Pub Date : 2022-09-08DOI: 10.1215/00222909-9930876
N. Martin
The history of music theory, as it has usually been taught in the United States, has focused on a small canon of texts written mostly in Latin, Italian, French, and German. This article advocates a more expansive view of the subdiscipline's remit by way of three case studies. The first considers the distinction that Abū Nasr Muhammad ibn al-Farakh al-Fārābī draws between the speculative and active parts of music theory and its influence on the formation of the discipline in the Latin-speaking world. The second considers entanglement between French and Chinese music theorizing in the later eighteenth century. The third treats the international contexts of Hugo Riemann's thought. I present these three case studies, together with more general reflections on the possible scope of research on historical music theory, with the aim of inviting reflection on the subdiscipline's past, present, and future.
音乐理论的历史，正如它通常在美国所教授的那样，集中在主要用拉丁语、意大利语、法语和德语写的一小部分经典文本上。本文通过三个案例研究，提倡对子学科的职权范围进行更广泛的观察。第一部分考虑了abir Nasr Muhammad ibn al-Farakh al-Fārābī在音乐理论的思辨部分和活跃部分之间的区别，以及它对拉丁语世界学科形成的影响。第二部分考虑了18世纪后期法国和中国音乐理论化的纠缠。第三部分论述黎曼思想的国际语境。我提出了这三个案例研究，以及对历史音乐理论研究可能范围的更一般的反思，目的是邀请人们对这一分支学科的过去、现在和未来进行反思。
{"title":"Toward a “Global” History of Music Theory","authors":"N. Martin","doi":"10.1215/00222909-9930876","DOIUrl":"https://doi.org/10.1215/00222909-9930876","url":null,"abstract":"\u0000 The history of music theory, as it has usually been taught in the United States, has focused on a small canon of texts written mostly in Latin, Italian, French, and German. This article advocates a more expansive view of the subdiscipline's remit by way of three case studies. The first considers the distinction that Abū Nasr Muhammad ibn al-Farakh al-Fārābī draws between the speculative and active parts of music theory and its influence on the formation of the discipline in the Latin-speaking world. The second considers entanglement between French and Chinese music theorizing in the later eighteenth century. The third treats the international contexts of Hugo Riemann's thought. I present these three case studies, together with more general reflections on the possible scope of research on historical music theory, with the aim of inviting reflection on the subdiscipline's past, present, and future.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"9 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86062278","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: 10.1215/00222909-9930937
Danuta Mirka
{"title":"Journeys through Galant Expositions","authors":"Danuta Mirka","doi":"10.1215/00222909-9930937","DOIUrl":"https://doi.org/10.1215/00222909-9930937","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"45 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86836628","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: 10.1215/00222909-9930901
B. Duinker
This article explores the notion of interpretive difficulty in contemporary music, treating it as a structural, tangible aspect of analysis. Interpretive difficulty comprises any challenge a performer may encounter—physical, cognitive, emotional, specific to a musical passage, or generalized across a repertoire or performance idiom. Five professional performers who specialize in contemporary music are interviewed about their experiences learning and performing specific works—Crimson (Rebecca Saunders, 2005), Taurangi (Gillian Whitehead, 1999), Mani.Δίκη (Pierluigi Billone, 2012), Sept papillons (Kaija Saariaho, 2000), and La Nativité du Seigneur (Olivier Messiaen, 1935)—focusing on how interpretive difficulty and musical structure intersect in their practice. These interviews illuminate a relationship between interpretive difficulty and musical structure that manifests in several domains: accuracy, interpretive latitude, narrative, and control. While difficulty is uniquely determined by any musician's physical, cognitive, environmental, or cultural context, using these domains as a theoretical framework establishes relationships among works, performers, and idioms that might otherwise appear to have little in common—a particularly appealing prospect for recently composed repertoire. In subscribing to Nicholas Cook's (2013) recharacterization of the score as a “script” that is interpreted, supplemented, and molded in performance, this research encourages the treatment of performers' contributions as a fundamental object of analysis.
