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Journal articles on the topic 'Serialism (Music) Musical analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Ferraz, Silvio. "Beckett e música : composição do tempo." Eutomia 1, no. 20 (February 19, 2018): 180. http://dx.doi.org/10.19134/eutomia-v1i20p180-201.

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Beckett tinha uma grande proximidade com a música. Isto é registrado em diversas de suas cartas, entrevistas e mesmo atravessa sua produção. Mas de que música estamos falando quando falamos de Beckett? Neste artigo busco mostrar a proximidade entre o pensamento compositivo de Beckett e aquelas propostas que permearam a música experimental do século XX: o serialismo integral, o tratamento do tempo, do silêncio e a importância da sonoridade. Para tanto faço uso das noções de tempo trabalhadas pelos compositores Iannis Xenakis e Gérard Grisey, e de uma análise de momentos da obra radiofônica Cascando, nas suas versões da RTF em 1963 e BBC3 em 1964.Palavras-chave: Cascando, serialismo integral, silêncio, tempo musical, Xenakis, Grisey.Abstract: It is very known that music was strongly related to Beckett quotidian. Music is always present in letters, interviews, plays and narratives. But what music we are thinking when having Beckett thought in mind? In this paper I tried to put together Beckett writing thought, his compositional thought, with the main propositions of the XX Century Music as: integral serialism, the ideas of time, the presence of the silence and the importance of the sound. In that sense, I take notions of time from composers as Iannis Xenakis and Gérard Grisey, to analyses the presence of time and silence in the composition of Beckett’s Cascando, in its two versions - RTF in 1963 and BBC3 in 1964.Key-words: Cascando, integral serialism, silence, musical time, Xenakis, Grisey.

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Salem, Joseph. "Boulez's Künstlerroman: Using blocs sonores to Overcome Anxieties and Influence in Le marteau sans maître." Journal of the American Musicological Society 71, no. 1 (2018): 109–54. http://dx.doi.org/10.1525/jams.2018.71.1.109.

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Previous scholarship on Pierre Boulez's Le marteau sans maître celebrates the analytical basis of the piece, with particular emphasis on Boulez's concept of the bloc sonore and its role in Le marteau's design. This article synthesizes aspects of this scholarship with Boulez's personal reflections from the years 1953–55, many of which remain unpublished to this day. Utilizing Boulez's correspondence with Karlheinz Stockhausen and John Cage, as well as his own published writings and the sketches for Le marteau, I present the story of an artist on the path to self-discovery. I also shift the discussion of blocs sonores away from viewing them as musical objects necessary for the analysis of Le marteau to recognizing their significance as a cultural and aesthetic concept at the heart of Boulez's artistic development at this time. Finally, I use the literary trope of “anxiety of influence” to relate Boulez's own maturation to his struggle to escape the shadow and influence of Schoenberg. By humanizing a work that is often cited for its analytical virtuosity and poetic audacity rather than the network of biographical circumstances behind its creation, I attempt to reorient our ears from the rigidness of integral serialism to the broader significance of Boulez's score.

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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (December 13, 2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.

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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there are common features for this creative genre. She also attempted to find an answer to the question if the trends from the second half of the 20th century were reflected in songs. The scope of analysis covered the repertoire the author knew from her performance practice from the standpoint of a pianist. To the general characteristics of selected songs she added a review of famous trends, techniques and styles of composition, such as impressionism, neoromanticism, expressionism, dodecaphony, serialism, punctualism, minimalism, sonorism, spectralism, neoclassicism, vitalism, postmodernism, aleatoricism, bruitism, microtonality, electronic music, musique concrète, stochastic music, references to previous periods, to folklore and to popular music. She compared musical notation of the analysed works. She also confronted forms of songs with contemporary composition techniques. Interesting was the approach of composers to chamber relations in a duo and the way they made texts musical. Most composers distanced themselves from the avant-garde in works for voice and piano which had a specific poetic text because of the clarity of narration. Matching composers unequivocally to just one trend turned out impossible. Various techniques and phenomena may co-exist in one piece and in the same way one creator may search for different means of expression.

