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Xenakis’ Sieve Theory 谢纳基斯的筛理论
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.2
José L. Besada
Iannis Xenakis sternly criticized serial music in the mid-fifties. In response, he proposed and developed a set of compositional procedures which were mainly based on probabilistic laws that he framed under the principle of indeterminism. The sieve theory he developed in the sixties represented a return to deterministic strategies for composing. Following examination of Xenakis’ notes and sketches from the period spanning his time auditing Messiaen’s classes to his composition of Nomos Alpha, I argue that sieve theory is better understood when viewed through the lens of his personal earlier speculations on twelve-tone music techniques.
Iannis Xenakis严厉批评了五十年代中期的连载音乐。作为回应,他提出并发展了一套组合程序,这些程序主要基于他在不确定性原则下制定的概率定律。他在60年代发展起来的筛理论代表着对确定性创作策略的回归。在考察了Xenakis从旁听Messiaen的课程到创作Nomos Alpha这段时间的笔记和素描后,我认为,从他个人早期对十二音音乐技巧的推测来看,筛理论更容易理解。
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引用次数: 0
Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020) 评乔尔·莱斯特,勃拉姆斯小提琴奏鸣曲:风格、结构、演奏(纽约:牛津大学出版社,2020)
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.12
David Keep
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引用次数: 0
The Many Paths of Decolonization 非殖民化的多种途径
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.11
Robin Attas
This essay uses analytical sketches of Indigenous DJ collective A Tribe Called Red’s “How I Feel” as a starting point for critiquing the white colonial Eurocentric norms of music analysis as currently practiced in the discipline of music theory. I expand on previous calls for greater diversity and inclusion within the field by exposing colonial and Eurocentric analytical strategies. I then propose some possibilities for decolonizing and Indigenizing music analysis that reflect individuals’ differing capacities for growth and change while also challenging music analysts to move beyond tokenistic gestures.
本文使用土著DJ集体A Tribe Called Red的“How I Feel”的分析草图作为起点,批评目前在音乐理论学科中实践的白人殖民欧洲中心音乐分析规范。我通过揭露殖民主义和以欧洲为中心的分析策略,扩展了之前呼吁在该领域内增加多样性和包容性的呼吁。然后,我提出了一些非殖民化和本土化音乐分析的可能性,这些分析反映了个人不同的成长和变化能力,同时也挑战了音乐分析师超越象征性的姿态。
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引用次数: 0
Emotional Tones and Emotional Texts 情感语调与情感文本
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.7
K. Spreadborough
Vocal tone quality is a highly emotive musical resource in popular vocal songs. However, it is also one of the most difficult aspects to analyze due to the complexity and variety of the voice. This article presents a novel analytical approach to the sung voice by considering how emotion is conveyed through tone quality and text. The aim of the approach is to provide a system for annotating vocal tone quality and for analyzing its emotive content. The approach is informed by findings from psychology, music studies, and the social semiotics of sound—taking into consideration how our everyday experience of voice in communication contributes to our emotional perception of singing. Different modes of annotation, from static annotation to real-time annotation, are demonstrated and two new analytical parameters are introduced: the Affect Map and Cohesiveness. This paper first presents the theoretical underpinnings of the approach, followed by an outline of the approach itself, and finally demonstrates the approach through an analysis of the voice in Kris Kristofferson’s 1970 song “Casey’s Last Ride.”
