Readings
Richard Cohn, "Hexatonic Cycles," in Audacious Euphony: Chromatic Harmony and the Triad's Second Nature (Oxford University Press, 2012), 17–41.
Keith J. Waters and J. Kent Williams, "Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-Dimensional Pitch Spaces; or Jazz Harmony after 1960," Music Theory Online 16/3 (2010)
Assignment
4. Five excerpts for Neo-Riemannian analysis Assignment posted on canvas; due May 18; also available for download
Supplemental Readings:
Keith Waters, "Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock," Journal of Music Theory 49/2 (2005), 337–57. Steve Strunk, “Notes on Harmony in Wayne Shorter’s Compositions, 1964–67,” Journal of Music Theory 49:2 (2008): 301–32. Keith Waters, "'Giant Steps' and the ic4 Legacy" Intégral 24 (2010): 135–62. Keith Waters, Henry Martin, Steve Larson, Steven Strunk, "Circular Thinking—A Roundtable on 'Blue in Green' and 'Nefertiti'" Journal of Jazz Studies 11/1 (2016): 105-120. Steve Strunk, “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s” Music Theory Spectrum 38/1 (2016): 16-36. Keith Waters, "Chick Corea and Post-Bop Harmony" Music Theory Spectrum 38/1 (2016): 37-57. Garrett Michaelsen, "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter" Gamut Gamut 8/1 (2018): 123–88. Paul Steinbeck, "Improvisation and Collaboration in Anthony Braxton’s 'Composition 76'" Journal of Music Theory 62:2 (2018): 249–78. Ben Geyer, "Maria Schneider's Forms: Norms and Deviations in a Contemporary Jazz Corpus" Journal of Music Theory 63:1 (2019): 35–70.
Audio
Excerpts for Class 6 and Assignment 4 Excerpts for Class 7 and Assignment 5
Readings Class 7:
Robert Hasegawa, "Tone Representation and Just Intervals in Contemporary Music," Contemporary Music Review 25/3 (2006): 263–81.
Robert Hasegawa, “Gérard Grisey and the ‘Nature’ of Harmony,” Music Analysis 28/ii-iii (2009): 349–71.
Presentations on the Basic Concepts of Spectral Music: Spectral Concepts 1, Spectral Concepts 2
Supplemental Readings:
Robert Hasegawa, “Just intonation: an aesthetic and theoretical renewal” in Théorie et composition musicales au vingtième siècle, ed. Nicolas Donin and Laurent Feneyrou (Lyon: Symétrie, 2013), 1499–1531.. Robert Hasegawa, “Clashing Harmonic Systems in Haas’s Blumenstück, and in vain,” Music Theory Spectrum 37:2 (2015): 204–23. Myles Skinner, “Introduction to Quarter-tone Music” and “Appendix on Quarter-tone note names," “Toward a Quarter-Tone Syntax: Selected Analyses of Works by Blackwood, Hába, Ives, and Wyschnegradsky.” PhD diss., Graduate School at the University at Buffalo. 2006. William Sethares, Table of Scales from Tuning, Timbre, Spectrum, Scale (London: Springer, 2005). Manfred Stahnke, "Neue Skalen: Ein Essay über neue Denkweisen um György Ligeti in Hamburg und außerhalb,” in Für György Ligeti: Die Referate des Ligeti-Kongresses Hamburg 1988 C. Floros, , H. J. Marx, P. Peterson, edits, (Laaber 1991), pp. 259–76. Daniel J. Wolf, “Alternative tunings, alternative tonalities” Contemporary Music Review 22/1, (2003): 2–14. Hans Rudolf Zeller, “Mikrointervalle in der Musik des 20. Jahrhunderts Musik-Konzepte Sonderband Muike der anderen Tradition," in Mikrotonale Tonwelten Heinz-Klaus Metzger and Rainer Riehn, eds. (Munich: edition text+kritik, 2003).(German).
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