{"id":7648,"date":"2022-12-01T02:01:20","date_gmt":"2022-12-01T02:01:20","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/?page_id=7648"},"modified":"2024-08-08T13:58:22","modified_gmt":"2024-08-08T13:58:22","slug":"36-2023","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/","title":{"rendered":"Volume 36"},"content":{"rendered":"\n

David Falterman and Derek J. Myler, Co-Editors
Andrew Blake, Guest Symposium Editor
Lukas Perry, Reviews Editor
Andrew Blake and Noah Kahrs, Web Managers<\/h3>\n\n\n\n

Complete Volume<\/a><\/strong><\/h4>\n\n\n\n
<\/div>\n\n\n\n

Editors’ Note (i)
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Articles<\/strong><\/h2>\n\n\n\n

T\u00e1hirih Motazedian and Scott Murphy | Holst\u2019s Planets<\/em>, The Final Frontier:
Interplanetary Voyage as Intrapersonal Escape (1\u201317)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>Interpretations of Gustav Holst\u2019s The Planets<\/em> traditionally gravitate around assumptions that Holst was depicting Roman mythology, astrological horoscopes, or astronomical science. But there are numerous contradictions problematizing each of these theories, and even an amalgamation of the three does not fully explain the enigmatic features of this work. Our interpretation of The Planets<\/em> proposes that Holst envisioned this interplanetary voyage as a metaphorical escape from the bustle of society and even from life itself. We form this interpretation by drawing upon biographical information and intertextual references, as well as an analog to proxemics within pitch-class set theory.<\/span><\/span><\/span><\/span>\n\n\n\n

Drew Nobile | Narrative Opposition in the Beatles\u2019 Verse\u2013Chorus Songs, 1966\u20131967 (19\u201334)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>This article argues that the Beatles took a particular approach to narrative structure in their verse\u2013chorus songs. That approach is narrative opposition<\/em>, where the two sections present contrasting ideas or settings. The song\u2019s meaning thus arises through synthesizing the two ideas. This approach differs from the mainstream standard that emerged in the late 1960s, wherein the chorus is the song\u2019s primary narrative focus, with verses playing a supporting role. To demonstrate, I analyze four songs from the Beatles\u2019 Sgt. Pepper<\/em> sessions\u2014the peak of what John Covach calls their \u201cartist\u201d period (Covach 2006). Through these analyses, I show how the Beatles used verse\u2013chorus form as a specific expressive device rather than a neutral template as did later artists.<\/span><\/span><\/span><\/span>\n\n\n\n

Brad Osborn | Formal Functions and Rotations in Top-40 EDM (35\u201354)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong> <\/span><\/span>Publications on form in popular music have largely assumed the formal sections germane to pop-rock to be the formal designs of \u201cpopular music.\u201d But the most<\/em> popular music of our time\u2014music charting on the Billboard <\/em>Top-40\u2014has absorbed the influence of electronic dance music (EDM) in a way that has fundamentally changed its formal structure. This results in \u201cTop-40 EDM,\u201d a genre defined by collaborations between seasoned EDM producers and A-list pop singers.
This article begins by defining EDM\u2019s three core formal functions (verse, riser, and drop), and compares them to more familiar functions heard in pop-rock music (verse, prechorus, chorus, and postchorus). Part two draws on de Clercq\u2019s (2017) concept of blended formal functions to define Top-40 EDM\u2019s most recognizable section, the \u201criserchorus.\u201d Part three examines the larger structure of these tracks, including their \u201ccompound AAA\u201d forms, in which each of the song\u2019s rotations feature the same formal functions, though presented differently. Finally, the article demonstrates how Top-40 EDM producers regularly combine samples at the end of their tracks, resulting in cumulative hyper-blended sections like \u201criserchorus-bridge\u201d and \u201criserchorus-drop.\u201d<\/span><\/span><\/span><\/span>\n\n\n\n

