... in alternate scale systems, such as in the Bohlen-Pierce scale, lends itself to many of the same properties that tonal music affords. Heinz Bohlen and John Pierce independently conceived of the scale, which was then used for psychoacoustic studies as well as music-theoretical work by Max Mathews (e.g...

.... ____. 1994 . An Introduction to the Music of Milton Babbitt. Princeton: Princeton University Press. Nolan, Catherine. 1989 . Hierarchic Linear Structures in Webern's Twelve-Tone Music . Ph.D. diss., Yale University. Pierce, Alexandra. 1994 . “Developing Schenkerian Hearing and Performance...

...-limit just tuning with twelve tones), the Bohlen-Pierce scale, and Harry Partch s forty- three-tone scale. The chapter demonstrates that Wilson s keyboard can accom- modate several already existing scales associated with other theorists, not just ones of his own invention. The mapping technique is more...

... . Pierce Alexandra . 2007 . Deepening Musical Performance through Movement . Bloomington : Indiana University Press . Rings Steven . 2011 . Tonality and Transformation . New York : Oxford University Press . Rink John . 1994 . “ Chopin’s Ballades and the Dialectic: Analysis...

... at a final culmination, one that explodes in a flurry of thirty-second notes in winds and brass and glissandi clusters in strings (mm. 355–60). When Kon- trakadenz does eventually cadence, it is with the high, piercing screech of air as forced through four recorder mouthpieces. Lachenmann’s own...

...). From Rameau’s per- spective, the chord implies B minor, a legitimate implication in this context (B minor is suggested as a key area later in the piece). However, given the larger chromatic path from D major to F≥ major, it is far more suggestive to hear this moment as a brief, piercing overlap...

... of the dissonance yields three categories: standard, chromatically deflecting, and chromatically thwarted. Dissonant chromaticism appeared at the end of the period under consideration. We find the most varied and piercing uses of this “exquisite artifice” in the late madrigals of Gesualdo. This topic better suits...

... by means of intervallic features is also efficient: closeness to the tonic lends notes a feeling of instability and anticipation. As intervals proceed sharpward on the circle of fifths, they go from the bright major quality of major 6 ^ and 3 ^ to the more intense piercing quality...

...: A repetition of notes of equal length on the tenor drum, noisily supported by the piercing crash of the cymbals, and, in another instance, reinforced by the tinkling of the triangle, has, in Gluck’s hands, sufficed to impart a wildly fero- cious color...