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Getting to Count 开始数数
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-04-26 DOI: 10.1093/MTS/MTAA033
Ellie M. Hisama
The Society for Music Theory (SMT) remains a starkly male-identified society. According to the SMT’s 2019 annual report on demographics of its membership, 33% of SMT members self-identified as women—a figure that has not changed significantly over the last five years—in comparison to 51.2% of American Musicological Society members in 2017 and 52.2% of Society for Ethnomusicology members in 2014, the most recent data available. The NORC Survey of Earned Doctorates indicates that in 2018, only 20% of U.S. Ph.D.s in music theory and composition were women, a decrease from 26.4% of the period 2013–16; the previous five-year period was 18.9%. The paucity of women, trans, and non-binary gender music theorists over many decades should be a huge concern to the Society. Demographic diversity is not only an issue of equity, but also yields innovation in research that enriches the field. Drawing on insights about disciplinary constructions of gender and race by women scholars and scholars of color in classics and philosophy, experiences shared by women in music theory, an interview I conducted with composer and theorist Milton Babbitt, and the archive of music theorist and pianist Patricia Carpenter, this article proposes that we rethink what gets to count as music theory, become aware of discriminatory attitudes and behavior towards those who are not men, white, or heterosexual in the field, and take action by reshaping the field into one that supports those who wish to be part of it.
音乐理论学会(SMT)仍然是一个完全以男性为中心的社会。根据SMT 2019年关于其会员人口统计的年度报告,33%的SMT会员自认为是女性——这一数字在过去五年中没有显著变化——相比之下,2017年美国音乐学学会会员的比例为51.2%,2014年民族音乐学学会会员的比例为52.2%,这是最新的数据。NORC对获得博士学位的调查显示,2018年,美国音乐理论和作曲博士中只有20%是女性,比2013 - 2016年的26.4%有所下降;前5年为18.9%。几十年来,女性、跨性别和非二元性别音乐理论家的缺乏应该引起该协会的极大关注。人口多样性不仅是一个公平问题,而且还会产生丰富该领域的研究创新。根据女性学者和有色人种学者在经典和哲学方面对性别和种族的学科建构的见解,女性在音乐理论方面的经验,我对作曲家和理论家米尔顿·巴比特的采访,以及音乐理论家和钢琴家帕特里夏·卡彭特的档案,本文建议我们重新思考什么可以算作音乐理论,意识到对非男性白人的歧视态度和行为,或者是这个领域的异性恋者,并采取行动,将这个领域重塑成一个支持那些希望成为其中一员的人的领域。
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引用次数: 10
End-Accented Sentences: Towards a Theory of Phrase-Rhythmic Progression 重音句:走向短语节奏推进理论
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA018
Samuel Ng
For centuries, theorists have debated whether musical phrases are normatively beginning-accented or end-accented. The last two decades of the twentieth century gave beginning-accented rhythm the upper hand; yet, recent work on end-accented phrases has reinvigorated the debate. I contribute to this discussion in two ways. First, I aim to rehabilitate a central position of end-accented rhythm by drawing attention to phrase-rhythmic tendencies in classical sentence structure. My analyses show that end-accented sentential schemas are well-established compositional options in various action spaces—including Primary and Secondary Themes—in late eighteenth- and early nineteenth-century instrumental music. Moreover, integral roles of end-accented sentential themes are substantiated by their production—in tandem with their beginning-accented counterparts—of large-scale progressions analogous to tonal and formal ones. Awareness of these sentential themes re-energizes the century-old debate and deepens our understanding of phrase rhythm as a source of musical meaning. Second, in order to achieve the first goal, I develop a theory of phrase-rhythmic progression for categorizing phrase-rhythmic types and mapping their trajectories. This theory fills a gap in current spatial representations of rhythm and meter, which focus on metric dissonances and hierarchies without considerations of phrase–meter interaction.
几个世纪以来,理论家们一直在争论音乐乐句在规范上是重音开始还是重音结束。二十世纪的最后二十年,开始重音的节奏占了上风;然而,最近关于尾重音短语的研究重新激起了争论。我从两个方面参与了这个讨论。首先,我的目的是通过提请注意经典句子结构中的短语节奏倾向来恢复重音节奏的中心地位。我的分析表明,在18世纪晚期和19世纪早期的器乐中,末尾重音的句子图式在各种动作空间(包括主主题和次主题)中是公认的作曲选择。此外,尾重音句主句的整体作用是由它们与首重音句主句一起产生的类似于声调和形式的大规模进展所证实的。对这些句子主题的认识重新激发了长达一个世纪的争论,加深了我们对乐句节奏作为音乐意义来源的理解。其次,为了实现第一个目标,我发展了一种短语节奏推进理论,用于对短语节奏类型进行分类并绘制它们的轨迹。这一理论填补了目前节奏和韵律的空间表征的空白,这些空间表征侧重于韵律的不和谐和层次,而不考虑短语和韵律的相互作用。
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引用次数: 3
Metric Manipulations in Post-Tonal Music 后调性音乐中的韵律操纵
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA020
J. Sullivan
This article explores the continued use of eighteenth-century metric manipulations by composers of the twentieth and twenty-first centuries. These manipulations, called imbroglio, close imitation, and imitative imbroglio, are motive-driven and involve the perceptual interaction of meter, motivic parallelism, and perceptual streaming. Their defining features and local perceptual effects, which primarily involve metrical dissonance, are demonstrated in short passages by Schoenberg, Penderecki, Britten, Debussy, Webern, Barber, and Adès. Their larger form-functional and text-expressive potential is demonstrated in analyses of longer passages by Schoenberg, Webern, and Barber.
