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History for Theorists 理论家的历史
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-11-01 DOI: 10.30535/MTO.25.3.4
N. Martin
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引用次数: 2
Analyzing Modular Smoothness in Video Game Music 分析电子游戏音乐的模块平滑性
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-10-01 DOI: 10.30535/MTO.25.3.2
Elizabeth Medina-Gray
{"title":"Analyzing Modular Smoothness in Video Game Music","authors":"Elizabeth Medina-Gray","doi":"10.30535/MTO.25.3.2","DOIUrl":"https://doi.org/10.30535/MTO.25.3.2","url":null,"abstract":"This article provides a detailed method for analyzing smoothness in the seams between musical modules in video games. Video game music is comprised of distinct modules that are triggered during gameplay to yield the real-time soundtracks that accompany players’ diverse experiences with a given game. Smoothness—a quality in which two convergent musical modules fit well together—as well as the opposite quality, disjunction, are integral products of modularity, and each quality can significantly contribute to a game. This article first highlights some modular music structures that are common in video games, and outlines the importance of smoothness and disjunction in video game music. Drawing from sources in the music theory, music perception, and video game music literature (including both scholarship and practical composition guides), this article then introduces a method for analyzing smoothness at modular seams through a particular focus on the musical aspects of meter, timbre, pitch, volume, and abruptness. The method allows for a comprehensive examination of smoothness in both sequential and simultaneous situations, and it includes a probabilistic approach so that an analyst can treat all of the many possible seams that might arise from a single modular system. Select analytical examples from The Legend of Zelda: The Wind Waker and Portal 2 provide a sampling of the various interpretive gains available through this method.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44099971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Making “Anti-Music”: Divergent Interactional Strategies in the Miles Davis Quintet’s The Complete Live at the Plugged Nickel 1965 制作“反音乐”:在迈尔斯·戴维斯五重奏的完整现场在插电镍1965年不同的互动策略
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-09-01 DOI: 10.30535/MTO.25.3.3
G. Michaelsen
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引用次数: 7
Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016) Kacey Link和Kristin Wendland的评论文章，《追踪探戈：阿根廷探戈器乐》（牛津，2016）
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-09-01 DOI: 10.30535/MTO.25.3.5
John Turci-Escobar, br, Notice, home, mtosmt, B. Line, bbr
{"title":"Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016)","authors":"John Turci-Escobar, br, Notice, home, mtosmt, B. Line, bbr","doi":"10.30535/MTO.25.3.5","DOIUrl":"https://doi.org/10.30535/MTO.25.3.5","url":null,"abstract":"[1] The tango, Argentine writer Jorge Luis Borges argued, contains a secret. “Musical dictionaries provide a brief, adequate, and generally approved definition,” Borges wrote, but “the French or Spanish composer who, trusting the definition, correctly crafts a ‘tango,’ discovers, very much to his surprise, that he has crafted something that our ears do not recognize, that our memory does not welcome, and that our body rejects” (2009, 267–68).(1) Pace Borges, in Tracing Tangueros Kacey Link and Kristin Wendland go beyond the brief definition, to provide a “detailed study of Argentine tango instrumental music” that promises to reveal the genre’s secret and assist musicians who perform and arrange, composers who write, and music scholars who analyze Argentine, or more precisely, River Plate tangos.(2) Moreover, the authors seek to engage an even wider audience, “ranging from a tango aficionado wishing to learn about the music of a specific tanguero to a professional musician seeking a detailed performance or theoretical analysis” (18). There I call attention to issues relating to how the authors defined their corpus, constructed their historical narrative, and chose representative tangueros.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48101040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Uniform Information Density in Music 音乐中的均匀信息密度
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-07-01 DOI: 10.30535/MTO.25.2.5
D. Temperley
{"title":"Uniform Information Density in Music","authors":"D. Temperley","doi":"10.30535/MTO.25.2.5","DOIUrl":"https://doi.org/10.30535/MTO.25.2.5","url":null,"abstract":"The theory of Uniform Information Density states that communication is optimal when information is presented at a moderate and uniform rate. Three predictions follow for music: (1) low-probability events should be longer in duration than high-probability events; (2) low-probability events should be juxtaposed with high-probability events; (3) an event that is low in probability in one dimension should be high in probability in other dimensions. I present evidence supporting all three of these predictions from three diverse areas of musical practice: Renaissance counterpoint, expressive performance, and common-practice themes.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46725319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Soaring Through the Sky 翱翔天空
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-07-01 DOI: 10.30535/MTO.25.2.1
Sean E. Atkinson
