后调性音乐中的韵律操纵

IF 1.6 1区 艺术学 0 MUSIC MUSIC THEORY SPECTRUM Pub Date : 2021-03-17 DOI:10.1093/MTS/MTAA020
J. Sullivan
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引用次数: 1

摘要

本文探讨了二十世纪和二十一世纪作曲家对十八世纪度量手法的持续使用。这些操作被称为纠纷症、接近模仿和模仿纠纷症,它们是动机驱动的,涉及韵律、动机平行和感知流的感知交互。它们的定义特征和局部感知效应,主要涉及韵律失调,在勋伯格、潘德列茨基、布里顿、德彪西、韦伯恩、巴伯和ad的短文中得到了证明。它们更大的形式功能和文本表达潜力在勋伯格、韦伯和巴伯对较长的段落的分析中得到了证明。
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Metric Manipulations in Post-Tonal Music
This article explores the continued use of eighteenth-century metric manipulations by composers of the twentieth and twenty-first centuries. These manipulations, called imbroglio, close imitation, and imitative imbroglio, are motive-driven and involve the perceptual interaction of meter, motivic parallelism, and perceptual streaming. Their defining features and local perceptual effects, which primarily involve metrical dissonance, are demonstrated in short passages by Schoenberg, Penderecki, Britten, Debussy, Webern, Barber, and Adès. Their larger form-functional and text-expressive potential is demonstrated in analyses of longer passages by Schoenberg, Webern, and Barber.
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来源期刊
CiteScore
2.30
自引率
20.00%
发文量
15
期刊介绍: A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.
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