Form—Function—Content

2018 ◽  
Vol 40 (2) ◽  
pp. 208-226
Author(s):  
Matthew Arndt
Keyword(s):  
Music Theory ◽  
Art Music ◽  
Musical Form ◽  
Conceptual Metaphors ◽  
Form Function

Abstract Arnold Schoenberg’s concept of formal function, as formulated by Erwin Ratz, has become a staple of music theory since it was reimagined and systematized by William E. Caplin. However, this concept has been criticized for not speaking to the content of a piece of music, its particularity and meaning. By defining formal components, parts, and functions in line with the conceptual metaphors that underlie musical form, one may establish the inseparability of form and content. The definitions proposed here apply to art music from the eighteenth to the early twentieth centuries, the latter demonstrated through an analysis of Schoenberg’s Op. 11, No. 1.

Beethoven’s Prosthesis

2017 ◽  
Author(s):  
Jonathan De Souza
Keyword(s):  
Hearing Loss ◽  
Music Theory ◽  
Cognitive Neuroscience ◽  
Cognitive Linguistics ◽  
Ecological Psychology ◽  
The Body ◽  
Culturally Specific ◽  
Conceptual Metaphors

This chapter takes performances by the deaf Beethoven as an instance of body-instrument interaction. Prior research in music theory, drawing on cognitive linguistics, suggests that Beethoven’s music was shaped by conceptual metaphors, which are both culturally specific and grounded in the body. Yet this chapter shows that players’ experience is not simply embodied but also technical. To that end, the chapter explores cognitive neuroscience, ecological psychology, and phenomenology. Patterns of auditory-motor coactivation in players’ brains are made possible by the stable affordances of an instrument. These auditory-motor connections support performative habits, and they may be reactivated and recombined in perception and imagination—supporting Beethoven’s auditory simulations after hearing loss, for example.

Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation

2001 ◽  
Vol 126 (2) ◽  
pp. 250-274 ◽  
Author(s):  
Gianmario Borio
Keyword(s):  
Present Article ◽  
Music Theory ◽  
Analytical Methods ◽  
Arnold Schoenberg ◽  
Uneven Development ◽  
Heinrich Schenker ◽  
Musical Form ◽  
Philosophical Background

Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: the first movements of Beethoven's sonatas op. 2 no. 1, op. 10 no. 1 and op. 57. The comparison of Schenker's analyses in Der Tonwille and Der freie Satz with those of Schoenberg, Webern, Rufer and Ratz shows that the disagreement principally concerns musical form and the functions of its components. The differences can finally be traced back to two opposite paradigms: music as nature and music as language.

Teaching Songwriting with MIDI Projects

2021 ◽  
pp. 112-174
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Theory ◽  
Real World ◽  
Electronic Music ◽  
Practical Approach ◽  
Musical Form ◽  
Music Genres ◽  
Production Practice ◽  
Original Musical ◽  
House Music

The projects in this chapter introduce MIDI recording, sequencing, and editing techniques for composition and songwriting. The projects include strategies for enabling students to quickly generate a large amount of original musical material quickly. Beginner songwriters and composers find empty DAW sessions to be daunting, so it is essential to build their confidence. Therefore, the chapter gives techniques for quickly generating melodic and drum sequences, duplicating them, and creating variations on them. This approach also has the benefit of mirroring “real-world” professional production practice. The projects cover drum programming and arranging, as well as writing chord sequences, basslines, and short melodies. A pragmatic instrument taxonomy of “drums” and “not-drums” is used, and the typical instrumental layers in contemporary electronic music genres are explained. Also presented is a practical approach to relevant music theory concepts. Finally, three popular genres—future bass, house music, and trap—are used to introduce musical form.

scholarly journals Music Genre Classification Using Deep Learning Techniques

2021 ◽  
Vol 9 (VI) ◽  
pp. 4157-4160
Author(s):  
M.K.N. Haq
Keyword(s):  
Deep Learning ◽  
Learning Algorithm ◽  
Art Music ◽  
Musical Form ◽  
Musical Style ◽  
Religious Music ◽  
Music Genres ◽  
Deep Learning Algorithm ◽  
Music Genre ◽  
Musical Genres

Music genre labels are useful to organize various songs, albums, and artists into broader groups that share related musical genres such as similar sound etc. A music genre is a conventional group it helps us to identify some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although this terms can be used as viceversa. Music can be divided into genres in varying ways such as into popular music and art music,hip hop music or religious music and secular music. The artistic nature of music means that these classifications are often biased and notorious and some genres may overlap. We will classify the various music genres by using deep learning algorithm. We will train the model and by using various music genres of test dataset we will predict the specific music genre.

Origins

2017 ◽  
Author(s):  
Lawrence M. Zbikowski
Keyword(s):  
Music Theory ◽  
Theoretical Perspective ◽  
Dynamic Processes ◽  
Form Function ◽  
Language And Music ◽  
Unique Approach ◽  
And Function

This chapter provides an introduction to the unique approach to musical grammar taken in this volume, which adopts a theoretical perspective first developed by cognitive linguists. According to this theory, grammatical units are constructions that combine both form (syntax) and function (semantics). Building on the assumption that language and music have different functions in human cultures, it is proposed these media exploit different systems of reference: language relies on symbolic reference, and music relies on analogical reference. Musical grammar is based on form-function pairs (“constructions”) that provide sonic analogs for dynamic processes central to human cultures. This volume will focus on three such processes: those related to the emotions, to gestures, and to dance. The chapter provides an overview of the book as a whole and also explains how this approach to musical grammar connects with previous work in music theory.

