首页 > 最新文献

Music Theory Online最新文献

英文 中文
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019) 《反思帝国》书评,苏曼斯·戈皮纳斯和普威尔·ap编辑Siôn(牛津大学出版社,2019年)
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.10
Orit Hilewicz
{"title":"Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019)","authors":"Orit Hilewicz","doi":"10.30535/MTO.27.1.10","DOIUrl":"https://doi.org/10.30535/MTO.27.1.10","url":null,"abstract":"","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43810395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis ofBegleitungsmusik zu einer Lichtspielscene(1929–1930) 勋伯格的电影蓝图:对电影场景的纲领性分析(1929-1930)
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.4
Orit Hilewicz
This study examines Arnold Schoenberg’s only published music for film, Begleitungsmusik zu einer Lichtspielscene [Accompaniment to a Film Scene], op. 34 (1929–30). Although not composed for an existing film scene, evidence of Begleitungsmusik’s cinematic aspirations motivate this analysis, which approaches the composition as a cinematographic blueprint: a design (or program) for a scene that at the same time serves as its soundtrack. To examine this proposition, I collaborated with artist and filmmaker Stephen Sewell to create a film scene based on my analysis of the piece, which expresses the global narrative described in its program using rhythmic, textural, and structural strategies. While presenting analysis as film proves remarkably appropriate to this composition, in fact, analytical visualization can contribute to various interpretive approaches, allowing listeners to connect an analytical reading in real time to
本研究考察了阿诺德勋伯格唯一出版的电影音乐,Begleitungsmusik zu einer Lichtspielscene[电影场景伴奏],op. 34(1929-30)。虽然不是为现有的电影场景作曲,但Begleitungsmusik的电影抱负的证据激发了这种分析,它将作曲视为电影蓝图:一个场景的设计(或程序),同时也是它的配乐。为了检验这一命题,我与艺术家兼电影制作人斯蒂芬·休厄尔合作,根据我对这件作品的分析创造了一个电影场景,它通过节奏、纹理和结构策略表达了其程序中所描述的全球叙事。虽然以电影的形式呈现分析被证明非常适合这篇作文,但事实上,分析可视化可以为各种解释方法做出贡献,使听众能够实时地将分析阅读与阅读联系起来
{"title":"Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis ofBegleitungsmusik zu einer Lichtspielscene(1929–1930)","authors":"Orit Hilewicz","doi":"10.30535/MTO.27.1.4","DOIUrl":"https://doi.org/10.30535/MTO.27.1.4","url":null,"abstract":"This study examines Arnold Schoenberg’s only published music for film, Begleitungsmusik zu einer Lichtspielscene [Accompaniment to a Film Scene], op. 34 (1929–30). Although not composed for an existing film scene, evidence of Begleitungsmusik’s cinematic aspirations motivate this analysis, which approaches the composition as a cinematographic blueprint: a design (or program) for a scene that at the same time serves as its soundtrack. To examine this proposition, I collaborated with artist and filmmaker Stephen Sewell to create a film scene based on my analysis of the piece, which expresses the global narrative described in its program using rhythmic, textural, and structural strategies. While presenting analysis as film proves remarkably appropriate to this composition, in fact, analytical visualization can contribute to various interpretive approaches, allowing listeners to connect an analytical reading in real time to","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42882893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Rhythmic Techniques in Deaf Hip Hop 聋人嘻哈的节奏技巧
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.7
Anabel Maler, Robert Komaniecki
The art of signed music involves the use of rhythmicized signs from a signed language, such as American Sign Language (ASL), in a musical context. Signed music encompasses a variety of subgenres, including ASL hip hop or “dip hop.” A typical dip hop performance involves a Deaf or hard-of-hearing artist simultaneously performing vocalized and signed rapping over a looped background beat. Although dip hop emerged as a grassroots movement in the early 1990s, it has received li le analytical a ention in the scholarly literature on hip hop. In this paper, the authors combine techniques adapted from analyzing rhythm in non-signed rap music with techniques adapted from analyzing non-rapped signed music to analyze the rhythmic flow of tracks by dip hop artists Sean Forbes, Wawa, and Signmark. The authors demonstrate that dip hop artists have developed genre-specific rhythmic paradigms and tropes to convey the periodicity and rhyme that are fundamental to rap music. Specifically, we address the alignment of rhythm and meter in signed and vocal rap and the conveyance of a repeated “beat” through rhythmic signing. The analyses of dip hop tracks reveal important differences between dip hop and vocal rap, as well as differences between the conventions of dip hop and ASL poetry. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory Dip hop is hip hop through Deaf eyes.
