Description
Book SynopsisThis collection of essays explores a wide range of topics current in the field of music theory, including analytical methodologies for pretonal, tonal, and post-tonal music, assessment of notation as a vehicle for interpreting compositional strategies in different repertoires, and employment of approaches informed by cognitive, aesthetic, and ethnomusicological studies of music. Authors reflect critically on challenges within their specific areas of expertise and probe directions in which advances can be made and difficulties overcome. The results of these investigations will benefit readers, from early career researchers to experienced scholars, whose interests not only intersect with the topics presented here but which also encompass broad methodological issues affecting music theory.
Table of ContentsContents: Rebekah Woodward: Towards New Editing Methods for Transcribing the Polyphonic Notre Dame Conductus Repertory – Luca Bruno: A Methodological Approach Toward the Harmony of Sixteenth-Century Secular Polyphony – Denis Collins: John Bull’s «Art of Canon» and Plainsong-Based Counterpoint in the Late Renaissance – Byron Almén: Toward a Pluralism of Musical Cognitive Processes – Timothy Dwight Edwards: The Sinfonias of J. S. Bach as an Advanced Discourse on Harmony – Dimitar Ninov: Basic Formal Structures in Music: A New Approach – Dennis Cole: Incorporating Transcriptions and Notation: Pedagogical Issues for the World Music Ensemble – Elizabeth Lee: Music, Imagery, Meaning, and Emotion in Hugo Wolf’s «An eine Äolsharfe». An Analytical Triangulation via Schenkerian Analysis, the Theory of Musical Forces, and Cognitive Metaphor Theory – Simon Perry: Pitch-Notational Analysis: A Basis for an Approach to Understanding Harmonic Thinking in Common-Practice and Post Common-Practice Tonality – Miloš Zatkalik: Reconsidering Teleological Aspects of Nontonal Music – Leon Stefanija: Levers of Satire in Twentieth-Century Music.
