Pub Date : 2023-03-14DOI: 10.1215/00222909-10232117
Stephen S. Hudson
{"title":"Focal Impulse Theory: Musical Expression, Meter, and the BodyEnacting Musical Time: The Bodily Experience of New Music","authors":"Stephen S. Hudson","doi":"10.1215/00222909-10232117","DOIUrl":"https://doi.org/10.1215/00222909-10232117","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73232349","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232129
Margaret E. Thomas
{"title":"Form as Harmony in Rock Music","authors":"Margaret E. Thomas","doi":"10.1215/00222909-10232129","DOIUrl":"https://doi.org/10.1215/00222909-10232129","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84395734","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232069
Benedict Taylor
One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First and Third Symphonies, the opening movements of the G-minor Piano Quartet and Fourth Symphony, and the Tragic Overture. This common basic principle can nevertheless underpin a variety of formal typologies. Ostensibly a three-part sonata form with developmental double return would be most likely labeled a sonata rondo (type 4 in Hepokoski and Darcy's sonata theory), while a two-part design is so typical of Brahms's practice that it has become known as a “Brahmsian deformation” (expanded type 1). However, numerous cases exist in which neither reading above is permitted—most notably, three-part sonata forms with developmental double return used as opening movements. In these cases sonata theory is left classifying these designs as a conventional type 3 sonata with an expositional repeat feint. There are some serious problems, however, with this interpretation. First is the sheer number of pieces in which this double return occurs; in fact, after 1878 Brahms is more likely to “feign” a repeat than to provide one. Second, how the primary theme returns is hardly ever identical to its opening appearance and can rarely be confused with an exposition repeat (the op. 25 Quartet and Fourth Symphony are exceptions in this sense). Exploring these works, the author proposes a new subtype of the type 3 sonata to classify Brahms's mature practice, called “type 34.” Ultimately, though, these findings may lead to questions regarding the efficacy of a classically oriented typology confronted with late nineteenth-century practice.
{"title":"Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology","authors":"Benedict Taylor","doi":"10.1215/00222909-10232069","DOIUrl":"https://doi.org/10.1215/00222909-10232069","url":null,"abstract":"\u0000 One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First and Third Symphonies, the opening movements of the G-minor Piano Quartet and Fourth Symphony, and the Tragic Overture. This common basic principle can nevertheless underpin a variety of formal typologies. Ostensibly a three-part sonata form with developmental double return would be most likely labeled a sonata rondo (type 4 in Hepokoski and Darcy's sonata theory), while a two-part design is so typical of Brahms's practice that it has become known as a “Brahmsian deformation” (expanded type 1). However, numerous cases exist in which neither reading above is permitted—most notably, three-part sonata forms with developmental double return used as opening movements. In these cases sonata theory is left classifying these designs as a conventional type 3 sonata with an expositional repeat feint. There are some serious problems, however, with this interpretation. First is the sheer number of pieces in which this double return occurs; in fact, after 1878 Brahms is more likely to “feign” a repeat than to provide one. Second, how the primary theme returns is hardly ever identical to its opening appearance and can rarely be confused with an exposition repeat (the op. 25 Quartet and Fourth Symphony are exceptions in this sense). Exploring these works, the author proposes a new subtype of the type 3 sonata to classify Brahms's mature practice, called “type 34.” Ultimately, though, these findings may lead to questions regarding the efficacy of a classically oriented typology confronted with late nineteenth-century practice.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79847507","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232081
Drake Andersen
compositional spaces have long been used to illustrate structural relationships within and between musical works. However, despite robust scholarship employing spaces to depict the possibilities available to composers, space-based analytical methods have rarely been used to study the performance of music. Through case studies drawn from improvised and notated music, this article introduces the questions and methodologies by which analogous spaces for performance, which the author terms performance spaces, may be generated and analyzed. The author also considers the unique properties of hybrid spaces that combine the tools of discrete mathematics, such as graphs, with distance-based metrics.
{"title":"Performance Spaces for Improvised and Notated Music","authors":"Drake Andersen","doi":"10.1215/00222909-10232081","DOIUrl":"https://doi.org/10.1215/00222909-10232081","url":null,"abstract":"\u0000 compositional spaces have long been used to illustrate structural relationships within and between musical works. However, despite robust scholarship employing spaces to depict the possibilities available to composers, space-based analytical methods have rarely been used to study the performance of music. Through case studies drawn from improvised and notated music, this article introduces the questions and methodologies by which analogous spaces for performance, which the author terms performance spaces, may be generated and analyzed. The author also considers the unique properties of hybrid spaces that combine the tools of discrete mathematics, such as graphs, with distance-based metrics.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78546335","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232093
Scott Murphy
A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches to the classification of harmonic progression. A holistic adoption of these eight approaches, each already preexisting within music scholarship in some partial or complete form, affords precise and gradated statements regarding the styles, associative meanings, and hermeneutics of music for recent multimedia. To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina.
