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Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... “Divided Arpeggios,” from volume 6 of Mikrokosmos (1936); this is a descend- ing permutation of Boretz’s (0369) chain with a 4-connector, the passage’s sequenced harmony being the minor-seventh chord found in the overlap of (0369)s. As shown in Example 2, the (8,8,9)-cycle that Gollin finds in Blue...
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
...- ophony (section II.2: Fukushima’s Mei), homophony (Messiaen’s Can- téyodjayâ in section II.3), and polyphony (Bartók’s “Diminished Fifth” from Mikrokosmos, Bk.4, in section II.4). It is important to note that, for clarity of presentation, aspects of the theory are not explored until the analytic...
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... and ic 5s are projected so as to obliterate the ic 4 and ic 6s. Suffice it to say that the greater our ability to recognize the set-classes native to the Even and Odd set-classes, the deeper our appreciation of inversional realizations. An examination of Bartok’s “Fourths” (Mikrokosmos, vol. 5...