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WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION
16 references·0 citing·28 second hop
WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION (1999)WHEN EVEN BECOMES ODD: A PARTITIONAL APPR…Generalized Musical Intervals and Transformations (2007)Generalized Musical Intervals…Recommendations for Atonal Music Pedagogy in General; Recognizing and Hearing Set-Classes in Particular (1994)Recommendations for Atonal Mu…An Introduction to the Music of Milton Babbitt (1994)An Introduction to the Music …A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg's Opus 11, No. 2 (1994)A Tutorial on Klumpenhouwer N…Webern, Tradition, and "Composing with Twelve Tones..." (1993)Webern, Tradition, and "Compo…Ear Training for Twentieth-Century Music (1992)Ear Training for Twentieth-Ce…The Twelve-Note Music of Anton Webern (1991)The Twelve-Note Music of Anto…Three Essays on Milton Babbitt (1990)Three Essays on Milton BabbittKlumpenhouwer Networks and Some Isographies That Involve Them (1990)Klumpenhouwer Networks and So…The Even Partitions in Twelve-Tone Music (1988)The Even Partitions in Twelve…Composition With Pitch-Classes (1987)Composition With Pitch-ClassesBasic atonal theory (1980)Basic atonal theoryA Label-Free Development for 12-Pitch-Class Systems (1977)A Label-Free Development for …The Structure of Atonal Music (1973)The Structure of Atonal MusicWebern's Search for Harmonic Identity (1962)Webern's Search for Harmonic …TWELVE-TONE INVARIANTS AS COMPOSITIONAL DETERMINANTS (1960)TWELVE-TONE INVARIANTS AS COM…Generalized Musical Intervals and Transformations (1988)Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music (2001)From a Categorical Point of View: K-Nets as Limit Denotators (2006)Schoenberg's Atonal Music: Musical Idea, Basic Image, and Specters of Tonal Function (2019)Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern (1962)Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio (1995)Enacting Musical Time (2019)Art music from 1800 to 1860 (1998)Cross-Type Transformations and the Path Consistency Condition (2007)Formal Structures in Post-Tonal Music (2015)Chernomor to Kashchei: Harmonic Sorcery; Or, Stravinsky's "Angle" (1985)Atonal prolongational structure (1989)The Geometry of Musical Rhythm (2016)Liszt's Experimental Idiom and Music of the Early Twentieth Century (1987)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Music Theory and 'Good Comparison': A Viennese Perspective (1989)Music theory and mathematics (2002)Banjo Transformations and Bluegrass Rhythm (2009)Voice-Leading Spaces (1998)Diagrams, gestures and formulae in music (2007)Tonality (2023)Chromatic Transformations in Nineteenth-Century Music (2002)Music as Embodied Mathematics: A Study of a Mutually Informing Affinity (2003)Continuous Transformations (2004)Thematic and motivic analysis (2002)Extraordinary Measures (2011)Inventing Tradition: Webern's Piano Variations in Early Recordings (2017)A Platonic Model of Funky Rhythms (2016)
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References

  • 1973The Structure of Atonal Music501 cited
  • 1987Composition With Pitch-Classes167 cited
  • 1980Basic atonal theory160 cited
  • 2007Generalized Musical Intervals and Transformations159 cited
  • 1960TWELVE-TONE INVARIANTS AS COMPOSITIONAL DETERMINANTS115 cited
  • 1994An Introduction to the Music of Milton Babbitt111 cited
  • 1990Klumpenhouwer Networks and Some Isographies That Involve Them91 cited
  • 1990Three Essays on Milton Babbitt53 cited
  • 1991The Twelve-Note Music of Anton Webern47 cited
  • 1994A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg's Opus 11, No. 239 cited
  • 1993Webern, Tradition, and "Composing with Twelve Tones..."28 cited
  • 1977A Label-Free Development for 12-Pitch-Class Systems25 cited
  • 1988The Even Partitions in Twelve-Tone Music24 cited
  • 1994Recommendations for Atonal Music Pedagogy in General; Recognizing and Hearing Set-Classes in Particular19 cited
  • 1992Ear Training for Twentieth-Century Music13 cited
  • 1962Webern's Search for Harmonic Identity10 cited

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