手语音乐的艺术包括在音乐环境中使用有节奏的手语,如美国手语(ASL)。签名音乐包括各种各样的子流派,包括美国手语嘻哈或“dip hop”。一个典型的dip hop表演包括一个聋人或重听艺术家在一个循环的背景节拍上同时表演声乐和手语说唱。虽然dip hop在20世纪90年代初作为一种草根运动出现,但在嘻哈的学术文献中却很少有分析性的提及。在本文中,作者将分析非签名说唱音乐节奏的技巧与分析非说唱签名音乐的技巧结合起来,分析了dip hop艺术家Sean Forbes, Wawa和Signmark的歌曲节奏流。作者证明,dip hop艺术家已经发展出特定类型的节奏范式和修辞,以传达说唱音乐的基本周期性和韵律。具体来说,我们解决节奏和节拍的对齐在签名和声乐说唱和传递重复的“拍”通过节奏签名。通过对dip hop歌曲的分析,揭示了dip hop与声乐说唱之间的重要差异,以及dip hop与ASL诗歌的惯例之间的差异。DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021版权©2021 Society for Music Theory Dip hop是hip hop through Deaf eyes。
{"title":"Rhythmic Techniques in Deaf Hip Hop","authors":"Anabel Maler, Robert Komaniecki","doi":"10.30535/MTO.27.1.7","DOIUrl":"https://doi.org/10.30535/MTO.27.1.7","url":null,"abstract":"The art of signed music involves the use of rhythmicized signs from a signed language, such as American Sign Language (ASL), in a musical context. Signed music encompasses a variety of subgenres, including ASL hip hop or “dip hop.” A typical dip hop performance involves a Deaf or hard-of-hearing artist simultaneously performing vocalized and signed rapping over a looped background beat. Although dip hop emerged as a grassroots movement in the early 1990s, it has received li le analytical a ention in the scholarly literature on hip hop. In this paper, the authors combine techniques adapted from analyzing rhythm in non-signed rap music with techniques adapted from analyzing non-rapped signed music to analyze the rhythmic flow of tracks by dip hop artists Sean Forbes, Wawa, and Signmark. The authors demonstrate that dip hop artists have developed genre-specific rhythmic paradigms and tropes to convey the periodicity and rhyme that are fundamental to rap music. Specifically, we address the alignment of rhythm and meter in signed and vocal rap and the conveyance of a repeated “beat” through rhythmic signing. The analyses of dip hop tracks reveal important differences between dip hop and vocal rap, as well as differences between the conventions of dip hop and ASL poetry. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory Dip hop is hip hop through Deaf eyes.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69237359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Compound AABA Form and Style Distinction in Heavy Metal 复合AABA在重金属中的形态与风格区分
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.5
Stephen S. Hudson
This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (A as 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill
本文以福尔门勒传统的形式规范理论为灵感,提出了一个分析重金属音乐中复合AABA形式的新框架。一项语料库研究表明,复合AABA的一个特定的基于即兴段的版本,具有特定风格的构建介绍(A as 2015)和其他特征,在金属流派的主流风格中是规范的。在这个规范中,艺术家个人有自己的策略(Meyer 1989)来展示复合AABA形式。这些策略提供了乐队之间的风格差异,因此,形式上的差异可以说意味着审美姿态或社会定位——这是一种不同于程序或语义交流的意义,而程序或语义交际一直是主题论或音乐符号学等领域大多数现有音乐理论研究的焦点。本文最后探讨了这些不同的形式策略如何体现身体运动或运动感觉的不同品质,认为在进行风格区分和认同特定的亚类别或风格时,我们认为,这些不同的移动方式与(亚)流派修辞和想象中的粉丝群体的身体立场有关(Anderson 1983,Hill
{"title":"Compound AABA Form and Style Distinction in Heavy Metal","authors":"Stephen S. Hudson","doi":"10.30535/MTO.27.1.5","DOIUrl":"https://doi.org/10.30535/MTO.27.1.5","url":null,"abstract":"This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (A as 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48924203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Gould’s Creaking Chair, Schoenberg’s Metric Clarity Gould的Creaking Chair,Schoenberg的Metric Clarity
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.1
R. Beaudoin
The audible creaking of Glenn Gould’s loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as “sounded movements” of Gould’s body. This article triangulates the score of Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould’s September 1965 recording of the work. Quantifying Sanden’s concept of “corporeal liveness,” spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable “creak gap” in Gould’s recording is linked to published observations regarding the work’s process of emerging metric clarity, and one of Gould’s vocal elaborations is recognized for its augmentation of Schoenberg’s pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition’s trajectory of metric clarification and the decrease in Gould’s physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg’s composition with the audio artifacts of Gould’s corporeality.
