Tonal Center Research Articles

Sight-reading components across tonal and atonal environments in music: An exploratory analysis of performers’ self-assessed proficiency

Sight-reading poses persistent challenges for professional musicians, particularly those lacking adept sight-reading skills. Recognizing the practical implications of sight-reading as a facilitator of musical learning, scholarly endeavors have sought to identify the components that influence sight-reading proficiency. The focus on diverse tonal environments has surfaced as a key avenue for unveiling the complexities of tonality-related sight-reading skills. Against this backdrop, the present study delved into the intricate relationship between sight-reading components and tonal characteristics in music, employing performers’ self-assessments of their proficiencies in these domains. The findings revealed that sight-readers exhibit comparable self-assessments of their proficiency in sight-reading, but a significant disparity emerged between tonal and atonal sight-reading. Common predictors—rhythm reading, playing by ear, and performance techniques—emerged as influential factors explaining proficiency in both tonal and atonal sight-reading proficiency. In contrast, the predictors that include knowledge of tonal center, tonal function, and basic music theory were indicative for tonal sight-reading, while music interpretation and complexity of tonality were connected to atonal sight-reading proficiency. The findings highlight the useful integration of sight-reading components within diverse tonal environments, which offers flexibility, practicality, and adaptability in sight-readers’ practice.

Auditory imagery ability influences accuracy when singing with altered auditory feedback.

In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers' accuracy and expression.

Boosting or inhibiting - how semantic-pragmatic and syntactic cues affect prosodic prominence relations in German.

In this exploratory study, we investigate the influence of several semantic-pragmatic and syntactic factors on prosodic prominence production in German, namely referential and lexical newness/givenness, grammatical role, and position of a referential target word within a sentence. Especially in terms of the probabilistic distribution of accent status (nuclear, prenuclear, deaccentuation) we find evidence for an additive influence of the discourse-related and syntactic cues, with lexical newness and initial sentence position showing the strongest boosting effects on a target word's prosodic prominence. The relative strength of the initial position is found in nearly all prosodic factors investigated, both discrete (such as the choice of accent type) and gradient (e.g., scaling of the Tonal Center of Gravity and intensity). Nevertheless, the differentiation of prominence relations is information-structurally less important in the beginning of an utterance than near the end: The prominence of the final object relative to the surrounding elements, especially the verbal component, is decisive for the interpretation of the sentence. Thus, it seems that a speaker adjusts locally important prominence relations (object vs. verb in sentence-final position) in addition to a more global, rhythmically determined distribution of prosodic prominences across an utterance.

Operа in the Silent Film: The Case of “Der Rosenkavalier”

The article deals with the production history of the film “Der Rosenkavalier”, shot in 1925 by director Robert Wiene based on the popular opera of the same name by Richard Strauss and Hugo von Hofmannsthal. The peculiarity of the film was that by the time of filming the musical accompaniment for it already existed. Based on an opera score, it was prepared under the supervision of Strauss by composer Otto Singer and conductor Karl Alwin. The music of the opera was shortened and rearranged, supplemented by other works by Strauss (mainly marches intended for military scenes). The film had to adapt to the musical accompaniment, which played a leading role in this film production. The article examines the relationship between opera and film: transformations of the plot, rethinking of characters, changes in the musical score. The film is not an exact reproduction of the opera. Although its main plot motifs are preserved, they are transformed and enriched with new situations. The most noticeable change is the introduction of a new character, Marshall. The film makes extensive use of the possibilities of cinema to show a variety of locations, flashbacks, and outdoor crowd scenes. Both of the most complex characters, Marshall and Baron von Ochs, appear in the film as psychologically more ordinary. The spirit of well-behaved happy ending prevails at the end of the film, where three couples unite. For the film’s score, there is an obvious desire to preserve as much as possible the individual musical characteristics, as well as the most important tonal centers of the opera. Like an opera, a film score is united by leitmotifs, but in the film some of them take on a different meaning: the emphasis shifts from the presentation of character to the affect conveyed by the theme. The changed relationship between music and action in the frame sometimes leads to a rethinking of the characters’ behavior (Ochs). The restoration of a film that was considered lost in the 2000s makes it possible to evaluate it as a one-of-a-kind experiment from the era of early cinema.

