100 results on '"triads"'
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2. Max Reger Introduces Atonal Expressionism
3. Composing with Pre-Composed Chords in the Finale of "Et exspecto resurrectionem mortuorum"
4. The Role of Triadic Harmony in Ligeti's Recent Music
5. Uniform Triadic Transformations
6. Diatonic Trichords in Two Pieces from Kurtág's "Kafka-Fragmente": A Neo-Riemannian Approach
7. Ligeti's 'Third Way': 'Non-Atonal' Elements in the Horn Trio
8. [Letter from Pieter C. van den Toorn]
9. Schenker's Mysterious Five
10. Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective
11. Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition
12. Perceived Triad Distance: Evidence Supporting the Psychological Reality of Neo-Riemannian Transformations
13. Alternative Interpretations of Some Measures from "Parsifal"
14. Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations
15. Breaking the Balance
16. Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions
17. Scoring Loss in Some Recent Popular Film and Television
18. Harmony and Voice Leading in the Music of Stravinsky
19. This & That
20. Semitonal Succession-Classes in Prokofiev's Music and Their Influence on Diatonic Voice-leading Backgrounds in the Op. 94 Scherzo
21. WALTON'S FINAL WORK: HARMONY AND THE ART OF (MAKE-BELIEVE) FUGUE
22. Transformational Aspects of Arvo Pärt's Tintinnabuli Music
23. Reconsidering Pitch Centricity
24. SIMP O perations and the S trange but B eautiful J anus -F aced PC
25. Structural Layers in Alfred Schnittke's Concerto Grosso No. 3
26. Musical Actions of Dihedral Groups
27. A Contextually Defined Approach to "Appalachian Spring"
28. The Psychoacoustics of Harmony Perception: Centuries after three-part harmony entered Western music, research in starting to clarify why different chords sound tense or resolved, cheerful or melancholy
29. Uniform Triadic Transformations and the Twelve-Tone Music of Webern
30. Triadic Transformation and Parsimonious Voice Leading in Some Interesting Passages by Gavin Bryars
31. Parsimony and Extravagance
32. Neo-Riemannian Theory and the Analysis of Pop-Rock Music
33. An Informal Introduction to Some Formal Concepts from Lewin's Transformational Theory
34. Rhythmic Process and Form in Bartók's "Syncopation"
35. MUSIC PERIODICALS IN NEW ZEALAND: Viewing a Century of Publication and some Landmark Enterprises
36. The Triad as Place and Action
37. Functional Harmony Revisited: A Prototype-Theoretic Approach
38. Concepts of Prolongation and Bartók's Opus 20
39. The Seventeenth-Century Theory of Triadic Generation and Invertibility and Its Application in Contemporaneous Rules of Composition
40. 'Twisted Relations': Method and Meaning in Britten's "Billy Budd"
41. Cerebral Dominance for the Perception of Arpeggiated Triads
42. Spectra as Chords
43. On the Origin of the Tone System and the Theory of Harmony
44. Perception and Interpretation of Vocal Music: Constructs of Social Groups
45. Interval Cycles in Stravinsky's Early Ballets
46. Major-Minor Concepts and Modal Theory in Germany, 1592-1680
47. Root-Position and Inverted Triads in Theory around 1600
48. The "Unwelcome Guest" Regaled: Franz Liszt and the Augmented Traid
49. The Alto Parts in the "True Dispersed Harmony" of "The Sacred Harp" Revisions
50. Tonality and Atonality in the Prologue to Orlando di Lasso's "Prophetiae Sibyllarum:" Some Methodological Problems in Analysis of Sixteenth-Century Music
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