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Taking my own Schenker-derived view of dissonant prolongations as a point of departure, this article attempts to clarify this phenomenon by considering it in relation to tonal prolongation. This is accomplished in three ways: by reconsidering Schenker's mature attitude toward tonality and...
The advent of the numerical representation of contour was a watershed in the development of musical contour theory. Both Michael L. Friedmann and Robert D. Morris pioneered the practice by mapping pitches in ascending registral order onto the subset of nonnegative integers from 0 to n − 1, where...
Schumann's adaptations of eighteenth-century instrumental forms have long been regarded as problematic, as have the works of his late style period of the 1850s. The Cello Concerto op. 129 (composed 1850, published 1854) is a late work based on classical models that has earned a place in the...
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