本文探讨了二十世纪和二十一世纪作曲家对十八世纪度量手法的持续使用。这些操作被称为纠纷症、接近模仿和模仿纠纷症,它们是动机驱动的,涉及韵律、动机平行和感知流的感知交互。它们的定义特征和局部感知效应,主要涉及韵律失调,在勋伯格、潘德列茨基、布里顿、德彪西、韦伯恩、巴伯和ad的短文中得到了证明。它们更大的形式功能和文本表达潜力在勋伯格、韦伯和巴伯对较长的段落的分析中得到了证明。
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引用次数: 1
Steve Reich’s Signature Rhythm and an Introduction to Rhythmic Qualities Steve Reich的标志性节奏与节奏素质导论
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA017
Jason Yust
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be understood as a rhythmic signature. A theory of rhythmic qualities allows us to identify the signature rhythm’s significant features and relate it to other cyclic rhythms like the Central/West African “standard pattern,” from which it probably originates. Rhythmic qualities derive from the discrete Fourier transform, whose mathematical properties make the theory particularly robust. One property, described by the convolution theorem, predicts the effects of Reich’s diverse rhythmic canons. I apply the theory to Music for Pieces of Wood (1973) and Nagoya Marimbas (1994).
Steve Reich的《拍手音乐》(1972)的节奏在他的许多作品中都有体现,可以理解为一种节奏特征。节奏品质理论使我们能够识别标志性节奏的显著特征,并将其与其他循环节奏联系起来,如中/西非的“标准模式”,它可能起源于此。节奏性来源于离散傅立叶变换,其数学特性使该理论特别稳健。卷积定理描述的一个性质预测了赖希各种节奏准则的影响。我将这一理论应用于《木头碎片的音乐》(1973年)和《名古屋·马里姆巴斯》(1994年)。
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引用次数: 4
“Musique cannibale”: The Evolving Sound of Indigeneity in Heitor Villa-Lobos’s Tres poêmas indigenas “罐头博物馆”:Heitor Villa Lobos的土著树中不断演变的愤怒之声
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA019
Chelsea Burns
Heitor Villa-Lobos’s Tres poêmas indigenas (1926, published 1929) provide an unusual image of Brazilian indigeneity: in three short songs, he creates a narrative of progress, one that ends with redefining himself and modernist colleague Mário de Andrade as Amerindian. The first two songs set melodies collected in 1557 and 1912, the third a new poem by Andrade (1926). The set begins with a narrow pitch collection, thin textures, and ostinatos and ends with a lied-like approach to text–music relations. In this way, Villa-Lobos creates an evolving image of Amerindian music-making that capitalizes on Indianist fantasies while redefining indigeneity as encompassing even the most modern and urbane Brazilians.
Heitor Villa Lobos的《土著人》(1926年,1929年出版)提供了一个不同寻常的巴西土著形象:在三首短歌中,他创造了一个关于进步的叙事,最后将自己和现代主义同事Mário de Andrade重新定义为美洲印第安人。前两首歌设定了1557年和1912年收集的旋律,第三首是安德拉德(1926)的新诗。这套作品以一个狭窄的音高集合、薄薄的纹理和ostinatos开始,以一种谎言般的文本-音乐关系方式结束。通过这种方式,Villa Lobos创造了一个不断发展的美洲印第安人音乐制作形象,利用了印度人的幻想,同时将土著重新定义为包括最现代、最有礼貌的巴西人。
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引用次数: 2
Musical Illusions and Phantom Words: How Music and Speech Unlock Mysteries of the Brain. By Diana Deutsch 音乐幻象与幻言:音乐与言语如何解开大脑之谜。黛安娜·多伊奇
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA026
D. Shanahan
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引用次数: 1
The Enigma of Entropy in Extended Tonality 扩展音调中的熵之谜
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-17 DOI: 10.1093/MTS/MTAA021
Kenneth M. Smith
This article considers music that stages the decline of the tonal system through “entropy”—the process conceived in the domain of thermodynamics by which energy is wasted through randomized dispersal or decrease in organization. Tonal organization faced challenges at the turn of the twentieth century, much of the music possessing a sense of tonal drive but with an increased array of outlets for this drive’s tension to be released. This article regards the dominant-seventh complex and its variant configurations as paradigms of this tonal drive and attempts to understand their new ambiguities and the increased richness of possibility they enjoy. In order to achieve this, the study engages in probability theory to create a unique profile for each tonal drive in a given piece, effectively measuring its strength. The fluctuating strengths can be mapped and the process of entropy tracked through a single piece, potentially even across repertoires. Using a new method of visually laying out the patterns of these dominant drives, combined with concepts from information theory that allow us to measure and compare levels of entropy mathematically, I attempt to combine qualitative and quantitative data to model the entropic processes that inhere in early twentieth-century music.
