A Primer for Atonal Set Theory
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Music Analysis: an Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif
DOCUMENT RESUME ED 067 359 SO 004 665 AUTHOR Fink, Michael TITLE Music Analysis: An Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif. REPORT NO TR-43 BUREAU NO BR- 6-2865 PUB DATE 1 Aug 72 NOTE 25p. EDRSPRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Applied Music; Elementary Education; Higher Education; Music; Musical Composition; Music Appreciation; *Music Education; Music Techniques; *Music Theory; Secondary Education ABSTRACT One hundred and forty citations comprise this annotated bibliography of books, articles, and selected dissertations that encompass trends in music theory and k-16 music education since the late 19th century. Special emphasis is upon writings since the 19501s. During earlier development, music analysts concentrated upon the elements of music (i.e., melody, harmony, rhythm, and form). Since 1950, varying viewpoints on the teaching of music analysis have emerged, producing a surge of various analytical trends and philosophies derived from other than musical contexts. Information theory, phenomenology, and the application of computers have made the strongest impact upon music theory in recent years. Classified headings in the listing cover:1) general discussions of music analysis, 2)the analysis of specific elements of music (melody, harmony, etc.),3)principal trends and approaches to the subject, and 4)samples of analytic models. The headings reflect the evolution of trends within the subject. Author entries are alphabetically arranged under headings. Whief descriptive annotations are provided. (Author/SJM) ibie ks!) 1 I5A) SOUTHWEST REGIONAL LABORATORY FOR EDUCATIONAL RESEARCH & DEVELOPMENT Music Analysis: An AnnotatedBibliography Tit 431 August 1972 I U.S. -
Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
Diatonic-Collection Disruption in the Melodic Material of Alban Berg‟S Op
Michael Schnitzius Diatonic-Collection Disruption in the Melodic Material of Alban Berg‟s Op. 5, no. 2 The pre-serial Expressionist music of the early twentieth century composed by Arnold Schoenberg and his pupils, most notably Alban Berg and Anton Webern, has famously provoked many music-analytical dilemmas that have, themselves, spawned a wide array of new analytical approaches over the last hundred years. Schoenberg‟s own published contributions to the analytical understanding of this cryptic musical style are often vague, at best, and tend to describe musical effects without clearly explaining the means used to create them. His concept of “the emancipation of the dissonance” has become a well known musical idea, and, as Schoenberg describes the pre-serial music of his school, “a style based on [the premise of „the emancipation of the dissonance‟] treats dissonances like consonances and renounces a tonal center.”1 The free treatment of dissonance and the renunciation of a tonal center are musical effects that are simple to observe in the pre-serial music of Schoenberg, Berg, and Webern, and yet the specific means employed in this repertoire for avoiding the establishment of a perceived tonal center are difficult to describe. Both Allen Forte‟s “Pitch-Class Set Theory” and the more recent approach of Joseph Straus‟s “Atonal Voice Leading” provide excellently specific means of describing the relationships of segmented musical ideas with one another. However, the question remains: why are these segmented ideas the types of musical ideas that the composer wanted to use, and what role do they play in renouncing a tonal center? Furthermore, how does the renunciation of a tonal center contribute to the positive construction of the musical language, if at all? 1 Arnold Schoenberg, “Composition with Twelve Tones” (delivered as a lecture at the University of California at Las Angeles, March 26, 1941), in Style and Idea, ed. -
Unified Music Theories for General Equal-Temperament Systems
Unified Music Theories for General Equal-Temperament Systems Brandon Tingyeh Wu Research Assistant, Research Center for Information Technology Innovation, Academia Sinica, Taipei, Taiwan ABSTRACT Why are white and black piano keys in an octave arranged as they are today? This article examines the relations between abstract algebra and key signature, scales, degrees, and keyboard configurations in general equal-temperament systems. Without confining the study to the twelve-tone equal-temperament (12-TET) system, we propose a set of basic axioms based on musical observations. The axioms may lead to scales that are reasonable both mathematically and musically in any equal- temperament system. We reexamine the mathematical understandings and interpretations of ideas in classical music theory, such as the circle of fifths, enharmonic equivalent, degrees such as the dominant and the subdominant, and the leading tone, and endow them with meaning outside of the 12-TET system. In the process of deriving scales, we create various kinds of sequences to describe facts in music theory, and we name these sequences systematically and unambiguously with the aim to facilitate future research. - 1 - 1. INTRODUCTION Keyboard configuration and combinatorics The concept of key signatures is based on keyboard-like instruments, such as the piano. If all twelve keys in an octave were white, accidentals and key signatures would be meaningless. Therefore, the arrangement of black and white keys is of crucial importance, and keyboard configuration directly affects scales, degrees, key signatures, and even music theory. To debate the key configuration of the twelve- tone equal-temperament (12-TET) system is of little value because the piano keyboard arrangement is considered the foundation of almost all classical music theories. -
