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Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta
16 references·0 citing·24 second hop
Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta (2003)Zones of Impingement: Two Movements from …Ligeti's Restoration of Interval and Its Significance for His Later Works (1999)Ligeti's Restoration of Inter…Béla Bartók (1996)Béla BartókEquivalence and Similarity in Pitch and Their Interaction with PCSet Theory (1995)Equivalence and Similarity in…Voice Leading as a Spatial Function in the Music of Ligeti (1994)Voice Leading as a Spatial Fu…The Pattern-Meccanico Compositions of György Ligeti (1993)The Pattern-Meccanico Composi…The Music of Béla Bartók (1992)The Music of Béla BartókBartók's Octatonic Strategies: A Motivic Approach (1991)Bartók's Octatonic Strategies…Inversional Symmetry and Transpositional Combination in Bartok (1988)Inversional Symmetry and Tran…The Music of Edgard Varese (1987)The Music of Edgard VareseInaudible Structures, Audible Music: Ligeti's Problem, and His Solution (1987)Inaudible Structures, Audible…Composition With Pitch-Classes (1987)Composition With Pitch-ClassesThe Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music (1986)The Music of Bela Bartok: A S…Bela Bartok: An Analysis of His Music (1971)Bela Bartok: An Analysis of H…College Music Symposium (1962)College Music SymposiumTowards a New Concept of Tonality? (1959)Towards a New Concept of Tona…THE STRING QUARTETS OF BARTOK (1949)THE STRING QUARTETS OF BARTOKTwentieth-Century Harmony: Creative Aspects and Practice (1961)Forte's "Interval Vector, My Interval Function", and Regener's "Common-Note Function" (1977)Transformational Techniques in Atonal and Other Music Theories (1982)A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen (2005)Fretboard Transformations (2018)Steve Reich’s Signature Rhythm and an Introduction to Rhythmic Qualities (2020)A Myth of the Twentieth Century: The Rite of Spring, the Tradition of the New, and "The Music Itself" (1995)Twentieth-Century Chamber Music (2004)Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók (2007)Harmonic and Formal Processes in Ligeti's Net-Structure Compositions (1995)Schoenberg's Chordal Experimentalism Revealed through Representational Hierarchy Association (RHA), Contour Motives, and Binary State Switching (2015)Composing Individuals: Ethnographic Reflections on Success and Prestige in the British New Music Network (2013)Cognitive constraints on compositional systems (1992)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Action and Agency Revisited (2013)New Approaches to the Linear Analysis of Music (1988)The ♯IV(♭V) Hypothesis: Testing the Limits of Schenker's Theory of Tonality (1997)Tonality as Topic (2017)Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music (2002)Combinatorial Space in Nineteenth- and Early Twentieth-Century Music Theory (2003)Dual Interval Space in Twentieth-Century Music (2003)Class Notes for Advanced Atonal Music Theory (2016)Voice-Leading Spaces (1998)A Platonic Model of Funky Rhythms (2016)
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References

  • 1962College Music Symposium299 cited
  • 1987Composition With Pitch-Classes167 cited
  • 1971Bela Bartok: An Analysis of His Music76 cited
  • 1959Towards a New Concept of Tonality?62 cited
  • 1988Inversional Symmetry and Transpositional Combination in Bartok38 cited
  • 1995Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory37 cited
  • 1986The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music36 cited
  • 1987Inaudible Structures, Audible Music: Ligeti's Problem, and His Solution36 cited
  • 1992The Music of Béla Bartók33 cited
  • 1987The Music of Edgard Varese33 cited
  • 1994Voice Leading as a Spatial Function in the Music of Ligeti32 cited
  • 1993The Pattern-Meccanico Compositions of György Ligeti27 cited
  • 1996Béla Bartók27 cited
  • 1991Bartók's Octatonic Strategies: A Motivic Approach21 cited
  • 1999Ligeti's Restoration of Interval and Its Significance for His Later Works18 cited
  • 1949THE STRING QUARTETS OF BARTOK18 cited

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