Gilad Rabinovitch | Reimagining Faur\u00e9\u2019s Harmony (55\u2013101)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This article explores the nexus of analysis and recomposition in engaging Faur\u00e9\u2019s harmonic ambiguity. I argue that Faur\u00e9\u2019s harmony can be partially explained through the traditional model of the Rule of the Octave (RO), vestiges of which were still present in the partimento training of nineteenth-century French musicians (Cafiero 2007; Gjerdingen 2020, 2021). I claim that Faur\u00e9 manipulates segments of the traditional RO in idiosyncratic ways, which partially explains his ambiguous harmonies (cf. Lewin 1986; Smith 1986; Agawu 1994; Hyer 1996; Smith 1997). Along with musical analyses, I employ recomposition (Holtmeier 2002; BaileyShea 2007; O\u2019Hara 2017), which helps to articulate aspects of Faur\u00e9\u2019s harmonic usage. Recomposition is thus no longer just a conventional foil against which the original is pitted; rather, it is an opportunity to test our evolving understanding of Faur\u00e9\u2019s idiom (Tait 1989; Greer 1991; Phillips 1993; Johansen 1999; Sobaskie 1999; Caron 2002; Pau 2016; Rings 2021).<\/span><\/span><\/span><\/span>\n\n\n\n

Derek R. Strykowski | Hearing the Interrogative in the Cadences of Sigismondo d\u2019India: A Quantitative Analysis of the Polyphonic Madrigals (103\u201328)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Although two of the madrigals from his Third Book of 1615 end in lovelorn questions, Sigismondo d\u2019India furnishes one of them with a far stronger final cadence than the other. To understand why, this corpus study investigates the expressive meaning of cadences in a quantitative analysis of the 85 madrigals that d\u2019India published within his first five books (1606\u201316). Three determinants of cadential strength\u2014cadence type, fullness, and modal degree of resolution\u2014test the hypothesis that the cadences which d\u2019India employs at the close of interrogative sentences will tend to be weaker than those he employs at the close of other sentences. The results are consistent with the argument that d\u2019India sought to account for the sense and intonation of an interrogative sentence when setting it to music, yet also suggest that such concerns sometimes conflicted with his obligation to present a coherent musical structure.<\/span><\/span><\/span><\/span>\n\n\n\n

Analytical Vignettes<\/strong><\/h2>\n\n\n\n

Vignette Symposium Editors’ Note (129\u201330)
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Leah Amarosa | Unveiling the Signifiers of Rain in John Adams\u2019s China Gates<\/em> (131\u201341)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>While previous scholarship has focused on the close relationship between John Adams\u2019s pieces, China Gates<\/em> and Phrygian Gates<\/em>, this paper offers an alternative interpretation of China Gates based on Adams\u2019s recent revelation that the piece was inspired by an endless winter rainstorm that beat down on his cottage. This paper utilizes a two-part methodology: musical elements are analyzed first using theoretical tools, after which I adopt a semiotic framework based on cognitive theories of cross-domain conceptual blending to demonstrate how these musical elements signify rain through symmetry, phasing, parsimonious voice-leading, as well as pitch-class and set-class repetition. In this paper, I unveil the analogical processes by which the physical phenomenon of rain is represented by musical features and illustrate the action of cross-domain mapping in constructing a conceptual blend. I argue that in producing a sonic analog for rain, China Gates<\/em> suggests a narrative tension between consistency and dynamism.<\/span><\/span><\/span><\/span>\n\n\n\n

Michael Boyd | Integrating Opposites: Iannis Xenakis\u2019s Charisma <\/em>for Clarinet and Cello (143\u201351)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Iannis Xenakis\u2019s Charisma <\/em>(1971) is a striking, concise duo for clarinet and cello that employs timbre and dynamic oppositions as primary structural elements. This composition <\/em>is more minimal in terms of the total number of performed notes than much of Xenakis\u2019s instrumental music and presents different challenges to analysis than studies of his stochastic and algorithmic music. This article examines how sonic oppositions \u2013 specifically harmonic versus noisy timbres and constant versus contoured dynamic envelopes \u2013 are established, maintained, and intermixed in the composition. Over the course of the piece, contrasting dynamic shapes alternate while oppositional timbres, initially heard in isolation, gradually merge and gravitate toward noise.<\/span><\/span><\/span><\/span>\n\n\n\n

