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Musical Motives最新文献

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Introduction to Motives 动机介绍
Musical Motives Pub Date : 2021-04-08 DOI: 10.1093/OSO/9780197526026.003.0001
Brent Auerbach
{"title":"Introduction to Motives","authors":"Brent Auerbach","doi":"10.1093/OSO/9780197526026.003.0001","DOIUrl":"https://doi.org/10.1093/OSO/9780197526026.003.0001","url":null,"abstract":"Chapter 1 of Musical Motives provides a general introduction to the topic of motives. The etymology and origins of the word “motive” are briefly considered, along with its parallels to the “motifs” of visual art and architecture. A working definition for “motive” from Arnold Schoenberg (“the smallest part of a piece or section of a piece that, despite change and repetition, is recognizable as present throughout”) is presented in advance of more formal definitions to be presented in chapters 4–7. For the purposes of this study, motives are required “to move” and “to move listeners.” Analyses of excerpts from Sousa, Beethoven, and Mozart introduce readers to proper motivic identification and labeling technique.","PeriodicalId":148141,"journal":{"name":"Musical Motives","volume":"396 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122642883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Conclusion 结论
Musical Motives Pub Date : 1900-01-01 DOI: 10.1093/oso/9780197526026.003.0011
Brent Auerbach
{"title":"Conclusion","authors":"Brent Auerbach","doi":"10.1093/oso/9780197526026.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780197526026.003.0011","url":null,"abstract":"This chapter concludes Musical Motives with an assessment of the benefits and disadvantages of motivic analysis. Listed among the benefits are the method’s general accessibility and its applicability to a wide range of musics. A disadvantage is that a great many pieces even within the Western Classical tradition, naturally resist motivic analysis. The chapter cautions that motivic analysis holds potential but is no panacea. What it does do is allow analysts to quickly and productively engage many dimensions of a musical work. Subsequent portions of the conclusion investigate the extent to which other musico-theoretic entities—specifically, fugue subjects, Galant schemas, and the hooks of popular music—intersect the motive concept. Last, consideration is given to the method’s reliance on literal association as a price to be paid for theoretic rigor.","PeriodicalId":148141,"journal":{"name":"Musical Motives","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127670072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
CMA Narrative Archetypes CMA叙事原型
Musical Motives Pub Date : 1900-01-01 DOI: 10.1093/oso/9780197526026.003.0008
Brent Auerbach
{"title":"CMA Narrative Archetypes","authors":"Brent Auerbach","doi":"10.1093/oso/9780197526026.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780197526026.003.0008","url":null,"abstract":"This Interlude on the topic of narrative, the second of two, serves as the bridge between the sections on basic motivic analysis (BMA) and complex motivic analysis (CMA). Chapter 7, which formally presents CMA, will explore the ramifications of broadening the Focal Point entity to include domains beyond pitch and rhythm and permitting it to occur anywhere in the piece, not just at the beginning. These shifts necessitate a second set of narrative archetypes for modeling the flow of motivic material across a work. The dominant archetype from BMA, Propagation (BMA-1), occurs in CMA as well. Now, however, it may be deployed in hierarchic fashion across the large sections of a piece, with the central Focal Point radiating packets of material to section-controlling Local Points. Other novel CMA archetypes are proposed to document cases where Focal Point material occurs later within a work (Accretion narrative) or multiple times within a work (Cyclic narrative). Detailed schematic diagrams support the discussion of all CMA types. The chapter concludes with presentation of a summary chart of all BMA and CMA narratives.","PeriodicalId":148141,"journal":{"name":"Musical Motives","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125067736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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