Music Theory Online最新文献_第4页

Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II 形体音乐结构:竹光彻的《雨树小品》的手势-动觉方法2

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.6

Jocelyn Ho

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引用次数: 0

Brahmsian Articulation 勃拉姆斯的发音

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.7

Ana Llorens

引用次数: 1

Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020) 劳拉·埃默里，艾略特·卡特弦乐四重奏的作曲过程:草图研究(劳特利奇，2020)

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-12-01 DOI: 10.30535/mto.27.4.11

Peter Smucker

引用次数: 0

Review of John Paul Ito, Focal Impulse Theory: Musical Expression, Meter, and the Body (Indiana University Press, 2020) 回顾约翰·保罗·伊藤，焦点脉冲理论:音乐表达，仪表和身体(印第安纳大学出版社，2020)

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.12

Jonathan De Souza

引用次数: 0

Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches 凯奇的模仿游戏:廉价的模仿和歌曲书通过草图

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.6

Jeffrey Perry

{"title":"Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches","authors":"Jeffrey Perry","doi":"10.30535/mto.27.3.6","DOIUrl":"https://doi.org/10.30535/mto.27.3.6","url":null,"abstract":"The theme of John Cage’s Song Books (1970), according to Cage, is contained in the statement “We connect Satie with Thoreau” (\".fn_cite($cage_1970).\", 1). Previous studies of Cage’s Song Books have not asked what I feel to be obvious questions: how, precisely, does Cage connect Satie with Thoreau? To what end? And how does Cage connect to Satie and Thoreau (and to the other sources from which he borrows)? I make use of Cage’s sketch materials to seek answers. I examine three of the Solos for Voice from Song Books that make use of the cheap-imitation procedure that Cage had devised for his work of that name in 1969.\u0000\u0000 \u0000 Because Song Books is a work for vocalists while Cheap Imitation is a work for solo piano, Cage needed to apply analogous processes of textual “imitation” and mixture to the words of Thoreau to accompany the cheap imitations of the music of Satie. This article explores the persistence of compositional choice in Song Books as revealed by the sketches, in so doing exploring themes of duality in Cage’s pursuit of “poetry as I need it” in the music of Erik Satie, the words of Henry David Thoreau, and in the imitation game that he devises to connect them with one another.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48685115","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

The Pen as Camera 笔作为相机

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.5

R. Beaudoin

引用次数: 0

Giving Voice to a Foxtrot from Auschwitz-Birkenau 给奥斯威辛-比克瑙的狐步舞配音

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.9

Patricia Hall

引用次数: 0

Schubert’s Large-Scale Sentences 舒伯特的大尺度句子

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.2

C. Martinkus

{"title":"Schubert’s Large-Scale Sentences","authors":"C. Martinkus","doi":"10.30535/mto.27.3.2","DOIUrl":"https://doi.org/10.30535/mto.27.3.2","url":null,"abstract":"In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., \".fn_cite($baileyshea_2002).\", \".fn_cite($bivens_2018).\", \".fn_cite($broman_2007).\", \".fn_cite($vandemoortele_2011).\", and \".fn_cite($krebs_2013).\"), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48442032","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

Disco Culture and the Ritual Journey in the Soviet 1980s 苏联80年代的迪斯科文化与仪式之旅

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.8

Kevin C. Karnes

{"title":"Disco Culture and the Ritual Journey in the Soviet 1980s","authors":"Kevin C. Karnes","doi":"10.30535/mto.27.3.8","DOIUrl":"https://doi.org/10.30535/mto.27.3.8","url":null,"abstract":"This article traces a largely forgotten history of the 1980s Soviet disco craze by following the work of one of its pioneering figures, the Latvian DJ, musician, and performance artist Hardijs Lediņš (1955–2004). It documents how the movement coalesced amidst creative responses to the gradual opening of the USSR to Western popular culture on the one hand, and to the unique affordances of local political, social, and technological structures on the other. In Lediņš’s case, the response was also shaped by commitments to an ideal of Soviet socialism that persisted despite the grim realities of Brezhnev-era society. Drawing on archival research and oral history, I begin in the loosely monitored space of the Student Club at the Riga Polytechnic Institute, where Lediņš’s talents and ties to elites enabled him to found a wildly popular discotheque in the 1974–75 academic year, one of the first of its kind in the USSR. I follow his increasing investment in a distinctly Soviet form of experimentalist performance art in the early 1980s, in which—inspired in part by local readings of John Cage—the ritualized trek into the countryside became a vehicle for attaining spiritual enlightenment in communion with others. Finally, I consider ways in which his ritual journeys inflected his disco operation in subsequent years, when he reframed his events as experiments in communality—specifically, as means of experiencing, at least for an evening, the enlightening promise of Soviet socialism undelivered by the state itself.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47687484","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

Encoding Post-Spectral Sound 编码后谱声

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.10

Landon Morrison

{"title":"Encoding Post-Spectral Sound","authors":"Landon Morrison","doi":"10.30535/mto.27.3.10","DOIUrl":"https://doi.org/10.30535/mto.27.3.10","url":null,"abstract":"This article examines computer-based music (ca. 1982–87) created by Finnish composer Kaija Saariaho at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. A detailed account of archival materials for an early étude in voice synthesis, Vers le blanc (1982), demonstrates the music-theoretical import of software to Saariaho’s development of a robust compositional method that resonated with the emergent aesthetics of a post-spectral milieu. Subsequent analyses of two additional works from this period—Jardin secret II (1984–86) for harpsichord and tape, and IO (1987) for large ensemble and electronics—serve to illustrate Saariaho’s extension of this method into instrumental settings. Specific techniques highlighted include the use of interpolation systems to create continuous processes of transformation, the organization of individual musical parameters into multidimensional formal networks, and the exploration of harmonic structures based on the analysis of timbral phenomena. Relating these techniques to the affordances of contemporaneous IRCAM technologies, including CHANT, FORMES, and Saariaho’s own customized program, “transkaija,” this article adopts a transductive approach to archival research that is responsive to the diverse media artifacts associated with computer-based composition.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44942669","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