{"title":"An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music","authors":"Scott Murphy","doi":"10.1215/00222909-10232093","DOIUrl":"https://doi.org/10.1215/00222909-10232093","url":null,"abstract":"\u0000 A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches to the classification of harmonic progression. A holistic adoption of these eight approaches, each already preexisting within music scholarship in some partial or complete form, affords precise and gradated statements regarding the styles, associative meanings, and hermeneutics of music for recent multimedia. To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75594078","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232105
S. Fuller
{"title":"Upper-Voice Structures and Compositional Process in the Ars nova Motet","authors":"S. Fuller","doi":"10.1215/00222909-10232105","DOIUrl":"https://doi.org/10.1215/00222909-10232105","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78999178","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10232057
Dmitri Tymoczko
This article describes an approximate set theory modeling intuitions shared by musicians such as Cowell, Schoenberg, Messiaen, and Persichetti. The author considers five approximation strategies, showing that in each case the result resembles an exact seven-tone set theory. Since most seven-tone sets are interval cycles, approximate twelve-tone sets are approximately cyclic as well. The theory explains how to highlight this cyclic structure using voicings, modeled by intervals in the intrinsic scale formed from a chord's own notes. This connection to voicing is what gives approximate chord categories much of their significance. The approach is most useful for chords with five or fewer notes and works tolerably for hexachords, but it breaks down with larger collections. This is not a failure of the model but a reflection of the fact that quality space contracts as cardinality increases.
{"title":"Approximate Set Theory","authors":"Dmitri Tymoczko","doi":"10.1215/00222909-10232057","DOIUrl":"https://doi.org/10.1215/00222909-10232057","url":null,"abstract":"\u0000 This article describes an approximate set theory modeling intuitions shared by musicians such as Cowell, Schoenberg, Messiaen, and Persichetti. The author considers five approximation strategies, showing that in each case the result resembles an exact seven-tone set theory. Since most seven-tone sets are interval cycles, approximate twelve-tone sets are approximately cyclic as well. The theory explains how to highlight this cyclic structure using voicings, modeled by intervals in the intrinsic scale formed from a chord's own notes. This connection to voicing is what gives approximate chord categories much of their significance. The approach is most useful for chords with five or fewer notes and works tolerably for hexachords, but it breaks down with larger collections. This is not a failure of the model but a reflection of the fact that quality space contracts as cardinality increases.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83334637","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}
Pub Date : 2023-03-14DOI: 10.1215/00222909-10635922
Announcement| April 01 2023 David Kraehenbuehl Prize Journal of Music Theory (2023) 67 (1): 207. https://doi.org/10.1215/00222909-10635922 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation David Kraehenbuehl Prize. Journal of Music Theory 1 April 2023; 67 (1): 207. doi: https://doi.org/10.1215/00222909-10635922 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsJournal of Music Theory Search Advanced Search The David Kraehenbuehl Prize, named for the visionary founding editor of the Journal of Music Theory, was established in 2008 and is given biennially for the best article published in JMT by a scholar untenured at the time of submission. It carries a cash award of $2,000 and is determined by a selection committee of scholars unaffiliated with Yale University or with any of the eligible authors. The two-year cycle on which the current award is based was 2020–21, or volumes 64 and 65 of the journal. The selection committee for the award consisted of consisted of Victoria Malawey (chair), Nathan Martin, and Joti Rockwell.The Journal of Music Theory is pleased to announce that the 2022 David Kraehenbuehl Prize is presented to Rebecca Simpson-Litke for her article “Flipped, Broken, and Paused Clave: Dancing through Metric Ambiguities in Salsa Music,” which appeared in volume 65, number 1 of JMT... You do not currently have access to this content.
{"title":"David Kraehenbuehl Prize","authors":"","doi":"10.1215/00222909-10635922","DOIUrl":"https://doi.org/10.1215/00222909-10635922","url":null,"abstract":"Announcement| April 01 2023 David Kraehenbuehl Prize Journal of Music Theory (2023) 67 (1): 207. https://doi.org/10.1215/00222909-10635922 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation David Kraehenbuehl Prize. Journal of Music Theory 1 April 2023; 67 (1): 207. doi: https://doi.org/10.1215/00222909-10635922 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsJournal of Music Theory Search Advanced Search The David Kraehenbuehl Prize, named for the visionary founding editor of the Journal of Music Theory, was established in 2008 and is given biennially for the best article published in JMT by a scholar untenured at the time of submission. It carries a cash award of $2,000 and is determined by a selection committee of scholars unaffiliated with Yale University or with any of the eligible authors. The two-year cycle on which the current award is based was 2020–21, or volumes 64 and 65 of the journal. The selection committee for the award consisted of consisted of Victoria Malawey (chair), Nathan Martin, and Joti Rockwell.The Journal of Music Theory is pleased to announce that the 2022 David Kraehenbuehl Prize is presented to Rebecca Simpson-Litke for her article “Flipped, Broken, and Paused Clave: Dancing through Metric Ambiguities in Salsa Music,” which appeared in volume 65, number 1 of JMT... You do not currently have access to this content.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135837800","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}
Pub Date : 2022-09-08DOI: 10.1215/00222909-9930925
Roberto Cornacchioni Alegre
posers the counterpoint new partimento. a s yourclassical. classical musicians and posers. how turkey s classical and folk music continues to survive. music. the of partimento public group
{"title":"Child Composers in the Old Conservatories: How Orphans Became Elite Musicians","authors":"Roberto Cornacchioni Alegre","doi":"10.1215/00222909-9930925","DOIUrl":"https://doi.org/10.1215/00222909-9930925","url":null,"abstract":"posers the counterpoint new partimento. a s yourclassical. classical musicians and posers. how turkey s classical and folk music continues to survive. music. the of partimento public group","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84572939","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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