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dc.creatorNeumeyer, David
dc.date.accessioned2017-10-30T17:14:15Z
dc.date.available2017-10-30T17:14:15Z
dc.date.issued2017-10-30
dc.identifierdoi:10.15781/T2NP1X139
dc.identifier.urihttp://hdl.handle.net/2152/62332
dc.description.abstractIn the endnotes to an article published thirty years ago, I list about thirty compositions as representative examples of different forms of the ascending Urlinie. This document provides analyses and discussion of all those pieces, as well as additional discussion of two pieces from the article’s main text: Bach, Prelude in C Major, BWV 924 (as compositional exercise); Beethoven, Piano Sonata in Bb major, op. 22, III (rising Urlinie and register).en_US
dc.language.isoengen_US
dc.relation.ispartofUT Faculty/Researcher Worksen_US
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectmusic theoryen_US
dc.subjectmusic historyen_US
dc.titleThe Ascending Urlinie (Journal of Music Theory, 1987): Studies of Music from the Endnotesen_US
dc.typeArticleen_US
dc.description.departmentMusicen_US
dc.rights.restrictionOpenen_US


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Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivs 3.0 United States