“And a Droplet Reflects the World.” Imaginary Discord in Modal Theory, and Modal Development in Small Forms and Fragments

10.34690/85 ◽  
2020 ◽  
pp. 52-73
Author(s):  
Евгений Борисович Трембовельский
Keyword(s):  
Binary System ◽  
Music Theory ◽  
Musical Form ◽  
Modal Theory ◽  
Modal Variation ◽  
The World ◽  
Schools Of Music ◽  
Methodological Principles

В данной статье рассматриваются принципы ладового развития в небольших произведениях и построениях. В избранных для анализа миниатюрной песне Листа «Радость и горе», четырехтактном фрагменте из «Хованщины» и ряде других образцов из музыки Шопена, Римского-Корсакова, Дебюсси, Слонимского, Лигети выявлены такие принципы модального и тонального становления, как сохранение или пополнение звукоряда, взаимодополняемость модусов, тональное и модальное модулирование, сбережение тона, модальная вариантность, отражение в формообразовании логики истории. В статье уточнены некоторые аспекты теории лада через призму концепций в области гармонии двух представителей санкт-петербургской и московской научных школ. Ощущение противоборства и непримиримости их трактовок создалось отчасти после острых формулировок Т. Бершадской: «Недоразумение, становящееся традицией»; «Изначальная ошибка популярной концепции». Автору данной статьи, внесшему некоторые корректировки и разъяснения, расхождения сторон представляются, однако, несущественными и даже мнимыми. Понимание лада как бинарной системы позволило в ладовом развитии выделить две его ветви - модальную и тональную, которые, как правило, находятся в тесном взаимосплетении при обычно определяющей роли одной из них. Предпринятые анализы произведений каждой из этих ветвей имеют различия, хоть они и направлены к осмыслению общих методологических принципов, которое для музыковедческой науки остается насущным. This article deals with the principles of modal development in short pieces and structures. The selected for the analysis Liszt's miniature song “Joy and Woe,” a four-beat fragment from “Khovanshchina” and a number of other examples from the music of Chopin, Rimsky-Korsakov, Debussy, Slonimsky, and Ligeti reveal such principles of modal and tonal formation as: preservation or enrichment of the scale, complementarity of the modes, tonal and modal modulation, preservation of tone, modal variation, reflection of the logic of history in creating the musical form. The article clarifies some aspects of the modal theory through the prism of the concepts in the field of harmony as presented by two exponents of St. Petersburg and Moscow schools of music theory. The sentiment of confrontation and irreconcilability of their interpretations was created, in part, by T. Bershadskaya's sharp statements: “Misunderstanding that becomes a tradition,” “The initial mistake of the popular concept.” However, the author of this article, having made some adjustments and clarifications, considers the differences between the parties rather insignificant and even imaginary. The understanding of mode as a binary system made it possible to distinguish two branches in modal development-modal and tonal, which, as a rule, are closely intertwined, with one of them usually playing a determining role. The undertaken analyses of the works by each of these branches have certain differences, although they are aimed at understanding the general methodological principles, which remain essential for musicology.

scholarly journals Pencug

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Adimas Muhammad Fajariansyah
Keyword(s):  
Music Composition ◽  
Art Music ◽  
Musical Composition ◽  
Musical Form ◽  
Work Of Art ◽  
Art Object ◽  
Musical Works ◽  
The Creation

The time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending.

scholarly journals ‘It makes you think anything is possible’: Representing diversity in music theory pedagogy

2016 ◽  
Vol 33 (2) ◽  
pp. 175-189 ◽  
Author(s):  
Robert Davidson ◽  
Mandy Lupton
Keyword(s):  
Contemporary Art ◽  
Undergraduate Students ◽  
Music Theory ◽  
Traditional Approach ◽  
Art Music ◽  
Music Programs ◽  
Action Research Project ◽  
Music Making ◽  
Music Theory Pedagogy ◽  
Theory Pedagogy

This paper critiques a traditional approach to music theory pedagogy. It argues that music theory courses should draw on pedagogies that reflect the diversity and pluralism inherent in 21st century music making. It presents the findings of an action research project investigating the experiences of undergraduate students undertaking an innovative contemporary art music theory course. It describes the students’ struggle in coming to terms with a course that integrated composing, performing, listening and analysing coupled with what for many was their first exposure to the diversity of contemporary art music. The paper concludes with suggesting that the approach could be adopted more widely throughout music programs.

scholarly journals Possible implementation of Heinrich Christoph Koch’s analytical terminology in contemporary analytical practice

Muzikologija ◽  
2018 ◽  
pp. 159-177
Author(s):  
Jasna Veljanovic
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Scientific Work ◽  
Sonata Form ◽  
Musical Form ◽  
Introductory Essay ◽  
Analytical Practice

This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon (Musikalisches Lexikon) and Introductory Essay on Composition (Versuch einer Anleitung zur Composition) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer?s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch?s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch?s analytical terminology and to introduce it into today?s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch?s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch?s postulates as well as an attempt to implement them in todays? practice.

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