Music Theory Online最新文献_第8页

Pen, Paper, Steel 笔、纸、钢

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

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

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引用次数: 0

Review of Jason Yust, Organized Time: Rhythm, Tonality, and Form (Oxford University Press, 2018) 《有组织的时间:节奏、调性和形式》(牛津大学出版社，2018年)

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.11

L. Frederick

[1] If one were to construct a map of the field of music theory, three of its most prominent regions would represent the subdisciplines of rhythm and meter, tonal structure, and form. One could imagine a number of winding trails on this map, each representing the trajectory of an individual piece of scholarship. Though each path would represent a unique journey, many would explore the local highlights of only a single region, reflecting the tendency for theorists to focus on the way a single musical parameter functions within the works of a particular composer, style, or genre. If drawn on such a map, the trek representing Jason Yust’s Organized Time: Rhythm, Tonality, and Form (2018) would trace out a fundamentally different shape: not only would it visit all three regions, but it would also wind through the stretches of land between them, allowing its travelers to appreciate how the views evolve along the journey.

如果要绘制一张音乐理论领域的地图，三个最突出的区域将代表节奏和节拍、调性结构和曲式的分支学科。你可以想象在这张地图上有许多蜿蜒的小径，每一条都代表着一项学术研究的发展轨迹。虽然每条路径都代表着一段独特的旅程，但许多人只会探索一个地区的当地亮点，这反映了理论家倾向于关注特定作曲家、风格或流派作品中单个音乐参数的作用方式。如果画在这样的地图上，代表杰森·尤斯特(Jason Yust)的《有组织的时间:节奏、调性和形式》(2018)的徒步旅行将描绘出一个完全不同的形状:它不仅会访问这三个地区，而且还会蜿蜒穿过它们之间的土地，让旅行者欣赏沿途风景的变化。

引用次数: 0

Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll 早期乡村音乐、节奏蓝调和摇滚乐中的蓝调抒情公式

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.8

Nicholas Stoia

This article briefly recounts recent work identifying the most common lyric formulas in early blues and then demonstrates the prevalence of these formulas in early country music, rhythm and blues, and rock and roll. The study shows how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the social instability of the time, and how the de-emphasis of these same formulas in rhythm and blues and rock and roll reflects the relative affluence of the early postwar period. This shift in textual content is the lyrical counterpart to the electrification, urbanization, and growing formal complexity that mark the transformation of prewar blues and country music into postwar rhythm and blues and rock and roll. DOI: 10.30535/mto.26.4.8 Volume 26, Number 4, November 2020 Copyright © 2020 Society for Music Theory [0.1] Singers and songwriters in many genres of American popular music rely on lyric formulas for the creation of songs. Lyric formulas are fragments of lyrical content—usually lines or half lines— that are shared among singers and recognized by both musicians and listeners. Blues is the genre for which scholars have most conclusively established the widespread use of lyric formulas, and this study briefly recounts recent work that identifies the most common lyric formulas in commercially recorded blues from the early 1920s to the early 1940s—research showing that the high frequency of certain formulas reflects the societal circumstances of much of the African American population during that period. What has received less a ention is the appearance of these same lyrical conventions in other genres, and how there, too, the emphasis on certain formulas reflects social and economic conditions. The same lyric formulas most common in early blues also appear frequently in contemporaneous country music, in rhythm and blues, and in rock and roll, three popular genres with close connections to blues.(1) [0.2] One object of this essay is to show how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the large-scale migrations and social disruptions of the period, and the anxiety, loss, and broken relationships that these changes left in their wake. Although the compulsion for white Southerners to migrate was not connected to entrenched racism, as it was for Black Southerners, large segments of both the Black and white populations nonetheless experienced massive displacement and urbanization in the period before the Second World War, and early blues and country music reflect these conditions with lyric formulas emphasizing movement and anxiety. Often these formulas reflect the direct influence of blues on country music, but they also a est to the long saturation of the country music tradition itself with the same lyrical motifs. A second aim of this essay is to show how the de-emphasis of these same travel formulas

