Friday,May159:15–10:45 SYNTAX,AFFECT,ANDCOGNITION

Chair:LawrenceZbikowski

WhatisMusicalSyntax?AnEvolutionaryPerspectiveDavidBashwiner,UniversityofChicago

Itiscommontospeakoftherebeinga“syntax”inmusic,butmuchless

commonlyisthistermdefined.Initslinguisticsense,“syntax”invokesthenotionoflexicalcategory(e.g.,noun,verb,adjective).Musicologistsgenerallyagreethatthereisnomusicalparalleltolexicalcategory.Yet“order”(taxis)isclearlyimportantinmusic—causingthesameCmajorchord,forinstance,tosoundasadominantinF,asubdominantinG,andaflatsixthinE.Musicisliterally,then,“withorder.”Itisthisintuitionthatleadstheoriststoclaim—correctly,Ibelieve—thatmusicalutterancesaresyntactic.Nevertheless,withoutaproperunderstandingofwhat“syntax”is,describingmusicassuchcarrieslittletheoreticalweight.

Thecomparisonwithlanguageisproblematiclargelybecauseofthefactthat,inbothmusicandlanguage,syntaxisalreadyspeciated.Whatisneededisageneraltheoryagainstwhichtocompareboth.Iarguethatsuchageneralunderstandingcanbearrivedatbymeansof(a)acomparisonofthesyntacticbehaviorsusedcommunicativelythroughouttheanimalkingdom,and(b)aconsiderationofhowsyntacticityfunctionswithinthosecommunicationsystems.Muchcommunication,humanorotherwise,isnonsyntactic(e.g.,crying,cooing,gesturing,laughing).Syntacticityaffordsacertainsetofbenefitsaboveandbeyondthoseaffordedbynonsyntacticcommunication,butevolutionarypressureswouldpresumablyberequiredtobringthemabout.Evolutionarytheorythusoffersonewayofaccountingforwhatmusicalsyntacticityis,howitfunctions,andwhyitemerged.

TheorizingMusicalAffect:ArvoPärt’sPassio(1982)ArnieCox,OberlinConservatory

Thispapertheorizestheroleofmimeticmotorimagery(MMI)inthegenerationofmusicalaffect.MMIisimageryrelatedtomuscleactivityperformedinimitationofsomeseenand/orheardaction.Itoccursmostoftenincontextsofobservingotherhumansinreallife,athletics,andtheperformingarts.Whileitoccasionallymanifestsinovertmimeticbehavior,aswhenwesingalongwithordancetomusic,MMImostoftenremainscovertandnonconscious.MMIisaformofphysicalempathythatcontributesaphysicalfeelingtomusicalexperience.Thisfeelingtakestheformofpartlyreinstatedbodystates,whichtheoreticallyinvolvenotonlyactivationofskeletal‐motorsystemsbutalsoassociatedsystemsthatcontributetoaffect.ExcerptsfromPärt’sPassiodemonstratetherelationbetweentheacousticfact(objective/structuralfeatures),mimeticengagement,andaffective(subjective)experience.

Theanalyticalapproachtakesmusicalmeaningtoemergeinsubjectiveandintersubjectiveresponsestoobjectivefeatures,wheremeaningismotivatedbyandultimatelygroundedinembodiedexperience.MMIispresentedhereasoneofeightfactorscontributingtomusicalaffect.Amongtheimplications,thisapproachfleshesouttherolesofexpectationandanticipationbycharacterizinganticipatedeventsasanticipatedactions,performedbyperformersandmimeticallyperformedbylisteners.

TemporalSegmentationandPrototypicalPhraseModelsMitchOhriner,IndianaUniversity

Theliteratureoncategorizationpresentstwoviewsofcategoryformation,

theclassicalandtheprototypical.Intheclassicalview,elementsbelongtocategoriesbyvirtueofmeetingasetofnecessaryandsufficientconditions.Intheprototypicalconception,objectscanresembletheprototypicalinstanceofacategory,orevenmultiplecategories,andhencetheboundariesofcategoriesarefuzzy.

IntheworkofSchoenbergandCaplin,musicalphrasesarecategorizedusingtheclassicalmodel.Yetmanyphrasesdonotfittheconditionsoftraditionalcategories.Inaprototypicalconceptionofphrasestructure,allphrasescouldbeprobabilisticallyplacedinallcategories,butinorderforsuchaconceptiontobeadoptedthecriteriausedincategoryformationmustbeuniformandmeasurable.Thispaperproposesamethodofusingexpressivetiminginperformancetodeterminea“temporalpartitioning”ofapiecethatcanthenbefittoasmallnumberofphrasecategories.Thegoodnessoffitbetweenanumberofphrasesandasinglefittingmodelcreatesaspectrumofassociationanalogoustoaprototypicalconceptionofphrasecategorization.

Oftentheresultsofthemethodmatchourintuitionsofphrasestructure,butjustasoftentheydonot.InademonstrationusingtwoofChopin’sMazurkas,associationsbetweenphrasesdissimilarinmanyrespectsarerevealed.Inthelargercontextofmusicalscholarship,themethodhastheadvantageofprioritizinginterpretationinanalysisandwherepossiblegivingthehighestprioritytothemostwidelyheldinterpretationsofmusicalstructure.

9:15–10:45 MOTIVEANDPROCESS Chair:HaliFeldman(yettoconfirm)

MiddlegroundMotivesinBeethoven’sLastQuartet(Opus135)JasonBritton,LutherCollege

MostofthepublishedanalyticalcommentariesonBeethoven’slastcomplete

composition,theStringQuartetinFmajor,op.135,approachtheworkmoreorlessexclusivelyfromamotivicstandpoint.Thisisnotsurprising,giventhecuriousmotivicepigraphBeethovenattachedtothequartet’sfinalmovement.ArnoldSchoenberg(1941),RudolfRéti(1951),DeryckCooke(1963),andChristopherReynolds(1988)haveallpraisedop.135foritshighlyunifiedmotivicstructure.Butwhatarewetodowhenthedetailsofonemotivicreadingopposesanother?Orwhatifaparticularreadingcontradictsthewaywemightunderstandapassageaurally(aswhentheproposedreadingconflictsthemusic’sharmonic‐contrapuntalstructure)?Whatcriteriashouldweusetoevaluateamotivicanalysis?Clearly,weneedastrategythatwillhelpanswerthesequestionsandadvanceusbeyondmereintuition.ThepositiontakenhereechoesJohnRothgeb’sargumentthat“proposedthematicrelationshipsmustbearscrutinyinthelightoftheSchenkeriantheoryofstructuralstrata”(1983,42).ASchenkerianapproachisadoptedtohelpassessexistingmotivicreadingsofop.135withintherequisitecontextsofharmonyandvoiceleading.Themethodisthenusedtogenerateamethodologicallyconsistent,hearableanalysisthatrevealsmotivicrelationshipsthatresideatdeeper,hiddenlevelsofstructure.TheMythofModulation:MotivicUnityAcrossSurface‐LevelKeysinEinHeldenleben

SooHyunJeong,UniversityofMinnesota–TwinCities

RichardStrauss’sEinHeldenlebenpresentsadramaticmusicalprogramwhoseexcitementrestsinnosmallpartonrapid,chromatickeychanges.Despitethefrequentandvariedtypesofmodulation,wecanstilldetectanunderlyingmonotonallogictothisdizzyingarrayofkeys.Behindtheseeminglyunpredictablekeychangesliesasenseofcontinuitygrantedbyanunderlying ^5–^6–^5or̂5–ß^6–^5skeletalmelodicgesture.TheusageofthisgestureallowedStrausstoachievecoherenceinEinHeldenlebenbyrepeatingthesameharmonicidiomsonboththemusicalsurfaceandonhierarchicallydeeperlevels,atechniquehealsoappliedwithsomesuccessinlaterworks.Analytically,ourrecognitionofthisrecurringgesturehelpsustoexplainhowStraussexpressivelyunitesavarietyofharmonicandthematicelementsthroughoutonecomposition.

