MARC Record from marc_columbia

LEADER: 02711cam a22003613i 4500
001 10578719
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006 m o d
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008 131223s2011 nyu|||| om 00| ||eng d
035 $a(OCoLC)867753309
035 $a(OCoLC)ocn867753309
035 $a(NNC)ACfeed:legacy_id:ac:132053
035 $a(NNC)ACfeed:doi:10.7916/D8HT2WBZ
035 $a(NNC)10578719
040 $aNNC$beng$erda$cNNC
100 1 $aHoffman, Justin.
245 10 $aListening with Two Ears :$bConflicting Perceptions of Space in Tonal Music /$cJustin Hoffman.
264 1 $a[New York, N.Y.?] :$b[publisher not identified],$c2011.
300 $a1 online resource.
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
502 $aThesis (Ph.D.)--Columbia University, 2011.
500 $aDepartment: Music.
500 $aThesis advisor: Joseph P. Dubiel.
520 $aThe Tonnetz is a spatial model of tonal pitch, constructed by placing fifths along the horizontal axis of a coordinate plane and thirds along the vertical axis. This dissertation examines the ways in which different conceptions of interval, including just-intonation ratios, diatonic scalar intervals, and pitch-class intervals, result in different Tonnetz geometries, representing different, and sometimes conflicting, modes of musical perception, and argues for treating conflicts between these often unexamined conceptions of interval as an explicit part of musical analysis. Chapter One considers relationships between a number of Tonnetz spaces, as well as the groups of intervals they model, using harmonic function theory. Chapter Two examines ways in which pitches may project multiple functions in Tonnetz spaces and uses these spaces to model some aspects of the harmonic theory of Jean-Philippe Rameau. Chapter Three considers the ways in which neo-Riemannian transformations, as ways of relating triads and seventh chords to one another, might be associated with changes of harmonic function in different Tonnetz spaces, and culminates in an analysis of Chopin's E Minor Prelude.
520 $aChapter Four explores primary triads with chromatically altered roots and fifths and, in this context, analyzes an unusual modulation from A-flat major to E major in Hugo Wolf's song "An den Schlaf." Finally, Chapter Five considers harmonic function in nontriadic music, examining the beginning of the final movement of Bartók's Fourth String Quartet.
653 0 $aMusic
653 0 $aTonality
653 0 $aMusical intervals and scales
856 40 $uhttps://doi.org/10.7916/D8HT2WBZ$zClick for full text
852 8 $blweb$hDISSERTATIONS