MTO 19.3: Nobile, Interval Permutations
Volume 19, Number 3, September 2013 Copyright © 2013 Society for Music Theory Interval Permutations Drew F. Nobile NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.3/mto.13.19.3.nobile.php KEYWORDS: Interval permutations, intervals, post-tonal analysis, mathematical modeling, set-class, space, Schoenberg, The Book of the Hanging Gardens ABSTRACT: This paper presents a framework for analyzing the interval structure of pitch-class segments (ordered pitch-class sets). An “interval permutation” is a reordering of the intervals that arise between adjacent members of these pitch-class segments. Because pitch-class segments related by interval permutation are not necessarily members of the same set-class, this theory has the capability to demonstrate aurally significant relationships between sets that are not related by transposition or inversion. I begin with a theoretical investigation of interval permutations followed by a discussion of the relationship of interval permutations to traditional pitch-class set theory, specifically focusing on how various set-classes may be related by interval permutation. A final section applies these theories to analyses of several songs from Schoenberg’s op. 15 song cycle The Book of the Hanging Gardens. Received May 2013 [1] Example 1 shows the score to the opening measures of “Sprich nicht immer von dem Laub,” the fourteenth song from Schoenberg’s Book of the Hanging Gardens, op. 15. Upon first listen, one is drawn to the relationship between the piano’s gesture in the first measure and the vocal line in the second. -
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors Richard Bass Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 155-186. Stable URL: http://links.jstor.org/sici?sici=0022-2909%28199423%2938%3A2%3C155%3AMOOAWI%3E2.0.CO%3B2-X Journal of Music Theory is currently published by Yale University Department of Music. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/yudm.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jul 30 09:19:06 2007 MODELS OF OCTATONIC AND WHOLE-TONE INTERACTION: GEORGE CRUMB AND HIS PREDECESSORS Richard Bass A bifurcated view of pitch structure in early twentieth-century music has become more explicit in recent analytic writings. -
The Elements of Music
KSKS35 The elements of music Anna Gower was by Anna Gower a secondary music teacher and head of music for 18 years. She now works as a consultant for Trinity College London INTRODUCTION and Musical Futures International, as well The elements of music. DR P SMITH or MAD T SHIRT; posters on the walls of your classroom; a handy checklist as with various MEH for writing a model answer to a GCSE question; or a guide to development in an A level composition. and organisations in the UK and overseas. The elements of music have long been an important component of KS3 music, whether they’re taught as a stand- alone unit or topic, or threaded through performing, composing or listening activities in a topic-based curriculum. Often described as the ‘building blocks’ of music, the However, the elements of music are really just a set of labels and concepts under which sits a wealth of musical elements of music understanding, and a heap of vocabulary and musical language that can help to hone student responses to may have slightly music that they hear, play, sing or compose from the very start of their music education. different labels that vary from school to school. But they It’s that further layer beneath the label and concept that’s much harder to measure, and which weaves through each come with all good music learning and teaching. It’s about crafting an understanding of what makes music a medium a label or name (pitch, rhythm, through which to be expressive, to make sense of sound, and to arrange it into meaningful musical experiences etc), a concept that allow students to demonstrate their learning in ways other than a listening test or performance assessment. -
James M. Baker, David W. Beach, and Jonathan Ber- Nard, Eds. Music
James M. Baker, David W. Beach, and Jonathan Ber nard, eds. Music Theory in Concept and Practice. Uni versity of Rochester Press, 1997.529 pp. Reviewed by Marilyn Nonken Music Theory In Concept and Practice is a seventieth-birthday tribute to Allen Forte, a theorist of unprecedented influence. Its editors claim that "in the modern rise of music theory . no single individual has been more central" (6). If this is an exaggeration, it is only a slight one. In addition to authoring landmark works (including Tonal Theory in Concept and Practice and The Structure of Atonal Music), Forte has also been an active and motivating presence in the field: as the editor who ushered the Jour nal of Music Theory through its transition from a fledgling publication to one of prominence; as a catalyst behind the foundation of the Society for Music Theory; and as a guiding force whose efforts resulted in the estab lishment of the doctoral program in music theory at Yale, the first of its kind at a major American institution. As depicted by Jonathan Bernard in the first of nineteen essays in this collection, Forte stands as heir to a tradition of musical inquiry that extends to the earliest decades of the century. With contributions by scholars on a wide variety of topics, this volume cannily evidences the transforming effect of one scholar's work on the discipline. Music Theory in Concept and Practice is divided into two broad categories ("Historical and Theoretical Essays" and "Analytical Studies"), then fur ther divided into four subsections. The essays are categorized according to their musicological orientfltion ("Historical Perspectives" and "Theoretical Perspectives"), and the analyses to the repertoire they treat ("The Tonal Repertoire" and "Twentieth-Century Music"). -