Mark R. H. Gotham | Old Sources in new Sauces: John Joubert and the Analysis of Ancient Materials in Modern Music (153\u201362)
HTML<\/a> & PDF<\/a>\u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Anyone who has had sustained contact with Anglican choirs probably knows music by John Joubert; anyone who hasn\u2019t probably doesn\u2019t. This article begins by considering the starkness of those divisions between different kinds of canons, framing this in terms of \u201clocal\u201d canons that each serve a particular purpose. The local canons of this kind for teaching music theory and history tend to serve a demonstrative role and to prioritize clear-cut examples at the expense of music that handles a wider range of materials in a more complex way. This introductory discussion contextualizes and motivates an analytical vignette on a short piece by Joubert which has a firm standing in the relevant performance canon (Anglican choirs), but which is unknown beyond that. I argue that music theory pedagogy might benefit from adopting this example to get at important but analytically complex issues concerned with post-common-practice uses of pre-common-practice modal materials.<\/span><\/span><\/span><\/span>\n\n\n\n

Kyle Hutchinson | Pendular Thirds and Pentatonic Parallelisms: Intersecting Black Vernacular and neo-Romantic Idioms in the Second Movement of Florence Price\u2019s Piano Sonata in E minor (163\u201374)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This article proposes that motivic Black vernacular musical topics, which typically coalesce at the musical surface, can also serve as progenitors for deeper-level tonal structure. Building on the work of Rae Linda Brown, Horace Maxile Jr., and Samuel Floyd Jr., I demonstrate this approach through an analysis of the second movement of Florence Price\u2019s Piano Sonata in E minor (1932). My analysis highlights pitch relationships\u2014 particularly motivic pendular thirds, a Black topic which Maxile Jr. (2022) describes as two pitches that \u201cpivot around a central pitch (most likely a tonic), the third above the central pitch being major or minor, the third below minor\u201d\u2014and ways in which deeper-level structures develop from these surface-level pendular motifs. The second part of the article then frames my analysis through Price\u2019s heritage as a woman of mixed racial background, and her experiences as a Black composer in the twentieth century.<\/span><\/span><\/span><\/span>\n\n\n\n

Dave Keep | The Voice of Enigma: Intertextuality in \u201cIm wundersch\u00f6nen Monat Mai\u201d (175\u201391)
HTML<\/a> & PDF<\/a>\u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>The allusion in Robert Schumann\u2019s \u201cIm wundersch\u00f6nen Monat Mai\u201d to Clara Schumann\u2019s Piano Concerto, op. 7 has been little discussed. Given Robert\u2019s familiarity with the concerto, the allusion may be understood as a hermeneutic key for the song. The slow movement features a duet between solo piano and cello in its reprise of the main theme, but the song only recalls a tonally distant fragment from the digression. The allusion draws upon music of anticipation rather than fulfillment. Furthermore, it stands as a contradictory symbol of presence and absence, substituting for recollections of the past found in the Prologue of Heine\u2019s Lyrisches Intermezzo<\/em>. The song\u2019s intertextual dimensions function in tandem with tonal pairing to engender a sense of motion characteristic of the Romantic fragment. In one of his most quintessential works, Robert\u2019s poetic speaker is dominated by thoughts of Clara\u2019s music, not \u201coriginal\u201d music of his own.<\/span><\/span><\/span><\/span>\n\n\n\n

Hei-Yeung (John) Lai | Counterpoint and Formative Process in \u2019Are\u2019are Cyclic Panpipe Music (193\u2013206)
HTML<\/a> & PDF<\/a>\u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Many of the sound recordings of the \u2019Are\u2019are panpipe ensemble music made by Hugo Zemp are characterized by polyphonic and cyclical features. This article analyzes two cyclic pieces from the \u2019au tahana<\/em> repertoire in order to articulate the \u2019Are\u2019are conceptions of musical structure and aesthetics described by Zemp (1979) through the perspectives of counterpoint and formative process. I first scrutinize the counterpoint formed by the two cyclic strata in the selected pieces. Comparing these details with hypothetical models where the cycles are aligned shows that a rhythmic delay between the strata is essential to provide continuity and momentum to the repeating cycles, which also evinces \u2019Are\u2019are musical aesthetics. I then show that, aside from the contrapuntal driving force, the way that the cycles are actually realized and varied is crucial in directing the processes in \u2019Are\u2019are music. I suggest that even minimal variations can be instrumental in forging a large-scale form.<\/span><\/span><\/span><\/span>\n\n\n\n

