35:
778:, "must I repeat here that I have not pretended to discover a creative process, but concern myself with the result, whose only tangibles are mathematical relationships? If I have been able to find all these structural characteristics, it is because they are there, and I don't care whether they were put there consciously or unconsciously, or with what degree of acuteness they informed understanding of his conception; I care very little for all such interaction between the work and 'genius'."
1186:, says one may, "describe it as you like so long as you hear it correctly ... certain descriptions suggest wrong ways of hearing it ... what is obvious to hear is the contrast in mood and atmosphere between the 'modal' passage and the bars which follow it." Nattiez counters that if compositional intent were identical to perception, "historians of musical language could take a permanent nap.... Scruton sets himself up as a universal, absolute conscience for the 'right' perception of the
61:, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the
752:, "true analysis works through and for the ear. The greatest analysts are those with the keenest ears; their insights reveal how a piece of music should be heard, which in turn implies how it should be played. An analysis is a direction for performance," and Thomson: "It seems only reasonable to believe that a healthy analytical point of view is that which is so nearly isomorphic with the perceptual act."
881:: "The transition from first to second subject is always a difficult piece of musical draughtsmanship; and in the rare cases where Schubert accomplishes it with smoothness, the effort otherwise exhausts him to the verge of dullness (as in the slow movement of the otherwise great A minor Quartet). Hence, in his most inspired works the transition is accomplished by an abrupt
975:
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being "trait listing" by Helen
Roberts, and classificatory analysis, which "sorts phenomena into classes," examples being the universal system for classifying melodic contours by Kolinski. Classificatory analyses often call themselves taxonomical. "Making the basis for the analysis explicit is a fundamental criterion in this approach, so
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891:, no doubt the crudest is that in the Unfinished Symphony. Very well then; here is a new thing in the history of the symphony, not more new, not more simple than the new things which turned up in each of Beethoven's nine. Never mind its historic origin, take it on its merits. Is it not a most impressive moment?".
936:
Nattiez lastly proposes intermediary models "between reductive formal precision, and impressionist laxity." These include
Schenker, Meyer (classification of melodic structure), Narmour, and Lerdahl-Jackendoff's "use of graphics without appealing to a system of formalized rules," complementing and not
919:
Global models are further distinguished as analysis by traits, which "identify the presence or absence of a particular variable, and makes a collective image of the song, genre, or style being considered by means of a table, or classificatory analysis, which sorts phenomena into classes," one example
747:
On the other hand, Fay argues that, "analytic discussions of music are often concerned with processes that are not immediately perceivable. It may be that the analyst is concerned merely with applying a collection of rules concerning practice, or with the description of the compositional process. But
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is also often analysed. An analysis can be conducted on a single piece of music, on a portion or element of a piece or on a collection of pieces. A musicologist's stance is his or her analytical situation. This includes the physical dimension or corpus being studied, the level of stylistic relevance
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Nattiez argues that this divergence is due to the analysts' respective analytic situations, and to what he calls transcendent principles (1997b: 853, what George Holton might call "themata"), the "philosophical project", "underlying principles", or a prioris of analyses, one example being
Nattiez's
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Formalized analyses propose models for melodic functions or simulate music. Meyer distinguishes between global models, which "provide an image of the whole corpus being studied, by listing characteristics, classifying phenomena, or both; they furnish statistical evaluation," and linear models which
734:
Jacques
Chailley views analysis entirely from a compositional viewpoint, arguing that, "since analysis consists of 'putting oneself in the composer's shoes,' and explaining what he was experiencing as he was writing, it is obvious that we should not think of studying a work in terms of criteria
1176:. If we knew exactly what went on inside Mozart's mind when he wrote them, there could be only one explanation". (93) However, Nattiez points out that even if we could determine "what Mozart was thinking" we would still be lacking an analysis of the neutral and esthesic levels.