格伦·古尔德(Glenn Gould)那把松动的钢琴椅发出的吱吱声,历来都是致歉的内页笔记和录音室回忆录的主题。这些椅子的吱吱声在这里被认为是古尔德身体的“声音运动”。本文对勋伯格的作品《Sechs kleine klavierst cke》(作品19号)的乐谱进行了三角测量。1,发表了对其独特的节奏展开的分析,以及对古尔德1965年9月对该作品的记录的新的微时间测量。为了量化桑登的“身体活力”概念,光谱工具被用来对麦克风捕捉到的所有声音进行适当的普查,以便绘制它们有节奏的相互作用。古尔德的录音中有一个显著的“裂缝”,与已发表的关于作品中出现的公制清晰度过程的观察有关,古尔德的一个声乐阐述被认为是对勋伯格音高材料的补充。用微计时数据叠加分析文献揭示了成分的公制澄清轨迹与古尔德物理运动的减少之间的相关性。这些发现被用来质疑伴随记谱音乐录制的无记谱声音的普遍和令人不安的压制。认识到通常被边缘化的声音,本研究融合了对勋伯格作曲的理论观察和古尔德肉体的音频人工制品。
{"title":"Gould’s Creaking Chair, Schoenberg’s Metric Clarity","authors":"R. Beaudoin","doi":"10.30535/MTO.27.1.1","DOIUrl":"https://doi.org/10.30535/MTO.27.1.1","url":null,"abstract":"The audible creaking of Glenn Gould’s loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as “sounded movements” of Gould’s body. This article triangulates the score of Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould’s September 1965 recording of the work. Quantifying Sanden’s concept of “corporeal liveness,” spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable “creak gap” in Gould’s recording is linked to published observations regarding the work’s process of emerging metric clarity, and one of Gould’s vocal elaborations is recognized for its augmentation of Schoenberg’s pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition’s trajectory of metric clarification and the decrease in Gould’s physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg’s composition with the audio artifacts of Gould’s corporeality.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42916429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Review of The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings (Oxford University Press, 2019) 《牛津音乐理论批判概念手册》书评,由亚历山大·雷丁和史蒂文·Rings编辑(牛津大学出版社,2019年)
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.9
Antares Boyle, Rebecca Leydon, P. Sherrill, Jeffrey Swinkin
[1.1] In their introduction to The Oxford Handbook of Critical Concepts in Music Theory, editors Alexander Rehding and Steven Rings explain that the word “critical” signals two guiding principles for the collection. First, the selected terms are foundational—“theorists cannot do without them.” Second, despite their fundamental nature, the authors approach them “not as se led knowledge but as sites for critical scrutiny” (xv). The authors in the first section, “Starting Points,” take up this cause with gusto, invoking historical narratives, mathematical equations, and emergent perceptual phenomena to illustrate the complexities of seemingly simple concepts. In this sense, the essays are delightfully varied, bold, and rich. They are also uniformly well wri en (several authors have an enviable talent for wordplay) and beautifully typeset.(1) Below, I a empt to do some justice to each of the seven essays, although space will only allow a full summary of a few, before concluding with some general thoughts on the section.
[1.1]编辑Alexander Rehding和Steven Rings在《牛津音乐理论批判概念手册》的引言中解释说,“批判”一词标志着该系列的两个指导原则。首先,所选术语是基础性的——“理论家离不开它们。”其次,尽管它们具有基本性质,但作者将它们“不是以自身为导向的知识,而是作为批判性审查的场所”(xv)。在第一节“起点”中,作者们兴致勃勃地探讨了这一事业,援引历史叙事、数学方程和涌现的感知现象来说明看似简单的概念的复杂性。从这个意义上说,散文是令人愉快的变化,大胆和丰富。它们同样都写得很好(几位作家在文字游戏方面有着令人羡慕的天赋),字体也很漂亮。(1) 下面,我将对七篇文章中的每一篇都做一些公正的处理,尽管篇幅只允许对其中几篇进行完整的总结,然后对本节进行一些总体思考。
{"title":"Review of The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings (Oxford University Press, 2019)","authors":"Antares Boyle, Rebecca Leydon, P. Sherrill, Jeffrey Swinkin","doi":"10.30535/MTO.27.1.9","DOIUrl":"https://doi.org/10.30535/MTO.27.1.9","url":null,"abstract":"[1.1] In their introduction to The Oxford Handbook of Critical Concepts in Music Theory, editors Alexander Rehding and Steven Rings explain that the word “critical” signals two guiding principles for the collection. First, the selected terms are foundational—“theorists cannot do without them.” Second, despite their fundamental nature, the authors approach them “not as se led knowledge but as sites for critical scrutiny” (xv). The authors in the first section, “Starting Points,” take up this cause with gusto, invoking historical narratives, mathematical equations, and emergent perceptual phenomena to illustrate the complexities of seemingly simple concepts. In this sense, the essays are delightfully varied, bold, and rich. They are also uniformly well wri en (several authors have an enviable talent for wordplay) and beautifully typeset.(1) Below, I a empt to do some justice to each of the seven essays, although space will only allow a full summary of a few, before concluding with some general thoughts on the section.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43009979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Ravel’s Sound 拉威尔的声音
