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Form in Twentieth-Century Music (1969–70)
by
James Tenney
in
Acoustical properties
/ Acoustics
/ Applied sciences
/ Art theory
/ Arts
/ Dynamical systems
/ Ergodic theory
/ Music
/ Music analysis
/ Music psychology
/ Music theory
/ Musical chords
/ Musical forms
/ Musical perception
/ Musical pitch
/ Musical rhetoric
/ Musical rhythm
/ Musical structure
/ Musical time
/ Musical tuning
/ Performing arts
/ Physical sciences
/ Physics
/ Psychology of art
/ Sound pitch
/ Systems science
/ Systems theory
/ Tonal theory
/ Tuning systems
2015
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Form in Twentieth-Century Music (1969–70)
by
James Tenney
in
Acoustical properties
/ Acoustics
/ Applied sciences
/ Art theory
/ Arts
/ Dynamical systems
/ Ergodic theory
/ Music
/ Music analysis
/ Music psychology
/ Music theory
/ Musical chords
/ Musical forms
/ Musical perception
/ Musical pitch
/ Musical rhetoric
/ Musical rhythm
/ Musical structure
/ Musical time
/ Musical tuning
/ Performing arts
/ Physical sciences
/ Physics
/ Psychology of art
/ Sound pitch
/ Systems science
/ Systems theory
/ Tonal theory
/ Tuning systems
2015
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Do you wish to request the book?
Form in Twentieth-Century Music (1969–70)
by
James Tenney
in
Acoustical properties
/ Acoustics
/ Applied sciences
/ Art theory
/ Arts
/ Dynamical systems
/ Ergodic theory
/ Music
/ Music analysis
/ Music psychology
/ Music theory
/ Musical chords
/ Musical forms
/ Musical perception
/ Musical pitch
/ Musical rhetoric
/ Musical rhythm
/ Musical structure
/ Musical time
/ Musical tuning
/ Performing arts
/ Physical sciences
/ Physics
/ Psychology of art
/ Sound pitch
/ Systems science
/ Systems theory
/ Tonal theory
/ Tuning systems
2015
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Form in Twentieth-Century Music (1969–70)
2015
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Overview
FORM. In the most general sense:shape(contour, the variation of some attribute of a thing in space or time) andstructure(the disposition of parts, relations of part to part, and of part to whole). In music, shape is the result ofchangesin some attribute or parameter of sound in time, while structure has to do with various relations between sounds and sound-configurations at the same or at different moments in time. The word is often used in the more restricted sense of a fixed or standard scheme of relationships (e.g., “sonata form”), but this definition ofform
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