这篇文章简要地叙述了最近的工作，确定了早期蓝调中最常见的歌词公式，然后证明了这些公式在早期乡村音乐、节奏蓝调和摇滚乐中的普遍性。这项研究表明，战前乡村音乐中对某些公式的偏好——就像战前蓝调中对相同公式的偏好一样——如何反映了当时的社会不稳定，以及节奏蓝调和摇滚乐中对这些相同公式的淡化如何反映了战后早期的相对富裕。文本内容的这种转变与电气化、城市化和日益增长的形式复杂性形成了抒情的对应，这些都标志着战前蓝调和乡村音乐向战后节奏蓝调和摇滚乐的转变。DOI:10.30535/mto.26.4.8第26卷第4期，2020年11月版权所有©2020音乐理论学会[0.1]美国流行音乐许多流派的歌手和词曲作者都依赖于歌词公式来创作歌曲。抒情公式是抒情内容的片段，通常是几行或半行，歌手之间共享，音乐家和听众都认可。蓝调是学者们最确凿地确定了歌词公式广泛使用的流派，这项研究简要叙述了最近的工作，该工作确定了从20世纪20年代初到40年代初商业录制的蓝调中最常见的歌词公式——研究表明，某些公式的高频率反映了这一时期大多数非裔美国人的社会环境。较少被提及的是，这些相同的抒情惯例在其他流派中的出现，以及对某些公式的强调如何反映社会和经济条件。早期蓝调中最常见的相同歌词公式也经常出现在同时代的乡村音乐、节奏蓝调和摇滚乐中，这三种流行流派与蓝调有着密切的联系。（1） [0.2]这篇文章的一个目的是展示战前乡村音乐中对某些公式的偏好——就像战前蓝调中对相同公式的偏好一样——如何反映出这一时期的大规模移民和社会混乱，以及这些变化带来的焦虑、失落和破裂的关系。尽管南方白人移民的强迫与根深蒂固的种族主义无关，就像南方黑人一样，但在第二次世界大战之前，黑人和白人人口中的很大一部分经历了大规模的流离失所和城市化，早期的蓝调和乡村音乐通过强调运动和焦虑的歌词公式反映了这些情况。这些公式通常反映了布鲁斯对乡村音乐的直接影响，但它们也反映了乡村音乐传统本身的长期饱和，具有相同的抒情主题。本文的第二个目的是展示节奏蓝调和摇滚乐中对这些相同的旅行公式的淡化是如何反映战后时期的相对稳定的：在这些后来的流派中，更大比例的蓝调歌词公式与恋爱关系问题引起的焦虑更直接相关，而不是与运动和变化引起的焦虑相关。文本内容的这种转变与电气化、城市化和日益增长的形式复杂性形成了抒情的对应，这些都标志着战前蓝调和乡村音乐向战后节奏蓝调和摇滚乐的转变。1.早期蓝调的歌词公式[1.1]尽管它们是典型的第一人称表达，但早期蓝调中的歌词通常是非自传体的，不能代表歌手的第一人称经历、情感或意图。歌手和词曲作者通常会从大量的台词、台词片段以及传统和公式化的文本和主题结构中汲取灵感。正如大卫·埃文斯（David Evans）所观察到的，“蓝调并不是……完全的个人主义者，因为在他们的第一人称表达中，他们声称表达了歌手的情感和感受，但事实上，他们的许多诗句都是传统的，成千上万的蓝调歌手和观众都知道”（1982，48）。同样，迈克尔·塔夫脱（Michael Taft）写道，“有一个传统的抒情材料仓库，歌手们在构建歌曲时会借鉴它”（2006年，25），罗伯特·施普林格（Robert Springer）指出，“一个公式，在本质上，当它被重复使用时，可以说，它成为了流派仓库或库的一部分，并被吸收到传统中”（2006165）。（2） [1.2]在《布鲁斯抒情公式》中，塔夫脱将布鲁斯公式作为一个语义单元，由至少一个完整的语义预测（一个完整思想）组成（2006，33-35），例如人类拥有布鲁斯、人类来到某个地方、人类离开某个地方，人类离开/退出人类等等。