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.2
Jennifer P. Beavers
Ravel’s interwar compositions and transcriptions reveal a sophisticated engagement with timbre and orchestration. Of interest is the way he uses timbre to connect and conceal passages in his music. In this article, I look at the way Ravel manipulates instrumental timbre to create sonic illusions that transform expectations, mark the form, and create meaning. I examine how he uses instrumental groupings to create distinct or blended auditory events, which I relate to musical structure. Using an aurally based analytical approach, I develop these descriptions of timbre and auditory scenes to interpret ways in which different timbre-spaces function. Through techniques such as timbral transformations, magical effects, and timbre and contour fusion, I examine the ways in which Ravel conjures sound objects in his music that are imaginary, transformative, or illusory. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory
拉威尔的两次世界大战之间的作品和转录揭示了音色和配器的复杂参与。令人感兴趣的是他如何使用音色来连接和隐藏音乐中的段落。在这篇文章中,我观察了Ravel操纵乐器音色的方式,以创造声音错觉,从而改变期望,标记形式,创造意义。我研究了他如何使用乐器组合来创造不同或混合的听觉事件,我将其与音乐结构联系起来。使用基于听觉的分析方法,我开发了这些对音色和听觉场景的描述,以解释不同音色空间的作用方式。通过音色转换、神奇效果、音色和轮廓融合等技术,我研究了拉威尔在音乐中变出想象、变革或虚幻的声音对象的方式。DOI:10.30535/mto.27.1.0第27卷第1期,2021年3月版权所有©2021音乐理论学会
{"title":"Ravel’s Sound","authors":"Jennifer P. Beavers","doi":"10.30535/MTO.27.1.2","DOIUrl":"https://doi.org/10.30535/MTO.27.1.2","url":null,"abstract":"Ravel’s interwar compositions and transcriptions reveal a sophisticated engagement with timbre and orchestration. Of interest is the way he uses timbre to connect and conceal passages in his music. In this article, I look at the way Ravel manipulates instrumental timbre to create sonic illusions that transform expectations, mark the form, and create meaning. I examine how he uses instrumental groupings to create distinct or blended auditory events, which I relate to musical structure. Using an aurally based analytical approach, I develop these descriptions of timbre and auditory scenes to interpret ways in which different timbre-spaces function. Through techniques such as timbral transformations, magical effects, and timbre and contour fusion, I examine the ways in which Ravel conjures sound objects in his music that are imaginary, transformative, or illusory. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41712853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Cantopop and Speech-Melody Complex 粤语流行乐和语音旋律综合体
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2021-03-01 DOI: 10.30535/MTO.27.1.6
Edwin K. C. Li
It is generally accepted that speech and melody are distinctive perceptual categories, and that one is able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This article investigates native Cantonese speakers’ speech-melody experience of listening to Cantonese popular songs (henceforth Cantopop songs), a relatively uncharted territory in musicological studies. It proposes a speech-melody complex that embraces native Cantonese speakers’ experience of the potentialities of speech and melody before they come into being. Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but concerns the ongoingness of the process of categorial molding, which depends on how much contextual information the listeners value in shaping and parsing out the complex. It follows, then, that making a categorial assertion implies a breakthrough of the complex. I then complicate speech-melody complex with the concept of “anamorphosis,” borrowed from the visual arts, which calls into question the signification of the perceived object by perspectival distortion. When transferred to the sonic dimension, “anamorphic listening,” I suggest, is not about at which point a sonic object becomes “distorted” but is about one’s processual experience of negotiating the hermeneutic values in their different hearing-ases. The listener engages, then, in the process of molding and remolding, creating and negating, the two enigmatic categories. Through my analysis of two Cantopop songs and interviews with native Cantonese speakers, I suggest that Cantopop may invite an anamorphic listening, and that more broadly, it is an important, yet under-explored, genre with which to theorize about the relationships between music and language.
人们普遍认为,语音和旋律是不同的感知类别,人们能够克服感知模糊性,将声学刺激分类为两者中的任何一种。本文调查了母语为广东人的音乐学研究中一个相对未知的领域——粤语流行歌曲(以下简称粤语流行歌曲)的语音旋律体验。它提出了一种语音旋律复合体,它包含了母语为广东人在语音和旋律形成之前对其潜力的体验。我认为,语音-旋律复合体并不稳定地包含完整、断言形式的语音或旋律类别,而是涉及类别塑造过程的复杂性,这取决于听众在塑造和解析复合体时重视多少上下文信息。因此,做出分类断言意味着对复杂性的突破。然后,我借用视觉艺术中的“变形”概念,将语音旋律复合体复杂化,该概念通过透视扭曲来质疑感知对象的意义。当转移到声音维度时,我认为,“变形倾听”并不是关于声音对象在什么时候变得“扭曲”,而是关于一个人在不同的听觉环境中协商解释学价值的过程体验。然后,听众参与到塑造和重塑、创造和否定这两个神秘类别的过程中。通过我对两首粤语流行歌曲的分析和对以广东话为母语的人的采访,我认为粤语流行可能会引起一种变形的聆听,更广泛地说,它是一种重要但尚未被充分探索的流派,可以用来理论音乐和语言之间的关系。
{"title":"Cantopop and Speech-Melody Complex","authors":"Edwin K. C. Li","doi":"10.30535/MTO.27.1.6","DOIUrl":"https://doi.org/10.30535/MTO.27.1.6","url":null,"abstract":"It is generally accepted that speech and melody are distinctive perceptual categories, and that one is able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This article investigates native Cantonese speakers’ speech-melody experience of listening to Cantonese popular songs (henceforth Cantopop songs), a relatively uncharted territory in musicological studies. It proposes a speech-melody complex that embraces native Cantonese speakers’ experience of the potentialities of speech and melody before they come into being. Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but concerns the ongoingness of the process of categorial molding, which depends on how much contextual information the listeners value in shaping and parsing out the complex. It follows, then, that making a categorial assertion implies a breakthrough of the complex. I then complicate speech-melody complex with the concept of “anamorphosis,” borrowed from the visual arts, which calls into question the signification of the perceived object by perspectival distortion. When transferred to the sonic dimension, “anamorphic listening,” I suggest, is not about at which point a sonic object becomes “distorted” but is about one’s processual experience of negotiating the hermeneutic values in their different hearing-ases. The listener engages, then, in the process of molding and remolding, creating and negating, the two enigmatic categories. Through my analysis of two Cantopop songs and interviews with native Cantonese speakers, I suggest that Cantopop may invite an anamorphic listening, and that more broadly, it is an important, yet under-explored, genre with which to theorize about the relationships between music and language.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42364516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Instrumental Transformations in Heinrich Biber’s Mystery Sonatas 海因里希·比伯神秘奏鸣曲中的器乐转换
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.1
Jonathan de Souza
Each of Heinrich Biber’s Mystery Sonatas features a distinct violin tuning. How do these scordatura relate to standard tuning? How might they affect the sonatas’ musical organization and players’ experience? Transformational voice-leading theory helps to reveal overlapping categories here. Quintal scordatura include adjacent-string fifths, creating zones where notated and sounding intervals match. Chordal scordatura, in which the strings realize a triad, involve more displacement. Psychological research on altered pitch feedback suggests that scordatura are most unsettling for players when they preserve aspects of standard tuning. Analyzing scordatura, then, shows how instruments function as spaces for musical action.
