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OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac008
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac009
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac003
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac005
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac002
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac011
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引用次数: 0
OUP accepted manuscript OUP接受稿件
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1093/mts/mtac004
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引用次数: 0
Becoming and Beyond: Applying Goethe’s Progressive and Retrogressive Metamorphosis to Fanny Hensel’s Piano Sonatas 成为与超越:将歌德的进步与倒退的蜕变运用于范妮·亨塞尔的钢琴奏鸣曲
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-11-22 DOI: 10.1093/mts/mtab015
Tyler Osborne
Abstract Over the last decade, Janet Schmalfeldt’s concept of “becoming” has provided groundwork to evaluate how ambiguous formal moments gradually come into focus through the practice of retrospective reinterpretation. I supplement Schmalfeldt’s Hegelian perspective with concepts drawn from Goethe’s botanical studies to propose a type of becoming that is not limited to retrospective reinterpretation but instead embraces gradual thematic transformations that can function either progressively or retrogressively. Using Fanny Hensel’s piano sonatas as case studies, I explain how the two categories of progressive and retrogressive metamorphosis are fitting metaphors to describe gradual thematic transformations within Romantic-era composers’ works that resist formal prototypes.
在过去的十年中,Janet Schmalfeldt的“成为”概念为评估模棱两可的形式时刻如何通过回顾性重新解释的实践逐渐成为焦点提供了基础。我用歌德植物学研究中的概念来补充施马尔菲尔德的黑格尔观点,提出一种不局限于回顾性重新解释的转变,而是包含渐进的主题转变,可以渐进或倒退地发挥作用。以范妮·亨塞尔(Fanny Hensel)的钢琴奏鸣曲为例,我解释了进步和倒退蜕变这两个类别是如何恰当地比喻浪漫主义时代作曲家作品中抵制正式原型的逐渐主题转变的。
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引用次数: 0
Contributors 贡献者
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-09-14 DOI: 10.1093/mts/mtab010
CHRISTOPHER BRODY is Assistant Professor of Music Theory at the University of Louisville. He holds a Ph.D. from Yale University as well as a DMA from the University of Minnesota, and has previously served on the faculties of Indiana University and the Eastman School of Music. In 2019, he was the winner of the Society for Music Theory’s Emerging Scholar Award for his article “Parametric Interaction in Tonal Repertoires” (Journal of Music Theory, 2016).
克里斯托弗·布罗迪(CHRISTOPHER BRODY)是路易斯维尔大学音乐理论助理教授。他拥有耶鲁大学博士学位和明尼苏达大学音乐硕士学位,此前曾在印第安纳大学和伊士曼音乐学院任职。2019年,他的文章《调性谱中的参数交互》(Journal of Music Theory, 2016)获得了美国音乐理论学会新兴学者奖。
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引用次数: 0
The Times are A-Changin’: Metric Flexibility and Text Expression in 1960s and 1970s Singer-Songwriter Music 时代在变:20世纪60年代和70年代创作型歌手音乐中的韵律灵活性和文本表达
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-09-08 DOI: 10.1093/mts/mtab017
Nancy Murphy
In 1960s and 1970s singer-songwriter music, some artists used a malleable approach to meter in performance that resulted in songs with extremes of self-expressive timing flexibility that cannot be accounted for by using a single conception of meter. As a solution, this article draws together theories of metric hierarchy, metrical reinterpretation, and metric process to develop the theory of flexible meter. This approach recasts meter as able to encompass the variety of metric scenarios presented by these singer-songwriters, from metric regularity to metric ambiguity and vacillations between these two possibilities. Performances by Bob Dylan, Joni Mitchell, Buffy Sainte-Marie, Paul Simon, and Cat Stevens are discussed to investigate their levels of engagement with meter—the degree to which their performances are regular or ambiguous—and how the individual metric style of each artist contributes to the self-expressive singer-songwriter performance practice.
在20世纪60年代和70年代的创作型歌手音乐中,一些艺术家在表演中使用了一种可塑性的方法,导致歌曲具有极端的自我表达的时间灵活性,这不能用单一的节奏概念来解释。为了解决这一问题,本文将米制层次理论、格律再解释理论和米制过程理论结合起来,发展出灵活的米制理论。这种方法将拍子重新定义为能够包含这些歌手-词曲作者所呈现的各种度量场景,从度量规则到度量模糊和这两种可能性之间的摇摆。本文讨论了鲍勃·迪伦、乔尼·米切尔、巴菲·圣玛丽、保罗·西蒙和凯特·史蒂文斯的表演,以调查他们对节奏的参与程度——他们的表演是有规律的还是模糊的——以及每个艺术家的个人节奏风格如何对自我表达的创作型歌手的表演实践做出贡献。
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引用次数: 0
期刊
MUSIC THEORY SPECTRUM
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