Tosupportthisclaim,mystudycomprisestheanalysisofavarietyofbothharmonicprogressionsandmodulations.Itakeintoconsiderationsurface‐levelharmonicprogressionsaswellasdeeper‐levelrelationshipsbetweenlocalkeyareas,showinghowamonotonalinterpretationofthemelodicscaledegreesprovidesasenseofunity.MyanalyticalapproachisinfluencedheavilybyDaniel

Harrison’sthoughtsonmodulation.Harrison’sanalysiscreatesachronologicalkeytravelogueofEinHeldenleben,usingtheRiemannianTonnetzasasortoftonalmap.Thestrengthofthisanalysisisthatonemayclearlyrecognizeboththevarietyoftheharmonicmotionsandtheentireconceptualgroupofkeysappliedthroughoutthepiece.MyapproachdiffersfromHarrison’s,however,inthatratherthanrelyingonRiemannianconceptionsoftonalityandmodulation,IuseSchenkerianconceptsandmethodology,anapproachmoreappropriatefordistinguishinghierarchicallevelsoftonalstructure.ThiskindofanalysiswilleffectivelyshowthatnewkeyrelationsinEinHeldenlebenfollowfromtherecursivecounterpointofthecentral̂5–(ß)̂6–^5gesture.Moreover,myanalysesillustratehowtheskeletalthematicmotionscontinuouslyseepupfromthebackground,eventuallysaturatingtheforeground.

VoiceLeadingandEmergingConsciousnessinaSchoenbergPassageChristopherM.Barry,UniversityofWisconsin–Madison

AremarkablepassageinthesixthsongofArnoldSchoenberg’sDasBuchderhängendenGärten,Op.15(1908–09),“Jedemwerkebinichfürdertot,”formsanelegantparallelofemerginghumanconsciousnessthroughthesingulardetailsofitsvoiceleading.Thepassagecrystallizesinafleetingmomentcoincidingwiththesinger’senunciationoftheverb“weinen”(toweep).Theharmonicsimultaneityofthismomentisstrikingincomparisontoitspredecessors.ThoughitputativelysimulatesanEmajortriad,thereisnothing“E‐ful”abouttheWeinenklang:itisagroundless,harmonicallyimpoverishedproductofadistinctlynon‐tonalvoice‐leadingprocess.

Thispaperexpandsonandformalizesthevoice‐leadingprocessinthisextraordinarypassagewithreferencetoremarksfromSchoenberg’sHarmonielehre(1911)andRoeder’s(1989)commentaryonthoseremarks.Itheninterpretthevoice‐leadingprocesswithintheframeworkofahumansubjectemergingintoconsciousness,aframeworkbasedonthemusic‐theoreticalworkofMichaelCherlin(1993)andtheneuroscientificworkofAntonioDamasio(1999).Forthissong,aspecificallyFreudianinterpretivemodelparallelstheprocessiveformationofatotalistic,consolidatedsonoritythroughvoiceleading.TheWeinenklangdisruptsthepoeticmeterandsensualproclamationsofsexualdesire—actionsconsistentwithanegoistic,repressiveagent.Thecoincidenceofthevoice‐leadingprocess’stermination,theremarkableWeinenklang,textualdisruption,andtheactofweepingisnothappenstance:togethertheyilluminatethehumansubjectofthesong,aconsciousnessemergingthroughemotion,throughwhatDamasiomightcallthe“feelingofafeeling.”

11:00–12:30 BRAHMSANDBEACH Chair:FrankSamarotto(yettoconfirm)

BrahmsoderDietrich?AnAnalyticPerspectiveonthePianoTrioinAMajorRyanMcClelland,UniversityofToronto

DebatecontinuesovertheauthenticityofapianotrioinAmajordiscoveredin1924byErnstBückenandpublishedasaworkofBrahmsin1938byBreitkopf&Härtel.Thescore’sprefaceclarifiesthattheattributionrestedentirelyon“internalstylisticevidence”;themanuscriptwasinanunknownhand(presumablyacopyist’s),thetitle‐pagewasmissing,andpaperstudiesgavenoprofitableinformation.Themanuscripthassincevanished.

SeveralauthorshaveofferedopinionsonwhetherBrahmscomposedthistrioandwhenhemighthavedoneso.WhileearlywriterssuchasBücken,FriedrichBrand,andRichardFellinger,supportedaBrahmsattribution(c.1853–54),nearlyallrecentwriters—includingGeorgeBozarth,DavidBrodbeck,andMichaelMusgrave—havequestionedthis.Mostoffernoalternative,butBrodbeckproposesAlbertDietrich.TheonlyrecentauthorfullyinaccordwiththeBrahmsattributionisMalcolmMacDonald,buthesuggestsadateof1856. Thispaperviewsthetriofromananalyticperspective,somethingthatmanyoftheaforementionedwritershavesignaledasnecessarytoadvancetheauthorshipdebate.SinceDietrich’snamehasrepeatedlysurfacedindiscussionsofthistrio,thisinvestigationinvolvesbothearlyworksofBrahmsandtheinstrumentalmusicofDietrich.WhilenoanalyticinquirycanprovidecompletelyconclusiveproofofBrahms’sauthorship,thispaperdemonstratesthatthetrioisveryconsistentwithBrahms’searlystyle(c.1852–53)andinconsistentwithDietrich’scompositionallanguage.“ShallIFindAughtNew?”TheExpressivePotentialofModifiedStrophicForminthe

SongsofAmyBeachVictoriaMalawey,KenyonCollege

DespitetheseeminglyuncomplicatedsurfaceofsomeofAmyBeach’ssongs,

manycomprisesophisticatedharmonicandformalstructures.ComposedinthelateRomantictonalstyleoverherentirecareer,manyofhersongsfeatureunusualformaldesignssituatedsomewherebetweenmodifiedstrophicandthrough‐composedform.ThisstudyexaminesformalmodificationsinfivesongsbyBeachpublishedoveraspanof25years,andseekstoanswerthefollowingquestions:Inwhatwaysdostrophicmodificationsaffectlisteners’perceptionsofformandtextualparallels?Towhatextentdoesthedegreeofmodificationimpactperceptionsofnewmaterialorvariationofpreviousmaterial(restatement)?Finally,howdoBeach’sformalmodificationsimpacttherangeofexpressivityinthesongtexts?

Thefocalexampleofthispresentation,“Ah,Love,butaDay”(op.44,no.2),

demonstratesacomplexmanifestationofstrophicprinciplesbecausetheelementsthatrecallsimilaritycontinuallyshift.Differentlisteningstrategiescanallowlistenerstoexperiencethesongaseithermodifiedstrophicorthroughcomposed.Moststrophicqualitiesemergeintheareaofmelody,whereacombinationofscale‐degreefunctionandabsolutepitchesarekeptintactbetweenstrophes.