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Nattiez distinguishes between nonformalized and formalized analyses. Nonformalized analyses, apart from musical and analytical terms, do not use resources or techniques other than language. He further distinguishes nonformalized analyses between impressionistic, paraphrases, or
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with integers or row-form, while the other extreme, prescription, consists of "the insistence upon the validity of relationships not supported by the text." Analysis must, rather, provide insight into listening without forcing a description of a piece that cannot be heard.
908:, environment, and context of events, examples including the explanation of 'succession of pitches in New Guinean chants in terms of distributional constraints governing each melodic interval' by Chenoweth the transformational analysis by Herndon, and the 'grammar for the
1211:. As Jean-Claude Gardin so rightly remarks, 'no physicist, no biologist is surprised when asked to indicate, in the context of a new theory, the physical data and the mental operations that led to its formulation'. Making one's procedures explicit would help to create a
961:... from an anthropological standpoint, that is a risk that is difficult to countenance." Similarly, "Boretz enthusiastically embraces logical formalism, while evading the question of knowing how the dataâwhose formalization he proposesâhave been obtained".
705:
The most common, grounded in "perceptive introspection, or in a certain number of general ideas concerning musical perception ... a musicologist ... describes what they think is the listener's perception of the passage",, analysis of measures 9â11 of
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Thus
Nattiez suggests that analyses, especially those intending "a semiological orientation, should ... at least include a comparative critique of already-written analyses, when they exist, so as to explain why the work has taken on this or that
1062:
are analyzed differently by
Leibowitz Laloy, van Appledorn, and Christ. Leibowitz analyses this succession harmonically as D minor:IâVIIâV, ignoring melodic motion, Laloy analyses the succession as D:IâV, seeing the G in the second measure as an
810:: "The alternation of binary and ternary divisions of the eighth notes, the sly feints made by the three pauses, soften the phrase so much, render it so fluid, that it escapes all arithmetical rigors. It floats between heaven and earth like a
181:
and figurative description may be a part of analysis, and a metaphor used to describe pieces, "reifies their features and relations in a particularly pungent and insightful way: it makes sense of them in ways not formerly possible." Even
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constructed by this or that writer: all analysis is a representation; an explanation of the analytical criteria used in the new analysis, so that any critique of this new analysis could be situated in relation to that analysis's own
1155:
While John
Blacking, among others, holds that "there is ultimately only one explanation and ... this could be discovered by a context-sensitive analysis of the music in culture," according to Nattiez and others, "there is never
1054:
1151:
Not only does an analyst select particular traits, they arrange them according to a plot .... Our sense of the component parts of a musical work, like our sense of historical 'facts,' is mediated by lived experience." (176)
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the chord in measure five establishes that CâEâG is 'equally important' as the Dâ(F)âA of measure one." Leibowitz gives only the bass for chord, E indicating the progression IâII an "unreal" progression in keeping with his
1143:
841:, and it is employed throughout the piece. This phrase is immediately elided into its consequent, which modulates from D to A major. This figure (a) is used again two times, higher each time; this section is repeated."
194:
The process of analysis often involves breaking the piece down into relatively simpler and smaller parts. Often, the way these parts fit together and interact with each other is then examined. This process of
1055:
237:
how these songs resonate with one another, comment upon and affect one another ... in a way, the music speaks for itself". This analytic bent is obvious in recent trends in popular music including the
802:). Impressionistic analyses are in "a more or less high-literary style, proceeding from an initial selection of elements deemed characteristic," such as the following description of the opening of
34:
1144:
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five, which Laloy sees as a dominant seventh on D (V/IV) with a diminished fifth (despite that the IV doesn't arrive till measure twelve), while van
Appledorn sees it as a French sixth on D, DâF
748:
whatever he aims, he often failsâmost notably in twentieth-century musicâto illuminate our immediate musical experience," and thus views analysis entirely from a perceptual viewpoint, as does
904:
real time succession of melodic events. Linear models ... describe a corpus by means of a system of rules encompassing not only the hierarchical organization of the melody, but also the
217:
inaccessible. while Rainer
Wehinger created a "Hörpartitur" or "score for listening" for the piece, representing different sonorous effects with specific graphic symbols much like a
698:
The reverse of the previous, taking "a poietic documentâletters, plans, sketchesâ ... and analyzes the work in the light of this information." Paul Mie, "stylistic analysis of
154:
and social situations in which music is produced and that produce music, and vice versa. Insights from the social considerations may then yield insight into analysis methods.
