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Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
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Articles 1 - 4 of 4
Full-Text Articles in Musicology
The “Rebuff Chorus” In 1960–2000 Pop Music, David Heetderks
The “Rebuff Chorus” In 1960–2000 Pop Music, David Heetderks
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
In some verse–prechorus–chorus (VPC) songs from 1960–1990, the prechorus sets up an expectation for tonic arrival, only to have the subsequent chorus reject this tonal implication and either withhold tonic resolution, abruptly change to a new key, or contain a passage whose relation to the previous one is tonally ambiguous. I call this event a “rebuff” chorus. Formal analysis and intertextual comparison show how rebuff choruses use absent-tonic passages or modulatory “breakout” passages in order to swerve away from the implications of the previous section. The formal device often transforms the expressive effect of the chorus from arrival and sincerity …
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 …
Intriguing Interpretation Of Dyads In Common-Practice Tonal Music, Yosef Goldenberg
Intriguing Interpretation Of Dyads In Common-Practice Tonal Music, Yosef Goldenberg
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
The study offers a systematic exploration of situations in which dyads in common-practice tonal music change their meaning, when repeated or as pivots. The most common such situation is thirds that serve as either the upper or the lower pair of consonant triad members, most often with the tonic as one of the options. Sometimes, however, an implied harmony turns out to be dissonant. Occasionally, dyads other than thirds are also subject to reinterpretation. In exceptional circumstances, dyads do not imply complete harmonies.