ComparisonsofBeach’sscoreswithanalyticre‐compositionsillustratetheproductivegapbetweenstrictlystrophicdesignsinthelatterandheavilymodifiedstrophicformsintheformer.Beachusessuchmodifieddesignsfordramaticeffect,oftenenhancingemotiveaspectsofthesongtexts.Differentcombinationsofelementsdelineatingchangecorrespondwithdifferentemotiveeffectsinthesongs.

“YouKissMeasWePart”:UnifyingTechniquesinTwoBrahmsSongPairingsDanielB.Stevens,UniversityofDelaware

Whilethematicconnectionsareoftenunderstoodasbindingmusical

passagestogether,couldtheyalsothreatentocollapsethedistinctionbetweentwoseparatepieces?OneofthemostunusualfeaturesfoundinBrahms’s“Liederstrauβe”(song‐bouquets)aretheinstancesofadjacentsongsthatemployvirtuallyidenticalthematicmaterial.Unlikesongcyclesinwhichthematicrecallsoccurafterinterveninglieder(suchasBeethoven’sAndieFerneGeliebteorSchumann’sDichterliebe),thesesongpairingsoccursequentially,andtheirthematicrepetitionblurstheboundariesofthesesongs,effectivelyerasingthesilencebetweenthem.Whilerecentcommentatorshaveacknowledgedthecomplementarynatureofthesepairings,thesesongsalsoraiseissuesinvolvingmusicalunity,therelationoftextandmusic,andthecontributionofperformancetotheidentificationofmusicalworksaswholes. Focusingontwosongpairsfromtheop.19and85collections,IemploySchenkerian,formal,andtextualanalysistosuggestthatthesesongs,farfromexhibitingmundanerepetitions,ratherrepresenthighlycalculatedattemptsbyBrahmstorethinkhowmusicandtextmaybeinterrelatedacrossthedoublebar.Bycontrastingtheunifyingtechniquesemployedinthesetwopairs,IarguenotonlythatBrahmswascreativelyengagedintheproblem—andpotential—ofthematicrepetitionbutalsothatthesignificanceofhiscompositionalsolutionshingesupontheiractualizationthroughperformance.

11:00–12:30 ELUSIVEASPECTSOFPITCH:TIMBREANDSPRECHSTIMME Chair:SherstenJohnson

OppositionsandMetamorphosis:TimbreinSaariaho’sChâteaudel'âmeCrystalPeebles,FloridaStateUniversity

Inwritingaboutherworks,KaijaSaariahohasemphasizedtheroleoftimbre

asastructuraldeterminant.Shemapscertaintimbresontothecommonoppositionbetweenconsonanceanddissonance,withastatedgoalofcreatingahierarchyoftimbre.ThroughthelensofthisviewoftimbreandSaariaho’sideasaboutinterpolation,ahierarchyoftimbralgesturesarisesinherChâteaudel'âme,apieceforsolosoprano,woman’schorus,andorchestra.Timbreisusednotonlytodefinepitch‐specificgestures,buttocreateanoveralltrajectoryofthefirstmovementofthiswork.Throughaninterpretivegraphthatchartsthechangeoftimbralconsonancethroughtime,thistalkexplorestextualmeaninganditsinteractionswithtimbre.

FunctionalandDescriptiveAccountsofTimbreWilliamO’Hara,UniversityofWisconsin–Madison

InthediscussionofKlangfarbenmelodiethatcloseshisHarmonielehre

(1911),ArnoldSchoenbergwaxespoeticaboutthesublimitythatharnessingandsystematizingtimbrewouldbringtomusic,sayingthatitcould“bringusclosertotheillusorystuffofourdreams.”However,explorationsoftimbre’sorganizationalandexpressivepotentialarerareinsubsequentmusicalliterature.Thiscould,perhaps,beattributedtothelackofasystematictheorywithwhichtodescribethephenomenonoftimbreinmusic.Whileitisdifficulttodenytimbre’sexpressivepower,itisevenmoredifficulttoquantifyandexplainthemodesthroughwhichthispoweroperates.Severalobstacleshamperourunderstandingoftimbre.Itisimpreciselydefinedandeludesmeasurementonanyexistingspectrum,makingcomparisonsdifficult.Thegreatdiversityofpossibletimbresandtheextra‐musicalassociationstheyoftencarrypresentadauntingmountainofdatathroughwhichtosift.

Thispaperarguesthatexistingconceptionsoftimbrecanbesplitintotwocategories:descriptiveandfunctional.Descriptiveaccountsarefoundinmusicalwritingsofallkinds,fromorchestrationtreatisestomusicreviews.Functionalaccounts,suchasthoseundertakenbyWessel(1979)andLerdahl(1987),seektodescribetimbreasanelementthatcanbevariedinmusicallysignificantways,throughoperationssuchasintensificationandcombination.Bothhavetheirplaceinmusicologicalscholarship.Thispaperpositsthatadvancingourunderstandingoftimbrewillrequireresearcherstocombinethesetwoapproaches,andsuggestspossibleavenuesforsuchcombination.

RapandSprechstimme:AnalyzingthePitchContentofHip‐HopChristopherSegall,CityUniversityofNewYork

Thereisalongstandingassumptionthatpitchplaysnoroleinrapmusic.

Existingscholarlytranscriptionsrenderrappedlinesinrhythmicnotationonly,implyingthatanypitchvariationismerelyincidental.Bycontrast,Icontendthatthewayrappedlinesarepitchedconstitutesanimportantcomponentofmanysongs.Furthermore,Iproposeusingapitch‐sensitivenotation,basedonArnoldSchoenberg’sSprechstimme,inraptranscription.

Existingtranscriptionshaveusedoneoftwomethodsfornotatingrapping.Inthefirst,Westernclassicalnotationconveysrhythmsonanunheightedstaff;thesecond,developedbyAdamKrims,conveysrhythmswithXsplacedinametricalgrid.Neithermethodaccountsfortheroleplayedbypitch.Everysyllableofspeech,whetherspokenorrapped,hassomepitch,evenifitisnotsustainedasinsinging.Sprechstimmenotation,designedforvocalistswhomustpitchtheirspokenvoices,canapproximatethepitchesofrappedsyllablesintranscription.

Inthispaper,Iillustratehowpitchfunctionsinrapmusic.Ontheonehand,pitchcontributestotheformalorganizationofsongs,forinstanceallowingrepetitionsofchorusestosoundalike.Ontheother,pitchaccentplaysasignificantroleinwhatKrimscalls“percussion‐effusiveflow,”astyleofdeliverycharacterizedbyinternalrhymeandpolyrhythm.Pitchisusedtoreinforcetheserhythms.Ultimately,Iconcludethatpitchplaysagreaterroleinrapmusicthanpreviouslythought.

