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
Correction to: Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound” Naamyam、创意音乐、移民法案:张俊对林根尼的《土墩》的音乐背景的思考
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-11-04 DOI: 10.1093/mts/mtad024
{"title":"Correction to: Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”","authors":"","doi":"10.1093/mts/mtad024","DOIUrl":"https://doi.org/10.1093/mts/mtad024","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775853","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
Adventures in Tonal Gravity: George Russell’s Analysis of Maurice Ravel’s “Forlane” 音调重力的冒险:乔治·罗素评拉威尔的《弗兰》
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-11-01 DOI: 10.1093/mts/mtad021
Marc E Hannaford
{"title":"Adventures in Tonal Gravity: George Russell’s Analysis of Maurice Ravel’s “Forlane”","authors":"Marc E Hannaford","doi":"10.1093/mts/mtad021","DOIUrl":"https://doi.org/10.1093/mts/mtad021","url":null,"abstract":"Abstract George Russell conceptualized his Lydian Chromatic Concept of Tonal Organization as a theory of tonality. He includes an analysis of the opening of Maurice Ravel’s “Forlane” from Le Tombeau de Couperin in the fourth and final edition of his text to demonstrate what his theory—“The Concept”—offers for the analysis of Western art music. This article takes Russell’s claim seriously, discusses The Concept as a theory of tonality, and extends Russell’s analysis to the entirety of “Forlane.” I also connect Russell’s work to broader Black cultural practices and their socio-political resonances.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135509646","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
The Limited and The Limitless: Harmonic Voltas and Puns in the Third Movement of Ben Johnston’s Seventh String Quartet 有限与无限:本·约翰斯顿第七弦乐四重奏第三乐章中的和声伏特和双关语
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-10-27 DOI: 10.1093/mts/mtad022
Laurence Sinclair Willis
{"title":"The Limited and The Limitless: Harmonic Voltas and Puns in the Third Movement of Ben Johnston’s Seventh String Quartet","authors":"Laurence Sinclair Willis","doi":"10.1093/mts/mtad022","DOIUrl":"https://doi.org/10.1093/mts/mtad022","url":null,"abstract":"Abstract Extended just intonation confronts us with musical problems arising from the sheer array and variety of pitch relationships that can be written, played, and heard. Through an analysis of Ben Johnston’s Seventh String Quartet as a case study, this essay addresses the diversity of these pitch relationships by suggesting a three-way categorization of just intonation ratios: primary intervals (simple integer ratios), ectopic intervals (ratios with no primary interval analogue), and intermediary intervals (ratios with a close primary interval analogue). I suggest a listening strategy based on the categorization resulting in two analytical models. A voltaic analysis recognizes changes in the pitch domain indicated by the differences between primary and intermediary intervals. A pitch pun analysis emphasizes the small magnitude of the differences between primary and intermediary intervals and the slow drift away from a secure sense of pitch place. Finally, I combine these views to compare the two analytical strategies as applied to the last measures of Johnston’s Seventh String Quartet and speculate on the implications of these strategies for hearing and conceiving of pitch intervals.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136318177","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
Antifocal Anaphoras in Hip-Hop Vocals 嘻哈人声中的反焦点回指
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-10-10 DOI: 10.1093/mts/mtad016
Mitchell Ohriner
{"title":"Antifocal Anaphoras in Hip-Hop Vocals","authors":"Mitchell Ohriner","doi":"10.1093/mts/mtad016","DOIUrl":"https://doi.org/10.1093/mts/mtad016","url":null,"abstract":"Abstract This article examines the pitch content of the delivery of anaphoric lyrics in hip-hop. Anaphoric lyrics consist of lines with a reiterated beginning and a novel ending. Because new information is presented at the ends of lines, the “linguistic focus” of the line is at the end. Therefore, from the standpoint of intonational phonetics, pitch height would tend to rise to highlight the new information. However, from the standpoint of hip-hop delivery, lines tend to descend toward the end. Using a corpus approach, I document a general tendency toward “focally consistent” delivery in which pitch height supports new information. Then, I explore the afforded meanings of “antifocal” delivery—delivery in which the repeated text is pitched higher—in examples from B-Real, the poet Najee Omar, and Kendrick Lamar. I hope that these examples will attract other scholars to view vocal performances simultaneously through lenses of intonational phonology and music analysis and, further, that correspondences between pitch contours and principles of phonology might prove useful as singing, reciting, and rapping increasingly coexist under the banner of “hip-hop.”","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136293430","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
Radically Inconspicuous Absence: Truncated Sonata Forms in Interwar Paris 根本不明显的缺席:两次世界大战之间巴黎的截断奏鸣曲形式
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-10-06 DOI: 10.1093/mts/mtad020
Damian Blättler
