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Appropriating Copland’s Fanfare 借用科普兰的大张旗鼓
The Society for Music Theory Videocast Journal Pub Date : 2022-06-01 DOI: 10.30535/smtv.8.4
Stanley V. Kleppinger
{"title":"Appropriating Copland’s Fanfare","authors":"Stanley V. Kleppinger","doi":"10.30535/smtv.8.4","DOIUrl":"https://doi.org/10.30535/smtv.8.4","url":null,"abstract":"This video explores the stylistic and associative evolution of the emblematic sound Aaron Copland forged in his Fanfare for the Common Man (1942). This style, called here the triumphant exordium, consists of a constellation of specific musical features that has been imitated and troped by other composers—and by Copland himself—to carve out musical landscapes with evocative expressive qualities that include both clear and ambiguous connections with Americana. After summarizing the Fanfare’s original musical and extra-musical contexts, this video illuminates this legacy through three case studies.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121960939","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
The Feel of the Guitar in Popular Music Performance 流行音乐演奏中吉他的感觉
The Society for Music Theory Videocast Journal Pub Date : 2022-05-01 DOI: 10.30535/smtv.8.3
Nicholas Shea
{"title":"The Feel of the Guitar in Popular Music Performance","authors":"Nicholas Shea","doi":"10.30535/smtv.8.3","DOIUrl":"https://doi.org/10.30535/smtv.8.3","url":null,"abstract":"Popular-music guitarists frequently reference the physicality of the fretboard when discussing songwriting and performance. Brittany Howard, for example, advocates that the feel of her guitar and physical gestures — chord shapes, licks, and riffs — are more critical to her craft than theoretical knowledge regarding pitch and harmony. However, in-depth gestural perspectives on musical organization are underrepresented in popular-music scholarship. This video article responds by investigating the relationship between fretboard gestures and popular music’s features in two contexts. First is a close analysis of “Short and Sweet” that focuses on how Howard coordinates chord voicings and larger left-hand shifts with important rhetorical moments reflected in the song’s lyrics. A following motion-capture study then surveys how similar gestural trends might generalize to performances by other guitarists. Data from performances by 14 local practicing guitarists demonstrate that the musicians typically prefer to articulate moments of formal transition with the largest physical gestures. Such findings suggest a degree of gestural intentionality and strategy amongst guitarists and clarify the contexts in which a guitarist might choose to maintain or abandon fretboard affordances.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128199926","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: 2
Clara Schumann's op. 16 no. 3 and "Fifth Above, Third Below": Discerning Inverted Canonic Potential 克拉拉·舒曼作品第16号3、“上五下三”:辨别颠倒的正典势
The Society for Music Theory Videocast Journal Pub Date : 2022-03-01 DOI: 10.30535/smtv.8.2
Scott Murphy
{"title":"Clara Schumann's op. 16 no. 3 and \"Fifth Above, Third Below\": Discerning Inverted Canonic Potential","authors":"Scott Murphy","doi":"10.30535/smtv.8.2","DOIUrl":"https://doi.org/10.30535/smtv.8.2","url":null,"abstract":"This video equips the viewer with a method to determine if a melody can support tonally idiomatic inverted canonic combinations, detecting not only diatonic consonances but also prohibited parallel motions. This method reveals that the subject for the third fugue from Clara Schumann’s op. 16 can form two dubious combinations at a particular time delay; she concludes her fugue with an ameliorating hybrid of these two combinations.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129746991","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
“Oops!… I Did It Again”: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC “哎呀!…I Did It Again”:布兰妮·斯皮尔斯、后街男孩和超级男孩的互补合唱
The Society for Music Theory Videocast Journal Pub Date : 2021-10-01 DOI: 10.30535/smtv.7.6
Megan L. Lavengood
{"title":"“Oops!… I Did It Again”: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC","authors":"Megan L. Lavengood","doi":"10.30535/smtv.7.6","DOIUrl":"https://doi.org/10.30535/smtv.7.6","url":null,"abstract":"A distinctive feature of a several turn-of-the-millennium singles performed by the Backstreet Boys, NSYNC, and Britney Spears is the presence of the “complement chorus,” a special, third appearance of chorus that appears after the bridge. The complement chorus brandishes a new melodic line with a distinct rhythmic profile, allowing for a high-energy climax rather than a mere restatement of the chorus, as it imbues the now-familiar chorus melody with new vigor. Complement choruses seem to have been a trick used exclusively by the producer Max Martin and his associates during the years 1998–2000, making them a distinctly Y2K phenomenon.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121128148","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: 1
Understanding Turkish Classical Makam: Identifying Modes Through Characteristic Melodies 理解土耳其古典Makam:通过特征旋律识别调式
The Society for Music Theory Videocast Journal Pub Date : 2021-07-01 DOI: 10.30535/smtv.7.5
Adem Merter Birson, Ahmet Erdoğdular
