Music Theory Online最新文献_第5页

Material Connections 材料连接

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.7

Benjamin R. Levy

{"title":"Material Connections","authors":"Benjamin R. Levy","doi":"10.30535/mto.27.3.7","DOIUrl":"https://doi.org/10.30535/mto.27.3.7","url":null,"abstract":"The architect Bruce Goff (1904–82) is often associated with Frank Lloyd Wright and Organic Architecture, but his concept of organicism was equally influenced by his interest in modern music, and in particular the work of Claude Debussy. Goff maintained correspondence with musicians throughout his life—including with composers Edgard Varèse and Harry Partch—and in the 1920s and 1930s, he actively composed works for piano and player piano. In Tulsa and then Chicago, Goff developed connections to other writers, artists, and musicians (notably Richard San Jule and Ernest Brooks) who cultivated modernist sensibilities across the arts. Following close consideration of his papers at the Ryerson and Burnham Libraries at the Art Institute of Chicago, I examine Goff’s approaches to music and architecture as expressed not only through his correspondence, pedagogical writings, and architectural designs, but also through the analysis of some of his musical compositions. I also discuss a piece by Burrill Phillips that was inspired by the house Goff designed for John Garvey, violist of the Walden Quartet. By investigating the manifold contexts of these artworks as revealed by archival research, we can shed light on the divergent use of the term “organicism” as it is applied across the arts.","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":"45084586","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

Emergent Modality Emergent Modality

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.3

Loretta Terrigno

{"title":"Emergent Modality","authors":"Loretta Terrigno","doi":"10.30535/mto.27.3.3","DOIUrl":"https://doi.org/10.30535/mto.27.3.3","url":null,"abstract":"Among Brahms’s solo Lieder that depict a piece-spanning shift between parallel minor and major tonics, “Todessehnen” (op. 86, no. 6), “Schwermut” (op. 58, no. 5), and “Dämmrung senkte sich von oben” (op. 59, no. 1) stand out for setting poetry that portrays a duality between burdensome life and transcendent death, or darkness versus light. This article explores how Brahms’s paradoxical treatment of the life-versus-death theme (associating death with an escape from suffering and the major mode, as noted in related analyses by \".fn_cite($platt_1992).\" and \".fn_cite($suurpaa_2003).\") correlates with a “tragic-to-transcendent” expressive genre (\".fn_cite($hatten_1994).\", 69) and enacts a series of poetic “turning points” (\".fn_cite($huhn_2005).\") that reflect the protagonist’s changing perception of temporality. I argue that the major mode emerges gradually in each song, first as an “implicit” (or “nascent”) tonic, then as a cadentially confirmed (or “realized”) key at the structural cadence. Close Schenkerian analyses of all songs show that their minor-to-major progressions are neither immediate nor direct. Rather, the songs share four tonal features that facilitate the modal change, enact a shift from “tragic” to “transcendent” expression, and actualize “poetic turning points:” 1) the parallel major emerges as a cadentially unconfirmed, nascent tonic; 2) prolongations of \".fn_flat('').\"VI or IV delay a cadence in the parallel major key and convey the speaker’s entrance into new temporalities and perceptions; 3) the structural cadence confirms the major key and lays the modal conflict to rest; and 4) the postlude echoes the minor form of \".fn_scaledegree(\"6\").\", as if recalling the protagonist’s earlier struggles. The elevated expression of cadential \".fn_figbass(\"\",64).\" chords near the structural cadence—treated in the manner of “arrival six-four” chords (\".fn_cite($hatten_1994).\", 15)—suggests the actualization of a “transcendent” expression and either a future or intensified present temporality that the poem implies but does not realize.","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":"49178522","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

Macroharmonic Progressions through the Discrete Fourier Transform 离散傅立叶变换的大调和级数

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.1

Matt Chiu

引用次数: 2

Archival Research in Music 音乐档案研究

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.4

Benjamin R. Levy, Laura Emmery

引用次数: 1

Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2 乔纳森·哈维第二弦乐四重奏中的性别认同与手势表现

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-09-01 DOI: 10.30535/mto.27.3.11