Linguistic-Cultural Features of Kyrgyz Song Discourse: Associative Experiment

The relevance of this study is due to important and insufficiently studied problems associated with song discourse. The lyrics of the song are a deep and mysterious product, which reflects not only the personal experiences and thoughts of the author, but also the peculiarities of the mentality of the culture as a whole. The topic of this work is relevant. To achieve this goal, the following research methods were used in the article: analysis, synthesis, observation, statistical analysis, interpretation and associative experiment. This experiment allows us to identify how song lyrics reflect social, cultural and political trends, what topics and problems are most often found in songs, what genres and styles are most popular among different segments of the population, etc. As a result of the association experiment, it was found that the lyrics are usually poetic and contain romantic and pastoral themes, such as love for nature, homeland and people. In addition, Kyrgyz songs have characteristic melodies and rhythms that reflect the cultural traditions and lifestyle of the Kyrgyz people. Kyrgyz songs are known for their unique linguistic and cultural characteristics, which distinguish them from folk songs of other cultures. One of these features is the use of incredible transitions from one tonal center to another. This creates a special harmony and originality of the melodies of Kyrgyz songs. The words in the songs reflect the centuries-old history of the people and their traditions, such as grazing cattle, national holidays, flower shows, as well as love and friendship. These texts often contain polysemantic words, symbols and images that convey ideas and national traditions. Kyrgyz songs are the wealth of the nation, which reflects the cultural heritage of the Kyrgyz people. They are a striking example of a combination of linguistic and cultural characteristics and are distinguished by their uniqueness and beauty.

Serial Organization in Krzysztof Penderecki's Threnody to the Victims of Hiroshima

Krzysztof Penderecki and his renowned Threnody to the Victims of Hiroshima (1960) are typi cally associated with sound mass or sonorism. However, Penderecki's sonoristic approach does not necessarily exclude other post-war compositional techniques—Scott Murphy, Wolfram Schwinger, Nelson Mandrell, and Mariusz Kozak have all identified serial tech niques in Penderecki's music in general or in Threnody specifically. As the locus classicus of sound mass compositions, these studies of serialism in Threnody deconstruct rhetorized polarities of twentieth-century musical aesthetics and composition. Neither sound mass nor serial analyses of Threnody, however, have accounted for the role of serial procedures in organizing textural elements. In this analytical vignette, I analyze the organization of extended techniques in mm. 6–9 of Penderecki's Threnody using serial approaches, which yields two benefits. First, it reveals an isography between the or ganization in each measure and the overall organization across all four measures. Second, it encourages the use of similarity measures to consider the compositional goal of this organization. Ultimately, I argue that, much like serialized pitch can be used to obfuscate a tonal center, Penderecki's organization of extended techniques creates a mass of sound without a perceivable pattern—a composed-out alteatoricism.

Comparative Analysis of Deep Learning Architectures and Vision Transformers for Musical Key Estimation

The musical key serves as a crucial element in a piece, offering vital insights into the tonal center, harmonic structure, and chord progressions while enabling tasks such as transposition and arrangement. Moreover, accurate key estimation finds practical applications in music recommendation systems and automatic music transcription, making it relevant across academic and industrial domains. This paper presents a comprehensive comparison between standard deep learning architectures and emerging vision transformers, leveraging their success in various domains. We evaluate their performance on a specific subset of the GTZAN dataset, analyzing six different deep learning models. Our results demonstrate that DenseNet, a conventional deep learning architecture, achieves remarkable accuracy of 91.64%, outperforming vision transformers. However, we delve deeper into the analysis to shed light on the temporal characteristics of each deep learning model. Notably, the vision transformer and SWIN transformer exhibit a slight decrease in overall performance (1.82% and 2.29%, respectively), yet they demonstrate superior performance in temporal metrics compared to the DenseNet architecture. The significance of our findings lies in their contribution to the field of musical key estimation, where accurate and efficient algorithms play a pivotal role. By examining the strengths and weaknesses of deep learning architectures and vision transformers, we can gain valuable insights for practical implementations, particularly in music recommendation systems and automatic music transcription. Our research provides a foundation for future advancements and encourages further exploration in this area.

