Debussy or Berg? The Mystery of a Chord Progression

Stuckenschmidt, Hans Heinz

doi:10.1093/mq/li.3.453

Cited by 4 publications

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“…Chords have a direct effect on shaping the emotional color of music.Some composer even made use of chord inversions to present musical effects.So chord progression plays a very important role in music [4].…”

Section: Jazz Chordsmentioning

confidence: 99%

An Analysis of Almost There from the Disney animation The Princess and the Frog

Miao

2024

EHSS

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Section: Jazz Chordsmentioning

confidence: 99%

An Analysis of Almost There from the Disney animation The Princess and the Frog

Miao

2024

EHSS

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“…For instance, the normal form (0, 0.9, 6, 7, 8, 9) is farther from the normal form (0, 0.9, 2, 3, 6, 7) than it is from the non-normal (0, 1, 6, 6.9, 8, 9). My strategy can be adapted to such cases by choosing a region of space containing a transpositional boundary.45 SeeStuckenschmidt (1965). This pattern can be considered a subset of a more complex five-voice structure has two voices sounding a fifth, two sounding a tritone, and an additional voice moving in contrary motion to sound chord roots.…”

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confidence: 99%

Why topology?

Tymoczko

2020

Journal of Mathematics and Music

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Music theorists have modeled voice leadings as paths through higher-dimensional configuration spaces. This paper uses topological techniques to construct two-dimensional diagrams capturing these spaces' most important features. The goal is to enrich set theory's contrapuntal power by simplifying the description of its geometry. Along the way, I connect homotopy theory to "transformational theory," show how set-class space generalizes the neo-Riemannian transformations, extend the Tonnetz to arbitrary chords, and develop a simple contrapuntal "alphabet" for describing voice leadings. I mention several compositional applications and analyze short excerpts from Gesualdo,

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Approximate Set Theory

Tymoczko¹

2023

Journal of Music Theory

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This article describes an approximate set theory modeling intuitions shared by musicians such as Cowell, Schoenberg, Messiaen, and Persichetti. The author considers five approximation strategies, showing that in each case the result resembles an exact seven-tone set theory. Since most seven-tone sets are interval cycles, approximate twelve-tone sets are approximately cyclic as well. The theory explains how to highlight this cyclic structure using voicings, modeled by intervals in the intrinsic scale formed from a chord's own notes. This connection to voicing is what gives approximate chord categories much of their significance. The approach is most useful for chords with five or fewer notes and works tolerably for hexachords, but it breaks down with larger collections. This is not a failure of the model but a reflection of the fact that quality space contracts as cardinality increases.

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Debussy or Berg? The Mystery of a Chord Progression

Cited by 4 publications

References 0 publications

An Analysis of Almost There from the Disney animation The Princess and the Frog

An Analysis of Almost There from the Disney animation The Princess and the Frog

Why topology?

Approximate Set Theory

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