{"title":"Understanding Turkish Classical Makam: Identifying Modes Through Characteristic Melodies","authors":"Adem Merter Birson, Ahmet Erdoğdular","doi":"10.30535/smtv.7.5","DOIUrl":"https://doi.org/10.30535/smtv.7.5","url":null,"abstract":"In Turkish classical music, characteristic melodies known as “çeşni-s” form essential building blocks in makam, the modal system of the Middle East. Since around the beginning of the Turkish Republic (1923), Turkish musicologists adapted the makam system for Western staff notation and devised an approach to music theory based on scales. This modern approach, while currently widespread, has its limitations; in particular, the makam scales do not reflect the characteristic melodies that are often so important to the idiomatic expression of makam. For this reason, one needs extended interaction with experienced musicians in order to learn how to interpret the scores, via an oral form of pedagogy traditionally known as “meşk.”","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125373642","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: 1
A Film Scene for Schoenberg’s Begleitungsmusik zu einer Lichtspielscene 只不过是图片跳动
The Society for Music Theory Videocast Journal Pub Date : 2021-03-01 DOI: 10.30535/SMTV.7.3
Orit Hilewicz, Stephen Sewell
{"title":"A Film Scene for Schoenberg’s Begleitungsmusik zu einer Lichtspielscene","authors":"Orit Hilewicz, Stephen Sewell","doi":"10.30535/SMTV.7.3","DOIUrl":"https://doi.org/10.30535/SMTV.7.3","url":null,"abstract":"This article presents a wordless analytic interpretation of Begleitungsmusik zu einer Lichtspielscene, Op. 34, 1929–1930, by Arnold Schoenberg, performed by Takuo Yuasa and the Ulster Orchestra (2002), courtesy of Naxos of America, Inc.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128414949","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: 3
Dance as Music in George Balanchine’s Concerto Barocco 在乔治·巴兰钦的《巴洛克协奏曲》中舞蹈如同音乐
The Society for Music Theory Videocast Journal Pub Date : 2021-02-01 DOI: 10.30535/SMTV.7.2
K. Leaman
{"title":"Dance as Music in George Balanchine’s Concerto Barocco","authors":"K. Leaman","doi":"10.30535/SMTV.7.2","DOIUrl":"https://doi.org/10.30535/SMTV.7.2","url":null,"abstract":"In George Ballanchine’s Concerto Barocco, a neoclassical ballet choreographed in 1941 to J. S. Bach’s Concerto in D Minor for Two Violins (BWV 1043), there is a memorable passage in which ten dancers hop on pointe while creating surprising visual accents against the music and against each other. The off-beat accents reflect the jazzy character of the ballet, and the pattern they articulate artfully relate to a metrically dissonant rhythmic motive in Bach’s score.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125544057","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: 2
Music Appreciation Through Animation: Percy Scholes’s ‘AudioGraphic’ Piano Rolls 通过动画欣赏音乐:珀西·斯科尔斯的“有声”钢琴卷
The Society for Music Theory Videocast Journal Pub Date : 2021-01-01 DOI: 10.30535/SMTV.7.1
Stephanie Probst
{"title":"Music Appreciation Through Animation: Percy Scholes’s ‘AudioGraphic’ Piano Rolls","authors":"Stephanie Probst","doi":"10.30535/SMTV.7.1","DOIUrl":"https://doi.org/10.30535/SMTV.7.1","url":null,"abstract":"From 1925-30, British music educator Percy A. Scholes spearheaded an initiative for music appreciation by means of the player piano. The series “AudioGraphic Music” featured select works from the musical canon on the Aeolian Company’s piano rolls. In addition to their function as sound recordings, Scholes prepared the rolls as visual artefacts with introductory texts, pictures, and analytical commentary. This video article explores the analytical and pedagogical potential of these rolls as tools for music listeners and highlights how they foreshadowed recent innovation in musical animation.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115813976","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
Discovering Essential Voices in Johann Sebastian Bach’s Solo Instrumental Suite Movements 发现约翰·塞巴斯蒂安·巴赫独奏器乐组曲乐章的基本声音
The Society for Music Theory Videocast Journal Pub Date : 2020-06-01 DOI: 10.30535/smtv.6.3
D. Ketter
{"title":"Discovering Essential Voices in Johann Sebastian Bach’s Solo Instrumental Suite Movements","authors":"D. Ketter","doi":"10.30535/smtv.6.3","DOIUrl":"https://doi.org/10.30535/smtv.6.3","url":null,"abstract":"This video-article presents the concept of “essential voices” in Bach’s solo instrumental works, which explains how notes can be connected together or implied so as to form continuous musical voices that support the solo part. The contrapuntal lines that essential voices highlight are often repeated in transformed ways within movements to relate different thematic rotations and heighten the musical drama. The video concludes with an analysis and performance of the intriguing Sarabande from J.S. Bach’s Cello Suite No. 5 in C Minor, BWV 1011, accompanied by a four-part setting of essential voices for cello ensemble.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134107895","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
Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory 安妮·杨的《音乐导论》(1803):教学、思辨和音乐理论
The Society for Music Theory Videocast Journal Pub Date : 2018-10-01 DOI: 10.30535/SMTV.4.3
C. Raz
{"title":"Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory","authors":"C. Raz","doi":"10.30535/SMTV.4.3","DOIUrl":"https://doi.org/10.30535/SMTV.4.3","url":null,"abstract":"\u0000In 1801, the Scottish music theorist Anne Young (1756-1827) created an elaborate board game set designed to teach musical fundamentals. This video offers some thoughts on the creation and reception of her works, contextualizing their creation and reception within the history of education in late eighteenth century Britain.\u0000","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132478338","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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