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":null,"pages":null},"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}
{"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":null,"pages":null},"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}
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":null,"pages":null},"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}
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":null,"pages":null},"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}
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.
{"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":null,"pages":null},"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}
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.
{"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":null,"pages":null},"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}
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.
{"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":null,"pages":null},"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}
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