Description
Book SynopsisInterdisciplinary articles bridge the gulf between classical and popular music. Modern musical-analytical techniques are applied to a wide range of Western music, disregarding barriers between different kinds of music. Topics discussed fall into three sections: compositional poietics (poietics being the pre-compositional activities of composer theorists); structuralist approaches, extending musical-theoretical research to new repertoires; and musical-analysis employing techniques from other disciplines. The essays in this volume present current research into a wide range of Western music, disregarding barriers between different kinds of music, and drawing on modern musical-analytical techniques to draw together the varied subjects they explore. Contributors: Jonathan D. Kramer, Robert Cogan, Robert D. Morris, Andrew Mead, Cynthia Folio, Elizabeth West Marvin, Walter Everett, Jane Piper Clendenning, Jonathan W. Bernard, Ellie M. Hisama, Dave Headlam, Richard Hermann, John Covach, Nicholas J. Cook. Elizabeth West Marvin is associate professor of music theory at the Eastman School of Music. Richard Hermann is assistant professor of music, University of New Mexico.
Table of ContentsBeyond Unity: Toward an Understanding of Musical Postmodernism The Art-Science of Music after Two Millennia Aspects of Confluence between Western Art Music and Ethnomusicoloy Twelve-Tone Composition and the Music of Elliott Carter An Analysis of Polyrhythm in Selected Improvisd Jazz Solos A Generalization of Contour Theory to Diverse Musical Spaces: Analytical Applications to the Music of Dallapiccola and StockhausenStockhausen A Generalization of Contour Theory to diverse Musical Spaces: Analytical Applications to the Music ofDdallapiccola and StockhausenStockhausen The Beatles as Composers: The Genesis of Abbey Road, Side Two Structural Factors in the Microcanonic Compositions of Gyorgy Ligeti Theory, Analysis, and the "Problem" of Minimal Music The Question of Climax in Ruth Crawford's String Quartet, Mvt. 3 Does the Song Remain the Same? Questions of Authorship and Identification in the Music of Led Zeppelin Theories of Chordal Shape, Aspects of Linguistics, and their Roles in Structuring Berio's Sequenza IV for Piano Stylistic Competencies, Musical Satire, and "This is Spinal Tap" Music Theory and the Postmodern Muse: An Afterword