本文认为,音乐通过“熵”来表现音调系统的衰退,“熵”是热力学领域中构思的一个过程,通过随机分散或组织减少来浪费能量。音调组织在二十世纪之交面临挑战,许多音乐都具有音调驱动力,但这种驱动力的张力释放渠道越来越多。本文将占主导地位的第七复合体及其变体配置视为这种音调驱动的范式,并试图理解它们新的歧义和它们所享受的可能性的增加。为了实现这一点,该研究运用概率论为给定作品中的每个音调驱动创建一个独特的轮廓,有效地测量其强度。波动的强度可以被映射到一个作品中,熵的过程可以被跟踪,甚至可能在整个曲目中。我使用一种新的方法来直观地排列这些主导驱动的模式,并结合信息论中的概念,使我们能够用数学方法测量和比较熵的水平,我试图将定性和定量数据结合起来,对20世纪初音乐中存在的熵过程进行建模。
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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 : 2021-03-16 DOI: 10.1093/mts/mtaa027
chelsea burns, Assistant Professor of Music Theory at the University of Texas at Austin, studies Latin American modernisms as well as bluegrass and country music. Her research focuses on analysis in context and the ethics of analysis as it relates to marginalized repertories. Recent articles have appeared in Music Theory Online and Journal of Popular Music Studies.
切尔西·伯恩斯,德克萨斯大学奥斯汀分校音乐理论助理教授,研究拉丁美洲现代主义以及蓝草音乐和乡村音乐。她的研究主要集中在语境分析和分析的伦理,因为它涉及到边缘化的剧目。最近的文章出现在音乐理论在线和流行音乐研究杂志上。
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引用次数: 0
Music Theory’s White Racial Frame 音乐理论的白人种族框架
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-03-11 DOI: 10.1093/MTS/MTAA031
Philip A. Ewell
For over twenty years, music theory has tried to diversify with respect to race, yet the field today remains remarkably white, not only in the people who practice music theory but also in the race of the composers and theorists whose work music theory privileges. In this article, I offer a few explanations for why this is so. I posit a music-theoretical “white racial frame” that is structural and institutionalized, and argue that only through a deframing and reframing of this white racial frame will we begin to see positive racial changes in music theory.
二十多年来,音乐理论一直试图在种族方面多样化,但今天这个领域仍然明显是白人,不仅在实践音乐理论的人中,而且在音乐理论工作的作曲家和理论家的种族中也是如此。在本文中,我将提供一些解释。我假设一个音乐理论的“白人种族框架”是结构性的和制度化的,并认为只有通过对这个白人种族框架的解构和重构,我们才能开始在音乐理论中看到积极的种族变化。
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引用次数: 22
Naming the Frames that Shape Us 命名塑造我们的框架
IF 1 1区 艺术学 Q1 Arts and Humanities Pub Date : 2021-02-07 DOI: 10.1093/MTS/MTAA028
E. Marvin
This introduction provides context for the Society for Music Theory’s 2019 plenary session, “Reframing Music Theory.” These four papers together confront the frames of race, ethnicity, nationality, ability, gender, and sexuality that have bounded music theory and music theorists for generations, constraining what our discipline can be. They explore underlying reasons for the lack of diversity in the Society’s demographics and suggest ways that our research can be enriched when we embrace this diversity, to lead to a more equitable future.
这篇介绍为音乐理论学会2019年全体会议“重构音乐理论”提供了背景。这四篇论文共同面对种族、民族、国籍、能力、性别和性的框架,这些框架世世代代束缚着音乐理论和音乐理论家,限制着我们学科的发展。他们探讨了社会人口结构缺乏多样性的潜在原因,并提出了一些方法,当我们接受这种多样性时,我们的研究可以得到丰富,从而带来更公平的未来。
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引用次数: 3
期刊
MUSIC THEORY SPECTRUM
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