Citymac 2018
CityMac 2018 City, University of London, 5–7 July 2018 Sponsored by the Society for Music Analysis and Blackwell Wiley Organiser: Dr Shay Loya Programme and Abstracts SMA If you are using this booklet electronically, click on the session you want to get to for that session’s abstract. Like the SMA on Facebook: www.facebook.com/SocietyforMusicAnalysis Follow the SMA on Twitter: @SocMusAnalysis Conference Hashtag: #CityMAC Thursday, 5 July 2018 09.00 – 10.00 Registration (College reception with refreshments in Great Hall, Level 1) 10.00 – 10.30 Welcome (Performance Space); continued by 10.30 – 12.30 Panel: What is the Future of Music Analysis in Ethnomusicology? Discussant: Bryon Dueck Chloë Alaghband-Zadeh (Loughborough University), Joe Browning (University of Oxford), Sue Miller (Leeds Beckett University), Laudan Nooshin (City, University of London), Lara Pearson (Max Planck Institute for Empirical Aesthetic) 12.30 – 14.00 Lunch (Great Hall, Level 1) 14.00 – 15.30 Session 1 Session 1a: Analysing Regional Transculturation (PS) Chair: Richard Widdess . Luis Gimenez Amoros (University of the Western Cape): Social mobility and mobilization of Shona music in Southern Rhodesia and Zimbabwe . Behrang Nikaeen (Independent): Ashiq Music in Iran and its relationship with Popular Music: A Preliminary Report . George Pioustin: Constructing the ‘Indigenous Music’: An Analysis of the Music of the Syrian Christians of Malabar Post Vernacularization Session 1b: Exploring Musical Theories (AG08) Chair: Kenneth Smith . Barry Mitchell (Rose Bruford College of Theatre and Performance): Do the ideas in André Pogoriloffsky's The Music of the Temporalists have any practical application? . John Muniz (University of Arizona): ‘The ear alone must judge’: Harmonic Meta-Theory in Weber’s Versuch . -
Surviving Set Theory: a Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Angela N. Ripley, M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: David Clampitt, Advisor Anna Gawboy Johanna Devaney Copyright by Angela N. Ripley 2015 Abstract Undergraduate music students often experience a high learning curve when they first encounter pitch-class set theory, an analytical system very different from those they have studied previously. Students sometimes find the abstractions of integer notation and the mathematical orientation of set theory foreign or even frightening (Kleppinger 2010), and the dissonance of the atonal repertoire studied often engenders their resistance (Root 2010). Pedagogical games can help mitigate student resistance and trepidation. Table games like Bingo (Gillespie 2000) and Poker (Gingerich 1991) have been adapted to suit college-level classes in music theory. Familiar television shows provide another source of pedagogical games; for example, Berry (2008; 2015) adapts the show Survivor to frame a unit on theory fundamentals. However, none of these pedagogical games engage pitch- class set theory during a multi-week unit of study. In my dissertation, I adapt the show Survivor to frame a four-week unit on pitch- class set theory (introducing topics ranging from pitch-class sets to twelve-tone rows) during a sophomore-level theory course. As on the show, students of different achievement levels work together in small groups, or “tribes,” to complete worksheets called “challenges”; however, in an important modification to the structure of the show, no students are voted out of their tribes. -
An Introduction to Music Studies Pdf, Epub, Ebook
AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology. -
Pitch-Class Set Theory: an Overture
Chapter One Pitch-Class Set Theory: An Overture A Tale of Two Continents In the late afternoon of October 24, 1999, about one hundred people were gathered in a large rehearsal room of the Rotterdam Conservatory. They were listening to a discussion between representatives of nine European countries about the teaching of music theory and music analysis. It was the third day of the Fourth European Music Analysis Conference.1 Most participants in the conference (which included a number of music theorists from Canada and the United States) had been looking forward to this session: meetings about the various analytical traditions and pedagogical practices in Europe were rare, and a broad survey of teaching methods was lacking. Most felt a need for information from beyond their country’s borders. This need was reinforced by the mobility of music students and the resulting hodgepodge of nationalities at renowned conservatories and music schools. Moreover, the European systems of higher education were on the threshold of a harmoni- zation operation. Earlier that year, on June 19, the governments of 29 coun- tries had ratifi ed the “Bologna Declaration,” a document that envisaged a unifi ed European area for higher education. Its enforcement added to the urgency of the meeting in Rotterdam. However, this meeting would not be remembered for the unusually broad rep- resentation of nationalities or for its political timeliness. What would be remem- bered was an incident which took place shortly after the audience had been invited to join in the discussion. Somebody had raised a question about classroom analysis of twentieth-century music, a recurring topic among music theory teach- ers: whereas the music of the eighteenth and nineteenth centuries lent itself to general analytical methodologies, the extremely diverse repertoire of the twen- tieth century seemed only to invite ad hoc approaches; how could the analysis of 1.