海因里希·比伯的每一首神秘奏鸣曲都有独特的小提琴调。这些scordatura是如何与标准调谐相关的?它们会如何影响奏鸣曲的音乐组织和演奏者的体验?变声引导理论有助于揭示重叠的范畴。五弦scordatura包括相邻的五弦,形成了符号和音程匹配的区域。弦scordatura,其中的弦实现了三和弦,涉及更多的位移。对球场反馈变化的心理学研究表明,当球员保留标准调整的方面时,scordatura最让他们不安。通过分析scordatura,可以看出乐器是如何作为音乐活动的空间发挥作用的。
{"title":"Instrumental Transformations in Heinrich Biber’s Mystery Sonatas","authors":"Jonathan de Souza","doi":"10.30535/MTO.26.4.1","DOIUrl":"https://doi.org/10.30535/MTO.26.4.1","url":null,"abstract":"Each of Heinrich Biber’s Mystery Sonatas features a distinct violin tuning. How do these scordatura relate to standard tuning? How might they affect the sonatas’ musical organization and players’ experience? Transformational voice-leading theory helps to reveal overlapping categories here. Quintal scordatura include adjacent-string fifths, creating zones where notated and sounding intervals match. Chordal scordatura, in which the strings realize a triad, involve more displacement. Psychological research on altered pitch feedback suggests that scordatura are most unsettling for players when they preserve aspects of standard tuning. Analyzing scordatura, then, shows how instruments function as spaces for musical action.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49291871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Pen, Paper, Steel 笔、纸、钢
IF 0.8 2区 艺术学 0 MUSIC Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.6
Stephanie Probst
Graphs drawn on rastered paper and a monumental steel sculpture display how visual artists Paul Klee and Henrik Neugeboren conceived of Johann Sebastian Bach’s polyphonic style in 1920s Germany. Focusing on the representational decisions behind these artistic translations of music, this article explores the ways in which such artifacts manifest a specific analytical lens. It highlights congruencies with and deviations from the theoretical framework of “linear counterpoint,” as epitomized in Ernst Kurth’s influential treatise from 1917, and thereby positions the artworks within the controversial reception history of Bach’s music and a endant theoretical frameworks in the early twentieth century. More generally, the article proposes that graphical and sculptural renderings of music can offer the opportunity to investigate music theory’s intangible methods and conceptual metaphors through different sensory experiences. DOI: 10.30535/mto.26.4.6 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory [1.1] In the German town of Leverkusen, just outside of Cologne, one can visit a fugue by Johann Sebastian Bach. A steel sculpture in the park abu ing the local hospital represents an excerpt of the Fugue in E-flat minor (BWV 853) from The Well-Tempered Clavier, Book 1, specifically the stre o maestrale at mm. 52–55 (Example 1).(1) Based on a sketch by the Transylvanian visual artist, pianist, and composer Henrik (Heinrich) Neugeboren (1901–1959), the sculpture allows passers-by to physically move through Bach’s stre o, as they wander in the space between the walls representing the voices of the contrapuntal texture. Titled “Hommage à J. S. Bach” in the few wri en documents referring to it, the sculpture lacks any manner of inscription or sign to identify its artist or subject on site (perhaps so as not to distract from the signage pointing to various hospital units). Neugeboren had devised the Hommage during a visit to the Bauhaus school in Dessau in 1928, but its realization in Leverkusen came only in 1970, over a decade after the artist’s death.(2) [1.2] Certainly, it is no ordinary plastic tribute to Bach. Neugeboren shunned the idea of memorializing the composer’s physiognomy through yet another supersized bust—a trope he snidely dismissed as “a tawdry figure with sheet music on a pedestal” (1929, 19).(3) Rather, as Neugeboren discussed in an article published in the Bauhaus journal in 1929, Bach’s craft itself, and especially his polyphonic style, was the intended object of commemoration. As Neugeboren put it, he aspired to render visible “Bach’s combinatorial mastery” (19).(4) [1.3] Already this sophisticated claim suggests an intricate conceptual underpinning to the sculpture, one that entailed careful artistic and theoretical consideration on different levels. In general, such processes are integral to the ambition of “visualizing the musical object,” as Judy Lochhead reminds us: “To visualize implies more than simply seeing,
