Tonal Müzikte Armonik İşlev ve Temel Armoni Teorilerine Genel Bir Bakış

Altay, G. (2014). Tonal Müzikteki Tonunun İşlevleri ve Armoni Derslerindeki Uygulamaları. Karabük Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 4(1), ss.1-12. https://doi.org/10.14230/joiss64

Balsach, L. (2016). The foundations of harmonic tensions (The fundamentals of harmonic tensions), (Provisional English Translation). Editorial Boileau, Barcelona.

Bernstein D. W. (1993). Symmetry and symmetrical inversion in turn-of-the-century theory and practice. Music Theory and the Exploration of the Past S. 377-407.

Bernstein D. W. (2008). Nineteenth-century harmonic theory: the Austro-German legacy. Christensen, T. (ed.), 4. Basım. Cambridge History of Music Theory içinde (778 – 811).

Bittencourt, M.A. (2013). Reimagining a Riemannian symbology for the structural harmonic analysis of 19th-century tonal music Revista Vortex.

Burkholder, J.P., Grout, D. J. ve Palisca, C.V., A History of Western Music, (8th Edition), Newyork: W. W. Norton & Company.

Cadrin, P. (1994). Review of [Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990. XV 389 pp. ISBN 0-691-09135-8]. Canadian University Music Review / Revue de musique des universités canadiennes, (14), 188–210. https://doi.org/10.7202/1014318ar

Christensen, T. (2019). Stories of Tonality in the Age of François-Joseph Fétis, Chicago University Press.

Ceulemans, A-E. (1989). Les conceptions fonctionnelles de l'harmonie de J.-Ph. Rameau, Fr. J. Fétis, S. Sechter et H. Riemann. [Masters Thesis: Catholic University of Louvain].

Dahlhaus, C. (1990). Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press.

Ewell, P. A. (2020) Harmonic Functionalism in Russian Music Theory: A Primer.” Theoria 26/2020: 61–84.

Ferris, J. (1959). The Evolution of Rameau’s “Harmonic Theories.” Journal of Music Theory, 3(2), 231–256. https://doi.org/10.2307/842852

Forte, A., Gilbert, S.E. (1982). Introduction to Schenkerian Analysis. W. W. Norton & Company.

Gauldin, R. (2004). Harmonic Practice in Tonal Music, W.W. Norton & Company

Gessele, C. M. (1994). Fundamental Bass Theory Meets Practice: Evidence from a Composition Contest. The Journal of Musicology, 12(1), ss. 19–50. https://doi.org/10.2307/763936

Gjerdingen, R. O. (1990). A Guide to Terminology of German Harmony. Studies on the Origin of Harmonic Tonality.

Grave, F. K. (1979). Abbe Vogler and the Bach Legacy. Eighteenth-Century Studies, 13(2), 119–141. https://doi.org/10.2307/2738135

Hook, J. (2007). David Lewin and the Complexity of the Beautiful [Review of Generalized Musical Intervals and Transformations; Musical Form and Transformation: 4 Analytic Essays, by D. Lewin]. Intégral, 21, 155–190. http://www.jstor.org/stable/40214038

Jadassohn, S. (1890). A Course Of Instructıon In Pure Harmonic Writing, Volume Three, New York.

Jorgensen, D. (Jan. 1963) A Résumé of Harmonic Dualism. Music & Letters. 44/1: 32–33.

Kopp, D. (May.1995). On the Fucntion of Function. Society forMusic Theory. Volume 1, Number 3. https://mtosmt.org/issues/mto.95.1.3/mto.95.1.3.kopp.html

Kostka, S., Payne, D. (2008). Tonal Harmony. 6th Edition. MacGraww Hill.

Laitz, S. G. (2008), The complete musician: an integrated approach to tonal theory, analysis, and listening. Oxford University Press.

Larson, S. (1993). Scale-Degree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills Pedagogy. Journal of Music Theory Pedagogy: Vol. 7, Article 5.

Lester, J. (2008). Rameau and eighteenth-century harmonic theory. Christensen, T. (ed.), 4. Basım. Cambridge History of Music Theory içinde (753 – 777)

Lewin, D. (1987). Musical Intervals and Transformations. Oxford University Press.

Maler, W. (1957). Beitraq Zur Durmoltonalen Harmonielehre. Leipzig.