2:00–5:15 POSTERSESSION:PEDAGOGY IncorporatingKeyboard‐BasedMasteryLearningintotheMusicTheoryCurriculum:

TwoStudiesLeighVanHandel,MichiganStateUniversity

Thisposterreportstheresultsoftwostudiesthatimplementedamastery‐

learningmodelofkeyboardinstructionintoafreshman‐levelmusictheorycoursetodeterminewhetherthekinestheticactivityofproducingharmonicprogressionsatthekeyboardhelpsstudentsimprovetheirwrittenmusictheoryskills.Thehypothesiswasthatifthekinestheticreinforcementofthekeyboardmoduleshadapositiveeffectonparticipants’understandingofthematerial,theparticipantsmayhaveseenanincreaseinperformanceonregularcourseassessmentswhencomparedtothecontrolgroupmembers.

Apilotstudyindicatedthatstudentswhowereatriskinthecourse(thoseperformingat75%orbelow)benefitedthemostfromtheinclusionofthekeyboardmodules.Infact,theperformanceofthelow‐achievingparticipantsbecamestatisticallyindistinguishablefromtheperformanceofthehigherachievingcontrolgroupmembers.ThisfollowsthefindingsofKulik,Kulik,andBangert‐Drowns(1990),whofoundthatthelowestlevelofstudentisthemostlikelytobenefitfromamastery‐learningapproach.

Theexperimentdesignalsotestedwhetherstudentsretainedthebenefitfromthemastery‐learningkeyboardmodules;resultsindicatethattheat‐riskparticipantgroupcontinuedtooutperformtheircontrolgroupcounterpartsevenafterthetwounitsthatincludedthemodules.

Theposterwillpresentresultsfromthepilotstudyandasecondstudy,runduringSpringsemester2009,andwillprovidesuggestionsforincorporatingkeyboard‐orientedlearningintoexistingcurriculathatdonothaveanintegratedkeyboardskillscourse.

BarbershopQuartetsintheSightSingingClassBruceTaggart,MichiganStateUniversity

Teachingsightsingingisanimportantassignmentgiventothe

undergraduateauralskillsteacher.Musiciansshouldbeabletosingcomfortablyatsightanymelodytheyencounterinaperformance,teaching,oracademicsetting.Butaswithallskills,learningtosingatsightrequirestimeandextensivepractice.

Thisposterpresentstheuseofbarbershopquartetsasateachingtoolinthesecond‐yearauralskillsclass.Forthepastfiveyears,thefourthsemesterclassinafour‐semestersequenceintheCollegeofMusicatMichiganStateUniversityhasusedthequartetcollectionBarbershopJubilee(arr.CharlesBoutelle)asarequiredtext.

Barbershopsingingoffersanincreasedawarenessofsingingmechanics,afirstopportunityformanytosinginachoralsetting,lightlychromaticharmonies

thatprovideopportunitiestodrillbasicchordlabelingskillsandapplyconceptsfromthewrittentheoryclass,and,notleast,ahugelyenjoyablesingingactivitythatcanserveasagreatmotivatorinwhatcanbeafrustratingandlessthanexcitingclass.

Severalquartetsfromthecollectionarediscussed,lookingatproblemsinperformance,andofferingwaysofmakingconnectionswithconceptsfromwrittentheory,includingchromaticharmony,harmonicprolongation,modulation,andthephrasemodel.

Theuseofbarbershopquartetscanbeaneffectiveteachingtool,improvingbasicsingingandsightreadingskills,strengtheninganalyticalskills,andgivingstudentsachancetosinginachoralsetting,perhapsforthefirsttime.2:00–4:00 JAZZPLUS

Chair:RamonSatyendra

EllingtontheImproviser:GroupInteractionintheMoneyJungleRecordingsGarrettMichaelsen,IndianaUniversity

ThispaperwillfocusonDukeEllingtonasajazzimproviserthroughthe

investigationofoneparticularlyintriguingrecordingsession.His1962MoneyJunglerecordingdatebroughttogetherthediverseandindividualistictalentsofEllington,CharlesMingus,andMaxRoachforasessionthatwasatturnsbrilliantandbewildering.Ellingtonwrotethatrecordinghiscomposition“FleuretteAfricaine”was“wasoneofthosemysticmomentswhenourmuseswereoneandthesame.”However,othercutssuchasthetitletrack“MoneyJungle”displaypalpablemusicalfrictionbetweentheperformers.Throughdetailedtranscriptionsofthesetworecordedperformances,Iwilldrawintotheanalyticalpicturetheelementofmusicalinteractionthatissocompellinginthissession.IdevelopaninteractiveanalyticalframeworkthatdrawsontheworkofscholarssuchasRobertHodson,IngridMonson,JeffPressing,EdSarath,R.KeithSawyer,andPaulSteinbeck.ThroughthisanalyticalframeworkIcharacterizeinteractiveconnectionsaseitherassociativeorinterruptivecontinuationsofprecedingimprovisedutterances.Additionally,Idescribeaspectrumofinteractiveconvergenceanddivergence,wherebothpolesfunctionasunstableboundariesbetweenwhichmostimprovisedinteractionoccurs.Theanalysesof“Fleurette”and“MoneyJungle”willidentifyconvergentanddivergentelementsofboth,paintingthetotalinteractivepicturenotinblackorwhitebutinshadesofgray.

MetricalDissonanceinBillEvans’s“AlltheThingsYouAre”StefanLove,EastmanSchoolofMusic

BillEvans’ssolorecordingsrevealakeenabilitytodisruptthemeter.He

frequentlysuperimposesconflictingmetricallayers(groupingdissonance)orshiftstheapparentdownbeat(displacementdissonance).Thelackofensemblesupportmakestheseeffectsallthemoredramatic.Inthispresentation,IdiscussEvans’versionof“AlltheThingsYouAre”fromthealbumAlone,withtheaimofansweringthefollowingtwoquestions:1)WhattypesofdissonancedoesEvansemploy?2)Howdoesheprepare,sustain,andresolvethesedissonances?

Whileseveraltheoristshaveanalyzedmetricaldissonanceinjazz(e.g.Larson2006,Downs2002,Waters1997),priordiscussionofdisplacementhasbeenlimitedtothedisplacementofmotives.Yet“AlltheThingsYouAre”includessomeastonishingexamplesofphraseandsubphrasedisplacement.Toclassifytheseandothertechniques,IborrowHaraldKrebs’snotationformetricaldissonance,aspresentedinhisbookFantasyPieces(1999).Usinganadaptationofhisapproach,IdescribeEvans’techniquesindetail.Thisdescriptionopensavenuesforfurtherresearchonmetricaldissonanceinjazz.

OrderedStepMotivesinJazzCompositionKeithSalley,ShenandoahConservatory

Whenanalyzingjazzcompositionsthatareeitherharmonicallycapriciousor

tonallyambiguous,thetaskofdeterminingpointsofarrivalanddepartureandtracingthelinearpatternsthatconnectthemcanbecomedifficult.Thisstudyinvestigatestheextentstowhichsuchcapriciousorambiguousaspectsofjazzcompositionsaremelodicallydriven.WhileIdonotwishtoinvokeintentionality,Idowishtoexplorehowmelodiesmakesenseofsomeunusualturnsofharmony,tonality,andevenform.

