Ian Quinn
Biographic Data
| ID | 1379105 |
|---|---|
| NAME | Ian Quinn |
| GIVEN NAMES | Ian |
| FAMILY NAME | Quinn |
| SIGNATURE | QUINN I |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Tonal Harmony
This chapter introduces a novel explanatory model for the tonal grammar of music from the thoroughbass era, encompassing baroque and galant practices. The framework models the internalized knowledge of a skilled continuo player improvising at the keyboard prior to Rameau’s invention of the fundamental-bass concept. It makes predictions about the tonal tendency of a chord based on the interaction of its constituent scale-degrees. The framework mod…
Minimal Challenges
Critiques of formalist modes of musical analysis resemble critiques of certain types of minimal music. One ironic, if not downright paradoxical aspect of this parallel is that the sharpest attacks on minimal music have come from writers sympathetic to formalism. A reconciliation of sorts has been reached by formalist admirers of minimalism, for whom the music is a staging ground for reflexive methodological critique
Minimal Challenges
Critiques of formalist modes of musical analysis resemble critiques of certain types of minimal music. One ironic, if not downright paradoxical aspect of this parallel is that the sharpest attacks on minimal music have come from writers sympathetic to formalism. A reconciliation of sorts has been reached by formalist admirers of minimalism, for whom the music is a staging ground for reflexive methodological critique
Minimal Challenges
Critiques of formalist modes of musical analysis resemble critiques of certain types of minimal music. One ironic, if not downright paradoxical aspect of this parallel is that the sharpest attacks on minimal music have come from writers sympathetic to formalism. A reconciliation of sorts has been reached by formalist admirers of minimalism, for whom the music is a staging ground for reflexive methodological critique
Tonal Harmony
This chapter introduces a novel explanatory model for the tonal grammar of music from the thoroughbass era, encompassing baroque and galant practices. The framework models the internalized knowledge of a skilled continuo player improvising at the keyboard prior to Rameau’s invention of the fundamental-bass concept. It makes predictions about the tonal tendency of a chord based on the interaction of its constituent scale-degrees. The framework mod…
Aesthetics (2 works) · Art (2 works) · Computer Science (2 works) · Music and Audio Processing (2 works) · Musical (2 works) · Neuroscience and Music Perception (2 works) · Philosophy (2 works) · Sociology (2 works) · Chord (peer-to-peer) (1 work) · Counterpoint (1 work)