Letter from the Editors

Letter from the Editors Christa Cole, Miguel Arango Calle, Emily Barbosa, and David Orvek Greetings from the editorial team of the Indiana Theory Review! Since the publication of our 36th volume in early Fall 2020, the journal has seen many changes that we are very excited to share with you! The first change was the decision to accept three new co-editors to replace Abigail York, the outgoing co-editor. The editorial team now includes Christa Cole (continuing from 2019–20), Miguel Arango Calle, Emily Barbosa, and David Orvek. Adding two new positions to the editorial team has not only helped to ensure that the journal runs smoothly and consistently, but has also lightened the workload of each editor—leaving us time to think about the bigger picture and the ways in which we hope to shape the future of the journal and its place in the music theory community. One of the first tasks the new editorial team took on was expanding and diversifying our editorial board, whom we depend on for the peer reviews that make an academic journal possible. In this process of expansion, we were concerned with diversifying the range of life experiences as well as research interests that are represented on the board. Toward this end, we are excited to welcome fifteen new board members from all around the world! Each of these new members brings with them invaluable experiences and perspectives that—along with the expertise of the continuing board members—will help to enrich ITR for years to come. A huge thank you to new and continuing board members! We couldn't do this without you. We are also proud to announce that due to revenue from subscriptions to ITR through Indiana University Press, we are now able to pay our copy and graphics editors for all of the hours they put into making each volume of ITR look great. Thank you to each one of the staff editors that made this volume possible! Our final addition to the journal this year is a new article format: the analytical essay. Analytical essays are papers that are narrower in scope or shorter in length than a standard article (~5,000–12,000 words), but that nonetheless contribute to existing scholarship on the repertoire at hand through nuanced, thoughtful analytical commentary on a piece or set of pieces. We hope that this new format will prove to [End Page v] be a fruitful one and that it will provide early-career scholars with a new outlet through which to share their work with the field. ________ This volume begins with sounds from the early seventeenth century—meantone temperament, stretto fuga, sequences, and excerpts from keyboard-accompanied ensemble works by Monteverdi, Rovetta, and Cozzolani fill the pages of Evan Campbell's article, "On the Relationship Between Meantone Temperament and Counterpoint in the Early Baroque." Campbell first discusses two meantone limitations: (1) the meantone gamut and (2) Banchieri's "rule of strict counterpoint." With a performance practice where ensembles tuned to match the meantone keyboard accompaniment in mind, Campbell then considers the relationship between these meantone limitations, contrapuntal techniques, and compositional design. Scott C. Schumann invites our readers to reassess Stravinsky's well-known dictum: "music is, by its very nature, essentially powerless to express anything at all." In his article, "Distorted Topics in Stravinsky's Neoclassical Works: Alterations of Conventional Musical and Expressive Ideas," Schumann examines—and often recomposes—short excerpts from Stravinsky's music, suggesting that the composer relied on musical topics to convey expressive meanings in works like L'Histoire du soldat and the Violin Concerto. In her article "Ellen Taaffe Zwilich, Symphony No. 2, and Elements of Her Compositional Style," Amanda Bono elucidates the compositional language of a living American composer who may be unfamiliar to many readers. Throughout her detailed structural analysis of the three-movement Symphony No. 2 (1985), Bono provides examples of key devices such as ostinati, pedal points, unisons, and tonal centers, offering a valuable resource to the reader interested in music of the past several decades. We are proud to inaugurate our new analytical essay genre with David H. Miller's essay, "Hidden Endings and Disappearing Measures in...

Tonal center of gravity predicts variation in the interpretation of rising and falling intonation in American English

In English, the pitch trajectory at the end of a phrase distinguishes assertions from questions, through falling versus rising intonation, respectively. This study asks if, within these broad classes, variation in the shape or slope of the pitch excursion is meaningful. Recent work proposes a phonological distinction between two tonally distinct sub-categories of rising intonation: shallow rises favor an assertive interpretation, while steep rises favor a question interpretation (Jeong 2018). We test an alternative analysis, where the probabilistic association between intonation and assertive/inquisitive interpretation arises not from a discrete difference between shallow and steep rises, but from meaningful variation within the rising class. We present findings from two perception experiments where listeners hear short utterances and identify the speaker’s intention to ASK or TELL. Pitch resynthesis (PSOLA) was used to create a stimulus continuum of phrase-final rising and falling F0 trajectories that vary in the slope and shape of monotonic F0 trajectories. Our results show a probabilistic relationship between interpretation (ASK/TELL) and rise variation, but do not support the previously proposed phonological distinction between shallow and steep rises. We propose a more parsimonious model of within-category variation grounded in the Tonal Center of Gravity acoustic measure (Barnes et al. 2012).