Thefocusofthisstudyisthemelodicmotive.ItusesatoolcalledtheOrderedStepMotive(OSM)toinvestigatethewaylinearmotivesgiveshapetojazzcompositionsthathavefrequentlychangingtonalcenters,nonfunctionalchordconnections,noclearglobaltonics,orstructurallyopen,circularforms.ThisstudyfeaturesanalysesofDaveBrubeck’s“It’saRaggyWaltz,”and“InYourOwnSweetWay,”DizzieGillespie’s“ConAlma,”BennyGolson’s“Stablemates,”HoraceSilver’s“Peace,”andWayneShorter’s“Nefertiti.”Thisstudyinvitesfurtherresearchintotherelationshipbetweencommonriffsandunderlyingstructureinjazzcomposition,whichmayrevealcrucialdifferencesbetweenstandardswrittenbyBroadwayandTin‐Pan‐Alleycomposersandthosewrittenbypracticingjazzmusicians.

A"New"LydianTheoryforFrankZappa'sDiatonicMusicBrettClement,UniversityofCincinnatiCollege­ConservatoryofMusic

ThoughmuchofFrankZappa’smusichasbeencalled“tonal”duetoitsfundamentaldiatonicism,reconcilingthisrepertoirewithfamiliartheoriesoftonalityisfraughtwithdifficulties.Inthispaper,IwillarguethatanunderstandingofZappa’sdiatonicmusicisbestachievedinreferencetotheLydianscale.ThetheorypresentedislooselyadaptedfromGeorgeRussell’sinfluentialjazztheory“TheLydianChromaticConcept.”ItintroducestheconceptofaLydiansystem,containingalimitedgroupofdiatonicmodesgeneratedfromacommonLydianscale.Withinthesystem,theLydianmode,duetoitsspecialstaticproperties,functionsasa“tonic”state,representativeofmajortonality.

TheremainingmodesoftheLydiansystemwillbeshowntointeractwiththeLydiantonicinvariouswaysinZappa’smusic.First,Ishalldefinethreetexturallystratified“zonesofmusicalactivity”intheseworks—melodic,chordal,andpedal—andwilldemonstratehowthesethreezonesplayimportantrolesinachievingmodalarticulation,whilealsoremainingindebtedtotheLydiantonicintheirpitchstructures.Second,IwillexamineZappa’spracticeofpedalsubstitution,aprocesswherebythesamediatonicmelodyisset,atvarioustimesinapiece,todifferentpedalsoftheLydiansystem.Third,IwilldescribecertainprogressionsthatmayoccurwithinaLydiansystem.Thepresentationwillconcludewithananalysisofthesong“Andy,”whichwilldemonstratetheintegrationofseveralcloselyrelatedLydiansystemsacrossacompletework.3:00–4:00 MODESANDTRANSFORMATIONSINBRITISHMUSIC Chair:JulianHook

TheModalOrganizationofVaughanWilliams’WorksIanBates,YaleUniversity

Thispaperinvestigatesthelarge‐scalemodalorganizationofVaughan

Williams’works.Itbeginsbyclassifyingthevarioustypesofmodalrelationshipsfoundinhisworksanddevisesastandardvocabularyfordiscussingtheserelationships.Itintroducestheconceptofthemodaltrajectory,adirectedrelationshipbetweentwoormoremodesthatunfoldschronologicallyoveramusicalspan.Modaltrajectoriesarethendividedintotwobroadcategories:thoseinwhichthevalueofonemodaldomain(pccontent,modetype,orcentricity)remainsfixedandthoseinwhichthevaluesofallthreedomainsarevaried.Thesearedubbedfixed­andvariable­domaintrajectories,respectively.Atthesametime,itdevelopsamethodofgraphicallyrepresentingawork’smodalorganizationforanalyticalpurposes.Avisualrepresentationofdomainrelationsamongallthediatonicmodesisdevised,andthisTableofModalRelationsisthenusedtorelatemodaltrajectoriestooneanotherviashareddomainconflictstoformtrajectory

systems.Finally,thepaperproposesinterrelatedtrajectorysystemsasthestandardmodelformodalorganizationinthecomposer’sworksandshowshowapiece’strajectorystructuretypicallyrelatestoitsformalstructure.

FormandTransformationinthe"Nocturne"fromBritten'sSerenadeforTenor,

Horn,andStringsMichaelBaker,UniversityofKentucky

OfthemanywritingsonthemusicofBenjaminBritten(1913–1976),most

areconcernedwithhisnumerousoperas,includingPeterGrimes,BillyBudd,DeathinVenice,andTheTurnoftheScrew.WhilediscussionofBritten’smusicfocusesheavilyontheoperas,comparativelylittleiswrittenontheanalysisandinterpretationofthesongcyclesforvoiceandorchestra,whichincludestheSerenadeforTenor,HornandStrings,oneofBritten’smostbelovedandoftenperformedworks.

The“Nocturne”fromBenjaminBritten’sSerenadeforTenor,HornandStringspresentsanumberofinterestingmelodicandmotivicdevicesthatcanbeeffectivelymodeledbyaspectsofdiatonictransformationaltheories.Afterreviewingapairofimportanttransformationaloperations,Iwillpresentananalysisofthe“Nocturne”thatdrawsuponbothtraditionalandrecentdevelopmentsintransformationaltheory.Iwillthenexaminethedynamicrelationshipoftheseoperationswithimportantaspectsofthetextforthissong,illustratingthatthetransformationalpathBrittentraversedinthisworkechoestheoverallmeaningofTennyson’spoem.4:15–5:15 BALKANMETERS

Chair:RonaldRodman

ProblemswithUnequalBeats:ADiscussionofNon‐IsochronousMeterinBalkanBrassBandMusic

DanielGoldberg,UniversityofBritishColumbia

Innon‐isochronousmeter,categoricallydifferentdurationsbetweensuccessivebeatscoexistwithineachmeasure,allowingforahierarchicalmetricalframeworktoaccommodatetheaksak(“irregular”)rhythmicperiodsthatoccurinmanynon‐Westerncontexts.OnesuchcontextistherepertoryofatypeofbrassbandpopularintheBalkanregionofsoutheasternEurope,inwhichtheaccentualpatternsofaccompanimentalostinatosgrouprepeatingseriesofpulsesintounequalunits,suchasthe2‐2‐2‐3groupingofanine‐pulseperiod.ThispresentationexaminestranscriptionsofostinatosfromrecordingsofBalkanbrassbandsandtheirAmerican“Balkanite”counterpartsinordertoexplorehownon‐isochronousmetermightbetheorizedinrelationtotraditionalWesternmeter.

Threespecialtheoreticalproblemsoftherepertoryareaddressed.First,thechanginginteronsetintervalsbetweenbeatsinnon‐isochronousmeterseeminglyworkagainstmetricalstability,andcharacteristicsoftheaccompanimentalpatternslikefasttemposandcompletematerializationofthepulsecanbeseentocounteractthisproblem.Second,comparisonofnon‐isochronousmetricalcycleswithsimilarisochronouscyclesillustratesadistinctionbetweenpulse‐andbeat‐orientedapproachestodefiningandclassifyingnon‐isochronousmeter.Finally,intheinterpretationofanostinatofromarecordingofthepiece“Nasredsela,”acontradictionbetweenthemeterindicatedbygestaltprinciplesfortheperceptionofaccentandthemeterthatacculturatedlistenershearsuggeststhatculturalcontextcanaffecthowweprocessauditoryinputtoagreaterextentthancurrentgenerativemetricaltheorytakesintoaccount.