818:
that it frees itself effortlessly from their grasp, and one must await the first appearance of a harmonic underpinning before the melody takes graceful leave of this causal
233:
impulse" but "though intertextual analyses often succeed through simple verbal description there are good reasons to literally compose the proposed connections. We actually
825:
Paraphrases are a "respeaking" in plain words of the events of the text with little interpretation or addition, such as the following description of the "Bourée" of Bach's
1104:â in the usual second inversion. This means that D is the second degree and the required reference to the first degree, C, being established by the D:VII or C major
949:
to music," and
Babbitt "defines a musical theory as a hypothetical-deductive system ... but if we look closely at what he says, we quickly realize that the theory
718:"Begins with information collected from listeners to attempt to understand how the work has been perceived ... obviously how experimental psychologists would work"
725:, which, based on the sketches of Beethoven (external poietics) eventually show through analysis how the works must be played and perceived (inductive esthesics)
160:
argues that musical analysis lies in between description and prescription. Description consists of simple non-analytical activities such as labeling chords with
1028:
Typically a given work is analyzed by more than one person and different or divergent analyses are created. For instance, the first two bars of the prelude to
2597:
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Again, Nattiez argues that the above three approaches, by themselves, are necessarily incomplete and that an analysis of all three levels is required.
852:
depth that, in the hands of a talented writer, can result in genuine interpretive masterworks.... All the illustrations in Abraham's and Dahlhaus's
785:
shows that musical analysis shifted from an emphasis upon the poietic vantage point to an esthesic one at the beginning of the eighteenth century.
207:
argues that discretization is necessary even for perception by learned listeners, thus making it a basis of his analyses, and finds pieces such as
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2081:, edited by Arved Ashby, 121â152. Eastman Studies in Music 29. Rochester: University of Rochester Press; Woodbridge: Boydell and Brewer, Ltd.
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Bauer, Amy. 2004. "'Tone-Color, Movement, Changing Harmonic Planes': Cognition, Constraints, and Conceptual Blends in Modernist Music", in
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musical analysis for any given work." Blacking gives as example: "everyone disagrees hotly and stakes his academic reputation on what
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between the real and the unreal" used in the analysis, while Christ explains the chord as an augmented eleventh with a bass of B
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penetrates melody from the vantage point of perceived structures." He gives as a last example the following description of
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690:"...proceed from an analysis of the neutral level to drawing conclusions about the poietic" â Reti analysis of Debussy's
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This article is about the process or academic discipline of music analysis. For the academic journal by that name, see
945:. According to Nattiez, Boretz "seems to be confusing his own formal, logical model with an immanent essence he then
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2532:
RĂ©pertoire bibliographique de textes de presentation generale et d'analyse d'oeuvres musicales canadienne, 1900â1980
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Perspectives in Musicology: The Inaugural Lectures of the Ph. D. Program in Music at the City University of New York
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There have been many notable analysts other than Tovey and Keller. One of the best known and most influential was
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2041:, edited by Barry S. Brook, Edward Downes, and Sherman Van Solkema, 270â307. New York: W. W. Norton.
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Van Appledorn sees the succession as D:IâVII so as to allow the interpretation of the first chord in
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200:
112:
916:
when tested by computer ... allows us to generate melodies in Bach's style' by Baroni and Jacoboni.
