Organized Time is the first attempt to unite theories of harmony, rhythm, and form under a common idea of structured time. This is a major advance in the field of music theory, leading to new theoretical approaches to topics such as closure, hypermeter, and formal function.

• Contents


• Introduction


• Time and Landscape


• Dimension


• Chapter 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 Metricality


• Chapter 2: Tonal Structure


• 2.1 Melodic Structure


• 2.2 Backgrounds


• 2.3 Repetition


• 2.4 Keys


• 2.5 Tonal Models for Binary Forms


• Chapter 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 Structure


• Chapter 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 Disjunction


• Chapter 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 Structures


• Chapter 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 Reinterpretation


• Chapter 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 Expositions


• Chapter 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 Beethoven


• Chapter 9: Counterpoint


• 9.1 Rhythmic Counterpoint


• 9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint


• 9.3 Counterpoint of Tonal Structures


• 9.4 Formal Counterpoint


• Chapter 10: Harmony Simplified


• 10.1 Harmonic Syntax and Structure


• 10.2 Voice Leading on the Tonnetz


• 10.3 Enharmonicism


• Chapter 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 Frame


• Chapter 12: Tonal-Formal Disjunction


• 12.1 High-Level Tonal-Formal Disjunction in Sonata Form


• 12.2 Alternate Subordinate Keys


• 12.3 Disjunction in the Exposition: Modulating Subordinate Themes


• 12.4 Off-Tonic Recapitulations


• Chapter 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 Algebras


• Chapter 14: A Geometry of Temporal Structure


• 14.1 Associahedra


• 14.2 Higher-Dimensional Associahedra and their Facets


• 14.3 Evenness


• Epilogue

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.