组合学,构成,复制:梅森的排列作为丰富的修辞

IF 1.6 1区 艺术学 0 MUSIC
André Redwood
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引用次数: 0

摘要

本文试图解释梅森详尽的音符排列列表的意义和功能。正如梅森所有的努力一样,这些排列在最深层次上可以用他的宗教信仰来解释——在这种情况下,他对上帝创造的不可言喻的丰富的信仰。然而,梅森也打算将排列和产生它们的组合过程作为作曲发明教学法的基础。这篇文章提出,这种教学法是由模仿的修辞概念所默认的,伊拉斯谟在他的影响深远的《模仿论》中最全面地阐述了这一概念。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance
This article seeks to explain the meaning and function of Mersenne’s exhaustive lists of note permutations. As is true for all of Mersenne’s labors, the permutations are at their deepest level explicable in terms of his religious commitments—in this case, his faith in the ineffable plenitude of God’s creation. Yet, Mersenne also intended the permutations and the combinatorial procedures that generate them to serve as the foundation of a pedagogy of compositional invention. That pedagogy, this article proposes, is tacitly informed by the rhetorical notion of copia, most comprehensively theorized by Erasmus in his influential De copia.
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来源期刊
CiteScore
2.30
自引率
20.00%
发文量
15
期刊介绍: A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.
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