{"title":"Half‐Diminished Seventh Chords and Their Contexts","authors":"Philip Lambert","doi":"10.1111/MUSA.12154","DOIUrl":"https://doi.org/10.1111/MUSA.12154","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12154","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42632584","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":"Brahms, Twilight and the Decay of Leading‐Note Energy","authors":"Diego Cubero","doi":"10.1111/musa.12155","DOIUrl":"https://doi.org/10.1111/musa.12155","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/musa.12155","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48769332","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}
Since the publication in 1982 of Theodor Adorno’s late lecture ‘On the Problem of Musical Analysis’, it has been well established that Adorno had an ambivalent
{"title":"Adorno on Schenker: Reconstructing the Formation of a Critique","authors":"Sebastian Wedler","doi":"10.1111/musa.12157","DOIUrl":"https://doi.org/10.1111/musa.12157","url":null,"abstract":"Since the publication in 1982 of Theodor Adorno’s late lecture ‘On the Problem of Musical Analysis’, it has been well established that Adorno had an ambivalent","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/musa.12157","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45172668","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":"Lawrence M.Zbikowski, Foundations of Musical Grammar (Oxford University Press, 2017). xiv + 255 pp. £32.99 (hb.). ISBN 9780190653637.","authors":"D. Shanahan","doi":"10.1111/MUSA.12159","DOIUrl":"https://doi.org/10.1111/MUSA.12159","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"39 1","pages":"266-274"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12159","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43349009","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}
The first movement of Roberto Gerhard’s Quartetto No. 3 (ca. 1927), his final assignment under Schoenberg, represents a direct homage to the teacher. Gerhard finished the movement with a clearly identifiable allusion to the minor and major chords that close Schoenberg’s String Quartet in F (cid:2) minor No. 2, Op. 10 (1907–8). Furthermore, he employed the four-note set resulting from the fusion of these chords (pc set 4–17) as the movement’s generative idea, expanding its main structural properties, namely inversional symmetry and transpositional combination, to inform the movement’s large-scale sonata layout and a number of configurations of key structural importance throughout the movement. In the development, he elaborated Schoenberg’s materials by implementing a technique used extensively by Bartók at the time, namely the combination of dyads with one or more transpositions of themselves for generating larger (often octatonic) structures. Gerhard’s compositional method in the movement shows not only the decisive impact of Schoenberg’s principles but also his indebtedness to the music of Bartók, to whom the composition seems to
{"title":"Homage to Schoenberg and Bartók: Symmetry, Transpositional Combination and Octatonicism in the First Movement of Roberto Gerhard's Quartetto No. 3","authors":"Diego Alonso Tomás","doi":"10.1111/musa.12156","DOIUrl":"https://doi.org/10.1111/musa.12156","url":null,"abstract":"The first movement of Roberto Gerhard’s Quartetto No. 3 (ca. 1927), his final assignment under Schoenberg, represents a direct homage to the teacher. Gerhard finished the movement with a clearly identifiable allusion to the minor and major chords that close Schoenberg’s String Quartet in F (cid:2) minor No. 2, Op. 10 (1907–8). Furthermore, he employed the four-note set resulting from the fusion of these chords (pc set 4–17) as the movement’s generative idea, expanding its main structural properties, namely inversional symmetry and transpositional combination, to inform the movement’s large-scale sonata layout and a number of configurations of key structural importance throughout the movement. In the development, he elaborated Schoenberg’s materials by implementing a technique used extensively by Bartók at the time, namely the combination of dyads with one or more transpositions of themselves for generating larger (often octatonic) structures. Gerhard’s compositional method in the movement shows not only the decisive impact of Schoenberg’s principles but also his indebtedness to the music of Bartók, to whom the composition seems to","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"87 1","pages":"190-213"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/musa.12156","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"63458487","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 S. Hatten, A Theory of Virtual Agency for Western Art Music. (Bloomington: Indiana University Press, 2018). x + 312 pp. £70.00 (hb.). ISBN 9780253037978.","authors":"Edward Klorman","doi":"10.1111/musa.12152","DOIUrl":"https://doi.org/10.1111/musa.12152","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"39 1","pages":"135-141"},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/musa.12152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43893355","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":"The Butterfly Schema in the Classical Instrumental Style: A Product of the Tendency for Congruence","authors":"T. Rawbone, Steven Jan","doi":"10.1111/MUSA.12133","DOIUrl":"https://doi.org/10.1111/MUSA.12133","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"39 1","pages":"85-127"},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48094243","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}
Publications Peer-Reviewed Publications “Music Theory on the Radio: Theme and Temporality in Hans Keller’s First Functional Analysis.” Music Analysis 38/1 (forthcoming, 2019). “Music Theory and the Epistemology of the Internet; or, Analyzing Music Under the New Thinkpiece Regime.” Analitica: Rivista online di studi musicali 10 (2018). “Flipping the Flip: Responsive Video in the Music Classroom.” Engaging Students: Essays in Music Pedagogy 3 (2015).
{"title":"Music Theory on the Radio: Theme and Temporality in Hans Keller's First Functional Analysis","authors":"William O'hara","doi":"10.1111/MUSA.12129","DOIUrl":"https://doi.org/10.1111/MUSA.12129","url":null,"abstract":"Publications Peer-Reviewed Publications “Music Theory on the Radio: Theme and Temporality in Hans Keller’s First Functional Analysis.” Music Analysis 38/1 (forthcoming, 2019). “Music Theory and the Epistemology of the Internet; or, Analyzing Music Under the New Thinkpiece Regime.” Analitica: Rivista online di studi musicali 10 (2018). “Flipping the Flip: Responsive Video in the Music Classroom.” Engaging Students: Essays in Music Pedagogy 3 (2015).","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"39 1","pages":"3-49"},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43510763","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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