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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
This article discusses Nobuo Uematsu’s leitmotivic soundtracks to the 16-bit Final Fantasy role-playing games. I identify five distinct techniques within these soundtracks whereby a game’s main theme is musically connected to a single character theme: eponymous omission, motivic networking, thematic hybridization, associative troping, and the double main theme. I argue that these different techniques demonstrate how a character’s individual journey reflects the story’s underlying literary theme, which is itself represented by the musical main theme. I conduct topical, motivic, formal, and semiotic analyses of the soundtracks to FFIV–VI and discuss how their character themes, though mostly non-transformative, engage in a larger leitmotivic network of inter-related thematic families that interact with their main themes in dramatically meaningful ways. This analysis demonstrates subtle ways in which leitmotivic scoring can heighten one’s narratological understanding of a story, and may be useful for those seeking to arrange video game soundtracks into programmatic music that tells or retells a game’s story.
{"title":"Leitmotivic Strategies in Nobuo Uematsu’s Final Fantasy Soundtracks","authors":"Richard J. Anatone","doi":"10.1093/mts/mtad009","DOIUrl":"https://doi.org/10.1093/mts/mtad009","url":null,"abstract":"\u0000 This article discusses Nobuo Uematsu’s leitmotivic soundtracks to the 16-bit Final Fantasy role-playing games. I identify five distinct techniques within these soundtracks whereby a game’s main theme is musically connected to a single character theme: eponymous omission, motivic networking, thematic hybridization, associative troping, and the double main theme. I argue that these different techniques demonstrate how a character’s individual journey reflects the story’s underlying literary theme, which is itself represented by the musical main theme. I conduct topical, motivic, formal, and semiotic analyses of the soundtracks to FFIV–VI and discuss how their character themes, though mostly non-transformative, engage in a larger leitmotivic network of inter-related thematic families that interact with their main themes in dramatically meaningful ways. This analysis demonstrates subtle ways in which leitmotivic scoring can heighten one’s narratological understanding of a story, and may be useful for those seeking to arrange video game soundtracks into programmatic music that tells or retells a game’s story.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43637914","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}
Journal Article Analytical Essays on Music by Women Composers: Concert Music, 1900–1960 Get access Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft. New York: Oxford University Press, 2022, ix + 283 pages. Michèle Duguay Michèle Duguay mduguay@iu.edu Search for other works by this author on: Oxford Academic Google Scholar Music Theory Spectrum, mtad014, https://doi.org/10.1093/mts/mtad014 Published: 19 June 2023
{"title":"Analytical Essays on Music by Women Composers: Concert Music, 1900–1960","authors":"Michèle Duguay","doi":"10.1093/mts/mtad014","DOIUrl":"https://doi.org/10.1093/mts/mtad014","url":null,"abstract":"Journal Article Analytical Essays on Music by Women Composers: Concert Music, 1900–1960 Get access Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft. New York: Oxford University Press, 2022, ix + 283 pages. Michèle Duguay Michèle Duguay mduguay@iu.edu Search for other works by this author on: Oxford Academic Google Scholar Music Theory Spectrum, mtad014, https://doi.org/10.1093/mts/mtad014 Published: 19 June 2023","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135336408","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}
Journal Article Contributors Get access Music Theory Spectrum, Volume 45, Issue 1, Spring 2023, Pages 179–180, https://doi.org/10.1093/mts/mtad004 Published: 26 April 2023
{"title":"Contributors","authors":"","doi":"10.1093/mts/mtad004","DOIUrl":"https://doi.org/10.1093/mts/mtad004","url":null,"abstract":"Journal Article Contributors Get access Music Theory Spectrum, Volume 45, Issue 1, Spring 2023, Pages 179–180, https://doi.org/10.1093/mts/mtad004 Published: 26 April 2023","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135518445","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 this rejoinder, I elaborate on the uncomfortable and foundational call of “Making a Home of the Society for Music Theory, Inc.”: the necessity of abolition as at once the destruction of our colonial/capitalist worlding and the building of a life-affirming world otherwise. Bringing to the fore a couple of backgrounds to my writing—early career transience and building community with unhoused residents of Norman, Oklahoma—I clarify that my call is not for inclusion (and enclosure) within this colonial/capitalist worlding, but our collective liberation from it. Ultimately, I hope this response might inspire readers to build life-affirming, abolitionist worlds wherever they find themselves.
{"title":"Take Care","authors":"Stephen Lett","doi":"10.1093/mts/mtad001","DOIUrl":"https://doi.org/10.1093/mts/mtad001","url":null,"abstract":"\u0000 In this rejoinder, I elaborate on the uncomfortable and foundational call of “Making a Home of the Society for Music Theory, Inc.”: the necessity of abolition as at once the destruction of our colonial/capitalist worlding and the building of a life-affirming world otherwise. Bringing to the fore a couple of backgrounds to my writing—early career transience and building community with unhoused residents of Norman, Oklahoma—I clarify that my call is not for inclusion (and enclosure) within this colonial/capitalist worlding, but our collective liberation from it. Ultimately, I hope this response might inspire readers to build life-affirming, abolitionist worlds wherever they find themselves.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41509506","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":"Content Warning","authors":"","doi":"10.1093/mts/mtad003","DOIUrl":"https://doi.org/10.1093/mts/mtad003","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49098267","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":"Correction: review of An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege","authors":"","doi":"10.1093/mts/mtad002","DOIUrl":"https://doi.org/10.1093/mts/mtad002","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45919478","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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