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The Spiral of Time: the Crystal‐Image in Herrmann's Music for Hitchcock's Vertigo 时间的螺旋：赫尔曼为希区柯克的《迷魂记》创作的音乐中的水晶意象
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-06-23 DOI: 10.1111/musa.12166
Daniel Moreira
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引用次数: 0
Narrating Masculinity in the Dance Contest from Ravel's Daphnis et Chloé 拉威尔《达芙妮与克洛伊》舞蹈比赛中的男子气概
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-06-03 DOI: 10.1111/MUSA.12163
Russell Millard
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引用次数: 0
A Form of Hope in Richard Strauss's Metamorphosen 施特劳斯《变形记》中的一种希望
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-05-28 DOI: 10.1111/MUSA.12149
Emily X. X. Tan
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引用次数: 0
Schematic Deformation: Systematic Linearity in Grieg's ‘Takk’ and Other Lyric Pieces 图式变形:格里格的“Takk”和其他抒情作品的系统线性
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-05-21 DOI: 10.1111/MUSA.12165
Bjørnar Utne-Reitan
This article presents an analysis of Grieg’s lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result of play with chromatic voice-leading patterns. The progression in question – which is saturated with half-diminished chords – shares several formal characteristics with the well-known omnibus progression. It is thus argued that ‘Takk’ features a deformation of this chromatic voice-leading schema. The progression in question (called x) has the same sequential possibilities as the omnibus, which helps reveal an underlying logic in the complex structure of the piece’s B section. Grieg’s omnibus deformation in ‘Takk’ is an excellent example of how he chose to structure formal sections based on underlying systematic linearity. A comparison of ‘Takk’ with other lyric pieces sheds light on some regularities regarding systematic linearity in Grieg’s music, for instance in the form of schematic deformation. © 2021 The Authors. Music Analysis, 0/0 (2021) Music Analysis published by Society for Music Analysis and John Wiley & Sons Ltd
本文分析了格里格的抒情作品“Takk”(“感恩”)，重点分析了这首作品的B部分。在这一节中，格里格使用了难以垂直解释的和声进行(即从功能和声的角度)。然而，这可以解释为演奏半音导音模式的结果。问题中的进调——充满了半减和弦——与众所周知的综合进调有几个形式特征。因此，有人认为“Takk”具有这种半音导声图式的变形。所讨论的进程(称为x)具有与omnibus相同的顺序可能性，这有助于揭示乐曲B部分复杂结构中的潜在逻辑。格里格在《Takk》中的综合变形是一个很好的例子，说明他如何选择基于潜在的系统线性来构建形式部分。“Takk”与其他抒情作品的比较揭示了格里格音乐中系统线性的一些规律，例如以图式变形的形式。©2021作者。Music Analysis, 0/0 (2021) Music Analysis由Society for Music Analysis和John Wiley & Sons Ltd出版
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引用次数: 1
Large‐Scale Structure, Performance and Brahms's Op. 119 No. 2 大型结构、表演与勃拉姆斯作品119第2号
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-05-16 DOI: 10.1111/MUSA.12164
Adam Behan
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引用次数: 1
TOWARDS A MORE RECIPROCAL DISCOURSE BETWEEN ANALYSIS AND PERFORMANCE 朝着分析和绩效之间更互惠的话语发展
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-04-18 DOI: 10.1111/MUSA.12168
I. Sewell
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引用次数: 0
More than Meets the Eye: Derivations and Stratification in Boulez's ‘Don’ (1962) 不止眼前一亮：Boulez的《Don》（1962）中的衍生与分层
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-04-16 DOI: 10.1111/MUSA.12141
Marina Sudo
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引用次数: 1
Temporal Disruptions in Debussy's and Ravel's Programmatic Sonatas 德彪西和拉威尔奏鸣曲中的时间中断
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-04-07 DOI: 10.1111/MUSA.12140
A. Aziz
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引用次数: 0
Rhythmic Processes in Schoenberg's Pierrot lunaire Schoenberg的Pierrot lunaire中的节奏过程
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-03-01 DOI: 10.1111/musa.12167
J. Muniz
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引用次数: 0
Expressive Timing in Bob Dylan's ‘With God on Our Side’ 鲍勃·迪伦的《上帝在我们这边》中的表达时机
IF 0.4 1区 艺术学 0 MUSIC
MUSIC ANALYSIS
Pub Date : 2021-02-18 DOI: 10.1111/MUSA.12151
Nancy E. Murphy
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引用次数: 0
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