{"title":"Foundations of Musical Grammar. By Lawrence M. Zbikowski","authors":"M. Reybrouck","doi":"10.1093/mts/mtaa024","DOIUrl":"https://doi.org/10.1093/mts/mtaa024","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43689406","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 striking feature of Stravinsky’s neoclassical works is his simultaneous use of two or more topics. Robert S. Hatten (2014) has defined this process as troping, which involves four axes or “dimensions along which an imported topic and its potential tropological interaction may be marked with respect to its new environment,” defined as degrees of compatibility, dominance, creativity, and productivity. In this article, I use these four axes to demonstrate how combining analytical insights from each axis and adapting them for twentieth-century music can lead to nuanced expressive interpretations of Stravinsky’s neoclassical works.
{"title":"Tropological Interaction and Expressive Interpretation in Stravinsky’s Neoclassical Works","authors":"S. C. Schumann","doi":"10.1093/mts/mtaa015","DOIUrl":"https://doi.org/10.1093/mts/mtaa015","url":null,"abstract":"\u0000 A striking feature of Stravinsky’s neoclassical works is his simultaneous use of two or more topics. Robert S. Hatten (2014) has defined this process as troping, which involves four axes or “dimensions along which an imported topic and its potential tropological interaction may be marked with respect to its new environment,” defined as degrees of compatibility, dominance, creativity, and productivity. In this article, I use these four axes to demonstrate how combining analytical insights from each axis and adapting them for twentieth-century music can lead to nuanced expressive interpretations of Stravinsky’s neoclassical works.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42708007","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}
The reception of Johannes Lippius’s path-breaking conception of the triad chiefly relies upon his treatise Synopsis musicae novae. Yet Lippius first published most of his ideas in texts called “disputations,” whose genre-specific peculiarities have been overlooked. By situating Lippius’s writings within the early-modern university system, this essay reveals an important instance of how demands of audience and genre have shaped music theory and offers tantalizing glimpses of how the oral disputation may have encouraged Lippius to clarify his ideas, particularly in his recasting of the analogy between the triad and the Trinity.
{"title":"The Triad in Dispute: Johannes Lippius, His Audiences, and the Disputatio Genre","authors":"Caleb Mutch","doi":"10.1093/mts/mtaa008","DOIUrl":"https://doi.org/10.1093/mts/mtaa008","url":null,"abstract":"\u0000 The reception of Johannes Lippius’s path-breaking conception of the triad chiefly relies upon his treatise Synopsis musicae novae. Yet Lippius first published most of his ideas in texts called “disputations,” whose genre-specific peculiarities have been overlooked. By situating Lippius’s writings within the early-modern university system, this essay reveals an important instance of how demands of audience and genre have shaped music theory and offers tantalizing glimpses of how the oral disputation may have encouraged Lippius to clarify his ideas, particularly in his recasting of the analogy between the triad and the Trinity.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45428297","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 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
{"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":null,"pages":null},"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}
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":null,"pages":null},"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}
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":null,"pages":null},"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":null,"pages":null},"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}
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