{"id":9554,"date":"2024-07-02T13:53:12","date_gmt":"2024-07-02T13:53:12","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/note-copy\/"},"modified":"2024-07-12T16:28:26","modified_gmt":"2024-07-12T16:28:26","slug":"note","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/37-2024\/note\/","title":{"rendered":"Editors\u2019 Note"},"content":{"rendered":"\n

View PDF<\/a>
Return to Volume 37<\/a><\/p>\n\n\n\n

The editors of Int\u00e9gral<\/em> are excited to present our latest volume! The three articles, two reviews, and one analytical vignette comprising its contents form an unusually cohesive whole. Stitching together two staged works about uniquely American social and racial tensions as well as a veritable array of twentieth-century concert music, the analytical strands that suffuse this volume include clashes\/disjunctions\/displacements, mode, multiple tonalities, and rhythm and meter.<\/p>\n\n\n\n

In \u201cTonal Rumble: Simultaneous and Successive Bitonality in West Side Story<\/em>,\u201d Andrew Aziz<\/strong> provides a listening framework for the dramatic bitonalities that emerge in Leonard Bernstein\u2019s critically beloved yet analytically neglected musical. Reflecting Bernstein\u2019s own documented attitudes towards tonality, Aziz describes how simultaneous and successive clashes of keys reflect the increasingly volatile hostility between the rival gangs, culminating in the musical\u2019s tragic conclusion.<\/p>\n\n\n\n

Matthew Bilik<\/strong> explores bitonality in a different repertory\u2013French concert music from the early to mid-twentieth century\u2013in \u201cKey Duality and Melody-Bass Disjunction in Faur\u00e9 and Durufl\u00e9.\u201d Employing motivic segmentation and voice-leading analysis, Bilik explores 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. <\/p>\n\n\n\n

In \u201cDisplaced Cadential Six-Four Chords,\u201d Gabriel Fankhauser<\/strong> explores the limits of the cadential six-four through an extensive and wide-ranging repertory. Fankhauser takes a syntax-oriented approach, arguing that alterations\u2014from minor to quite significant\u2014to the chord\u2019s surface harmony can be made while maintaining its underlying grammatical clarity.<\/p>\n\n\n\n

In a concise and compelling analytical vignette, Zachary Lloyd<\/strong> navigates the multiplicity of Black experiences in Jeanine Tesori and Tazewell Thompson\u2019s 2019 opera Blue<\/em>. He posits that Tesori deploys the Lydian mode\u2014laden with a historical panoply of social meanings\u2014for moments of ill-fated optimism, that is, for moments that are too good to be true over the course of the opera\u2019s unfolding.<\/p>\n\n\n\n

We are also pleased to present two reviews of recent books: Stephanie Bilidas\u2019 review of Focal Impulse Theory: Musical Expression, Meter, and the Body<\/em> by John Paul Ito (2020) and Victoria Malaway\u2019s review of Time\u2019s A-Changin\u2019: Flexible Meter as Self-Expression in Singer-Songwriter Music <\/em>by Nancy Murphy (2023).<\/p>\n\n\n\n

As ever, we express our deep appreciation to Int\u00e9gral<\/em>\u2019s staff, editorial board, and typesetters for their diligent service, to the many scholars who provided thorough and insightful reviews, and to you for your readership and support.<\/p>\n\n\n\n

Andrew Blake
Jacob Eichhorn
Robert Hamilton
Lukas Perry
Co-Editors<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

View PDFReturn to Volume 37 The editors of Int\u00e9gral are excited to present our latest volume! The three articles, two reviews, and one analytical vignette comprising its contents form an unusually cohesive whole. Stitching together two staged works about uniquely American social and racial tensions as well as a veritable array of twentieth-century concert music, … <\/p>\n

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