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":"116 1","pages":"0"},"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":"50 1","pages":"0"},"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":"42 1","pages":"0"},"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":"51 1","pages":"0"},"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":"23 1","pages":"0"},"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":" ","pages":""},"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":" ","pages":""},"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}
Abstract This article analyzes the Adagio opening movement of Fanny Hensel’s sole string quartet by reading the ways in which it dialogues with several genres: the increasingly independent early nineteenth-century slow introduction; the slow first movement; eighteenth- and early nineteenth-century sonata form; and the fantasia. I build this generic context by considering the historical development of the slow introduction and drawing attention to such overlapping identities in two cello sonata movements by Ludwig van Beethoven and in Hensel’s Sonata o Fantasia in G minor for Piano and Cello (1829).
{"title":"Formal Excess in the Opening Movement of Fanny Hensel’s String Quartet in E♭ Major (1834)","authors":"Catrina S Kim","doi":"10.1093/mts/mtad007","DOIUrl":"https://doi.org/10.1093/mts/mtad007","url":null,"abstract":"Abstract This article analyzes the Adagio opening movement of Fanny Hensel’s sole string quartet by reading the ways in which it dialogues with several genres: the increasingly independent early nineteenth-century slow introduction; the slow first movement; eighteenth- and early nineteenth-century sonata form; and the fantasia. I build this generic context by considering the historical development of the slow introduction and drawing attention to such overlapping identities in two cello sonata movements by Ludwig van Beethoven and in Hensel’s Sonata o Fantasia in G minor for Piano and Cello (1829).","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135492340","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 study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.
{"title":"Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior","authors":"A. Danielsen, Mats Johansson, C. Stover","doi":"10.1093/mts/mtad005","DOIUrl":"https://doi.org/10.1093/mts/mtad005","url":null,"abstract":"\u0000 This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44815014","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 paper reinterprets my 1992 analysis of the scherzo of Ludwig van Beethoven’s Ninth Symphony using more recently introduced modes of representation: ski-hill graphs, ski-path networks, and metric cubes. It provides a tutorial on the three metric modes of representation, while using those modes to reveal different aspects of the scherzo’s metric form. It presents evidence in support of the proposition that slow pulses and deep hypermeter can “exist,” be aesthetically relevant, and have analytical value.
{"title":"Graphing Deep Hypermeter in the Scherzo Movement of Beethoven’s Ninth Symphony","authors":"Richard Cohn","doi":"10.1093/mts/mtad006","DOIUrl":"https://doi.org/10.1093/mts/mtad006","url":null,"abstract":"\u0000 This paper reinterprets my 1992 analysis of the scherzo of Ludwig van Beethoven’s Ninth Symphony using more recently introduced modes of representation: ski-hill graphs, ski-path networks, and metric cubes. It provides a tutorial on the three metric modes of representation, while using those modes to reveal different aspects of the scherzo’s metric form. It presents evidence in support of the proposition that slow pulses and deep hypermeter can “exist,” be aesthetically relevant, and have analytical value.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48492778","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：