A Tale of Two Cadences

Charles Tomlinson Griffes was a visionary American composer at the turn of the twentieth century who synthesized highly diverse elements into a new artistic voice. This essay explores two instances of musical irony in Griffes’s oeuvre. “The Vale of Dreams” introduces a new tonal center at the end, which casts doubt on the overall structural role of the recurring bass pedal. Griffes’s use of irony in “Prelude #3” has a more critical character in that he questions underlying theoretical assumptions about scale-degree identity and the traditional concepts of consonance and dissonance. In addition, the double irony awakened in the final chord undermines the model of binary form and the aesthetic principle of closure upon which that model is based. As a result, the third prelude constitutes a kind of musico-philosophical challenge, an aesthetic exclamation point that invites listeners to reconsider traditional definitions of interval quality, tonality, and formal closure.

Veridical and Schematic Memory for Harmony in Melody-and-Accompaniment Textures

We studied memory for harmony using a melody-and-accompaniment texture and 10 commercially successful songs of Western popular music. The harmony was presented as a timbrally matching block-chord accompaniment to digitally isolated vocals. We used three test chord variants: the target was harmonically identical to the original chord, the lure was schematically plausible but different from the original, and the clash conflicted with both the tonal center and the local pitches of the melody. We used two conditions: in the one-chord condition we presented only the test chord, while in the all-chords condition the test chord was presented with all the chords of the original excerpt. One hundred and twenty participants with varying levels of music training rated on a seven-point scale if the test chord was the original. We analyzed the results on two dimensions of memory: veridical–schematic and specialized–general. The target chords were rated higher on average than the lures and considerably higher than the clash chords. Schematic memory (knowledge of Western tonal harmony) seemed to be important for rating the test chords in the all-chords condition, while veridical memory (familiarity with the songs) was especially important for rating the lure chords in the one-chord condition.

Computer-based musical interval training program for Cochlear implant users and listeners with no known hearing loss.

A musical interval is the difference in pitch between two sounds. The way that musical intervals are used in melodies relative to the tonal center of a key can strongly affect the emotion conveyed by the melody. The present study examines musical interval identification in people with no known hearing loss and in cochlear implant users. Pitch resolution varies widely among cochlear implant users with average resolution an order of magnitude worse than in normal hearing. The present study considers the effect of training on musical interval identification and tests for correlations between low-level psychophysics and higher-level musical abilities. The overarching hypothesis is that cochlear implant users are limited in their ability to identify musical intervals both by low-level access to frequency cues for pitch as well as higher-level mapping of the novel encoding of pitch that implants provide. Participants completed a 2-week, online interval identification training. The benchmark tests considered before and after interval identification training were pure tone detection thresholds, pure tone frequency discrimination, fundamental frequency discrimination, tonal and rhythm comparisons, and interval identification. The results indicate strong correlations between measures of pitch resolution with interval identification; however, only a small effect of training on interval identification was observed for the cochlear implant users. Discussion focuses on improving access to pitch cues for cochlear implant users and on improving auditory training for musical intervals.

Tonal Emergence: An agent-based model of tonal coordination

Humans have a remarkable capacity for coordination. Our ability to interact and act jointly in groups is crucial to our success as a species. Joint Action (JA) research has often concerned itself with simplistic behaviors in highly constrained laboratory tasks. But there has been a growing interest in understanding complex coordination in more open-ended contexts. In this regard, collective music improvisation has emerged as a fascinating model domain for studying basic JA mechanisms in an unconstrained and highly sophisticated setting. A number of empirical studies have begun to elucidate coordination mechanisms underlying joint musical improvisation, but these findings have yet to be cached out in a working computational model. The present work fills this gap by presenting Tonal Emergence, an idealized agent-based model of improvised musical coordination. Tonal Emergence models the coordination of notes played by improvisers to generate harmony (i.e., tonality), by simulating agents that stochastically generate notes biased towards maximizing harmonic consonance given their partner's previous notes. The model replicates an interesting empirical result from a previous study of professional jazz pianists: feedback loops of mutual adaptation between interacting agents support the production of consonant harmony. The model is further explored to show how complex tonal dynamics, such as the production and dissolution of stable tonal centers, are supported by agents that are characterized by (i) a tendency to strive toward consonance, (ii) stochasticity, and (iii) a limited memory for previously played notes. Tonal Emergence thus provides a grounded computational model to simulate and probe the coordination mechanisms underpinning one of the more remarkable feats of human cognition: collective music improvisation.

