Music Theory Online最新文献

{"title":"Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists","authors":"Christian Utz, Thomas Glaser","doi":"10.30535/MTO.26.4.9","DOIUrl":"https://doi.org/10.30535/MTO.26.4.9","url":null,"abstract":"Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Li le Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their formshaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macroand microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another. DOI: 10.30535/mto.26.4.9 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory 1. The Mutual Productivity of Performance and Analysis [1.1] In his 2016 book Performative Analysis, Jeffrey Swinkin, makes the striking observation that it can hardly be the point of a musical performance to project or communicate analytical understanding. A performance might respond to an analysis of a certain work, just as an analysis might respond to a specific performance, but the end result will always be two autonomous interpretations, each impossible to reduce linearly to the other (25–27). Swinkin’s view seems convincing at first, but in the end resigns itself to the impossibility of a concrete relationship between theory/analysis and performance. This arguably results from his method, which tends to proceed from theory to musical praxis, from analysis to performance, rather than in the reverse direction (U 2019b). [1.2] It is here that the questions that motivated the PETAL research project (Performing, Experiencing and Theorizing Augmented Listening) arise: How might we intertwine musical analysis and practical performance in a way that leads to new understanding for both sides, ultimately reaching beyond their continuous polarization? This question, which Nicholas Cook had posed already in 1999,(1) remains difficult to answer today, despite a blossoming of new directions in musical performance studies in the last two decades. The intention of avoiding prescriptive analysis, which claims to derive a recipe for “correct” performance from the structure of the music, has led researchers to consider the value of moving from performance to analysis. Our research takes up this trend, and we especially a empt to further develop the idea that musical form is not grounded in the score alone, but—following the harpsichordist Robert Hill—is also brought forth by the performers “in real-time” (Hill and Mahnkopf 2015, 19). Expanding this idea, one might argue that musical form is constituted predominantly in the sounding event of a performance. [1.3] The sch","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":"47770392","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 Jason Yust, Organized Time: Rhythm, Tonality, and Form (Oxford University Press, 2018)","authors":"L. Frederick","doi":"10.30535/MTO.26.4.11","DOIUrl":"https://doi.org/10.30535/MTO.26.4.11","url":null,"abstract":"[1] If one were to construct a map of the field of music theory, three of its most prominent regions would represent the subdisciplines of rhythm and meter, tonal structure, and form. One could imagine a number of winding trails on this map, each representing the trajectory of an individual piece of scholarship. Though each path would represent a unique journey, many would explore the local highlights of only a single region, reflecting the tendency for theorists to focus on the way a single musical parameter functions within the works of a particular composer, style, or genre. If drawn on such a map, the trek representing Jason Yust’s Organized Time: Rhythm, Tonality, and Form (2018) would trace out a fundamentally different shape: not only would it visit all three regions, but it would also wind through the stretches of land between them, allowing its travelers to appreciate how the views evolve along the journey.","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":"42921463","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":"Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll","authors":"Nicholas Stoia","doi":"10.30535/MTO.26.4.8","DOIUrl":"https://doi.org/10.30535/MTO.26.4.8","url":null,"abstract":"This article briefly recounts recent work identifying the most common lyric formulas in early blues and then demonstrates the prevalence of these formulas in early country music, rhythm and blues, and rock and roll. The study shows how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the social instability of the time, and how the de-emphasis of these same formulas in rhythm and blues and rock and roll reflects the relative affluence of the early postwar period. This shift in textual content is the lyrical counterpart to the electrification, urbanization, and growing formal complexity that mark the transformation of prewar blues and country music into postwar rhythm and blues and rock and roll. DOI: 10.30535/mto.26.4.8 Volume 26, Number 4, November 2020 Copyright © 2020 Society for Music Theory [0.1] Singers and songwriters in many genres of American popular music rely on lyric formulas for the creation of songs. Lyric formulas are fragments of lyrical content—usually lines or half lines— that are shared among singers and recognized by both musicians and listeners. Blues is the genre for which scholars have most conclusively established the widespread use of lyric formulas, and this study briefly recounts recent work that identifies the most common lyric formulas in commercially recorded blues from the early 1920s to the early 1940s—research showing that the high frequency of certain formulas reflects the societal circumstances of much of the African American population during that period. What has received less a ention is the appearance of these same lyrical conventions in other genres, and how there, too, the emphasis on certain formulas reflects social and economic conditions. The same lyric formulas most common in early blues also appear frequently in contemporaneous country music, in rhythm and blues, and in rock and roll, three popular genres with close connections to blues.