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Approaches or techniques to musical analysis. Assumption and advocating could be considered missing.
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2734:
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2068:
2037:. 1972. "Contemporary Music Composition and Music Theory as Contemporary Intellectual History". In
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often use musical analysis (traditional or not) along with or to support their examinations of the
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seeks to legitimize a music yet to come; that is, that it is also normative ... transforming the
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may contain an excessive amount of intricate detail that may interest only a particular audience
814:; it glides over signposts marking traditional divisions; it slips so furtively between various
721:"The case in which an immanent analysis is equally relevant to the poietic as to the esthesic."
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72:'s claim that, "to explain by means of is to decompose, to mutilate the spirit of a work".
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The principle of analysis has been variously criticized, especially by composers, such as
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866:(1971) seek to grasp the essence of an epoch's style; Meyer's analysis of Beethoven's
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Analysis often displays a compositional impulse while compositions often "display an
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844:"Hermeneutic reading of a musical text is based on a description, a 'naming' of the
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2536:
Canadian Musical Works, 1900â1980: a Bibliography of General and Analytical Sources
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Satyendra, Ramon. "Analyzing the Unity within Contrast: Chick Corea's 'Starlight'".
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replacing the verbal analyses. These are in contrast to the formalized models of
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are among the most accessible musical analyses) have presented their analyses in
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2142:. 1969. "Meta-Variations: Studies in the Foundationbs of Musical Thought (I)".
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2268:, translated by Roger Lustig. Chicago and London: University of Chicago Press.
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foreign to the author's own preoccupations, no more in tonal analysis than in
17:
2326:
Leibowitz, René. 1971. "Pelléas et Mélisande ou les fantÎmes de la réalité",
2470:". Ph.D. diss., Rochester: Eastman School of Music. Cited in Nattiez (1990).
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any relevant information, and removing excessive detail that may be against
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819:
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may be viewed as a "metaphor for the universe" or nature as "perfect form".
140:
2169:, with a preface by Gustave Cohen. Les grands musiciens 1. Paris: Coudrier.
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2153:
Boretz, Benjamin. 1972. "Meta-Variations, Part IV: Analytic Fallout (I)".
2229:. Chicago: University of Chicago Press (published 1989). pp. 39â54.
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58:
2343:, translated by Caroline Abbate. Princeton: Princeton University Press.
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Bernard, Jonathan. 1981. "Pitch/Register in the Music of Edgar VarĂšse."
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The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology
1067:, and both van Appledorn and Christ analyses the succession as D:IâVII.
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studied, and whether the description provided by the analysis is of its
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1190:. But hearing is an active symbolic process (which must be explained):
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van Appeldorn, M.-J. 1966. "Stylistic Study of Claude Debussy's Opera
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Nattiez outlines six analytical situations, preferring the sixth::
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2298:, ed. Anthony Pople. Cambridge: Cambridge University Press: 57â74.
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Musical Pattern Extraction: from Repetition to Musical Structure
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Analyses of Nineteenth- and Twentieth-Century Music, 1940â2000
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Stylistic levels may be hierarchized as an inverted triangle:
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classical works as elaborations ("prolongations") of a simple
2187:(1st ed.), Englewood Cliffs, New Jersey: Prentice Hall,
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Filleted Mignon: A New Recipe for Analysis and Recomposition
33:
2294:
Guck, Marion A. (1994). "Rehabilitating the incorrigible",
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Analyses of the immanent level include analyses by Alder,
680:"...tackles only the immanent configuration of the work."
317:, although music of non-western cultures and of unnotated
1401:
1399:
837:
marked (a) is immediately repeated, descending through a
104:) used no prose commentary at all in some of their work.
2453:, 6 vols. Oxford and New York: Oxford University Press.
203:, necessary for music to become accessible to analysis.
131:
is notable for tracing the development of small melodic
2281:. Cambridge, Massachusetts: Harvard University Press.