{"title":"Interpretive Difficulty and Emergent Structure in Contemporary Music","authors":"B. Duinker","doi":"10.1215/00222909-9930901","DOIUrl":"https://doi.org/10.1215/00222909-9930901","url":null,"abstract":"\u0000 This article explores the notion of interpretive difficulty in contemporary music, treating it as a structural, tangible aspect of analysis. Interpretive difficulty comprises any challenge a performer may encounter—physical, cognitive, emotional, specific to a musical passage, or generalized across a repertoire or performance idiom. Five professional performers who specialize in contemporary music are interviewed about their experiences learning and performing specific works—Crimson (Rebecca Saunders, 2005), Taurangi (Gillian Whitehead, 1999), Mani.Δίκη (Pierluigi Billone, 2012), Sept papillons (Kaija Saariaho, 2000), and La Nativité du Seigneur (Olivier Messiaen, 1935)—focusing on how interpretive difficulty and musical structure intersect in their practice. These interviews illuminate a relationship between interpretive difficulty and musical structure that manifests in several domains: accuracy, interpretive latitude, narrative, and control. While difficulty is uniquely determined by any musician's physical, cognitive, environmental, or cultural context, using these domains as a theoretical framework establishes relationships among works, performers, and idioms that might otherwise appear to have little in common—a particularly appealing prospect for recently composed repertoire. In subscribing to Nicholas Cook's (2013) recharacterization of the score as a “script” that is interpreted, supplemented, and molded in performance, this research encourages the treatment of performers' contributions as a fundamental object of analysis.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"22 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78497599","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: 10.1215/00222909-9930913
Elizabeth Lyon Hall
{"title":"Greek and Latin Music Theory: Principles and Challenges","authors":"Elizabeth Lyon Hall","doi":"10.1215/00222909-9930913","DOIUrl":"https://doi.org/10.1215/00222909-9930913","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"1 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85579806","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: 10.1215/00222909-9930889
Daniil Zavlunov
Anglophone topic theory scholarship evinces only peripheral awareness of rich traditions of topical analysis that have existed outside its linguistic sphere. Many of the elements defining Anglophone topic theory today were present in the writings of Soviet musicologists, some dating back to the 1930s. Soviet “topic theory”—to use the term anachronistically—grew out of the method of holistic analysis (tselostnïy analiz) developed by Leo (Lev) Mazel’ and Viktor Zuckermann (Tsukkerman). Even the earliest scholarship of these theorists is peppered with references to topics, with the topical explorations embedded within broader considerations of style, history, and musical structure and discourse. By the early 1960s, a culture of topical analysis, one that emphasized topics' expressive and formal functions, was in place, and over the next decade it began to transform into a theory. The core of this essay is devoted to Mazel's and, especially, Zuckermann's understanding of topics and what they make possible in music analysis. Mazel's and Zuckermann's work stimulated the next generation of theorists—including Viktor Bobrovsky, Yevgeny Nazaykinsky, and Vyacheslav Medushevsky—to systematize and consolidate their ideas and take them in new directions. This study—part conspectus, part interpretation, and part critique—surveys the evolution of topic theory by holistic analysts and their disciples between 1930 and 1990.
{"title":"Topic Theory in Soviet Musicology","authors":"Daniil Zavlunov","doi":"10.1215/00222909-9930889","DOIUrl":"https://doi.org/10.1215/00222909-9930889","url":null,"abstract":"\u0000 Anglophone topic theory scholarship evinces only peripheral awareness of rich traditions of topical analysis that have existed outside its linguistic sphere. Many of the elements defining Anglophone topic theory today were present in the writings of Soviet musicologists, some dating back to the 1930s. Soviet “topic theory”—to use the term anachronistically—grew out of the method of holistic analysis (tselostnïy analiz) developed by Leo (Lev) Mazel’ and Viktor Zuckermann (Tsukkerman). Even the earliest scholarship of these theorists is peppered with references to topics, with the topical explorations embedded within broader considerations of style, history, and musical structure and discourse. By the early 1960s, a culture of topical analysis, one that emphasized topics' expressive and formal functions, was in place, and over the next decade it began to transform into a theory. The core of this essay is devoted to Mazel's and, especially, Zuckermann's understanding of topics and what they make possible in music analysis. Mazel's and Zuckermann's work stimulated the next generation of theorists—including Viktor Bobrovsky, Yevgeny Nazaykinsky, and Vyacheslav Medushevsky—to systematize and consolidate their ideas and take them in new directions. This study—part conspectus, part interpretation, and part critique—surveys the evolution of topic theory by holistic analysts and their disciples between 1930 and 1990.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"35 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80320172","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: 10.1215/00222909-9930962
P. Rupprecht
{"title":"Pieces of Tradition: An Analysis of Contemporary Tonal Music","authors":"P. Rupprecht","doi":"10.1215/00222909-9930962","DOIUrl":"https://doi.org/10.1215/00222909-9930962","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"2 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80275414","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: 10.1215/00222909-9930974
J. Tatar
{"title":"Flow: The Rhythmic Voice in Rap Music","authors":"J. Tatar","doi":"10.1215/00222909-9930974","DOIUrl":"https://doi.org/10.1215/00222909-9930974","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"98 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80973001","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: 10.1215/00222909-9930949
J. Lawrence
{"title":"Musical Motives: A Theory and Method for Analyzing Shape in Music","authors":"J. Lawrence","doi":"10.1215/00222909-9930949","DOIUrl":"https://doi.org/10.1215/00222909-9930949","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"19 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85665859","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 : 2022-04-01DOI: 10.1215/00222909-9534139
Bjørnar Utne-Reitan
What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.
{"title":"Music Theory Pedagogy in the Nineteenth Century","authors":"Bjørnar Utne-Reitan","doi":"10.1215/00222909-9534139","DOIUrl":"https://doi.org/10.1215/00222909-9534139","url":null,"abstract":"\u0000 What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"120 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75455908","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 : 2022-04-01DOI: 10.1215/00222909-9534175
Scott Murphy
{"title":"Hollywood Harmony: Musical Wonder and the Sound of Cinema","authors":"Scott Murphy","doi":"10.1215/00222909-9534175","DOIUrl":"https://doi.org/10.1215/00222909-9534175","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"76 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75326099","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：