"Tonal" Dodecaphony and Sentential Form: Extracts from Humphrey Searle's Symphony No. 2, Op. 33

In an article written for The Musical Times in 1940, the English composer Humphrey Searle suggested the possibility of there being a "tonal center" in twelve-tone music. This vignette attempts to put analytical flesh on the bones of his argument. Using extracts from his Symphony No. 2, Op. 33, I demonstrate how movement from relative consonance to dissonance and back (effected by means of pitch class–set expansion, shifts of macroharmony, and/or functionally suggestive row-area transpositions) can serve both to generate and to resolve structural tension. This tendency is strengthened by traditional neighbor-note rhetoric (reminiscent of smooth nineteenth-century voice-leading transformations) and careful orchestration, as well as the second extract's use of a Classical formal type: an antecedent + continuation phrase hybrid theme.

Mode Harmonic Concept of Oleksandr Cherepnin’s Composer Creativity

The relevance of the topic is determined by the existing contradiction between the great importance of Olexandr Cherepnin’s compositional works, which are widely recognized in the modern cultural world and contain many innovative artistic and theoretical ideas, and the lack of proper coverage in the scientific literature. The analysis of the array of musicological literature devoted to the peculiarities of the musical culture of the XX century proves the fact that the artistic personality of O. Cherepnin and his life and creative path still generally remain beyond the attention of researchers.
 The purpose of the article is to reveal the meaningful and terminological features of the mode harmonic concept of O. Cherepnin’s compositional works.
 The methodology. The main methods applied in this study are systematic approach and methods of comparative and musicological (mainly mode harmonic) analysis.
 The results. O. Cherepnin’s musical language has overcome a long way before it was formed into a single mode harmonic concept. This mode harmonic concept of the artist’s works was first embodied in many of his works, and then was theoretically comprehended by him and given in the article “Basic Elements of My Musical Language” (1962). Therefore, from the beginning, the features of the composer’s mode harmonic language were formed under the influence of artistic necessity and were not subjected to theoretical conceptual principles. The mode harmonic concept of the artist, which became a generalization of his creative activity and artistic ideas, is based mainly on the theory of ambivalence of major and minor. At the same time, the composer does not use the major­minor as the mode basis for his works, basing (as the author himself and researchers of his work emphasize) primarily on the theory of modality.
 
 Cherepnin’s mode harmonic concept of musical language is based on a nine­stage scale, which is considered by the composer as universal and is found in most of his works. The most separate and independent components of the nine­stage scale are the three major­minor tetrachords and the two hexachords. The presence of different pitch positions of the scale allows to determine the tonal center at the level of separate fragments of the musical fabric of the work.
 
 The harmonic vertical (harmonic structure) of the majority of O. Cherepnin’s works is also formed on the basis of the vertical segments of the specified nine­stage scale. Such mode segments, which in separate works of the composer or their parts play the role of mode harmonic basis, are defined by us as “submodes” (my term — Ch. H.). The most common are tritone consonances, and each “submode” has its own chord that performs the function of the tonic one. The most important among them, according to the composer’s point of view, is a major­minor tetrachord, i.e. vertical four­tone chord. All these consonances are very diverse in their interval structure and intensity of sound. Five­ and six­tone chords are used by the artist much less due to their intense phonism and the need for at least an acoustic solution. Pentatone scales, which are constantly presented in an incomplete form (with the omission of one or two tones), and symmetrical modes are also widely used in O. Cherepnin’s works. Bright ethnic elements of the composer’s mode harmonic concept, which are widely used in his works, are the specific tritone consonances, called by O. Cherepnin as “Georgian trisounds”.
 The topicality of the study lies in the disclosure of one of the main conceptual foundations of the multifaceted musical language of O. Cherepnin — his mode harmonic component, which has not yet been sufficiently studied.
 The practical significance. The obtained results of the research allow to reveal the world importance of O. Cherepnin’s artistic figure and composer’s works, to highlight his innovative musical­theoretical ideas and to determine the special place of the artist in the constellation of contemporary composers who actively experimented with tonal­harmonic systems. The obtained conclusions generally expand the view on the nature and structure of mode harmonic thinking of composers of the XX century.