2225:(1960). "Analysis Today". In Morgan, Robert P. (ed.).
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1225:
List of music software § Music analysis software
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1289:
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309:Analysis is an activity most often engaged in by
2433:. Oxford and New York: Oxford University Press.
2341:Music and Discourse: Toward a Semiology of Music
928:units in terms of their constituent variables."
2049:. Reprinted, New York: Pendragon Press, 1985.
848:'s elements, but adds to it a hermeneutic and
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1913:
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900:"do not try to reconstitute the whole melody
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353:style of a period in the life of a composer
277:. There might be a discussion about this on
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1123:, interpreting it as a traditional tertian
199:or segmentation is often considered, as by
177:Many techniques are used to analyze music.
127:coined the term of "developmental motif" .
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2129:. Seattle: University of Washington Press
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1016:Learn how and when to remove this message
924:units is always accompanied by carefully
297:Learn how and when to remove this message
139:'s analysis amounts to a kind of musical
2431:Engaging Music: Essays in Music Analysis
1973:
1839:sfn error: no target: CITEREFMeyer1973 (
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1071:use of the tripartitional definition of
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670:Communication between the three levels
2556:"Chapter 8 â Example musical analyses"
2311:. Paris: Plon, 1928, pp. 115â118.
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334:) processes, all three, or a mixture.
115:, a method that seeks to describe all
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2296:Theory, Analysis and Meaning in Music
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1192:nothing in perception is self-evident
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2517:Tonal Music: Twelve Analytic Studies
2303:Laloy, L. 1902. "Sur deux accords",
2178:. : Summer Institute of Linguistics.
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856:(1972) are historical in character;
833:, an initial phrase in D major. The
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98:(who devised a technique he called
2355:Musicologie générale et sémiologue
998:Knowledge (XXG)'s inclusion policy
808:Prelude to the Afternoon of a Faun
768:structuralism" of the analyses of
710:'s C minor fugue in Book I of the
313:and most often applied to western
146:Musicologists associated with the
25:
2157:11, no. 1 (FallâWinter): 146â223.
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2273:DeVoto, Mark. 2003. "Analysis".
2185:Materials and Structure of Music
1213:cumulative progress in knowledge
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957:of the theory into an aesthetic
254:
2275:The Harvard Dictionary of Music
2176:Melodic Perception and Analysis
1081:historian Paul Veyne, he calls
2382:. New York: The Viking Press.
772:, who says in his analysis of
756:Analyses of the immanent level
57:. According to music theorist
1:
2560:Syntactic Structures in Music
2420:. New York: Harcourt, Brace.
2366:The Thematic Process in Music
2277:, fourth editions, edited by
2148:8, no. 1 (FallâWinter): 1â74.
347:style of a genre or an epoch
326:structure, compositional (or
2368:. London: Faber & Faber.
344:system (style) of reference
330:) processes, perceptual (or
2530:Poirier, Lucien, ed. 1983.
2487:A Guide to Musical Analysis
2101:. London: MacMillan Press.
1182:, in a review of Nattiez's
2812:
2619:Essays in Musical Analysis
2451:Essays in Musical Analysis
2266:The Idea of Absolute Music
1444:, 136, who also points to
87:Essays in Musical Analysis
26:
2774:
2710:
2613:
2155:Perspectives of New Music
2145:Perspectives of New Music
2062:BaileyShea, Matt. 2007. "
702:in terms of the sketches"
669:
2332:Cited in Nattiez (1990).
2227:Music: A View from Delft
2183:Christ, William (1966),
1766:Baroni and Jacoboni 1976
29:Music Analysis (journal)
2777:List of music theorists
2515:Kresky, Jeffrey. 1977.
2174:Chenoweth, Vida. 1972.
2125:Blacking, John (1973).
693:La cathédrale engloutie
80:Some analysts, such as
2642:Roman numeral analysis
2429:Stein, Deborah. 2005.