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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).

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5

Gillmor, Alan. "The Apostasy Of George Rochberg." Articles 29, no. 1 (February 3, 2010): 32–48. http://dx.doi.org/10.7202/039109ar.

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Abstract An exploration of George Rochberg’s much-publicized rejection of musical modernism—in particular serialism—in the early 1960s. The paper will explore Rochberg’s conception of musical time and space, duration in music and its relationship to the roles of memory, identity, intuition, and perception in the shaping of human experience. It will explain his notion of the “metaphysical gap between human consciousness and cosmos,” which he derived in part from Wittgenstein’s proposition that ethical and aesthetic judgments lie outside the property of language. In Rochberg’s view, serialism fails to provide an organic three-dimensional model of duration as experienced through the human perception of time: past (memory) and future (anticipation) become conflated into a continuous present, and the crucial balance between information and redundancy has malfunctioned.

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6

Zagorski, Marcus. "Material and History in the Aesthetics of ‘Serielle Musik’." Journal of the Royal Musical Association 134, no. 2 (2009): 271–317. http://dx.doi.org/10.1080/02690400903109083.

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Attempts to promote the aesthetic prestige of serial and post-serial music were grounded in theories of material and philosophies of history. As composers explored new aspects of sound and subjected these to rational organization, they saw themselves pushing history forward, with new musical materials providing physical evidence for each new stage of progress. The continual search for new material fashioned a thread that bound together vastly different personalities, and similar ideas about material and history linked a diversity of approaches to, and reactions against, serialism. Believing themselves to be renouncing a subjectivity made untrustworthy by the recent past, many post-war composers turned to something larger to guide their compositional decisions: to the objective dictate of historical progress. Such deference to a fictitious construction of history veiled subjective aesthetic preferences and provided a way to legitimate new techniques with the authority of ‘higher laws’. This article reconsiders post-war serialism in central Europe from the perspective of theories of material and examines how these theories coupled aesthetic and social concerns with philosophy of history to justify compositional techniques.

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Pamungkas, Yayi Wira. "Penggunaan Aturan Ular Tangga dalam Musik Aleatorik Berbasis Serialisme Integral." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 201–22. http://dx.doi.org/10.31091/jomsti.v3i2.1157.

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Purpose: The author does an experiment by using the rules of snake and ladder to find out and understand how the concept of uncertainty can work in serialism-based aleatoric music: by testing it using the most stringent serialism system, namely the system of integral serialism. Research methods: The process of creating the composition of this artistic research work has five stages, namely the exploration stage, the concept preparation stage, the concept analysis stage, the macro structure preparation stage, and the concept application stage. Results and discussion: The concept of snake and ladder can optimize the concept of uncertainty in serialism-based aleatoric music. The integral serialism system dominates the formation of melody and harmony, while the concept of snake and ladder that is aleatoris is used as phrase control. Implication: There are two phenomena that stimulate the creation of the idea of creation of this artistic research work, namely the problem of stiffness and weak characteristics of the concept of uncertainty in serialism-based aleatoric music.

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8

Durazzi, Bruce. "Luigi Nono's Canti di vita e d'amore: Musical Dialectics and the Opposition of Present and Future." Journal of Musicology 26, no. 4 (2009): 451–80. http://dx.doi.org/10.1525/jm.2009.26.4.451.

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Luigi Nono's Canti di vita e d'amore represents a moment of stylistic shift in the composer's output, and also a change in his political commitments. As Nono's political commitments shifted from a kind of Left idealism to more immediate forms of social activism, so his composition turned from abstract integral serialism to more immediately perceptible constructive strategies. Canti di vita e d'amore not only exhibits these new developments in compositional technique, but also deploys those techniques to support the work's long-range narrative of emergence from present-day crisis into a future of light and hope.

