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Mark Sallmen

Biographic Data

ID1645102
NAMEMark Sallmen
GIVEN NAMESMark
FAMILY NAMESallmen
SIGNATURESALLMEN M
AFFILIATIONSUniversity of Toronto
VERIFIEDNo
TOTAL WORKS3
TOTAL CITATIONS1
WORKS AS AUTHOR3
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2007
LATEST PUBLICATION YEAR2023
H-INDEX1
  • SLIDE in a Leading Role

    Open Access•Mark Sallmen•ARTICLE•Intersections Canadian Journal of…•2023

    Barrie Cabena’s Sonata Festiva (1971) highlights SLIDE, a chord progression familiar from the neo-Riemannian and twentieth-century Russian music-theoretic literatures. Diverse expressions of SLIDE involve chord pairs, single chords, and melodic lines in textural, tonal, and formal contexts, leading to contemplative, energetic, comedic, and triumphant effects. Aspects of pitch-class set theory help to relate SLIDE to other harmonic phenomena in th…

  • Exploring Tetrachordal Voice-Leading Spaces Within and Around the Morris Constellation

    Open Access•Mark Sallmen•ARTICLE•Music Theory Online•2011•Cited by: 1•References: 37

    Building on Robert Morris's (1990) research on hexachordal ZC-relations, Stephen Soderberg (1998) identifies a constellation of ten hexachords that embed either one diminished seventh chord or two diminished triads. Soderberg divides the constellation, called MORRIS (or T-HEX), into four overlapping eight-hexachord sub-constellations based on tetrachordal subset content. The first of these sub-constellations, TRISTAN, includes the hexachords that…

  • Listening to the Music Itself

    Open Access•Mark Sallmen•ARTICLE•Music Theory Online•2007

    In "Music and the Time Screen" (1976), Elliott Carter outlines rhythmic procedures in several of his pieces, and then indicates that he has discussed only "the outer shell" and remained silent on "the issues and visions most important and significant during the act of composing." Following up on these comments, I present a two-part analysis of his "In Genesis" from In Sleep, In Thunder (1981). Part I ("The Shell") focuses on techniques emphasized…

  • Exploring Tetrachordal Voice-Leading Spaces Within and Around the Morris Constellation

    Open Access•Mark Sallmen•ARTICLE•Music Theory Online•2011•Cited by: 1•References: 37

    Building on Robert Morris's (1990) research on hexachordal ZC-relations, Stephen Soderberg (1998) identifies a constellation of ten hexachords that embed either one diminished seventh chord or two diminished triads. Soderberg divides the constellation, called MORRIS (or T-HEX), into four overlapping eight-hexachord sub-constellations based on tetrachordal subset content. The first of these sub-constellations, TRISTAN, includes the hexachords that…

  • Listening to the Music Itself

    Open Access•Mark Sallmen•ARTICLE•Music Theory Online•2007

    In "Music and the Time Screen" (1976), Elliott Carter outlines rhythmic procedures in several of his pieces, and then indicates that he has discussed only "the outer shell" and remained silent on "the issues and visions most important and significant during the act of composing." Following up on these comments, I present a two-part analysis of his "In Genesis" from In Sleep, In Thunder (1981). Part I ("The Shell") focuses on techniques emphasized…

  • Exploring Tetrachordal Voice-Leading Spaces Within and Around the Morris Constellation

    Open Access•Mark Sallmen•ARTICLE•Music Theory Online•2011•Cited by: 1•References: 37

    Building on Robert Morris's (1990) research on hexachordal ZC-relations, Stephen Soderberg (1998) identifies a constellation of ten hexachords that embed either one diminished seventh chord or two diminished triads. Soderberg divides the constellation, called MORRIS (or T-HEX), into four overlapping eight-hexachord sub-constellations based on tetrachordal subset content. The first of these sub-constellations, TRISTAN, includes the hexachords that…

  • SLIDE in a Leading Role

    Open Access•Mark Sallmen•ARTICLE•Intersections Canadian Journal of…•2023

    Barrie Cabena’s Sonata Festiva (1971) highlights SLIDE, a chord progression familiar from the neo-Riemannian and twentieth-century Russian music-theoretic literatures. Diverse expressions of SLIDE involve chord pairs, single chords, and melodic lines in textural, tonal, and formal contexts, leading to contemplative, energetic, comedic, and triumphant effects. Aspects of pitch-class set theory help to relate SLIDE to other harmonic phenomena in th…

Art (2 works) · Computer Science (2 works) · Literature (2 works) · Musicology and Musical Analysis (2 works) · Neuroscience and Music Perception (2 works) · Philosophy (2 works) · Active listening (1 work) · Aesthetics (1 work) · Artificial Intelligence (1 work) · Astronomy (1 work)

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