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- J. F. Daube's "General-Bass in drey Accorden" (1756): A Translation and Commentary
- General-Bass in drey Accorden (1756), the first of Johann Friedrich Daube's theoretical works, is a practical instruction manual in thorough-bass accompaniment. It consists of a sixteen page preface followed by 215 pages of text and musical examples. The twelve chapters begin with a presentation of interval classification and a discussion of consonance and dissonance. Daube then explains a theory of harmony in which all "chords" are derived from three primary chords. These are illustrated with regard to their sequence in harmonic progressions, their resolutions—common and uncommon—, and their use in modulation. Seventy-two pages of musical examples of modulations from all major and minor keys to all other keys are included. Particular attention is given to the fully diminished seventh chord, which is illustrated in all inversions and in numerous modulatory progressions. Daube devotes one chapter to three methods of keyboard accompaniment. The subject matter includes textures, dynamics, proper doubling, the accompaniment of recitatives, full-voiced accompaniment, the use of arpeggiation, trills, running passages, and ornamentation in general.
- The Aural Perception of Pitch-Class Set Relations: A Computer-Assisted Investigation
- Allen Forte's theory of pitch-class set structure has provided useful tools for discovering structural relationships in atonal music. As valuable as set—theoretic procedures are for composers and analysts, the extent to which set relationships are perceptible by the listener largely remains to be investigated. This study addresses the need for aural-perceptual considerations in analysis, reviews related research in music perception, and poses questions concerning the aural perceptibility of set relationships. Specifically, it describes and presents the results of a computer-assisted experiment in testing the perceptibility of set-equivalency relationships.
- Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk
- The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.