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STRAUS, JOSEPH N. "A Revisionist History of Twelve-Tone Serialism in American Music." Journal of the Society for American Music 2, no. 3 (July 18, 2008): 355–95. http://dx.doi.org/10.1017/s1752196308080115.

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AbstractThe history of twelve-tone serial music in the United States extends from the late 1920s to the present day. Practitioners of a distinctively American brand of twelve-tone music have included many well-known composers in three distinct waves of activity: prewar experimentation by native-born “ultra-modern” composers amid an influx of European émigrés; a postwar boom; and a third wave of twelve-tone activity since 1980. This extensive repertoire shares certain structural features, including twelve-note aggregates and serial ordering, but even these very general compositional commitments are subject to individual modification, and American twelve-tone serial music has taken astonishingly varied forms. To give an accurate account of this music's history, we must first pry away the many myths that have accreted around it. In the process, we will need to abandon historiographical models that focus on one or two “great men” and that describe the history of style as a series of changing fashions. This article proposes that we regard American music since 1925 as a dynamic steady state within which modernist styles, including twelve-tone serialism, persist as vibrant strands within the postmodern musical fabric.

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Tizón Díaz, Manuel, and Francisco Gómez Martín. "The Influence of Musical Style in Perceived Emotion." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 17 (July 3, 2020): 85–131. http://dx.doi.org/10.5209/reciem.65311.

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In this work we address the problem of understanding how musical style influences perceived emotion as well as their pedagogical consequences. The first problem arises when considering the very definition of style. The definition of musical style and how to apply it is thoroughly discussed. Several experiments were carried out in order to gain understanding about the emotional response to musical style. Six styles (Baroque, Classicism, Romanticism, pandiatonicism, twelve-tone serialism, and Phrygian mode) were selected and pieces were composed in those styles to be later played to both musicians and novices. Their perceived emotional response was measured and the results were analyzed thereafter. Differences were found across styles, mode and musical background, including complex patterns in valence and arousal. Last but not least, the knowledge acquired from this research can be incorporated a corpus for application and future study and use in music conservatories and centers for higher education and investigation.

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SCHMELZ, PETER J. "Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union." Journal of the American Musicological Society 58, no. 1 (2005): 139–207. http://dx.doi.org/10.1525/jams.2005.58.1.139.

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Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arvo Pärt, and Edison Denisov—came of age in the years following Stalin's death in 1953. Their compositions reflected their attempts to “catch up” with the Western avant-garde following decades of musical development that had been denied them under Stalin. The first “new” technique these composers adopted was serialism, and Volkonsky's early compositions illustrate the specifically Soviet approach to the method and demonstrate the meanings it held for Soviet officials and Soviet audiences. Volkonsky's early works also force a broadening of current interpretations of postwar European and American serialism. Much of the information in the article stems from personal interviews with Volkonsky and the other leading composers and performers of the Thaw, as well as archival research conducted in Russia.

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TREGEAR, PETER JOHN. "Musical style and political allegory in Krenek's Karl V." Cambridge Opera Journal 13, no. 1 (March 2001): 55–80. http://dx.doi.org/10.1017/s0954586701000556.

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Ernst Krenek's opera Karl V presents an ingenious interpretation of the life of the sixteenth-century Holy Roman Emperor, which argues not only dramatically but also musically for the contemporary political significance of the Emperor's life. This was no forced pairing of music and politics, for Krenek had found that the historical and theological problems raised by the Emperor's ‘justification’ at the end of his life bore a striking resemblance both to the aesthetic dilemmas he was then having to face as a composer and issues common to the wider struggle for national identity and political legitimacy in Austria after World War I. This essay introduces these themes in the work, and Krenek’s rationalisations of the way he presents them. It considers their implications for our understanding of the history of serialism in music more generally, and for an aspect of Krenek's compositional development that has perplexed later commentators: the apparent stylistic gulf between this opera and Jonny spielt auf.

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Milin, Melita. "The stages of modernism in Serbian music." Muzikologija, no. 6 (2006): 93–116. http://dx.doi.org/10.2298/muz0606093m.

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In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).

