Acknowledgments |
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ix | |
Introduction |
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1 | (11) |
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1 | (4) |
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5 | (7) |
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1 Rhythmic Hierarchy and the Network Model |
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12 | (16) |
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1.1 Metrical and Rhythmic Structures as Temporal Hierarchies |
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12 | (4) |
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1.2 Rhythmic Classes and Transformations |
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16 | (3) |
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1.3 Inferring Rhythmic Hierarchies |
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19 | (5) |
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24 | (4) |
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28 | (31) |
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29 | (6) |
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35 | (8) |
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43 | (4) |
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47 | (6) |
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2.5 Tonal Models for Binary Forms |
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53 | (6) |
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59 | (32) |
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3.1 Elements of Form: Repetition, Contrast, Fragmentation |
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60 | (7) |
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67 | (3) |
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3.3 Expositions and the Secondary Theme |
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70 | (11) |
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3.4 Interactions of Form and Tonal Structure |
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81 | (10) |
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4 Structural Networks and the Experience of Musical Time |
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91 | (18) |
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4.1 Depth, Distance, and Classification of Structural Shapes |
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91 | (7) |
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4.2 A Phenomenology of Structure |
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98 | (5) |
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4.3 Center, Skew, and Bias |
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103 | (2) |
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4.4 Splitting and Disjunction |
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105 | (4) |
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109 | (14) |
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5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue |
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110 | (3) |
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5.2 Classification of Timespan Intervals |
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113 | (2) |
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5.3 Hypermetrical Hemiola in a Bach Prelude |
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115 | (3) |
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5.4 Transformations of Rhythmic Structures |
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118 | (5) |
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123 | (22) |
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6.1 Hypermeter in the Eye of the Beholder |
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123 | (3) |
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6.2 Some Criteria for Hypermetrical Analyses |
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126 | (7) |
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6.3 Functions of Hypermetrical Shift in Haydn's Symphonies |
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133 | (7) |
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6.4 Indefinite Hypermeter and Hypermetrical Reinterpretation |
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140 | (5) |
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7 Hypermeter, Form, and Closure |
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145 | (32) |
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7.1 Hypermetrical Placement in Cadential Syntax |
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146 | (5) |
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7.2 Mozart's Afterbeat Melodic Ideas |
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151 | (8) |
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7.3 Main Theme Endings in Haydn's Symphonies |
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159 | (3) |
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7.4 Elided Cadences and Expositional Closure |
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162 | (8) |
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7.5 Beethoven's Open Expositions |
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170 | (7) |
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177 | (26) |
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8.1 Contrapuntal and Tonal versus Structural Syncopation |
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178 | (2) |
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8.2 Contrapuntal Syncopation and Metrical Dissonance |
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180 | (8) |
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8.3 Hypermetrical Syncopation and Contrapuntal Displacement |
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188 | (3) |
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8.4 Rhythmic Process as Formal Process in Beethoven |
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191 | (12) |
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203 | (29) |
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9.1 Rhythmic Counterpoint |
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203 | (5) |
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9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint |
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208 | (11) |
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9.3 Counterpoint of Tonal Structures |
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219 | (6) |
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225 | (7) |
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232 | (34) |
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10.1 Harmonic Syntax and Structure |
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232 | (11) |
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10.2 Voice leading on the Tonnetz |
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243 | (7) |
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250 | (16) |
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11 Reforming Formal Analysis |
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266 | (43) |
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11.1 Tonal-Formal Disjunction and the Phrase |
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266 | (3) |
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11.2 Ritornello Form in the Eighteenth-Century Symphony |
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269 | (13) |
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282 | (8) |
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290 | (19) |
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12 Tonal-Formal Disjunction |
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309 | (33) |
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12.1 High-Level Tonal-Formal Disjunction in Sonata Form |
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309 | (2) |
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12.2 Alternate Subordinate Keys |
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311 | (9) |
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12.3 Disjunction in the Exposition: Modulating Subordinate Themes |
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320 | (7) |
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12.4 Off-Tonic Recapitulations |
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327 | (15) |
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13 Graph Theory for Temporal Structure |
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342 | (31) |
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13.1 Planarity and Cycles |
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342 | (5) |
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13.2 Direction and Confluence |
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347 | (5) |
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352 | (1) |
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353 | (6) |
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13.5 Reduction Trees, Event Trees, and Spanning Trees over MOPs |
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359 | (4) |
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13.6 Spanning Trees and the Cycle/Edge-Cut Algebras |
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363 | (10) |
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14 A Geometry of Temporal Structure |
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373 | (20) |
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373 | (8) |
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14.2 Higher Dimensional Associahedra and their Facets |
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381 | (6) |
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387 | (6) |
Epilogue |
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393 | (4) |
Bibliography |
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397 | (14) |
Index of Works |
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411 | (4) |
Index |
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415 | |