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Published: 1 June 2024

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1

Guldbrandsen, Erling E., and Julian Johnson, eds. Transformations of Musical Modernism. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9781316411766.

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2

David, Lewin. Generalized musical intervals and transformations. New Haven: Yale University Press, 1987.

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3

Lewin, David. Generalized musical intervals and transformations. New York, NY: Oxford University Press, 2007.

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4

Haimo, Ethan. Schoenberg's transformation of musical language. Cambridge: Cambridge University Press, 2006.

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5

Rings, Steven. Tonality and transformation. New York: Oxford University Press, 2011.

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6

David, Lewin. Generalizedmusical intervals and transformations. New Haven: Yale University Press, 1987.

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7

Collecchia, Regina. Numbers & notes: An introduction to musical signal processing. Portland, Ore: PSI Press, 2012.

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8

David, Lewin. Musical form and transformation: 4 analytic essays. New Haven: Yale University Press, 1993.

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9

Granger, Charissa, Eva-Maria Alexandra van Straaten, Gerlinde Feller, and Friedlind Riedel. Music moves: Musical dynamics of relation, knowledge and transformation. Hildesheim: Georg Olms Verlag, 2016.

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10

Searby, Michael D. Ligeti's stylistic crisis: Transformation in his musical style, 1974-1985. Lanham, Md: Scarecrow Press, 2010.

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11

Searby, Michael D. Ligeti's stylistic crisis: Transformation in his musical style, 1974-1985. Lanham, Md: Scarecrow Press, 2010.

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12

Derfler, Brandon Joel. Single-voice transformations: A model for parsimonious voice leading. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010.

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13

Rochberg, George. A dance of polar opposites: The continuing transformation of our musical language. Rochester, NY: University of Rochester Press, 2012.

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14

Siglind, Bruhn, ed. Sonic transformations of literary texts: From program music to musical ekphrasis : ten essays. Hillsdale, NY: Pendragon Press, 2008.

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15

William, Weber. The great transformation of musical taste: Concert programming from Haydn to Brahms. New York, NY: Cambridge University Press, 2008.

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16

Hetta, Potgieter, ed. The transformation of musical arts education: Local and global perspectives from South Africa. [Potchefstroom, South Africa]: North-West University, 2006.

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17

Simonis, Annette, and Berenike Schröder. Medien, Bilder, Schriftkultur: Mediale Transformationen und kulturelle Kontexte. Würzburg: Königshausen & Neumann, 2012.

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18

A, Rice John. Emperor and impresario: Leopold II and the transformation of Viennese musical theatre, 1790-1792. Ann Arbor: University Microfilms International, 1993.

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19

Mulder, Catherine P. Unions and class transformation: The case of the Broadway musicians. New York: Routledge, 2008.

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20

Johnson, Jeffrey. Graph theoretical models of abstract musical transformation: An introduction and compendium for composers and theorists. Westport, Conn: Greenwood Press, 1997.

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21

Boston Early Music Festival & Exhibition (2011). Boston Early Music Festival: June 12-19, 2011 : metamorphoses : change and transformation. [Boston: Boston Early Music Festival], 2011.

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22

Boulanger, Richard Charles. The transformation of speech into music: A musical exploration and interpretation of two recent digital filtering techniques. San Diego: [s.n.], 1985.

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23

Shipovskaya, Lyudmila. Music as an element of spiritual culture is a powerful factor of integration and universalization of the entire spiritual life of society. ru: INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/2052437.

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Abstract:

The monograph is devoted to the ability of music in different phases of its functioning (creation, performance, perception) to convincingly demonstrate the associative and code principles of consciousness — mutual connection, induction and "translation" (encoding and decoding) of its various aspects, structures (in particular, emotional and rational) and levels (for example, individual and general, concrete and abstract). It is highlighted that music unites people, helps to resist disunity, indifference, feelings of loss and uselessness in the big world. It is revealed that the unifying power of music is manifested not only when a huge auditorium lives in one breath, when it freezes at once or suddenly bursts into a storm of applause in a single burst; a person feels this power, even if the sounds flow from a television or radio receiver. Spiritual culture should be addressed only to a person, it has a beneficial effect on a person's behavior, his work activity and the whole way of life. The socio-cultural significance of musical art is dramatically increasing in the context of a radical transformation of our society. It should ensure the assimilation of spiritual values that form the foundation of human life. It is intended for the widest audience of readers — from students of children's music schools and art schools to students of humanities faculties of universities and lovers of musical art.

24

Ontario. Esquisse de cours 12e année: Sciences de l'activité physique pse4u cours préuniversitaire. Vanier, Ont: CFORP, 2002.

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25

Atlas, Rafael. Musical Transformation and Musical Intuition. Ovenbird Press, 1994.

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26

Johnson, Julian, and Erling E. Guldbrandsen. Transformations of Musical Modernism. Cambridge University Press, 2015.

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27

Johnson, Julian, and Erling E. Guldbrandsen. Transformations of Musical Modernism. Cambridge University Press, 2015.

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28

Lewin, David. Generalized Musical Intervals and Transformations. Oxford University Press, USA, 2007.

