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Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms 勃拉姆斯若干歌曲中极端的节拍变化与节奏的停顿
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-23 DOI: 10.1093/mts/mtac020
Wing Lau
This article examines how changing time signatures correspond with metric dissonance and the flux in metric consonance in Brahms’s songs, with a particular focus on expressive dimensions and Brahms’s relationship with historical metric modes. “Unbewegte laue Luft” is an extreme case of metric dissonance, juxtaposing meters of antithetical metric relations to underscore equally antithetical poetic meanings. Meters in “Wir müssen uns trennen” maintain duple relations but explore metric depth and the relative strength of different metric levels, showing consonant metric flux resembling century-old metric practices such as tempo giusto and changing Taktteile. By demonstrating how dissonant and consonant meter changes set up different degrees of temporal contrasts, this article explores notated meter changes as text-setting tools and how eighteenth-century metric theory can enrich our understanding of these tools.
本文研究了勃拉姆斯歌曲中变化的时间特征是如何与韵律不和声和韵律和的变化相对应的,特别关注表现力维度和勃拉姆斯与历史韵律模式的关系。“unbewete laue Luft”是一个极端的韵律失调的例子,将对立的韵律关系并置,以强调同样对立的诗歌意义。《Wir m ssen uns trennen》中的拍子保持着双拍子关系,但探索了不同拍子层次的深度和相对强度,表现出类似于百年来的拍子实践(如tempo giusto和changing Taktteile)的辅音拍子流动。通过展示不协和和辅音的拍子变化如何建立不同程度的时间对比,本文探讨了作为文本设置工具的记谱拍子变化,以及18世纪的度量理论如何丰富我们对这些工具的理解。
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引用次数: 0
The Predominant Six-Four in the Late Music of Richard Strauss 理查德·施特劳斯晚期音乐中占优势的六四
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-08 DOI: 10.1093/mts/mtac018
Kyle Hutchinson
This article examines a unique family of six-four sonorities in the works of Richard Strauss. These six-fours typically sound with 6^, 4^, or 2^ (or modal variants thereof) in the bass but occur immediately prior to a cadential dominant, and thus impart a sense of predominant function despite their unstable inversion. In examining how the sixth and fourth behave, I suggest that rather than hearing these chords as consonant inversions of a triad, they can instead be interpreted as accented six-fours; in other words, reading the sixth and fourth as dissonances, whose resolution to a fifth and third is deferred to occur over a subsequent harmony. I suggest that the sense of fragmentation that coalesces through the process of suspension creates a conflict between phenomenological and analytic hearings of this music, which reflects a type of modernism typically overlooked in Strauss’s late music.
本文考察了理查·施特劳斯作品中一个独特的六四音族。这些六四音通常在低音中发出6^、4^或2^(或其模态变体)的声音,但立即出现在和弦属音之前,因此尽管它们的转位不稳定,但却赋予了一种主导功能的感觉。在研究第六和弦和第四和弦的表现时,我建议不要把这些和弦看作是三和弦的辅音倒转,它们可以被解释为重音的六四和弦;换句话说,将第六和第四乐章读作不协和音,其对第五和第三乐章的消解被推迟到随后的和声中。我认为,通过悬吊过程凝聚起来的碎片感,在这种音乐的现象学和分析性听证之间产生了冲突,这反映了施特劳斯晚期音乐中通常被忽视的一种现代主义。
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引用次数: 1
Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance 组合学,构成,复制:梅森的排列作为丰富的修辞
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-07 DOI: 10.1093/mts/mtac026
André Redwood
This article seeks to explain the meaning and function of Mersenne’s exhaustive lists of note permutations. As is true for all of Mersenne’s labors, the permutations are at their deepest level explicable in terms of his religious commitments—in this case, his faith in the ineffable plenitude of God’s creation. Yet, Mersenne also intended the permutations and the combinatorial procedures that generate them to serve as the foundation of a pedagogy of compositional invention. That pedagogy, this article proposes, is tacitly informed by the rhetorical notion of copia, most comprehensively theorized by Erasmus in his influential De copia.
本文试图解释梅森详尽的音符排列列表的意义和功能。正如梅森所有的努力一样,这些排列在最深层次上可以用他的宗教信仰来解释——在这种情况下,他对上帝创造的不可言喻的丰富的信仰。然而,梅森也打算将排列和产生它们的组合过程作为作曲发明教学法的基础。这篇文章提出,这种教学法是由模仿的修辞概念所默认的,伊拉斯谟在他的影响深远的《模仿论》中最全面地阐述了这一概念。
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引用次数: 0
Motivic Trees, Network Analysis, and Bartók’s Eight Improvisations on Hungarian Folk Songs, No. 5 动机树、网络分析与Bartók对匈牙利民歌的八个即兴创作,第5期
1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac015
James N Bennett
Abstract This article describes a method for using graph-theoretical trees to model relations between musical motives, turning primarily to Dora Hanninen’s notion of associative lineages, as well as to certain approaches from the field of phylogenetics. Since the fifth of Béla Bartók’s Eight Improvisations on Hungarian Folk Songs (1920) presents a piece-spanning process that, while unidirectional, is also continuously branching, it forms the sole musical example. In addition, the article also examines philosophical dimensions by situating these analytical considerations within Deleuze and Guattari’s tree/rhizome distinction and the more general opposition between the discrete and the continuous.
