Summary
This chapter introduces a systematic correspondence between chords and symmetries. It lays the morphological fundament for a semantic theory of harmonic functions which will be exposed in the following chapter. Essentially, the idea of such a correspondence is to carry over the structural discourse on harmony to richer objects by an intermediate switch to ‘richer’ addresses.
Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?
William Blake (1757{1827)
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Mazzola, G. (2017). Harmonic Topology. In: The Topos of Music I: Theory. Computational Music Science. Springer, Cham. https://doi.org/10.1007/978-3-319-64364-9_24
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DOI: https://doi.org/10.1007/978-3-319-64364-9_24
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