Drawing upon Edmund Husserl’s Logical Investigations, I apply the laws of mereology—the study of parts and wholes—to the analysis of time-consciousness in his On the Phenomenology of the Consciousness of Internal Time (1893–1917), arguing that Husserl’s phenomenological solution to problems raised by empirical psychology in the late nineteenth century concerning the relation between subject and object was inspired by a rethinking of the notion of intentionality in terms of an extensional whole. Turning, then, to descriptions from Husserl’s careful analyses of tone and melody in On the Phenomenology of the Consciousness of Internal Time (1893–1917), I claim that melody’s structure of expression pertains specifically to retention (which I distinguish from recollection) as a nonindependent part of a flowing whole. This mereologic reformulation helps us think through the problem of how a melody is perceived in time. Furthermore, I show how, according to Husserl, there is a unity of the sensation of “tone” and the “flow of consciousness,” and I argue that by understanding this unity as a whole of nonindependent parts, we grasp a significant insight that illuminates phenomenology’s overall aim of considering the evidence of empirical science together with the formal laws of logic.
{"title":"On the Nonindependent Parts of Time-Consciousness: Husserl’s Early Phenomenological Investigations and the Perception of Melody","authors":"Jessica Wiskus","doi":"10.1093/mts/mtaa022","DOIUrl":"https://doi.org/10.1093/mts/mtaa022","url":null,"abstract":"\u0000 Drawing upon Edmund Husserl’s Logical Investigations, I apply the laws of mereology—the study of parts and wholes—to the analysis of time-consciousness in his On the Phenomenology of the Consciousness of Internal Time (1893–1917), arguing that Husserl’s phenomenological solution to problems raised by empirical psychology in the late nineteenth century concerning the relation between subject and object was inspired by a rethinking of the notion of intentionality in terms of an extensional whole. Turning, then, to descriptions from Husserl’s careful analyses of tone and melody in On the Phenomenology of the Consciousness of Internal Time (1893–1917), I claim that melody’s structure of expression pertains specifically to retention (which I distinguish from recollection) as a nonindependent part of a flowing whole. This mereologic reformulation helps us think through the problem of how a melody is perceived in time. Furthermore, I show how, according to Husserl, there is a unity of the sensation of “tone” and the “flow of consciousness,” and I argue that by understanding this unity as a whole of nonindependent parts, we grasp a significant insight that illuminates phenomenology’s overall aim of considering the evidence of empirical science together with the formal laws of logic.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45070728","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}
The formal analysis of mashups is generally overlooked because their structures are assumed to be derived from one or more of their component tracks. This article explores the generation of original formal structures in one of the most well-known and complex mashup artists, DJ Earworm. We show that the form of his mashups can neither be derived from a singular work nor be analyzed by their thematic or harmonic construction. Instead, verse–chorus forms are revealed by correlating mashup sections to the formal origins of their borrowed material, which is based on the composer’s writings and interviews, a history of formal correlation in the mashup genre, and multiple analyses.
{"title":"Perceiving the Mosaic: Form in the Mashups of DJ Earworm","authors":"J. Yunek, Benjamin K. Wadsworth, S. Needle","doi":"10.1093/mts/mtaa016","DOIUrl":"https://doi.org/10.1093/mts/mtaa016","url":null,"abstract":"\u0000 The formal analysis of mashups is generally overlooked because their structures are assumed to be derived from one or more of their component tracks. This article explores the generation of original formal structures in one of the most well-known and complex mashup artists, DJ Earworm. We show that the form of his mashups can neither be derived from a singular work nor be analyzed by their thematic or harmonic construction. Instead, verse–chorus forms are revealed by correlating mashup sections to the formal origins of their borrowed material, which is based on the composer’s writings and interviews, a history of formal correlation in the mashup genre, and multiple analyses.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46253122","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}
{"title":"Foundations of Musical Grammar. By Lawrence M. Zbikowski","authors":"M. Reybrouck","doi":"10.1093/mts/mtaa024","DOIUrl":"https://doi.org/10.1093/mts/mtaa024","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43689406","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}
{"title":"Music, Analysis, and the Body: Experiments, Explorations, and Embodiments. Edited by Nicholas Reyland and Rebecca Thumpston","authors":"C. Trevor","doi":"10.1093/mts/mtaa023","DOIUrl":"https://doi.org/10.1093/mts/mtaa023","url":null,"abstract":"","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45547857","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}
A striking feature of Stravinsky’s neoclassical works is his simultaneous use of two or more topics. Robert S. Hatten (2014) has defined this process as troping, which involves four axes or “dimensions along which an imported topic and its potential tropological interaction may be marked with respect to its new environment,” defined as degrees of compatibility, dominance, creativity, and productivity. In this article, I use these four axes to demonstrate how combining analytical insights from each axis and adapting them for twentieth-century music can lead to nuanced expressive interpretations of Stravinsky’s neoclassical works.
{"title":"Tropological Interaction and Expressive Interpretation in Stravinsky’s Neoclassical Works","authors":"S. C. Schumann","doi":"10.1093/mts/mtaa015","DOIUrl":"https://doi.org/10.1093/mts/mtaa015","url":null,"abstract":"\u0000 A striking feature of Stravinsky’s neoclassical works is his simultaneous use of two or more topics. Robert S. Hatten (2014) has defined this process as troping, which involves four axes or “dimensions along which an imported topic and its potential tropological interaction may be marked with respect to its new environment,” defined as degrees of compatibility, dominance, creativity, and productivity. In this article, I use these four axes to demonstrate how combining analytical insights from each axis and adapting them for twentieth-century music can lead to nuanced expressive interpretations of Stravinsky’s neoclassical works.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42708007","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}
The reception of Johannes Lippius’s path-breaking conception of the triad chiefly relies upon his treatise Synopsis musicae novae. Yet Lippius first published most of his ideas in texts called “disputations,” whose genre-specific peculiarities have been overlooked. By situating Lippius’s writings within the early-modern university system, this essay reveals an important instance of how demands of audience and genre have shaped music theory and offers tantalizing glimpses of how the oral disputation may have encouraged Lippius to clarify his ideas, particularly in his recasting of the analogy between the triad and the Trinity.
{"title":"The Triad in Dispute: Johannes Lippius, His Audiences, and the Disputatio Genre","authors":"Caleb Mutch","doi":"10.1093/mts/mtaa008","DOIUrl":"https://doi.org/10.1093/mts/mtaa008","url":null,"abstract":"\u0000 The reception of Johannes Lippius’s path-breaking conception of the triad chiefly relies upon his treatise Synopsis musicae novae. Yet Lippius first published most of his ideas in texts called “disputations,” whose genre-specific peculiarities have been overlooked. By situating Lippius’s writings within the early-modern university system, this essay reveals an important instance of how demands of audience and genre have shaped music theory and offers tantalizing glimpses of how the oral disputation may have encouraged Lippius to clarify his ideas, particularly in his recasting of the analogy between the triad and the Trinity.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":"42 1","pages":"247-259"},"PeriodicalIF":1.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45428297","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：