Four‐beatAksakMeterBeyondtheBalkans

AleksandraVojcic,UniversityofMichigan–AnnArbor

Thispaperdetailstheproblemsinreadingandunderstandingcompoundmetersfromthetop‐down,ratherthanbottom‐up.Iexaminecompositemetersasrelatedtocompoundmeters,butcomprisingnon‐isochronousbeats—e.g.,afour‐beat“9/8”metercommontomuchfolkmusicoftheBalkansthatalsofrequentlyappearsin20th‐centuryscoresinvariednotation.MusicalexamplesillustratetherelationshipbetweencustomaryfolkidiomssuchastheSerbianpopular‐musicadaptationsbythebrassband“ZlatneUste”andthecontemporaryscoresbyBartokandCrawford.Thediscussionofnon‐isochronousfour‐beatmeterisextendedtoincludecompositeaksakmeterinLigeti’sCapriccio,a<5/8,5/8,7/8,8/8>sequence,andillustratestheimportanceofasymmetricalperiodicityofcompositemeterinphrasestructureanalysis.4:15–5:15 PERSPECTIVESONCOPLAND’SQUIETCITY

Chair:NadineHubbs(yettoconfirm)

TheStructureandGenesisofCopland’sQuietCityStanleyV.Kleppinger,UniversityofNebraska–Lincoln

AaronCopland’sQuietCity(1940),aone‐movementworkfortrumpet,

Englishhorn,andstrings,derivesfromincidentalmusicthecomposerwroteforanunsuccessfulandnow‐forgottenIrwinShawplay.ThispaperwillexplorethedetailsofQuietCity’spitchstructure,suggestingdramaticparallelsbetweenthemusicandwhatisknownofShaw’splay.

Thepiece’soutersectionshingeuponthesameanhemitonicpentatoniccollection.Thiscollectionisthesourceofsignificantpitchcentersforthewhole

composition—thatis,themost‐stressedpitchclassesofeachsectiontogetherreplicatethecollectiongoverningthemusic’sfirstandlastmeasures.Thisprinciple,andthemusic’sexceptionstoit(especiallyatthework’sclimax),generatesaremarkablecorrespondencetotheinternalstrugglesofShaw’sprotagonist,GabrielMellon.

Inaddition,QuietCityoffersadistinctiveopportunitytoobservethecomposer’sassemblyofaunifiedtonalstructure.Copland’ssketchesforthework,nowarchivedattheLibraryofCongress,shedlightontheprocessbywhichhecreatedatonallycoherentmusicalworkfromasetofcuesoriginallymeanttounderscoreaplay.Studyofthesesketcheswillallowustoobservethecomposeralteringhisoriginalmaterialtoreinforcetonalconnectionsacrossthespanofthepiece.

ATonalRevolutioninFifthsandSemitones:AaronCopland’sQuietCityDavidHeetderks,UniversityofMichigan–AnnArbor

TonalambiguityinAaronCopland’smusicisatopicthatrecursoccasionally

incriticalcommentary.Thispaperarguesthatthisambiguityissymptomaticofaradicalreorganizationoftheconstituentelementsoftonality,anddemonstratesthisthroughananalysisofQuietCity(1940)thatusesmodelsofharmonicrelationdevelopedbyRobertMorris,StephenBrown,andJosephStraus.

ThepitchrelationsusedintheworkcanbemodeledthroughaTonnetzthatisgeneratedbytheintervalsofaperfectfifthandsemitone,andwhichhasCasaprivilegedmember.Intheopeningsection,patterncompletion,avoice‐leadingtechniqueinwhichthemissingnoteofacollectionestablishedasnormativeconspicuouslysoundsinordertocompletethecollection,articulatespointsofarrival.ThepitchC,whichistheaxisofinversionoftheopeningcollection,doesnotfigureprominentlyinthebasspart,butratheractsasthemelodiccenterofthetrumpetmelody.Themotiontowardtheclimax,whichmakesadramaticshiftbetweentwodiatoniccollections,showsalarge‐scaleinversionalrelationshiparoundthecentralpitch,C,mirroringtheinversionalsymmetryaroundCintheoriginalpentatoniccollection.

Thisanalysisshowshowthisworktakesconstituentelementsoftonality,includingdiatonicandpentatoniccollections,theconceptofprivilegedregister,andthemodelofthecadence,andtransformstheirinnerrelations.InOurNewMusic(1941)Coplandavowedtotheaestheticgoaloftappingnewpotentialwithinthetonalsystem;QuietCityprovidesastrikingexample.

Saturday,May169:00–10:30 INSEARCHOFMETER

Chair:KyleAdams(yettoconfirm)

ProjectiveMeterinGesualdo’sTenebraeResponsoriesTimothyChenette,IndianaUniversity

WhileCarloGesualdo’smusicisoftendisjunct,hisTenebraeResponsoriesforMaundyThursdayareinacontinuouslypolyphonicstyle.Thispaperwillsuggestanapproachtocontinuityandstructureinthispieceastheyarefacilitatedbyrhythmandmeter.Itwillfocusonthecontextual,cognitiveprocessoflisteningusingconceptsofprojectiondevelopedbyChristopherHasty,thoughitwillalsodrawonmorescore‐basedandretrospectivemodesofhearing. Seenfromaprojectivestandpoint,Gesualdo’sTenebraeResponsoriesforMaundyThursdayareremarkablysimilarinconstructionandshowahighdegreeofcontinuityandcleardramaticstructure.Almostallbeginwitharelativelyextendedsectionofpolyphonythatcarefullyestablishesapulseand,often,higherlevelsofmeter.Whileeachopeningsectiondoesthisinauniquewaythathasimplicationsfortheaffectanddramaticstructureofthepiece,theprocessesbywhichitisdonearesimilarineachcase.Thispolyphonicsectionistheninterruptedandenrichedbyvariousexpressivemetricalstates.AfteradetailedexaminationoftheopeningpolyphonyofResponsoriesIandIIIfromGesualdo’sTenebraeResponsoriesforMaundyThursday,thispaperwillanalyzeResponsoryIImorethoroughly.Finally,itwillpresentanoverviewofGesualdo’smetricstrategiesastheyrelatetostructureandcontinuity.

ParsingTimewithHarmonySaraJ.Bakker,IndianaUniversity

TheunmeasuredpreludesoftheFrenchBaroquearenotoriouslyenigmatic

pieces.Asguidestoimprovisation,thesepiecesuseincompletenotation;theycontainneitherbarlinesnorfixeddurations,andinsteaduselongandshortnotevaluestorepresentharmonicandmelodiceventsrespectively.Thus,manydetailsofthemusicalsurfaceareleftuptotheperformer.MusicwithsuchinherentperformativeflexibilitynecessarilychallengesourtraditionalmodesofunderstandingtimeinWesternartmusic—notionsofrhythm,meterandhypermeterbecomeimpossible.Thereisnoinherentperiodicity,noupbeatsandnodownbeats.

Despitethesecomplications,Iassertthatpitchcontent,theonlyfixedelementsavailableinthisrepertoire,canobtainamorepertinentandusefuldescriptionoftime.FourclearphrasesemergeinthepreludetoElisabeth‐ClaudeJacquetdelaGuerre’sSuiteIIIinAMinor(1687).EachofthesearticulatesthefunctionsT,PD,D,andTdifferentlyandenablesoneofthreeperceptionsoftime.