在光栅纸和纪念性钢雕塑上绘制的图形展示了视觉艺术家Paul Klee和Henrik Neugeboren在20世纪20年代德国如何构思约翰·塞巴斯蒂安·巴赫的复调风格。本文聚焦于这些音乐艺术翻译背后的代表性决定,探讨了这些人工制品体现特定分析视角的方式。它强调了与“线性对位法”理论框架的一致性和偏差,正如Ernst Kurth 1917年颇具影响力的论文中所体现的那样,从而将这些艺术品置于巴赫音乐有争议的接受史和20世纪初的一个重要理论框架中。更普遍地说,本文提出,音乐的图形和雕塑渲染可以提供机会,通过不同的感官体验来研究音乐理论的无形方法和概念隐喻。DOI:10.30535/mto.26.4.6第26卷第4期,2020年12月版权所有©2020音乐理论学会[1.1]在科隆郊外的德国勒沃库森镇,人们可以参观约翰·塞巴斯蒂安·巴赫的赋格曲。当地医院附近公园里的一座钢雕塑代表了《脾气好的克莱维尔》第1册中降E小调赋格曲(BWV 853)的节选,特别是52–55毫米的大师曲(示例1)。(1) 该雕塑以特兰西瓦尼亚视觉艺术家、钢琴家和作曲家Henrik(Heinrich)Neugeboren(1901–1959)的素描为基础,让路人在代表对位纹理声音的墙壁之间的空间中漫步时,可以在巴赫的stre o中进行身体移动。在为数不多的提及该雕塑的书面文件中,该雕塑名为“HomageàJ.S.Bach”,缺乏任何形式的铭文或标志来识别现场的艺术家或主题(也许是为了不分散指向各个医院单位的标志的注意力)。1928年,Neugeboren在参观德绍的包豪斯学校时设计了Homage,但直到1970年,也就是这位艺术家去世十多年后,它才在勒沃库森实现。(2) [1.2]当然,这不是对巴赫的普通塑料致敬。Neugeboren回避了通过另一尊超大半身像来纪念这位作曲家外貌的想法——他轻蔑地将这一比喻斥为“一个基座上放着乐谱的俗气人物”(1929年,19年)。(3) 相反,正如Neugeboren在1929年发表在《包豪斯》杂志上的一篇文章中所讨论的那样,巴赫的工艺本身,尤其是他的复调风格,是人们有意纪念的对象。正如Neugeboren所说,他渴望展现“巴赫的组合大师”(19)。(4) [1.3]这一复杂的说法已经为雕塑提供了复杂的概念基础,需要在不同层面上进行仔细的艺术和理论思考。总的来说,正如Judy Lochhead提醒我们的那样,这样的过程是“将音乐对象可视化”的雄心不可或缺的:“可视化意味着不仅仅是看到,它意味着‘制作’可以看到的东西……因此,它暗示着通过概念化的某种理解。”这反过来“提供了一种‘可共享性’”(2006,68)。在她自己的分析中,Lochhead关注的是关于所讨论的音乐的共同点,本质上是将音乐的视觉呈现——在她的研究中,包括规定性和描述性格式——视为“可以影响听觉”的分析(68)。(5) 但是,正如我想补充的那样,所谓的“可共享性”同样适用于基本概念框架本身。事实上,将音乐具体化,将其转化为纸张、金属或其他材料上的物理表现,总是要归功于一个理论框架。这源于声音现象的任何视觉翻译的固有的偏袒和偏袒。在不同的媒介和物质构成中捕捉音乐需要做出各种决定:以牺牲其他东西为代价,突出或展示了什么,以及如何表现这些品质?反过来,这些选择揭示了对Lochhead观察到的“概念化”的见解——这种参与程度可能同样表现在特定展示中突出的特征和(明显)被忽视的特征中。通过从这个角度审视Neugeboren的作品,我认为他的雕塑具体化了艺术家选择作为分析镜头的特定音乐组成和音乐理论框架。[1.4]这种阅读,甚至艺术品本身,都依赖于各种文化历史前提。首先,将音乐严格翻译成不同的艺术媒介的想法植根于20世纪初现代主义的美学和意识形态干预。 首先,我将回顾一下包豪斯学校是如何为这样一个项目提供特别肥沃的土壤的。在这里,Neugeboren不仅发表了他的纪念碑计划,而且还首先阐述了这些计划。在这种背景下,艺术家在包豪斯可视化巴赫复调的另一个例子将有助于说明这些努力背后的艺术野心以及音乐遗产的具体体现。从1921年起,作为该校有影响力的教师之一,Paul Klee与学生们一起将小提琴和大键琴奏鸣曲中的两个小节翻译成图形系统。下一步,这两种艺术表现形式的直接可比性——一种由Neugeboren创作,另一种由Klee创作——将它们推向了视觉艺术之外的文化背景,包括20世纪20年代德国巴赫受欢迎的争议景观。正如我们将看到的,这两位艺术家在曲目上有着特定的音乐分析假设,但他们以明显不同的方式进行演绎。通过这种并置,当时音乐理论家激烈争论的一些有争议的问题以易于理解的方式变得生动起来。因此,作为实物,这些音乐的视觉翻译不仅补充了音乐理论的书面文献,还提供了通过不同的感觉模式体验音乐分析视角的可供性和约束的可能性。简言之,从音乐理论的角度审视这些艺术对象,可以让我们更好地理解艺术和音乐如何相互启发,不仅在创作层面上,而且在概念层面上。(6) 在包豪斯,在艺术之间[2.1]这两个例子的共同制度背景不仅仅是巧合。正如丹尼尔·奥尔布赖特(Daniel Albright)所举例讨论的那样,在20世纪之交左右,颠覆传统艺术形式和流派的巨大转变也动摇了艺术之间长期存在的分歧。(7) 这些现代主义思潮影响了所有的艺术,并使它们更紧密地结合在一起。著名的包豪斯学派是这种努力的一个特别活跃的中心。包豪斯于1919年由沃尔特·格罗皮乌斯在魏玛创立,1925年搬到了位于德绍的专门建造的建筑群,一直持续到1932年纳粹党迫使其搬迁到柏林,但十个月后最终关闭。但这些限制和政治反对肯定并没有削弱该校在过去一个世纪乃至今天对艺术和设计发展的持久影响,正如世界各地为纪念其百年庆典而举办的各种展览和目录所记录的那样。尽管包豪斯并没有被单一的美学思想所统一,但作为一个整体,包豪斯提倡将美术和应用艺术、它们的媒介和材料联系起来,让舞蹈、音乐、编织、设计、建筑、绘画、雕刻和木工在共同的美学和技术原则中相遇。这些跨党派的野心在现存的资料中以不同的方式表现出来。例如,画家瓦西里·康定斯基在包豪斯的著作《点与线到平面》(1926年)中研究了音乐和舞蹈中的形式和结构,以得出点、线和平面的基本图形参数背后的一般原理。Klee(1922、1925)以更具实验性的方式探索了这些元素的绘画潜力,但最终达到了同样的目的:将基本的图形手段从传统联系中解放出来,从而深刻丰富视觉艺术。[2.2]尽管有这种创新的热情,来自各种艺术表现形式的旧模型仍然是灵感和参考的重要来源。包豪斯与从巴黎到布拉格的欧洲各国首都一起,成为巴赫音乐遗产的艺术中心之一。(8) 在学校培养的众多有影响力的教师中,克莱、约翰内斯·伊恩和莱昂内尔·费宁格在这方面尤其多产。(9) 费宁格甚至开始为钢琴和管风琴创作巴赫风格的赋格曲,并声称与这位为他的绘画作品注入活力的作曲家有着普遍的精神联盟。(10) 同时,克利从艺术、理论、教学和表演的角度探讨了巴赫音乐的亲和力。绘画巴赫1:Klee[3.1]和他在包豪斯的许多老师一样,画家Paul Klee(1879–1940)也是一位狂热的音乐家。(11) Klee接受过小提琴家的专业培训,并与钢琴
{"title":"Pen, Paper, Steel","authors":"Stephanie Probst","doi":"10.30535/MTO.26.4.6","DOIUrl":"https://doi.org/10.30535/MTO.26.4.6","url":null,"abstract":"Graphs drawn on rastered paper and a monumental steel sculpture display how visual artists Paul Klee and Henrik Neugeboren conceived of Johann Sebastian Bach’s polyphonic style in 1920s Germany. Focusing on the representational decisions behind these artistic translations of music, this article explores the ways in which such artifacts manifest a specific analytical lens. It highlights congruencies with and deviations from the theoretical framework of “linear counterpoint,” as epitomized in Ernst Kurth’s influential treatise from 1917, and thereby positions the artworks within the controversial reception history of Bach’s music and a endant theoretical frameworks in the early twentieth