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Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works
16 references·1 citing·32 second hop
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this work references cited by second hop

References

  • 1981Classic Music: Expression, Form, and Style724 cited
  • 1990Style and music: theory, history, and ideology488 cited
  • 1996Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions376 cited
  • 1997Defining Russia Musically358 cited
  • 1996Stravinsky and the Russian Traditions306 cited
  • 2012Audacious EuphonyChromatic Harmony and the Triad's Second Nature237 cited
  • 1993Sibelius: Symphony No. 5165 cited
  • 2004Uncanny Resemblances: Tonal Signification in the Freudian Age155 cited
  • 2011Tonality and Transformation140 cited
  • 1986The Functional Extravagance of Chromatic Chords126 cited
  • 1989The Bifocal Close and the Evolution of the Viennese Classical Style95 cited
  • 2002Stravinsky and the Octatonic: A Reconsideration78 cited
  • 2005When Functions Collide: Aspects of Plural Function in Chromatic Music71 cited
  • 2006The A??C?E Complex: The Origin and Function of Chromatic Major Third Collections in Nineteenth-Century Music52 cited
  • 1956Sergei Rachmaninoff; A Lifetime in Music49 cited
  • 1994Musical Meaning in Beethoven

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  • 2015Tonality and Mutability in Rachmaninoff’s All-Night Vigil, Movement 124 cited