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Engaging Music: Essays in Music Analysis. Oxford and New York: Oxford University Press. ISBN 0-19-517010-5. Tovey, Donald Francis. 1978 [1935–1939]. Essays in Musical Analysis, 6 vols. Oxford and New York: Oxford University Press. OCLC 912417. van Appeldorn, M.-J. 1966. "Stylistic Study of Claude Debussy's Opera Pelléas et Mélisande". Ph.D ...
Between 1935 and 1939, they were published in six volumes as Essays in Musical Analysis. Each volume focused on a certain genre of orchestral or choral music (for example, Volumes I and II were devoted to Symphonies; Volume III to Concertos), with many of the works discussed with the help of music examples. In 1944, a posthumous seventh volume ...
Music psychology can shed light on non-psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical structures such as melody, harmony, tonality, rhythm, meter, and form.
Expanding on the methods of musical set theory, some theorists have used abstract algebra to analyze music. For example, the pitch classes in an equally tempered octave form an abelian group with 12 elements. It is possible to describe just intonation in terms of a free abelian group. [16] [17]
Music Analysis is a peer-reviewed academic journal specializing in music theory and analysis.It is based in England and published its first issue in 1982. Although the journal "is not produced on behalf of a society, it is closely associated with the Society for Music Analysis."
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. [1] First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" [1] with the aim of illuminating the unique human capacity for musical ...
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure , the Ursatz .
In music cognition and musical analysis, the study of melodic expectation considers the engagement of the brain's predictive mechanisms in response to music. [1] For example, if the ascending musical partial octave "do-re-mi-fa-sol-la-ti-..." is heard, listeners familiar with Western music will have a strong expectation to hear or provide one ...