ネオ・リーマン理論
出典: フリー百科事典『ウィキペディア(Wikipedia)』 (2023/11/13 14:58 UTC 版)
拡張
三連和音の進行への適用を超えて、ネオ・リーマン理論はその後の多くの調査に影響を与えてきた。例えば、
- 神秘和音などのhexachordの種の間で、3音を超える和音間の声部連結の近接性(Callender, 1998)[19]
- 不協和音に含まれる共通音の近接性[20]
- クロマティック空間ではなくダイアトニック空間内の三和音間の進行[要出典]
- さまざまなサイズ、種類の音階の間の変換(ドミトリ・ティモチュコの方法で)[21]
- 可能な限りすべての三和音間の、必ずしも対合となるモードシフトを必要としない変換[22]。
- カーディナリティの異なるコード間の変換。クロスタイプ変換と呼ばれる[23]。
これらの拡張のいくつかは、よく知られた調性和音間に対して非伝統的な方法で関係を持たせるというネオ・リーマン理論の懸念を共有している。その他では、特徴的な無調和音に対して声部連結による近接または和声変換を適用する。
脚注
参考文献
- Lewin, David. "Amfortas's Prayer to Titurel and the Role of D in 'Parsifal': The Tonal Spaces of the Drama and the Enharmonic Cb/B," 19th Century Music 7/3 (1984), 336–349.
- Lewin, David. Generalized Musical Intervals and Transformations (Yale University Press: New Haven, CT, 1987). ISBN 978-0-300-03493-6.
- Cohn, Richard. 'An Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective", Journal of Music Theory, 42/2 (1998), 167–180.
- Lerdahl, Fred. Tonal Pitch Space (Oxford University Press: New York, 2001). ISBN 978-0-19-505834-5.
- Hook, Julian. Uniform Triadic Transformations (Ph.D. dissertation, Indiana University, 2002).
- Kopp, David. Chromatic Transformations in Nineteenth-century Music (Cambridge University Press, 2002). ISBN 978-0-521-80463-9.
- Hyer, Brian. "Reimag(in)ing Riemann", Journal of Music Theory, 39/1 (1995), 101–138.
- Mooney, Michael Kevin. The 'Table of Relations' and Music Psychology in Hugo Riemann's Chromatic Theory (Ph.D. dissertation, Columbia University, 1996).
- Cohn, Richard. "Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations", Journal of Music Theory, 41/1 (1997), 1–66.
- Cohn, Richard. Audacious Euphony: Chromaticism and the Triad's Second Nature (New York: Oxford University Press, 2012). ISBN 978-0-19-977269-8.
- Gollin, Edward and Alexander Rehding, Oxford Handbook of Neo-Riemannian Music Theories (New York: Oxford University Press, 2011). ISBN 978-0-19-532133-3
関連項目
- 機能和声理論
- ピッチクラス・セット理論
- リーマン理論
- 変換理論
注釈
出典
- ^ a b Cohn, Richard (Autumn 1998). “An Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective”. Journal of Music Theory 42 (2): 167–180. doi:10.2307/843871. JSTOR 843871.
- ^ Jacob Collier discusses Negative Harmony and How To Learn Music - YouTube. 2021年4月28日閲覧。
- ^ Klumpenhouwer, Henry (1994). “Some Remarks on the Use of Riemann Transformations”. Music Theory Online 0 (9). ISSN 1067-3040 .
- ^ Cohn, Richard (Spring 2000). “Weitzmann's Regions, My Cycles, and Douthett's Dancing Cubes”. Music Theory Spectrum 22 (1): 89–103. doi:10.1525/mts.2000.22.1.02a00040. JSTOR 745854.
- ^ Lewin, David (1987). Generalized Musical Intervals and Transformations. New Haven, CT: Yale University Press. p. 178. ISBN 9780199759941
- ^ Cohn, Richard (Summer 2004). “Uncanny Resemblances: Tonal Signification in the Freudian Age”. Journal of the American Musicological Society 57 (2): 285–323. doi:10.1525/jams.2004.57.2.285. JSTOR 10.1525/jams.2004.57.2.285 .
- ^ 久保田, 慶一. 音楽分析の歴史: ムシカ・ポエティカからシェンカー分析へ. pp. 128. ISBN 978-4-393-93038-0
- ^ a b Cohn, Richard (March 1996). “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions”. Music Analysis 15 (1): 9–40. doi:10.2307/854168. JSTOR 854168 .
- ^ a b c Tymoczko, Dmitri (27 November 2008). “Scale Theory, Serial Theory, and Voice Leading”. Music Analysis 27 (1): 1–49. doi:10.1111/j.1468-2249.2008.00257.x .
- ^ a b c Tymoczko, Dmitri (2009). “Three Conceptions of Musical Distance”. In Chew, Elaine. Mathematics and Computation in Music. Communications in Computer and Information Science. 38. Heidelberg: Springer. pp. 258–273. ISBN 978-3-642-02394-1
- ^ Dmitri Tymoczko (2010). MTO 16.1: Tymoczko, Geometrical Methods. Society for Music Theory .
- ^ Callender, Clifton (2004). “Continuous Transformations”. Music Theory Online 10 (3).
- ^ Tymoczko, Dmitri (2006). “The Geometry of Musical Chords”. Science 313 (5783): 72–74. doi:10.1126/science.1126287. PMID 16825563 .
- ^ Callender, Clifton; Quinn, Ian; Tymoczko, Dmitri (18 Apr 2008). “Generalized Voice Leading Spaces”. Science 320 (5874): 346–348. doi:10.1126/science.1153021. PMID 18420928 .
- ^ Baroin, Gilles (2011). Agon, C. (ed.). Mathematics and Computation in Music. MCM 2011. Lecture Notes in Computer Science (英語). Vol. 6726. Berlin, Heidelberg: Springer. pp. 326–329. doi:10.1007/978-3-642-21590-2_25. ISBN 9783642215896。
- ^ Amiot, Emmanuel (2013). Yust, J. (ed.). Mathematics and Computation in Music. MCM 2013. Lecture Notes in Computer Science (英語). Vol. 7937. Berlin, Heidelberg: Springer Berlin Heidelberg. pp. 1–18. doi:10.1007/978-3-642-39357-0_1. ISBN 9783642393563。
- ^ Yust, Jason (May 2015). “Schubert's Harmonic Language and Fourier Phase Space”. Journal of Music Theory 59 (1): 121–181. doi:10.1215/00222909-2863409 .
- ^ Douthett, Jack; Steinbach, Peter (1998). “Parsimonious Graphs: A Study in Parsimony, Contextual Transformation, and Modes of Limited Transposition”. Journal of Music Theory 42 (2): 241–263. doi:10.2307/843877. JSTOR 843877 .
- ^ Callender, Clifton (1998). Voice-Leading Parsimony in the Music of Alexander Scriabin. 42. Journal of Music Theory. pp. 219–233 .
- ^ Siciliano, Michael (2005). Toggling Cycles, Hexatonic Systems, and Some Analysis of Early Atonal Music. 27. Music Theory Specturm. pp. 221–247 .
- ^ Tymoczko, Dmitri.
- ^ Hook, Julian, "Uniform Triadic Transformations", Journal of Music Theory 46/1–2 (2002), 57–126
- ^ Hook, Julian, "Cross-Type Transformations and the Path Consistency Condition", Music Theory Spectrum (2007)
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