Voice-Leading Prototypes and Harmonic Function in Two Chorale Corpora

Author(s):  
Ian Quinn ◽  
Panayotis Mavromatis
2020 ◽  
pp. 125-160
Author(s):  
Jennifer Snodgrass

The earliest levels of the undergraduate music theory core might be some of the more challenging courses to teach. Because students enter the undergraduate theory core with a variety of backgrounds, experiences, and knowledge, instructors face the challenge of inspiring some students with new material while keeping the more experienced students involved. How can educators make this material both relevant and engaging for all students? Teaching the lower levels of written theory is more than just memorization of patterns and rules; it is an opportunity to engage students in creative music making from the very first day with an introduction that helps them understand why a certain element of music works. By participating in engaging and creative methods of learning scales, key signatures, intervals, triads, harmonic function, and voice leading, students are immersed in a music experience that is more than just printed notes on the page.


2008 ◽  
Vol 14 (2) ◽  
Author(s):  
Nicole Biamonte

Augmented-sixth chords and tritone substitutes have long been recognized as enharmonically equivalent, but to date there has been no detailed and systematic examination of their relationships from the perspectives of both classical and jazz theories. Augmented-sixth chords and tritone substitutes share several structural features, including pitch-class content, nonessential fifths, underdetermined roots, structural positioning, and two possible harmonic functions: pre-dominant or dominant. A significant distinction can be made between these two chord classes on the basis of their behaviors: they differ in their voice-leading conventions of contrary vs. parallel, normative harmonic function as dominant preparation vs. dominant substitute, and enharmonic reinterpretation as modulatory pivot vs. dual-root dominant approaching a single resolution. In light of these differences, examples of both augmented-sixth chords and tritone substitutes can be identified in both the jazz and art-music repertoires.


1998 ◽  
Vol 20 (2) ◽  
pp. 175-208 ◽  
Author(s):  
Robert D. Morris
Keyword(s):  

1975 ◽  
Vol 56 ◽  
pp. 1-5
Author(s):  
Masaru Hara

Given a harmonic function u on a Riemann surface R, we define a period functionfor every one-dimensional cycle γ of the Riemann surface R. Γx(R) denote the totality of period functions Γu such that harmonic functions u satisfy a boundedness property X. As for X, we let B stand for boundedness, and D for the finiteness of the Dirichlet integral.


1986 ◽  
Vol 34 (3) ◽  
pp. 461-472
Author(s):  
Hong Oh Kim ◽  
Chang Ock Lee

Suppose D (υ) is the Dirichlet integral of a function υ defined on the unit disc U in the complex plane. It is well known that if υ is a harmonic function in U with D (υ) < ∞, then for each p, 0 < p < ∞, |υ|p has a harmonic majorant in U.We define the “iterated” Dirichlet integral Dn (υ) for a function υ on the polydisc Un of Cn and prove the polydisc version of the well known fact above:If υ is an n-harmonic function in Un with Dn (υ) < ∞, then for each p, 0 < p < ∞, |υ|p has an n-harmonic majorant in Un.


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