%0 Journal Article %1 ISI:000083628100004 %A Vaisala, O %C JOURNALS DEPT 2120 BERKELEY WAY, BERKELEY, CA 94720 USA %D 1999 %I UNIV CALIF PRESS %J MUSIC THEORY SPECTRUM %K Musiktheorie Musik %N 2 %P 230-259 %T Concepts of harmony and prolongation in Schoenberg's Op. 19/2 %V 21 %X The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four conditions of prolongation postulated by Joseph Strauss are adopted as the basis of the discussion, but the method of identifying harmonies with pitch-class sets is rejected. This is justified partly on perceptual grounds. Using a conception of intervals and harmonies with restricted octave equivalence, an analysis is presented showing a structure in which the four condition are fulfilled to a significant degree. Additional examples showing comparable organization in Schoenberg's op. 11 are presented.

@article{ISI:000083628100004, abstract = {{The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four conditions of prolongation postulated by Joseph Strauss are adopted as the basis of the discussion, but the method of identifying harmonies with pitch-class sets is rejected. This is justified partly on perceptual grounds. Using a conception of intervals and harmonies with restricted octave equivalence, an analysis is presented showing a structure in which the four condition are fulfilled to a significant degree. Additional examples showing comparable organization in Schoenberg's op. 11 are presented.}}, added-at = {2013-02-02T14:43:13.000+0100}, address = {{JOURNALS DEPT 2120 BERKELEY WAY, BERKELEY, CA 94720 USA}}, affiliation = {{Vaisala, O (Reprint Author), Sibelius Acad, Helsinki, Finland. Sibelius Acad, Helsinki, Finland.}}, author = {Vaisala, O}, biburl = {https://www.bibsonomy.org/bibtex/2112bec1599a096fb4423d7b8b29b51c8/ks-plugin-devel}, cited-references = {{ALDWELL E, 1989, HARMONY VOICE LEADIN. BAKER J, 1990, MUSIC ANAL, V9, P177. BENJAMIN WE, 1979, MUSIC THEOR SPECTRUM, V1, P23. BERNARD JW, 1997, MUSIC THEORY CONCEPT, P11. BREGMAN AS, 1990, AUDITORY SCENE ANAL. CASTREN M, 1989, JOUKKOTEORIAN PERUSK. CASTREN M, 1997, SAVELLYS JA MUSIIKIN, V7, P6. CHAPMAN A, 1981, J MUSIC THEORY, V25, P275. CINNAMON H, 1984, THESIS U MICHIGAN. CINNAMON H, 1993, THEOR PRACT, V18, P127. COHN R, 1992, MUSIC THEOR SPECTRUM, V14, P150. DELIO T, 1994, INDIANA THEORY REV, V15, P17. FORTE A, 1973, STRUCTURE ATONAL MUS. HARTMANN WM, 1997, SIGNALS SOUND SENSAT. HEINEMANN S, 1998, MUSIC THEOR SPECTRUM, V20, P72. HELMHOLTZ HL, 1954, SENSATIONS TONE PHYS. HINDEMITH P, 1942, CRAFT MUSICAL COMPOS. JACKSON T, 1997, INT J MUSICOLOGY, V6, P281. KAMEOKA A, 1969, J ACOUST SOC AM, V45, P1460. LARSON S, 1987, PERSPECT NEW MUSIC, V25, P418. LARSON S, 1997, J MUSIC THEORY, V41, P101. LAUFER E, 1991, OCT JOINT M A SCHOEN. LEICHTENTRITT H, 1927, MUSIKALISCHE FORMENL. LERDAHL F, 1989, CONT MUSIC REV, V4, P65. LERDAHL F, 1990, J MUSIC THEORY, V34, P380. LERDAHL F, 1997, J MUSIC THEORY, V41, P141. LESTER J, 1970, THESIS PRINCETON U. LEWIN D, 1994, J MUSIC THEORY, V38, P79. MORGAN RP, 1970, J MUSIC THEORY, V20, P46. MORRIS R, 1995, J MUSIC THEORY, V39, P207. PARNCUTT R, 1988, MUSIC PERCEPT, V6, P65. PARNCUTT R, 1996, MUSIKTHEORIE, V11, P67. PLOMP R, 1965, J ACOUST SOC AM, V38, P548. ROEDER J, 1987, PERSPECT NEW MUSIC, V25, P362. ROEDER J, 1989, J MUSIC THEORY, V33, P27. ROSS J, 1994, J MUSIC THEORY, V38, P187. SCHARF B, 1986, HDB PERCEPTION HUMAN, V1. SCHENKER H, FREE COMPOSITION. SCHOENBERG A, STRUCTURAL FUNCTIONS. SCHOENBERG A, THEORY HARMONY. SMITH PH, 1997, MUSIC ANAL, V16, P175. STEIN D, 1976, THEORY ONLY, V2, P27. STRAUS JN, 1987, J MUSIC THEORY, V31, P1. STRAUS JN, 1990, REMAKING PAST MUSICA. STRAUS JN, 1997, J MUSIC THEORY, V41, P137. STRAUS JN, 1997, MUSIC THEORY CONCEPT, P237. TENNEY J, 1988, HIST CONSONANCE DISS. TERHARDT E, 1974, J ACOUST SOC AM, V55, P1061. TERHARDT E, 1984, MUSIC PERCEPT, V1, P276. TRAVIS R, 1959, J MUSIC THEORY, V3, P257. TRAVIS R, 1966, PERSPECT NEW MUSIC, V4, P84. VAISALA O, 1993, SIBELIUS-AKATEMIAN A, V4. VAISALA O, 1999, MAR 3RD INT SCHENK S.}}, date-added = {2009-07-16 17:57:27 +0200}, date-modified = {2009-07-16 17:57:45 +0200}, doc-delivery-number = {{254TK}}, groups = {public}, interhash = {a01ee3522ad0f213b5bac1fce4fc575f}, intrahash = {112bec1599a096fb4423d7b8b29b51c8}, issn = {{0195-6167}}, journal = {{MUSIC THEORY SPECTRUM}}, journal-iso = {{Music Theory Spectr.}}, keywords = {Musiktheorie Musik}, keywords-plus = {{POST-TONAL MUSIC; PITCH; CONSONANCE; LARSON; MODEL}}, language = {{English}}, month = {{FAL}}, number = {{2}}, number-of-cited-references = {{53}}, pages = {{230-259}}, publisher = {{UNIV CALIF PRESS}}, subject-category = {{Music}}, times-cited = {{3}}, timestamp = {2013-02-02T14:43:13.000+0100}, title = {{Concepts of harmony and prolongation in Schoenberg's Op. 19/2}}, type = {{Article}}, unique-id = {{ISI:000083628100004}}, username = {keinstein}, volume = {{21}}, year = {{1999}} }