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引用次数: 0

A Transformational Approach to Gesture in Shō Performance “诗”表演中手势的转换方法

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.4

Toru Momii

Through an analysis of contemporary shō performance practice, this article explores the relationship between instrumental gesture and modal theory in contemporary gagaku. I demonstrate that the idiosyncratic arrangement of the pipes on the shō is closely related to the pitch structure and tonal function of the aitake pitch clusters. My analysis synthesizes two approaches. First, I adopt David Lewin’s (1987) transformational a itude to conceptualize the aitake not as static musical objects but as processes of motion enacted by the te-utsuri—standardized fingering movements for shifting between two aitake. Second, I treat the aitake as sonic byproducts of a performer's instrumental gestures to examine how the aitake are related to one another kinesthetically, and whether these relationships correlate with the pitch structures of the aitake. I argue that relatedness between aitake is determined by the parsimony of te-utsuri. The most parsimonious movements can be enacted between four aitake: bō, kotsu, ichi and otsu. These aitake are identical to the clusters that accompany the fundamental tones of five of the six modes: Ichikotsu-chō, Hyōjō, Taishiki-chō, Oshiki-chō and Banshiki-chō. These findings demonstrate that the pipes of the shō, while seemingly arranged in no discernable order, prioritize parsimonious te-utsuri between each of the aitake accompanying the fundamental modal degrees. An analysis of the pitch structure of aitake through the lens of te-utsuri reveals a striking correlation between gestural parsimony and tonal function. DOI: 10.30535/mto.26.4.4 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory [1.1] Post-war scholars have challenged the conceptualization of gagaku (雅楽) as a musical practice that has been largely unchanged since its importation into Japan in the eighth century, engaging in comparative analyses of historical and contemporary melodies in tōgaku (唐楽)—a genre of gagaku (雅楽) court music that originated in Tang China.(1) Through studies of historical notation, initial research undertaken by Hayashi Kenzō and Laurence Picken’s Tang Music Project in the midtwentieth century has identified a disjuncture between modern tōgaku and its predecessors (Hayashi 1969; Picken et al. 1981, 1985, 1986, 1987, 1990, 1997, 2000).(2) Building upon their work, more recent studies have sought to reconstruct and decipher scores from the Heian period (794– 1185) (Endō 2005; Nelson 1986, 1988; Ng 2017; Terauchi 1996), trace the historical modification of tōgaku melodies (Endō 2004; Mare 1985, 1986; Ng 2011; Terauchi 1993; Tsukahara 2009), and examine similarities and inconsistencies between contemporary Japanese practice and Chinese theories of mode (Gamō 1970; Hayashi 1954; Masumoto 1968; Ng 2007; Ono 2016; Terauchi 2011). [1.2] While this monumental body of research has been invaluable for tracing the historical development of tōgaku and dismantling the characterization of gagaku as a timeless tradition carefully