本文描述了一种使用图理论树来模拟音乐动机之间关系的方法,主要转向Dora Hanninen的联想谱系概念,以及来自系统发育领域的某些方法。由于bla Bartók的《匈牙利民歌八分即兴曲》(1920)中的第五首呈现出一个片段跨越的过程,虽然是单向的,但也是不断分支的,它形成了唯一的音乐范例。此外,本文还通过将这些分析考虑置于德勒兹和瓜塔里的树/根茎区分以及离散和连续之间更普遍的对立中来考察哲学维度。
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引用次数: 0
Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation 废奴主义音乐理论与马克思主义:走向和解的音符
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac017
S. Gopinath
This essay offers a sympathetic Marxist commentary on Stephen Lett’s “Making a Home of The Society for Music Theory, Inc.” (2023, forthcoming). I explore questions of colonization and coloniality, which are viewed in literal, rather than metaphorical, terms; provide hypotheses about the political economy of contemporary US-American academic music theory, which seems to be inseparable from conflicts with composition; and meditate on theory’s political futures in both practical and broader utopian-political ways.
本文对Stephen Lett的《为股份有限公司音乐理论学会建造家园》(2023年,即将出版)发表了一篇富有同情心的马克思主义评论。我探讨了殖民化和殖民主义的问题,这些问题是从字面而非隐喻的角度来看待的;提供了关于当代美国学术音乐理论政治经济学的假设,这似乎与作曲的冲突密不可分;并以实践和更广泛的乌托邦政治方式思考理论的政治未来。
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引用次数: 1
Orienting to Pedagogical Service 面向教育服务
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac019
Catrina S Kim
This essay considers the Society for Music Theory’s valuations of research, service, and pedagogy in light of Sara Ahmed’s (2006) reflections on orientation and labor. Ahmed’s description of the philosopher’s writing table turns attention to the domestic labor that creates the conditions for the very work of philosophizing; by bringing this analysis to bear on Stephen Lett’s “Making a Home of The Society for Music Theory, Inc.” (2023, forthcoming), this article brings the following question to the fore: What sorts of labor are “relegated to the background” of the SMT members’ own “writing tables”? This article thus extends Lett’s metaphor of the SMT’s homemaking practices, questions the meaning of service through the lens of pedagogy and research, and highlights the role of academic contingent labor within this network.
本文结合萨拉·艾哈迈德(Sara Ahmed,2006)对取向和劳动的思考,考虑了音乐理论学会对研究、服务和教育学的评估。艾哈迈德对哲学家书写表的描述将注意力转向了为哲学工作创造条件的家务劳动;通过将这一分析与Stephen Lett的《为股份有限公司音乐理论学会搭建家园》(2023年,即将出版)相结合,本文提出了以下问题:什么样的劳动被“放在了SMT成员自己的“写字台”的背景下”?因此,本文扩展了莱特对SMT家政实践的隐喻,从教育学和研究的角度质疑服务的意义,并强调了学术特遣队在这一网络中的作用。
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引用次数: 1
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions 声音意象的物质性:当代汉语作文分析
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac025
N. Rao
This essay explores concepts related to the materiality of sound and considers the aesthetics of contemporary Chinese music (and of other Asian heritages) through this lens. In compositions such as Guo Wenjing’s chamber work She Huo, musical expression is prominently shaped by sonic ideas rooted in socio-historical and cultural contexts, and associated with materials of substance and matter. Analysis of such works requires reconceptualizing the modes of analysis and listening practice. Through a focus on materiality, I argue, we gain insight about the music in ways unattainable from established, ingrained modes of musical analysis. Examples explored include the significance of onomatopoeic words for the notation of percussion music in Peking opera; the concept of sawari in Japanese instrumental music, as discussed by Tōru Takemitsu; and Isang Yun’s notion of Hauptton. Music’s materiality comprises many dimensions, the consideration of which is of great importance as we seek to broaden the canon.
