Hello!

If you would like to participate in discussions, please sign in or register.

Sign In with Facebook Sign In with Twitter

HeatherL

About

Username
HeatherL
Joined
Visits
21
Last Active
Roles
Member
First Name
Heather
Last Name
Laurel
Affliation or Location
CCNY and NYU
Research Interests
Schenkerian Analysis, Rock Analysis, Chromaticism, Feminist Music Theory, Women Composers, Seventeenth-Century Music
Facebook
https://www.facebook.com/runningheather
Twitter
@Runningsoprano
Website
http://www.ccny.cuny.edu/profiles/Heather-Laurel.cfm

Comments

  • Hi All, I'm in agreement with most here: shorter papers and many of the other suggestions. Although I've been invited to participate as part of special sessions, I've never had a paper accepted blindly by an SMT program committee (I've probably subm…
  • NM wrote: " You rightly describe m. 24-25 as introducing the "E♭/E♮ thing". But there, the chromatic movement is E♭–E♮–F, while in m. 26-27 it is F–E♮–E♭..."  Yes, that was my point! Sorry if I wasn't more clear. As for the hearing/seeing thing, I'm…
  • P.S., Apologies for mixing up capital and lower case roman numerals above, I didn't commit to one way or another while typing my comments. You get the point, though! --HL
  • I am not in any way fluent in German, I used a dictionary, my knowledge of some of Schenker's terms, and the music to guide me through the passage. Just to be clear! But I think Schenker was making a point about chromaticism and tonicization/modulat…
  • Bryan, I see. I wasn't discussing prolongation or anything, I was just saying that I can't hear that chord as a vi7, since I hear the passage in Bb minor, so I wouldn't label it that way. (Schenker didn't either; he analyzes those measures in B-flat…
  • Bryan, Are you looking for examples if interrupted/unresolved augmented sixth chords? Because I don't hear the second chord in m. 27 as a vi7 chord. I hear it as an extension of the augmented sixth chord, just unresolved because the E-natural goes t…