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Full-Text Articles in Musicology
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.