Review: Beyond Schenkerism: The Need for Alternatives in Music Analysis by Eugene Narmour

1979 ◽  
Vol 32 (3) ◽  
pp. 586-591
Author(s):  
Jan LaRue
Keyword(s):  
Music Analysis ◽  
Eugene Narmour

Music Analysis and Kinds of Hearing-As

2017 ◽  
Vol 4 (2) ◽  
pp. 233-242
Author(s):  
Joseph Dubiel
Keyword(s):  
Music Analysis

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

BORDERS AND FINITE AUTOMATA

2007 ◽  
Vol 18 (04) ◽  
pp. 859-871
Author(s):  
MARTIN ŠIMŮNEK ◽  
BOŘIVOJ MELICHAR
Keyword(s):  
Pattern Matching ◽  
Hamming Distance ◽  
Finite Automata ◽  
Music Analysis ◽  
Theoretical Description ◽  
Specific Form ◽  
Distance Measures ◽  
Computer Assisted ◽  
Finite State ◽  
Finite State Transducer

A border of a string is a prefix of the string that is simultaneously its suffix. It is one of the basic stringology keystones used as a part of many algorithms in pattern matching, molecular biology, computer-assisted music analysis and others. The paper offers the automata-theoretical description of Iliopoulos's ALL_BORDERS algorithm. The algorithm finds all borders of a string with don't care symbols. We show that ALL_BORDERS algorithm is an implementation of a finite state transducer of specific form. We describe how such a transducer can be constructed and what should be the input string like. The described transducer finds a set of lengths of all borders. Last but not least, we define approximate borders and show how to find all approximate borders of a string when we concern Hamming distance definition. Our solution of this problem is based on transducers again. This allows us to use analogy with automata-based pattern matching methods. Finally we discuss conditions under which the same principle can be used for other distance measures.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

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