发布求助
文献互助 智能选刊 最新文献

MUSIC THEORY SPECTRUM最新文献

筛选
英文 中文
Between the Signposts: Thematic Interpolation and Structural Defamiliarization in Prokofiev’s Sonata Process 路标之间：普罗科菲耶夫奏鸣曲过程中的主题插入与结构陌生化
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa004
Rebecca Perry
{"title":"Between the Signposts: Thematic Interpolation and Structural Defamiliarization in Prokofiev’s Sonata Process","authors":"Rebecca Perry","doi":"10.1093/mts/mtaa004","DOIUrl":"https://doi.org/10.1093/mts/mtaa004","url":null,"abstract":"This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"193-206"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49540963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
The Volta: A Galant Gesture of Culmination 沃尔塔:高潮的英勇姿态
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa006
Nathaniel Mitchell
{"title":"The Volta: A Galant Gesture of Culmination","authors":"Nathaniel Mitchell","doi":"10.1093/mts/mtaa006","DOIUrl":"https://doi.org/10.1093/mts/mtaa006","url":null,"abstract":"\u0000 This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"280-304"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43117493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
The Webern in Mozart: Systems of Chromatic Harmony and Their Twelve-Tone Content 莫扎特的韦伯恩：色彩和谐系统及其十二音内容
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa010
E. Agmon
{"title":"The Webern in Mozart: Systems of Chromatic Harmony and Their Twelve-Tone Content","authors":"E. Agmon","doi":"10.1093/mts/mtaa010","DOIUrl":"https://doi.org/10.1093/mts/mtaa010","url":null,"abstract":"\u0000 Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"173-192"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41910236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. By Judy Lochhead 当代音乐的重构结构:音乐理论与分析的新工具。朱迪·洛克黑德著
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa013
Y. U. Everett
{"title":"Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. By Judy Lochhead","authors":"Y. U. Everett","doi":"10.1093/mts/mtaa013","DOIUrl":"https://doi.org/10.1093/mts/mtaa013","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"334-339"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42749163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves 用鼓点理论化五重奏和七重奏音阶
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa005
Scott Hanenberg
{"title":"Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves","authors":"Scott Hanenberg","doi":"10.1093/mts/mtaa005","DOIUrl":"https://doi.org/10.1093/mts/mtaa005","url":null,"abstract":"\u0000 This article explores common approaches taken by drummers when playing music with a quintuple or septuple groove. Based on original analysis from a corpus of 350 songs released during the half-century between 1967 and 2017, I show that these grooves fall into three categories: undifferentiated, in which the drum/s and/or cymbal/s that mark each attack do not change in the course of the groove; backbeat variants, based on the alternation of kick and snare attacks, as in the common-time backbeat; and polymetric grooves comprising two distinct metric cues, often pitting the drums against the rest of the band.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"227-246"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46010321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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: 2
Contrapunto Fugato: A First Step Toward Composing in the Mind 对打赋格托:心灵作曲的第一步
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-10-01 DOI: 10.1093/mts/mtaa009
Peter Schubert
{"title":"Contrapunto Fugato: A First Step Toward Composing in the Mind","authors":"Peter Schubert","doi":"10.1093/mts/mtaa009","DOIUrl":"https://doi.org/10.1093/mts/mtaa009","url":null,"abstract":"\u0000 Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and rhythmic notation), called contrapunto fugato. It consists of singing a freely invented line containing repetitions of a motive against a cantus firmus (CF) in long equal values. Although this technique is easy to describe, no one has investigated the difficulties that are involved in repeating a motive against a CF. I will show what needs to be thought out beforehand (pensado) and what needs to be held in the mind so that the result can be sung immediately or written down later. The strategies that I “reverse engineer” from Lusitano’s examples give concrete reality to this ephemeral practice and offer a useful tool for our own pedagogy, for thinking about Renaissance music, and for refining our concept of improvisation. Lusitano’s examples are supplemented by examples by Banchieri and Ortiz.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"260-279"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47405618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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: 2
Contributors 贡献者
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-09-18 DOI: 10.1093/mts/mtaa014
{"title":"Contributors","authors":"","doi":"10.1093/mts/mtaa014","DOIUrl":"https://doi.org/10.1093/mts/mtaa014","url":null,"abstract":"<span>eytan agmon, Professor of Music Theory at Bar-Ilan University, Israel, specializes in the theory and analysis of tonal music, a rubric that includes Schenkerian analysis, rhythm, harmony, chromaticism, music and text, and cognitive and mathematical aspects of the tonal system. His 2013 Springer book, <span style=\"font-style:italic;\">The Languages of Western Tonality</span>, sums up three decades of research initiated by his 1986 CUNY doctoral thesis. Recent activities include publications on the music of Chopin and a series of lectures on the music of J. S. Bach. In fall 2020, Professor Agmon presented “‘Aus Mozart gestohlen’: Beethoven and <span style=\"font-style:italic;\">Die Entführung aus dem Serail</span>” in “Reframing Beethoven,” an international conference hosted by the Boston University Center for Beethoven Research celebrating the composer’s 250th anniversary.</span>","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"49 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
Composing Capital: Classical Music in the Neoliberal Era. By Marianna Ritchey 作曲资本:新自由主义时代的古典音乐。玛丽安娜·里奇著
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-07-27 DOI: 10.1093/mts/mtaa012
Bryan J. Parkhurst
{"title":"Composing Capital: Classical Music in the Neoliberal Era. By Marianna Ritchey","authors":"Bryan J. Parkhurst","doi":"10.1093/mts/mtaa012","DOIUrl":"https://doi.org/10.1093/mts/mtaa012","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45390383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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: 10
Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski Karol Szymanowski中周期音乐中键盘位性的考察
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-05-29 DOI: 10.1093/mts/mtaa007
A. Reese
{"title":"Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski","authors":"A. Reese","doi":"10.1093/mts/mtaa007","DOIUrl":"https://doi.org/10.1093/mts/mtaa007","url":null,"abstract":"\u0000 A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49649540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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
Double-Tonic Complexes in Rock Music 摇滚乐中的双音复调
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2020-05-03 DOI: 10.1093/mts/mtaa003
Drew F. Nobile
{"title":"Double-Tonic Complexes in Rock Music","authors":"Drew F. Nobile","doi":"10.1093/mts/mtaa003","DOIUrl":"https://doi.org/10.1093/mts/mtaa003","url":null,"abstract":"\u0000 Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"207-226"},"PeriodicalIF":1.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42120372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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: 11
首页 上一页
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整，为了账户安全，请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们：info@booksci.cn Book学术提供免费学术资源搜索服务，方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号：481959085
Book学术官方微信