{"title":"Guido Heldt, Music and Levels of Narration in Film: Steps Across the Border (Bristol and Chicago: Intellect, 2013). x + 292 pp. ISBN 978‐1‐84150‐625‐8. £48.50 (hb).","authors":"Nicholas Reyland","doi":"10.1111/MUSA.12110","DOIUrl":"https://doi.org/10.1111/MUSA.12110","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"139-146"},"PeriodicalIF":0.4,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46176060","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}
{"title":"Film‐as‐Concert Music and the Formal Implications of ‘Cinematic Listening’","authors":"Frank Lehman","doi":"10.1111/MUSA.12107","DOIUrl":"https://doi.org/10.1111/MUSA.12107","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"7-46"},"PeriodicalIF":0.4,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45281157","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}
Scholars have often invoked the progress of chromatic pitches through a piece as a metaphor for dramatic events, defining ‘tonal problems’ and ‘promissory notes’ as chromatic pitches that enter early in a piece, threaten the governing tonality's sovereignty and signify a conflict to be resolved (see Cone (1982), Carpenter (1988) and Schachter (1999).). Edward Cone's well-known reading of Schubert's Moment musical in A♭ (Op. 94 No. 6) posits the inability of E♮ to be fully assimilated, expressing ‘the occurrence of a disquieting thought to one of a tranquil, easy-going nature’. This article extends these models, interpreting the tonal problems F♮ and C♮ in Brahms's song Unbewegte laue Luft, Op. 57 No. 8, as realising present and future temporalities that remain latent in Georg Friedrich Daumer's poem. Brahms's E major song seems to model the poem's temporal progression from present to future, invoking F♮ to signify the protagonist's suppressed desire in the present and later respelling the pitch as E♯ to suggest emergent desire and its imagined future. Whereas Daumer's poem only contrasts the images of nature's external calm with the protagonist's internal passion, the tonal consequences of F and C in Brahms's setting also draw these images together, suggesting that they are intertwined in the protagonist's perceptions. His initially subconscious desires influence his experience of nature.
{"title":"Tonal Problems as Agents of Narrative in Brahms's Unbewegte laue Luft, Op. 57 No. 8","authors":"Loretta Terrigno","doi":"10.1111/MUSA.12100","DOIUrl":"https://doi.org/10.1111/MUSA.12100","url":null,"abstract":"Scholars have often invoked the progress of chromatic pitches through a piece as a metaphor for dramatic events, defining ‘tonal problems’ and ‘promissory notes’ as chromatic pitches that enter early in a piece, threaten the governing tonality's sovereignty and signify a conflict to be resolved (see Cone (1982), Carpenter (1988) and Schachter (1999).). Edward Cone's well-known reading of Schubert's Moment musical in A♭ (Op. 94 No. 6) posits the inability of E♮ to be fully assimilated, expressing ‘the occurrence of a disquieting thought to one of a tranquil, easy-going nature’. This article extends these models, interpreting the tonal problems F♮ and C♮ in Brahms's song Unbewegte laue Luft, Op. 57 No. 8, as realising present and future temporalities that remain latent in Georg Friedrich Daumer's poem. \u0000 \u0000Brahms's E major song seems to model the poem's temporal progression from present to future, invoking F♮ to signify the protagonist's suppressed desire in the present and later respelling the pitch as E♯ to suggest emergent desire and its imagined future. Whereas Daumer's poem only contrasts the images of nature's external calm with the protagonist's internal passion, the tonal consequences of F and C in Brahms's setting also draw these images together, suggesting that they are intertwined in the protagonist's perceptions. His initially subconscious desires influence his experience of nature.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"350-371"},"PeriodicalIF":0.4,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12100","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46403550","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}
In tonal music, the way in which pitches are spelled reflects their meaning in various contextual and textural settings such as harmony, melody and voice leading. At the turn of the twentieth century, many composers attempted to progress beyond the confines of traditional tonality; and their works, as generally perceived by most analysts nowadays, treated the twelve chromatic pitches as twelve enharmonically equivalent pitch classes. No matter what musical context is encountered, we perceive F♯ and G♭ syntactically and structurally as the same pitch class, paying little attention to the composer's choice of notation. The present article brings the significance of pitch notation into sharper focus by investigating its crucial role in the structure and form of Scriabin's Prelude Op. 67 No. 1 (1912–13). I will demonstrate how Scriabin utilises orthography to create a concealed musical climax that reinforces the narrative design of the form, helping the analyst to regard notation as a core element when examining the pitch structure in music after 1900.
