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Audacious Euphony: Chromaticism and the Triad’s Second Nature

Audacious Euphony: Chromaticism and the Triad’s Second Nature Journal of Music Theory 58:1, Spring 2014 DOI 10.1215/00222909-2413598 © 2014 by Yale University Journal of Music Theory which Cohn ended his first two published articles on neo-Riemannian theory (Cohn 1996, 1997), I will speculate about future applications suggested by, or complementary of, this book and the present state of neo-Riemannian theory. As with a jigsaw puzzle piece, the borders of an idea can be highly suggestive of the shape of separate, perhaps inconspicuous, but ultimately adjoining ideas. However, for reasons revealed at the end of my review, I distribute the observations in these two categories throughout a critical but selective and nonlinear summary of the text. The nexus for Cohn's manifold contributions to neo-Riemannian theory and for much, but not all, of this book is the innovative recognition that two independent properties, "optimal acoustic structure" and "optimal voice-leading structure," (40) inhere in each major and minor triad, the constituents of set-class 3­11 [037]; following Cohn, the unmodified word "triad" will refer to these constituents in this review. Like other breakthroughs in our discipline, the postulation of these two properties, and of their independence from one another, appears simultaneously self-evident and problematizable. Also clustered into this nexus is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Audacious Euphony: Chromaticism and the Triad’s Second Nature

Murphy, S.
Journal of Music Theory , Volume 58 (1) – Mar 20, 2014
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References (12)

Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2413598
Publisher site
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Abstract

Journal of Music Theory 58:1, Spring 2014 DOI 10.1215/00222909-2413598 © 2014 by Yale University Journal of Music Theory which Cohn ended his first two published articles on neo-Riemannian theory (Cohn 1996, 1997), I will speculate about future applications suggested by, or complementary of, this book and the present state of neo-Riemannian theory. As with a jigsaw puzzle piece, the borders of an idea can be highly suggestive of the shape of separate, perhaps inconspicuous, but ultimately adjoining ideas. However, for reasons revealed at the end of my review, I distribute the observations in these two categories throughout a critical but selective and nonlinear summary of the text. The nexus for Cohn's manifold contributions to neo-Riemannian theory and for much, but not all, of this book is the innovative recognition that two independent properties, "optimal acoustic structure" and "optimal voice-leading structure," (40) inhere in each major and minor triad, the constituents of set-class 3­11 [037]; following Cohn, the unmodified word "triad" will refer to these constituents in this review. Like other breakthroughs in our discipline, the postulation of these two properties, and of their independence from one another, appears simultaneously self-evident and problematizable. Also clustered into this nexus is

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Journal of Music Theory – Duke University Press

Published: Mar 20, 2014

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