本文通过对当代剧演奏实践的分析，探讨当代剧演奏中乐器姿态与模态理论之间的关系。我证明了琴上的管的特殊排列与琴的音高结构和音簇的调性功能密切相关。我的分析综合了两种方法。首先，我采用David Lewin(1987)的转换态度，将节拍概念化为不是静态的音乐对象，而是由te-utsuri标准化的指法动作在两个节拍之间转换所制定的运动过程。其次，我将空跳视为演奏者乐器动作的声音副产品，以检验空跳在动作上是如何相互关联的，以及这些关系是否与空跳的音高结构相关。我认为，两种行为之间的联系是由“节俭”所决定的。最简洁的动作可以在四种拍子之间进行:二、二、一、二。这些音与六个调式中的五个调式的基本音所伴随的音簇是相同的:ichikosu - chhi, Hyōjō， taishiki - chhi, oshiki - chhi和banshiki - chhi。这些发现表明，shishi的管，虽然似乎没有明显的顺序排列，但在每个伴随基本模态度的aitake之间优先考虑简约的te-utsuri。通过te-utsuri对aitake的音高结构进行分析，揭示了手势简约与音调功能之间惊人的相关性。DOI:4号10.30535 / mto.26.4.4体积26日,2020年12月版权©2020社会音乐理论[1.1]战后学者质疑雅乐的概念化(雅楽)作为音乐实践,已基本不变以来进口到日本在第八世纪,从事比较分析了tō历史和当代的旋律来(唐楽)——的雅乐(雅楽)法院起源于中国唐代的音乐。(1)通过研究历史的符号,Hayashi kenzhi和Laurence Picken在20世纪中期进行的初步研究发现了现代tōgaku与其前身之间的脱节(Hayashi 1969;(2)在他们工作的基础上，最近的研究试图重建和破译平安时代(794 - 1185)的乐谱(endki 2005;Nelson 1986, 1988;Ng 2017;寺内1996)，追溯tōgaku旋律的历史修改(endu 2004;Mare 1985, 1986;Ng 2011;Terauchi 1993;Tsukahara 2009)，并考察了当代日本实践与中国模式理论之间的相似性和不一致性(gami 1970;Hayashi 1954;杨继金1968;Ng 2007;小野2016;Terauchi 2011)。[1.2]虽然这一巨大的研究成果对于追溯tōgaku的历史发展和将歌乐作为一种永恒的传统精心保存了几个世纪的特征是无价的，但很少有现有的研究考察了当代tōgaku中模态理论与表演实践之间的关系，这是由Robert Garfias(1975)和Terauchi Naoko(2007)提出的一个问题。特别是，Garfias认为，在tōgaku的曲目中，由shishu()演奏的五个和六个音符的音高集群可以阐明我们对表演实践和理论如何相互作用的理解。“爱竹”是通过覆盖17根箫管中的5到6根来产生的，声音可以通过吸入或呼出到吹口来产生。对于Garfias来说，这是理解歌舞剧中情态原则的关键:通常，在中国和日本的传统文献中，对理论的讨论仅限于对音阶和情态结构的考虑。数百年来，这些学科为理论家提供了素材，使他们能够沉浸在理论的复杂性中，同时舒适地避免了定义实践的问题。其中一个被忽视的实践方面，由口器执行的和声结构，shisho，提供了理论和实践之间的便利联系。(1976,63)本文以Garfias的假设为出发点，探讨了演奏者的乐器手势——乐器发声所必需的物理动作(Montague 2012)——与tōgaku的模态理论之间的关系。通过对te-utsuri(指法从一个音移到另一个音的标准化顺序)的分析，我证明了琴上管的特殊排列与音的音高结构和功能密切相关。[1.3]这篇文章的灵感部分来自于我作为哥伦比亚大学歌舞团成员的经历，它综合了两种方法。 (3)首先，我采用David Lewin(1987)的转换态度，将aitake概念化，而不是静态的音乐对象，而是由ute -utsuri制定的运动过程。转换理论提供了一个特别富有成效的框架，用于理论化te-utsuri在连接每个事件中的作用。我引用了卢因经常被引用的问题“我在5;我要做什么特征变换才能得到t?(xxxi)将te-utsuri概念化为音乐转换的操作员，关注节拍之间的变化过程，而不是它们之间的距离。因此，用Lewin(159)的话来说，转型视角将表演者置于“音乐之中”。而不是观察两个静态的音乐对象之间的距离，表演者体验的运动，从一个手的位置到另一个手的位置，当表演的动作，以达到新的空拍。因此，转换理论提供了一种理想的方法来证明音高结构和身体姿势如何在当代shishi表演中交织在一起。[1.4]其次，通过将空拍视为演奏者乐器动作的声音副产品，我的分析考察了每个空拍在动作上是如何相互关联的，以及这些物理关系如何与空拍的音高结构相关联。对te-utsuri的转换分析以两种方式量化了节拍之间的运动:1)表演者从一个节拍到另一个节拍必须穿过的指孔数量;2)活动手指的数量。文章的第一部分认为，不同音音之间的相关性是由te-utsuri的手势接近性决定的，而不是由音高空间中的声音引导决定的。(4)这一框架与gagaku表演实践是一致的:(5)在文章的第二部分中，我证明了te-utsuri的词性可以帮助阐明Garfias(1975)对gagaku中“和音”和“不和音”的标准。通过分析atake之间的动觉关系，我注意到atake的手势接近性与潜在的音调功能之间的相关性。Shō:概述[2.1]降序从中国盛(也wri en笙),介绍了日本从中国唐朝在第七和第八世纪之间,Shō是自由簧片组成的口琴十七竹管子,每个由管厚度相等,但不同的长度(杨爱瑾2008,64)。(6)如例1所示,十七个管道是疼痛bo om的风室和循环的方式。声音是由覆盖上方的手指洞里德和吸气或呼气喉舌,一种机制类似于西方的口琴(视频示例1)。(7)[2.2]的每个管shō分配不同的音高除了两个低调的管道,丫(也)和mō(毛),如例子2 a和2 b所示。(8)有特定的人体工程学设计的指法、规则和表演者必须知道哪个手指应该覆盖漏洞。例如，kotsu()管应该只被左手的无名指覆盖。一共有10个音符，其中8个六音音符和2个五音音符(例3)。每个音符包含一个基本音，如例3中的黑色音符头所示。基本音通常是合奏的最低音，决定了每个合奏的名称，并作为七分音的旋律线索(篳篥;双簧笛)和ryūteki (;横笛)在日本人的“舞”过程中。[2.3]为了演奏出高水平的“气”，演奏者必须完善“断”的时机——手指在孔洞之间移动以从一个音转到另一个音的顺序和时机——以及“气”——呼吸的变化。正如例4中西方乐谱所复制的那样，te-utsuri和kigae协同工作，以执行可控的动态，使旋律平滑，并在aitake之间创造连续性(Masumoto 1968, 22)。每个音符通常持续四拍，安静地开始，逐渐增加到第四拍，随后是te-utsuri动作，将指法过渡到新的音符。在视频示例2中，我演示了从青竹kotsu到青竹ichi的te-utsuri。屏幕的左侧捕获左手的动作，而屏幕的右侧显示右手的动作。视频中心

