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Correction to: Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound” Naamyam、创意音乐、移民法案:张俊对林根尼的《土墩》的音乐背景的思考
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-11-04 DOI: 10.1093/mts/mtad024
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引用次数: 0
Adventures in Tonal Gravity: George Russell’s Analysis of Maurice Ravel’s “Forlane” 音调重力的冒险:乔治·罗素评拉威尔的《弗兰》
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-11-01 DOI: 10.1093/mts/mtad021
Marc E Hannaford
Abstract George Russell conceptualized his Lydian Chromatic Concept of Tonal Organization as a theory of tonality. He includes an analysis of the opening of Maurice Ravel’s “Forlane” from Le Tombeau de Couperin in the fourth and final edition of his text to demonstrate what his theory—“The Concept”—offers for the analysis of Western art music. This article takes Russell’s claim seriously, discusses The Concept as a theory of tonality, and extends Russell’s analysis to the entirety of “Forlane.” I also connect Russell’s work to broader Black cultural practices and their socio-political resonances.
摘要乔治·罗素将他的吕底亚音阶组织概念概念化为一种调性理论。在他的第四版也是最后一版中,他分析了莫里斯·拉威尔(Maurice Ravel)的《坟墓》(Le Tombeau de Couperin)的《弗兰》(Forlane)的开头部分,以证明他的理论——“概念”——为分析西方艺术音乐提供了什么。本文认真对待罗素的主张,将《概念》作为调性理论进行讨论,并将罗素的分析扩展到《弗兰》的整体。我还将罗素的作品与更广泛的黑人文化实践及其社会政治共鸣联系起来。
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引用次数: 0
The Limited and The Limitless: Harmonic Voltas and Puns in the Third Movement of Ben Johnston’s Seventh String Quartet 有限与无限:本·约翰斯顿第七弦乐四重奏第三乐章中的和声伏特和双关语
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-10-27 DOI: 10.1093/mts/mtad022
Laurence Sinclair Willis
Abstract Extended just intonation confronts us with musical problems arising from the sheer array and variety of pitch relationships that can be written, played, and heard. Through an analysis of Ben Johnston’s Seventh String Quartet as a case study, this essay addresses the diversity of these pitch relationships by suggesting a three-way categorization of just intonation ratios: primary intervals (simple integer ratios), ectopic intervals (ratios with no primary interval analogue), and intermediary intervals (ratios with a close primary interval analogue). I suggest a listening strategy based on the categorization resulting in two analytical models. A voltaic analysis recognizes changes in the pitch domain indicated by the differences between primary and intermediary intervals. A pitch pun analysis emphasizes the small magnitude of the differences between primary and intermediary intervals and the slow drift away from a secure sense of pitch place. Finally, I combine these views to compare the two analytical strategies as applied to the last measures of Johnston’s Seventh String Quartet and speculate on the implications of these strategies for hearing and conceiving of pitch intervals.
扩展音准是我们面对的一个音乐问题,它是由各种各样的音高关系所引起的,这些音高关系可以被书写、演奏和听到。本文以本·约翰斯顿的《第七弦乐四重奏》为例,对音高关系的多样性进行了分析,提出了三种音高比例的分类:初级音程(简单整数比例)、异位音程(没有初级音程类似的比例)和中间音程(具有接近初级音程类似的比例)。我建议一种基于分类的倾听策略,从而产生两种分析模型。伏打分析识别的变化,在基音域显示的差异之间的主要和中间间隔。音高双关分析强调了主要音程和中间音程之间的微小差异,以及逐渐偏离稳定的音高位置。最后,我将这些观点结合起来,比较应用于约翰斯顿第七弦乐四重奏最后小节的两种分析策略,并推测这些策略对听力和构思音程的影响。
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引用次数: 0
Antifocal Anaphoras in Hip-Hop Vocals 嘻哈人声中的反焦点回指
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-10-10 DOI: 10.1093/mts/mtad016
Mitchell Ohriner
Abstract This article examines the pitch content of the delivery of anaphoric lyrics in hip-hop. Anaphoric lyrics consist of lines with a reiterated beginning and a novel ending. Because new information is presented at the ends of lines, the “linguistic focus” of the line is at the end. Therefore, from the standpoint of intonational phonetics, pitch height would tend to rise to highlight the new information. However, from the standpoint of hip-hop delivery, lines tend to descend toward the end. Using a corpus approach, I document a general tendency toward “focally consistent” delivery in which pitch height supports new information. Then, I explore the afforded meanings of “antifocal” delivery—delivery in which the repeated text is pitched higher—in examples from B-Real, the poet Najee Omar, and Kendrick Lamar. I hope that these examples will attract other scholars to view vocal performances simultaneously through lenses of intonational phonology and music analysis and, further, that correspondences between pitch contours and principles of phonology might prove useful as singing, reciting, and rapping increasingly coexist under the banner of “hip-hop.”
