MUSIC ANALYSIS最新文献

{"title":"Revisiting the Galant in Gjerdingenian Schemata","authors":"Hainian Yu","doi":"10.1111/musa.12222","DOIUrl":"https://doi.org/10.1111/musa.12222","url":null,"abstract":"Robert Gjerdingen's schema theory focuses the long‐debated ‘galant’ style concretely onto an inventory of stock musical phrases, or ‘galant schemata’. The rich historico‐cognitive discourse sparked by this growing ‘schematicon’ has provided significant theoretical evidence for their historical situatedness, coherence and objectivity; however, there remains a shortage of empirical studies that problematise their contexts of applicability, as well as descriptiveness within full galant works. In light of this, the present investigation schematically interprets three varied works by the eighteenth‐century composer C. P. E. Bach, who is known for pushing the boundaries of the galant style: the Magnificat in D, Wq. 215; Die Israeliten in der Wüste, Wq. 238 (all applicable movements); and the ‘Württemberg’ Sonatas, Wq. 49 (opening movements). Similar proportions of each vocal work are found to be covered by galant schemata (55 per cent and 46 per cent, respectively), atypical schema variants (17 per cent and 24 per cent respectively) and non‐schematic space (25 per cent each), whilst the ‘Württemberg’ Sonatas yielded more (82 per cent) typical schemata, fewer (3 per cent) atypical schemata and reduced (13 per cent) non‐schematic space. Comparisons and analyses within and between these works and schematic categories reveal potential additions to the galant schematicon; highlight the existence of interactions between galant schemata, higher‐level schemas and partimenti schemata; and elucidate both fluid and strict understandings of Gjerdingen's galant category within eighteenth‐century music. Consequently, they focus the question of schema historicity back onto their galant situatedness and establish an important evidence‐based framework from which the Gjerdingenian galant category – and the schemata which constitute it – may be further elucidated.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"32 4","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139448520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Arrival 64${6 atop 4}$ Chord in Wagner's Die Walküre: Types, Function, and Dramatic Meanings","authors":"JI Yeon Lee","doi":"10.1111/musa.12219","DOIUrl":"https://doi.org/10.1111/musa.12219","url":null,"abstract":"This article applies Hatten's (1994) concept of the ‘arrival ’ – a cadential that resolves tonal or thematic instabilities without necessarily proceeding to V(7) – to cadences and cadential gestures in Wagner's Die Walküre. It identifies and describes three essential types of arrival chord: a cadential becoming I and launching a new leitmotivic passage (type 1); one continuing in the cadential progression and initiating a new leitmotivic passage (type 2) and one continuing in the cadential progression and becoming a rhetorical highpoint (type 3). Ultimately, it demonstrates that examples of each type produce an aurally illuminating, ‘marked’ effect within Wagnerian ‘musical prose’ in conjunction with the dramatic circumstances.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"7 5","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138956789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Analysis and Performance of Stockhausen's Klavierstück X","authors":"Gabriel Jones","doi":"10.1111/musa.12220","DOIUrl":"https://doi.org/10.1111/musa.12220","url":null,"abstract":"Herbert Henck's (1980) analysis of Karlheinz Stockhausen's Klavierstück X (1961) offers a fascinating insight into the composer's compositional process at an important juncture in his career. In this article I draw on the now significant recording tradition, including Henck's own canonical version (on Stockhausen [1986] 1996), and Stockhausen's contemporaneous moment‐form theory to explore the influence of the performer – confronted with the many novel rhythmic and technical features of the score – on the salience of the serial processes that Henck describes and the concomitant emergence of the piece's form in performance. I begin with a summary and contextualisation of Henck's analysis in terms of performance practice and audience perception. This then informs my analysis of the eight commercially available recordings, proceeding from discussion of global and sectional tempo data and their bearing on the teleological drive of the piece to qualitative close readings of five case studies, whose serial aesthetics, structural properties and interrelationships are negotiated with recourse to Stockhausen's moment classifications. As well as illustrating the contingency of the performer's contribution on the piece's teleological, serial‐statistical and moment‐formal properties, my methods have epistemological implications for the reciprocal and peculiar relationship that, I argue, must continue to inform the relationship between analysis and performance in the field of New Music.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" 11","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138960844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"DavidTemperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522.ChristopherDoll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528.DrewNobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368.","authors":"Kenneth Smith","doi":"10.1111/musa.12216","DOIUrl":"https://doi.org/10.1111/musa.12216","url":null,"abstract":"Music AnalysisEarly View CRITICAL FORUM David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522. Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528. Drew Nobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368. Kenneth Smith, Kenneth SmithSearch for more papers by this author Kenneth Smith, Kenneth SmithSearch for more papers by this author First published: 16 August 2023 https://doi.org/10.1111/musa.12216Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat REFERENCES Berlyne, Daniel E., 1971: Aesthetics and Psychobiology (New York: Appleton-Century-Crofts). Capuzzo, Guy, 2004: ‘ Neo-Riemannian Theory and the Analysis of Pop-Rock Music’, Music Theory Spectrum, 26/ii, pp. 177–200. Covach, John, 2005: ‘ Form in Rock Music: a Primer’, in Deborah Stein (ed.), Engaging Music: Essays in Musical Analysis (Oxford and New York: Oxford University Press), pp. 65–76. de Clercq, Trevor, 2012: ‘ Sections and Successions in Successful Songs: a Prototype Approach to Form in Rock Music’ (PhD diss., University of Rochester). de Clercq, Trevor, 2017: ‘ Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991’, Music Theory Online, 23/iii, https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.de_clercq.html, accessed 20 February 2023. Everett, Walter, 2004: ‘Making Sense of Rock's Tonal Systems’, Music Theory Online, 10/iv. Everett, Walter, 2009: The Foundations of Rock: From ‘Blue Suede Shoes’ to ‘Suite: Judy Blue Eyes’ (Oxford and New York: Oxford University Press). Harrison, Daniel, 1994: Harmonic Function in Chromatic Music: a Renewed Dualist Theory and an Account of Its Precedents (Chicago: University of Chicago Press). Hepokoski, James, and Darcy, Warren, 2006: Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford and New York: Oxford University Press). Meyer, Leonard B., 1957: ‘Meaning in Music and Information Theory’, Journal of Aesthetics and Art Criticism, 15/iv, pp. 412–24. Moore, Allan, 1995: ‘The So-Called “Flattened Seventh” in Rock’, Popular Music, 14, pp. 185–201. Reger, Max, 1948: Neues Max-Reger-Brevier (Basel: Amerbach). Russell, James A., 1980: ‘A Circumplex Model of Affect’, Journal of Personality and Social Psychology, 39/vi, pp. 116","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136392549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Second‐Order Topics and Prokofiev's String Quartets","authors":"J. Donaldson","doi":"10.1111/musa.12218","DOIUrl":"https://doi.org/10.1111/musa.12218","url":null,"abstract":"In his 1957 Mythologies, Roland Barthes proposes a second‐order semiological system, in which a familiar sign is repurposed to become a new signifier and in the process mythologises the previous sign system. This article adapts this principle to musical topics in twentieth‐century music, using the case study of the eighteenth‐century topical universe as it appears in Sergey Prokofiev's two String Quartets.I approach this from two directions, exploring in turn the mechanics of internal relationships and wider historical‐political implications. First, drawing upon William Caplin's concept of formal functions and their various possible associations with topics (Caplin 2005), I propose that topics with formal associations can express formal functions without the requirement for clarity in the primary parameters of harmony, tonality, grouping and cadence. Accordingly, they signify on a second‐order plane. The recurring Mannheim rocket in the first movement of Prokofiev's String Quartet No. 1 (1931) provides a case study. Second, I demonstrate the parallels between a second‐order system and key tenets of socialist realism. Concepts such as dostupnost′ (making the work understandable to everyone) and opora na klassiku (based on past Classical models) echo Barthes's model, as meaning is drawn from reference to Enlightenment‐associated art as a whole, rather than the individual topics. I demonstrate these principles in practice with reference to Prokofiev's Quartet No. 2 (1941). Together, these second‐order perspectives show the deeply rooted reliance on eighteenth‐century semantics in Prokofiev's music and their wider aesthetic implications.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"63458499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A ‘New Scale’ from the Beyond: Verbunkos and Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown","authors":"Érico Bomfim, C. Almada","doi":"10.1111/musa.12217","DOIUrl":"https://doi.org/10.1111/musa.12217","url":null,"abstract":"This article discusses ‘New Scale Modulations’, an unusual piece attributed to Franz Liszt by Rosemary Brown (1916–2001), a British composer who claimed to be a spirit medium. ‘New Scale Modulations’ ‘invents’ four key signatures that correspond to four transpositions of the same mode. The ‘New Scale’ and the way it is used establishes a unique mediation between two independent worlds: that of verbunkos asymmetrical scales and that of symmetrical musical thinking, especially hexatonic scales and triadic transformations. By this means, ‘New Scale Modulations’ establishes a deep and rational dialogue with Liszt's harmonic language, incorporating several elements of the verbunkos and Zukunftsmusik. Without ‘proving’ Brown's spirit medium claims, ‘New Scale Modulations’ challenges the view of her as no more than a superficial and intuitive imitator.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44943752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"What Is Haydn Doing in a John Field Nocturne?","authors":"W. Sutcliffe","doi":"10.1111/musa.12208","DOIUrl":"https://doi.org/10.1111/musa.12208","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42247984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hearing Durational Process in A Huli Song","authors":"J. Roeder","doi":"10.1111/musa.12210","DOIUrl":"https://doi.org/10.1111/musa.12210","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49551408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Calls and Responses","authors":"C. Stover","doi":"10.1111/musa.12212","DOIUrl":"https://doi.org/10.1111/musa.12212","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46504299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Projection, Call‐Response and the Improvisational Moment","authors":"G. Michaelsen","doi":"10.1111/musa.12211","DOIUrl":"https://doi.org/10.1111/musa.12211","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41907745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}