows and Relations3 cited

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