{"title":"Radically Inconspicuous Absence: Truncated Sonata Forms in Interwar Paris","authors":"Damian Blättler","doi":"10.1093/mts/mtad020","DOIUrl":"https://doi.org/10.1093/mts/mtad020","url":null,"abstract":"Abstract This article identifies a set of sonata-form movements written in interwar Paris that do not recapitulate their secondary theme and yet end simply in major rather than performing cataclysm or transgression. It argues that their ability to leave sonata-form conventions unfulfilled is a consequence of how these pieces make the primary-theme reprise a site of resolved structural tension, not of the theme-and-key mechanisms of sonata form but rather of processes independent from sonata-form logic. These movements are also analyzed as exhibiting ironic troping; their juxtaposition of distinct attitudes toward sonata form negotiates a relationship between the interwar era and its compositional inheritances.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134943777","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
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound” Naamyam、创意音乐与移民行为——张俊对林根尼《土丘》的音乐背景的思考
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-09-29 DOI: 10.1093/mts/mtad019
Ho Chak Law
{"title":"<i>Naamyam</i>, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”","authors":"Ho Chak Law","doi":"10.1093/mts/mtad019","DOIUrl":"https://doi.org/10.1093/mts/mtad019","url":null,"abstract":"Abstract Jon Jang, an American composer, bandleader, and activist of Chinese descent, begins his five-movement Island: The Immigrant Suite No. 1 (1995) with a musical setting that is sonically and stylistically unconventional. He introduces a curious adaptation of naamyam (“southern tones”)—a Cantonese genre of narrative singing that originated in the Pearl River Delta in Guangdong—into this musical setting of Genny Lim’s Chinglish poem “Burial Mound” so as to make audible the politics of representation concerning Sinophone Americans of particular ancestries, generations, and immigration histories. Not only does he associate this setting with Chinese laborers of the transcontinental railroad and naamyam in American Chinatowns, he also demonstrates in this setting his embrace of “creative music” as an American framework of cultural performance.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135133153","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
When Intra- and Interthematic Functions Collide: Conflation in Robert Schumann’s Orchestral Sonata Forms 当主题内与主题间的功能碰撞:罗伯特·舒曼管弦乐奏鸣曲曲式的合并
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-09-26 DOI: 10.1093/mts/mtad018
Matthew Poon
{"title":"When Intra- and Interthematic Functions Collide: Conflation in Robert Schumann’s Orchestral Sonata Forms","authors":"Matthew Poon","doi":"10.1093/mts/mtad018","DOIUrl":"https://doi.org/10.1093/mts/mtad018","url":null,"abstract":"Abstract This article analyzes formal fusion in the first movements of Schumann’s Symphonies Nos. 1 and 2 and the finale of his Overture, Scherzo, and Finale. Within these pieces, fusion results from what Julian Horton (2015) calls “conflation”—that is, a process in which previously distinct formal levels collapse into each other—resulting in two new categories of sonata expositions I term bipartite and undivided. These categories help explain some of the unique features of Schumann’s orchestral music and provide new tools toward understanding nineteenth-century form.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134960768","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
Contributors 贡献者
1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-09-01 DOI: 10.1093/mts/mtad023
{"title":"Contributors","authors":"","doi":"10.1093/mts/mtad023","DOIUrl":"https://doi.org/10.1093/mts/mtad023","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135428305","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
Models for Mozart’s Transitions: A Transatlantic Exchange 莫扎特转型的模式：跨大西洋的交流
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-08-22 DOI: 10.1093/mts/mtad012
N. Martin, Ulrich Kaiser
{"title":"Models for Mozart’s Transitions: A Transatlantic Exchange","authors":"N. Martin, Ulrich Kaiser","doi":"10.1093/mts/mtad012","DOIUrl":"https://doi.org/10.1093/mts/mtad012","url":null,"abstract":"\u0000 This research note comprises two interlinked texts. The first is a short essay that, developing ideas from Ulrich Kaiser’s (2009) article on Mozart’s transitions, isolates and theorizes a particular transition pattern (the “Prinner transition”) and then illustrates with a series of analyses. The second is a response from Kaiser clarifying the difference between Gjerdingen’s Prinner and his own 4^−1^ (fa–ut) model. The immediate theoretical issues in play involve the relationship between schema theory, formal functions, and voice-leading reduction as well as differences between Anglo-American and Germanic understandings of schemata and models.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43261573","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
Zarlino’s Comporre di fantasia and Canon Zarlino的幻想作曲家与佳能
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2023-08-17 DOI: 10.1093/mts/mtad011
Peter Schubert
{"title":"Zarlino’s Comporre di fantasia and Canon","authors":"Peter Schubert","doi":"10.1093/mts/mtad011","DOIUrl":"https://doi.org/10.1093/mts/mtad011","url":null,"abstract":"\u0000 In the Istitutioni harmoniche, Zarlino describes a compositional process in which a countermelody that is introduced against a principal soggetto can itself become a soggetto for the next phrase, and the process can be repeated in subsequent phrases. This study shows how comporre di fantasia functions in passages from Martini, Févin, Isaac, and Josquin. The technique can also inform our understanding of canon composition, which is illustrated with two examples by Pierre de la Rue. For the study of canons at different time intervals, I also invoke the neglected theories of Robert Morris, Robert Gauldin, and Immanuel Ott. Comporre di fantasia is a structural category that provides insight into compositional process in Renaissance polyphony.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282408","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
首页 上一页 下一页 尾页
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