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Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... discussed categories of hexatonic and octatonic collec-
tions or scales, which are generally understood in contrast to the diatonic
collection or scale of normative major-minor tonality. It is true that, just as
Hauptmann’s chain of major triads progresses through...
Journal Article
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... and Beat-Class Spaces.” Keynote Address for the fifth annual meeting of Music Theory Midwest and the eighth biennial symposium of the Indiana University Graduate Theory Association, Bloomington, IN. ———. 1996 . “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... . “Variety and Multiplicity in Diatonic Systems.” Journal of Music Theory 29 : 249 -270. Cohn, Richard. 1996 . “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15 : 9 -40. ____. 1997 . “Neo-Riemannian Operations, Parsimonious...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda. Yale University 2008 Brent Auerbach is assistant professor of music theory at the University of Massachusetts Amherst...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
... . ———. 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15 : 9 – 40 . ———. 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations .” Journal of Music Theory 41 : 1 – 66...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
... . '' Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions. '' Music Analysis 15/1 : 9 – 40 . ———. 1997 . '' Neo-Riemannian Operations, Parsimonious Trichords, and Their `Tonnetz' Representations. '' Journal of Music Theory 41/1 : 1 – 66 . ———. 1998...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... be distinguished from the
E-major triad. This analysis shows that most of the action of the piece is
centered on a hexatonic cycle beginning with the V7 of the exposition and
ending with the V7 just before the recapitulation. The recapitulation, despite
its unusual nontonic beginning, does achieve...
Journal Article
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
..., and to what extent, Riemann’s concepts have found a lasting place
in subsequent German work in the discipline. The ways are varied, but the
3 Richard Cohn has repeatedly noted the use of hexatonic...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... for component 5, using the circle
♯ ♯
of fifths. Component 2 also has no perfect pcset representative. Hexatonic,
octatonic, and whole-tone collections, on the other hand, are perfect repre-
sentatives of components 3, 4, and 6 (though not at every...
Journal Article
Journal of Music Theory (2018) 62 (1): 1–39.
Published: 01 April 2018
... . “ Inversional Symmetry and Transpositional Combination in Bartók .” Music Theory Spectrum 10 : 19 – 42 . Cohn Richard . 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15 / 1 : 9 – 40 . Cook Nicholas . 2013...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... PLP H (hexatonic pole)
Gegensextwechsel
9 3
C → a, c → E≤ 9,3〉 W9 W4 Terzwechsel Q P, PQ RR RREL
Wechsels (elementsof...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... of Rochester Press . Cohn Richard . 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15 / 1 : 9 – 40 . Cohn Richard . 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their ‘Tonnetz...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... Myerson Gerald . 1985 . “ Variety and Multiplicity in Diatonic Systems .” Journal of Music Theory 29/2 : 249 – 70 . Cohn Richard . 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15/1 : 9 – 40...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
.... ———. 2004 . “Riffing on [0148]: Maj7#5, The Tonnetz, and Hexatonic and Acoustic Systems.” Paper presented at the annual meeting of the Society for Music Theory, Seattle. Wile, Kip. 1995 . “Collection in Neocentric Music: A Study in Theory and Analysis of the Music of Debussy, Stravinsky, Scriabin...
Journal Article
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
... (briefly noted for coloring of triads), chromatically tense but assertive centricity; in Poulenc or Vaughan Williams, progressions among triads governed by symmetrical hexatonic and asymmetrical diatonic macroharmonies. 7 While accepting the historically bounded notion of an eighteenth...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... of Music Theory 29/2 : 249 – 70 . Cohn Richard . 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15/1 : 9 – 40 . ———. 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their ‘Tonnetz...
Journal Article
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
... progressions, those between triads root-related by major third in particular have played a prominent role in such scholarship. Some theorists have focused on hexatonic poles, such as {C minor ↔ E major}, which pair such triads that are inversionally related and share no common tones, claiming a nineteenth...
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Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... in Schumann’s music. six triads of any hexatonic system (defined in Cohn 1996),
Samuel Ng (2006, 67) nicely summarizes the relationship together with the two augmented triads whose union forms
between these two styles in the context of Lewin’s “trans- the hexatonic collection of the chosen system...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
...), harmonic minor, and harmonic major (harmonic minor with raised third). One is the octatonic, the maximally even eight-note scale. The last two are hexachords: the completely even whole-tone scale and the less even but heavily triadic “hexatonic” scale formed from alternating semitones and augmented seconds...
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