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引用次数: 2

Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350 约1300-1350年法国圣歌曲目中响度的计算机辅助分析

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.2

Karen Desmond, E. Hopkins, S. Howes, J. Cumming

This article analyzes the distribution of three- and four-voice vertical sonorities in a repertoire of French ars antiqua and ars nova motets. Rather than selecting the subjectively important sonorities within a piece—an effort that would rely on the analyst’s judgment of the overarching contrapuntal goals—this study uses computational musicological methods to analyze and categorize the distribution of sonorities across individual motets and groups of motets that occur at regular time intervals across the course of the compositions. This study offers some preliminary observations and conclusions about sonority usage in the late medieval French motet repertoire.

本文分析了三声和四声垂直响度在法国“古之歌”和“新之歌”的保留曲目中的分布。而不是在一个作品中选择主观上重要的音度——这一努力将依赖于分析师对总体对位目标的判断——本研究使用计算音乐学方法来分析和分类在整个作品过程中以规则的时间间隔出现的单个音符和音符组的音度分布。本研究对中世纪晚期法国圣歌曲目中响度的使用提供了一些初步的观察和结论。

引用次数: 0

Analyzing Schoenberg’s War Compositions as Satire and Sincerity: A Comparative Analysis of Ode to Napoleon Buonaparte and A Survivor from Warsaw 论勋伯格战争作品的讽刺与真诚——《拿破仑颂》与《华沙幸存者》比较分析

