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Full-Text Articles in Composition
Review Of Coherence In New Music: Experience, Aesthetics, Analysis, By Mark Hutchinson. (New York, Ny: Routledge, 2016)., Orit Hilewicz
Review Of Coherence In New Music: Experience, Aesthetics, Analysis, By Mark Hutchinson. (New York, Ny: Routledge, 2016)., Orit Hilewicz
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
A review of Mark Hutchinson's book from 2016, Coherence in New Music: Experience, Aesthetics, Analysis.
Developing Variation In The Late Work Of Morton Gould And Why It Matters, J. Wesley Flinn
Developing Variation In The Late Work Of Morton Gould And Why It Matters, J. Wesley Flinn
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
American composer Morton Gould (1913-1996) was remarkably consistent stylistically over the course of his compositional career; this project examines certain motivic transformational techniques used in two of his last works, Stringmusic (1993, winner of the Pulitzer Prize) and Remembrance Day (Soliloquy for a Passing Century) (1995). These techniques, which can generally be filed under the principle of developing variation, are: 1. Mirroring and reversal; 2. Rotation; 3. Motivic expansion and contraction; 4. Additive sets; and 5. Asymmetric injection. After an overview of each technique, I give a full analysis of the fourth movement of Stringmusic using the approaches described …
Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage
Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
Melodic sequences can create musical unity, enhance extra-musical drama, and make a piece memorable. In constructing their popular songs for Broadway and Hollywood, Gershwin and Kern both employed melodic sequences, but did so in mutually differing ways. This article opens with a broad-brushed comparison between the composers’ most popular songs and finds that Kern had a greater predilection for sequences than did Gershwin. Next, I closely analyze several songs by each composer in order to specify differences between the two songsmiths’ approaches to sequence. It is determined that Gershwin often reserves melodic sequence for musical climaxes, whereas Kern tends to …