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Figure 4.2 (continued) b) Transformations between ic 4 root motion PLR transformations c) Transformations between ic 5 root motion PLR transformations

Figure 4 2 (continued) b) Transformations between ic 4 root motion PLR transformations c) Transformations between ic 5 root motion PLR transformations

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Figure 1.1 Lewin's schematic of the transformational situation situation modeled by transformational theory, is shown below.'’
Figure 1.1 Lewin's schematic of the transformational situation situation modeled by transformational theory, is shown below.'’
Figure 1.2 Lewin's figure 7.1 from GMIT, analytical representation of Schoenberg op. 19 no. 6 piece highlight some of the natural perceptions a player can form while performing it.
Figure 1.2 Lewin's figure 7.1 from GMIT, analytical representation of Schoenberg op. 19 no. 6 piece highlight some of the natural perceptions a player can form while performing it.
Figure 1.4 Opening bars of Beethoven Op. 58 piano concerto with transformation labels
Figure 1.4 Opening bars of Beethoven Op. 58 piano concerto with transformation labels
Figure 2.2 Some examples of P, L and R transformations
Figure 2.2 Some examples of P, L and R transformations
Figure 2.3 Binary transformations compounded from P, L and R transformations
Figure 2.3 Binary transformations compounded from P, L and R transformations
Figure 2.4 A typical two-dimensional tonnetz of modern NRT
Figure 2.4 A typical two-dimensional tonnetz of modern NRT
minor triads and have been collectively called the hyper-hexatonic system shown 1
minor triads and have been collectively called the hyper-hexatonic system shown 1
octatonic system.”* Each octatonic cycle (Op, O, and O,) contains the pes of the familiar
octatonic system.”* Each octatonic cycle (Op, O, and O,) contains the pes of the familiar
Figure 3.1 Lewin's network of networks for “Nos qui vivimus” reproduced here as figure 3.1.
Figure 3.1 Lewin's network of networks for “Nos qui vivimus” reproduced here as figure 3.1.
Figure 3.4 a) Growth of the falling semitone analyzed with TRANS+ 2 transformations b) Transpositional development of the falling semitone gesture c) Intervallic structure of the opening right hand chord
Figure 3.4 a) Growth of the falling semitone analyzed with TRANS+ 2 transformations b) Transpositional development of the falling semitone gesture c) Intervallic structure of the opening right hand chord
Figure 3.7 Some Scarbo motifs and their component gestures represented as pitch-transpositions
Figure 3.7 Some Scarbo motifs and their component gestures represented as pitch-transpositions
Figure 3.8 The development of Scarbo motif forms analyzed with transformations of pitch: transpositions
Figure 3.8 The development of Scarbo motif forms analyzed with transformations of pitch: transpositions
equivalent to adding P transformations to either the beginning and/or end of a given same interval class. Arrows specify transformations of triadic transformations that are
equivalent to adding P transformations to either the beginning and/or end of a given same interval class. Arrows specify transformations of triadic transformations that are
Figure 4.3 Score reduction of line 1
Figure 4.3 Score reduction of line 1
Figure 4.4 Space of pitch-classes organized by alternating major and minor thirds
Figure 4.4 Space of pitch-classes organized by alternating major and minor thirds
Figure 4.5 Score reduction of line 1 with segment of RP/PL cycle realized in line 1 of the anguish and personal distress of the speaker.
Figure 4.5 Score reduction of line 1 with segment of RP/PL cycle realized in line 1 of the anguish and personal distress of the speaker.
Figure 4.6 Score reduction of line 2
Figure 4.6 Score reduction of line 2
Figure 4.7 Score reduction of line 2 with segment of R/L cycle implied by line 2
Figure 4.7 Score reduction of line 2 with segment of R/L cycle implied by line 2
Figure 4.8 Segments of cyclic transformation graphs corresponding to RP/PL cycle of line 1 and R/L cycle of line 2
Figure 4.8 Segments of cyclic transformation graphs corresponding to RP/PL cycle of line 1 and R/L cycle of line 2
Figure 4.9 Graphs of figure 4.8 filled in with appropriate triadic mode information (+ : majot, — : minor)
Figure 4.9 Graphs of figure 4.8 filled in with appropriate triadic mode information (+ : majot, — : minor)
Figure 4.10 Segment of a more inclusive transformational space with RP/PL path and R/L path
Figure 4.10 Segment of a more inclusive transformational space with RP/PL path and R/L path
Figure 4.12 Score reduction of line 3
Figure 4.12 Score reduction of line 3
Figure 4.14 Score reduction of line 4 with transformations between “dolor” and “meus” nodes
Figure 4.14 Score reduction of line 4 with transformations between “dolor” and “meus” nodes
Figure 4.15 Network of transformations of PLR group transformations applicable to line 4
Figure 4.15 Network of transformations of PLR group transformations applicable to line 4
Related topics:
MusicNeo-Riemannian AnalysisMusic AestheticsTransformation TheoryContemporary MusicComputer Assisted CompositionMusic and MathematicsMusic and philosophySound Spatialization
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