Laura Emmery

引用次数: 2

War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home” 克拉姆《当约翰尼回家时》中的战争与音乐怪诞

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-06-01 DOI: 10.30535/mto.27.2.8

Abigail Shupe

引用次数: 0

Music Theory’s Visceral Turn: A Review of Roger Matthew Grant, Peculiar Attunements: How Affect Theory Turned Musical (New York: Fordham University Press, 2020) 音乐理论的本能转向:罗杰·马修·格兰特的评论，奇特的调谐:如何影响理论变成音乐剧(纽约:福特汉姆大学出版社，2020)

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-06-01 DOI: 10.30535/mto.27.2.13

Stephen M. Kovaciny

引用次数: 0

A Cognitive Basis for Choosing a Solmization System 选择固化体系的认知基础

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-06-01 DOI: 10.30535/mto.27.2.1

Gary S. Karpinski

{"title":"A Cognitive Basis for Choosing a Solmization System","authors":"Gary S. Karpinski","doi":"10.30535/mto.27.2.1","DOIUrl":"https://doi.org/10.30535/mto.27.2.1","url":null,"abstract":"This article focuses on the perception and cognition involved in music listening skills as essential criteria in selecting solmization systems. Drawing on many aural key-identification studies performed by various researchers, and on the model for music perception developed by Karpinski (\".fn_cite_year($karpinski_1990).\") and formalized in Karpinski (\".fn_cite_year($karpinski_2000).\"), it concludes that the first and most fundamental process listeners carry out while attending to the pitches of tonal music is tonic inference. In addition, a tonic is inferable without reference to a complete diatonic pitch collection. Melodies that are unambiguous with regard to their tonic might never employ all seven diatonic pitch classes, they might state those pitch classes only gradually, or they might even change the collection without changing tonic. Nonetheless, listeners are able to infer tonics quickly and dynamically under any of the above conditions. According to Butler (\".fn_cite_year($butler_1992).\", 119), “listeners make assessments of tonal center swiftly and apparently without conscious effort” certainly well in advance of inferring or perceiving entire diatonic pitch collections. This article examines the means through which do-based minor movable-do solmization most closely models this mental process and contrasts that with la-based minor and its inherent inability to model the pitches of a musical passage until all seven of its diatonic members are explicitly stated (or at least implicitly present). This is not to say that la-based minor is ineffective, but simply that do-based minor most closely reflects and represents the way listeners infer tonality.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138517003","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

Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan 蒂格兰·哈马相音乐中的非对称节拍、Ostinati和周期

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-06-01 DOI: 10.30535/mto.27.2.5

S. C. Schumann

{"title":"Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan","authors":"S. C. Schumann","doi":"10.30535/mto.27.2.5","DOIUrl":"https://doi.org/10.30535/mto.27.2.5","url":null,"abstract":"Tigran Hamasyan (b. 1987) is an Armenian jazz pianist and composer whose music has been described as “grounded in serious reinterpretations of Armenian culture via his take on Bach, French romantics, jazz, dubstep, metal, and modern electronic music” (\".fn_cite_year($manukian_2018).\", 637). Hamasyan has recorded thirteen studio albums between the years of 2006–2020, and analyzing these recordings suggests that asymmetrical meter, ostinati, and cycles are not a random occurrence in Hamasyan’s music but rather a crucial component of his compositional language. This article defines three types of cycles—phrasal, structural, and developmental—each of which has a unique compositional function. Another important distinction made in this article is the difference between “complete” and “incomplete” cycles. Complete cycles are those that repeat two metrical layers without disruption until they return to a shared point of alignment, while incomplete cycles are those in which the meter used in one or more of the layers is disrupted before returning to a shared point of alignment. Several of my own transcriptions of Hamasyan’s music are analyzed to discuss how asymmetrical meter, ostinati, and cycles are used to create various formal processes in Hamasyan’s compositions.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48579095","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

What Are the Truly Aural Skills? 什么是真正的听觉技能?

IF 0.8 2区艺术学

Music Theory Online Pub Date : 2021-06-01 DOI: 10.30535/mto.27.2.2

T. Chenette

引用次数: 2