{"title":"Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form","authors":"Y. Wu","doi":"10.1111/MUSA.12090","DOIUrl":"https://doi.org/10.1111/MUSA.12090","url":null,"abstract":"In tonal music, the way in which pitches are spelled reflects their meaning in various contextual and textural settings such as harmony, melody and voice leading. At the turn of the twentieth century, many composers attempted to progress beyond the confines of traditional tonality; and their works, as generally perceived by most analysts nowadays, treated the twelve chromatic pitches as twelve enharmonically equivalent pitch classes. No matter what musical context is encountered, we perceive F♯ and G♭ syntactically and structurally as the same pitch class, paying little attention to the composer's choice of notation. The present article brings the significance of pitch notation into sharper focus by investigating its crucial role in the structure and form of Scriabin's Prelude Op. 67 No. 1 (1912–13). I will demonstrate how Scriabin utilises orthography to create a concealed musical climax that reinforces the narrative design of the form, helping the analyst to regard notation as a core element when examining the pitch structure in music after 1900.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"419-450"},"PeriodicalIF":0.4,"publicationDate":"2017-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12090","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924445","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}
This essay explores the interplay between states of syntactic completion and incompletion in the text and music of Brahms's O kuhler Wald and how the composer thereby conveys an interpretation of the poetic text to create an experience for the listener that bears a striking resemblance to the experience of the poem's lovelorn persona.
{"title":"Linear and Linguistic Syntax in Brahms's O Kühler Wald, Op. 72 No. 3","authors":"Robert Snarrenberg","doi":"10.1111/MUSA.12101","DOIUrl":"https://doi.org/10.1111/MUSA.12101","url":null,"abstract":"This essay explores the interplay between states of syntactic completion and incompletion in the text and music of Brahms's O kuhler Wald and how the composer thereby conveys an interpretation of the poetic text to create an experience for the listener that bears a striking resemblance to the experience of the poem's lovelorn persona.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"372-383"},"PeriodicalIF":0.4,"publicationDate":"2017-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47554885","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}
One of the leading theories of Scriabin's late music is that his collections are chords that are related through invariant transposition. Whereas this theory is effective in relating symmetrical collections such as the octatonic, it cannot relate asymmetrical collections such as Scriabin's mystic chord. In order to overcome this issue, I explore Scriabin's own understanding of his harmonic language and interpret it through his personal statements, philosophical beliefs and theoretical training. I reveal that Scriabin thought of his collections not as chords, but as closely related keys (tonalnosti). Although close key relationships are tonal in nature, this relationship can be transferred to post-tonal music when defined as a maximally invariant transposition. Accordingly, this operation accounts for transpositional relationships between symmetrical and asymmetrical collections in Scriabin's late music, suggesting that his late harmonic language equates to a rapid succession of closely related keys. This theory is applied to excerpts spanning the late period, from Op. 58 to Op. 74, with extended applications to Op. 63 No. 2 and Op. 73 No. 2.
{"title":"(Post‐)Tonal Key Relationships in Scriabin's Late Music","authors":"J. Yunek","doi":"10.1111/MUSA.12095","DOIUrl":"https://doi.org/10.1111/MUSA.12095","url":null,"abstract":"One of the leading theories of Scriabin's late music is that his collections are chords that are related through invariant transposition. Whereas this theory is effective in relating symmetrical collections such as the octatonic, it cannot relate asymmetrical collections such as Scriabin's mystic chord. In order to overcome this issue, I explore Scriabin's own understanding of his harmonic language and interpret it through his personal statements, philosophical beliefs and theoretical training. I reveal that Scriabin thought of his collections not as chords, but as closely related keys (tonalnosti). Although close key relationships are tonal in nature, this relationship can be transferred to post-tonal music when defined as a maximally invariant transposition. Accordingly, this operation accounts for transpositional relationships between symmetrical and asymmetrical collections in Scriabin's late music, suggesting that his late harmonic language equates to a rapid succession of closely related keys. This theory is applied to excerpts spanning the late period, from Op. 58 to Op. 74, with extended applications to Op. 63 No. 2 and Op. 73 No. 2.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"384-418"},"PeriodicalIF":0.4,"publicationDate":"2017-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12095","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47749024","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}
As much as the Lied has been a mainstay in studies of the relationship between text and music, one important aspect of that relationship has been largely ignored: the ways in which composers respond to the sounds, or phonemes, of words themselves. Analysts of German Lieder (and art song in general) have emphasised the diverse ways in which music expresses the meaning of poetry, but they have remained largely indifferent to how music captures, and often enhances, poetry's materiality – its patterns of consonants and vowels, its intonational shapes, its ‘music’. Drawing in part upon literary scholarship on the sonic aspects of poetry (by Robert Pinsky, M. H. Abrams and others), this article explores how the sound worlds of poetry and music interact. I begin by evaluating three common approaches to the analysis of art song, each of which neglects poetic sound to some degree. I then propose an alternative approach, one designed to ensure that the music of poetry is given its due. Finally, I apply this method to a detailed analysis of ‘Wenn ich in deine Augen seh’’, from Dichterliebe, and to another setting by Schumann, ‘Melancholie’, from the Spanisches Liederspiel.