(1) [0.2] One object of this essay is to show how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the large-scale migrations and social disruptions of the period, and the anxiety, loss, and broken relationships that these changes left in their wake. Although the compulsion for white Southerners to migrate was not connected to entrenched racism, as it was for Black Southerners, large segments of both the Black and white populations nonetheless experienced massive displacement and urbanization in the period before the Second World War, and early blues and country music reflect these conditions with lyric formulas emphasizing movement and anxiety. Often these formulas reflect the direct influence of blues on country music, but they also a est to the long saturation of the country music tradition itself with the same lyrical motifs. A second aim of this essay is to show how the de-emphasis of these same travel formulas ","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":"48912265","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":"A Transformational Approach to Gesture in Shō Performance","authors":"Toru Momii","doi":"10.30535/MTO.26.4.4","DOIUrl":"https://doi.org/10.30535/MTO.26.4.4","url":null,"abstract":"Through an analysis of contemporary shō performance practice, this article explores the relationship between instrumental gesture and modal theory in contemporary gagaku. I demonstrate that the idiosyncratic arrangement of the pipes on the shō is closely related to the pitch structure and tonal function of the aitake pitch clusters. My analysis synthesizes two approaches. First, I adopt David Lewin’s (1987) transformational a itude to conceptualize the aitake not as static musical objects but as processes of motion enacted by the te-utsuri—standardized fingering movements for shifting between two aitake. Second, I treat the aitake as sonic byproducts of a performer's instrumental gestures to examine how the aitake are related to one another kinesthetically, and whether these relationships correlate with the pitch structures of the aitake. I argue that relatedness between aitake is determined by the parsimony of te-utsuri. The most parsimonious movements can be enacted between four aitake: bō, kotsu, ichi and otsu. These aitake are identical to the clusters that accompany the fundamental tones of five of the six modes: Ichikotsu-chō, Hyōjō, Taishiki-chō, Oshiki-chō and Banshiki-chō. These findings demonstrate that the pipes of the shō, while seemingly arranged in no discernable order, prioritize parsimonious te-utsuri between each of the aitake accompanying the fundamental modal degrees. An analysis of the pitch structure of aitake through the lens of te-utsuri reveals a striking correlation between gestural parsimony and tonal function. DOI: 10.30535/mto.26.4.4 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory [1.1] Post-war scholars have challenged the conceptualization of gagaku (雅楽) as a musical practice that has been largely unchanged since its importation into Japan in the eighth century, engaging in comparative analyses of historical and contemporary melodies in tōgaku (唐楽)—a genre of gagaku (雅楽) court music that originated in Tang China.(1) Through studies of historical notation, initial research undertaken by Hayashi Kenzō and Laurence Picken’s Tang Music Project in the midtwentieth century has identified a disjuncture between modern tōgaku and its predecessors (Hayashi 1969; Picken et al. 1981, 1985, 1986, 1987, 1990, 1997, 2000).(2) Building upon their work, more recent studies have sought to reconstruct and decipher scores from the Heian period (794– 1185) (Endō 2005; Nelson 1986, 1988; Ng 2017; Terauchi 1996), trace the historical modification of tōgaku melodies (Endō 2004; Mare 1985, 1986; Ng 2011; Terauchi 1993; Tsukahara 2009), and examine similarities and inconsistencies between contemporary Japanese practice and Chinese theories of mode (Gamō 1970; Hayashi 1954; Masumoto 1968; Ng 2007; Ono 2016; Terauchi 2011). [1.2] While this monumental body of research has been invaluable for tracing the historical development of tōgaku and dismantling the characterization of gagaku as a timeless tradition carefully ","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":"93 32","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41308807","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":"Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350","authors":"Karen Desmond, E. Hopkins, S. Howes, J. Cumming","doi":"10.30535/MTO.26.4.2","DOIUrl":"https://doi.org/10.30535/MTO.26.4.2","url":null,"abstract":"This article analyzes the distribution of three- and four-voice vertical sonorities in a repertoire of French ars antiqua and ars nova motets. Rather than selecting the subjectively important sonorities within a piece—an effort that would rely on the analyst’s judgment of the overarching contrapuntal goals—this study uses computational musicological methods to analyze and categorize the distribution of sonorities across individual motets and groups of motets that occur at regular time intervals across the course of the compositions. This study offers some preliminary observations and conclusions about sonority usage in the late medieval French motet repertoire.","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":"46234128","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 Leslie A. Tilley, Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond (The University of Chicago Press, 2019)","authors":"Marc E. Hannaford","doi":"10.30535/MTO.26.4.12","DOIUrl":"https://doi.org/10.30535/MTO.26.4.12","url":null,"abstract":"[1] Improvisation is a ubiquitous component of music the world over. Scholars have detailed some of its multifarious forms and meanings, demonstrating that the practice of improvisation extends far beyond its hypervisibility in jazz.