Music Theory Online最新文献

{"title":"Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019)","authors":"Orit Hilewicz","doi":"10.30535/MTO.27.1.10","DOIUrl":"https://doi.org/10.30535/MTO.27.1.10","url":null,"abstract":"","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43810395","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}

{"title":"Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis ofBegleitungsmusik zu einer Lichtspielscene(1929–1930)","authors":"Orit Hilewicz","doi":"10.30535/MTO.27.1.4","DOIUrl":"https://doi.org/10.30535/MTO.27.1.4","url":null,"abstract":"This study examines Arnold Schoenberg’s only published music for film, Begleitungsmusik zu einer Lichtspielscene [Accompaniment to a Film Scene], op. 34 (1929–30). Although not composed for an existing film scene, evidence of Begleitungsmusik’s cinematic aspirations motivate this analysis, which approaches the composition as a cinematographic blueprint: a design (or program) for a scene that at the same time serves as its soundtrack. To examine this proposition, I collaborated with artist and filmmaker Stephen Sewell to create a film scene based on my analysis of the piece, which expresses the global narrative described in its program using rhythmic, textural, and structural strategies. While presenting analysis as film proves remarkably appropriate to this composition, in fact, analytical visualization can contribute to various interpretive approaches, allowing listeners to connect an analytical reading in real time to","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42882893","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}

{"title":"Rhythmic Techniques in Deaf Hip Hop","authors":"Anabel Maler, Robert Komaniecki","doi":"10.30535/MTO.27.1.7","DOIUrl":"https://doi.org/10.30535/MTO.27.1.7","url":null,"abstract":"The art of signed music involves the use of rhythmicized signs from a signed language, such as American Sign Language (ASL), in a musical context. Signed music encompasses a variety of subgenres, including ASL hip hop or “dip hop.” A typical dip hop performance involves a Deaf or hard-of-hearing artist simultaneously performing vocalized and signed rapping over a looped background beat. Although dip hop emerged as a grassroots movement in the early 1990s, it has received li le analytical a ention in the scholarly literature on hip hop. In this paper, the authors combine techniques adapted from analyzing rhythm in non-signed rap music with techniques adapted from analyzing non-rapped signed music to analyze the rhythmic flow of tracks by dip hop artists Sean Forbes, Wawa, and Signmark. The authors demonstrate that dip hop artists have developed genre-specific rhythmic paradigms and tropes to convey the periodicity and rhyme that are fundamental to rap music. Specifically, we address the alignment of rhythm and meter in signed and vocal rap and the conveyance of a repeated “beat” through rhythmic signing. The analyses of dip hop tracks reveal important differences between dip hop and vocal rap, as well as differences between the conventions of dip hop and ASL poetry. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory Dip hop is hip hop through Deaf eyes.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69237359","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}

{"title":"Compound AABA Form and Style Distinction in Heavy Metal","authors":"Stephen S. Hudson","doi":"10.30535/MTO.27.1.5","DOIUrl":"https://doi.org/10.30535/MTO.27.1.5","url":null,"abstract":"This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (A as 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48924203","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}

{"title":"Gould’s Creaking Chair, Schoenberg’s Metric Clarity","authors":"R. Beaudoin","doi":"10.30535/MTO.27.1.1","DOIUrl":"https://doi.org/10.30535/MTO.27.1.1","url":null,"abstract":"The audible creaking of Glenn Gould’s loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as “sounded movements” of Gould’s body. This article triangulates the score of Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould’s September 1965 recording of the work. Quantifying Sanden’s concept of “corporeal liveness,” spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable “creak gap” in Gould’s recording is linked to published observations regarding the work’s process of emerging metric clarity, and one of Gould’s vocal elaborations is recognized for its augmentation of Schoenberg’s pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition’s trajectory of metric clarification and the decrease in Gould’s physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg’s composition with the audio artifacts of Gould’s corporeality.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42916429","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}

{"title":"Review of The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings (Oxford University Press, 2019)","authors":"Antares Boyle, Rebecca Leydon, P. Sherrill, Jeffrey Swinkin","doi":"10.30535/MTO.27.1.9","DOIUrl":"https://doi.org/10.30535/MTO.27.1.9","url":null,"abstract":"[1.1] In their introduction to The Oxford Handbook of Critical Concepts in Music Theory, editors Alexander Rehding and Steven Rings explain that the word “critical” signals two guiding principles for the collection. First, the selected terms are foundational—“theorists cannot do without them.” Second, despite their fundamental nature, the authors approach them “not as se led knowledge but as sites for critical scrutiny” (xv). The authors in the first section, “Starting Points,” take up this cause with gusto, invoking historical narratives, mathematical equations, and emergent perceptual phenomena to illustrate the complexities of seemingly simple concepts. In this sense, the essays are delightfully varied, bold, and rich. They are also uniformly well wri en (several authors have an enviable talent for wordplay) and beautifully typeset.(1) Below, I a empt to do some justice to each of the seven essays, although space will only allow a full summary of a few, before concluding with some general thoughts on the section.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43009979","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}

{"title":"Ravel’s Sound","authors":"Jennifer P. Beavers","doi":"10.30535/MTO.27.1.2","DOIUrl":"https://doi.org/10.30535/MTO.27.1.2","url":null,"abstract":"Ravel’s interwar compositions and transcriptions reveal a sophisticated engagement with timbre and orchestration. Of interest is the way he uses timbre to connect and conceal passages in his music. In this article, I look at the way Ravel manipulates instrumental timbre to create sonic illusions that transform expectations, mark the form, and create meaning. I examine how he uses instrumental groupings to create distinct or blended auditory events, which I relate to musical structure. Using an aurally based analytical approach, I develop these descriptions of timbre and auditory scenes to interpret ways in which different timbre-spaces function. Through techniques such as timbral transformations, magical effects, and timbre and contour fusion, I examine the ways in which Ravel conjures sound objects in his music that are imaginary, transformative, or illusory. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41712853","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}

