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。
{"title":"Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms","authors":"Wing Lau","doi":"10.1093/mts/mtac020","DOIUrl":"https://doi.org/10.1093/mts/mtac020","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46292489","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 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.
{"title":"The Predominant Six-Four in the Late Music of Richard Strauss","authors":"Kyle Hutchinson","doi":"10.1093/mts/mtac018","DOIUrl":"https://doi.org/10.1093/mts/mtac018","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41621331","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 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.
{"title":"Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance","authors":"André Redwood","doi":"10.1093/mts/mtac026","DOIUrl":"https://doi.org/10.1093/mts/mtac026","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42287058","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 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.
{"title":"Motivic Trees, Network Analysis, and Bartók’s <i>Eight Improvisations on Hungarian Folk Songs</i>, No. 5","authors":"James N Bennett","doi":"10.1093/mts/mtac015","DOIUrl":"https://doi.org/10.1093/mts/mtac015","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135205840","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 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.
{"title":"Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation","authors":"S. Gopinath","doi":"10.1093/mts/mtac017","DOIUrl":"https://doi.org/10.1093/mts/mtac017","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47916340","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 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.
{"title":"Orienting to Pedagogical Service","authors":"Catrina S Kim","doi":"10.1093/mts/mtac019","DOIUrl":"https://doi.org/10.1093/mts/mtac019","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47469580","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 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.
{"title":"Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions","authors":"N. Rao","doi":"10.1093/mts/mtac025","DOIUrl":"https://doi.org/10.1093/mts/mtac025","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45196832","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}
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.
{"title":"Who Does the Society for Music Theory Gather?","authors":"Leigh VanHandel","doi":"10.1093/mts/mtac028","DOIUrl":"https://doi.org/10.1093/mts/mtac028","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44546808","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 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.
{"title":"O Give Me a Home","authors":"Patrick McCreless","doi":"10.1093/mts/mtac024","DOIUrl":"https://doi.org/10.1093/mts/mtac024","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42167910","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}
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.
{"title":"Undisciplined","authors":"Judy Lochhead","doi":"10.1093/mts/mtac022","DOIUrl":"https://doi.org/10.1093/mts/mtac022","url":null,"abstract":"\u0000 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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46422978","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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