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Segmentation, Phrasing, and Meter in Hip-Hop Music 嘻哈音乐中的分段、分段和节拍
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-08-21 DOI: 10.1093/MTS/MTAB003
B. Duinker
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引用次数: 3
Composing the World: Harmony in the Medieval Platonic Cosmos. By Andrew Hicks 构成世界：中世纪柏拉图宇宙中的和谐。作者：Andrew Hicks
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-08-03 DOI: 10.1093/mts/mtab009
J. Fulkerson
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引用次数: 0
Rethinking Sonata Failure: Mendelssohn’s Overture Zum Märchen von der schönen Melusine 对奏鸣曲失败的再思考——门德尔松的美丽梅露辛童话序曲
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-07-17 DOI: 10.1093/MTS/MTAA032
J. Horton
{"title":"Rethinking Sonata Failure: Mendelssohn’s Overture Zum Märchen von der schönen Melusine","authors":"J. Horton","doi":"10.1093/MTS/MTAA032","DOIUrl":"https://doi.org/10.1093/MTS/MTAA032","url":null,"abstract":"\u0000 This article counterpoints James Hepokoski’s notion of sonata failure (Hepokoski 2002; Hepokoski and Darcy 2006) and the concept of “becoming” advocated by Janet Schmalfeldt (2011) as analytical tools in the developing field of Romantic Formenlehre. Taking Mendelssohn’s overture Zum Märchen von der schönen Melusine as a case study, it develops a taxonomy of process for Romantic form, which is applied to arbitrate failure and becoming as contrasted aspects of the overture’s construction. I theorize the work’s processes as participants in an overarching processual network interacting with syntax and voice leading to generate a characteristically dialectical idea of sonata form, which unsettles traditional perceptions of Mendelssohn as a regressive classicist.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47938835","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
Second-Reprise Opening Schemas in Bach’s Binary Movements 巴赫二元乐章中的二次重唱开场图式
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-06-21 DOI: 10.1093/mts/mtab005
Christopher Brody
{"title":"Second-Reprise Opening Schemas in Bach’s Binary Movements","authors":"Christopher Brody","doi":"10.1093/mts/mtab005","DOIUrl":"https://doi.org/10.1093/mts/mtab005","url":null,"abstract":"\u0000 A harmonic pattern, termed the V–I schema, is shown to structure most of the second-reprise openings in Bach’s binary movements. This pattern combines cross-repertoire harmonic consistency with context-dependent prolongational variability, a juxtaposition that causes intractable contradictions to emerge within Schenkerian theory. The schematic aspect to early eighteenth-century tonality suggested by this feature is expanded to include two additional second-reprise openings, the V–vi schema and the in-III opening. A staple of most Baroque composers’ harmonic vocabulary, the V–I schema declined in the later eighteenth century, incompatible with the new prevalence of rounded binary form.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48447651","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
Webs of Meaning in John Corigliano’s Tarantellas John Corigliano的《Tarantellas》中的意义网
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-06-12 DOI: 10.1093/MTS/MTAA029
C. Stroud
{"title":"Webs of Meaning in John Corigliano’s Tarantellas","authors":"C. Stroud","doi":"10.1093/MTS/MTAA029","DOIUrl":"https://doi.org/10.1093/MTS/MTAA029","url":null,"abstract":"\u0000 The final movement of John Corigliano’s Gazebo Dances (1972)—a light-hearted suite for two pianos—and the second movement of his Symphony No. 1 (1988)—dedicated to friends lost to AIDS—use the same tarantella refrain as their main thematic material, revealing opposing associations possible with tarantellas. Corigliano’s earlier work exemplifies the witty virtuosity of what I describe as a “humorous” tarantella, while the later work forefronts associations with mental illness and death in what I describe as a “crisis” tarantella. The symphonic movement conveys a process of thematic disintegration that resonates with theories of narrative and irony.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48854435","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
From Exoticism to Interculturalism: Counterframing the East–West Binary 从异国情调到跨文化主义:对东西方二元对立的反框架
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-05-20 DOI: 10.1093/MTS/MTAB001
Y. U. Everett
{"title":"From Exoticism to Interculturalism: Counterframing the East–West Binary","authors":"Y. U. Everett","doi":"10.1093/MTS/MTAB001","DOIUrl":"https://doi.org/10.1093/MTS/MTAB001","url":null,"abstract":"\u0000 This essay addresses the need to expand the musical repertory for analysis beyond the western canon, as well as to develop intercultural strategies for analysis that reflect the multicultural subject positions of composers, performers, and theorists. In my area of specialization, discourses on exoticism, transculturation, Orientalism, and globalization have provided frameworks for examining music composed by postwar composers of East Asian heritage, such as Chou Wen-chung, Tōru Takemitsu, Chen Yi, Isang Yun, and others. However, scholarly writings and reception of this music have tended to perpetuate the East–West binary by reinforcing musical stereotypes and familiar labels. Within the music theory, this repertory has been assimilated into the canon and legitimized through application of post-tonal and other formalized models of analysis. Prompted by developments in studies of gesture, semiotics, and East Asian cultural history and aesthetics, I explore analytical approaches that counter-frame the binarism by illustrating culture-specific modes of attending to musical gestures and expressive meanings, as exemplified in recent publications on music by Chou and Chen.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/MTS/MTAB001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43156407","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: 6
