By Byron Almén, Edward Pearsall
Approaches to that means in tune provides a survey of the issues and matters inherent in pursuing that means and signification in song, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists on the grounds that the time of Pythagoras. This assortment brings jointly essays that replicate a number of different views on techniques to musical which means. confirmed tune theorists and musicologists disguise subject matters together with musical point and temporality, university, borrowing and organization, musical symbols and inventive 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 prepare dinner, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.
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Extra resources for Approaches to Meaning in Music
This, in turn, enables us to peruse the music forward and backward by means of prospective and retrospective hearing. Jonathan Kramer (1988: 23–25) and Leonard Meyer (1967: 73–74) associate nonlinearity on the semantic level primarily with what they perceive as an attempt on the part of avant-garde composers to assimilate cyclical conceptions of time characteristic of many non-European cultures. Conversely, they associate linearity with the progress-oriented perspective of time peculiar to Western civilization.
All the performance indications highlight precisely the shape of the conventional schema: “Pressez” and “Pressez encore,” with crescendo, in the buildup; forte, with accent, and “Vif ” at the peak; a crescendo to the bottom with fortissimo and the ¤rst indication of pedal on the lowest note; and a direction to hold the pedal through the rebound. 15). The ecstatic, almost uncontrolled rush of jagged thirty-second notes refers to the wind invoked in the scripture (“And a mighty wind rushed through the house,” Acts of the Apostles 10:10) cited underneath the title.
12. Liszt, “Eroica,” Etudes d’Exécution transcendante, conclusion Together with many other gestures that had their roots in the eighteenth- and nineteenth-century tonal repertoire, the four-part cadential schema lives on in various corners of twentieth-century music—especially piano music. One place in which it found fertile soil was in the brilliant virtuoso piano improvisations of Art Tatum, who, as is well known, was trained as a classical pianist before devoting himself exclusively to jazz.
Approaches to Meaning in Music by Byron Almén, Edward Pearsall