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.5

Joon Park

This paper presents a comparative analysis of Ode to Napoleon Buonaparte op. 41 (1942) and A Survivor from Warsaw op. 46 (1947) to show that Schoenberg’s compositional decisions for each piece reflect the public’s (and his) change of a itude regarding the historical events surrounding World War II. In particular, I argue that Ode frequently features humorous depiction of the Nazi regime through various types of musical satire whereas Survivor’s overall compositional planning and execution are more in line with his other compositions without a satirical tone, for example, the String Trio op. 45. The analyses in this paper show humorous elements in Schoenberg’s Ode to Napoleon and demonstrate how these elements are avoided in Survivor from Warsaw to make space for the sincere criticism of the Nazi party and to raise awareness for the survivors. I begin by interpreting satirical passages in Ode as instances of incongruent juxtapositions and then examine the different ways the incongruence manifests. I then discuss the leitmotivic partitioning of various twelve-tone row forms in Survivor to show the compositional congruence between the text, musical textures, and partitioning schemes. Given the change of compositional mood between Ode and Survivor (in addition to the historical evidence), this paper speculates that Schoenberg’s motivation for composing Survivor was to rectify the narrative tone he adopted in Ode. DOI: 10.30535/mto.26.4.5 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory

本文对《拿破仑颂》第41篇(1942)和《华沙幸存者》第46篇(1947)进行了比较分析，以表明勋伯格对每一篇作品的作曲决定都反映了公众(和他自己)对第二次世界大战周围历史事件的态度变化。特别是，我认为《Ode》经常通过各种类型的音乐讽刺来幽默地描绘纳粹政权，而《Survivor》的整体作曲计划和执行更符合他的其他作品，没有讽刺的基调，例如《String Trio op. 45》。本文分析了勋伯格《拿破仑颂》中的幽默元素，并展示了《来自华沙的幸存者》如何避免这些元素，为对纳粹党真诚的批评腾出空间，提高对幸存者的认识。我首先将《颂诗》中的讽刺段落解释为不一致并列的实例，然后考察这种不一致表现的不同方式。然后，我讨论了Survivor中各种十二音行形式的主动机划分，以显示文本、音乐纹理和划分方案之间的组成一致性。结合《颂》和《幸存者》的创作心境的变化(以及历史证据)，本文推测勋伯格创作《幸存者》的动机是为了纠正他在《颂》中所采用的叙事语气。DOI: 10.30535/mto.26.4.5 vol 26, Number 4, December 2020版权所有©2020 Society for Music Theory

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引用次数: 0

Review of Leslie A. Tilley, Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond (The University of Chicago Press, 2019) Leslie A.Tilley评论，《一起弥补：巴厘岛音乐及其后的集体即兴艺术》（芝加哥大学出版社，2019）

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.12

Marc E. Hannaford

[1] Improvisation is a ubiquitous component of music the world over. Scholars have detailed some of its multifarious forms and meanings, demonstrating that the practice of improvisation extends far beyond its hypervisibility in jazz.(1) Tilley’s Making It Up Together offers new and compelling perspectives in this expanding field of improvisation studies, as well as in ethnomusicology (Tilley’s home discipline) and music theory. It excavates improvisatory processes in a musical genre thought to be largely composed and offers a unique examination of intraensemble interaction. The book also proposes a new theory of improvisation applicable to practices beyond the book’s specific case studies, and its discussion of “local theory” suggests that we critically expand the theoretical underpinnings of our disciplines.