Meeùs,N. (Dec. 2018) Harmonic Vectors and the Constraints of Tonality. Society for Music Theor. Volume 24, Number 4. Doi: 10.30535/mto.24.4.11

Meeùs, N. (2017). Schenker's fließender Gesang and the Concept of Melodic Fluency. Orfeu 2/1, 2017, ss. 160–170.

Pearce, T. (2008). Tonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology. Intégral, 22, 81–116. http://www.jstor.org/stable/20696499

Pratt, R. (2023). Relative Intonation: Non-Symmetrical Implications of Linear And Logarithmic Intervallic Measurement. Tempo, 77 (306), 22–50. doi:10.1017/S0040298223000347

Rameau, J.P. (1722) Traité de l'harmonie réduite à ses principes naturels. Gosset, P. (çev.) (1971). New York: Dover.

Rameau, J.P. (1726). Nouveau systême de musique théorique. Paris.

Rehding, A. (2003). Hugo Riemann and the Birth of Modern Musical Thought. Cambridge University Press.

Riemann, H. (1893). Vereinfachte Harmonielehre, oder die Lehre von den Tonalen Funktionen der Akkorde. English translation, London, Augener, ca 1895, 2d edition 1903.

Riley, M. (2004). The “Harmonic Major” Mode in Nineteenth-Century Theory and Practice. Music Analysis, 23 (1), 1–26. http://www.jstor.org/stable/3700427

Roig-Francoli, M. A. (1954). Harmony in Context. McGraw Hill.

Saygun A. (1966). Musiki Temel Bilgisi (Musiki Nazariyatı), Kitap IV, MEB Basımevi

Schenker, H. (1954). Harmony. Jonas, O. (ed.). Mann-Borgese, E. (çev.). University of Chicago Press.

Schoenberg, A. (1978). Theory of Harmony.University of California Press.

Simms, B. (1975). Choron, Fétis, and the Theory of Tonality. Journal of Music Theory, 19(1), 112–138. https://doi.org/10.2307/843752

Suurpää, L. (2021). Review of Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice by Eric Wen, Lowman and Rittlefield, 2019. Intégral, 34: 59–66.

Tachovsky, T. (2007). Hugo Riemann's concept of tonality. (Doi: 10.17615/JJC0-9Y61) [Masters Thesis: University of North Caroline. ChapelHill].

Tiulin, Yuri. (1966). Учение о гармонии (Studies in harmony). 3rd edition. Moscow: Muzyka.

Tymoczko, D. (2003). Root Motion, Function, Scale-degree. English version, http://dmitri.mycpanel.princeton.edu/files/publications/tonaltheories.pdf. Original in French: Musurgia X (3–4): 35–64.

Vogler, A. J. G. (1802). Handbuch zur Harmonilehre. K. Barth, Prag.

Weber, G. (1817). Versuch einer geordneten Theorie der Tonsetzkunst. Erster Band. Mainz: B. Schott.

Wen, E. (2019). Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice. Rowman & Littlefield Publishers.

“Armoni” tanımına (05.02.2024 tarihinde http://aksozluk.org/armoni adresinden ulaşılmıştır).

Şekil 2 görseline (12.02.2024 tarihinde https://www.esm.rochester.edu/integral/34-2020/suurpaa/ adresinden ulaşılmıştır).

Şekil 6 görseline (17.02.2024 tarihinde https://www.jordanali.com/writing/the-bach-chorale adresinden ulaşılmıştır).

Şekil 12 görseline (21.02.2024 https://www.esm.rochester.edu/integral/34-2020/suurpaa/ tarihinde adresinden ulaşılmıştır).

Şekil 14.2. görseline (29.02.2024 tarihinde https://www.cambridge.org/core/journals/tempo/article/relative-intonation-nonsymmetrical-implications-of-linear-and-logarithmic-intervallic-measurement/1D3C37CDC46FF8F494254997C666491F adresinden ulaşılmıştır).

Şekil 17.1. ve 17.2. görsellerine (15.03.2024 tarihinde https://www.lamadeguido.com/fundamentos/ecap5.htm adresinden ulaşılmıştır.).

İlgili metne (20.03.2024 tarihinde https://openmusictheory.github.io/harmonicFunctions.html adresinden ulaşılmıştır).

