BAIN MUSC 525
Post-Tonal Theory

Articles

Featured articles (and book chapters) that provide more information about selected topics we will discuss in class.

Pitch Spaces
Morris, Robert. 1987. "Ch. 2 Pitch-Spaces," in Composition with Pitch Classes: A Theory of Compositional Design. New Haven: Yale University Press, pp. 23-58. {JSTOR}

See also: Shepard 1982, Krumhansl 2001, Lerdahl 2004 and Tymoczko 2011

Spacing and Register
Morris, Robert. “Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory.” Journal of Music Theory 39/2 (1995): 207-43. {JSTOR}

Successive Interval Arrays
Chrisman, Richard. 1977. "Describing Structural Aspects of Pitch-Sets Using Successive-Interval Arrays." Journal of Music Theory 21/1 (Spring 1977): 1-28. {JSTOR}

The Intentional Fallacy
Haimo, Ethan. 1996. "Atonality, Analysis, and the Intentional Fallacy." Music Theory Spectrum 18/2: 167-199. {JSTOR}

Transformation in Post-Tonal Music
Roeder, John. 2014. "Transformation in Post-Tonal Music." Oxford Handbook Topics in Music (April 2014). {Oxford Academic}

Segmentation and Analysis
Cone, Edward T. 1961. "Music: A View from Delft." The Musical Quarterly 47/4 (October 1961): 439-453. {JSTOR}

Enumeration
Hook, Julian. 2007. "Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory." Music Theory Online 13/4 (December 2007). {MTO}

Post-Tonal Analysis
Edward T. Cone, Music: A View from Delft (pdf)

• Johannes Vermeer, View of Delft (1660-61), oil on canvas {WC; WP}
• Article: JSTOR

Ch. 3

All-Interval Tetrachords
Childs, Adrian P. 2006. "Structural and Transformational Properties of All-Interval Tetrachords." Music Theory Online 12/4 (December 2006). {MTO}

Prolongation in Post-Tonal Music
Straus, Joseph N. "The Problem of Prolongation in Post-Tonal Music." Journal of Music Theory, 31/1 (Spring, 1987): 1-21. {JSTOR}

Contour Theory
Marvin, Elizabeth West Marvin, Paul A. Laprade. 1987. "Relating Musical Contours: Extensions of a Theory for Contour." Journal of Music Theory 31/2 (Autumn, 1987): 225–267. {JSTOR}

Scale Networks
Tymoczko, Dmitri. 2004. "Scale Networks and Debussy." Journal of Music Theory 48/2 (2004): 219-294. {Princeton.edu; JSTOR}

Geometrical Music Theory
Hall, Rachel Wells. 2008. "Geometrical Music Theory." Science 320 (2008): 328-329. {Science}

Tymoczko, Dmitri. 2010. "Geometrical Methods in Recent Music Theory." Music Theory Online 16/1. {MTO}

See also: Toussaint 2019 and Tymoczko 2011

Discrete Fourier Transform (DFT)
Yust, Jason. "Special Collections: Renewing Set Theory." Journal of Music Theory 60/2 (October 2016): 213–262. {JSTOR}

Interval Cycles
Perle, George. 1997. "Berg's Master Array of the Interval Cycles." The Musical Quarterly 63/1 (Jan., 1977): 1–30. {JSTOR}

Voice-Leading Spaces
Morris, Robert. 1998. "Voice-Leading Spaces." Music Theory Spectrum 20/2 (Fall 1998): 175-208. {JSTOR}

Neo-Riemannian Theory
Capuzzo, Guy. 2004. "Neo-Riemannian Theory and the Analysis of Pop-Rock Music." Music Theory Spectrum 26/2 (Fall 2004): 177-200. {JSTOR}

Crans, A.; Fiore, T.; and Satyendra, R. 2009. "Musical Actions of Dihedral Groups." The American Mathematical Monthly, 116/6 (2009): 479–495. {MMA.org}

Lehman, Frank. 2014. "Film Music and Neo-Riemannian Theory." Oxford Handbook Topics in Music (April 2014). {Oxford Academic}

See also: Lewin 1987 and Cohn 2012

Harmony and Voice Leading in Stravinsky
Straus, Joseph N. 2014. "Harmony and Voice Leading in the Music of Stravinsky." Music Theory Spectrum 36/1 (Spring 2014): 1-33. {JSTOR}

Transposed Inversions
Anderson, Julian. "Harmonic Practices in Oliver Knussen's Music Since 1988: Part I." Tempo, New Series No. 221 (July 2002): 2-13. {JSTOR}

Ch. 6

Schoenberg, Arnold. 2010. Style and Idea: Selected Writings of Arnold Schoenberg, Revised Edition. Berkeley: University of California Press.

• Twelve-Tone Composition (1923)
• Composition with Twelve Tones (1941)
  • See Albright 2004, excerpt {GB}
    
• Brahms The Progressive (1947)
  

Webern, Anton. 1932-33/1963. The Path to New Music. Bryn Mawr, PA: Theodore Presser. {Archive.org}

• The Path to Twelve-Tone Composition {Archive.org}

Babbitt, Milton. 1960. "Twelve-Tone Invariants as Compositional Determinants." The Musical Quarterly 46/2 (April 1960): 246-259. {JSTOR}

References

Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press. {GB}

Cohn, Richard. 2012. Audacious Euphony: Chromatic Harmony and the Triad's Second Nature. New York: Oxford University Press. {GB}

Krumhansl, Carol L. 2001. Cognitive Foundations of Musical Pitch. New York: Oxford University Press. {GB}

Lerdahl. 2004. Tonal Pitch Space. New York: Oxford University Press. {GB}

Lewin, David. 1987. Generalized Musical Intervals and Transformations (GMIT). New Haven: Yale University Press. {GB} 

Morris, Robert. 1987. Composition with Pitch Classes: A Theory of Compositional Design. New Haven: Yale University Press. {JSTOR}

Shepard, Roger N. 1982. "Geometrical Approximations to the Structure of Musical Pitch." Psychological Review, 89/4: 305–333. {APA PsycNet}

Schoenberg, Arnold. 2010/1975. Style and Idea: Selected Writings of Arnold Schoenberg, Revised Edition. Berkeley: University of California Press. {GB}

Straus, Joseph N. 2014. "Harmony and Voice Leading in the Music of Stravinsky." Music Theory Spectrum 36/1: 1-33 {JSTOR}

Toussaint, Gottfried. 2019. The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good?, 2nd ed. Boca Raton, FL. {GB; Full text: Ebook Central}

Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. {GB}