Example 5. Die Walküre , act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 63, 3, 1–64, 1, 1; IAC = imperfect authentic cadence). Die Walküre, act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 64, 1, 2–64, 2, 2). More

Example 5. Die Walküre , act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 63, 3, 1–64, 1, 1; IAC = imperfect authentic cadence). Die Walküre, act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 64, 1, 2–64, 2, 2). More

Example 1. The opening motive of Beethoven's Symphony no. 5, op. 67. More

Figure 1a. Conceptual model for the category “motive forms of the opening of Beethoven's Fifth Symphony” (Zbikowski 2002 : 47). More

Figure 3.1. Approximate analysis of the opening of Schoenberg's op. 11/1. More

Figure 3.4. A reduction of the opening of Stockhausen's Klavierstücke III. Approximate intervals are labeled above the staff, using “tt” for tritone and 7 and 9 for sevenths and ninths. Italics represent minor sevenths and minor ninths; regular type, major sevenths and ninths. More

Figure 4.4. Voice leadings at the opening of Schoenberg's op. 11/1. To obtain the progression, apply the perturbation and then the transformation. For example, starting with the first chord, move B to A and then transpose up by four semitones. Almost all the trichords are in the “A” arrangement More

Figure 4.5. The opening of Stravinsky's Rite of Spring presents a series of equipollent trichords. The neo-Riemannian J 2 transform preserves the perfect fourth. Once again, apply the perturbation before the other transformations. More

Example 1. Partial paraphrase of Gjerdingen ( 1988 : 26, example 2-11), the opening melody of Mozart's Piano Sonata K. 283, first movement, as a Meyer schema and network of relations, with hexachordal solmization syllables added by the reviewer. More

Example 11. Mm. 4–6 of “Ecco, Silvio” compared to the opening of “Dorinda” (no. 6). More

Figure 3. Opening and closing chords in “Morze”: (a) pentatonic and diatonic segments in separate hands; (b) combined hands in opening and closing chords; (c) affinity space representation, A7: 3–3–1-cycle and the mapping of opening and closing chords. 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 7. Lutosławski's “Prologue,” Musique funèbre (mm. 1–8): opening canon of prime-row statements at T 6 (P 5 and P 11 ), followed by inversion statements also at T 6 (I 11 and I 5 ). More

Example 1: “Tsugaru Kaikyō: Fuyugeshiki” 津軽海峡・冬景色, opening. Ishikawa Sayuri 石川さゆり, composed by Miki Takashi 三木たかし, 1977. More

Figure 1. Steinbeck's example 1.1, a transcription of the opening of “Ornette,” by the Roscoe Mitchell Sextet. NB: all instruments notated at transposing pitch, though discussed in the main text at concert pitch. Initials to the left of each stave indicate the players. More

Figure 3. Steinbeck's example 1.4, a transcription of the opening of “The Little Suite,” by the Roscoe Mitchell Sextet. Triangles indicate improvised sections. More

Figure 1.5. Eddie Harris's “Freedom Jazz Dance” opens with an octave-displaced open-position pentatonic voicing; the rest of the phrase hints at two other open-position pentatonic voicings. More

Example 8. Lutosławski's “Prologue,” Musique funèbre : vertical “open sonorities”: (a) mm. 1–4; (b) mm. 33–37. 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

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