{"id":9044,"date":"2024-05-02T19:39:17","date_gmt":"2024-05-02T19:39:17","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/36-2023-copy\/"},"modified":"2024-07-13T22:00:43","modified_gmt":"2024-07-13T22:00:43","slug":"37-2024","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/37-2024\/","title":{"rendered":"Volume 37 (Current Volume)"},"content":{"rendered":"\n

Andrew Blake, Jacob Eichhorn, Robert Hamilton, Lukas Perry, Co-Editors
Hanisha Kulothparan, Reviews Editor
Andrew Blake and Ruixue Hu, Web Managers<\/h3>\n\n\n\n

Complete Volume<\/a><\/strong><\/h4>\n\n\n\n
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Editors’ Note (i)
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Articles<\/strong><\/h2>\n\n\n\n

Andrew Aziz | Tonal Rumble: Simultaneous and Successive Bitonality in West Side Story<\/em> (1\u201327)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>This article offers original listening strategies for two dimensions of bitonality featured in West Side Story<\/em>, both implied (but not defined) in Bernstein\u2019s writings (1959, 1976): \u201csimultaneous,\u201d or the vertical superimposition of clashing strata, and \u201csuccessive,\u201d in which non-stratified tonal events generate tonally ambiguous environments, suggesting more than one key. Bernstein\u2019s compositional strategies align with the plot\u2019s trajectory: successive bitonality appears when the gangs stalk each other at a distance (centrally in \u201cPrologue,\u201d \u201cDance at the Gym Blues,\u201d and \u201cMaria\u201d), with simultaneous bitonality capturing their fateful clash (centrally in \u201cQuintet\u201d and \u201cTonal Rumble\u201d). Throughout, the analyses apply contemporary theories of tonal transformation (Kaminsky 2004, Rings 2011), scalar dissonance (Martins 2019), and harmonic \u201cdivorce\u201d (Temperley 2007, Nobile 2015, De Clercq 2019), amongst others. Finally, I summarize that octatonicism in West Side Story<\/em> is best contextualized as a processual byproduct of tonal relations, with the seeds sewn in \u201cPrologue.\u201d<\/span><\/span><\/span><\/span>\n\n\n\n

Matthew Bilik | Key Duality and Melody-Bass Disjunction in Faur\u00e9 and Durufl\u00e9 (28\u201348)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>This paper explicates how the sensation of two active keys, known as key duality or tonal pairing, often results as disjunction between the melody and bass in the music of Gabriel Faur\u00e9 and Maurice Durufl\u00e9. In Faur\u00e9\u2019s late chamber works, a distinct type of key duality arises not as a juxtaposition of two keys but from the superposition of two. Faur\u00e9\u2019s use of key duality is mirrored by other twentieth-century French composers; Durufl\u00e9 echoes a similar type of duality, albeit to a greater extent. Employing motivic segmentation and voice-leading analysis, I adapt the research of Peter Smith (1997 and 2013), Kaminsky (2004), and Ferrandino (2022), among others, to illustrate how the sensation of two tonal centers emerges when the tonal outline of a melody or bass projects its own center separate from that of other voices. Attention to outer voices sheds light on Faur\u00e9 and Durufl\u00e9\u2019s tonal sleight of hand\u2014a topic many have noticed but few have illuminated.<\/span><\/span><\/span><\/span>\n\n\n\n

Gabriel Fankhauser | Displaced Cadential Six-Four Chords (49\u201370)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>Building on research into the efficacy of inverted cadential six-four chords, this article proposes that some unconventional harmonies function as cadential six-fours. Considering a cadential six-four chord\u2019s syntactical role more than its surface harmony or voice leading, this article identifies remarkable treatments that defy traditional analysis. Some examples of chromatically displaced cadential six-four chords seem harmonically strange yet continue to support underlying conventional function. As a result, a conflict forms between a chord\u2019s grammatical clarity or syntax (the function of the chord in a progression) and its morphology (the chord\u2019s pitch content and vertical arrangement). Analysis of excerpts from diverse styles\u2014including examples from Wagner, Brahms, the Beatles, and the Eagles\u2014illustrates how alterations of the cadential six-four chord help maintain its relevance in post-Classical music. More notable displacement in music by Liszt, Prokofiev, and Shostakovich exhibit idiomatic usage that intertwines conventional syntax and structure with innovative grammar and expression.<\/span><\/span><\/span><\/span>\n\n\n\n

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

Zachary Lloyd | The Lydian Mode and its Narrative Implications in Tesori\/Thompson\u2019s Blue (2019) (71\u201380)
HTML<\/a> & PDF<\/a> \u2014\u2014Abstract<\/em><\/strong><\/span><\/span>In Blue, Jeanine Tesori and Tazewell Thompson\u2019s 2019 opera, a celebration of birth turns to the mourning of a teen\u2019s senseless murder. Exploring the complexities of a shared Black experience in the wake of the Black Lives Matter movement, Blue focuses on a family whose son loses his life at the hands of his Father\u2019s police officer colleague. While the score moves through various tonal spaces over the course of the opera, I examine Tesori\u2019s specific use of the Lydian mode and the narrative implications that this mode\u2019s usage carries. In Blue, the Lydian mode evokes extramusical associations with the supernatural, transcendence, and \u201csorrowful joy\u201d demonstrating the possibility of a subtextual narrative reading in which the thoughts and desires expressed at the moment of the Lydian mode\u2019s emergence will later be rendered impossible.<\/span><\/span><\/span><\/span>\n\n\n\n

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

Stefanie Bilidas | Focal Impulse Theory: Musical Expression, Meter, and the Body<\/em> <\/em>by John Paul Ito, Indiana University Press, 2020<\/em> (81\u201385)
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Victoria Malawey | Time\u2019s A-Changin\u2019: Flexible Meter as Self-Expression in Singer-Songwriter Music<\/em> by Nancy Murphy, Oxford University Press, 2023 (86\u201390)
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Andrew Blake, Jacob Eichhorn, Robert Hamilton, Lukas Perry, Co-EditorsHanisha Kulothparan, Reviews EditorAndrew Blake and Ruixue Hu, Web Managers Complete Volume Editors’ Note (i)HTML & PDF Articles Andrew Aziz | Tonal Rumble: Simultaneous and Successive Bitonality in West Side Story (1\u201327)HTML & PDF \u2014\u2014 Matthew Bilik | Key Duality and Melody-Bass Disjunction in Faur\u00e9 and Durufl\u00e9 … <\/p>\n

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