Yust, Jason2020-01-222020-01-222015-06-01J. Yust. 2015. "Distorted Continuity: Chromatic Harmony, Uniform Sequences, and Quantized Voice Leadings." Music Theory Spectrum, Volume 37, Issue 1, pp. 120 - 143. https://doi.org/10.1093/mts/mtu0200195-61671533-8339https://hdl.handle.net/2144/39140This article introduces uniform patterns, voice-leading patterns that are purely regular when represented with generic intervals. Generic intervals are continuous-valued intervals that are converted to real intervals through quantization. Various kinds of chromatic and diatonic sequences are uniform patterns. Uniform patterns provide a way of precisely and quantitatively comparing different kinds of chromatic patterns to diatonic ones by drawing upon the kind of robust, continuous metrics associated with voice-leading spaces. The possibility of deriving chromatic and diatonic logics from common principles suggests a new perspective on the “integration” problem of nineteenth-century harmony—the question of whether chromaticism represents a radical break or an evolution from conventional tonal harmony. The theory of uniform patterns and generic intervals is applied in analysis of the first movement of Schubert's String Quartet No. 15 and other passages from Schubert and Liszt.120 - 143Harmonic sequenceChromaticismVoice leadingQuantizationScale theoryMaximal evennessSchubert, FranzLiszt, FranzNineteenth-century musicPerforming arts and creative writingMusicArticle10.1093/mts/mtu02040712