声乐音质是流行声乐中一种情感性很强的音乐资源。然而,由于声音的复杂性和多样性,它也是最难分析的方面之一。本文提出了一种新的分析方法,通过考虑如何通过音质和文本来传达情感。该方法的目的是提供一种用于注释音调质量并分析其情感内容的系统。这种方法是根据心理学、音乐研究和声音的社会符号学的研究结果得出的,考虑到我们在交流中的日常声音体验如何影响我们对唱歌的情感感知。演示了从静态注释到实时注释的不同注释模式,并引入了两个新的分析参数:情感图和内聚性。本文首先介绍了该方法的理论基础,然后概述了该方法本身,最后通过分析Kris Kristofferson 1970年歌曲《Casey’s Last Ride》中的声音来证明该方法
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引用次数: 0
An Idiom of Melodic-Harmonic Divorce 旋律和谐离婚的习语
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.6
S. Reed
Within the stratified harmonic behavior known as melodic-harmonic divorce, this paper identifies a gesture repeated idiomatically across rock repertory. Dubbed “sub-circle” motion, this idiom is specifically a form of syntax divorce wherein a melodic layer unfolds in a way consonant with and suggestive of circle-of-fifths root motion (+P4) between two accompanying major chords; however, the harmonic layer’s root instead moves up by a minor third (+m3), creating a stratified dissonance, or divorce. The paper then identifies a standard set of paradigms—specific transpositional instances of the idiom—and catalogues numerous examples of their use in rock music. One paradigm, V-".fn_flat('')."VIIadd9, is the subject of special analytic and historical inquiry, due to its proliferation as a deceptive cadence in the late twentieth century. This previously untheorized cadence is the most prominent instance of the sub-circle idiom.
在被称为旋律和声分离的分层和声行为中,本文确定了在摇滚曲目中惯用地重复的手势。这个成语被称为“子圈”运动,是一种特殊的句法分离形式,其中旋律层以与两个伴随的主和弦之间的五分之一根运动(+P4)一致的方式展开;然而,谐波层的根部反而向上移动了三分之一(+m3),产生了分层不和谐或分离。然后,论文确定了一组标准的范式——成语的特定转置实例——并列举了它们在摇滚乐中的许多使用实例。一种范式,V-“.fn_flat('')”VIIadd9,是特殊分析和历史探究的主题,因为它在20世纪末作为一种欺骗性的节奏而激增。这种先前未经论证的抑扬顿挫是子圈成语最突出的例子。
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引用次数: 0
Cadential Melodies 节奏的旋律
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.4
Kyle Hutchinson, M. Poon
This article proposes that engaging with structural melodic content can expand how we conceive of cadential function and add nuance to the more harmonically driven approaches of Caplinian form-functional theory. Drawing on discussions by Schenker, Marx, and Schoenberg, we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin’s temporal functions: ascending lines are typically associated with initiating functions, while the static prolongation of structural tones typically serves as either initiating or medial functions. Conversely, descending melodic lines, especially terminating on ".fn_scaledegree(1)." (authentic cadences) or ".fn_scaledegree(2)." (half cadences) are endemic of concluding functions. We do not suggest that melodic considerations replace harmonic ones, but rather conclude that the two domains are symbiotic in the sense that melodic consideration can reinforce or undermine harmonic ones, and vice versa. Ultimately, we use this rebalancing of analytic focus as a means of reengaging with various problematic phrase types and suggest further efficacy for this approach with respect to nineteenth-century formal expansions.
本文提出,研究结构旋律内容可以扩展我们对节奏功能的理解,并为卡普里尼形式功能理论中更为和谐的方法增添细微差别。根据申克、马克思和勋伯格的讨论,我们假设结构旋律配置与卡普里尼理论的时间形式函数之间存在相似之处。通过几个分析实例,我们发现某些旋律方向与Caplin的时间功能有默认关联:上升线通常与起始功能相关,而结构音调的静态延长通常作为起始功能或中间功能。相反,下行旋律线,尤指以“。fn_scaledegree(1)”结束。(真实的节奏)或“。fn_scaledegree(2)”。(半抑止)是结束功能特有的。我们并不认为旋律的考虑取代了和声的考虑,而是得出结论,这两个领域是共生的,在某种意义上,旋律的考虑可以加强或破坏和声,反之亦然。最后,我们使用这种分析焦点的再平衡作为重新参与各种有问题的短语类型的手段,并建议这种方法在19世纪形式扩展方面的进一步功效。
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引用次数: 0
Billy Joel’s Enharmonic Duplicity Billy Joel的Enharmonic Duplicity
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.1
A. Aziz
This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B♭ major songs that reinterpret mixture scale degrees (".fn_flat('').fn_scaledegree(3)." and ".fn_flat('').fn_scaledegree(6).") along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.