Voice Leading: The Science Behind a Musical Art. By David Huron 导音:音乐艺术背后的科学。大卫·休伦
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-04-26 DOI: 10.1093/MTS/MTAB004
M. Farbood
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引用次数: 0
Getting to Count 开始数数
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-04-26 DOI: 10.1093/MTS/MTAA033
Ellie M. Hisama
{"title":"Getting to Count","authors":"Ellie M. Hisama","doi":"10.1093/MTS/MTAA033","DOIUrl":"https://doi.org/10.1093/MTS/MTAA033","url":null,"abstract":"\u0000 The Society for Music Theory (SMT) remains a starkly male-identified society. According to the SMT’s 2019 annual report on demographics of its membership, 33% of SMT members self-identified as women—a figure that has not changed significantly over the last five years—in comparison to 51.2% of American Musicological Society members in 2017 and 52.2% of Society for Ethnomusicology members in 2014, the most recent data available. The NORC Survey of Earned Doctorates indicates that in 2018, only 20% of U.S. Ph.D.s in music theory and composition were women, a decrease from 26.4% of the period 2013–16; the previous five-year period was 18.9%. The paucity of women, trans, and non-binary gender music theorists over many decades should be a huge concern to the Society. Demographic diversity is not only an issue of equity, but also yields innovation in research that enriches the field. Drawing on insights about disciplinary constructions of gender and race by women scholars and scholars of color in classics and philosophy, experiences shared by women in music theory, an interview I conducted with composer and theorist Milton Babbitt, and the archive of music theorist and pianist Patricia Carpenter, this article proposes that we rethink what gets to count as music theory, become aware of discriminatory attitudes and behavior towards those who are not men, white, or heterosexual in the field, and take action by reshaping the field into one that supports those who wish to be part of it.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/MTS/MTAA033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43345163","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
Metric Manipulations in Post-Tonal Music 后调性音乐中的韵律操纵
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA020
J. Sullivan
{"title":"Metric Manipulations in Post-Tonal Music","authors":"J. Sullivan","doi":"10.1093/MTS/MTAA020","DOIUrl":"https://doi.org/10.1093/MTS/MTAA020","url":null,"abstract":"\u0000 This article explores the continued use of eighteenth-century metric manipulations by composers of the twentieth and twenty-first centuries. These manipulations, called imbroglio, close imitation, and imitative imbroglio, are motive-driven and involve the perceptual interaction of meter, motivic parallelism, and perceptual streaming. Their defining features and local perceptual effects, which primarily involve metrical dissonance, are demonstrated in short passages by Schoenberg, Penderecki, Britten, Debussy, Webern, Barber, and Adès. Their larger form-functional and text-expressive potential is demonstrated in analyses of longer passages by Schoenberg, Webern, and Barber.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"43 1","pages":"123-152"},"PeriodicalIF":1.0,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44029852","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
End-Accented Sentences: Towards a Theory of Phrase-Rhythmic Progression 重音句：走向短语节奏推进理论
IF 1 1区 艺术学
MUSIC THEORY SPECTRUM Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA018
Samuel Ng
{"title":"End-Accented Sentences: Towards a Theory of Phrase-Rhythmic Progression","authors":"Samuel Ng","doi":"10.1093/MTS/MTAA018","DOIUrl":"https://doi.org/10.1093/MTS/MTAA018","url":null,"abstract":"\u0000 For centuries, theorists have debated whether musical phrases are normatively beginning-accented or end-accented. The last two decades of the twentieth century gave beginning-accented rhythm the upper hand; yet, recent work on end-accented phrases has reinvigorated the debate. I contribute to this discussion in two ways. First, I aim to rehabilitate a central position of end-accented rhythm by drawing attention to phrase-rhythmic tendencies in classical sentence structure. My analyses show that end-accented sentential schemas are well-established compositional options in various action spaces—including Primary and Secondary Themes—in late eighteenth- and early nineteenth-century instrumental music. Moreover, integral roles of end-accented sentential themes are substantiated by their production—in tandem with their beginning-accented counterparts—of large-scale progressions analogous to tonal and formal ones. Awareness of these sentential themes re-energizes the century-old debate and deepens our understanding of phrase rhythm as a source of musical meaning. Second, in order to achieve the first goal, I develop a theory of phrase-rhythmic progression for categorizing phrase-rhythmic types and mapping their trajectories. This theory fills a gap in current spatial representations of rhythm and meter, which focus on metric dissonances and hierarchies without considerations of phrase–meter interaction.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"43 1","pages":"43-73"},"PeriodicalIF":1.0,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/MTS/MTAA018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930457","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: 3
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