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DeThorne, Jeffrey. "Schaeffer's Values, Henry's Monsters and Orchestral Noise Reduction." Organised Sound 18, no. 1 (March 26, 2013): 81–91. http://dx.doi.org/10.1017/s135577181200026x.

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If nineteenth-century aesthetics distinguish between distinct, colourful French instrumentation and doubled, equalised German orchestration, this distinction softens when the ‘New German’ orchestration of Wagner and Strauss exploits individual instrumental colours before dissolving them into massive orchestral sonorities. Similarly, if early French electroacoustic music counteracts the meta-serialism of early twentieth-century German electronic music, Pierre Schaeffer's Traité des objets musicaux combines his early anecdotal Noise Studies with a noise-reduction process into a new, rather German aesthetic of electroacoustics. In search of musical objects through a reductive, analytical listening (entendre), Schaeffer's neutralisation of anecdotal noises into musical objects is analogous to New German orchestration's neutralisation of individual orchestral colours in order to synthesise new orchestral combinations. Although this orchestral synthesis is different from the analytical probe for new valeurs involved in entendre, the separation of the noise from its residual signification are fundamental processes within both nineteenth-century orchestrational and twentieth-century electroacoustic musical aesthetics. If our current understanding of electronic music aligns Schaeffer and Pierre Henry wholly with modernity and its putatively radical and self-conscious break with Berlioz, Brahms and historical tradition, this article suggests that an essential underlying continuity in the French-instrumentation/German-orchestration binary persists even in the face of the decline of the musical and cultural traditions that created and sustained them.

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Agawu, Kofi. "Music Analysis Versus Musical Hermeneutics." American Journal of Semiotics 13, no. 1 (1996): 9–24. http://dx.doi.org/10.5840/ajs1996131/42.

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Postiga, José Luís. "SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX." Cadernos de Educação Tecnologia e Sociedade 13, no. 1 (April 12, 2020): 23. http://dx.doi.org/10.14571/brajets.v13.n1.23-40.

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When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

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Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.

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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow innovative avant-garde trends and incorporate serialism, including serial rhythm, sonoristics, aleatory technique and a number of other techniques. Some of his compositions are very accessible to a broad audience, containing memorable melodic and rhythmic traits, while others are written in a highly complex language, based on musical experimentation, comprehensible for the most part to a sophisticated audience well-versed in avantgarde trends in music. Some of his works are based on extroversive theatrical gestures and even contain comic elements, while others bear an inner philosophical discourse. Nonetheless, both of these contrasting features combine together to express a highly original style of the composer’s music which cannot be mistaken for that of anybody else. Belodubrovsky is known and highly regarded as a composer, a violinist, an enthusiastic cultural activist who discovered and popularized rare compositions of the early 20th century Russian modernist trend, the long-time director of the Nikolai Roslavetz and Nahum Gabo Festival for the Arts in Bryansk, and simply as a very open musician with a broad-minded approach towards various musical styles and directions. All of this has undoubtedly created an impact on his multifarious musical style which combines opposite stylistic directions. The article describes the life and the musical activities of Mark Belodubrovsky, then proceeds to describe an analyze his musical compositions. It is shown that notwithstanding the fact that his compositions pertain to different styles, they are all united by one individual stylistic trait which defi nes the composer’s artistic individuality.

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EMMERY, LAURA. "Elliott Carter's and Luigi Nono's Analyses of Schoenberg'sVariations for Orchestra, Op. 31: Divergent Approaches to Serialism." Twentieth-Century Music 16, no. 2 (April 30, 2019): 191–229. http://dx.doi.org/10.1017/s1478572219000033.