摘要本文探讨了嘻哈音乐中回指式歌词的音高内容。回指式歌词由开头重复、结尾新颖的诗句组成。因为新信息是在句子的末尾呈现的,所以句子的“语言焦点”就在句子的末尾。因此,从语调语音学的角度来看,音高往往会上升,以突出新的信息。然而,从嘻哈音乐的角度来看,台词趋向于往下走。使用语料库方法,我记录了“焦点一致”传递的一般趋势,其中音调高度支持新信息。然后,我探讨了“反焦点”传递的含义——在B-Real、诗人纳吉·奥马尔和肯德里克·拉马尔的例子中,重复文本的音调更高。我希望这些例子能吸引其他学者通过语调音韵学和音乐分析来同时观察声乐表演,而且,音高轮廓和音韵学原理之间的对应关系可能会被证明是有用的,因为在“嘻哈”的旗帜下,唱歌、背诵和说唱越来越多地共存。
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引用次数: 0
Radically Inconspicuous Absence: Truncated Sonata Forms in Interwar Paris 根本不明显的缺席:两次世界大战之间巴黎的截断奏鸣曲形式
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-10-06 DOI: 10.1093/mts/mtad020
Damian Blättler
Abstract This article identifies a set of sonata-form movements written in interwar Paris that do not recapitulate their secondary theme and yet end simply in major rather than performing cataclysm or transgression. It argues that their ability to leave sonata-form conventions unfulfilled is a consequence of how these pieces make the primary-theme reprise a site of resolved structural tension, not of the theme-and-key mechanisms of sonata form but rather of processes independent from sonata-form logic. These movements are also analyzed as exhibiting ironic troping; their juxtaposition of distinct attitudes toward sonata form negotiates a relationship between the interwar era and its compositional inheritances.
本文确定了一组奏鸣曲形式的运动,写在两次世界大战之间的巴黎,不概括他们的次要主题,但简单地结束在主要,而不是表现灾难或越界。它认为,他们之所以能够不履行奏鸣曲式的惯例,是因为这些作品如何使主旋律重现一个解决了结构张力的地方,而不是奏鸣曲式的主题和关键机制,而是独立于奏鸣曲式逻辑的过程。这些动作也被分析为具有讽刺意味的修辞;他们对奏鸣曲形式的不同态度的并置,协商了两次世界大战之间的时代及其作曲遗产之间的关系。
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引用次数: 0
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound” Naamyam、创意音乐与移民行为——张俊对林根尼《土丘》的音乐背景的思考
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-09-29 DOI: 10.1093/mts/mtad019
Ho Chak Law
Abstract Jon Jang, an American composer, bandleader, and activist of Chinese descent, begins his five-movement Island: The Immigrant Suite No. 1 (1995) with a musical setting that is sonically and stylistically unconventional. He introduces a curious adaptation of naamyam (“southern tones”)—a Cantonese genre of narrative singing that originated in the Pearl River Delta in Guangdong—into this musical setting of Genny Lim’s Chinglish poem “Burial Mound” so as to make audible the politics of representation concerning Sinophone Americans of particular ancestries, generations, and immigration histories. Not only does he associate this setting with Chinese laborers of the transcontinental railroad and naamyam in American Chinatowns, he also demonstrates in this setting his embrace of “creative music” as an American framework of cultural performance.
