{"title":"The Poetics and Politics of Ambiguity","authors":"A. Stephenson","doi":"10.30535/mto.28.2.8","DOIUrl":null,"url":null,"abstract":"The use of the harmonic series as a pitch-generating resource is a significant trend in twentieth- and twenty-first-century composition. While the principle of equal temperament prioritizes an additive understanding of intervals, the harmonic series implies a ratio-based approach to pitch relationships. Despite these philosophical differences and the sometimes polemical debates that have attended to them, the works of Julian Anderson (1967–) and Rand Steiger (1957–) draw simultaneously on overtone-based and equal-tempered harmonic thinking. These two composers are part of a group of musicians who have proposed various hybrid approaches to harmonic construction, and their works are also notable for playing out interactions between these influences in ways that reflect the composers’ political concerns. In this paper, I combine examinations of Anderson’s and Steiger’s characteristic harmonic strategies with close analyses of two quartertone-based works: Anderson’s Eden (2005) and Steiger’s Post-truth Lament (2017). I use these discussions to consider the pieces’ diverse political resonances. Ultimately, I argue that their hybrid harmonic approaches serve to highlight the multifaceted implications of ambiguity—not only its musically generative potential, but also its capacity to transform contemporary political life in ways both corrosive and constructive.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/mto.28.2.8","RegionNum":2,"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
The use of the harmonic series as a pitch-generating resource is a significant trend in twentieth- and twenty-first-century composition. While the principle of equal temperament prioritizes an additive understanding of intervals, the harmonic series implies a ratio-based approach to pitch relationships. Despite these philosophical differences and the sometimes polemical debates that have attended to them, the works of Julian Anderson (1967–) and Rand Steiger (1957–) draw simultaneously on overtone-based and equal-tempered harmonic thinking. These two composers are part of a group of musicians who have proposed various hybrid approaches to harmonic construction, and their works are also notable for playing out interactions between these influences in ways that reflect the composers’ political concerns. In this paper, I combine examinations of Anderson’s and Steiger’s characteristic harmonic strategies with close analyses of two quartertone-based works: Anderson’s Eden (2005) and Steiger’s Post-truth Lament (2017). I use these discussions to consider the pieces’ diverse political resonances. Ultimately, I argue that their hybrid harmonic approaches serve to highlight the multifaceted implications of ambiguity—not only its musically generative potential, but also its capacity to transform contemporary political life in ways both corrosive and constructive.
期刊介绍:
Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.