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A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition
8 references·16 citing·37 second hop
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this work references cited by second hop

References

  • 1980The Scientific Image4,681 cited
  • 1968Fundamentals of Musical Composition457 cited
  • 1986Music Theory, Phenomenology, and Modes of Perception319 cited
  • 1987Composition With Pitch-Classes167 cited
  • 1987Relating Musical Contours: Extensions of a Theory for Contour84 cited
  • 2001Running in Place: Sketches and Superimposition in Stravinsky's Music65 cited
  • 1996Introduction to the Pitch Organization of French Spectral Music65 cited
  • 1991Between Modes and Keys: German Theory 1592-180253 cited

Cited by

  • 2001Orientations, Criteria, Segments: A General Theory of Segmentation for Music Analysis31 cited
  • 2012On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564)29 cited
  • 2012Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music24 cited
  • 2004Associative Sets, Categories, and Music Analysis22 cited
  • 2012Riemannian Analytical Values, Paleo- and Neo-21 cited
  • 2004Ravel's Late Music and the Problem of "Polytonality"19 cited
  • 2012Harmonic Dualism as Historical and Structural Imperative16 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

  • 2012What is a Function?16 cited
  • 2012Criteria for Analysis15 cited
  • 2017Transformation in Rock Harmony: An Explanatory Strategy*12 cited
  • 2012Three Short Essays on Neo-Riemannian Theory10 cited
  • 2012The Reception of Hugo Riemann's Music Theory9 cited
  • 2012Tonal Pitch Space and the (neo-)Riemannian Tonnetz7 cited
  • 2007Repetition in Music: Theoretical and Metatheoretical Perspectives6 cited
  • 2007Counterpoint and polyphony in recent instrumental works of John Adams5 cited
  • 2022Desire, gratification and the moment: a music analytical and psychological enquiry into the role of repetition in the music of Howard Skempton, with a response by the composer5 cited