Voice leading (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Voice leading" in English language version.

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12archive.org

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archive.org (Global: 6^th place; English: 6^th place)

Kostka & Payne 2004, p. 71. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Schenker 1987, p. xxv. Schenker, Heinrich (1987) [Original German published 1910]. Rothgeb, John (ed.). Counterpoint, Book I: Cantus Firmus and Two-Voice Counterpoint. New Musical Theories and Fantasies. Vol. II. Translated by Rothgeb, John; Thym, Jürgen. New York: Schirmer. ISBN 0-02-873222-7.
Schenker 1987, p. xxx. Schenker, Heinrich (1987) [Original German published 1910]. Rothgeb, John (ed.). Counterpoint, Book I: Cantus Firmus and Two-Voice Counterpoint. New Musical Theories and Fantasies. Vol. II. Translated by Rothgeb, John; Thym, Jürgen. New York: Schirmer. ISBN 0-02-873222-7.
Jonas (ed.) in Schenker 1954, "Introduction", p. ix: "[Schenker's] theory of Auskomponierung ['Elaboration'] shows voice-leading as the means by which the chord, as a harmonic concept, is made to unfold and extend in time. This, indeed, is the essence of music". Schenker, Heinrich (1954). Jonas, Oswald (ed.). Harmony. Translated by Borgese, Elisabeth Mann. Chicago: University of Chicago Press. LCCN 51-11213.
Jonas (ed.) in Schenker 1954, "Introduction", p. xv: "Heinrich Schenker has shown the correct relationship between the horizontal [counterpoint] and the vertical [harmony]. His theory is drawn from a profound understanding of the masterpieces of music [...]. Thus he indicates to us the way: to satisfy the demands of harmony while mastering the task of voice-leading," Schenker, Heinrich (1954). Jonas, Oswald (ed.). Harmony. Translated by Borgese, Elisabeth Mann. Chicago: University of Chicago Press. LCCN 51-11213.
Kostka & Payne 2004, p. 78. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Kostka & Payne 2004, p. 71–72. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Laitz & Bartlette 2010, pp. 47–50. Laitz, Steven G.; Bartlette, Christopher (2010). Graduate Review of Tonal Theory (5th ed.). New York: Oxford University Press. ISBN 978-0-19-537698-2.
Tymoczko 2011, p. 147: "Western music involves the simultaneous satisfaction of two independent constraints — a vertical constraint that requires chords to be structurally similar, and a horizontal constraint that dictates that they be connected by efficient voice leadings. Clearly, to satisfy these constraints, a composer must be able to find the efficient voice leadings between arbitrary chords." Tymoczko, Dmitri (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford Studies in Music Theory. New York: Oxford University Press. ISBN 978-0-19-533667-2.
Schoenberg 1983, p. 39: "Thus, the voices will follow (as I once heard Bruckner say) the law of the shortest way". Schoenberg, Arnold (1983) [Original German published 1911]. Theory of Harmony. Translated by Carter, Roy E. Berkeley: University of California Press. ISBN 0-520-04944-6.
Schenker 1910, p. 133 (original German); Schenker 1987, p. 94 (English translation). Schenker, Heinrich (1910). Kontrapunkt: Erster Halbband: Cantus Firmus und Zweistimmiger Satz. Neue Musikalische Theorien und Phantasien (in German). Vol. II. Vienna: Universal Edition. Schenker, Heinrich (1987) [Original German published 1910]. Rothgeb, John (ed.). Counterpoint, Book I: Cantus Firmus and Two-Voice Counterpoint. New Musical Theories and Fantasies. Vol. II. Translated by Rothgeb, John; Thym, Jürgen. New York: Schirmer. ISBN 0-02-873222-7.
Tymoczko 2011, p. 204. Tymoczko, Dmitri (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford Studies in Music Theory. New York: Oxford University Press. ISBN 978-0-19-533667-2.

doi.org (Global: 2^nd place; English: 2^nd place)

Tanguiane 1994. Tanguiane, Andranick S. (1994). "A Principle of Correlativity of Perception and Its Application to Music Recognition". Music Perception. 11 (4): 465–502. doi:10.2307/40285634. JSTOR 40285634.

jstor.org (Global: 26^th place; English: 20^th place)

Cohn 1997, note 4 writes that the term "parsimony" is used in this context in Ottokar Hostinský, Die Lehre von den musikalischen Klangen, Prag, H. Dominicus, 1879, p. 106. Cohn considers the principe of parsimony to be the same thing as the "law of the shortest way", but this is only partly true. Cohn, Richard (1997). "Neo-Riemannian Operations, Parsimonious Trichords, and Their 'Tonnetz' Representations". Journal of Music Theory. 41 (1): 1–66. JSTOR 843761.
Tanguiane 1994. Tanguiane, Andranick S. (1994). "A Principle of Correlativity of Perception and Its Application to Music Recognition". Music Perception. 11 (4): 465–502. doi:10.2307/40285634. JSTOR 40285634.

loc.gov (Global: 70^th place; English: 63^rd place)

lccn.loc.gov

Jonas (ed.) in Schenker 1954, "Introduction", p. ix: "[Schenker's] theory of Auskomponierung ['Elaboration'] shows voice-leading as the means by which the chord, as a harmonic concept, is made to unfold and extend in time. This, indeed, is the essence of music". Schenker, Heinrich (1954). Jonas, Oswald (ed.). Harmony. Translated by Borgese, Elisabeth Mann. Chicago: University of Chicago Press. LCCN 51-11213.
Jonas (ed.) in Schenker 1954, "Introduction", p. xv: "Heinrich Schenker has shown the correct relationship between the horizontal [counterpoint] and the vertical [harmony]. His theory is drawn from a profound understanding of the masterpieces of music [...]. Thus he indicates to us the way: to satisfy the demands of harmony while mastering the task of voice-leading," Schenker, Heinrich (1954). Jonas, Oswald (ed.). Harmony. Translated by Borgese, Elisabeth Mann. Chicago: University of Chicago Press. LCCN 51-11213.

tennessee.edu (Global: low place; English: 9,008^th place)

trace.tennessee.edu

Meeùs 2018, p. 118, Example 13a. Meeùs, Nicolas (2018). "Übergreifen". Gamut: The Journal of the Music Theory Society of the Mid-Atlantic. 8 (1) 6.

worldcat.org (Global: 5^th place; English: 5^th place)

search.worldcat.org

Clendinning & Marvin 2011, p. A73. Clendinning, Jane; Marvin, Elizabeth W. (2011). The Musician's Guide to Theory and Analysis (2nd ed.). Norton. ISBN 9780393930818. OCLC 320193510.
Kostka & Payne 2004, p. 71. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Kostka & Payne 2004, p. 78. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Kostka & Payne 2004, p. 71–72. Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. ISBN 0072852607. OCLC 51613969.
Clendinning & Marvin 2011. Clendinning, Jane; Marvin, Elizabeth W. (2011). The Musician's Guide to Theory and Analysis (2nd ed.). Norton. ISBN 9780393930818. OCLC 320193510.

Voice leading (English Wikipedia)

archive.org (Global: 6th place; English: 6th place)

doi.org (Global: 2nd place; English: 2nd place)

jstor.org (Global: 26th place; English: 20th place)

loc.gov (Global: 70th place; English: 63rd place)