即兴创作是世界各地音乐中无处不在的组成部分。学者们详细阐述了即兴创作的各种形式和意义，证明了即兴创作的实践远远超出了爵士乐的高度可见性。(1)蒂利的《一起创作》为即兴创作研究这个不断扩大的领域，以及民族音乐学(蒂利的家乡学科)和音乐理论提供了新的、令人信服的视角。它挖掘了一种被认为是主要组成的音乐流派中的即兴过程，并提供了对合奏内部相互作用的独特检查。这本书还提出了一种适用于实践的新即兴理论，超越了书中的具体案例研究，它对“本地理论”的讨论表明，我们批判性地扩展了我们学科的理论基础。

引用次数: 0

A “Proto-Theme” in Some of J. S. Bach’s Fugal Works 巴赫部分赋格曲中的“原主题”

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.7

John S. Reef

This article focuses on a pa ern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pa ern in examples of “schematic” Baroque fugal writing and suggest that for Bach it functions as a sort of “proto-theme,” with respect to which certain expositions stand as “variations.” These expositions eschew normative I–V–I progressions of Stufen and thus offer a challenge to William Renwick’s exhaustive methodology for fugue analysis. Bach’s variations may respond motivically and energetically to a sense of retrogression implicit the proto-theme, as I demonstrate with an analysis of the Fugue in A minor from Book II of The Well-Tempered Clavier, BWV 889. DOI: 10.30535/mto.26.4.7 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory

这篇文章的重点是在巴赫的几个赋格曲(和一般相关的段落)中出现的和声和声部引导。我在巴洛克式的“简图式”赋格写作的例子中，将这一篇章置于背景中，并提出，对于巴赫来说，它的作用是一种“原主题”，就其某些阐述而言，它代表着“变奏”。这些论述避开了斯图芬标准的I-V-I递进，从而对威廉·伦威克详尽的赋格分析方法提出了挑战。巴赫的变奏曲可能会积极而有力地回应隐含在原主题中的一种倒退感，正如我对BWV 889《良律钢琴曲集》第二卷a小调赋格的分析所证明的那样。DOI: 10.30535/mto.26.4.7 vol 26, Number 4, December 2020版权所有©2020 Society for Music Theory

引用次数: 0

Mapping Ravel’s “La vallée des cloches” 绘制雷维尔的“钟谷”

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.3

Kyle Fyr

This article makes a case for constructing a map of Maurice Ravel’s “La vallée des cloches” (The valley of the bells) by showing how the process of mapping the piece can provide valuable insights from a variety of perspectives, such as: 1) offering insights into how the piece’s many bell sounds are individuated from each other and interact with one another in creating intricate formal and temporal frameworks; 2) emphasizing prominent aspects of Ravel’s aesthetics such as mechanistic impulses, spatial and metaphorical thinking, literary influences, and nostalgic fascination with the past; 3) situating the piece within the context of significant changes in France at the turn of the twentieth century marked by the declining prominence of bells in defining the auditory landscape, the symbolism bells carried with them, and the role bells played in marking temporal rhythms for French society; and 4) showing how many aspects of the piece highlighted throughout the mapping process align in suggestive ways with significant performance considerations.

本文通过展示绘制作品的过程如何从各种角度提供有价值的见解，为绘制莫里斯·拉威尔的《钟声谷》（La vallée des cloches）地图提供了一个案例，例如：1）深入了解作品中的许多铃声是如何相互独立并在创建复杂的形式和时间框架时相互作用的；2）强调拉威尔美学的突出方面，如机械冲动、空间和隐喻思维、文学影响和对过去的怀旧迷恋；3）将这首作品置于二十世纪之交法国发生重大变化的背景下，这些变化的标志是钟声在定义听觉景观方面的重要性下降，钟声所携带的象征意义，以及钟声在标记法国社会时间节奏方面所起的作用；以及4）显示在整个映射过程中突出显示的作品的多少方面以暗示的方式与重要的性能考虑相一致。

引用次数: 0

Review of Dylan Robinson, Hungry Listening: Resonant Theory for Indigenous Sound Studies (University of Minnesota Press, 2020) Dylan Robinson评论，《饥饿的倾听：土著声音研究的共振理论》（明尼苏达大学出版社，2020）

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.10

Robin Attas

引用次数: 0