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Repetition in Music: Theoretical and Metatheoretical Perspectives
15 references·0 citing·30 second hop
Repetition in Music: Theoretical and Metatheoretical Perspectives (2007)Repetition in Music: Theoretical and Meta…A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition (2003)A Theory of Recontextualizati…The Question of Purpose in Music Theory: Description, Suggestion, and Explanation (2001)The Question of Purpose in Mu…Orientations, Criteria, Segments: A General Theory of Segmentation for Music Analysis (2001)Orientations, Criteria, Segme…Voice-Leading Spaces (1998)Voice-Leading SpacesIntroduction to Neo-Riemannian Theory: A Survey and a Historical Perspective (1998)Introduction to Neo-Riemannia…Reimag(in)ing Riemann (1995)Reimag(in)ing RiemannGeneralized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio (1995)Generalized Interval Systems …Mind the gap: formal structures and psychological processes in music (1989)Mind the gap: formal structur…Generalized Musical Intervals and Transformations (1988)Generalized Musical Intervals…Generalized Musical Intervals and Transformations (1987)Generalized Musical Intervals…Composition With Pitch-Classes (1987)Composition With Pitch-ClassesMusic Theory, Phenomenology, and Modes of Perception (1986)Music Theory, Phenomenology, …Segmentation and Process in Post-Tonal Music (1981)Segmentation and Process in P…Behind the Beyond: A Response to Edward T. Cone (1969)Behind the Beyond: A Response…Perspectives of New Music (1963)Perspectives of New MusicRules and Representations. (1982)Connectionism and cognitive architecture: A critical analysis (1988)On The Language Instinct (1994)Empirical musicology : aims, methods, prospects (2004)Empirical Musicology: Aims, Methods, Prospects (2005)Composition, Perception, and Schenkerian Theory (2011)Source Readings in Music History (1950)The Anxiety of Influence (1973)Bodily Hearing: Physiological Metaphors and Musical Understanding (1999)Music and Ethical Responsibility (2014)Atonal prolongational structure (1989)The Cambridge History of American Music (1998)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Atonality, Analysis, and the Intentional Fallacy (1996)Music as Discourse (2008)Metaphors of depth in German musical thought : from E. T. A. Hoffmann to Arnold Schoenberg (2011)As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert (1999)Uniform Triadic Transformations (2002)Aspects of Well-Formed Scales (1989)Generalized Voice-Leading Spaces (2008)Action and Agency Revisited (2013)Hugo Riemann and the Birth of Modern Musical Thought (2003)Neo-Riemannian Theory and the Analysis of Pop-Rock Music (2004)History, Criticism, and Beethoven's Ninth Symphony (1980)The Web of Culture: A Context for Musicology (1984)Specters of Sex. Tracing the Tools and Techniques of Contemporary Music Analysis (2020)Schoenberg's Op. 22 Radio Talk and Developing Variation in Atonal Music (1992)Music theory and mathematics (2002)Transformational Analysis and the Representation of Genius in Film Music (2013)A Platonic Model of Funky Rhythms (2016)
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References

  • 1988Generalized Musical Intervals and Transformations487 cited
  • 1963Perspectives of New Music381 cited
  • 1986Music Theory, Phenomenology, and Modes of Perception319 cited
  • 1998Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective305 cited
  • 1987Composition With Pitch-Classes167 cited
  • 1995Reimag(in)ing Riemann151 cited
  • 1981Segmentation and Process in Post-Tonal Music105 cited
  • 1987Generalized Musical Intervals and Transformations79 cited
  • 2001The Question of Purpose in Music Theory: Description, Suggestion, and Explanation75 cited
  • 1969Behind the Beyond: A Response to Edward T. Cone68 cited
  • 1998Voice-Leading Spaces63 cited
  • 1995Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio49 cited
  • 2003A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition48 cited
  • 1989Mind the gap: formal structures and psychological processes in music33 cited
  • 2001Orientations, Criteria, Segments: A General Theory of Segmentation for Music Analysis31 cited

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