Music Theory Online最新文献_第3页

Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet Schoenberg《第一个四重奏》中的一体化、城市化和多维性

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.8

Samuel Reenan

{"title":"Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet","authors":"Samuel Reenan","doi":"10.30535/mto.28.1.8","DOIUrl":"https://doi.org/10.30535/mto.28.1.8","url":null,"abstract":"This article addresses the network of forms and genres at play in Schoenberg’s First String Quartet, op. 7, proposing a conception of the work as a representation of urban life in fin-de-siècle Vienna. I offer a summary of the emotionally volatile program and prior analyses, highlighting the central points of contention between analysts. Most especially, these include the relationship between an overall sonata form and a set of intervening cyclic movements. I then problematize Steven Vande Moortele’s notion of “two-dimensional sonata form,” drawing from theoretical investigations into narrative levels and embedded forms in literary theory. The bulk of the article revolves around a thoroughgoing analysis of the large-scale form of the Quartet, presenting a novel reading that situates the work within a complex web of interacting forms and genres. The Quartet begins as a large-scale sonata form, which is interrupted by a juxtaposed cycle of interpolated movements. Upon the arrival of the rondo finale, the sonata is complete. I demonstrate that the rondo finale may be construed as a mirror to a large-scale overarching rondo that can explain the multiple dimensions of the entire work.","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":"46778261","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

Three Audiovisual Correspondences in the Main Title for Vertigo 眩晕主标题中的三个视听通讯

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2022-03-01 DOI: 10.30535/mto.28.1.6

Scott Murphy

引用次数: 0

Onset and Contiguity 发作与邻接

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.2

Aaron Carter-Enyi, Gilad Rabinovitch

{"title":"Onset and Contiguity","authors":"Aaron Carter-Enyi, Gilad Rabinovitch","doi":"10.30535/mto.27.4.2","DOIUrl":"https://doi.org/10.30535/mto.27.4.2","url":null,"abstract":"Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. Our approach to reductions prioritizes contextual features like onset and contiguity. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. Through this reduction, a new form of musical pattern discovery is possible that has similarities to Gjerdingen’s (\".fn_cite_year($gjerdingen_2007).\") galant schemata. Recurring n-grams (scale degree skeletons) are matched in an algorithmic approach that we have tested manually (with a printed score and pen and paper) and implemented computationally (with symbolic data and scripted algorithms in MATLAB). A relatively simple method successfully identifies the location of all statements of the subject in Bach’s Fugue in C Minor (BWV 847) identified by Bruhn (\".fn_cite_year($bruhn_1993).\") and the location of all instances of the Prinner and Meyer schemata in Mozart’s Sonata in C Major (K. 545/i) identified by Gjerdingen (\".fn_cite_year($gjerdingen_2007).\"). We also apply the method to an excerpt by Kirnberger analyzed in Rabinovitch (\".fn_cite_year($rabinovitch_2019).\"). Analysts may use this flexible method for pattern discovery in reduced textures through software freely accessible at https://www.atavizm.org. While our case studies in the present article are from eighteenth-century European music, we believe our approach to reduction and pattern discovery is extensible to a variety of musics.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43129660","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

Performing Analysis, Performing Metal 执行分析，执行金属

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.8

Olivia R. Lucas

{"title":"Performing Analysis, Performing Metal","authors":"Olivia R. Lucas","doi":"10.30535/mto.27.4.8","DOIUrl":"https://doi.org/10.30535/mto.27.4.8","url":null,"abstract":"Light shows at contemporary rock concerts generally create an immersive, multi-sensory experience. In their most sophisticated forms, however, they provide a visual analysis of the music as it unfolds. This paper presents a case study of what I call the analytical light show, by examining how the intricate light shows of extreme metal band Meshuggah contribute an interpretive layer that not only promotes multi-sensory engagement, but also actively guides listeners through songs’ formal structures.\u0000\u0000 Meshuggah’s light shows, created by lighting designer Edvard Hansson, are exhaustively synchronized to the rhythmic patterns of the guitars and drums. Meticulous use of color, brightness, directionality, placement pattern, and beam movement provide additional information about gesture, articulation, and pitch. These analytical light shows provide a three-dimensional visual score that dramatizes rhythms while guiding listeners through each riff. Through this lighting, spatial and bodily metaphors of musical movement—high and low, moving and holding still—are transmuted into visual representation. By presenting analysis and performance simultaneously and as each other, Meshuggah combines technical virtuosity with rock authenticity, and provides another example of what I have called “coercive synesthesia” (Lucas 2014), as the lighting becomes an inextricable part of the musical experience. Beyond the confines of metal culture, I study the analytical light show as an expression of vernacular musical analysis that combines specific analytical and technical expertise with the intuitive, embodied knowledge that experienced music listeners possess.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44441099","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

Sometimes the Music Wins 有时候音乐会胜出

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.9

Peter Schubert

引用次数: 0

Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971 滚石乐队歌曲中的一般规范、讽刺和真实性，1963-1971

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.1

D. Carter

引用次数: 1

The Logic of Six-Based Minor for Harmonic Analyses of Popular Music 流行音乐和声分析的六基小调逻辑

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.4

Trevor de Clercq

{"title":"The Logic of Six-Based Minor for Harmonic Analyses of Popular Music","authors":"Trevor de Clercq","doi":"10.30535/mto.27.4.4","DOIUrl":"https://doi.org/10.30535/mto.27.4.4","url":null,"abstract":"Harmonic analyses of popular music typically take the minor tonic to be Roman numeral “one.” By nature, this “one-based” approach requires a new numbering scheme when songs shift between relative key centers. Recent scholarship has argued, however, that popular music often involves ambiguity between relative tonalities, as exemplified in the “Axis” progression, if not sometimes a tonal fusion of two relative keys. I thus argue for the utility of a “six-based” approach to the minor tonic, where the minor tonic is taken to be scale-degree 6. This six-based approach, common among practitioners of popular music as seen in the Nashville number system, avoids the forced choice of a single tonic, and it thus offers a consistent way to track chord function and behavior across shifts between relative key centers. After considering these shifts in a diatonic context on the levels of both phrase and song form, I posit that popular music involves three possible tonalities, together which form a “triple-tonic complex” akin to Stephenson’s three harmonic palettes: a major system, a parallel-minor system, and a relative-minor system. I conclude by considering how chromatic chords common in a major key, such as II and \".fn_flat('').\"VII, correspond to their counterparts in the relative minor, IV and \".fn_flat('').\"II, thereby collapsing the landscape of diatonic modes into three modal complexes. Overall, the paper serves to reveal the logic of six-based minor—why it is useful, what issues it resolves, and what insights it can afford us about harmonic syntax in popular music.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44041374","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: 3

Review of Megan Kaes Long, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century (Oxford University Press, 2020) 回顾梅根·凯斯·朗，听觉谐音:十七世纪之交的音调期望(牛津大学出版社，2020)

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.10

G. Barnett

引用次数: 0

Romantic Periods 浪漫主义时期

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.3

Diego Cubero

引用次数: 0

Rebonds: Structural Affordances, Negotiation, and Creation 反弹：结构支撑、谈判和创造

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.5

B. Duinker

引用次数: 2