James S. MacKay | \u201cUnloosing the Gordian Knot\u201d: Sonata Theory, Form-Functional Analysis, and Becoming in Joseph Haydn\u2019s String Quartet, op. 64, no. 2, I (207\u201319)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/strong><\/em><\/span><\/span>The first movement of Joseph Haydn\u2019s String Quartet in B minor, op. 64, no. 2, has long resisted conventional sonata-form analysis. A sense of unrest characterizes its musical journey: ambiguous, incomplete, or seemingly misplaced formal units hold sway as the exposition unfolds, setting a turbulent tone that persists throughout the development section. Subsequently, rather than establishing formal clarity in the recapitulation, Haydn further dissolves the musical material until it stalls completely, resuming its motion with great difficulty as the movement concludes.
This study, drawing upon previous discussions by William Caplin (1998), Mathieu Langlois (2010), and Matthew Hall (2019), presents an in-depth analysis of this movement, primarily using Caplin\u2019s theory of formal functions, James Hepokoski and Warren Darcy\u2019s Sonata Theory (2006), and Janet Schmalfeldt\u2019s becoming (2011). The blending of disparate analytical methods provides a framework to illustrate how Haydn bot articulates and stretches the boundaries of sonata form.<\/span><\/span><\/span><\/span>\n\n\n\n

Samuel Ng | The Trimodular Block and L\u2019art de bien chanter<\/em> in H\u00e9l\u00e8ne de Montgeroult\u2019s Piano Sonatas, Op. 5 (221\u201334)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This essay examines how the \u201ctrimodular block\u201d (TMB) in the first movements of H\u00e9l\u00e8ne de Montgeroult\u2019s Piano Sonatas, op. 5 spotlights bel canto singing in her piano writing and pedagogy. While the TMB in op. 5 is readily identifiable, its narrative profile is not so much correcting a transgressive element as a discursive journey that anticipates the first true lyrical theme showcasing Italian bel canto singing on the piano. I discuss how this discursive path unfolds through three elements: orchestration\/topics, phrase rhythm, and tonal structure. These three areas work in tandem to fulfill generic requirements of TM1<\/sup> (the first proposed S-theme) while withholding critical features of Montgeroult\u2019s bel canto writing until the lyrical S-theme at TM3<\/sup>. Montgeroult\u2019s TMB thus gives unique rhetorical prominence to the S-theme, rendering its lyricism and cantabile character the focal point of the sonata exposition.<\/span><\/span><\/span><\/span>\n\n\n\n

Morgan Patrick | Into Wondrous Realms with Two Triads: Markedness, Voice Leading, and Functional Multivalence as Correlates of Fantasy Induction in the \u201cFantasy Fifth\u201d Progression (235\u201345)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>In certain Hollywood films of the past half century, a i \u2013 IV progression class accompanies protagonists and filmgoers alike as they cross the threshold into wondrous realms. I trace this scoring practice to a homology between narrative passage into fantasy and structural aspects of the progression, in which encounters with otherworldly elements can be read into its tonal markedness, voice leading properties, and functional indeterminacy. A series of examples demonstrates how composers leverage the second triad\u2019s relationship to its preceding tonic to embody outward expansion, intermix familiar and foreign elements, and charge a functional tension between arrival and departure, all qualities that are central to the ethos of fantasy encounters. Together, these features enable a distinction between the i \u2013 IV progression\u2019s fantasy use and the use of similar progression classes or normative major subdominant contexts, thereby inviting its categorization as a distinct progression class I call the \u201cFantasy Fifth.\u201d<\/span><\/span><\/span><\/span>\n\n\n\n

