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A ‘New Scale’ from the Beyond:Verbunkosand Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown
16 references·0 citing·36 second hop
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References

  • 1990Style and music: theory, history, and ideology491 cited
  • 1996Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions377 cited
  • 2011A geometry of music: harmony and counterpoint in the extended common practice294 cited
  • 2012Audacious EuphonyChromatic Harmony and the Triad's Second Nature238 cited
  • 1979Schubert's Sonata Form and Brahms's First Maturity (II)83 cited
  • 2000Weitzmann's Regions, My Cycles, and Douthett's Dancing Cubes79 cited
  • 1978Schubert's Sonata Form and Brahms's First Maturity70 cited
  • 2011Spelled Heptachords47 cited
  • 2011Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition33 cited
  • 2012Schubert's fingerprints: studies in the instrumental works32 cited
  • 1986"Successive Polymodality" or Different Juxtaposed Modes Based on the Same Final in Liszt's Works: New Angle on the "Successive and Simultaneous" Unity of Liszt's Musical Language13 cited
  • 1991Toward a Lexicon for the Style hongrois11 cited
  • 2000Metric Mutation and Modulation: The Nineteenth-Century Speculations of F.-J. Fetis8 cited
  • 1997Conceptualising Expressive Chromaticism in Liszt's Music8 cited
  • 2008Beyond “Gypsy” Stereotypes: Harmony and Structure in theVerbunkosIdiom

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6 cited
  • 2004The Meaning[s] of "Without": An Exploration of Liszt'sBagatelle ohne Tonart6 cited
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