1725:, p. 213, vol. 1.
1148:
1059:
798:readings of the text (
789:Nonformalized analyses
730:Compositional analysis
135:through a work, while
39:
2447:Tovey, Donald Francis
2337:Nattiez, Jean-Jacques
2117:Music Theory Spectrum
2072:13, no. 4 (December).
1138:prelude, measures 5â6
1133:
1044:
932:Intermediary analyses
800:explications de texte
713:Well-Tempered Clavier
246:Analytical situations
37:
2652:Schenkerian analysis
2500:Hoek, D. J. (2007).
2468:Pelléas et Mélisande
2309:La musique retrouvée
2167:La musique médiévale
1188:PĂ©lleas et MĂ©lisande
1136:PĂ©lleas et MĂ©lisande
1047:Pelléas et Mélisande
1035:Pelléas et Mélisande
723:Schenkerian analysis
582:Inductive esthesics
350:style of composer X
341:universals of music
267:confusing or unclear
201:Jean-Jacques Nattiez
152:performance practice
113:Schenkerian analysis
2625:Functional analysis
2379:The Classical Style
2127:How Musical Is Man?
2069:Music Theory Online
895:Formalized analyses
879:Unfinished Symphony
863:The Classical Style
743:Perceptual analysis
629:External esthesics
484:Inductive poietics
390:Immanent structures
275:clarify the section
101:Functional Analysis
2330:, no. 305:891â922.
2328:Les Temps Modernes
2279:Don Michael Randel
1914:van Appeldorn 1966
1149:
1077:, and what, after
1060:
965:Divergent analyses
887:; and of all such
775:The Rite of Spring
686:musical set theory
531:External poietics
439:Immanent analysis
242:of various songs.
94:. Others, such as
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2353:French original:
2236:978-0-226-11469-9
2163:Chailley, Jacques
1334:, 8, 29 cited in
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762:Heinrich Schenker
737:harmonic analysis
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47:musical structure
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1125:extended chord
1030:Claude Debussy
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162:Roman numerals
158:Edward T. Cone
148:new musicology
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18:Music analysis
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2662:Transcription
2660:
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2657:Sonata theory
2655:
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2630:Chord letters
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2544:0-9690583-2-2
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2526:
2525:0-253-37011-6
2522:
2518:
2514:
2511:
2510:0-8108-5887-8
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2495:0-393-96255-5
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2211:MT6 M347 1966
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2315:Nattiez 1990
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1998:Scruton 1978
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1933:
1921:
1909:
1897:
1885:
1878:Nattiez 1990
1873:
1861:
1854:Babbitt 1972
1849:
1837:, chapter 7.
1830:
1823:Nattiez 1990
1818:
1799:
1785:Roberts 1955
1780:
1761:
1747:Herndon 1974
1742:
1730:
1718:
1699:
1687:
1668:
1649:
1642:Nattiez 1990
1637:
1623:Molino 1975a
1618:
1611:Nattiez 1990
1606:
1587:
1573:Thomson 1970
1568:
1549:
1537:
1518:
1499:
1487:
1480:Nattiez 1990
1475:
1442:Nattiez 1990
1437:
1430:Nattiez 1990
1425:
1413:
1379:
1372:Lerdahl 1992
1367:
1360:Lerdahl 1992
1355:
1348:Nattiez 1990
1343:
1327:
1315:
1303:
1281:Bernard 1981
1275:
1263:
1251:
1239:
1212:
1208:
1204:
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1196:
1191:
1187:
1183:
1178:
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1135:
1109:
1087:
1082:
1072:
1069:
1061:
1046:
1033:
1027:
1012:
1003:
990:spinning off
983:
958:
954:
950:
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925:
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918:
906:distribution
905:
901:
898:
888:
882:
878:
867:
861:
854:Melodielehre
853:
843:
826:
824:
807:
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780:
773:
765:
759:
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691:
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389:
380:
369:
336:
308:
293:
284:
273:Please help
264:
234:
230:
228:
210:Artikulation
208:
205:Fred Lerdahl
193:
176:
156:
145:
129:Rudolph RĂ©ti
121:contrapuntal
106:
99:
85:
82:Donald Tovey
79:
67:
55:performances
51:compositions
42:
41:
2741:Mathematics
2730:Composition
2213:. Cited in
2131:. Cited in
2010:Gardin 1974
1938:Christ 1966
1926:Christ 1966
1866:Boretz 1969
1592:Boulez 1966
1460:, 146, and
1458:Boretz 1972
1244:DeVoto 2003
902:in order of
827:Third Suite
796:hermeneutic
783:Jean Molino
766:ontological
764:, and the "
682:Allen Forte
392:of the work
225:Composition
125:Ernst Kurth
96:Hans Keller
63:Middle Ages
2761:Set theory
2756:Psychology
2751:Philosophy
2746:Musicology
2735:Definition
2715:Aesthetics
2399:Stein 2005
2000:, 175â176.
