Indiana Theory Review最新文献_第2页

Modeling Analysis and the Musical Text Generation Process: An Analysis of Chopin's Prelude in B♭ Major, Op. 28, No. 21 建模分析与音乐文本生成过程——肖邦《B大调前奏曲》作品28第21号分析

Indiana Theory Review Pub Date : 2019-02-22 DOI: 10.2979/INDITHEOREVI.35.1-2.06

P. Rosato

引用次数: 0

Review of Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition by David Beach and Ryan McClelland. New York: Routledge, 2012. 大卫·比奇和莱恩·麦克利兰的《古典传统中的18、19世纪音乐作品分析》述评。纽约:Routledge出版社，2012。

Indiana Theory Review Pub Date : 2018-01-19 DOI: 10.2979/INDITHEOREVI.34.1-2.03

Steven D. Mathews

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Liszt's "Poisoned" Song: Examining the Versions and Poetic Interpretations of Vergiftet sind meine Lieder 李斯特的“中毒”之歌:《我的诗》的版本与诗学解读考察

Indiana Theory Review Pub Date : 2018-01-19 DOI: 10.2979/INDITHEOREVI.34.1-2.01

Michael Vitalino

引用次数: 0

Ornamental and Motivic Integration in Chopin's Op. 9 Nocturnes 肖邦作品9夜曲中装饰性与动机性的融合

Indiana Theory Review Pub Date : 2018-01-19 DOI: 10.2979/INDITHEOREVI.34.1-2.02

J. Gran

{"title":"Ornamental and Motivic Integration in Chopin's Op. 9 Nocturnes","authors":"J. Gran","doi":"10.2979/INDITHEOREVI.34.1-2.02","DOIUrl":"https://doi.org/10.2979/INDITHEOREVI.34.1-2.02","url":null,"abstract":"The distinction between musical structure and ornament, like most dichotomies, affords an opportunity for boundary play. This dichotomy was brought into focus at the turn of the nineteenth century, which marked a stylistic shift from the classical use of ornament, to articulate structure, towards a style in which ornamentation was treated thematically. Charles Rosen traces this shift occurring as early as Haydn’s op. 33 quartets and continuing through Beethoven’s late works.1 As an example, the finale of Beethoven’s Piano Sonata op. 111 features a gradual acceleration in each variation that culminates in a cadential trill in the final variation. Beethoven has provided a thematic justification for an ornamental convention—here, structural process and ornamental expressivity are inseparable. Along these same lines, Gerald Abraham once quipped, “When is ornamentation not ornamentation? . . . When it is Chopin’s.”2 This suggests a similar perspective to Rosen’s but the observation is translated to a later repertoire. For Chopin, no less than for the Viennese classics, the thematic treatment of ornamentation is a central stylistic concern. In the op. 9 nocturnes of 1830–31, Chopin demonstrates a concern for the integration of ornamental detail with large-scale compositional design. Although Chopin employs a wide diversity of ornamental figures in these works, some ornaments take on a distinct, motivic significance. Two ornamental motives in particular saturate the fioritura passages and cadenzas of op. 9. These motives serve to integrate the opus both in terms of its breadth, by stretching across all three nocturnes, and","PeriodicalId":363428,"journal":{"name":"Indiana Theory Review","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125627699","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

On the Analytical Tradition of Schoenberg's Erwartung (Op. 17) 论勋伯格《爱之诗》的分析传统(作品17)

Indiana Theory Review Pub Date : 2018-01-19 DOI: 10.2979/INDITHEOREVI.34.1-2.05

R. Knight

引用次数: 0

Elaboration of the Grundgestalt through an Analysis of Max Reger's Orchestral Works 从马克斯·雷格管弦乐作品分析对“大目标”的阐释

Indiana Theory Review Pub Date : 2018-01-19 DOI: 10.2979/INDITHEOREVI.34.1-2.04

M. Dimitrijevic

{"title":"Elaboration of the Grundgestalt through an Analysis of Max Reger's Orchestral Works","authors":"M. Dimitrijevic","doi":"10.2979/INDITHEOREVI.34.1-2.04","DOIUrl":"https://doi.org/10.2979/INDITHEOREVI.34.1-2.04","url":null,"abstract":"At the vivid fin-de-siècle Austro-German music scene marked by the Wagner-Brahms controversy, Max Reger (1873−1916) was recognized as a leading figure—the equal of Richard Strauss, Arnold Schoenberg and Gustav Mahler, if not, at times, even more conspicuous than them. It is therefore rather strange that shortly after Reger’s premature death, he nearly fell into oblivion outside the Austro-German musical sphere. One of the goals of the following analysis is to draw attention to or revive the interest of scholars and analysts in Reger’s music. During his Munich years (1901−7), Reger stood out as an uncompromising defender of absolute music and an enthusiastic modernist. In his most advanced works composed during this period, Reger undermined tonality, reaching the very border of atonality. On the other hand, he constantly maintained an intense and profound dialogue with the musical past—in particular with Bach and Brahms, whose mastery of motivic organization is readily recognized in Reger’s work. This makes Reger a typical representative of historicist modernism.1 Indeed, throughout his works, Reger combines an innovative harmonic language, marked by dense chromaticism, fractured harmonic progressions, disintegration of the traditional syntax, and prevalence of motivic logic, with classical harmonic and formal procedures. Even in his orchestral works which are considered to be","PeriodicalId":363428,"journal":{"name":"Indiana Theory Review","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121843287","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