尽管歌词一直是研究文本与音乐关系的主要内容，但这种关系的一个重要方面却在很大程度上被忽视了:作曲家对单词本身的声音或音素的反应方式。德国民谣(以及一般的艺术歌曲)的分析家强调音乐表达诗歌意义的多种方式，但他们对音乐如何捕捉并经常增强诗歌的物质性——它的辅音和元音的模式，它的语调形状，它的“音乐”——基本上漠不关心。本文部分借鉴了罗伯特·平斯基(Robert Pinsky)、m·h·艾布拉姆斯(m.h. Abrams)等人对诗歌声音方面的研究，探讨了诗歌和音乐的声音世界是如何相互作用的。本文首先对艺术歌曲分析的三种常见方法进行了评价，每一种方法都在一定程度上忽略了诗歌的声音。然后，我提出了另一种方法，一种旨在确保诗歌音乐得到应有重视的方法。最后，我将这一方法应用于对《女巫》中的《Wenn ich in deine Augen seh》和舒曼的另一曲《忧郁》(Melancholie)的详细分析。
{"title":"Song and the Music of Poetry","authors":"Stephen Rodgers","doi":"10.1111/MUSA.12091","DOIUrl":"https://doi.org/10.1111/MUSA.12091","url":null,"abstract":"As much as the Lied has been a mainstay in studies of the relationship between text and music, one important aspect of that relationship has been largely ignored: the ways in which composers respond to the sounds, or phonemes, of words themselves. Analysts of German Lieder (and art song in general) have emphasised the diverse ways in which music expresses the meaning of poetry, but they have remained largely indifferent to how music captures, and often enhances, poetry's materiality – its patterns of consonants and vowels, its intonational shapes, its ‘music’. Drawing in part upon literary scholarship on the sonic aspects of poetry (by Robert Pinsky, M. H. Abrams and others), this article explores how the sound worlds of poetry and music interact. I begin by evaluating three common approaches to the analysis of art song, each of which neglects poetic sound to some degree. I then propose an alternative approach, one designed to ensure that the music of poetry is given its due. Finally, I apply this method to a detailed analysis of ‘Wenn ich in deine Augen seh’’, from Dichterliebe, and to another setting by Schumann, ‘Melancholie’, from the Spanisches Liederspiel.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"315-349"},"PeriodicalIF":0.4,"publicationDate":"2017-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44552093","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}
{"title":"Time‐Space Experience in Works for Solo Cello by Lachenmann, Xenakis and Ferneyhough: a Performance‐Sensitive Approach to Morphosyntactic Musical Analysis","authors":"Christian Utz","doi":"10.1111/MUSA.12076","DOIUrl":"https://doi.org/10.1111/MUSA.12076","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"216-256"},"PeriodicalIF":0.4,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12076","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44887683","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}
{"title":"Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge University Press, 2014), xx + 275 pp. ISBN 978-1-107-06769-1. £67 (hb.).Heinrich Schenker, Beethoven's Last Piano Sonatas: an Edition with Elucidation, translate: Critical Forum","authors":"William Drabkin","doi":"10.1111/MUSA.12099","DOIUrl":"https://doi.org/10.1111/MUSA.12099","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"36 1","pages":"282-295"},"PeriodicalIF":0.4,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12099","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42800290","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}
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