本文探讨了比利·乔尔在其沉思歌曲中的半音偏移,其中许多歌曲在流行的主要背景下注入了模态混合半音主义。特别是,我重点介绍了乔尔对“本质双重性”的探索,在这种探索中,色彩主义通过本质转换反映了人性的复杂性。第1部分探讨了“诚实”中的强化主义,这是几个分析B中的第一个♭ 重新诠释混合音阶度的主要歌曲(“.fn_flat('').fn_scaledelection(3).”和“.fn_flat('').fn_scaledesection(6).”);我还考虑了乔尔如何在他的开场低音线中引入混合音。第二部分探讨了复杂歌曲《劳拉》中的和声和功能模糊性。第三部分通过开场酒吧的增强三和弦来思考《维也纳》的和声复杂性;我还考虑了《桑给巴尔》和《管弦乐队在哪里》中增强三合会的比较例子。为了回应乔尔对大众实践经典的广泛接触,我的方法将19世纪音乐的视角与当代流行/摇滚和谐理论融合在一起。
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引用次数: 0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre 从瓦格纳的《死亡漫步》看“死亡宣告”场景中的旋转原理
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.5
Ji Yeon Lee
Structured as a dialog, the “Annunciation of Death,” a duet in Act 2, Scene 4 of Wagner’s Die Walküre, centers on the changing dramatic relationship between Brünnhilde and Siegmund. A hardhearted, obedient warrior at the beginning of their first encounter, Brünnhilde learns sympathy and compassion from Siegmund’s profound love for Sieglinde; this knowledge transforms her into the woman who eventually sacrifices herself through love to redeem the divine world at the end of the cycle. The article examines how this narrative dynamic is reflected in the musical architecture. It reads the scene’s overarching form as a three-stage process in which the characters struggle for narrative control, from Brünnhilde’s declaration of Siegmund’s fate to his rewriting of that fate in his favor. The rotational principle is the primary formal function clarifying the transformations and interactions of leitmotifs in the playing-out of the dramatic narrative. The article thereby demonstrates the effectiveness of the rotational principle for understanding the scene’s teleological process as embedded in the music and drama.
瓦格纳的《死亡漫步》第二幕第四场中的二重唱《死亡报喜》以对话的形式构建,以布伦希尔德和西格蒙德之间不断变化的戏剧关系为中心。在他们第一次相遇之初,布伦希尔德是一个心地善良、顺从的战士,他从齐格蒙德对齐格林德的深厚爱中获得了同情和同情;这一知识将她转变为一个女人,她最终通过爱来牺牲自己,以在周期结束时救赎神圣的世界。本文探讨了这种叙事动态是如何在音乐建筑中得到体现的。它将场景的总体形式解读为一个三阶段的过程,在这个过程中,角色们为叙事控制而斗争,从布伦希尔德对西格蒙德命运的宣告到他对命运的改写。轮换原则是阐明戏剧叙事中主旋律转换和相互作用的主要形式功能。因此,本文证明了旋转原则在理解音乐和戏剧中场景的目的论过程方面的有效性。
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引用次数: 0
The Poetics and Politics of Ambiguity 歧义的诗学与政治学
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.8
A. Stephenson
The use of the harmonic series as a pitch-generating resource is a significant trend in twentieth- and twenty-first-century composition. While the principle of equal temperament prioritizes an additive understanding of intervals, the harmonic series implies a ratio-based approach to pitch relationships. Despite these philosophical differences and the sometimes polemical debates that have attended to them, the works of Julian Anderson (1967–) and Rand Steiger (1957–) draw simultaneously on overtone-based and equal-tempered harmonic thinking. These two composers are part of a group of musicians who have proposed various hybrid approaches to harmonic construction, and their works are also notable for playing out interactions between these influences in ways that reflect the composers’ political concerns. In this paper, I combine examinations of Anderson’s and Steiger’s characteristic harmonic strategies with close analyses of two quartertone-based works: Anderson’s Eden (2005) and Steiger’s Post-truth Lament (2017). I use these discussions to consider the pieces’ diverse political resonances. Ultimately, I argue that their hybrid harmonic approaches serve to highlight the multifaceted implications of ambiguity—not only its musically generative potential, but also its capacity to transform contemporary political life in ways both corrosive and constructive.
