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Vertigo’s Musical Gaze: Neo‐Riemannian Symmetries and Spirals Vertigo的音乐凝视：新黎曼对称与螺旋
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2018-03-01 DOI: 10.1111/MUSA.12109
Kenneth M. Smith
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引用次数: 2
Guido Heldt, Music and Levels of Narration in Film: Steps Across the Border (Bristol and Chicago: Intellect, 2013). x + 292 pp. ISBN 978‐1‐84150‐625‐8. £48.50 (hb). Guido Heldt，《电影中的音乐与叙事层次：跨越边界的脚步》（Bristol and Chicago:Intellect，2013）。x+292页，ISBN 978‐1‐84150‐625‐8。48.50英镑（hb）。
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2018-03-01 DOI: 10.1111/MUSA.12110
Nicholas Reyland
{"title":"Guido Heldt, Music and Levels of Narration in Film: Steps Across the Border (Bristol and Chicago: Intellect, 2013). x + 292 pp. ISBN 978‐1‐84150‐625‐8. £48.50 (hb).","authors":"Nicholas Reyland","doi":"10.1111/MUSA.12110","DOIUrl":"https://doi.org/10.1111/MUSA.12110","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"139-146"},"PeriodicalIF":0.4,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46176060","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}
引用次数: 0
Film‐as‐Concert Music and the Formal Implications of ‘Cinematic Listening’ 电影音乐会音乐与“电影聆听”的形式含义
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2018-03-01 DOI: 10.1111/MUSA.12107
Frank Lehman
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引用次数: 2
Tonal Problems as Agents of Narrative in Brahms's Unbewegte laue Luft, Op. 57 No. 8 在勃拉姆斯作品57 No. 8中作为叙事媒介的调性问题
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-10-01 DOI: 10.1111/MUSA.12100
Loretta Terrigno
{"title":"Tonal Problems as Agents of Narrative in Brahms's Unbewegte laue Luft, Op. 57 No. 8","authors":"Loretta Terrigno","doi":"10.1111/MUSA.12100","DOIUrl":"https://doi.org/10.1111/MUSA.12100","url":null,"abstract":"Scholars have often invoked the progress of chromatic pitches through a piece as a metaphor for dramatic events, defining ‘tonal problems’ and ‘promissory notes’ as chromatic pitches that enter early in a piece, threaten the governing tonality's sovereignty and signify a conflict to be resolved (see Cone (1982), Carpenter (1988) and Schachter (1999).). Edward Cone's well-known reading of Schubert's Moment musical in A♭ (Op. 94 No. 6) posits the inability of E♮ to be fully assimilated, expressing ‘the occurrence of a disquieting thought to one of a tranquil, easy-going nature’. This article extends these models, interpreting the tonal problems F♮ and C♮ in Brahms's song Unbewegte laue Luft, Op. 57 No. 8, as realising present and future temporalities that remain latent in Georg Friedrich Daumer's poem. \u0000 \u0000Brahms's E major song seems to model the poem's temporal progression from present to future, invoking F♮ to signify the protagonist's suppressed desire in the present and later respelling the pitch as E♯ to suggest emergent desire and its imagined future. Whereas Daumer's poem only contrasts the images of nature's external calm with the protagonist's internal passion, the tonal consequences of F and C in Brahms's setting also draw these images together, suggesting that they are intertwined in the protagonist's perceptions. His initially subconscious desires influence his experience of nature.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"350-371"},"PeriodicalIF":0.4,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12100","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46403550","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}
引用次数: 4
Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form 斯克里亚宾的序曲Op. 67 No. 1:音高正字法，音乐高潮和形式
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-08-30 DOI: 10.1111/MUSA.12090
Y. Wu
{"title":"Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form","authors":"Y. Wu","doi":"10.1111/MUSA.12090","DOIUrl":"https://doi.org/10.1111/MUSA.12090","url":null,"abstract":"In tonal music, the way in which pitches are spelled reflects their meaning in various contextual and textural settings such as harmony, melody and voice leading. At the turn of the twentieth century, many composers attempted to progress beyond the confines of traditional tonality; and their works, as generally perceived by most analysts nowadays, treated the twelve chromatic pitches as twelve enharmonically equivalent pitch classes. No matter what musical context is encountered, we perceive F♯ and G♭ syntactically and structurally as the same pitch class, paying little attention to the composer's choice of notation. The present article brings the significance of pitch notation into sharper focus by investigating its crucial role in the structure and form of Scriabin's Prelude Op. 67 No. 1 (1912–13). I will demonstrate how Scriabin utilises orthography to create a concealed musical climax that reinforces the narrative design of the form, helping the analyst to regard notation as a core element when examining the pitch structure in music after 1900.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"419-450"},"PeriodicalIF":0.4,"publicationDate":"2017-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12090","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924445","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}
引用次数: 0
Linear and Linguistic Syntax in Brahms's O Kühler Wald, Op. 72 No. 3 勃拉姆斯《O kkhler Wald》作品72第3号中的线性和语言句法
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-08-30 DOI: 10.1111/MUSA.12101
Robert Snarrenberg