Altay, G. (2014). Tonal Müzikteki Tonunun İşlevleri ve Armoni Derslerindeki Uygulamaları. Karabük Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 4(1), ss.1-12. https://doi.org/10.14230/joiss64

Balsach, L. (2016). The foundations of harmonic tensions (The fundamentals of harmonic tensions), (Provisional English Translation). Editorial Boileau, Barcelona.

Bernstein D. W. (1993). Symmetry and symmetrical inversion in turn-of-the-century theory and practice. Music Theory and the Exploration of the Past S. 377-407.

Bernstein D. W. (2008). Nineteenth-century harmonic theory: the Austro-German legacy. Christensen, T. (ed.), 4. Basım. Cambridge History of Music Theory içinde (778 – 811).

Bittencourt, M.A. (2013). Reimagining a Riemannian symbology for the structural harmonic analysis of 19th-century tonal music Revista Vortex.

Burkholder, J.P., Grout, D. J. ve Palisca, C.V., A History of Western Music, (8th Edition), Newyork: W. W. Norton & Company.

Cadrin, P. (1994). Review of [Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990. XV 389 pp. ISBN 0-691-09135-8]. Canadian University Music Review / Revue de musique des universités canadiennes, (14), 188–210. https://doi.org/10.7202/1014318ar

Christensen, T. (2019). Stories of Tonality in the Age of François-Joseph Fétis, Chicago University Press.

Ceulemans, A-E. (1989). Les conceptions fonctionnelles de l'harmonie de J.-Ph. Rameau, Fr. J. Fétis, S. Sechter et H. Riemann. [Masters Thesis: Catholic University of Louvain].

Dahlhaus, C. (1990). Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press.

Ewell, P. A. (2020) Harmonic Functionalism in Russian Music Theory: A Primer.” Theoria 26/2020: 61–84.

Ferris, J. (1959). The Evolution of Rameau’s “Harmonic Theories.” Journal of Music Theory, 3(2), 231–256. https://doi.org/10.2307/842852

Forte, A., Gilbert, S.E. (1982). Introduction to Schenkerian Analysis. W. W. Norton & Company.

Gauldin, R. (2004). Harmonic Practice in Tonal Music, W.W. Norton & Company

Gessele, C. M. (1994). Fundamental Bass Theory Meets Practice: Evidence from a Composition Contest. The Journal of Musicology, 12(1), ss. 19–50. https://doi.org/10.2307/763936

Gjerdingen, R. O. (1990). A Guide to Terminology of German Harmony. Studies on the Origin of Harmonic Tonality.

Grave, F. K. (1979). Abbe Vogler and the Bach Legacy. Eighteenth-Century Studies, 13(2), 119–141. https://doi.org/10.2307/2738135

Hook, J. (2007). David Lewin and the Complexity of the Beautiful [Review of Generalized Musical Intervals and Transformations; Musical Form and Transformation: 4 Analytic Essays, by D. Lewin]. Intégral, 21, 155–190. http://www.jstor.org/stable/40214038

Jadassohn, S. (1890). A Course Of Instructıon In Pure Harmonic Writing, Volume Three, New York.

Jorgensen, D. (Jan. 1963) A Résumé of Harmonic Dualism. Music & Letters. 44/1: 32–33.

Kopp, D. (May.1995). On the Fucntion of Function. Society forMusic Theory. Volume 1, Number 3. https://mtosmt.org/issues/mto.95.1.3/mto.95.1.3.kopp.html

Kostka, S., Payne, D. (2008). Tonal Harmony. 6th Edition. MacGraww Hill.

Laitz, S. G. (2008), The complete musician: an integrated approach to tonal theory, analysis, and listening. Oxford University Press.

Larson, S. (1993). Scale-Degree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills Pedagogy. Journal of Music Theory Pedagogy: Vol. 7, Article 5.

Lester, J. (2008). Rameau and eighteenth-century harmonic theory. Christensen, T. (ed.), 4. Basım. Cambridge History of Music Theory içinde (753 – 777)

Lewin, D. (1987). Musical Intervals and Transformations. Oxford University Press.

Maler, W. (1957). Beitraq Zur Durmoltonalen Harmonielehre. Leipzig.

