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C o‐operating C ontinuities in the M usic of T homas A dès
16 references·5 citing·31 second hop
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References

  • 1996Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions376 cited
  • 1986Music Theory, Phenomenology, and Modes of Perception319 cited
  • 1998Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition249 cited
  • 1999Fantasy Pieces199 cited
  • 1995The Music of Conlon Nancarrow106 cited
  • 1981Segmentation and Process in Post-Tonal Music105 cited
  • 1994Interacting Pulse Streams in Schoenberg's Atonal Polyphony89 cited
  • 1997Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies54 cited
  • 1999Elgar: Enigma Variations49 cited
  • 1988The Evolution of Elliott Carter's Rhythmic Practice47 cited
  • 1992Musical Time: The Sense of Order43 cited
  • 1984Music Theory: Special Topics34 cited
  • 1986On the Problem of Succession and Continuity in Twentieth-Century Music32 cited
  • 1996Postmodern Concepts of Musical Time30 cited
  • 1981Rhythm in Post-Tonal Music: Preliminary Questions of Duration and Motion22 cited
  • 2001Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök’s “With Drums and Pipes”

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21 cited

Cited by

  • 2009A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”7 cited
  • 2017Alfred Schnittke’s Triadic Practice6 cited
  • 2013Aligned Cycles in T homas A dès's P iano Q uintet5 cited
  • 2014T homas Adès's ‘Freaky, Funky Rave’4 cited
  • 2016Aligned-Cycle Spaces3 cited