Pub Date : 2021-04-01DOI: 10.1215/00222909-9124774
Daniel K. S. Walden
{"title":"Stories of Tonality in the Age of François-Joseph Fétis","authors":"Daniel K. S. Walden","doi":"10.1215/00222909-9124774","DOIUrl":"https://doi.org/10.1215/00222909-9124774","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"49 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78608065","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 : 2021-04-01DOI: 10.1215/00222909-9124714
Mari Romarheim Haugen
This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of the underlying “feel” of the music. The results are discussed in light of recent theoretical perspectives on the multimodality of human perception. It is argued that the special feel of telespringar derives from embodied sensations related to the dance and how music and dance have developed in tandem over time. The study advocates a holistic view of music and dance, the importance of insider experience, and the role of embodied experience in guiding our understanding of the music as such.
{"title":"Investigating Music-Dance Relationships","authors":"Mari Romarheim Haugen","doi":"10.1215/00222909-9124714","DOIUrl":"https://doi.org/10.1215/00222909-9124714","url":null,"abstract":"\u0000 This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of the underlying “feel” of the music. The results are discussed in light of recent theoretical perspectives on the multimodality of human perception. It is argued that the special feel of telespringar derives from embodied sensations related to the dance and how music and dance have developed in tandem over time. The study advocates a holistic view of music and dance, the importance of insider experience, and the role of embodied experience in guiding our understanding of the music as such.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"15 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86957210","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 : 2021-04-01DOI: 10.1215/00222909-9124702
Richard Cohn
Scholars of music and dance have subtly different conceptions of musical time, which can lead to misunderstandings in interdisciplinary communication. These conceptual distinctions may be rooted in the embodied experience of performance: the energy required to create dance through whole-body displacement is different in kind from that required to create music through displacement of air molecules. The essay focuses on different conceptions of beats, of the counting numbers that represent them, of precise temporal regularity, and of the relationship between meter and phrasing.
{"title":"Prefatory Note: How Music Theorists Model Time","authors":"Richard Cohn","doi":"10.1215/00222909-9124702","DOIUrl":"https://doi.org/10.1215/00222909-9124702","url":null,"abstract":"\u0000 Scholars of music and dance have subtly different conceptions of musical time, which can lead to misunderstandings in interdisciplinary communication. These conceptual distinctions may be rooted in the embodied experience of performance: the energy required to create dance through whole-body displacement is different in kind from that required to create music through displacement of air molecules. The essay focuses on different conceptions of beats, of the counting numbers that represent them, of precise temporal regularity, and of the relationship between meter and phrasing.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"18 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88033418","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 : 2021-04-01DOI: 10.1215/00222909-9124738
Alison Stevens
Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the development of hypermetrical hearing. The contredanse had surpassed the minuet in popularity by the second half of the eighteenth century, probably in part because of its participatory rather than performative nature. More important, it was the first dance in which alignment of choreography and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter.
{"title":"Music in the Body","authors":"Alison Stevens","doi":"10.1215/00222909-9124738","DOIUrl":"https://doi.org/10.1215/00222909-9124738","url":null,"abstract":"\u0000 Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the development of hypermetrical hearing. The contredanse had surpassed the minuet in popularity by the second half of the eighteenth century, probably in part because of its participatory rather than performative nature. More important, it was the first dance in which alignment of choreography and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"21 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74037953","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 : 2021-04-01DOI: 10.1215/00222909-9124762
K. Leaman
The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco, set to J. S. Bach's Concerto for Two Violins (BWV 1043). Choreomusical notation and annotated videos offer readers the chance to sketch-dance, to feel in their own bodies the movements in relation to the music. Balanchine's choreography maps both specific patterns of pitch and rhythm from Bach's score—sometimes synchronized to the music and sometimes displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist and Europeanist musical techniques in the formation of an American neoclassical ballet.
{"title":"Musical Techniques in Balanchine's Jazzy Bach Ballet","authors":"K. Leaman","doi":"10.1215/00222909-9124762","DOIUrl":"https://doi.org/10.1215/00222909-9124762","url":null,"abstract":"\u0000 The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco, set to J. S. Bach's Concerto for Two Violins (BWV 1043). Choreomusical notation and annotated videos offer readers the chance to sketch-dance, to feel in their own bodies the movements in relation to the music. Balanchine's choreography maps both specific patterns of pitch and rhythm from Bach's score—sometimes synchronized to the music and sometimes displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist and Europeanist musical techniques in the formation of an American neoclassical ballet.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"78 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73736345","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 : 2021-04-01DOI: 10.1215/00222909-9124726
Rebecca Simpson-Litke
This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.
{"title":"Flipped, Broken, and Paused Clave","authors":"Rebecca Simpson-Litke","doi":"10.1215/00222909-9124726","DOIUrl":"https://doi.org/10.1215/00222909-9124726","url":null,"abstract":"\u0000 This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"18 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87184572","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 : 2020-10-01DOI: 10.1215/00222909-8550831
Daniel Harrison
{"title":"“Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century”","authors":"Daniel Harrison","doi":"10.1215/00222909-8550831","DOIUrl":"https://doi.org/10.1215/00222909-8550831","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"46 1","pages":"297-308"},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74418558","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 : 2020-10-01DOI: 10.1215/00222909-8550807
Jonathan de Souza
{"title":"A Theory of Virtual Agency for Western Art Music by Robert S. Hatten","authors":"Jonathan de Souza","doi":"10.1215/00222909-8550807","DOIUrl":"https://doi.org/10.1215/00222909-8550807","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"27 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84895003","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 : 2020-10-01DOI: 10.1215/00222909-8550771
M. Long
At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional equivalence and reveals that different kinds of keys may be built on different conceptual foundations.
{"title":"What Do Signatures Signify?","authors":"M. Long","doi":"10.1215/00222909-8550771","DOIUrl":"https://doi.org/10.1215/00222909-8550771","url":null,"abstract":"At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional equivalence and reveals that different kinds of keys may be built on different conceptual foundations.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"4 1","pages":"147-201"},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91370048","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 : 2020-10-01DOI: 10.1215/00222909-8550795
Nathan L. Lam
This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la-minor solfège. In the construction of modal spelled pitch class, la-minor solfège is of equal importance to do-minor solfège, and subsequent analyses contrast the perspectives of both types of movable-do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu in E♭ major, D. 899, and Piano Sonata in B♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations.
{"title":"Modal Spelled Pitch Class, La-Minor Solfège, and Schubert’s Third Relations","authors":"Nathan L. Lam","doi":"10.1215/00222909-8550795","DOIUrl":"https://doi.org/10.1215/00222909-8550795","url":null,"abstract":"This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la-minor solfège. In the construction of modal spelled pitch class, la-minor solfège is of equal importance to do-minor solfège, and subsequent analyses contrast the perspectives of both types of movable-do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu in E♭ major, D. 899, and Piano Sonata in B♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"32 1","pages":"241-281"},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73217502","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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