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Tonal Strategy In The First Movement Of Mahler's Tenth Symphony, V. Kofi Agawu
Tonal Strategy In The First Movement Of Mahler's Tenth Symphony, V. Kofi Agawu
Publications and Research
During his summer retreat of 1910, Mahler sketched a five-movement symphony in F# major that was to be his tenth. He did not live to see the work completed. In spite of this, or rather because of it, the Tenth has accumulated a fascinating history, evident in the series of attempts to "realize" Mahler sketches, the best known of which is Deryck Cooke's "performing version."
Jaipongan: Indigenous Popular Music Of West Java, Peter L. Manuel, Randall Baier
Jaipongan: Indigenous Popular Music Of West Java, Peter L. Manuel, Randall Baier
Publications and Research
The advent of mass media - particularly cassettes and films - in Indonesia has led to the flowering of two mass popular music forms, namely, dangdut and jaipongan. Kroncong, an older urban popular form, presents a mixture of Portuguese folksong style and Indonesian features; dangdut style, while in some respects an extension of the orkes melayu tradition, is heavily influenced by Hindi film songs and Western pop; only jaipongan is purely Indonesian - or more properly speaking, Sundanese - in origin and style. While kroncong and dangdut have received some scholarly attention (Becker 1975, Heins 1975, Frederick 1982), jaipongan has …
"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu
"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu
Publications and Research
Rhythm has remained the focus of much study of West African music since the pioneering studies of Ward (1927), Hornbostel (1928), Waterman (1948), Brandel (1951), Cudjoe (1953), Merriam (1959), and Jones (1959).
Listening To Babbitt, Joseph N. Straus
Listening To Babbitt, Joseph N. Straus
Publications and Research
The discussion that follows will take a listener-oriented, not a composer-oriented approach, and will concentrate on how a single passage of Babbitt's music, the first eighteen measures of the String Quartet No. 2, might be taken in, not on how it might have been made. Instead of beginning with precompositional materials (sets and arrays) and showing how they are musically concretized, we will begin with certain striking attractions of the musical surface. Furthermore, our efforts won't be directed toward deducing the underlying sets and arrays, a goal Babbitt himself derides as a sterile form of musical cryptanalysis. Instead, we …