Zobrazeno 1 - 9
of 9
pro vyhledávání: '"Christopher F. Hasty"'
Autor:
Christopher F. Hasty
Publikováno v:
Zeitschrift der Gesellschaft für Musiktheorie, Vol 7, Iss Sonderausgabe [Special Issue], Pp 197-216 (2010)
The current opening of musicology to questions of performance and embodied meaning calls for a theorizing of musical experience that would not remain stuck in oppositions of subject and object, mind and body, process and product. If we take experienc
Externí odkaz:
https://doaj.org/article/06cf36d66bab41a180f8b3d1a79aa0cf
Autor:
Christopher F. Hasty
Publikováno v:
Music Theory Spectrum. 21:275-293
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_dedup___::4dd5ec7f3b306409aba14fcb657edca1
https://doi.org/10.1525/mts.1999.21.2.02a00060
https://doi.org/10.1525/mts.1999.21.2.02a00060
Autor:
Christopher F. Hasty
Publikováno v:
Music Theory Spectrum. 8:58-74
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_dedup___::38f5757b535cbe8157bf31d700a7b9f5
https://doi.org/10.2307/746070
https://doi.org/10.2307/746070
Autor:
Christopher F. Hasty
Publikováno v:
Music Theory Spectrum. 3:54-73
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ddd8b05324176e469e825c55ed90fdba
https://doi.org/10.2307/746134
https://doi.org/10.2307/746134
Autor:
Christopher F. Hasty
Publikováno v:
Music Analysis. 7:281
In attempting an analysis of any of Webern's twelve-note compositions, it would seem appropriate to proceed by identifying the various row forms and considering the relationships that arise from their combination. The vast majority of published analy
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::d79bdc5756b2cc3d4b14cb2c6d94e3a0
https://doi.org/10.2307/854084
https://doi.org/10.2307/854084
Autor:
Christopher F. Hasty
Publikováno v:
Journal of Music Theory. 25:183
The initial difficulty confronting any investigation of musical rhythm lies in deciding what "rhythm" is to mean. The term has acquired an extraordinary range of reference which divides roughly into three categories of interest: 1) specific observati
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::3a1a9caf09fb39d918c42c6dfa9c643d
https://doi.org/10.2307/843649
https://doi.org/10.2307/843649
Autor:
Christopher F. Hasty
Publikováno v:
Journal of Music Theory. 28:167
Musical works are customarily regarded as wholes composed of interrelated parts. Because the parts themselves must exhibit some sort of unity and may in turn be composed of smaller parts, the distinction of whole 'and part is replicated on different
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::fdad09b33f447f00b9d892822c4b72b5
https://doi.org/10.2307/843531
https://doi.org/10.2307/843531
Publikováno v:
Journal of Music Theory. 26:155
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ccf478c9e470e72c8939f43cef0cad44
https://doi.org/10.2307/843358
https://doi.org/10.2307/843358
Autor:
Christopher F. Hasty
Publikováno v:
Journal of Music Theory. 31:183
During the past two decades a large body of post-tonal composition has become increasingly intelligible from the theoretical point of view, largely through the work of Allen Forte. The concept of pitch-class set and the systematic investigation of th
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::7a6cd8b9aceb7a6501619d8321978265
https://doi.org/10.2307/843707
https://doi.org/10.2307/843707