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.
{"title":"Becoming and Beyond: Applying Goethe’s Progressive and Retrogressive Metamorphosis to Fanny Hensel’s Piano Sonatas","authors":"Tyler Osborne","doi":"10.1093/mts/mtab015","DOIUrl":"https://doi.org/10.1093/mts/mtab015","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530607","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}
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。
{"title":"Contributors","authors":"","doi":"10.1093/mts/mtab010","DOIUrl":"https://doi.org/10.1093/mts/mtab010","url":null,"abstract":"<span>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” (<span style=\"font-style:italic;\">Journal of Music Theory</span>, 2016).</span>","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530608","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 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.
{"title":"The Times are A-Changin’: Metric Flexibility and Text Expression in 1960s and 1970s Singer-Songwriter Music","authors":"Nancy Murphy","doi":"10.1093/mts/mtab017","DOIUrl":"https://doi.org/10.1093/mts/mtab017","url":null,"abstract":"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.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530609","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：