This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.
{"title":"Between the Signposts: Thematic Interpolation and Structural Defamiliarization in Prokofiev’s Sonata Process","authors":"Rebecca Perry","doi":"10.1093/mts/mtaa004","DOIUrl":"https://doi.org/10.1093/mts/mtaa004","url":null,"abstract":"This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"193-206"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49540963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.
{"title":"The Volta: A Galant Gesture of Culmination","authors":"Nathaniel Mitchell","doi":"10.1093/mts/mtaa006","DOIUrl":"https://doi.org/10.1093/mts/mtaa006","url":null,"abstract":"\u0000 This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"280-304"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43117493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.
{"title":"The Webern in Mozart: Systems of Chromatic Harmony and Their Twelve-Tone Content","authors":"E. Agmon","doi":"10.1093/mts/mtaa010","DOIUrl":"https://doi.org/10.1093/mts/mtaa010","url":null,"abstract":"\u0000 Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"173-192"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41910236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores common approaches taken by drummers when playing music with a quintuple or septuple groove. Based on original analysis from a corpus of 350 songs released during the half-century between 1967 and 2017, I show that these grooves fall into three categories: undifferentiated, in which the drum/s and/or cymbal/s that mark each attack do not change in the course of the groove; backbeat variants, based on the alternation of kick and snare attacks, as in the common-time backbeat; and polymetric grooves comprising two distinct metric cues, often pitting the drums against the rest of the band.
{"title":"Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves","authors":"Scott Hanenberg","doi":"10.1093/mts/mtaa005","DOIUrl":"https://doi.org/10.1093/mts/mtaa005","url":null,"abstract":"\u0000 This article explores common approaches taken by drummers when playing music with a quintuple or septuple groove. Based on original analysis from a corpus of 350 songs released during the half-century between 1967 and 2017, I show that these grooves fall into three categories: undifferentiated, in which the drum/s and/or cymbal/s that mark each attack do not change in the course of the groove; backbeat variants, based on the alternation of kick and snare attacks, as in the common-time backbeat; and polymetric grooves comprising two distinct metric cues, often pitting the drums against the rest of the band.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"227-246"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46010321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. By Judy Lochhead","authors":"Y. U. Everett","doi":"10.1093/mts/mtaa013","DOIUrl":"https://doi.org/10.1093/mts/mtaa013","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"334-339"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42749163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and rhythmic notation), called contrapunto fugato. It consists of singing a freely invented line containing repetitions of a motive against a cantus firmus (CF) in long equal values. Although this technique is easy to describe, no one has investigated the difficulties that are involved in repeating a motive against a CF. I will show what needs to be thought out beforehand (pensado) and what needs to be held in the mind so that the result can be sung immediately or written down later. The strategies that I “reverse engineer” from Lusitano’s examples give concrete reality to this ephemeral practice and offer a useful tool for our own pedagogy, for thinking about Renaissance music, and for refining our concept of improvisation. Lusitano’s examples are supplemented by examples by Banchieri and Ortiz.
{"title":"Contrapunto Fugato: A First Step Toward Composing in the Mind","authors":"Peter Schubert","doi":"10.1093/mts/mtaa009","DOIUrl":"https://doi.org/10.1093/mts/mtaa009","url":null,"abstract":"\u0000 Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and rhythmic notation), called contrapunto fugato. It consists of singing a freely invented line containing repetitions of a motive against a cantus firmus (CF) in long equal values. Although this technique is easy to describe, no one has investigated the difficulties that are involved in repeating a motive against a CF. I will show what needs to be thought out beforehand (pensado) and what needs to be held in the mind so that the result can be sung immediately or written down later. The strategies that I “reverse engineer” from Lusitano’s examples give concrete reality to this ephemeral practice and offer a useful tool for our own pedagogy, for thinking about Renaissance music, and for refining our concept of improvisation. Lusitano’s examples are supplemented by examples by Banchieri and Ortiz.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"260-279"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47405618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
eytan agmon, Professor of Music Theory at Bar-Ilan University, Israel, specializes in the theory and analysis of tonal music, a rubric that includes Schenkerian analysis, rhythm, harmony, chromaticism, music and text, and cognitive and mathematical aspects of the tonal system. His 2013 Springer book, The Languages of Western Tonality, sums up three decades of research initiated by his 1986 CUNY doctoral thesis. Recent activities include publications on the music of Chopin and a series of lectures on the music of J. S. Bach. In fall 2020, Professor Agmon presented “‘Aus Mozart gestohlen’: Beethoven and Die Entführung aus dem Serail” in “Reframing Beethoven,” an international conference hosted by the Boston University Center for Beethoven Research celebrating the composer’s 250th anniversary.
