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Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
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References

  • 1996Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions376 cited
  • 1997Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations332 cited
  • 1997The Second Practice of Nineteenth-Century Tonality180 cited
  • 1995Reimag(in)ing Riemann151 cited
  • 1998Some Aspects of Three-Dimensional "Tonnetze"132 cited
  • 2004The sounds of place: music and the American cultural landscape77 cited
  • 1998Voice-Leading Spaces63 cited
  • 1989Principles of Formal Structure in Schumann's Early Piano Cycles51 cited
  • 2008P aradoxes of P itch S pace45 cited
  • 1982Stravinsky's "Tonal Axis"31 cited
  • 2003Dual Interval Space in Twentieth-Century Music23 cited
  • 1991Tonal and Formal Dualism in Chopin's Scherzo, Op. 3116 cited

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