{"title":"Soaring Through the Sky","authors":"Sean E. Atkinson","doi":"10.30535/MTO.25.2.1","DOIUrl":"https://doi.org/10.30535/MTO.25.2.1","url":null,"abstract":"In this article, I explore the analytical potential of musical topics and tropes in the study of video game music. Following Neumeyer (2015), Almén (2008), and Hatten (1994), I establish a methodology with which to approach musical topics in video game music. By way of a case study, I begin by defining the soaring topic through a historical and cultural examination of flying in cinema and video games. Flying, and more specifically soaring, has been a staple in film from the earliest days of cinema, and the music that accompanies it is also found in video games that prominently feature flying. I then engage the music of flying sequences in two specific video games, Final Fantasy IV (1991) and The Legend of Zelda: Skyward Sword (2011). The resulting analyses demonstrate that this approach helps to unpack the complex narratives found in video games.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47914715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 7
Performing Cultural Hybridity in Isang Yun’s Glissées pour violoncelle seul (1970) 在Isang Yun的Glissées为大提琴独奏表演文化混合（1970年）
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-07-01 DOI: 10.30535/MTO.25.2.6
John W. Turner
{"title":"Performing Cultural Hybridity in Isang Yun’s Glissées pour violoncelle seul (1970)","authors":"John W. Turner","doi":"10.30535/MTO.25.2.6","DOIUrl":"https://doi.org/10.30535/MTO.25.2.6","url":null,"abstract":"This paper explores cultural hybridity in Isang Yun’s Glissées pour violoncelle seul (1970) using a framework based on ideas from the philosophy of Deleuze and Guattari. The discussion centers on five principal oppositions in the work: Taoist-inspired coalescence/dissolution and the Austro-German sonata cycle; Hauptton and twelve-tone techniques; the evocation of traditional Korean ornamentation and the concept of fixed pitch; the evocation of traditional Korean instruments and the cello timbre; and changdan rhythmic cycles and twelve-tone prose rhythms. Conclusions drawn from the consideration of each opposition then serve as the basis for comments regarding effective performance, using a framework based on ideas from conductor Markand Thakar.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49378990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Chord Proximity, Parsimony, and Analysis with Filtered Point-Symmetry 弦的接近性、简约性和滤波点对称分析
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-07-01 DOI: 10.30535/MTO.25.2.3
Richard Plotkin
{"title":"Chord Proximity, Parsimony, and Analysis with Filtered Point-Symmetry","authors":"Richard Plotkin","doi":"10.30535/MTO.25.2.3","DOIUrl":"https://doi.org/10.30535/MTO.25.2.3","url":null,"abstract":"Filtered Point-Symmetry (FiPS) is a tool for modeling relationships between iterated maximally even sets. Common musical relationships can be studied by using FiPS to model chords contained within a specific scalar context (such as C major or the 01-octatonic collection), and by capturing those relationships in a FiPS configuration space. In this work, many FiPS configuration spaces are presented; some are isomorphic to commonly referenced voice-leading spaces like the neo-Riemannian Tonnetz, and others show tonal networks that have not previously been explored. A displacement operation is introduced to codify the traversal of a configuration space, and a short music analysis is provided to demonstrate some benefits of the approach.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44334621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Review of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018) Lori Burns和Serge Lacasse评论，编辑，《流行重写本：录制的流行音乐中的互文性》（密歇根大学出版社，2018）
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-07-01 DOI: 10.30535/MTO.25.2.7
C. Stroud
{"title":"Review of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018)","authors":"C. Stroud","doi":"10.30535/MTO.25.2.7","DOIUrl":"https://doi.org/10.30535/MTO.25.2.7","url":null,"abstract":"<jats:p />","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45746556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music 极限硬核朋克与朋克音乐中节奏、节奏和音色的分析挑战
IF 0.8 2区 艺术学
Music Theory Online Pub Date : 2019-03-01 DOI: 10.30535/MTO.25.1.5
D. Pearson
{"title":"Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music","authors":"D. Pearson","doi":"10.30535/MTO.25.1.5","DOIUrl":"https://doi.org/10.30535/MTO.25.1.5","url":null,"abstract":"Scholars often assume that there is little more to say about punk music other than it is fast, loud, abrasive, and any amateur can perform it. Yet within the punk scene, there is a robust discourse on punk musical style and the changes it has undergone throughout its now forty-year history, seemingly endless subgenre distinctions, and critical commentary on the musical merits of individual bands. This article combines transcription and analysis with a look at the punk scene’s own discourse on musical style to understand the rhythms, riffs, and timbres of extreme hardcore punk, a subgenre prominent in the 1990s. The 800-BPM blast beats, screamed or growled vocals, and dissonant riffs of extreme hardcore necessitate the development of theoretical concepts for explaining the function of meter, timbre, and melodic material in punk. Furthermore, an understanding of changes in and new subgenres of punk style is necessary to avoid reducing punk to a music devoid of nuance or ongoing historical development.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42416731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
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