{"title":"Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms","authors":"Wing Lau","doi":"10.1093/mts/mtac020","DOIUrl":null,"url":null,"abstract":"\n This article examines how changing time signatures correspond with metric dissonance and the flux in metric consonance in Brahms’s songs, with a particular focus on expressive dimensions and Brahms’s relationship with historical metric modes. “Unbewegte laue Luft” is an extreme case of metric dissonance, juxtaposing meters of antithetical metric relations to underscore equally antithetical poetic meanings. Meters in “Wir müssen uns trennen” maintain duple relations but explore metric depth and the relative strength of different metric levels, showing consonant metric flux resembling century-old metric practices such as tempo giusto and changing Taktteile. By demonstrating how dissonant and consonant meter changes set up different degrees of temporal contrasts, this article explores notated meter changes as text-setting tools and how eighteenth-century metric theory can enrich our understanding of these tools.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"MUSIC THEORY SPECTRUM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/mts/mtac020","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
This article examines how changing time signatures correspond with metric dissonance and the flux in metric consonance in Brahms’s songs, with a particular focus on expressive dimensions and Brahms’s relationship with historical metric modes. “Unbewegte laue Luft” is an extreme case of metric dissonance, juxtaposing meters of antithetical metric relations to underscore equally antithetical poetic meanings. Meters in “Wir müssen uns trennen” maintain duple relations but explore metric depth and the relative strength of different metric levels, showing consonant metric flux resembling century-old metric practices such as tempo giusto and changing Taktteile. By demonstrating how dissonant and consonant meter changes set up different degrees of temporal contrasts, this article explores notated meter changes as text-setting tools and how eighteenth-century metric theory can enrich our understanding of these tools.
本文研究了勃拉姆斯歌曲中变化的时间特征是如何与韵律不和声和韵律和的变化相对应的,特别关注表现力维度和勃拉姆斯与历史韵律模式的关系。“unbewete laue Luft”是一个极端的韵律失调的例子,将对立的韵律关系并置,以强调同样对立的诗歌意义。《Wir m ssen uns trennen》中的拍子保持着双拍子关系,但探索了不同拍子层次的深度和相对强度,表现出类似于百年来的拍子实践(如tempo giusto和changing Taktteile)的辅音拍子流动。通过展示不协和和辅音的拍子变化如何建立不同程度的时间对比,本文探讨了作为文本设置工具的记谱拍子变化,以及18世纪的度量理论如何丰富我们对这些工具的理解。
期刊介绍:
A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.