WeexperienceFocusedTimewhentheharmonicgoalaswellasthemotiontowarditisdirect.InDiffuseTime,however,weareconfrontedwithbothtonicizationsandphraseexpansionsthatobscuretherelationshipbetweentheharmoniesandphrasefunctions—therelationshipisnolongerone‐to‐oneandonto.Finally,weexperienceUnendingTimewhennosustainablesenseofharmonicgoalispossible.Mypaperexploresthesedifferentperceptionsoftimeandsuggestsnewlisteningstrategiesforaharmonicallybasedtemporalityoftonalmusic.

DurationalIdealismandMessiaen’sLivred'orgue

AntonVishio,SteinhardtSchool,NewYorkUniversity Difficultiesininterpretingeventsinthe“ametric”frameworkofsomestylesoftwentieth‐centurymusicarewellknown,andinparticularwhatwemighttermtheproblemof“durationalidealism,”aphenomenonJoelLesterhasdescribedasthelackof“one‐to‐onerelationshipbetweennotatedsymbolandperceivedduration.”Messiaen’sLivred’orgue(1951–52),whichisakindofcompendiumofdurationalexplorations,posestheprobleminextremis. Canwegainaccesstotheexperienceofthesetimespans?Fortunately,thecomposer’sparticulartemporalcreativity—theveryprocessesbywhich,asheputittoAlmutRößler,he“chop[s]upTimehereandthere,andcanevenputittogetherinthereverseorder,alittleasthoughheweregoingforawalkthroughdifferentpointsoftime”—suggestsawayin.Forinstance,inthethirdmovement,LesMainsdel’Abîme,Messiaenusesvarioustransformationsoftālastoallowproportionalrelationshipsandcharacteristicrhythmicpatternstoemergefromtheirjuxtaposition.Aclosereadingofthisandotherexampleswillsuggesthowwemightclimboutoftheabyssofdurationalcomplexity—andgainaheightenedappreciationofthosemomentswhichremainbeyondourtemporalgrasp. 10:45–12:15 ANALYSISANDPERFORMANCE

Chair:MiguelRoig‐Francoli(yettoconfirm)

TheActofInterpretingJ.S.Bach'sAllemandeforSoloFluteSamanthaInman,UniversityofCincinnatiCollege­ConservatoryofMusic

Analyticalinquirycoupledwiththestudyofpastperformancesprovidesthe

performerwithawealthofinformationthatcanbeusedtoguidethecreationofameaningfulinterpretation.UsingthefirstmovementofJ.S.Bach’sPartitaforSoloFlute,BWV1013asacasestudy,thispaperproposesandillustratesafive‐stepprocesstomusicalinterpretationthatbalancesbothdramaticandanalyticconcerns.Thismethodbuildsonearlierattemptstoilluminatethepotentialforinteractionbetweenperformanceandanalysis,particularlythoseofJanetSchmalfeldt(1985)

andTimHowell(1992).Mymethoddiffersfromthesebyemphasizingtheperformer’sactivecontributiontotheinterpretiveprocess.

Thefivestepsare1)InitialReadings;2)GeneralListening;3)Analysis;4)FocusedListening;and5)FormationofInterpretation.Possessionoftheknowledgegleanedfromthisprocessdoesnotrestricttheperformerfromseekingnewinterpretationsofafamiliarwork;insightsgainedfromthisprocesssupplementratherthanreplaceoriginalideascontributedbytheperformer.Thiscombinationfreestheperformertochoosefromthewidestpossiblerangeofoptionswhenmakingbothplannedandspontaneousperformancedecisions,fosteringatrulycreativeexpressionofthework’sessence.

OnTheRelationshipBetweenAnalysisandPerformanceinAtonalMusicTimothyC.Best,IndianaUniversity

Intheforty‐fiveyearssincecomposerArthurBergercalledfora“newbranch

ofmusictheory”toaddressthelanguageofpost‐tonalrepertoires,theproliferationofanalyticaltoolsforexaminingthestructureofsuchworkshasbeenconsiderable.Thereremains,however,aconsiderablegapbetweentheanalyticalresultsprovidedbysuchtoolsandtheirrelevancetomusicalperformance—agapthatIcontendisfarnarrowerintonalanalysis.Inthispaper,Iproposethatthecomprehensionofeventhemostbasicatonalstructuresislargelyunhelpfultoamusicianindevelopinganinformedandmeaningfulperformance.Tofillthisgap,Iproposeamultifacetedanalyticalapproachgroundedinthefieldofmusicalmeaning,anapproachthatutilizesrecenttheoriesofmusicalgesture,embodiment,andintertextuality.

Defendinghistwelve‐tonemethodin1936,ArnoldSchoenbergwrotethatheinstructedhisstudentsto,“…usethesamekindofformorexpression,thesamethemes,melodies,sounds,rhythms,asyoudidbefore.”ThispapertakesSchoenberg’scompositionaladviceasanalyticalimperative.Focusingononeofthemostover‐analyzedworksofatonalmusicintherepertoire,thesecondmovementofWebern’sPianoVariations,op.27,thisdiscussionavoidsanymentionofrowforms,invertedcanons,pitch‐classsymmetries,orfixed‐registraldyads.Rather,usingPeterStadlen’s1936performanceeditionasastartingpoint,Isuggestspecificgesturalandtopicalprototypes,establishingthemovement’sconnectiontothepastthroughvariousrecompositions.Myaimistodemonstratethatthemovementderivesitsmeaningfromtheexpressionisticdistortionoftheseprototypes.ConveyingProportionandOtherPerformanceIssuesinJohnAdams’sChinaGates

KyleFyr,IndianaUniversity

Inthestudyoftheinteractionsbetweenmusicalanalysisandperformance,minimalistandpost‐minimalistmusichavelargelyescapedscholarlyattention.JohnAdams’sChinaGates(writtenin1977forsolopiano)providesaninterestingcasestudy,however,ofhowcloselyanalysiscanintertwinewithperformanceinsuch

music,especiallywithregardtoproportion.ChinaGatesfeaturesaconstantlyarticulatedeighth‐notepulsestreamatasteadytempothroughoutthepiece,andisformallyproportionalbothatlocalandgloballevels.ThispaperassertsthatproportionisnotonlyausefullineofanalyticalinquiryforChinaGates,buttheconveyanceofitsinherentproportionalityalsodirectlyaffectsmanyimportantperformancedecisions.Inturn,Iillustratemethodsofpianisticattack,pedaling,andsubtledynamiccontrastthathelpcommunicatetherelationshipsbetweenlocalpairedsectionswhilealsoconveyingthelargerproportionaldesigninperformance.Ialsoexplorethewaysinwhichtheperformermayinterpretthevisualrepresentationofthepiece’s“gating”thatAdamsprovidesontheinsidecoverofthescore.Thirdly,IillustratehowproportionalanalysiscanguidetheperformerintheinterpretationofAdams’sscoreindications.Finally,IdiscusstheperceptibilityofproportioninmusicalformanditsusefulnessasananalyticconstructbyrelatingmyworktotheworkofJonathanKramer.2:00–4:00 HISTORIESANDDISCOURSESOFTHEORY

Chair:ThomasChristensenHeinrichChristophKoch’sDescriptionoftheAndanteinJosephHaydn’sSymphony

No.42asaResponsetoRecentSonataTheoriesGregoryHellenbrand,St.Paul,MN

InElementsofSonataTheory,HepokoskiandDarcyproposetheconceptsof

themedialcaesura,two‐partexposition,andcontinuousexpositiontodescribecertainworksofJosephHaydnandothereighteenth‐centurycomposers.However,thisapproachdoesnotsufficientlyreflectthemusicalthinkingofeighteenth‐centurytheorists.Forexample,thenotionthatanexpositioncanbeclassifiedaseithertwo‐partorcontinuous,dependingonthelocationofamedialcaesura,isnotcompatiblewithKoch'sconceptofthefirstmainperiod.HepokoskiandDarcyoverlookthevitalroleofthe“subsidiaryperiod”or“clarifyingperiod,”asatypeof“appendix”(Anhang),whichKochdescribesasafurther“explanation”afteraclosingphrase.