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29

Lewin, David. Generalized Musical Intervals and Transformations. Oxford University Press, 2010.

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30

Lewin, David. Generalized Musical Intervals and Transformations. Oxford University Press, 2007.

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31

Rings, Steven. Tonality and Transformation. Oxford University Press, Incorporated, 2014.

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32

Rings, Steven. Tonality and Transformation. Oxford University Press, 2011.

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33

Rings, Steven. Tonality and Transformation. Oxford University Press, Incorporated, 2011.

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34

Lluis-Puebla, Emilio, Octavio A. Agustín-Aquino, Gabriel Pareyon, and Silvia Pina-Romero. The Musical-Mathematical Mind: Patterns and Transformations. Springer, 2018.

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35

Agustin-Aquino, Octavio A., Emilio Lluis-Puebla, Gabriel Pareyon, and Silvia Pina-Romero. Musical-Mathematical Mind: Mutual Patterns and Transformations. Springer International Publishing AG, 2017.

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36

Lewin, David. Musical Form and Transformation: Four Analytic Essays. Oxford University Press, USA, 2007.

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37

Lewin, David. Musical Form and Transformation: Four Analytic Essays. Oxford University Press, 2007.

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38

Lewin, David. Musical Form and Transformation: Four Analytic Essays. Oxford University Press, Incorporated, 2010.

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39

Lehman, Frank. Expression and Transformation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0003.

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This chapter introduces the two core theoretical concepts of this study: expressivity and transformation. These two topics are broached through an initial examination of two highly dissimilar cinematic style topics: whole-tone harmony and stepwise modulations. The stylistic and aesthetic continuity with Romantic Era practices, especially from Wagner, is emphasized. A working model of tonal expressivity is constructed, in which intrinsic and extrinsic musical factors combine to form combinatorial meaning. With these concepts in hand, the notion of transformation—the cornerstone of neo-Riemannian theory—is introduced, and the second half of this chapter fleshes out the idiom of pantriadic chromaticism. A clear definition for pantriadicism is offered, along with a provisional aesthetics and analytical methodology for the idiom. The chapter concludes with a treatment of three common guises of pantriadicism—absolute progressions, sequences, and discursive chromaticism—all of which tend to occur on the musical surface rather than background.

40

Sposato, Jeffrey S. Mendelssohn and the Transformation of Leipzig Musical Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190616953.003.0004.

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This chapter is the third of three chapters to look at the relationship between a Thomaskantor, who oversaw the church music, and a Kapellmeister (music director) of the public concerts. Thomaskantor Moritz Hauptmann and Kapellmeister Felix Mendelssohn Bartholdy are examined. Mendelssohn was hired in 1835 to move the Gewandhaus orchestra away from light, popular fare and toward artistic, canonical music. When Thomaskantor Christian Theodor Weinlig died in 1842, Mendelssohn arranged for his friend Hauptmann to fill the position. Hauptmann shared Mendelsson’s vision of canonical music, so that church music moved in this stylistic direction. The chapter concludes by noting that the concert format Mendelssohn favored as Gewandhaus director, consisting of lighter fare in the first half (often involving a soloist), an intermission, and a complete symphony or other major work in the second half, provided the model for classical concerts as we experience them today.

41

Musical transformation and musical intuition: Eleven essays in honor of David Lewin. Roxbury, Mass: Ovenbird Press, 1994.

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42

Reily, Suzel Ana, and Jonathan Dueck. Introduction. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.29.

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This introductory chapter lays the groundwork for the volume, outlining an “ethnomusicology of Christianity” directed at ways of defining and historicizing the relationship between Christianity and its musics in transnational and cross-cultural perspectives. It identifies the movement of Christian musics across space and time, tracking their circulation and transformation over a long historical canvas, as well as the broad range of modalities of encounter and exchange mediated by Christian musicking. The chapter addresses modes of musical imposition, exchange, and transformation in Western missions and colonial projects; cultural boundary openings and closings as managed musically by utopian Christian communities; Christian musics as tools for constructing and challenging “musical spaces”; Christian music within transnational flows of global capitalism; and the ways Christianity is part of musical experience in places where it is a seemingly ever-present dimension of everyday life.

43

Mulder, Catherine P. Unions and Class Transformation. Routledge, 2013.

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44

Mulder, Catherine P. Unions and Class Transformation. Routledge, 2009.

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45

Barry, Barbara R. The Philosopher's Stone: Essays in the Transformation of Musical Structure. Pendragon Press, 2000.

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46

Ligeti's stylistic crisis: Transformation in his musical style 1974-1985. Lanham, Md: Scarecrow Press, 2010.

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47

Haimo, Ethan. Schoenberg's Transformation of Musical Language (Music in the Twentieth Century). Cambridge University Press, 2009.

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48

Haimo, Ethan. Schoenberg's Transformation of Musical Language (Music in the Twentieth Century). Cambridge University Press, 2006.

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49

Gill, Jeremy, and George Rochberg. Dance of Polar Opposites: The Continuing Transformation of Our Musical Language. University of Rochester Press, 2012.

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50

Weber, William. Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms. Cambridge University Press, 2009.

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