1902:Laloy 1902
1835:Meyer 1973
1723:Tovey 1978
1706:, 242â268.
1704:Meyer 1973
1692:Rosen 1971
1523:Meyer 1956
1494:, 194â206.
1446:Nettl 1964
1432:, 135â136.
1362:, 112â113.
1336:Bauer 2004
1279:Quoted in
1231:References
1205:objectives
1184:Fondements
1166:symphonies
1134:Debussy's
994:relocating
922:delimiting
676:Examples:
269:to readers
231:analytical
173:Techniques
123:sequence.
65:onwards."
49:in either
2647:Reduction
2449:. 1978 .
2408:. 1978. .
2397:Cited in
2313:Cited in
2095:Bent, Ian
1613:, 138â39.
1492:Reti 1951
1320:Guck 1994
1296:Cone 1960
1268:Bent 1987
1256:Bent 1987
1215:." (177)
1170:concertos
1115:dialectic
831:anacrusis
820:atonality
700:Beethoven
401:processes
383:processes
287:June 2018
166:tone-rows
141:semiology
2790:Category
2720:Analysis
2485:. 1992.
2424:51-8476.
2376:. 1971.
2364:. 1951.
2264:. 1989.
2253:18290659
2245:88-20659
2165:. 1951.
2099:Analysis
2097:. 1987.
1976:, 17â18.
1625:, 50â51.
1554:Fay 1971
1504:Mie 1929
1219:See also
1174:quartets
1120:♭
1101:♭
1095:♯
1065:ornament
1045:Debussy
947:ascribes
926:defining
914:chorales
868:Farewell
399:Esthesic
332:esthesic
324:immanent
240:mash-ups
179:Metaphor
76:Analyses
59:Ian Bent
2725:Aspects
2558:, from
2120:3:1â25.
2027:Sources
1749:, 1975.
1737:, 1979.
1209:methods
1108:. "The
1090:measure
910:soprano
381:Poietic
328:poietic
265:may be
84:(whose
2766:Tuning
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1952:, 173.
1880:, 167.
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1556:, 112.
1544:, 104.
1482:, 140.
1374:, 235.
1162:Mozart
943:Boretz
871:Sonata
846:melody
835:figure
829:: "An
133:motifs
2567:IRCAM
2012:, 69.
1656:, 64.
1525:, 48.
1462:Meyer
1448:, 177
1338:, 131
1322:, 71.
1200:image
1172:, or
1106:chord
1083:plots
955:value
889:coups
858:Rosen
839:third
117:tonal
92:prose
2540:ISBN
2521:ISBN
2506:ISBN
2491:ISBN
2455:OCLC
2435:ISBN
2422:LCCN
2384:ISBN
2345:ISBN
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2241:LCCN
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2199:OCLC
2189:ISBN
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