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Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists 塑造形式:在阿诺德勋伯格的赛克斯kleine klavierstcke, op. 19(1911)，在爱德华·斯图尔曼和其他钢琴家的录音循环宏观分析的表现

IF 0.8 2区艺术学 0 MUSIC

Music Theory Online

Pub Date : 2020-12-01 DOI: 10.30535/MTO.26.4.9

Christian Utz, Thomas Glaser

Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Li le Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their formshaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macroand microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another. DOI: 10.30535/mto.26.4.9 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory 1. The Mutual Productivity of Performance and Analysis [1.1] In his 2016 book Performative Analysis, Jeffrey Swinkin, makes the striking observation that it can hardly be the point of a musical performance to project or communicate analytical understanding. A performance might respond to an analysis of a certain work, just as an analysis might respond to a specific performance, but the end result will always be two autonomous interpretations, each impossible to reduce linearly to the other (25–27). Swinkin’s view seems convincing at first, but in the end resigns itself to the impossibility of a concrete relationship between theory/analysis and performance. This arguably results from his method, which tends to proceed from theory to musical praxis, from analysis to performance, rather than in the reverse direction (U 2019b). [1.2] It is here that the questions that motivated the PETAL research project (Performing, Experiencing and Theorizing Augmented Listening) arise: How might we intertwine musical analysis and practical performance in a way that leads to new understanding for both sides, ultimately reaching beyond their continuous polarization? This question, which Nicholas Cook had posed already in 1999,(1) remains difficult to answer today, despite a blossoming of new directions in musical performance studies in the last two decades. The intention of avoiding prescriptive analysis, which claims to derive a recipe for “correct” performance from the structure of the music, has led researchers to consider the value of moving from performance to analysis. Our research takes up this trend, and we especially a empt to further develop the idea that musical form is not grounded in the score alone, but—following the harpsichordist Robert Hill—is also brought forth by the performers “in real-time” (Hill and Mahnkopf 2015, 19). Expanding this idea, one might argue that musical form is constituted predominantly in the sounding event of a performance. [1.3] The sch