{"title":"Linear and Linguistic Syntax in Brahms's O Kühler Wald, Op. 72 No. 3","authors":"Robert Snarrenberg","doi":"10.1111/MUSA.12101","DOIUrl":"https://doi.org/10.1111/MUSA.12101","url":null,"abstract":"This essay explores the interplay between states of syntactic completion and incompletion in the text and music of Brahms's O kuhler Wald and how the composer thereby conveys an interpretation of the poetic text to create an experience for the listener that bears a striking resemblance to the experience of the poem's lovelorn persona.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"372-383"},"PeriodicalIF":0.4,"publicationDate":"2017-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47554885","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}
引用次数: 0
(Post‐)Tonal Key Relationships in Scriabin's Late Music (后)斯克里亚宾晚期音乐的调性键关系
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-08-21 DOI: 10.1111/MUSA.12095
J. Yunek
{"title":"(Post‐)Tonal Key Relationships in Scriabin's Late Music","authors":"J. Yunek","doi":"10.1111/MUSA.12095","DOIUrl":"https://doi.org/10.1111/MUSA.12095","url":null,"abstract":"One of the leading theories of Scriabin's late music is that his collections are chords that are related through invariant transposition. Whereas this theory is effective in relating symmetrical collections such as the octatonic, it cannot relate asymmetrical collections such as Scriabin's mystic chord. In order to overcome this issue, I explore Scriabin's own understanding of his harmonic language and interpret it through his personal statements, philosophical beliefs and theoretical training. I reveal that Scriabin thought of his collections not as chords, but as closely related keys (tonalnosti). Although close key relationships are tonal in nature, this relationship can be transferred to post-tonal music when defined as a maximally invariant transposition. Accordingly, this operation accounts for transpositional relationships between symmetrical and asymmetrical collections in Scriabin's late music, suggesting that his late harmonic language equates to a rapid succession of closely related keys. This theory is applied to excerpts spanning the late period, from Op. 58 to Op. 74, with extended applications to Op. 63 No. 2 and Op. 73 No. 2.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"384-418"},"PeriodicalIF":0.4,"publicationDate":"2017-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12095","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47749024","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}
引用次数: 0
Song and the Music of Poetry 歌与诗的音乐
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-07-10 DOI: 10.1111/MUSA.12091
Stephen Rodgers
{"title":"Song and the Music of Poetry","authors":"Stephen Rodgers","doi":"10.1111/MUSA.12091","DOIUrl":"https://doi.org/10.1111/MUSA.12091","url":null,"abstract":"As much as the Lied has been a mainstay in studies of the relationship between text and music, one important aspect of that relationship has been largely ignored: the ways in which composers respond to the sounds, or phonemes, of words themselves. Analysts of German Lieder (and art song in general) have emphasised the diverse ways in which music expresses the meaning of poetry, but they have remained largely indifferent to how music captures, and often enhances, poetry's materiality – its patterns of consonants and vowels, its intonational shapes, its ‘music’. Drawing in part upon literary scholarship on the sonic aspects of poetry (by Robert Pinsky, M. H. Abrams and others), this article explores how the sound worlds of poetry and music interact. I begin by evaluating three common approaches to the analysis of art song, each of which neglects poetic sound to some degree. I then propose an alternative approach, one designed to ensure that the music of poetry is given its due. Finally, I apply this method to a detailed analysis of ‘Wenn ich in deine Augen seh’’, from Dichterliebe, and to another setting by Schumann, ‘Melancholie’, from the Spanisches Liederspiel.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"315-349"},"PeriodicalIF":0.4,"publicationDate":"2017-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44552093","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}
引用次数: 2
Time‐Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough: a Performance‐Sensitive Approach to Morphosyntactic Musical Analysis Lachenmann, Xenakis和Ferneyhough的大提琴独奏作品中的时空体验:一种对形态句法音乐分析的表现敏感方法
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-07-01 DOI: 10.1111/MUSA.12076
Christian Utz
{"title":"Time‐Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough: a Performance‐Sensitive Approach to Morphosyntactic Musical Analysis","authors":"Christian Utz","doi":"10.1111/MUSA.12076","DOIUrl":"https://doi.org/10.1111/MUSA.12076","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"216-256"},"PeriodicalIF":0.4,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12076","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44887683","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}
引用次数: 5
Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge University Press, 2014), xx + 275 pp. ISBN 978-1-107-06769-1. £67 (hb.).Heinrich Schenker, Beethoven's Last Piano Sonatas: an Edition with Elucidation, translate: Critical Forum 罗伯特·摩根，成为海因里希·申克:音乐理论和意识形态(剑桥:剑桥大学出版社，2014)，xx + 275页。ISBN 978-1-107-06769-1。£67 (hb)。海因里希·申克，贝多芬最后的钢琴奏鸣曲:一个版本与阐释，翻译:批评论坛
IF 0.4 1区 艺术学
MUSIC ANALYSIS Pub Date : 2017-07-01 DOI: 10.1111/MUSA.12099
William Drabkin
{"title":"Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge University Press, 2014), xx + 275 pp. ISBN 978-1-107-06769-1. £67 (hb.).Heinrich Schenker, Beethoven's Last Piano Sonatas: an Edition with Elucidation, translate: Critical Forum","authors":"William Drabkin","doi":"10.1111/MUSA.12099","DOIUrl":"https://doi.org/10.1111/MUSA.12099","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"282-295"},"PeriodicalIF":0.4,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12099","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42800290","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}
引用次数: 0
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