century. More generally, the article proposes that graphical and sculptural renderings of music can offer the opportunity to investigate music theory’s intangible methods and conceptual metaphors through different sensory experiences. DOI: 10.30535/mto.26.4.6 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory [1.1] In the German town of Leverkusen, just outside of Cologne, one can visit a fugue by Johann Sebastian Bach. A steel sculpture in the park abu ing the local hospital represents an excerpt of the Fugue in E-flat minor (BWV 853) from The Well-Tempered Clavier, Book 1, specifically the stre o maestrale at mm. 52–55 (Example 1).(1) Based on a sketch by the Transylvanian visual artist, pianist, and composer Henrik (Heinrich) Neugeboren (1901–1959), the sculpture allows passers-by to physically move through Bach’s stre o, as they wander in the space between the walls representing the voices of the contrapuntal texture. Titled “Hommage à J. S. Bach” in the few wri en documents referring to it, the sculpture lacks any manner of inscription or sign to identify its artist or subject on site (perhaps so as not to distract from the signage pointing to various hospital units). Neugeboren had devised the Hommage during a visit to the Bauhaus school in Dessau in 1928, but its realization in Leverkusen came only in 1970, over a decade after the artist’s death.(2) [1.2] Certainly, it is no ordinary plastic tribute to Bach. Neugeboren shunned the idea of memorializing the composer’s physiognomy through yet another supersized bust—a trope he snidely dismissed as “a tawdry figure with sheet music on a pedestal” (1929, 19).(3) Rather, as Neugeboren discussed in an article published in the Bauhaus journal in 1929, Bach’s craft itself, and especially his polyphonic style, was the intended object of commemoration. As Neugeboren put it, he aspired to render visible “Bach’s combinatorial mastery” (19).(4) [1.3] Already this sophisticated claim suggests an intricate conceptual underpinning to the sculpture, one that entailed careful artistic and theoretical consideration on different levels. In general, such processes are integral to the ambition of “visualizing the musical object,” as Judy Lochhead reminds us: “To visualize implies more than simply seeing,","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
期刊
Music Theory Online
全部 Acc. Chem. Res. ACS Applied Bio Materials ACS Appl. Electron. Mater. ACS Appl. Energy Mater. ACS Appl. Mater. Interfaces ACS Appl. Nano Mater. ACS Appl. Polym. Mater. ACS BIOMATER-SCI ENG ACS Catal. ACS Cent. Sci. ACS Chem. Biol. ACS Chemical Health & Safety ACS Chem. Neurosci. ACS Comb. Sci. ACS Earth Space Chem. ACS Energy Lett. ACS Infect. Dis. ACS Macro Lett. ACS Mater. Lett. ACS Med. Chem. Lett. ACS Nano ACS Omega ACS Photonics ACS Sens. ACS Sustainable Chem. Eng. ACS Synth. Biol. Anal. Chem. BIOCHEMISTRY-US Bioconjugate Chem. BIOMACROMOLECULES Chem. Res. Toxicol. Chem. Rev. Chem. Mater. CRYST GROWTH DES ENERG FUEL Environ. Sci. Technol. Environ. Sci. Technol. Lett. Eur. J. Inorg. Chem. IND ENG CHEM RES Inorg. Chem. J. Agric. Food. Chem. J. Chem. Eng. Data J. Chem. Educ. J. Chem. Inf. Model. J. Chem. Theory Comput. J. Med. Chem. J. Nat. Prod. J PROTEOME RES J. Am. Chem. Soc. LANGMUIR MACROMOLECULES Mol. Pharmaceutics Nano Lett. Org. Lett. ORG PROCESS RES DEV ORGANOMETALLICS J. Org. Chem. J. Phys. Chem. J. Phys. Chem. A J. Phys. Chem. B J. Phys. Chem. C J. Phys. Chem. Lett. Analyst Anal. Methods Biomater. Sci. Catal. Sci. Technol. Chem. Commun. Chem. Soc. Rev. CHEM EDUC RES PRACT CRYSTENGCOMM Dalton Trans. Energy Environ. Sci. ENVIRON SCI-NANO ENVIRON SCI-PROC IMP ENVIRON SCI-WAT RES Faraday Discuss. Food Funct. Green Chem. Inorg. Chem. Front. Integr. Biol. J. Anal. At. Spectrom. J. Mater. Chem. A J. Mater. Chem. B J. Mater. Chem. C Lab Chip Mater. Chem. Front. Mater. Horiz. MEDCHEMCOMM Metallomics Mol. Biosyst. Mol. Syst. Des. Eng. Nanoscale Nanoscale Horiz. Nat. Prod. Rep. New J. Chem. Org. Biomol. Chem. Org. Chem. Front. PHOTOCH PHOTOBIO SCI PCCP Polym. Chem.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1