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AbstractDespite Nono's and Carter's opposing views, divergent compositional aesthetic, and applicability of twelve-tone music, the two composers shared their admiration for the works of the Second Viennese School. In this article, I examine Carter's 1957 and Nono's 1956 analyses of Schoenberg's pivotal twelve-tone work:Variations for Orchestra, Op. 31 (1926–28). The study offers a rare opportunity to look at the same piece analysed by two composers with unique points of view. Completed only a year apart, the analyses illuminate aspects of Schoenberg's work that each composer found most compelling and applicable to their own works. Thus, these analyses, combined with sketches housed at the Paul Sacher Stiftung (Basel), the Library of Congress (Washington, DC), and the Fondazione Archivio Luigi Nono (Venice), not only shed light on Schoenberg's system, but also become a valuable tool for tracking both Carter's and Nono's compositional processes, showing how Schoenberg influenced two schools of thought.

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Brown, Matthew G., Douglas J. Dempster, and Nicholas Cook. "A Guide to Musical Analysis." Journal of Music Theory 32, no. 1 (1988): 148. http://dx.doi.org/10.2307/843388.

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Smoliar, Stephen W., M. Baroni, and L. Callegari. "Musical Grammars and Computer Analysis." Journal of Music Theory 30, no. 1 (1986): 130. http://dx.doi.org/10.2307/843413.

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London, Justin, and Ronald Rodman. "Musical Genre and Schenkerian Analysis." Journal of Music Theory 42, no. 1 (1998): 101. http://dx.doi.org/10.2307/843854.

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Fine, Philip A., and Brian C. J. Moore. "Frequency Analysis and Musical Ability." Music Perception 11, no. 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the two groups: the musicians were more efficient. In Experiment 2, the ability to hear out partials in a complex inharmonic tone was measured for the same two groups, using a tone produced by "stretching" the spacing between partials in a harmonic complex tone. Unfortunately, most of the nonmusicians were unable to perform this task. The ability of the musicians to hear out partials was not significantly correlated with the auditory filter bandwidths measured in Experiment 1. The musicians were also tested on the original harmonic complex tone (before "stretching"). For some partials, their performance was better for the inharmonic tone, reflecting the fact that the separation of the partials in frequency was greater for that tone. However, it was also found that those partials that were octaves of the fundamental in the harmonic series were identified better than corresponding partials in the inharmonic tone.

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23

Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 327–35. http://dx.doi.org/10.1093/mq/78.2.327.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 329–35. http://dx.doi.org/10.1093/mq/78.2.329.

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Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 335–39. http://dx.doi.org/10.1093/mq/78.2.335.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 339–40. http://dx.doi.org/10.1093/mq/78.2.339.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 340–44. http://dx.doi.org/10.1093/mq/78.2.340.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 344–50. http://dx.doi.org/10.1093/mq/78.2.344.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 350–52. http://dx.doi.org/10.1093/mq/78.2.350.

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DeBellis, Mark. "The Paradox of Musical Analysis." Journal of Music Theory 43, no. 1 (1999): 83. http://dx.doi.org/10.2307/3090690.

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Roozendaal, Ron. "Psychological analysis of musical composition." Contemporary Music Review 9, no. 1-2 (January 1993): 311–24. http://dx.doi.org/10.1080/07494469300640531.

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Sprout, Leslie A. "The 1945 Stravinsky Debates: Nigg, Messiaen, and the Early Cold War in France." Journal of Musicology 26, no. 1 (January 1, 2009): 85–131. http://dx.doi.org/10.1525/jm.2009.26.1.85.

