“…Finally, they say of their analysis that it "demonstrates that Bryars' harmonies are not to be dismissed simply as non-functional sonorities". Instead, "The parsimonious voice leading apparent in the music is a systematic, not arbitrary, consequence of the transformational system Bryars employs" (Roeder and Although Tymoczko (2008a) defines triadic transformations (e.g., neo-Riemannian transformations) as a strictly harmonic phenomenon that "does not specify any particular mapping between its notes" (p. 10), Richard Cohn (1998) explains that these transformations invert a triad, "mapping major and minor triads to each other", and that "because the inversional axis is defined in relation to the triad's component pitch classes, rather than as a fixed point in pitch-class space, this class of transformations is now referred by the term "contextual inversion" (p. 170). The present study asserts that Macklay's use of this class of triadic transformation is often equivalent to a contextually fluid voice mapping that can be described as a dual process of inversion.…”