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Considering Network Recursion and Bartok's "Fourths"
dc.contributor.author | Murphy, Scott | |
dc.date.accessioned | 2012-07-10T21:05:05Z | |
dc.date.available | 2012-07-10T21:05:05Z | |
dc.date.issued | 2007-09 | |
dc.identifier.citation | Murphy, Scott. “Considering Network Recursion and Bartók’s ‘Fourths’,” Music Theory Online 13/3 (September 2007). | |
dc.identifier.uri | http://hdl.handle.net/1808/9976 | |
dc.description | This is the author's final draft. The publisher's official version is available from: http://www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.murphy.html | |
dc.description.abstract | Notions of network recursion, as they have been designated in music analyses, may be organized into five categories that range from exact self-similarity to self-dissimilarity. This perspective reveals that Michael Buchler’s critique of network recursion does not necessarily fully apply to analyses in all categories of network recursion. An analysis of Bartók’s “Fourths” serves as an example of how network recursion analysis can achieve significant results and avoid most of, if not all of, Buchler’s critique. | |
dc.language.iso | en | |
dc.publisher | Society for Music Theory | |
dc.relation.isversionof | http://www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.murphy.html | |
dc.subject | Klumpenhouwer network | |
dc.subject | Recursion | |
dc.subject | Self-similarity | |
dc.subject | Bartók, Bela | |
dc.subject | Analysis | |
dc.subject | inversion | |
dc.subject | Mirror | |
dc.subject | Axis | |
dc.subject | Register | |
dc.title | Considering Network Recursion and Bartok's "Fourths" | |
dc.type | Article | |
kusw.kuauthor | Murphy, Scott | |
kusw.kudepartment | Music | |
kusw.oastatus | fullparticipation | |
kusw.oaversion | Scholarly/refereed, author accepted manuscript | |
kusw.oapolicy | This item meets KU Open Access policy criteria. | |
dc.rights.accessrights | openAccess |