{"title":"Correction to: Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”","authors":"","doi":"10.1093/mts/mtad024","DOIUrl":"https://doi.org/10.1093/mts/mtad024","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775853","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}
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。
{"title":"Adventures in Tonal Gravity: George Russell’s Analysis of Maurice Ravel’s “Forlane”","authors":"Marc E Hannaford","doi":"10.1093/mts/mtad021","DOIUrl":"https://doi.org/10.1093/mts/mtad021","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135509646","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}
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.
{"title":"The Limited and The Limitless: Harmonic Voltas and Puns in the Third Movement of Ben Johnston’s Seventh String Quartet","authors":"Laurence Sinclair Willis","doi":"10.1093/mts/mtad022","DOIUrl":"https://doi.org/10.1093/mts/mtad022","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136318177","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}
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.”
{"title":"Antifocal Anaphoras in Hip-Hop Vocals","authors":"Mitchell Ohriner","doi":"10.1093/mts/mtad016","DOIUrl":"https://doi.org/10.1093/mts/mtad016","url":null,"abstract":"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.”","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136293430","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}
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.
{"title":"Radically Inconspicuous Absence: Truncated Sonata Forms in Interwar Paris","authors":"Damian Blättler","doi":"10.1093/mts/mtad020","DOIUrl":"https://doi.org/10.1093/mts/mtad020","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134943777","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}
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.
{"title":"<i>Naamyam</i>, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”","authors":"Ho Chak Law","doi":"10.1093/mts/mtad019","DOIUrl":"https://doi.org/10.1093/mts/mtad019","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135133153","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}
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.
{"title":"When Intra- and Interthematic Functions Collide: Conflation in Robert Schumann’s Orchestral Sonata Forms","authors":"Matthew Poon","doi":"10.1093/mts/mtad018","DOIUrl":"https://doi.org/10.1093/mts/mtad018","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134960768","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":"Contributors","authors":"","doi":"10.1093/mts/mtad023","DOIUrl":"https://doi.org/10.1093/mts/mtad023","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135428305","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 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.
{"title":"Models for Mozart’s Transitions: A Transatlantic Exchange","authors":"N. Martin, Ulrich Kaiser","doi":"10.1093/mts/mtad012","DOIUrl":"https://doi.org/10.1093/mts/mtad012","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43261573","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}
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.
{"title":"Zarlino’s Comporre di fantasia and Canon","authors":"Peter Schubert","doi":"10.1093/mts/mtad011","DOIUrl":"https://doi.org/10.1093/mts/mtad011","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282408","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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