By Byron Almén, Edward Pearsall
Approaches to that means in tune offers a survey of the issues and matters inherent in pursuing which means and signification in song, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists given that the time of Pythagoras. This assortment brings jointly essays that replicate a number of assorted views on ways to musical which means. tested track theorists and musicologists disguise subject matters together with musical element and temporality, college, borrowing and organization, musical symbols and artistic mythopoesis, the articulation of silence, the mutual interplay of cultural and music-artistic phenomena, and the research of gesture.
Contributors are Byron Almén, J. Peter Burkholder, Nicholas cook dinner, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.
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Extra resources for Approaches to Meaning in Music
13. Art Tatum, arrangement of Ellington, “Don’t Get Around Much Anymore,” conclusion sequential ascent to a peak, rapid descent, hitting bottom, rebound—is preserved in all particulars. In the Tatum arrangement, as in most of the nineteenth-century examples, the schema goes hand in hand with tonal structure, in the sense that, as a ¤nal cadential gesture, it af¤rms the tonic. But the gesture is hardly dependent upon tonality. For, just as, say, Schoenberg’s atonal music preserved a number of gestural and rhythmic qualities of tonal music in his atonal and twelve-tone music, so is our four-part schema suf¤ciently detachable from its tonal moorings that it can function in posttonal contexts as a rhetorically heightened cadential gesture.
Only the F s of measures 231 and 233, which twice generate a taut augmented triad when combined with the right hand, disturb the sense of diatonic security. In measures 231 and 233 of the left hand, a gentle cadential gesture, E 3–C4–B 3–(A ), in a “tenor” voice gracefully complements each bass move to the dominant—a tension-releasing gesture that creates a vastly different effect from the constantly churning uneasiness of the left hand of the Prelude. ) Furthermore, the long-short, beginning-accented rhythms of the left hand of the Ballade have an altogether more benign effect than the nervous, end-accented ostinato of the Prelude.
Hence Ligeti’s music of silence takes on ¤gurative as well as aesthetic connotations. The third movement of Barbara Kolb’s Appello also incorporates a largely inaudible compositional structure with similar results. 9 illustrates how the ¤rst two measures unfold. The ¤rst measure contains a four-note pitch set that repeats four times. The apparent randomness of the pitch succession in this measure, however, is misleading. In fact, each note of the pitch set occurs once, and only once, on each quarter-note beat-class as the chart below the excerpt reveals.
Approaches to Meaning in Music by Byron Almén, Edward Pearsall