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  1.  41
    Paradoxes of Pitch Space.Candace Brower - 2008 - Music Analysis 27 (1):51-106.
    Parallels between the mathematics of tiling, which describes geometries of visual space, and neo-Riemannian theory, which describes geometries of musical space, make it possible to show that certain paradoxes featured in the visual artworks of M. C. Escher also appear in the pitch space modelled by the neo-Riemannian Tonnetz . This article makes these paradoxes visually apparent by constructing an embodied model of triadic pitch space in accordance with principles drawn from the mathematics of tiling, on the one hand, and (...)
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  2.  14
    Performance, Grouping and Schenkerian Alternative Readings in Some Passages From Beethoven's'lebewohl' Sonata.Alan Dodson - 2008 - Music Analysis 27 (1):107-134.
    It is proposed that one musically interesting way to characterise and compare different performances or recordings of the same piece is by correlating them with different Schenkerian interpretations through the medium of grouping. This approach is demonstrated through an examination of four 'either/or' passages from the first movement of Beethoven's Piano Sonata in E Major, Op. 81a, passages in which at least two Schenkerian interpretations are possible. Schenker's own published and unpublished sketches, among others, are considered alongside recordings by Vladimir (...)
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  3.  6
    Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism - by Margaret Notley.Maria Patricia O'Connor - 2008 - Music Analysis 27 (1):179-188.
  4.  21
    Scale Theory, Serial Theory and Voice Leading.Dmitri Tymoczko - 2008 - Music Analysis 27 (1):1-49.
    Efficient voice leading, in which melodic lines move by short distances from chord to chord, is a hallmark of many different Western musical styles. Although musicians can often find maximally efficient voice leadings with relative ease, theorists have not adequately described general principles or procedures for doing so. This article formalises the notion of voice leading, shows how to classify voice leadings according to transpositional and inversional equivalence and supplies algorithms for identifying maximally efficient voice leadings between arbitrarily chosen chords. (...)
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  5.  16
    Beyond'norms and Deformations': Towards a Theory of Sonata Form as Reception History.Paul Wingfield - 2008 - Music Analysis 27 (1):137-177.
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