Figure 21. Ostinato for Eight Lines (a), the spectrum of each measure in a ten-element universe (b), and the spectrum of the entire rhythm in a twenty-element universe (c). More

Figure 3.3. ( top ) Measure 4 of Ruth Crawford Seeger's Prelude no. 9 balances sevenths in the right hand against seconds in the left, their approximate complements. ( bottom ) Measure 13 juxtaposes sevenths and quintic chords in the right hand against quartal and quintic chords in the left. More

Figure 3.5. Two exact analyses by Allen Forte. A . Measure 17 of Schoenberg's Herzgewächse op. 17. B . The opening of Schoenberg's op. 11/1, analyzed in Figure 3.1. More

Figure 5.10. Measure 32 of Rite of Spring. More

Example 2. Lutosławski's “Morze,” from Iłłakowicz Songs : opening and closing measures of the song (mm. 1–4 and mm. 54–58); transformation of modal quality ( f −2 ) and reversal of semitonal association for the common pc D, from C♯–D to D–E♭. More

Example 1. Celeste, “Strange,” first verse, reduced; ossia measures reflect Kris Bowers's arrangement for Bridgerton . More

Figure 1.4. The “So What” and “Farben” chords as open-position pentachords. Above, the voicing's intervals are measured in chromatic semitones (CHR), scale steps (diatonic and melodic minor; DIA), and intrinsic steps (INTR). More

Appendix Figure 2-2. The contrary motion schemata in the first thirteen madrigals of book 5, by the measure number at the beginning of the schema (those shown in Example 5 are asterisked). The parentheses at m. 22 of no. 9 indicate a fragment of the CMx schema. More

the lead's footwork, switch the order of the two measures. More

Figure 3. (a) A simplified transcription of “ Sud-Kåsen ” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern More

Example 1. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (47, 3, 5–48, 1, 4). Numbers refer to page, system, and measure numbers in the Schirmer vocal score. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (48, 1, 5–48, 4, 3). Der fliegende Holländer , act 1: Dutchman More

Example 1. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (47, 3, 5–48, 1, 4). Numbers refer to page, system, and measure numbers in the Schirmer vocal score. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (48, 1, 5–48, 4, 3). Der fliegende Holländer , act 1: Dutchman More

Example 1. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (47, 3, 5–48, 1, 4). Numbers refer to page, system, and measure numbers in the Schirmer vocal score. Der fliegende Holländer , act 1: Dutchman, “Durch Sturm” (48, 1, 5–48, 4, 3). Der fliegende Holländer , act 1: Dutchman More

Figure 1.8. Schoenberg's Violin Concerto op. 36 opens with a pair of inversionally related hexachords voiced in the same way. This generalized neo-Riemannian voice leading preserves the relative arrangement of the chromatic cluster (open note heads, left two measures). Each hexachord is voiced More

Figure 4. Plots showing (a) the dancers' libration curves, (b) the vertical acceleration of the dancers' libration curves, and (c) the vertical acceleration of the fiddler's foot stamping. All three are chunked into segments of two measures and plotted on the same graph. The dancers' libration More