本文探讨了与声音的物质性相关的概念,并通过这个镜头考虑了当代中国音乐(以及其他亚洲遗产)的美学。在郭文静的室内乐作品《她活》等作品中,音乐表达主要是由根植于社会历史和文化背景的声音思想所塑造的,并与物质和物质的材料联系在一起。分析这些作品需要重新定义分析和听力练习的模式。我认为,通过对物质性的关注,我们以一种无法从既定的、根深蒂固的音乐分析模式中获得的方式来洞察音乐。探讨的例子包括拟声词对京剧打击乐记谱的意义;日本器乐中的sawari概念,如Tōru Takemitsu所讨论的;以及Isang Yun的haupton概念。音乐的物质性包括许多方面,在我们寻求拓宽经典时,对这些方面的考虑是非常重要的。
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引用次数: 2
Who Does the Society for Music Theory Gather? 音乐理论学会的成员是谁?
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac028
Leigh VanHandel
An important question in Stephen Lett’s provocative article is K’eguro Macharia’s, “Who is gathered by your invitation?” (2021). Lett outlines how the founders of the Society for Music Theory staked out territory for the discipline to establish theorists as separate from composers, musicologists, and pedagogues, and how they assessed who was to be invited by determining what theory as a discipline was and what it was to be. He then discusses how others have been (and still are) invited or excluded based on principles present since the founding of the society and offers suggestions for how to make SMT as an institution more welcoming by using the ideas of homemaking and world-building. My response addresses two topics: first, that the narrow view of the discipline of music theory present at its inception created an anti-pedagogy bias that exists to this day; and second, that this narrow view is perpetuated by graduate programs, which can and should be changed in order to achieve the goal of diversification of the discipline and its members.
在Stephen Lett那篇挑衅性的文章中,一个重要的问题是K 'eguro Macharia的,“谁是受你邀请聚集的?””(2021)。莱特概述了音乐理论学会的创始人如何为这门学科划定领域,将理论家与作曲家、音乐学家和教师区分开来,以及他们如何通过确定什么是理论作为一门学科以及它将是什么来评估谁将被邀请。然后,他讨论了自协会成立以来,基于目前的原则,其他人是如何被(以及仍然是如何)邀请或排斥的,并提出了如何通过使用自制和世界构建的想法,使SMT成为一个更受欢迎的机构的建议。我的回答涉及两个主题:第一,音乐理论学科的狭隘观点在其成立之初就产生了一种反教育学的偏见,这种偏见一直存在到今天;第二,这种狭隘的观点被研究生项目所延续,为了实现学科及其成员多样化的目标,这种观点可以也应该改变。
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引用次数: 1
O Give Me a Home 给我一个家
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac024
Patrick McCreless
This essay examines Stephen Lett’s (2023) critique of North American music theory in general, and of the Society for Music Theory in particular, from the point of view of the binary inclusion/exclusion. Drawing on my own experience, I acknowledge that in many respects his critique of the Society for Music Theory (SMT), from its very inception, as creating an exclusionary, “stratified” space, is on target. Yet I contest his reading of the history and current functioning of the Society and of the broader discipline as a wholesale enterprise of coloniality. Although he insists that this metaphor, as applied to the SMT, is not to be read as involving the type of violence inflicted by colonial powers on native peoples, his consistent, governing language of displacement, pushing out, building fences, and defending territory, belies this denial, and produces a narrative that often suggests a level of hostility incompatible with both history and current experience.
本文从二元包容/排斥的角度考察了Stephen Lett(2023)对北美音乐理论的总体批评,特别是对音乐理论协会的批评。根据我自己的经验,我承认,在许多方面,他对音乐理论学会(SMT)的批评,从一开始就创造了一个排他性的,“分层”的空间,是正确的。然而,我对他将社会和更广泛的学科的历史和当前功能解读为殖民主义的批发企业提出质疑。尽管他坚持认为,这个比喻,如适用于SMT,不应被解读为涉及殖民列强对土著人民施加的暴力类型,但他一贯的、统治性的语言,如流离失所、驱逐、建造围栏和捍卫领土,掩盖了这种否认,并产生了一种经常暗示与历史和当前经验不相容的敌意的叙述。
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引用次数: 0
Undisciplined 散漫
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1093/mts/mtac022
Judy Lochhead
My response to Stephen Lett initially takes a “glass half full” perspective on the current state of the Society for Music Theory, showing that in the early years of the Society there were substantive activities through what would become the Committee on the Status of Women (CSW) to diversify membership and work against biases. I provide a historical accounting of these activities from 1985 to 1995, documenting the many frictions within the operations of the Society. My response concludes with a “glass half empty” observation that more needs to be done and makes a radical suggestion for a Society for the Study of Music.
我对斯蒂芬·莱特的回应最初是以“半杯水”的角度来看待音乐理论协会的现状,表明在该协会成立的早期,通过后来的妇女地位委员会(CSW)开展了实质性的活动,使成员多样化,并反对偏见。我提供了从1985年到1995年这些活动的历史记录,记录了协会运作中的许多摩擦。我的回答以一个“半空的杯子”的观察结束,即需要做更多的事情,并提出了一个激进的建议,即成立一个音乐研究协会。
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引用次数: 0
期刊
MUSIC THEORY SPECTRUM
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