... in Categorization: Music as a Case Study.” In Third Triennial ESCOM Conference: Proceedings, ed. Alf Gabrielsson. European Society for the Cognitive Sciences of Music, 533 -38. Uppsala, Sweden. ____. 2001 . “Melodic Cue Abstraction, Similarity, and Category Formation: A Formal Model.” Music Perception 18...

... approximate chord categories much of their significance. The approach is most useful for chords with five or fewer notes and works tolerably for hexachords, but it breaks down with larger collections. This is not a failure of the model but a reflection of the fact that quality space contracts as cardinality...

...Eric Drott This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers’ repudiation of received tradition rendered the very idea of genre categories obsolete, this article argues...

... by chords unrelated to V, such as IV, ii, ♭VII, or even versions of I. A theory of harmonic function rooted in chord category—e.g., ascribing dominant function to any chord related to V—inadequately accounts for rock's harmonic organization. I argue that syntactical elements underlie many existing...

... three categories of the texture based on degrees of metrical dissonance: weakly, moderately, and strictly tiered polyphony. The last form is special not only for its rarity but also for the extreme independence of its lines, which create supermetrical dissonance through pitch cells and/or pitch-interval...

...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...

... categories, and approaches to well-formedness that have also been used in examining the interpenetration of syntax and semantics. These concepts function together to provide an alternative to rule systems that is both rigorous and flexible. John Paul Ito is assistant professor of music theory...

...Trevor de Clercq In this article I present empirical work that investigates what, if any, harmonic characteristics are found to typically associate with standard form categories in rock music. Specifically, I use statistical analysis to compare and contrast the harmonic traits of verse, chorus...

..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...

... as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories...

... of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle...

..., a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories...

... acoustic level onto the motoric one: the level of sound generation. I. Categories Although the acoustic wave is a highly complex phenomenon, the process of its generation can be presented simply as a collision of two physical bodies, one being a sound source, the other...

... and 273 melody.2 But precisely because we no longer share the same historical horizon as these earlier writers, we ought to consider how the continued use of such categories in music analysis inadvertently imports deeper aesthetic and cultural beliefs into interpretations of musical structure. Most...

... categories of consonance and one of dissonance and provides great flexibility in its application across various Ars Nova reperto- ries by exhibiting the ability to model textures ranging from two to four voices. Her schema is extrapolated from the extant fourteenth-century treatises that deal with two...

... that contribute to a sense of tonalness. As he states, “the word tonality is used to refer to many different features of music, all of which have other names, and there is little downside in using more precise terms” (p. 66). He proposes six broad categories that we can theorize independently: (1) Key (2...