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Abstract In spring 1945, a small group of students, among them Serge Nigg and Pierre Boulez, protested during the first performances in liberated Paris of the neoclassical works Stravinsky had composed in America. Whereas Boulez's biographers have interpreted the student protests as a sign of Renéé Leibowitz's successful promotion of serialism in France, scholars of the Cold War have seen the 1945 concerts as a precursor to Stravinsky's participation in the 1952 L'ŒŒuvre du XXe sièècle, a festival in Paris indirectly funded by the CIA. These interpretations subsume the immediate postwar period in France within a synchronic view of the early Cold War era. But the 1945 protests against Stravinsky were not about the decisive embrace of a single musical style; rather, they were about the desire of young French composers to play an active role in shaping the postwar future of music in France. In 1945, Nigg——and not Boulez——represented the aesthetic opinions of a generation of French composers who had grown up during the German occupation of Paris and the political aspirations of those who, like Nigg, flocked to the French Communist Party at war's end. Nigg's participation in the 1945 Stravinsky debates gives us occasion to examine his earliest musical compositions and the political opinions he would express with increasing ideological fervor in the 1950s. Although in verbal pronouncements he supported socialist realism, Nigg's rare and complex use of a French folk tune in his 1954 Piano Concerto betrays his ambivalence about the Soviet demand for communist composers to reject "falsely cosmopolitan tendencies" in favor of their national cultural heritage. Having rejected in 1945 both Stravinsky's neoclassicism and French nationalism (the latter tainted by associations with Vichy during the occupation), Nigg had to choose in the early Cold War between his aesthetic and political loyalties.

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Howell, Tim. "Musical Analysis: Back to Basics?" British Journal of Music Education 13, no. 02 (July 1996): 123. http://dx.doi.org/10.1017/s0265051700003090.

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34

Brinkman, Alexander R. "Representing Musical Scores for Computer Analysis." Journal of Music Theory 30, no. 2 (1986): 225. http://dx.doi.org/10.2307/843576.

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35

Holm-Hudson, Kevin, John Covach, and Graeme M. Boone. "Understanding Rock: Essays in Musical Analysis." Journal of Music Theory 44, no. 2 (2000): 495. http://dx.doi.org/10.2307/3090685.

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36

Kramer, Lawrence. "Odradek Analysis: Reflections on Musical Ontology." Music Analysis 23, no. 2-3 (July 2004): 287–309. http://dx.doi.org/10.1111/j.0262-5245.2004.00205.x.

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37

Cœurdevey, Annie, Mark Everist, and Annie Coeurdevey. "Models of Musical Analysis. Music before 1600." Revue de musicologie 79, no. 2 (1993): 383. http://dx.doi.org/10.2307/946904.

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38

Pryer, Anthony, and Mark Everist. "Music before 1600: Models of Musical Analysis." Musical Times 134, no. 1805 (July 1993): 396. http://dx.doi.org/10.2307/1003096.

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39

Лаул, Р. Х. "Music Material Development Techniques (Lectures in «Principles of Music Analysis»)." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 53–69. http://dx.doi.org/10.26156/om.2020.12.1.004.

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Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

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40

Swanwick, Keith. "Musical Criticism and Music Education." Revista Música 2, no. 2 (November 1, 1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.

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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical context of a piece of music. Critical statements that are simple expressions of preference or statements about context are not particularly helpful to the process of music education. For this reason I shall confine myself to the branch of criticism we call analysis. Analysis is essentially discourse concerned with the internal functioning of a specific musical object. It is about the integrity of a particular work. To be more accurate, analysis is discourse about our perceptions of a musical object. From an educational perspective it is not helpful to conduct musical analysis as though a work existed independently of individual perceptions of it and in classrooms we have to conduct musical analysis in a way that involves students engaging with music in his or her own way.

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Roeder, John. "A Declarative Model of Atonal Analysis." Music Perception 6, no. 1 (1988): 21–34. http://dx.doi.org/10.2307/40285414.

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Most computational models of musical understanding have focused on procedural aspects of analysis, suggesting techniques for parsing, comparing, and transforming various representations of a piece, or adapting discovery procedures of artificially intelligent (AI) inference systems, which plan and follow agendas and goals. Much contemporary AI research, however, also focuses on declarative aspects of knowledge, attempting to define data representations and relations that are commensurate with human cognition. Naturally, musical analysis has both procedural and declarative aspects: the declarative determines what the form of the analysis is, and the procedural determines how the analysis is obtained. However, a predominantly procedural analysis risks sacrificing the form of musical understanding to obtain efficiency or compatibility with a particular computer language. In this article I argue that, for a significant body of twentieth-century music, a declarative system models the structure of analytical understanding better than do existing procedural programs, and I present a functioning declarative system that infers complex musical structures from the elementary musical relations that it identifies.

