Organized Time: Rhythm, Tonality, and Form

Contents

• Contents
• Introduction
• Time and Landscape
• Dimension
• Chapter 1: Rhythmic Hierarchy and the Network Model
• 1.1 Metric and Rhythmic Structures as Temporal Hierarchies
• 1.2 Rhythmic Classes and Transformations
• 1.3 Inferring Rhythmic Hierarchies
• 1.4 Metricality
• Chapter 2: Tonal Structure
• 2.1 Melodic Structure
• 2.2 Backgrounds
• 2.3 Repetition
• 2.4 Keys
• 2.5 Tonal Models for Binary Forms
• Chapter 3: Formal Structure
• 3.1 Elements of Form: Repetition, Contrast, Fragmentation
• 3.2 Small Baroque Forms
• 3.3 Expositions and the Secondary Theme
• 3.4 Interactions of Form and Tonal Structure
• Chapter 4: Structural Networks and the Experience of Musical Time
• 4.1 Depth, Distance, and the Classification of Structural Shapes
• 4.2 A Phenomenology of Structure
• 4.3 Center, Skew, and Bias
• 4.4 Splitting and Disjunction
• Chapter 5: Timespan Intervals
• 5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue
• 5.2 Classification of Timespan Intervals
• 5.3 Hypermetric Hemiola in a Bach Prelude
• 5.4 Transformations of Rhythmic Structures
• Chapter 6: Hypermeter
• 6.1 Hypermeter in the Eye of the Beholder
• 6.2 Some Criteria for Hypermetric Analysis
• 6.3 Functions of Hypermetric Shift in Haydn's Symphonies
• 6.4 Indefinite Hypermeter and Hypermetric Reinterpretation
• Chapter 7: Hypermeter, Form, and Closure
• 7.1 Hypermetric Placement in Cadential Syntax
• 7.2 Mozart's Afterbeat Melodic Ideas
• 7.3 Main Theme Endings in Haydn's Symphonies
• 7.4 Elided Cadences and Expositional Closure
• 7.5 Beethoven's Open Expositions
• Chapter 8: Syncopation
• 8.1 Contrapuntal and Tonal versus Structural Syncopation
• 8.2 Contrapuntal Syncopation and Metrical Dissonance
• 8.3 Hypermetric Syncopation and Contrapuntal Displacement
• 8.4 Rhythmic Process as Formal Process in Beethoven
• Chapter 9: Counterpoint
• 9.1 Rhythmic Counterpoint
• 9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint
• 9.3 Counterpoint of Tonal Structures
• 9.4 Formal Counterpoint
• Chapter 10: Harmony Simplified
• 10.1 Harmonic Syntax and Structure
• 10.2 Voice Leading on the Tonnetz
• 10.3 Enharmonicism
• Chapter 11: Reforming Formal Analysis
• 11.1 Tonal Disjunction and the Phrase
• 11.2 Ritornello Form in the Eighteenth-Century Symphony
• 11.3 Form(s) and Recipes
• 11.4 Outside the Frame
• Chapter 12: Tonal-Formal Disjunction
• 12.1 High-Level Tonal-Formal Disjunction in Sonata Form
• 12.2 Alternate Subordinate Keys
• 12.3 Disjunction in the Exposition: Modulating Subordinate Themes
• 12.4 Off-Tonic Recapitulations
• Chapter 13: Graph Theory for Temporal Structure
• 13.1 Planarity and Cycles
• 13.2 Direction and Confluence
• 13.3 Chords and Holes
• 13.4 Reduction Trees, Event Trees, and Spanning Trees over MOPs
• 13.5 Spanning Trees and the Cycle/Edge-Cut Algebras
• Chapter 14: A Geometry of Temporal Structure
• 14.1 Associahedra
• 14.2 Higher-Dimensional Associahedra and their Facets
• 14.3 Evenness
• Epilogue