{"title":"A Study on the characteristics of genre and musical language of Schubert's Singspiel: focused on Die Zwillingsbrüder, D.647","authors":"Hosung Cha","doi":"10.36364/jmt.33.1","DOIUrl":"https://doi.org/10.36364/jmt.33.1","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"6 1","pages":"8-42"},"PeriodicalIF":1.4,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80730671","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 within the Music: Frame Story in Chopin’s Music","authors":"Heewon Chung","doi":"10.36364/jmt.33.2","DOIUrl":"https://doi.org/10.36364/jmt.33.2","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"27 1","pages":"44-69"},"PeriodicalIF":1.4,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81165277","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 Technology and Artificial Intelligence Applied to Music Production","authors":"Park, Jae-Rock","doi":"10.36364/jmt.33.4","DOIUrl":"https://doi.org/10.36364/jmt.33.4","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"47 1","pages":"108-143"},"PeriodicalIF":1.4,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79742684","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 process of extending dominant harmony in respect to discordance between harmony and design","authors":"N. Lee","doi":"10.36364/jmt.33.3","DOIUrl":"https://doi.org/10.36364/jmt.33.3","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"131 1","pages":"70-107"},"PeriodicalIF":1.4,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75820801","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 : 2019-10-01DOI: 10.1215/00222909-7795200
N. Adam
{"title":"Hearing Harmony: Toward a Tonal Theory for the Rock Era by Christopher Doll","authors":"N. Adam","doi":"10.1215/00222909-7795200","DOIUrl":"https://doi.org/10.1215/00222909-7795200","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"62 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75203840","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 : 2019-10-01DOI: 10.1215/00222909-7795269
J. Guez
Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment, and self-effacing alterations.
{"title":"Toward a Theory of Recapitulatory Tonal Alterations","authors":"J. Guez","doi":"10.1215/00222909-7795269","DOIUrl":"https://doi.org/10.1215/00222909-7795269","url":null,"abstract":"Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment, and self-effacing alterations.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"18 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85751777","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 : 2019-10-01DOI: 10.1215/00222909-7795257
Leah Frederick
This article constructs generic voice-leading spaces by combining geometric approaches to voice leading with diatonic set theory. Unlike the continuous mod-12 spaces developed by Callender, Quinn, and Tymoczko, these mod-7 spaces are fundamentally discrete. The mathematical properties of these spaces derive from the properties of diatonic pitch-class sets and generic pitch spaces developed by Clough and Hook. After presenting the construction of these voice-leading spaces and defining the OPTIC relations in mod-7 space, this article presents the mod-7 OPTIC-, OPTI-, OPT-, and OP-spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes in the chords and the particular OPTIC relations applied.
{"title":"Generic (Mod-7) Voice-Leading Spaces","authors":"Leah Frederick","doi":"10.1215/00222909-7795257","DOIUrl":"https://doi.org/10.1215/00222909-7795257","url":null,"abstract":"This article constructs generic voice-leading spaces by combining geometric approaches to voice leading with diatonic set theory. Unlike the continuous mod-12 spaces developed by Callender, Quinn, and Tymoczko, these mod-7 spaces are fundamentally discrete. The mathematical properties of these spaces derive from the properties of diatonic pitch-class sets and generic pitch spaces developed by Clough and Hook. After presenting the construction of these voice-leading spaces and defining the OPTIC relations in mod-7 space, this article presents the mod-7 OPTIC-, OPTI-, OPT-, and OP-spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes in the chords and the particular OPTIC relations applied.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"52 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90781268","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 : 2019-10-01DOI: 10.1215/00222909-7795212
J. Bourne
{"title":"Foundations of Musical Grammar by Lawrence Zbikowski","authors":"J. Bourne","doi":"10.1215/00222909-7795212","DOIUrl":"https://doi.org/10.1215/00222909-7795212","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"7 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74777419","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 : 2019-10-01DOI: 10.1215/00222909-7795281
Stephen J. Guerra
Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing or conflicting relationships contribute to deeper interpretations of musical form. None of the metric spaces proposed to date is well suited to Afrodiasporic popular musics, which characteristically tend to pose regularly uneven metric foregrounds against rigid and recursively even metric backgrounds. This article introduces a new metric space specifically applicable to such repertoires. The article opens with a brief review of existing metric spaces. Part 1 is an exploratory metric analysis of Afro-Brazilian guitarist Baden Powell’s 1967 recording of “Canto de Xangô,” which motivates the theoretical developments of part 2. Part 3 is a short analysis of his 1963 recording of “Sorongaio” that demonstrates both how hemiolic metric space can newly be analyzed in pure-duple environments and how this metric space can be isomorphic with pitch space.
在作曲、录音或即兴创作中，音高空间如五度圈随着时间的变化而变化。过去二十年理论化的米制空间对米制的变化(无论是否有符号)也做了同样的研究。空间中的轨迹及其潜在的强化或冲突关系有助于对音乐形式的更深层次的解释。迄今为止提出的任何一个度量空间都不适合非洲流散的流行音乐，这些音乐的特点是倾向于在刚性和递归均匀的度量背景下形成有规律的不均匀度量前景。本文介绍了一个专门适用于此类曲目的新的度量空间。本文首先简要回顾了现有度量空间。第一部分是对非裔巴西吉他手Baden Powell 1967年录制的“Canto de Xangô”的探索性度量分析，这激发了第二部分的理论发展。第3部分是对他1963年录制的“Sorongaio”的简短分析，展示了如何在纯双元环境中分析血液度量空间，以及该度量空间如何与音高空间同构。
{"title":"Hemiolic Metric Space in Afro-Diasporic Popular Musics","authors":"Stephen J. Guerra","doi":"10.1215/00222909-7795281","DOIUrl":"https://doi.org/10.1215/00222909-7795281","url":null,"abstract":"Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing or conflicting relationships contribute to deeper interpretations of musical form. None of the metric spaces proposed to date is well suited to Afrodiasporic popular musics, which characteristically tend to pose regularly uneven metric foregrounds against rigid and recursively even metric backgrounds. This article introduces a new metric space specifically applicable to such repertoires. The article opens with a brief review of existing metric spaces. Part 1 is an exploratory metric analysis of Afro-Brazilian guitarist Baden Powell’s 1967 recording of “Canto de Xangô,” which motivates the theoretical developments of part 2. Part 3 is a short analysis of his 1963 recording of “Sorongaio” that demonstrates both how hemiolic metric space can newly be analyzed in pure-duple environments and how this metric space can be isomorphic with pitch space.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"12 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79747355","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 : 2019-04-01DOI: 10.1215/00222909-7320474
Áine Heneghan
{"title":"Liquidation and Its Origins","authors":"Áine Heneghan","doi":"10.1215/00222909-7320474","DOIUrl":"https://doi.org/10.1215/00222909-7320474","url":null,"abstract":"","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"58 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85241190","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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