A Cognitive Basis for Choosing a Solmization System

This article focuses on the perception and cognition involved in music listening skills as essential criteria in selecting solmization systems. Drawing on many aural key-identification studies performed by various researchers, and on the model for music perception developed by Karpinski (".fn_cite_year($karpinski_1990).") and formalized in Karpinski (".fn_cite_year($karpinski_2000)."), it concludes that the first and most fundamental process listeners carry out while attending to the pitches of tonal music is tonic inference. In addition, a tonic is inferable without reference to a complete diatonic pitch collection. Melodies that are unambiguous with regard to their tonic might never employ all seven diatonic pitch classes, they might state those pitch classes only gradually, or they might even change the collection without changing tonic. Nonetheless, listeners are able to infer tonics quickly and dynamically under any of the above conditions. According to Butler (".fn_cite_year($butler_1992).", 119), “listeners make assessments of tonal center swiftly and apparently without conscious effort” certainly well in advance of inferring or perceiving entire diatonic pitch collections. This article examines the means through which do-based minor movable-do solmization most closely models this mental process and contrasts that with la-based minor and its inherent inability to model the pitches of a musical passage until all seven of its diatonic members are explicitly stated (or at least implicitly present). This is not to say that la-based minor is ineffective, but simply that do-based minor most closely reflects and represents the way listeners infer tonality.

On (and off) ramps in intonational phonology: Rises, falls, and the Tonal Center of Gravity

Two conflicting views have been advanced of what defines ‘default’ high pitch accents in various West Germanic languages, including English: One equates these accents fundamentally with a rise to a high turning point, while the other focuses on the fall from it. Both views arise from the assumption within Autosegmental-Metrical theory that the phonological representations of intonational categories can be discerned more-or-less directly from the string of intentional-seeming changes of direction in the F0 curve, identified as production ‘targets’. Two perceptual experiments reveal that, at least in American English, this view critically oversimplifies how pitch accents containing High tones are defined and distinguished: instead, both the shape of the rise and the shape of the fall are seen to contribute to the alignment of the overall bulk of the high region, defined by the rise-fall shape, with the segmental string, and thus to its categorization by listeners as an early, mid or late rise-fall (H + !H*, L + H*, or L* + H). These findings are consistent with the view that the Tonal Center of Gravity (TCoG) of the rise-fall shape as a whole, rather than an F0 turning point per se, is what speakers align with segmental content to distinguish different pitch accent categories. Questioning the primacy of the turning points as the phonetic targets for these pitch accents, in turn, seriously problematizes standard assumptions about the nature of phonological representations of intonation and their relation to the signal.

Povezanost programskog sadržaja sa kompoziciono-tehničkim rešenjima u klavirskim komadima Modesta Musorgskog

Povezanost programskog sadržaja sa kompoziciono-tehničkim rešenjima u klavirskim komadima Modesta Musorgskog

Tonality in Steve Reich's Nagoya Marimbas

This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most of Reich's output might be considered diatonic, rarely do those collections move in tonal paradigms. But in Nagoya Marimbas the two melodic voices combine in various canonic patterns to create a background tonal progression in E minor. The two marimba parts are always heard in phase with one another, playing the same music but at constantly varying intervals of displacement. The result is a long introduction that establishes E minor as tonic, followed by music that features more rapid changes yet continues to reinforce E minor as a tonal center. The piece, though an outlier in Reich's harmonic language, represents an important example of late twentieth-century tonality.

CHURCH WORKS BY M. BEREZOVSKY IN THE INTERPRETATION AURUM OF POST-AUTHOR EDITIONS

It is noted that the prospects for studying this topic are to find out the reasons and methods of later editing of the original author's text in all choral works of Berezovsky, which were published during the XIX - early XX centuries, as well as in the publication of original versions that were created by the author and sung during his life. The second fundamental difference between the manuscript and published versions of the Concert is associated with the use of accidentals, which in some cases are added, and in others – removed. The addition of accidentals occurs in the overwhelming majority of cases in the chords of the subdominant group used in S – D idioms, which leads to their transformation into a double dominant, and also while transfer from the tonic to subdominant in minor keys, which creates the effect of a short-term transition to a new tonal center. Consequently, M. Berezovsky's harmonic innovations, referred to by many modern researchers, are the result of a later editorial revision.