(1) Tilley’s Making It Up Together offers new and compelling perspectives in this expanding field of improvisation studies, as well as in ethnomusicology (Tilley’s home discipline) and music theory. It excavates improvisatory processes in a musical genre thought to be largely composed and offers a unique examination of intraensemble interaction. The book also proposes a new theory of improvisation applicable to practices beyond the book’s specific case studies, and its discussion of “local theory” suggests that we critically expand the theoretical underpinnings of our disciplines.","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":"43381237","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":"Analyzing Schoenberg’s War Compositions as Satire and Sincerity: A Comparative Analysis of Ode to Napoleon Buonaparte and A Survivor from Warsaw","authors":"Joon Park","doi":"10.30535/MTO.26.4.5","DOIUrl":"https://doi.org/10.30535/MTO.26.4.5","url":null,"abstract":"This paper presents a comparative analysis of Ode to Napoleon Buonaparte op. 41 (1942) and A Survivor from Warsaw op. 46 (1947) to show that Schoenberg’s compositional decisions for each piece reflect the public’s (and his) change of a itude regarding the historical events surrounding World War II. In particular, I argue that Ode frequently features humorous depiction of the Nazi regime through various types of musical satire whereas Survivor’s overall compositional planning and execution are more in line with his other compositions without a satirical tone, for example, the String Trio op. 45. The analyses in this paper show humorous elements in Schoenberg’s Ode to Napoleon and demonstrate how these elements are avoided in Survivor from Warsaw to make space for the sincere criticism of the Nazi party and to raise awareness for the survivors. I begin by interpreting satirical passages in Ode as instances of incongruent juxtapositions and then examine the different ways the incongruence manifests. I then discuss the leitmotivic partitioning of various twelve-tone row forms in Survivor to show the compositional congruence between the text, musical textures, and partitioning schemes. Given the change of compositional mood between Ode and Survivor (in addition to the historical evidence), this paper speculates that Schoenberg’s motivation for composing Survivor was to rectify the narrative tone he adopted in Ode. DOI: 10.30535/mto.26.4.5 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory","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":"45895685","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":"A “Proto-Theme” in Some of J. S. Bach’s Fugal Works","authors":"John S. Reef","doi":"10.30535/MTO.26.4.7","DOIUrl":"https://doi.org/10.30535/MTO.26.4.7","url":null,"abstract":"This article focuses on a pa ern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pa ern in examples of “schematic” Baroque fugal writing and suggest that for Bach it functions as a sort of “proto-theme,” with respect to which certain expositions stand as “variations.” These expositions eschew normative I–V–I progressions of Stufen and thus offer a challenge to William Renwick’s exhaustive methodology for fugue analysis. Bach’s variations may respond motivically and energetically to a sense of retrogression implicit the proto-theme, as I demonstrate with an analysis of the Fugue in A minor from Book II of The Well-Tempered Clavier, BWV 889. DOI: 10.30535/mto.26.4.7 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory","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":"46551638","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":"Mapping Ravel’s “La vallée des cloches”","authors":"Kyle Fyr","doi":"10.30535/MTO.26.4.3","DOIUrl":"https://doi.org/10.30535/MTO.26.4.3","url":null,"abstract":"This article makes a case for constructing a map of Maurice Ravel’s “La vallée des cloches” (The valley of the bells) by showing how the process of mapping the piece can provide valuable insights from a variety of perspectives, such as: 1) offering insights into how the piece’s many bell sounds are individuated from each other and interact with one another in creating intricate formal and temporal frameworks; 2) emphasizing prominent aspects of Ravel’s aesthetics such as mechanistic impulses, spatial and metaphorical thinking, literary influences, and nostalgic fascination with the past; 3) situating the piece within the context of significant changes in France at the turn of the twentieth century marked by the declining prominence of bells in defining the auditory landscape, the symbolism bells carried with them, and the role bells played in marking temporal rhythms for French society; and 4) showing how many aspects of the piece highlighted throughout the mapping process align in suggestive ways with significant performance considerations.","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":"47662211","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 Dylan Robinson, Hungry Listening: Resonant Theory for Indigenous Sound Studies (University of Minnesota Press, 2020)","authors":"Robin Attas","doi":"10.30535/MTO.26.4.10","DOIUrl":"https://doi.org/10.30535/MTO.26.4.10","url":null,"abstract":"<jats:p />","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":"48511187","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}