'Urlinie' web sites
Mto 18.3 mcfarland, schenker and the tonal jazz repertory
mtosmt.org 2013-03-16 ⚑music
urlinie other than Schenker 8217;s 3., 5., and 8.lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new urlinie n; Schenker 8217;s three forms of the Ursatz are preferred instead. Martin 8217;s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces
mtosmt.org 2013-03-16 ⚑music
urlinie other than Schenker 8217;s 3., 5., and 8.lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new urlinie n; Schenker 8217;s three forms of the Ursatz are preferred instead. Martin 8217;s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces
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Mto 18.3 heyer, applying schenkerian theory to mainstream jazz
urlinie n, Steve Larson, Henry MartinABSTRACT This paper examines several recent modified Schenkerian analyses in order to compare the strengths and weaknesses of a modified approach with those of an orthodox approach to analyzing jazz. The comparative analyses will reveal that while the application of orthodox Schenkerian theory may be unnecessary to produce meaningful analyses, its abandonment is also unnecessary. In fact,
Mto 18.3 mcfarland, schenker and the tonal jazz repertory
mtosmt.org 2013-03-16 ⚑music
urlinie other than Schenker 8217;s 3., 5., and 8.lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new urlinie n; Schenker 8217;s three forms of the Ursatz are preferred instead. Martin 8217;s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces
mtosmt.org 2013-03-16 ⚑music
urlinie other than Schenker 8217;s 3., 5., and 8.lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new urlinie n; Schenker 8217;s three forms of the Ursatz are preferred instead. Martin 8217;s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces
MORE
ⓘ
Mto 18.3 heyer, applying schenkerian theory to mainstream jazz
urlinie n, Steve Larson, Henry MartinABSTRACT This paper examines several recent modified Schenkerian analyses in order to compare the strengths and weaknesses of a modified approach with those of an orthodox approach to analyzing jazz. The comparative analyses will reveal that while the application of orthodox Schenkerian theory may be unnecessary to produce meaningful analyses, its abandonment is also unnecessary. In fact,
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