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The present study offers an extended neo‐Riemannian examination of chromatic‐third relations in selected Bruckner compositions of the 1880s, and it constitutes the first such examination of the composer's music. Owing to its inherent indifference towards the notions of tonal centre and...
Insertions between the structural dominant and tonic of underlying perfect cadences delay and intensify progressions of harmony, voice leading and hypermetre. More disruptive than other evaded cadences, these cadential interventions ultimately still serve to unify the music through motivic...
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