..., engagement with octatonicism is not solely a Russian preserve; while the French may not have pioneered the technique, music by Ravel, Debussy, Milhaud, and their compatriots makes up a significant portion of early twentieth-century standard-repertory octatonic music...

...: Stravinsky and the Octatonic: Octatonicism Reconsidered Again.” Music Theory Spectrum 25/1: 185–202. 2004. “Scale Networks and Debussy.” Journal of Music Theory 48/2: 215–92. 2008. “Set-Class Similarity, Voice Leading, and the Fourier Transform...

... Impressionism and Jazz.” Intégral 11: 135–79. 293 2002. “Stravinsky and the Octatonic: A Reconsideration.” Music Theory Spectrum 24: 68–102. 2003. “Octatonicism Reconsidered Again.” Music Theory Spectrum 25: 185–202. 2005. “Voice...

...: Knopf. Cohn, Richard. 1991 . “Bartók's Octatonic Strategy: A Motivic Approach.” Journal of the American Musicological Society 44 : 262 -300. Cone, Edward T. 1967 . “Beyond Analysis.” Perspectives of New Music 6/1 : 33 -51. ____. 1962 . “Stravinsky: The Progress of a Method...

... the (lesser) chromatic semi- tone and the greater chromatic semitone, which equals CS + SC; the octatonic comma basis and the whole-tone comma basis are shifted by one and two syntonic commas, respectively. Example 8 gives an overview of the subchromatic comma...

... as it corresponds to contiguity in the space at the expense of octatonicism, which results from the superimposition of harmonically dis- tant tetrachords.24 The Dasian/modal reading also accounts for the two pen- ultimate notes of the piece (G and D , circled in Figure 3), which are foreign to the octatonic...

... that each chain has a distinctive triadic pro- file that avoids emphasizing tonal patterns. One chain in the PSM framework has a particular history within the Russian musical tradition. The P/M chain generates an octatonic minor- third cycle, moving through all major and minor triads with roots...

...Figure 8.1. Shostakovich using time and register to articulate the different octatonic fragments of a nine-note scale in mm. 51–56 ( A ) and mm. 66–72 ( B ) of the Seventh String Quartet, III. ...

... —as chordal units, and markers of tonal function—within octatonic or bi-quintal spheres. 6 Harrisonian overtonal analysis would illuminate salient technical perspectives on other figures absent from Pieces of Tradition : in Debussy, the subtle oscillation between amplified-tonic sonorities; in Bartók...

... cycle. The first octave ascent occurs between mm. 33 and 40, and the second between mm. 41 and 50. (The first of these ascents, at mm. 33–40, states the octatonic collection.) Similarly, the bass participates in the interval-class-3 motion: against the first octave ascent in the melody...

... 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...

... transposition and twelve inversion operations. When listening to an octatonic piece (such as Scriabin, op. 74, no. 3) one might notice the octatonic collection on one hand and the processes of transposition and inversion on the other. G and S in Figure 1 together form a musical system that accords...

... Peele—the octatonic-ish and triadically chromatic parts of Get Out (2017) and a tight motivic network for Us (2019)—as a good next step in a series of many more steps. In terms of musical materials and methodologies, the second chapter, “Expression and Transformation,” functions as a waystation...

... in the Music of Alexander Scriabin .” Journal of Music Theory 42 / 2 : 219 – 33 . Cohn Richard . 1991 . “ Bartók’s Octatonic Strategies: A Motivic Approach .” Journal of the American Musicological Society 44 / 2 : 262 – 300 . Cohn Richard . 2012 . Audacious Euphony: Chromaticism...

... be glimpsed now and again in the work of music theorists on both sides of the Atlantic, Cross’s assault on analytical traditions which seek to discover such continuities seems excessive. Cross insists that “[t]here is, pace Cone, no Stravinsky method” (p. 7); nor will van den Toorn’s octatonic routines...

... in retrograde, in which case the interval succession alternates 11, 4 and 4, 11. Each of these three RI-chains corresponds to one of the three octatonic col- lections. With these chains, the transpositional interval that connects every other link in the chain (the RI...

... with moments of intense chromaticism, sometimes mediated by nondiatonic scales such as the whole-tone and octatonic. In some cases, the music moves continuously from one world to another, making it hard to identify precise bound­aries between them. Yet we may still have the sense...

... 6 6 6 6 C → F≥,c → f≥ 6,6〉 S6 S6 Tritonusschritt Q (LR) ,(RL) PRPR, RPRP D T6, octatonic pole 7 C → G, c → f 7,5〉 S7 S7...

... that in Figure 12 can be filled in by diatonic triads, octatonic triads, or familiar seven-note scales. Readers who want further information are directed to §3.11 of A Geom- etry of Music. Here the important point is that both families of lattice...