{"title":"Cantopop and Speech-Melody Complex","authors":"Edwin K. C. Li","doi":"10.30535/MTO.27.1.6","DOIUrl":"https://doi.org/10.30535/MTO.27.1.6","url":null,"abstract":"It is generally accepted that speech and melody are distinctive perceptual categories, and that one is able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This article investigates native Cantonese speakers’ speech-melody experience of listening to Cantonese popular songs (henceforth Cantopop songs), a relatively uncharted territory in musicological studies. It proposes a speech-melody complex that embraces native Cantonese speakers’ experience of the potentialities of speech and melody before they come into being. Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but concerns the ongoingness of the process of categorial molding, which depends on how much contextual information the listeners value in shaping and parsing out the complex. It follows, then, that making a categorial assertion implies a breakthrough of the complex. I then complicate speech-melody complex with the concept of “anamorphosis,” borrowed from the visual arts, which calls into question the signification of the perceived object by perspectival distortion. When transferred to the sonic dimension, “anamorphic listening,” I suggest, is not about at which point a sonic object becomes “distorted” but is about one’s processual experience of negotiating the hermeneutic values in their different hearing-ases. The listener engages, then, in the process of molding and remolding, creating and negating, the two enigmatic categories. Through my analysis of two Cantopop songs and interviews with native Cantonese speakers, I suggest that Cantopop may invite an anamorphic listening, and that more broadly, it is an important, yet under-explored, genre with which to theorize about the relationships between music and language.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42364516","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}

{"title":"Instrumental Transformations in Heinrich Biber’s Mystery Sonatas","authors":"Jonathan de Souza","doi":"10.30535/MTO.26.4.1","DOIUrl":"https://doi.org/10.30535/MTO.26.4.1","url":null,"abstract":"Each of Heinrich Biber’s Mystery Sonatas features a distinct violin tuning. How do these scordatura relate to standard tuning? How might they affect the sonatas’ musical organization and players’ experience? Transformational voice-leading theory helps to reveal overlapping categories here. Quintal scordatura include adjacent-string fifths, creating zones where notated and sounding intervals match. Chordal scordatura, in which the strings realize a triad, involve more displacement. Psychological research on altered pitch feedback suggests that scordatura are most unsettling for players when they preserve aspects of standard tuning. Analyzing scordatura, then, shows how instruments function as spaces for musical action.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49291871","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}

{"title":"Pen, Paper, Steel","authors":"Stephanie Probst","doi":"10.30535/MTO.26.4.6","DOIUrl":"https://doi.org/10.30535/MTO.26.4.6","url":null,"abstract":"Graphs drawn on rastered paper and a monumental steel sculpture display how visual artists Paul Klee and Henrik Neugeboren conceived of Johann Sebastian Bach’s polyphonic style in 1920s Germany. Focusing on the representational decisions behind these artistic translations of music, this article explores the ways in which such artifacts manifest a specific analytical lens. It highlights congruencies with and deviations from the theoretical framework of “linear counterpoint,” as epitomized in Ernst Kurth’s influential treatise from 1917, and thereby positions the artworks within the controversial reception history of Bach’s music and a endant theoretical frameworks in the early twentieth century. More generally, the article proposes that graphical and sculptural renderings of music can offer the opportunity to investigate music theory’s intangible methods and conceptual metaphors through different sensory experiences. DOI: 10.30535/mto.26.4.6 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory [1.1] In the German town of Leverkusen, just outside of Cologne, one can visit a fugue by Johann Sebastian Bach. A steel sculpture in the park abu ing the local hospital represents an excerpt of the Fugue in E-flat minor (BWV 853) from The Well-Tempered Clavier, Book 1, specifically the stre o maestrale at mm. 52–55 (Example 1).(1) Based on a sketch by the Transylvanian visual artist, pianist, and composer Henrik (Heinrich) Neugeboren (1901–1959), the sculpture allows passers-by to physically move through Bach’s stre o, as they wander in the space between the walls representing the voices of the contrapuntal texture. Titled “Hommage à J. S. Bach” in the few wri en documents referring to it, the sculpture lacks any manner of inscription or sign to identify its artist or subject on site (perhaps so as not to distract from the signage pointing to various hospital units). Neugeboren had devised the Hommage during a visit to the Bauhaus school in Dessau in 1928, but its realization in Leverkusen came only in 1970, over a decade after the artist’s death.(2) [1.2] Certainly, it is no ordinary plastic tribute to Bach. Neugeboren shunned the idea of memorializing the composer’s physiognomy through yet another supersized bust—a trope he snidely dismissed as “a tawdry figure with sheet music on a pedestal” (1929, 19).(3) Rather, as Neugeboren discussed in an article published in the Bauhaus journal in 1929, Bach’s craft itself, and especially his polyphonic style, was the intended object of commemoration. As Neugeboren put it, he aspired to render visible “Bach’s combinatorial mastery” (19).(4) [1.3] Already this sophisticated claim suggests an intricate conceptual underpinning to the sculpture, one that entailed careful artistic and theoretical consideration on different levels. In general, such processes are integral to the ambition of “visualizing the musical object,” as Judy Lochhead reminds us: “To visualize implies more than simply seeing,","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574749","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}