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Morgan, Robert P. "The Concept of Unity and Musical Analysis." Music Analysis 22, no. 1-2 (March 2003): 7–50. http://dx.doi.org/10.1111/j.0262-5245.2003.00175.x.

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43

Kramer, Jonathan D. "The Concept of Disunity and Musical Analysis." Music Analysis 23, no. 2-3 (July 2004): 361–72. http://dx.doi.org/10.1111/j.0262-5245.2004.00210.x.

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44

Snell, James L., M. Baroni, and L. Callegari. "Musical Grammars and Computer Analysis: A Review." Perspectives of New Music 23, no. 2 (1985): 220. http://dx.doi.org/10.2307/832733.

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45

Kippen, James. "An Ethnomusicological Approach to the Analysis of Musical Cognition." Music Perception 5, no. 2 (1987): 173–95. http://dx.doi.org/10.2307/40285391.

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A genre of North Indian drumming has become the focus of experimental research in which an "expert system" is programmed to simulate the musical knowledge of the drummers themselves. Experiments involve the interaction of musicians with a computerized linguistic model contained within the expert system that formalizes their intuitive ideas regarding musical structure in a generative grammar. The accuracy of the model is determined by the musicians themselves, who assess its ability to generate correct pieces of music. The main aims of the research are the identification of the cognitive patterns involved in the creation and interpretation of a particular musical system, and the establishment of new techniques that make this approach to cognitive analysis applicable to other musical systems. This article attempts to demonstrate the advantages an ethnomusicological approach can bring to the analysis of musical perception and cognition. Such an approach links the analysis of musical sound to an understanding of the sociocultural context in which that music is created and interpreted.

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46

Shave, Thomas. "Communicative contract analysis: an approach to popular music analysis." Organised Sound 13, no. 1 (February 29, 2008): 41–50. http://dx.doi.org/10.1017/s135577180800006x.

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AbstractCommunicative contract analysis constructs an analytic methodology, taking musical semiotics as a theoretical basis, to look at the ways in which pieces of popular music define themselves generically, and how they make reference to other genres. By taking the different components of a sound as referential to parent genres or foreign genres, one can tease out these references in hybrid musical forms. The method is then applied to three contemporary works, The Kaiser Chiefs' Ruby, Hadouken!'s That Boy, That Girl and Bjork's Joga, and the pertinent issues raised in these works are discussed.

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Peters, Penelope M., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Journal of Music Theory 39, no. 1 (1995): 186. http://dx.doi.org/10.2307/843904.

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48

van den Toorn, Pieter C., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Music Analysis 14, no. 2/3 (July 1995): 340. http://dx.doi.org/10.2307/854018.

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Vines, Bradley W., Regina L. Nuzzo, and Daniel J. Levitin. "Analyzing Temporal Dynamics in Music." Music Perception 23, no. 2 (December 1, 2005): 137–52. http://dx.doi.org/10.1525/mp.2005.23.2.137.

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THIS ARTICLE INTRODUCES THEORETICAL and analytical tools for research involving musical emotion or musical change. We describe techniques for visualizing and analyzing data drawn from timevarying processes, such as continuous tension judgments, movement tracking, and performance tempo curves. Functional Data Analysis tools are demonstrated with real-time judgments of musical tension (a proxy for musical affect) to reveal patterns of tension and resolution in a listener's experience. The derivatives of tension judgment curves are shown to change with cycles of expectation and release in music, indexing the dynamics of musical tension. We explore notions of potential energy and kinetic energy in music and propose that affective energy is stored or released in the listener as musical tension increases and decreases. Differential calculus (and related concepts) are introduced as tools for the analysis of temporal dynamics in musical performances, and phase-plane plots are described as a means to quantify and to visualize musical change.

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Baker, Michael. "An artificial intelligence approach to musical grouping analysis." Contemporary Music Review 3, no. 1 (January 1989): 43–68. http://dx.doi.org/10.1080/07494468900640051.

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