Rich Pellegrin | Salience, Common Tones, and Middleground Dissonance in the Fourth Chorus of Brad Mehldau\u2019s Improvisation on \u201cAll the Things You Are\u201d (247\u201361)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This article addresses the analytical fault line between Schenkerian and Salzerian approaches to tonal jazz through an analysis of a Brad Mehldau improvisation on \u201cAll the Things You Are.\u201d Special attention is given to the usage of common tones, which often work against the resolving tendencies of unstable chord tones but create their own large-scale structure. The essay engages with work of Fred Lerdahl and is informed by my model, Stable Norms and Salient Deviations (SNSD).<\/span><\/span><\/span><\/span>\n\n\n\n

Christopher Segall | Franz Liszt\u2019s Bagatelle ohne Tonart<\/em> (in B Minor) (263\u201371)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Scholars generally agree that Franz Liszt\u2019s Bagatelle ohne Tonart<\/em> (1885), \u201cbagatelle without tonality\u201d for piano, is locally tonal, but they do not agree on what the tonality is. English-language authors have proposed eight different tonal centers for the Bagatelle<\/em>. Russian theorist Yuriy Kholopov adds a ninth: B minor. My analysis adopts Kholopov\u2019s position and uses a harmonic reduction to demonstrate the viability of a B-minor hearing. I draw on Kholopov\u2019s \u201cstates of tonality\u201d to argue that different hearings of the Bagatelle<\/em> depend on different conceptions of tonality and the variety of listening strategies they entail.<\/span><\/span><\/span><\/span>\n\n\n\n

Jeffrey Swinkin | Cyclic Form in Clara Schumann’s Four Fugitive Pieces<\/em>, op. 15 (273\u201382)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This essay demonstrates several ways in which Clara Schumann's Four Fugitive Pieces<\/em>, op. 15 is cyclically integrated. First, the four pieces trace a progressive (rather than static) tonal scheme. Second, they are interlinked by a taut motivic web. Third, no. 1 harbors a melodic implication that no. 4 realizes. Fourth, no. 1 distinctly implies yet elides two keys that are respectively articulated by nos. 2 and 3. Finally, no. 1 foments a hypermetric conflict that no. 3 settles, if briefly. The essay then suggests that the cycle questions its own unity by closing with a scherzo. As a light genre typically found in the second or third position of a four-movement cycle, it cannot bear the burden of definitively finishing the piece. In the end, Schumann's op. 15 is a Romantic fragment, a notion I briefly elaborate.<\/span><\/span><\/span><\/span>\n\n\n\n

Xieyi (Abby) Zhang | Hope to Grief: An Analysis of Dvo\u0159\u00e1k\u2019s Moravian Duets<\/em>, op. 38 (283\u2013304)
HTML<\/a> & PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Despite being considered some of his most pivotal compositions, Dvo\u0159\u00e1k\u2019s Moravian Duets, <\/em>op. 38, have long been analytically overlooked. The present essay uses neo-Riemannian methods to understand the final set of Dvo\u0159\u00e1k\u2019s Moravian Duets<\/em> and demonstrates that these parsimonious voice-leading techniques\u2014ones that came to dominate Dvo\u0159\u00e1k\u2019s compositional style\u2014play against descending fifths progressions to create a tragic narrative across the duet cycle.<\/span><\/span><\/span><\/span> <\/p>\n\n\n\n

Reviews<\/strong><\/h2>\n\n\n\n

Gerardo Lopez | The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses<\/em> by Joseph N. Straus, Oxford University Press, 2022 (305\u20138)
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Olivia R. Lucas | Musical Agency and the Social Listener<\/em> by Cora Palfy, Routledge, 2021 (309\u201312)
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David Falterman and Derek J. Myler, Co-EditorsAndrew Blake, Guest Symposium EditorLukas Perry, Reviews EditorAndrew Blake and Noah Kahrs, Web Managers Complete Volume Editors’ Note (i)HTML & PDF Articles T\u00e1hirih Motazedian and Scott Murphy | Holst\u2019s Planets, The Final Frontier:Interplanetary Voyage as Intrapersonal Escape (1\u201317)HTML & PDF \u2014\u2014 Drew Nobile | Narrative Opposition in the Beatles\u2019 … <\/p>\n

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