This article explores passages from Liszt's and Schoenberg's compositions that share the versatile hexatonic collection which can function within, without or somewhere in between a tonal harmonic framework. The underlying harmonic structure of the hexatonic-based passages from Liszt's oratorio St. Stanislaus (1875), Schoenberg's ‘Nacht’ from Pierrot lunaire (1912), and Modern Psalm, Op. 50c (1950), are almost identical, even though the works were written in distinctly different genres and at very different times. The extramusical associations in these works, in which the sublime or supernatural is represented by hexatonic-based symmetry, recurs in the compositions examined here.
{"title":"Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide","authors":"Joe Argentino","doi":"10.1111/MUSA.12093","DOIUrl":"https://doi.org/10.1111/MUSA.12093","url":null,"abstract":"This article explores passages from Liszt's and Schoenberg's compositions that share the versatile hexatonic collection which can function within, without or somewhere in between a tonal harmonic framework. The underlying harmonic structure of the hexatonic-based passages from Liszt's oratorio St. Stanislaus (1875), Schoenberg's ‘Nacht’ from Pierrot lunaire (1912), and Modern Psalm, Op. 50c (1950), are almost identical, even though the works were written in distinctly different genres and at very different times. The extramusical associations in these works, in which the sublime or supernatural is represented by hexatonic-based symmetry, recurs in the compositions examined here.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"184-202"},"PeriodicalIF":0.4,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12093","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44491801","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":"Schoenberg's Opus 33B and the Problem of its Contrasting ‘Continuation’ and Second Theme","authors":"J. Boss","doi":"10.1111/MUSA.12105","DOIUrl":"https://doi.org/10.1111/MUSA.12105","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"203-242"},"PeriodicalIF":0.4,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12105","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41461503","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 proposes an alternative way to think about the process of expositional closure. The recent resurgence of Formenlehre has given rise to a dispute about the correlation between expositional closure and the sequence of local perfect authentic cadences in the second group. Noting that the two sides of the debate produce opposing representations of the temporality of listening, I draw upon philosophical and linguistic models of actualisation to theorise the way in which expositional closure is realised across the second group. To this end, I focus on the refrain cadences in the first movement of Mozart's Piano Concerto in C minor, K. 491, which, as a means of deferring expositional closure, sit uneasily alongside other strategies of thematic loosening and cadential liquidation. The idea of the refrain leads me to Gilles Deleuze's theory of repetition and from there, via the notion of temps implique, to Gustave Guillaume's system of verb formation – both of which problematise the passage from potentiality to actuality, isolating a dimension of contingency as that which may or may not come to pass.
{"title":"Form and repetition : Deleuze, Guillaume and sonata theory","authors":"Naomi Waltham-Smith","doi":"10.1111/MUSA.12098","DOIUrl":"https://doi.org/10.1111/MUSA.12098","url":null,"abstract":"This article proposes an alternative way to think about the process of expositional closure. The recent resurgence of Formenlehre has given rise to a dispute about the correlation between expositional closure and the sequence of local perfect authentic cadences in the second group. Noting that the two sides of the debate produce opposing representations of the temporality of listening, I draw upon philosophical and linguistic models of actualisation to theorise the way in which expositional closure is realised across the second group. To this end, I focus on the refrain cadences in the first movement of Mozart's Piano Concerto in C minor, K. 491, which, as a means of deferring expositional closure, sit uneasily alongside other strategies of thematic loosening and cadential liquidation. The idea of the refrain leads me to Gilles Deleuze's theory of repetition and from there, via the notion of temps implique, to Gustave Guillaume's system of verb formation – both of which problematise the passage from potentiality to actuality, isolating a dimension of contingency as that which may or may not come to pass.","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"150-183"},"PeriodicalIF":0.4,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12098","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47912480","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":"L. Poundie Burstein, Lynne Rogers and Karen M. Bottge (eds), Essays from the Fourth International Schenker Symposium, vol. 2 (Hildesheim, Zurich and New York: Georg Olms Verlag, 2013). x + 303 pp. €49.80 (hb.). ISBN: 9783487150024. Nicholas Marston, Heinr","authors":"Michael Baker","doi":"10.1111/MUSA.12114","DOIUrl":"https://doi.org/10.1111/MUSA.12114","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12114","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47044123","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":"Edward Klorman, Mozart's Music of Friends: Social Interplay in the Chamber Works. Cambridge: Cambridge University Press, 2016. xxxii + 325 pp. £79.99 (hb.). £19.99 (pb.). $24.00 (eBook). ISBN 9781107474666.","authors":"G. Sanguinetti","doi":"10.1111/MUSA.12113","DOIUrl":"https://doi.org/10.1111/MUSA.12113","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12113","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46786865","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":"‘We All Go a Little Mad Sometimes. Haven't You?’ Musical Empathy in Hitchcock's Psycho","authors":"Kevin Clifton","doi":"10.1111/MUSA.12108","DOIUrl":"https://doi.org/10.1111/MUSA.12108","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"47-67"},"PeriodicalIF":0.4,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42411579","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":"David Neumeyer (with contributions by James Buhler), Meaning and Interpretation of Music in Cinema. Bloomington and Indianapolis: Indiana University Press, 2015. xv + 319 pp. ISBN 978‐0‐253‐01651‐5. £29.99 (pb).","authors":"A. Davison","doi":"10.1111/MUSA.12111","DOIUrl":"https://doi.org/10.1111/MUSA.12111","url":null,"abstract":"","PeriodicalId":44048,"journal":{"name":"MUSIC ANALYSIS","volume":"37 1","pages":"133-138"},"PeriodicalIF":0.4,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/MUSA.12111","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45118474","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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