{"title":"Structure and Process in the Old Frenchjeu‐parti","authors":"Joseph W Mason","doi":"10.1111/MUSA.12137","DOIUrl":"https://doi.org/10.1111/MUSA.12137","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12137","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45570517","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":"Do Trouvère Melodies Mean Anything?","authors":"Elizabeth Eva Leach","doi":"10.1111/MUSA.12121","DOIUrl":"https://doi.org/10.1111/MUSA.12121","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12121","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46268930","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":"Tornando Indietro: Dante's Tornata and Metapoetic Returns in the Trecento Madrigal","authors":"M. Lopatin","doi":"10.1111/MUSA.12134","DOIUrl":"https://doi.org/10.1111/MUSA.12134","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12134","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46293535","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":"Linear Narratives in Cyclical Form: the Hunt for Reason in the\u0000 Cantigas de Santa Maria","authors":"Henry T. Drummond","doi":"10.1111/MUSA.12131","DOIUrl":"https://doi.org/10.1111/MUSA.12131","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12131","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41958980","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 Last Act of Brahms's Late Turn to F Major","authors":"R. Moseley","doi":"10.1111/MUSA.12122","DOIUrl":"https://doi.org/10.1111/MUSA.12122","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12122","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43136134","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 most interesting recent developments in formal function theory have tested its application on nineteenth-century repertory. Hitherto, however, functional analysis has touched only lightly on the post-Wagnerian symphonic repertory of the decades around 1900. When music analysis addresses this repertory today, it is usually by means of the approaches that have become ‘Sonata Theory’. Functional analysis brings different insights, switching the focus to syntax and local formal process. The third-movement ‘Rondo’ from Elgar’s Second Symphony (1911) exemplifies the progressive Romantic repertory in its challenges to analysis. While functional analysis can illuminate the syntax and formal processes of this music, it must be applied with an ear to shifting and overlapping functional meanings. The Rondo manifests parallel ambiguities at the levels of paratext and genre. The syntactic continuity and instability foregrounded by functional analysis resonate directly with the movement’s thematisation of the demonic and the uncanny through paratext, topic, cyclic reminiscence and generic ambiguity. This article uses the concepts of functional theory to open and discuss questions of genre and compositional process and to reframe the Rondo’s programmatic themes from an analytically informed perspective.
{"title":"Functional Analysis at the Fin de Siècle: Genre, Compositional Process and the Demonic in the Rondo of Elgar's Second Symphony","authors":"Matthew Riley","doi":"10.1111/MUSA.12119","DOIUrl":"https://doi.org/10.1111/MUSA.12119","url":null,"abstract":"The most interesting recent developments in formal function theory have tested its application on nineteenth-century repertory. Hitherto, however, functional analysis has touched only lightly on the post-Wagnerian symphonic repertory of the decades around 1900. When music analysis addresses this repertory today, it is usually by means of the approaches that have become ‘Sonata Theory’. Functional analysis brings different insights, switching the focus to syntax and local formal process. The third-movement ‘Rondo’ from Elgar’s Second Symphony (1911) exemplifies the progressive Romantic repertory in its challenges to analysis. While functional analysis can illuminate the syntax and formal processes of this music, it must be applied with an ear to shifting and overlapping functional meanings. The Rondo manifests parallel ambiguities at the levels of paratext and genre. The syntactic continuity and instability foregrounded by functional analysis resonate directly with the movement’s thematisation of the demonic and the uncanny through paratext, topic, cyclic reminiscence and generic ambiguity. This article uses the concepts of functional theory to open and discuss questions of genre and compositional process and to reframe the Rondo’s programmatic themes from an analytically informed perspective.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12119","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47710832","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 article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.
{"title":"Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony","authors":"J. Horton","doi":"10.1111/MUSA.12124","DOIUrl":"https://doi.org/10.1111/MUSA.12124","url":null,"abstract":"This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12124","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43443970","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":"Steven Vande Moortele, The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge: Cambridge University Press, 2017), Hardback: £64.99. 302 pp. ISBN 9781107163195. Julian Horton, Brahms’ Piano Concerto No. 2, Op. 83: Analytical and Contextua","authors":"Benedict Taylor","doi":"10.1111/MUSA.12130","DOIUrl":"https://doi.org/10.1111/MUSA.12130","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12130","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42546623","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 recent discovery of two canons in the manuscript containing the famous Tournai Mass changes the history of canonic genres. This article situates the new Tournai canons within the surviving mid-fourteenth-century canonic repertoire from Francophone regions of Europe, especially canonic chaces in the Ivrea manuscript and the works of Machaut. To achieve this, we examine current theories of canonic techniques before setting out our own analytical framework. In a departure from the dominant view informed by the use of color and talea in tenors of the fourteenth-century isorhythmic motet, we propose instead that the solus tenor can in part inform a better understanding of early strategies for planning and composing canons. Alternatively, some canons can be better appreciated from the basis of a ‘top-down’ compositional approach found principally in the song repertoire of the mid fourteenth-century ars nova. Within this analytical framework, shared principles of isoperiodicity, voice exchange, melodic permutation and melodic design across the mid-fourteenth century French repertoire point to a common stock of techniques for composing canons. The Tournai canons provide early witnesses to these techniques, although they avoid more exuberant stylistic elements such as hocket.
{"title":"New Light on the Mid‐Fourteenth‐Century\u0000 Chace\u0000 : Canons Hidden in the Tournai Manuscript","authors":"J. Stoessel, D. Collins","doi":"10.1111/MUSA.12116","DOIUrl":"https://doi.org/10.1111/MUSA.12116","url":null,"abstract":"The recent discovery of two canons in the manuscript containing the famous Tournai Mass changes the history of canonic genres. This article situates the new Tournai canons within the surviving mid-fourteenth-century canonic repertoire from Francophone regions of Europe, especially canonic chaces in the Ivrea manuscript and the works of Machaut. To achieve this, we examine current theories of canonic techniques before setting out our own analytical framework. In a departure from the dominant view informed by the use of color and talea in tenors of the fourteenth-century isorhythmic motet, we propose instead that the solus tenor can in part inform a better understanding of early strategies for planning and composing canons. Alternatively, some canons can be better appreciated from the basis of a ‘top-down’ compositional approach found principally in the song repertoire of the mid fourteenth-century ars nova. Within this analytical framework, shared principles of isoperiodicity, voice exchange, melodic permutation and melodic design across the mid-fourteenth century French repertoire point to a common stock of techniques for composing canons. The Tournai canons provide early witnesses to these techniques, although they avoid more exuberant stylistic elements such as hocket.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12116","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46208279","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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