Music Theory Online最新文献_第2页

Analyzing Vocables in Rap Rap中的Vocables分析

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.10

Zachary Wallmark

{"title":"Analyzing Vocables in Rap","authors":"Zachary Wallmark","doi":"10.30535/mto.28.2.10","DOIUrl":"https://doi.org/10.30535/mto.28.2.10","url":null,"abstract":"This article examines the structural and semiotic functions of vocables in rap music. Analytical studies of the rapping voice have predominantly focused on lyrics, rhyme, accent, rhythm, and the emergent property of flow. Although timbral aspects of the voice play an important role in rappers’ flow, identity construction, and reception, investigations of timbre and non-lexical expression (e.g., vocables) remain comparatively rare. As a case study, I focus on the signature ad-lib vocable of Houston rapper Megan Thee Stallion—a creaky-voiced [æ] vowel, like the “a” in cat. Analyzing a corpus of all recorded instances of this vocable in her commercially available recordings (699 instances in 101 songs), along with timbral and phonetic close-reading, I claim that vocables can serve both percussive and formal functions in rap music. Synthesizing perspectives from sociolinguistics, gender and sexuality studies, and brand theory, I argue that Megan Thee Stallion uses her vocable as a timbre trademark: a unique, memorable, and immediately recognizable sonic icon of her brand persona. This brand is closely associated with the gendered and racialized social history of vocal fry in representations of female sexual pleasure. I close by suggesting that vocal timbre plays a leading though often invisible role in hip-hop expression and politics.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47245827","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

Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015 2010年至2015年流行音乐40强中的Codetta和Anthem Postchorus类型

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.9

C. Stroud

引用次数: 1

Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder 音调的退潮，下沉II和弦，并在罗伯特·舒曼的歌曲文本音乐对应

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.5

Alexander Martin

{"title":"Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder","authors":"Alexander Martin","doi":"10.30535/mto.28.1.5","DOIUrl":"https://doi.org/10.30535/mto.28.1.5","url":null,"abstract":"In this article, I posit and develop the principle of tonal ebb to account for breaches of harmonic syntax in the normative tonal flow of common practice era music, with special reference to V going to II. Though typically forbidden, V—II progressions occasionally arise in a handful of special cases. Rarely, one may encounter a sunken II chord: this is my term for an apparent, diatonic II chord that arises from contrapuntal motion within V in major keys. To ground this rather abstract contrapuntal artifact and highlight its unique affective properties, I develop a conceptual model for the apparent V—II—V tonal formation that draws on an analogy to a folding technique from origami. Owing to its voice leading properties, the sunken II chord is particularly well-suited to conveying a sense of “that which lies within” in musical terms. I argue that Robert Schumann was sensitive to this effect—consciously or unconsciously—and that he employed it in his songs to underscore moments of inwardness, introspection, or heightened subjectivity in the poetry. I proceed to investigate three Schumann songs from 1840 that feature a text-music correspondence involving a prominent sunken II chord and some manner of inward turn in the text.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45261120","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

A Bevy of Biases 一堆偏见

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.4

Justin M. London

{"title":"A Bevy of Biases","authors":"Justin M. London","doi":"10.30535/mto.28.1.4","DOIUrl":"https://doi.org/10.30535/mto.28.1.4","url":null,"abstract":"This article is in response to and in broad support of Philip Ewell’s keynote talk, “Music Theory’s White Racial Frame,” given at the 2019 Annual Meeting of the Society for Music Theory, and essay, “Music Theory and the White Racial Frame” (\".fn_cite_year($ewell_2020).\"). In his address and its companion essay, Ewell notes how the repertoire we study and teach, as well as the theories we use to explain it, are manifestations of whiteness. My article will show, first, that the repertory used in the development of theories of harmony and form, as well as (and especially) music theory pedagogy comprises a small, unrepresentative corpus of pieces from the so-called “common practice period” of tonal music, mostly the music of Bach, Haydn, Mozart, and Beethoven, and only a small subset of their output. We (mis)use this repertory due to a combination of implicit biases that stem from our enculturation as practicing musicians, explicit biases that stem from broadly held aesthetic beliefs regarding the status of “great” composers and particular “masterworks,” and confirmation biases that are manifest in our tendency to use only positive testing strategies and/or selective sampling when developing and demonstrating our theories. The theories of harmony and form developed from this small corpus further suffer from overfitting, whereby theoretical models are overdetermined relative to the broader norms of a musical practice, and from our tendency to conceive of our theoretic models in terms of tightly regulated “scripts” rather than looser “plans.” For these reasons, simply expanding our analytic and/or pedagogical canon will do little to displace the underlying aesthetic and cultural values that are bound up with it. We must also address the biases that underlie canon formation and valuation and the methodologies that inherently privilege certain pieces, composers, and repertoires to the detriment of others. It is thus argued that working toward greater equity, diversity, and inclusion in music theory goes hand in hand with addressing some of the problematic methodologies that have long plagued our discipline.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45307313","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: 1

Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent” 结构密度和清晰度、技术死亡金属和异常的“欧姆值”