阿诺德·勋伯格的《六首李乐钢琴曲》，作品19(1911)，提供了一个富有成效的案例研究，以检查和分类表演者的塑造特征策略。作者对41位钢琴家的46张唱片(1925年至2018年录制)进行了全面的定量和定性分析，其中包括第二维也纳学派首席钢琴家爱德华·斯图尔曼的6张唱片，详细分析了宏观和微观正规钢琴方法在这一周期中的相互依存关系。通过对表演形式循环形式的不同概念及其历史背景的追踪，勋伯格音乐思想在“结构主义”和“修辞”两种表演风格中不断展现的潜力得到了系统的探索，为分析和表演如何相互关联的有争议的讨论提供了一种新的方法。DOI: 10.30535/mto.26.4.9 vol 26, Number 4, December 2020版权所有©2020 Society for Music Theory 1。在其2016年出版的《表演分析》一书中，杰弗里·斯温金(Jeffrey Swinkin)提出了一个惊人的观点，即音乐表演几乎不可能表现或传达分析性理解。一种表演可能会回应对某件作品的分析，就像一种分析可能会回应一种特定的表演一样，但最终的结果总是两种自主的解释，每一种都不可能线性地减少到另一种(25-27)。斯文金的观点一开始似乎很有说服力，但最终还是屈服于理论/分析与绩效之间不可能存在具体关系。这可以说是由于他的方法，倾向于从理论到音乐实践，从分析到表演，而不是相反的方向(U 2019b)。[1.2]正是在这里，激发了PETAL研究项目(表演，体验和理论化增强听力)的问题出现了:我们如何才能将音乐分析和实际表演交织在一起，从而为双方带来新的理解，最终超越它们持续的两极分化?这个问题，尼古拉斯·库克早在1999年就提出了，(1)今天仍然很难回答，尽管在过去的二十年里，音乐表演研究出现了许多新的方向。规定性分析声称从音乐结构中推导出“正确”演奏的配方，为了避免这种分析，研究人员开始考虑从表演转向分析的价值。我们的研究顺应了这一趋势，我们特别想进一步发展这样一种观点，即音乐形式并不仅仅基于乐谱，而是——按照拨弦琴演奏家罗伯特·希尔(Robert Hill)的说法——演奏者也“实时地”提出了音乐形式(Hill and Mahnkopf 2015,19)。扩展这一观点，有人可能会争辩说，音乐形式主要是由演奏的声音事件构成的。[1.3]以尼古拉斯·库克(Nicholas Cook)、迈恩Doğantan-Dack、丹尼尔·里奇-威尔金森(Daniel leich - wilkinson)和约翰·林克(John Rink)为中心的音乐表演研究学派为这种方法提供了特别多样的推动力，尽管它也提出了复杂的方法论问题。(2)这种学术研究的一个重要趋势是，在表演转向的意义上，试图打破传统音乐理论和音乐学的以文本为中心的方法。其目的不是简单地比较甚至评判对固定文本的不同“解释”的表演，而是强调表演相对于其模式的自主性。对于Cook来说，这种转变导致了“作为表演的工作”的概念:尝试在执行机构的情境性(而不是固定文本)的基础上构想工作(Cook 2013, 237-48;U 2015, 279)。对“文本”的可能解释，可能包含和/或允许无数不同的阅读，被理解为它们自己的权利是有效的艺术作品，不是为文本服务，而是与文本平等。[1.4]虽然我们不完全同意库克的结论，但我们受到这样一个假设的指导，即对作品的大尺度形式的表演的不同概念可以从根本上塑造对这种形式的感知和(音乐理论)分析，并可能导致明显不同的解释结果。同时，我们的目标是指出解释决定与历史话语和音乐接受的比喻之间复杂的相互作用。因此，我们的研究试图证明，除了本身就是历史文献之外，实用的、听起来合理的解释可以展示对一部作品的完全有效的分析(Cook 1995;莱斯特1995年)。这种听起来很有说服力的证据可以与音乐理论分析或写在历史文献中同等对待，并产生相互丰富的结果。我们最终将音乐文本及其声音表演视为音乐作品的中心表征。(3)通过假设表演与分析之间的持续互动，本文旨在研究循环(宏观)形式的表演策略。虽然我们已经努力不通过事先获得的分析见解来影响记录的表演，但我们承认表演发生在一个话语空间中，在这个空间中(隐含的或明确的)分析思想不断存在——例如，通过“知情直觉”(Rink 2002, 36)的各个方面，表演者建立了他们的声音解释。[1.5]在我们的研究过程中，复杂的、循环的作品的大规模形式占据了我们关注的中心。(4)我们系统地研究和分类了表演者的形式塑造特征，理解微观形式和宏观形式是密切相互依存的，以这种方式旨在挑战最近音乐学文献中的一个常见论点:(5)对于Leech-Wilkinson来说，例如，“长期结构是理论性的，对作曲家有用，是分析师以特定方式想象音乐的邀请，但显然是不可察觉的(通过记忆保存最模糊的轮廓)”(2012，[4.10])。另一方面，Doğantan-Dack早在2008年就观察到，“表演者处理局部细节的方式与她对大规模关系的概念或缺乏大规模关系的概念非常相关”(2008,305)。因此，我们继续假设，微观和宏观的关系之间的两极表现和分析有许多尚未解决的问题，将在以下讨论中仔细审查。2. 阿诺德勋伯格的Sechs kleine klavierst<e:1> cke, op. 19，作为一个案例研究[2.1]阿诺德勋伯格的Sechs kleine klavierst<e:1> cke(六李乐钢琴作品)，op. 19，从1911年提供了一个特别有前途的案例研究。一些早期的录音可以从接近勋伯格学派的钢琴家那里获得，因此可以假设结构分析和钢琴解释之间的密切联系。特别值得注意的是edward Steuermann的六张唱片，Christian U(即将出版)在一篇单独的文章中详细考虑了它们的历史背景。此外，这些作品的持续时间较短，可以对相对大量的不同录音进行详细的评估。以下调查是基于对41位钢琴家的46张唱片的定量和定性分析，其中包括斯图尔曼的6张唱片(1949年、1954年、1957a、1957b、1962年、1963年)和其他40张唱片，时间从1925年到2018年，每一张都是不同的钢琴家(例1)。除了斯图尔曼的三张现场录音和为PETAL项目录制的三张唱片外，只考虑出版的录音。选择是基于历史平衡的标准(从20世纪20年代到现在，我们每十年考虑大约相同的录音百分比)，表演者的国际相关性和突出性，以及录音的可用性。[6][2.2]此外，在与三位钢琴家的研讨会上，我们讨论了表演周期的形成，记录了钢琴家的特定策略，(7)为了准备这次研讨会，我们制作了一份勋伯格作品19的注释乐谱，下面的分析将经常引用它。这个乐谱可以在网上免费获得，它将分析性描述和节奏图与音乐文本结合在一起，音乐文本整合了不同颜色的第一个签名和签名公平副本的不同阅读。(8)在接下来的阐述中，我们从历史背景和对周期的历史解释的问题开始，然后将宏观和微观形式成型的不同钢琴策略联系起来。【2.3】勋伯格在一天之内(1911年2月19日)完成了《克拉维erst<e:1>》作品19的六首曲子中的五首。然而，第六次是在大约四个月后的6月17日，可能是对5月22日古斯塔夫·

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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

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

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

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