Serveur d'exploration Debussy

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Scale Theory, Serial Theory and Voice Leading

Identifieur interne : 000316 ( Main/Exploration ); précédent : 000315; suivant : 000317

Scale Theory, Serial Theory and Voice Leading

Auteurs : Dmitri Tymoczko [États-Unis]

Source :

RBID : ISTEX:6D41168669E16FE5DC9B6F6C7396D850C349EB44

English descriptors

Abstract

Efficient voice leading, in which melodic lines move by short distances from chord to chord, is a hallmark of many different Western musical styles. Although musicians can often find maximally efficient voice leadings with relative ease, theorists have not adequately described general principles or procedures for doing so. This article formalises the notion of voice leading, shows how to classify voice leadings according to transpositional and inversional equivalence and supplies algorithms for identifying maximally efficient voice leadings between arbitrarily chosen chords. The article also includes analytical and theoretical discussions of neo‐Riemannian theory, the ‘tritone substitution’ in contemporary jazz, the music of Wagner and Debussy, the relation between harmony and counterpoint and the connections between scale theory and serial theory.

Url:
DOI: 10.1111/j.1468-2249.2008.00257.x


Affiliations:


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Le document en format XML

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<term>Blackwell</term>
<term>Blackwell publishing</term>
<term>Callender</term>
<term>Chord</term>
<term>Chord moves</term>
<term>Chord progression</term>
<term>Chord progressions</term>
<term>Chromatic motion</term>
<term>Chromatic transposition</term>
<term>Chromatic transpositions</term>
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<term>Fuzzy transposition</term>
<term>Important role</term>
<term>Interscalar</term>
<term>Interscalar interval matrices</term>
<term>Interscalar interval matrix</term>
<term>Interscalar transposition</term>
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<term>Inversion</term>
<term>Inversional equivalence</term>
<term>Inversionally</term>
<term>Journal compilation</term>
<term>Large number</term>
<term>Lewin</term>
<term>Major scale</term>
<term>Major triad</term>
<term>Major triads</term>
<term>Matrix</term>
<term>Maximally</term>
<term>Maximally voice</term>
<term>Metric</term>
<term>Metrics</term>
<term>Minimal bijective voice</term>
<term>Minimal voice</term>
<term>Minimal voice leadings</term>
<term>Minor triad</term>
<term>Minor triads</term>
<term>Multiple copies</term>
<term>Multiset</term>
<term>Multisets</term>
<term>Music analysis</term>
<term>Music theory</term>
<term>Music theory spectrum</term>
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<term>Other words</term>
<term>Parsimony</term>
<term>Perfect fourths</term>
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<term>Rotational arrays</term>
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<term>Scalar distance</term>
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<term>Scalar interval matrices</term>
<term>Scalar interval matrix</term>
<term>Scalar intervals</term>
<term>Scalar transposition</term>
<term>Scalar transpositions</term>
<term>Scale degree</term>
<term>Scale degrees</term>
<term>Scale step</term>
<term>Scale theory</term>
<term>Second chord</term>
<term>Second scale degree</term>
<term>Semitonal</term>
<term>Semitonal voice</term>
<term>Semitone</term>
<term>Serial theory</term>
<term>Seventh chord</term>
<term>Seventh chords</term>
<term>Single pitch class</term>
<term>Smallest bijective voice</term>
<term>Source chord</term>
<term>Special case</term>
<term>Standard metrics</term>
<term>Substitution</term>
<term>Such voice leadings</term>
<term>Theorist</term>
<term>Traditional intervals</term>
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<term>Tristan prelude</term>
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<term>Tritone substitution</term>
<term>Tritone transposition</term>
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<term>Tymoczko</term>
<term>Unordered collection</term>
<term>Upper voices</term>
<term>Voice crossings</term>
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<term>Voice leadings</term>
<term>Voice moves</term>
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<div type="abstract" xml:lang="en">Efficient voice leading, in which melodic lines move by short distances from chord to chord, is a hallmark of many different Western musical styles. Although musicians can often find maximally efficient voice leadings with relative ease, theorists have not adequately described general principles or procedures for doing so. This article formalises the notion of voice leading, shows how to classify voice leadings according to transpositional and inversional equivalence and supplies algorithms for identifying maximally efficient voice leadings between arbitrarily chosen chords. The article also includes analytical and theoretical discussions of neo‐Riemannian theory, the ‘tritone substitution’ in contemporary jazz, the music of Wagner and Debussy, the relation between harmony and counterpoint and the connections between scale theory and serial theory.</div>
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