张俊是美国华裔作曲家、乐队指挥和活动家,他的五乐章《岛:移民组曲No. 1》(1995)的音乐背景在声学和风格上都是非常规的。他将naamyam(“南方音调”)——一种起源于广东珠江三角洲的粤语叙事歌唱类型——引入了林根尼(Genny Lim)的中文英文诗歌《土墩》的音乐背景中,以使人们能够听到有关特定祖先、世代和移民历史的说中文的美国人的政治表现。他不仅将这个背景与横贯大陆铁路的中国劳工和美国唐人街的纳米姆联系在一起,还在这个背景中展示了他对“创意音乐”作为美国文化表演框架的拥抱。
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引用次数: 0
When Intra- and Interthematic Functions Collide: Conflation in Robert Schumann’s Orchestral Sonata Forms 当主题内与主题间的功能碰撞:罗伯特·舒曼管弦乐奏鸣曲曲式的合并
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-09-26 DOI: 10.1093/mts/mtad018
Matthew Poon
Abstract This article analyzes formal fusion in the first movements of Schumann’s Symphonies Nos. 1 and 2 and the finale of his Overture, Scherzo, and Finale. Within these pieces, fusion results from what Julian Horton (2015) calls “conflation”—that is, a process in which previously distinct formal levels collapse into each other—resulting in two new categories of sonata expositions I term bipartite and undivided. These categories help explain some of the unique features of Schumann’s orchestral music and provide new tools toward understanding nineteenth-century form.
摘要本文分析了舒曼第一、第二交响曲第一乐章的形式融合,以及他的序曲、协奏曲和终曲的结局。在这些作品中,融合来自朱利安·霍顿(Julian Horton, 2015)所说的“合并”——也就是说,之前不同的形式水平相互融合的过程——导致奏鸣曲展示的两个新类别,即二分和不可分割。这些分类有助于解释舒曼管弦乐的一些独特特征,并为理解19世纪的形式提供了新的工具。
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引用次数: 0
Contributors 贡献者
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-09-01 DOI: 10.1093/mts/mtad023
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引用次数: 0
Models for Mozart’s Transitions: A Transatlantic Exchange 莫扎特转型的模式:跨大西洋的交流
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-08-22 DOI: 10.1093/mts/mtad012
N. Martin, Ulrich Kaiser
This research note comprises two interlinked texts. The first is a short essay that, developing ideas from Ulrich Kaiser’s (2009) article on Mozart’s transitions, isolates and theorizes a particular transition pattern (the “Prinner transition”) and then illustrates with a series of analyses. The second is a response from Kaiser clarifying the difference between Gjerdingen’s Prinner and his own 4^−1^ (fa–ut) model. The immediate theoretical issues in play involve the relationship between schema theory, formal functions, and voice-leading reduction as well as differences between Anglo-American and Germanic understandings of schemata and models.
本研究说明包括两个相互关联的文本。第一篇是一篇短文,它借鉴了乌尔里希·凯泽(2009)关于莫扎特过渡的文章,分离并理论化了一种特定的过渡模式(“普里纳过渡”),然后用一系列分析进行了说明。第二个是Kaiser的回应,澄清了Gjerdingen的Prinner和他自己的4^−1^(fa–ut)模型之间的差异。当前的理论问题涉及图式理论、形式功能和语音引导还原之间的关系,以及英美和日耳曼对图式和模式的理解之间的差异。
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引用次数: 0
Zarlino’s Comporre di fantasia and Canon Zarlino的幻想作曲家与佳能
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-08-17 DOI: 10.1093/mts/mtad011
Peter Schubert
In the Istitutioni harmoniche, Zarlino describes a compositional process in which a countermelody that is introduced against a principal soggetto can itself become a soggetto for the next phrase, and the process can be repeated in subsequent phrases. This study shows how comporre di fantasia functions in passages from Martini, Févin, Isaac, and Josquin. The technique can also inform our understanding of canon composition, which is illustrated with two examples by Pierre de la Rue. For the study of canons at different time intervals, I also invoke the neglected theories of Robert Morris, Robert Gauldin, and Immanuel Ott. Comporre di fantasia is a structural category that provides insight into compositional process in Renaissance polyphony.
在Istitutioni和声中,Zarlino描述了一个作曲过程,在这个过程中,针对主奏鸣曲引入的反旋律本身可以成为下一个短语的奏鸣曲,并且这个过程可以在随后的短语中重复。这项研究展示了幻想曲在马提尼、费文、艾萨克和约斯昆的段落中的作用。这项技术也可以帮助我们理解正典构图,皮埃尔·德拉鲁的两个例子就说明了这一点。对于不同时间间隔的经典研究,我还引用了罗伯特·莫里斯、罗伯特·高丁和伊曼纽尔·奥特被忽视的理论。幻想曲复调是一个结构范畴,它提供了对文艺复兴复调创作过程的洞察。
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MUSIC THEORY SPECTRUM
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