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Ontology, epistemology, and some research proposals
12 references·0 citing·33 second hop
Ontology, epistemology, and some research proposals (2012)Ontology, epistemology, and some research…The Social and Applied Psychology of Music (2008)The Social and Applied Psycho…Towards Greater Objectivity in Music Theory: Information-Dynamic Analysis of Minimalist Music (2007)Towards Greater Objectivity i…Partimento, que me veux-tu? (2007)Partimento, que me veux-tu?Hidden Forms in Palestrina's First Book of Four-Voice Motets (2007)Hidden Forms in Palestrina's …Playing with Signs: A Semiotic Interpretation of Classic Music (1991)Playing with Signs: A Semioti…Playing with Signs (1991)Playing with SignsClassic Music: Expression, Form, and Style (1981)Classic Music: Expression, Fo…: Free Composition (Der Freie Satz): Vol. III of New Musical Theories and Fantasies . Heinrich Schenker, Ernst Oster. (1981): Free Composition (Der Freie…Thematic fame, melodic originality, and musical zeitgeist: A biographical and transhistorical content analysis. (1980)Thematic fame, melodic origin…The Structure of Atonal Music (1974)The Structure of Atonal MusicThe Structure of Atonal Music (1973)The Structure of Atonal MusicThe Beautiful in Music. A Contribution to the Revisal of Musical Æsthetics (1892)The Beautiful in Music. A Con…Music in the Renaissance (1954)Bach and the patterns of invention (1997)Composers at Work (1997)Gjerdingen’s Schemata Reexamined (2018)Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet (2018)Vicentino versus Palestrina: A computational investigation of voice leading across changing vocal densities (2021)The Symphonies of Johann Stamitz. A Study in the Formation of the Classic Style (1983)Theorizing Musical Meaning (2001)Action and Agency Revisited (2013)The orchestral revolution: Haydn and the technologies of timbre (2013)Harvard Dictionary of Music (1946)Blind variation and selective retentions in creative thought as in other knowledge processes. (1960)Emotion and Meaning in Music (1961)Creativity: Cognitive, personal, developmental, and social aspects. (2000)Reliability, Validity, and Factor Structure of the Creative Achievement Questionnaire (2005)Uniting the Tribes: Using Text for Marketing Insight (2019)The Art of Doing (Geographies of) Music (2007)The Monstrous New Art: Divided Forms in the Late Medieval Motet (2015)Music, Text, and Culture in Ancient Greece (2018)Liszt's Experimental Idiom and Music of the Early Twentieth Century (1987)Atonal prolongational structure (1989)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Cadential processes: The evaded cadence and the “one more time” technique (1992)The Classical Cadence: Conceptions and Misconceptions (2004)Normalizing the Abnormal: Disability in Music and Music Theory (2006)Crossmodal correspondences between sounds and tastes (2012)Music Theory and the White Racial Frame (2020)The impact of music festival attendance on young people’s psychological and social well-being (2010)A bittersweet symphony: Systematically modulating the taste of food by changing the sonic properties of the soundtrack playing in the background (2011)Store Atmospherics: A Multisensory Perspective (2014)A Cognitive Theory of Musical Meaning (2000)Q-analysis, or a language of structure: an introduction for social scientists, geographers and planners (1980)(Ac)cumulative Form in Pop-Rock Music (2004)
this work references cited by second hop

References

  • 1981Classic Music: Expression, Form, and Style730 cited
  • 1973The Structure of Atonal Music506 cited
  • 2008The Social and Applied Psychology of Music502 cited
  • 1991Playing with Signs386 cited
  • 1991Playing with Signs: A Semiotic Interpretation of Classic Music332 cited
  • 1974The Structure of Atonal Music303 cited
  • 1980Thematic fame, melodic originality, and musical zeitgeist: A biographical and transhistorical content analysis.163 cited
  • 1981: Free Composition (Der Freie Satz): Vol. III of New Musical Theories and Fantasies . Heinrich Schenker, Ernst Oster.143 cited
  • 1892The Beautiful in Music. A Contribution to the Revisal of Musical Æsthetics103 cited
  • 2007Hidden Forms in Palestrina's First Book of Four-Voice Motets73 cited
  • 2007Towards Greater Objectivity in Music Theory: Information-Dynamic Analysis of Minimalist Music36 cited
  • 2007Partimento, que me veux-tu?35 cited

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