eytan agmon，以色列巴伊兰大学音乐理论教授，专门研究调性音乐的理论和分析，这一学科包括申克分析、节奏、和声、半音、音乐和文本，以及调性系统的认知和数学方面。他在2013年出版的《西方调性语言》(The Languages of Western Tonality)一书总结了他从1986年纽约市立大学博士论文开始的30年研究。最近的活动包括出版关于肖邦音乐的出版物和一系列关于巴赫音乐的讲座。2020年秋天，阿格蒙教授在波士顿大学贝多芬研究中心举办的庆祝作曲家诞辰250周年的国际会议“重构贝多芬”上发表了“‘莫扎特的诞生’:贝多芬和贝多芬的死亡”。
{"title":"Contributors","authors":"","doi":"10.1093/mts/mtaa014","DOIUrl":"https://doi.org/10.1093/mts/mtaa014","url":null,"abstract":"<span>eytan agmon, Professor of Music Theory at Bar-Ilan University, Israel, specializes in the theory and analysis of tonal music, a rubric that includes Schenkerian analysis, rhythm, harmony, chromaticism, music and text, and cognitive and mathematical aspects of the tonal system. His 2013 Springer book, <span style=\"font-style:italic;\">The Languages of Western Tonality</span>, sums up three decades of research initiated by his 1986 CUNY doctoral thesis. Recent activities include publications on the music of Chopin and a series of lectures on the music of J. S. Bach. In fall 2020, Professor Agmon presented “‘Aus Mozart gestohlen’: Beethoven and <span style=\"font-style:italic;\">Die Entführung aus dem Serail</span>” in “Reframing Beethoven,” an international conference hosted by the Boston University Center for Beethoven Research celebrating the composer’s 250th anniversary.</span>","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"49 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Composing Capital: Classical Music in the Neoliberal Era. By Marianna Ritchey","authors":"Bryan J. Parkhurst","doi":"10.1093/mts/mtaa012","DOIUrl":"https://doi.org/10.1093/mts/mtaa012","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45390383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).
Karol Szymanowski中期风格（1914–18）的一个特色技巧是“键盘双调”：黑键五声音阶和白键全音音阶的并置。为了探索Szymanowski对键盘对偶性的处理，我引入了标量对齐网络，这是一种黑键和白键音高类的所有可能配对的双标量景观，它突出了特定对齐的效果，例如由此产生的音高类配对和价格模式。为了实现这一点，我使用了各种转换工具，包括全音转座、Julian Hook（2007）的标量间转换，以及我所说的SHIFT转换。分析作品包括：《面具》（1916年）、《Métopes》（1915年），《神话》（1915），《十二首练习曲》（作品331916年）和《第一小提琴协奏曲》（1916年）。
{"title":"Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski","authors":"A. Reese","doi":"10.1093/mts/mtaa007","DOIUrl":"https://doi.org/10.1093/mts/mtaa007","url":null,"abstract":"\u0000 A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49649540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.
{"title":"Double-Tonic Complexes in Rock Music","authors":"Drew F. Nobile","doi":"10.1093/mts/mtaa003","DOIUrl":"https://doi.org/10.1093/mts/mtaa003","url":null,"abstract":"\u0000 Most analysts consider a song either to be in a single key or to exhibit competition or ambiguity among multiple possible keys. This article proposes an alternative in which two keys combine to create a coherent, stable tonality. I adapt Robert Bailey’s concept of the “double-tonic complex” to demonstrate that in many rock songs, relative major and minor keys coexist with neither superior to the other and no conflict between them. These songs are not quite in two keys at once, but rather each component key represents a different incarnation of a single, more abstract tonality encompassing them both. The prolonged generative tonic of such a structure is a four-note sonority built from the union of the two tonic triads; this sonority often—but not always—appears as a surface chord at structurally important moments.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"207-226"},"PeriodicalIF":1.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42120372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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