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Harmonic Progressions in the 12-tone music of Anton
The work of Heinrich Schenker revealed that the
structural functions of harmonic progressions are based
on an underlying linear progression of key tones. This
article demonstrates that Webern was able to recreate
analogous structural functions in an atonal context with
progressions of symmetrical harmonies. Evidently, the
nature of tonality and atonality have much more in common
than previously thought.
Aesthetics of Electronic Music
What are the common assumptions on
which electronic music is judged? It turns out they are
mostly unexamined. Are they capable of standing up to
scrutiny? This article discusses them in a natural and a
New Mission for the Symphony Orchestra (with Signs of the
Mr. d'Quincy has a radical
suggestion for orchestra managements to consider
seriously. As a preface, he examines the current health
of symphonic orchestras and the musical culture they
Barton's "metaScapes" (New Music with
This review of a recent electronic music
album discusses musical sound as it has evolved through
time, using the metaphor of the "landscape" to
reflect an underlying motivation in musical art:
explortion and discovery.
- Fearful Symmetry
This far-ranging banquet of ideas
presents a new perspective on the fundamental materials
of musical expression. The significance of the harmonic
overtone series is detailed with reference to musical
scales and harmony. It comes from a series of
dialogues written by Mr. d'Quincy for his online courses
in Music Theory and Composition.
The dialogues contain informal exchanges between
"The Music Master" and his students.
"Fearful Symmetry" is the full text of the
Music Master's formal lecture to the community on the
material origins of music in Nature.
Selections from "One Hand
Clapping: The Tao of Music"
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