"Proper Boundaries" and the "Incoherent" Succession V(7)–IV “适当边界”与“不连贯”演替V(7) -IV

Indiana Theory Review Pub Date : 2018-01-01 DOI: 10.2979/INDITHEOREVI.32.2.02

T. Cutler

{"title":"\"Proper Boundaries\" and the \"Incoherent\" Succession V(7)–IV","authors":"T. Cutler","doi":"10.2979/INDITHEOREVI.32.2.02","DOIUrl":"https://doi.org/10.2979/INDITHEOREVI.32.2.02","url":null,"abstract":"A predicament awaits anyone who contemplates authoring a textbook on tonal music theory. On the one hand, a textbook should provide a clear and rational pedagogical foundation, one that stresses the order and logic essential to the formulation of tonal music. On the other hand, music is not an exact science, and there should be an acknowledgement that for every rule, there is an exception to it. The author’s challenge is to achieve a balance between these opposing concerns. A textbook that places too much emphasis on unalterable edicts turns the study of tonal music into an unimaginative puzzle for which one seeks hackneyed solutions. A textbook that muddies the waters with too many unusual sidelines risks a loss of pedagogical focus and obscures the idea that coherence—not quixotic flights of artistic fancy—is at the heart of tonal composition. Even so, deviations from the fundamental tenets of music theory are some of its most fascinating topics. Tonal composers consistently find ingenious ways to circumvent theoretical statutes while still adhering to the Mozartian dictum: “Music, even in the most terrible situations, must never offend the ear....”1 Often, decisions to omit theoretical tangents from a textbook are made by its publisher rather than its author. Limitations of space prevent most monographs from delving more deeply into these matters. Consequently, authors pepper their maxims with adjectives such as “usually” and “typically” as a means of tacitly admitting there is more to the story than is being told. Particularly for beginning students, certain regulations leave strong impressions, ones that tend to create false assumptions regarding actual tonal works. Directives such as “no parallel fifths” and “sevenths","PeriodicalId":363428,"journal":{"name":"Indiana Theory Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123300625","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

Alberich after the Apocalypse: Christopher Rouse's "Sequel" to Wagner's Ring 启示录后的阿尔伯里奇:克里斯托弗·劳斯对瓦格纳《指环》的“续集”

Indiana Theory Review Pub Date : 2018-01-01 DOI: 10.2979/INDITHEOREVI.32.2.03

Matthew Baileyshea

{"title":"Alberich after the Apocalypse: Christopher Rouse's \"Sequel\" to Wagner's Ring","authors":"Matthew Baileyshea","doi":"10.2979/INDITHEOREVI.32.2.03","DOIUrl":"https://doi.org/10.2979/INDITHEOREVI.32.2.03","url":null,"abstract":"In 1976, Götz Friedrich directed a centenary production of the Ring cycle at Covent Garden with an unusual and highly provocative ending. As the waters rise and Valhalla burns, Alberich—boldly disregarding Wagner’s stage directions—briefly emerges to witness the apocalyptic scene.1 Though unsanctioned by Wagner, Friedrich’s interpretation is justified. After all, unlike any other major character in the Ring, Alberich’s fate is unknown at the end of the cycle and he may very well be alive. Christopher Rouse’s Der gerettete Alberich, a “Fantasy for Solo Percussion and Orchestra” (1997), originates from the same interpretive impulse. It begins with the closing bars of Götterdämmerung and then imagines Alberich’s existence in the wake of the apocalypse. The piece features a rather loose, three-movement structure (fast-slow-fast) with frequent manipulation of Wagner’s leitmotifs. Despite obvious programmatic implications, Rouse did not intend a specific narrative design. As he puts it: “it is not a narrative piece in the manner of, say, Strauss’ Don Quixote. Beyond a brief passage in which Alberich serves a stint as a rock drummer...I was not attempting to paint specific pictures in this score. However, the listener is free to provide whatever images he or she likes to the sonic goings-on.”2 It is difficult to place such recent music in an appropriate historical and stylistic context. We are simply not far enough removed to offer a panoramic view of the latest fin de siècle musical scene. Rouse’s piece, however, evokes a number of familiar late twentieth-century compositional","PeriodicalId":363428,"journal":{"name":"Indiana Theory Review","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133278764","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

A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students 二十一世纪学生后调性音乐教学的教学与心理挑战

Indiana Theory Review Pub Date : 2018-01-01 DOI: 10.2979/INDITHEOREVI.33.1-2.02

Miguel A. Roig-Francolí

引用次数: 0

Anti-hero Worship: The Emergence of the "Byronic hero" Archetype in the Nineteenth Century 反英雄崇拜:19世纪“拜伦式英雄”原型的出现

Indiana Theory Review Pub Date : 2018-01-01 DOI: 10.2979/INDITHEOREVI.32.2.05

C. Palfy

引用次数: 1