{"title":"声音意象的物质性:当代汉语作文分析","authors":"N. Rao","doi":"10.1093/mts/mtac025","DOIUrl":null,"url":null,"abstract":"\n This essay explores concepts related to the materiality of sound and considers the aesthetics of contemporary Chinese music (and of other Asian heritages) through this lens. In compositions such as Guo Wenjing’s chamber work She Huo, musical expression is prominently shaped by sonic ideas rooted in socio-historical and cultural contexts, and associated with materials of substance and matter. Analysis of such works requires reconceptualizing the modes of analysis and listening practice. Through a focus on materiality, I argue, we gain insight about the music in ways unattainable from established, ingrained modes of musical analysis. Examples explored include the significance of onomatopoeic words for the notation of percussion music in Peking opera; the concept of sawari in Japanese instrumental music, as discussed by Tōru Takemitsu; and Isang Yun’s notion of Hauptton. Music’s materiality comprises many dimensions, the consideration of which is of great importance as we seek to broaden the canon.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions\",\"authors\":\"N. Rao\",\"doi\":\"10.1093/mts/mtac025\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This essay explores concepts related to the materiality of sound and considers the aesthetics of contemporary Chinese music (and of other Asian heritages) through this lens. In compositions such as Guo Wenjing’s chamber work She Huo, musical expression is prominently shaped by sonic ideas rooted in socio-historical and cultural contexts, and associated with materials of substance and matter. Analysis of such works requires reconceptualizing the modes of analysis and listening practice. Through a focus on materiality, I argue, we gain insight about the music in ways unattainable from established, ingrained modes of musical analysis. Examples explored include the significance of onomatopoeic words for the notation of percussion music in Peking opera; the concept of sawari in Japanese instrumental music, as discussed by Tōru Takemitsu; and Isang Yun’s notion of Hauptton. Music’s materiality comprises many dimensions, the consideration of which is of great importance as we seek to broaden the canon.\",\"PeriodicalId\":44994,\"journal\":{\"name\":\"MUSIC THEORY SPECTRUM\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.6000,\"publicationDate\":\"2023-02-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"MUSIC THEORY SPECTRUM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/mts/mtac025\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"MUSIC THEORY SPECTRUM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/mts/mtac025","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions
This essay explores concepts related to the materiality of sound and considers the aesthetics of contemporary Chinese music (and of other Asian heritages) through this lens. In compositions such as Guo Wenjing’s chamber work She Huo, musical expression is prominently shaped by sonic ideas rooted in socio-historical and cultural contexts, and associated with materials of substance and matter. Analysis of such works requires reconceptualizing the modes of analysis and listening practice. Through a focus on materiality, I argue, we gain insight about the music in ways unattainable from established, ingrained modes of musical analysis. Examples explored include the significance of onomatopoeic words for the notation of percussion music in Peking opera; the concept of sawari in Japanese instrumental music, as discussed by Tōru Takemitsu; and Isang Yun’s notion of Hauptton. Music’s materiality comprises many dimensions, the consideration of which is of great importance as we seek to broaden the canon.
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.