“大胆与愤怒”:旋律棱角性美学的跨文化个案

Q1 Arts and Humanities
Aaron Carter-Enyi, Quintina Carter-Ényì
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引用次数: 4

摘要

将较小的语料库和单个作品与2447首赞美诗的大型语料库进行比较,使用两种旋律角度测量:平均音程大小和枢轴频率。欧洲的艺术音乐和西非的旋律可能表现出极端的棱角性。在后者中,我们认为音调水平语言的语言特征会引起角度性。我们还发现,《非裔美国人的灵魂》和《南方和谐》的平均音程大小超过了19世纪的当代赞美诗,其水平与尼日利亚传统音乐(Yorúbáoríkì和尼日利亚东部的故事歌曲)相似。这与W·E·B·杜波依斯的说法一致,他认为非洲旋律是美国音乐发展的主要来源。美国精神的发展与19世纪美国赞美诗中音程大小的增加相吻合,超过了早期欧洲赞美诗的音程大小。基于这些发现,我们建议音乐理论家教授的旋律构建技术,特别是跳跃后的步进运动和间隙填充的偏好规则,与反映更广泛音乐美学的反例进行调和。这可以通过引入流行音乐、非洲和非洲侨民音乐以及其他可能符合或不符合声音主导原则的非西方音乐来实现。欧洲正典中也有许多非常有棱角的例子,比如Händel的《哈利路亚》和Schönberg的《Pierrot Lunaire》。尽管教科书倾向于用文献中的有益例子来强化旋律和部分写作的处方,但新的视角将更好地为表演者和教育工作者提供当前音乐实践的装备。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity
Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.
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来源期刊
Music  Science
Music Science Arts and Humanities-Music
CiteScore
2.80
自引率
0.00%
发文量
15
审稿时长
10 weeks
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