Tonal Pitch Space を用いた楽曲の和声解析

attempting to express degrees of modulation among related keys, developed circles on which all the major and minor keys were placed. Adjacent moves on these circles represented close modulations and nonadjacent moves, more distant modulations. (Werts (1983) gives an historical review.) These primitive circles culminated in the elegant pitch space of Weber (1824), which corresponds to Schoenberg's (1954) chart of regions.1 There is a complementary relationship between these topological models and various twentieth-century tonal theories that focus on structure in actual pieces, such as Schenker (1935), Meyer (1973), and Lerdahl and Jackendoff (1983, A Generative Theory of Tonal Music, henceforth GTTM).

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