Access the full text.
Sign up today, get DeepDyve free for 14 days.
D. Lewin (1982)
A Formal Theory of Generalized Tonal FunctionsJournal of Music Theory, 26
F. Lerdahl (2001)
Tonal Pitch Space
Philip Lambert (2002)
Isographies and Some Klumpenhouwer Networks They InvolveMusic Theory Spectrum, 24
Richard Cohn (1992)
Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting MusicPerspectives of New Music, 30
J. Fisk (1994)
The New Simplicity: The Music of Gorecki, Tavener and PartThe Hudson Review, 47
P. Stoecker (2002)
Klumpenhouwer Networks, Trichords, and Axial IsographyMusic Theory Spectrum, 24
Julian Hook (2002)
Uniform Triadic TransformationsJournal of Music Theory, 46
W. Mellers (1995)
Arvo Pärt, God and Gospel: Passio domini nostri iesu Christi secundum iohannem (1982)Contemporary Music Review, 12
H. Conen (2006)
Arvo Pärt : die Musik des Tintinnabuli-Stils
Norman Carey, David Clampitt (1989)
Aspects of Well-Formed ScalesMusic Theory Spectrum, 11
Stephanie Lind (2008)
Replicative network structures : theoretical definitions and analytical applications
John Clough (1979)
Aspects of Diatonic SetsJournal of Music Theory, 23
Dmitri Tymoczko (2008)
Scale Theory, Serial Theory and Voice LeadingMusic Analysis, 27
D. Lewin (1987)
Generalized Musical Intervals and Transformations
M. Santa (1999)
Defining Modular TransformationsMusic Theory Spectrum, 21
S. Smoliar, D. Lewin (1994)
Musical Form and Transformation: Four Analytic EssaysComputer Music Journal, 18
Arvo Pärt's strict and elemental compositional procedures, which have been described and evaluated critically by several scholars, are here expressed via a mathematical formalism drawn from theories of musical transformations. The analytical opportunities that this perspective provides are demonstrated by attributing the melodic and harmonic structures of complete pieces— Fratres, Passio , and The Beatitudes —to the interaction of a very small set of transformations. This representation reveals similarities of form as well as of process among them. It also shows how Pärt's signature harmonic procedure, tintinnabulation, sometimes governs melodic procedure and has melodic meaning while also making it possible to define and recognize harmonic areas, distinctions among harmonies, and systematic reasons for cadences. For instance, transformational expressions for Passio show the interpenetration of melody and harmony and define the field of possibilities in which each melodic/harmonic change takes place—a "space" in which the changes can be heard as meaningful in relation both to themselves and to the text. Overall, these results suggest how the ostensibly mechanical melodic and harmonic processes in this music can be heard as nuanced and expressive. More theoretically, the transformational representation reveals some formal properties of tintinnabulation that suggest some interesting generalizations.
Journal of Music Theory – Duke University Press
Published: Mar 1, 2011
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.