Pub Date : 2020-10-01DOI: 10.1215/00222909-8550783
Peter H. Smith
Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata form even in the face of nineteenth-century innovations. Vande Moortele contrasts this “negative” approach to an as-yet-unrealized “positive” theory that would derive its concepts directly from nineteenth-century music. A multipart strategy interrogates the positive methodology championed by Vande Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer betrays the persistent gravitational pull of classical conventions, in contrast to Horton’s and Vande Moortele’s argument that a Romantic-centered corpus would tend to diminish that pull. Detailed analyses of select Dvořák movements focus on subordinate theme closure but also embrace broader concerns, such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate limitations of corpus study as contrasted with close reading of individual movements. The close readings underscore the need to engage both circumpolar norms and progressive linear developments, even in music written in the last decades of the nineteenth century.
{"title":"Dvořák and Subordinate Theme Closure","authors":"Peter H. Smith","doi":"10.1215/00222909-8550783","DOIUrl":"https://doi.org/10.1215/00222909-8550783","url":null,"abstract":"Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata form even in the face of nineteenth-century innovations. Vande Moortele contrasts this “negative” approach to an as-yet-unrealized “positive” theory that would derive its concepts directly from nineteenth-century music. A multipart strategy interrogates the positive methodology championed by Vande Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer betrays the persistent gravitational pull of classical conventions, in contrast to Horton’s and Vande Moortele’s argument that a Romantic-centered corpus would tend to diminish that pull. Detailed analyses of select Dvořák movements focus on subordinate theme closure but also embrace broader concerns, such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate limitations of corpus study as contrasted with close reading of individual movements. The close readings underscore the need to engage both circumpolar norms and progressive linear developments, even in music written in the last decades of the nineteenth century.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"5 1","pages":"203-240"},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89519346","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: 10.1215/00222909-8550819
Philippa Ovenden
{"title":"Music and the Moderni, 1300–1350: The Ars Nova in Theory and Practice by Karen Desmond","authors":"Philippa Ovenden","doi":"10.1215/00222909-8550819","DOIUrl":"https://doi.org/10.1215/00222909-8550819","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"1 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83446134","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":"An Interdisciplinary Sound Studies of the Soundscape’s Structure of the In-Between Space: A Case Study of Incheon International Airport","authors":"Hyunseok Kyon","doi":"10.36364/jmt.34.3","DOIUrl":"https://doi.org/10.36364/jmt.34.3","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"107 1","pages":"78-106"},"PeriodicalIF":1.4,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81870542","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":"A Study on Franz Schubert's Opera Creation and Characteristics of Genre: focusing on Alfonso und Estrella, D.732","authors":"Hosung Cha","doi":"10.36364/jmt.34.1","DOIUrl":"https://doi.org/10.36364/jmt.34.1","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"189 1","pages":"8-41"},"PeriodicalIF":1.4,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78504507","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 : 2020-04-01DOI: 10.1215/00222909-8033469
A. Rehding
{"title":"Music at Hand: Instruments, Bodies, and Cognition by Jonathan De Souza","authors":"A. Rehding","doi":"10.1215/00222909-8033469","DOIUrl":"https://doi.org/10.1215/00222909-8033469","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"41 1","pages":"137-143"},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84752506","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 : 2020-04-01DOI: 10.1215/00222909-8033408
J. Lawrence
Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories is provided to classify such pairs. This reframing of phrase-structural analysis in predictive terms opens it up to the hermeneutic strategies of dialogic analysis, by allowing for the exploration of the rhetorical and expressive effects of failed predictions. This article further proposes a way to use corpus studies to identify theme types in later musical styles in which Caplin’s definitions do not necessarily apply. The utility of this approach is demonstrated in analyses of waltzes by Johann Strauss II.
{"title":"Toward a Predictive Theory of Theme Types","authors":"J. Lawrence","doi":"10.1215/00222909-8033408","DOIUrl":"https://doi.org/10.1215/00222909-8033408","url":null,"abstract":"Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories is provided to classify such pairs. This reframing of phrase-structural analysis in predictive terms opens it up to the hermeneutic strategies of dialogic analysis, by allowing for the exploration of the rhetorical and expressive effects of failed predictions. This article further proposes a way to use corpus studies to identify theme types in later musical styles in which Caplin’s definitions do not necessarily apply. The utility of this approach is demonstrated in analyses of waltzes by Johann Strauss II.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"8 1","pages":"1-36"},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85787430","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 : 2020-04-01DOI: 10.1215/00222909-8033457
Mariusz Kozak
{"title":"Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking by Arnie Cox","authors":"Mariusz Kozak","doi":"10.1215/00222909-8033457","DOIUrl":"https://doi.org/10.1215/00222909-8033457","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"26 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76355556","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 : 2020-04-01DOI: 10.1093/OXFORDHB/9780199935321.013.003
Julian L. Hook
This article employs concepts from diatonic set theory, transformation theory, and neo-Riemannian theory in an investigation of sequences in generic (mod-7) pitch space. Sequences may be described using generic transposition operators, mod-7 analogs of the more familiar mod-12 chromatic transposition operators, and may be mapped in a generic Tonnetz analogous to the Tonnetz diagrams of neo-Riemannian theory. A complete classification of generic sequences with two-chord transposition blocks is derived from the paths described by the sequences in the Tonnetz. While it is tempting to regard generic space as “diatonic,” the examples demonstrate that generic structure governs many sequences that are not actually diatonic at all. The examples also show that the sequences found in the literature include many more types than are widely recognized and that generic sequence structure may apply in numerous other contexts besides patterns of chord roots.
{"title":"Generic Sequences and the Generic Tonnetz","authors":"Julian L. Hook","doi":"10.1093/OXFORDHB/9780199935321.013.003","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780199935321.013.003","url":null,"abstract":"This article employs concepts from diatonic set theory, transformation theory, and neo-Riemannian theory in an investigation of sequences in generic (mod-7) pitch space. Sequences may be described using generic transposition operators, mod-7 analogs of the more familiar mod-12 chromatic transposition operators, and may be mapped in a generic Tonnetz analogous to the Tonnetz diagrams of neo-Riemannian theory. A complete classification of generic sequences with two-chord transposition blocks is derived from the paths described by the sequences in the Tonnetz. While it is tempting to regard generic space as “diatonic,” the examples demonstrate that generic structure governs many sequences that are not actually diatonic at all. The examples also show that the sequences found in the literature include many more types than are widely recognized and that generic sequence structure may apply in numerous other contexts besides patterns of chord roots.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"47 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79327313","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 : 2020-04-01DOI: 10.1215/00222909-8033445
Michael Bruschi
{"title":"Microtonality and the Tuning Systems of Erv Wilson by Terumi Narushima","authors":"Michael Bruschi","doi":"10.1215/00222909-8033445","DOIUrl":"https://doi.org/10.1215/00222909-8033445","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"54 1","pages":"105-121"},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89837738","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 : 2020-04-01DOI: 10.1215/00222909-8033420
G. Capuzzo
This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones.
{"title":"Elliott Carter and Musical Silence","authors":"G. Capuzzo","doi":"10.1215/00222909-8033420","DOIUrl":"https://doi.org/10.1215/00222909-8033420","url":null,"abstract":"This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"150 1","pages":"37-61"},"PeriodicalIF":1.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85833787","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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