Shostakovich research has focused mainly on the discovery of models and musical codes with political import. Other influences have remained undetected. This article argues for a reconsideration of Shostakovich's use of Brahms as a model through an intertextual reading of the first movements of Brahms's Second and Shostakovich's Tenth symphonies.
{"title":"Black Wings in Two Symphonies: Brahms's Second and Shostakovich's Tenth","authors":"Francis Maes","doi":"10.11116/MTA.3.1.4","DOIUrl":"https://doi.org/10.11116/MTA.3.1.4","url":null,"abstract":"Shostakovich research has focused mainly on the discovery of models and musical codes with political import. Other influences have remained undetected. This article argues for a reconsideration of Shostakovich's use of Brahms as a model through an intertextual reading of the first movements of Brahms's Second and Shostakovich's Tenth symphonies.","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132148730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Instrumentation and Register as Form-Articulating Features in Elliott Carter's Concerto for Orchestra","authors":"Klaas Coulembier","doi":"10.11116/mta.2.1.5","DOIUrl":"https://doi.org/10.11116/mta.2.1.5","url":null,"abstract":"","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127443066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pieter Bergé, Steven Vande Moortele, Nathan John Martin
{"title":"Music Theory—and Analysis","authors":"Pieter Bergé, Steven Vande Moortele, Nathan John Martin","doi":"10.11116/MTA.1.1","DOIUrl":"https://doi.org/10.11116/MTA.1.1","url":null,"abstract":"","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125752497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Partimento, Waer bestu bleven? Partimento in the European Classroom: Pedagogical Considerations and Perspectives","authors":"David Lodewyckx, P. Berge","doi":"10.11116/MTA.1.9","DOIUrl":"https://doi.org/10.11116/MTA.1.9","url":null,"abstract":"","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124085382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Is There a “Musical Task” in the First Movement of Haydn’s “Oxford” Symphony? Voice- Leading Schemata and Intrinsic Formal Functions","authors":"M. Neuwirth","doi":"10.11116/mta.2.2.3","DOIUrl":"https://doi.org/10.11116/mta.2.2.3","url":null,"abstract":"","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121820429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces the concept of the transcendental oscillation, in which two chords alternate with one another in a way that transcends traditional tonal practice. This harmonic device appears in a wide variety of settings from Wagner to modern pop music. After discussing some theoretical properties of transcendental oscillations, including their interactions with modality and chromaticism, I analyze transcendental oscillations in the works of Debussy, who made the technique a central component of his style. In Debussy's music, transcendental oscillations may be either intensifying or calming. They are symptomatic of what Sylveline Bourion calls Debussy's "duplication" tendency. As progressions foreign to common practice, they present a novel aspect, but as repetitive progressions, they are easy on the ears. These two central features of transcendental oscillations—their harmonic freshness and their repetitive quality—combine to make them well suited to Debussy's compositional project and attractive to composers to this day.
{"title":"Repetitive Variety and Other Balancing Acts: Debussy's Transcendental Oscillations","authors":"M. Ramage","doi":"10.11116/mta.7.2.1","DOIUrl":"https://doi.org/10.11116/mta.7.2.1","url":null,"abstract":"This article introduces the concept of the transcendental oscillation, in which two chords alternate with one another in a way that transcends traditional tonal practice. This harmonic device appears in a wide variety of settings from Wagner to modern pop music. After discussing some\u0000 theoretical properties of transcendental oscillations, including their interactions with modality and chromaticism, I analyze transcendental oscillations in the works of Debussy, who made the technique a central component of his style. In Debussy's music, transcendental oscillations may be\u0000 either intensifying or calming. They are symptomatic of what Sylveline Bourion calls Debussy's \"duplication\" tendency. As progressions foreign to common practice, they present a novel aspect, but as repetitive progressions, they are easy on the ears. These two central features of transcendental\u0000 oscillations—their harmonic freshness and their repetitive quality—combine to make them well suited to Debussy's compositional project and attractive to composers to this day.","PeriodicalId":400508,"journal":{"name":"Dutch Journal of Music Theory","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122676377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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