ThemainperiodofJosephHaydn'sAndanteconsistsofsixfour‐measurephrases,repeatedandvaried,followedbyanexpansiveclosingphrase.Inadditiontoanewcantabilepassage,tooshorttobeconsideredacompletephrase,unequalsegmentsmakeuptwoclarifyingperiodsasappendices.Theapplicationofsonata‐theoryprinciplestothiscomplexofphrasesisproblematic.IfHaydn’sexpositionwereconsideredas“two‐part,”the“medialcaesura”(V/V)wouldnotfunctionasexpected,sinceitisfollowedbyaclosingphrasewithalready‐familiarmelodiccontent,notacontrastingsecondtheme.NeithercanHaydn’sexpositionbefruitfullyconstruedas“continuous”becauseoftheearlyarrivalofaclosingphrasewithtwoextensivesubsidiaryperiods.Bycontrast,Koch’sanalysisprovidesamorepreciseformulationbasedprimarilyonharmonicallydefinedphrasesratherthan

themes.

ReflectiveEquilibriumandDavidLewin'sAnalyticalMethodologiesPeterShultz,UniversityofChicago

DavidLewin'sfamousessayonStockhausen'sKlavierstückIIIpresentsnot

onlyananalysisofthepiece,butalsotheprocessbywhichLewinconstructsthatanalysis.Beginningwithsomeintuitiveobservationsaboutthepiece,heproposesananalyticalsystem.Thenoverthecourseoftheessayheprogressivelyrefinesboththesystemandhisintuitivejudgments,inordertobringthemintomutualharmony.

Inthispaper,IarguethatthisprocessisadistinctlyLewinianmethodologyakinto“reflectiveequilibrium”(RE),aprocessofmoralreasoningfirstdescribedbyNelsonGoodmanandpopularizedbyJohnRawls.REinvolvesasimilarprogressiveharmonizationof“consideredjudgments”andsystematicbeliefs;whatLewincalls“intuitions”taketheplaceofRawls's“consideredjudgments.”Iproposethatintuitioncolorseachstepofhisanalyticalprocess,andthattheresultinganalysesaresatisfactory(toLewin)notmerelybecauseoftheirself‐consistency,butalsobecauseoftheiraccordancewithintuitive,pre‐theoreticaljudgments.

ThemostprofoundsymptomofREinLewin'sthoughtishisrejectionofbothnaturallaw(àlaRameauorSchenker)andmereconsistencyasjustificationsfortheoriesaboutmusic.Selectionsfromhiswritingsshowthatalthoughheregardsconsistencyasinsufficient,heputsahighvalueonthe/search/forconsistency;andthroughouthisownanalysesitremainshisonlyepistemologicalappeal.

TheUniversalismofMarinMersenne'sHarmonieuniverselleJohnReef,IndianaUniversity

ThefourthtreatiseofMarinMersenne’sHarmonieuniverselle(1636)

containstwocuriousexamplesinapropositiononthediatonicgenus:oneisofaCanadiandancesong;theotherisofsongsoftheBrazilianTupinambaIndians.Incitingtheseexamples,MersennetakesastanceonaquestionthatoccupiedFrenchthinkersinthedecadesprecedinghispublication:whethercertainuniversalmoralandaestheticvaluesunderwritehumanexperience,orwhetherthemoralandaestheticpracticesofacultureareproductsofcustomalone.Mersenne’sintentistoprovethatthediatonicgenusismorenaturalthanthechromaticandenharmonicgenerathatsomeonebroughtupina“primitive”culture,unschooledinEuropeanmusic,wouldnaturallysinginthediatonicgenus.Ifthediatonicgenus’snaturaloriginweretrue,thenthegenuscouldberegardedasanelementofhumankind’suniversalmusicality.Nevertheless,Mersennecannotescapecounterclaimsthatmusicalpreferencesarediverse,anddonotreflectanyuniversalstandard.ThisantagonismbetweenuniversalismanddiversityinformsMersenne’sdialecticalprosethroughoutHarmonieuniverselle.

Inthispaper,IcontextualizeMersenne’snegotiationofuniversalismand

diversitywithinhisintellectualclimate,andwithinthefascinationfortheexoticandprimitivethatpervadedcontemporarythought;specifically,IadduceMontaigne’sessay,“OnCustom”asafoiltoMersenne’suniversalizingdiscourse.Inaddition,IcompareanothersortofuniversalismthatpervadesMersenne’swriting,onedeterminednotinnature,butthroughthecontemplationofheavenlyperfection.ThisunderstandingisthebasisofMersenne’sdiscourseontheunison.

SympatheticResonance:GyörgyLigeti’s“Cordesàvide”andtheDiscoursesofTheory

AugustSheehy,UniversityofWisconsin–Madison

IfGyörgyLigeti’smusicisdifficulttoclassify,hislateworksareespeciallyso,atleastinpartbecauseofconspicuous“backward‐looking”structuringdevicessuchasintervalsandtriadicsonorities.Inthecaseoftriads,EricDrotthasconvincinglyarguedthattheiruseinworkssuchastheHornTrioandÉtudespourpianorepresentacompositionalcounterargumenttoassertionsmadebyAdornoandBoulezthatthesesoundsaretoohistoricallyburdenedtobeusefulinmodernmusic.RatherthaninterpretingLigeti’slatemusicasageneralresponsetoparticularmodernistarguments,Iaskwhatspecificrolesuch“restorativegestures”mightplayinonework,Étudepourpiano,No.2,“Cordesàvide.”

Ifindthat“Cordesàvide”respondsto—indeedresonateswith—apanoplyofdiscoursesdistributedacrossthehistoryofWesterntheory.Whatappearsatfirsttobeacompositionalstudyonthepotentialofperfectfifthsturnsouttobesomethingratherdifferent:ademonstrationofthephenomenologicalincommensurabilityamongdifferenttheoreticalconceptsoftensupposedtonamethe“samething,”e.g.,perfectfifth,[07],or2:3.“Cordesàvide”canthusbereadasasonorouscritiqueofasystematizingimpulsethreadedthroughthehistoryofmusictheory.Morebroadly,thispapergesturestowardsamethodologythatreconcilesformalanalysiswithhistoriographicconcernsinlatetwentieth‐centurymusicbysuggestingthat,ratherfixingthemeaningofaworkthroughanalysis,themusicbeallowedtoresonatepluralisticallywithdiscoursesinprocessesofmutualcritique.