Organized Time

Jason Yust is Assistant Professor of Music Theory at Boston University. Born in St. Louis, Missouri, he received a BA in Music at Brown University and a PhD in Music Theory from the University of Washington. His research interests include mathematical theories of harmonic space; metrical, tonal, and formal structure in tonal music; and music perception and cognition.

• Contents Introduction Time and Landscape DimensionChapter 1: Rhythmic Hierarchy and the Network Model 1.1 Metric and Rhythmic Structures as Temporal Hierarchies 1.2 Rhythmic Classes and Transformations 1.3 Inferring Rhythmic Hierarchies 1.4 MetricalityChapter 2: Tonal Structure 2.1 Melodic Structure 2.2 Backgrounds 2.3 Repetition 2.4 Keys 2.5 Tonal Models for Binary FormsChapter 3: Formal Structure 3.1 Elements of Form: Repetition, Contrast, Fragmentation 3.2 Small Baroque Forms 3.3 Expositions and the Secondary Theme 3.4 Interactions of Form and Tonal StructureChapter 4: Structural Networks and the Experience of Musical Time 4.1 Depth, Distance, and the Classification of Structural Shapes 4.2 A Phenomenology of Structure 4.3 Center, Skew, and Bias 4.4 Splitting and DisjunctionChapter 5: Timespan Intervals 5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue 5.2 Classification of Timespan Intervals 5.3 Hypermetric Hemiola in a Bach Prelude 5.4 Transformations of Rhythmic StructuresChapter 6: Hypermeter 6.1 Hypermeter in the Eye of the Beholder 6.2 Some Criteria for Hypermetric Analysis 6.3 Functions of Hypermetric Shift in Haydn's Symphonies 6.4 Indefinite Hypermeter and Hypermetric ReinterpretationChapter 7: Hypermeter, Form, and Closure 7.1 Hypermetric Placement in Cadential Syntax 7.2 Mozart's Afterbeat Melodic Ideas 7.3 Main Theme Endings in Haydn's Symphonies 7.4 Elided Cadences and Expositional Closure 7.5 Beethoven's Open ExpositionsChapter 8: Syncopation 8.1 Contrapuntal and Tonal versus Structural Syncopation 8.2 Contrapuntal Syncopation and Metrical Dissonance 8.3 Hypermetric Syncopation and Contrapuntal Displacement 8.4 Rhythmic Process as Formal Process in BeethovenChapter 9: Counterpoint 9.1 Rhythmic Counterpoint9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint 9.3 Counterpoint of Tonal Structures 9.4 Formal CounterpointChapter 10: Harmony Simplified 10.1 Harmonic Syntax and Structure 10.2 Voice Leading on the Tonnetz 10.3 EnharmonicismChapter 11: Reforming Formal Analysis 11.1 Tonal Disjunction and the Phrase 11.2 Ritornello Form in the Eighteenth-Century Symphony 11.3 Form(s) and Recipes 11.4 Outside the FrameChapter 12: Tonal-Formal Disjunction 12.1 High-Level Tonal-Formal Disjunction in Sonata Form 12.2 Alternate Subordinate Keys12.3 Disjunction in the Exposition: Modulating Subordinate Themes 12.4 Off-Tonic RecapitulationsChapter 13: Graph Theory for Temporal Structure 13.1 Planarity and Cycles 13.2 Direction and Confluence 13.3 Chords and Holes 13.4 Reduction Trees, Event Trees, and Spanning Trees over MOPs 13.5 Spanning Trees and the Cycle/Edge-Cut AlgebrasChapter 14: A Geometry of Temporal Structure 14.1 Associahedra 14.2 Higher-Dimensional Associahedra and their Facets 14.3 Evenness Epilogue

Astonishing in both its ambition and its achievement. [Organized Time] offers a theory of tonal music that treats harmony, rhythm, and form as separate dimensions that might either reinforce or contradict each other, providing an appealing notation system that permits direct comparison of these dimensions. It profoundly rethinks aspects of tonal theory that we had thought pretty well settled. The theoretical framework is powerful and the analyses-of both familiar and unfamiliar tonal works-are deeply revealing.