Schoenberg's Chordal Experimentalism Revealed through Representational Hierarchy Association (RHA), Contour Motives, and Binary State Switching

Ruth Crawford’s String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form

“…For instance, scholars focus on the kinships among consecutive or non-consecutive pitchclass segments that can be associated by a certain underlying attribute (such as the same set-class family member, pitch contour, or an apparent contextual element). The representative research of the association theory includes Straus (1987), Hannien (1996Hannien ( , 2004Hannien ( , 2012, and Mailman (2015).…”

Metaphysical Materials: Schoenberg in Our Time

“…This is in keeping with Earle's belief that ‘the very essence of musical modernism's self‐understanding lay in its complex engagement with the bourgeois canon of the eighteenth and nineteenth centuries’ (2015, p. 109). Yet – and similar Schoenbergian issues are addressed in a very different way in Boss () and Mailman () – it appears that this complexity results in a questioning or even rejection of that canon's tonality‐affirming commitment to organic connectedness. In consequence, according to Earle's reading of Scruton (), ‘in the first movement of the Fourth Quartet one has the sense of a musical discourse poised on the edge of incomprehensibility, liable to collapse at any moment […] from continuity to discontinuity, tone to sound’ (2015, p. 108).…”

“…11 and Op. 19 piano pieces while retaining the term ‘atonality’ on the pragmatic grounds that it remains ‘in common use’ (Mailman , p. 224).…”