Meeùs,N. (Dec. 2018) Harmonic Vectors and the Constraints of Tonality. Society for Music Theor. Volume 24, Number 4. Doi: 10.30535/mto.24.4.11

Meeùs, N. (2017). Schenker's fließender Gesang and the Concept of Melodic Fluency. Orfeu 2/1, 2017, ss. 160–170.

Pearce, T. (2008). Tonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology. Intégral, 22, 81–116. http://www.jstor.org/stable/20696499

Pratt, R. (2023). Relative Intonation: Non-Symmetrical Implications of Linear And Logarithmic Intervallic Measurement. Tempo, 77 (306), 22–50. doi:10.1017/S0040298223000347

Rameau, J.P. (1722) Traité de l'harmonie réduite à ses principes naturels. Gosset, P. (çev.) (1971). New York: Dover.

Rameau, J.P. (1726). Nouveau systême de musique théorique. Paris.

Rehding, A. (2003). Hugo Riemann and the Birth of Modern Musical Thought. Cambridge University Press.

Riemann, H. (1893). Vereinfachte Harmonielehre, oder die Lehre von den Tonalen Funktionen der Akkorde. English translation, London, Augener, ca 1895, 2d edition 1903.

Riley, M. (2004). The “Harmonic Major” Mode in Nineteenth-Century Theory and Practice. Music Analysis, 23 (1), 1–26. http://www.jstor.org/stable/3700427

Roig-Francoli, M. A. (1954). Harmony in Context. McGraw Hill.

Saygun A. (1966). Musiki Temel Bilgisi (Musiki Nazariyatı), Kitap IV, MEB Basımevi

Schenker, H. (1954). Harmony. Jonas, O. (ed.). Mann-Borgese, E. (çev.). University of Chicago Press.

Schoenberg, A. (1978). Theory of Harmony.University of California Press.

Simms, B. (1975). Choron, Fétis, and the Theory of Tonality. Journal of Music Theory, 19(1), 112–138. https://doi.org/10.2307/843752

Suurpää, L. (2021). Review of Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice by Eric Wen, Lowman and Rittlefield, 2019. Intégral, 34: 59–66.

Tachovsky, T. (2007). Hugo Riemann's concept of tonality. (Doi: 10.17615/JJC0-9Y61) [Masters Thesis: University of North Caroline. ChapelHill].

Tiulin, Yuri. (1966). Учение о гармонии (Studies in harmony). 3rd edition. Moscow: Muzyka.

Tymoczko, D. (2003). Root Motion, Function, Scale-degree. English version, http://dmitri.mycpanel.princeton.edu/files/publications/tonaltheories.pdf. Original in French: Musurgia X (3–4): 35–64.

Vogler, A. J. G. (1802). Handbuch zur Harmonilehre. K. Barth, Prag.

Weber, G. (1817). Versuch einer geordneten Theorie der Tonsetzkunst. Erster Band. Mainz: B. Schott.

Wen, E. (2019). Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice. Rowman & Littlefield Publishers.

“Armoni” tanımına (05.02.2024 tarihinde http://aksozluk.org/armoni adresinden ulaşılmıştır).

Şekil 2 görseline (12.02.2024 tarihinde https://www.esm.rochester.edu/integral/34-2020/suurpaa/ adresinden ulaşılmıştır).

Şekil 6 görseline (17.02.2024 tarihinde https://www.jordanali.com/writing/the-bach-chorale adresinden ulaşılmıştır).

Şekil 12 görseline (21.02.2024 https://www.esm.rochester.edu/integral/34-2020/suurpaa/ tarihinde adresinden ulaşılmıştır).

Şekil 14.2. görseline (29.02.2024 tarihinde https://www.cambridge.org/core/journals/tempo/article/relative-intonation-nonsymmetrical-implications-of-linear-and-logarithmic-intervallic-measurement/1D3C37CDC46FF8F494254997C666491F adresinden ulaşılmıştır).

Şekil 17.1. ve 17.2. görsellerine (15.03.2024 tarihinde https://www.lamadeguido.com/fundamentos/ecap5.htm adresinden ulaşılmıştır.).

İlgili metne (20.03.2024 tarihinde https://openmusictheory.github.io/harmonicFunctions.html adresinden ulaşılmıştır).