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.3

Calder Hannan

引用次数: 0

Was Mesopotamian Tuning Diatonic? A Parsimonious Answer 美索不达米亚的调音调调调吗？简洁的答案

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.7

J. Rahn

{"title":"Was Mesopotamian Tuning Diatonic? A Parsimonious Answer","authors":"J. Rahn","doi":"10.30535/mto.28.1.7","DOIUrl":"https://doi.org/10.30535/mto.28.1.7","url":null,"abstract":"On the basis of assumptions and conclusions first advanced in 1968 concerning tuning instructions that were originally written down ca. 1800 BCE, Assyriologists have agreed that Mesopotamian tuning was diatonic. Nonetheless, Sam Mirelman (2013) has recently suggested that this consensus view is “uncomfortably familiar and Eurocentric.” As a follow-up to Mirelman’s misgiving, the present report begins by identifying flaws in the reasoning concerning Mesopotamian tuning that was disseminated more than half a century ago and have remained uncontested. The starting point of the present study is information directly recorded in Mesopotamian documents, as opposed to concepts dating from Greek Antiquity and beyond. This information includes the spatial ordering of strings and the relative fundamental frequencies of two pairs of strings on the sammû, a harp or lyre that is explicitly identified in cuneiform tablets, as well as the tuning instructions’ recursive and symmetrical patterning of prescriptions concerning the alterations of this instrument’s strings. At each step, this patterning involves loosening or tightening a string that is three or four strings away from the string that had just been tightened or loosened. Added to these observations are acoustical features of the harmonics produced by plucked strings, and the auditory roughness and smoothness produced by pairs of plucked strings that psychoacoustical studies have established as universally audible. On these bases, one can conclude that Mesopotamian tuning can be interpreted as diatonic in structure without assuming such notions as octave identity, scale degrees, and consonance, all concepts for which there is no known testimony until much later in the history of music theory.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43985664","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: 1

Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020) Drew Nobile评论，《摇滚乐中的和谐形式》（牛津大学出版社，2020）

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.10

Alyssa Barna

引用次数: 0

Mixture Strategies 混合策略

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.1

Bruno Alcalde

{"title":"Mixture Strategies","authors":"Bruno Alcalde","doi":"10.30535/mto.28.1.1","DOIUrl":"https://doi.org/10.30535/mto.28.1.1","url":null,"abstract":"This article presents a framework to approach musical hybridity, which is understood generally as any combination of musical identities. The framework focuses on the concepts of mixture strategies—perceptible processes of interaction and manipulation of styles, genres, and other identity markers. Mixture strategies are recurrent treatments of disparate musical identities in hybrid music, and not only do they define what the materials are, they more fully explore how these entities are put together. There are four distinct mixture strategies—clash, coexistence, distortion, and trajectory—and each have peculiar characteristics and significations contingent on their use structurally and contextually.\u0000 In the article I define and exemplify each of the four mixture strategies in composers from, or related to, the post-1960s polystylistic concert music such as Alfred Schnittke, George Rochberg, Sofia Gubaidulina, and Peter Maxwell Davies. In these works, hybridity itself is foregrounded, and articulates the musical discourse as much, and oftentimes more so, than other musical parameters. Thus, this repertory proves helpful to demonstrate a general framework that can, and should, be applicable to other hybrid repertories. As I discuss the mixture strategies, I will debate the potential interpretive tropes for each. Then, I apply these ideas in interpreting the entire second movement of Schnittke’s Concerto Grosso no. 1, a work that explores all four mixture strategies. The second movement is then contextualized within the entire concerto.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44613774","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

Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10 1911年的Klangfarbenmelodie: Webern op . 9和10中音色的功能作用

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.9

M. Zeller

引用次数: 0

Switching the Backbeat 切换背景

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.2

Zachary A. Cairns

{"title":"Switching the Backbeat","authors":"Zachary A. Cairns","doi":"10.30535/mto.28.1.2","DOIUrl":"https://doi.org/10.30535/mto.28.1.2","url":null,"abstract":"This article explores manipulations of the nearly ever-present backbeat in rock music from the “long” 1980s. The status of the backbeat as not only metrically consonant but a defining feature of rock meter is discussed within the context of dual-aspect meter. Operating from the assumption that isochronous snare drum hits in rock are heard as a backbeat, placing those snare drum hits on beats other than 2 and 4 creates a particular kind of metrical dissonance, which I refer to as a backbeat switch. I examine two ways in which a backbeat switch occurs, the quick flip and the polymetric pogo. A quick flip usually occurs at a phrase break, where the drummer apparently (but intentionally) “drops a beat” and then resumes the backbeat pattern, thus shifting it “to the left.” A polymetric pogo involves a situation where the backbeat-insistent drummer is pitted against the rest of the band playing in an odd-cardinality meter, resulting in snare hits that bounce back and forth between even-numbered beats and odd-numbered beats every other measure. Short examples by The Cars, Paul Weller, Steve Vai, and Sting are used to demonstrate the article’s fundamental concepts, and longer examples by Tesla, Jerry Goldsmith, and Extreme place these concepts into larger contexts.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46618545","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