谐波级数作为音高生成资源的使用是二十世纪和二十一世纪作曲的一个重要趋势。虽然相等气质的原则优先考虑对音程的加法理解,但谐波级数暗示了一种基于比率的音高关系方法。尽管存在这些哲学差异,有时也会引发争论,但朱利安·安德森(1967–)和兰德·斯泰格(1957–)的作品同时借鉴了基于泛音的和谐思维。这两位作曲家是一群音乐家中的一员,他们提出了各种混合的和声构建方法,他们的作品也以反映作曲家政治关切的方式展现了这些影响之间的互动而闻名。在本文中,我结合对Anderson和Steiger的特色和声策略的考察,并仔细分析了两部基于四分之一音调的作品:Anderson的《伊甸园》(2005)和Steiger's《后真相的哀歌》(2017)。我利用这些讨论来考虑这些作品的不同政治共鸣。最终,我认为,他们的混合和声方法有助于突出歧义的多方面含义——不仅是它在音乐上的生成潜力,还有它以腐蚀性和建设性的方式改变当代政治生活的能力。
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引用次数: 0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel 沃尔夫冈·里姆第五弦乐四重奏《无题》中的成与灭
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2022-06-01 DOI: 10.30535/mto.28.2.3
David Hier
Wolfgang Rihm’s Fifth String Quartet poses numerous challenges to analysis because it contains little repeated material, no clear formal design, and contains a wealth of diverse musical gestures. I argue that the piece’s gestures should be understood in relation to an idealized Austro-German romantic music, common to much of Rihm’s work from the 1970s, but which fails to materialize in the Fifth Quartet. I trace the piece’s closeness to romanticism and demonstrate how the piece’s unpredictable formal process produces a large-scale gestural contour composed of smaller processes. I call processes directed toward romanticism, “becoming,” and those directed away from it, “disintegrating.” After surveying several noteworthy passages, I examine the quartet’s large-scale form. I conclude with a brief meditation on the relationship between Rihm’s aesthetics and German romanticism and the post-modernism of the 1970s and 1980s, and argue that Rihm’s music fulfills the demands of romantic theorists from the early 19th century, forming a new strain of romanticism built atop the ruined memories of the old.
Wolfgang Rihm的《第五弦乐四重奏》对分析提出了许多挑战,因为它几乎没有重复的材料,没有明确的正式设计,并且包含了丰富多样的音乐手势。我认为,应该将这首作品的姿态与理想化的奥斯特-德国浪漫音乐联系起来理解,这在里姆20世纪70年代的许多作品中都很常见,但在第五四重奏中却没有实现。我追溯了这件作品与浪漫主义的接近,并展示了这件不可预测的正式过程是如何产生由较小过程组成的大规模手势轮廓的。我把指向浪漫主义的过程称为“成为”,而那些远离浪漫主义的进程则称为“瓦解”。在考察了几段值得注意的段落后,我审视了四重奏的大型形式。最后,我对里姆的美学与德国浪漫主义以及20世纪70年代和80年代的后现代主义之间的关系进行了简短的思考,并认为里姆的音乐满足了19世纪初浪漫主义理论家的要求,形成了一种新的浪漫主义风格,建立在对过去被破坏的记忆之上。
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引用次数: 0
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Music Theory Online
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