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S_Soderberg
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Comments
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I just want to know one thing. Will this be on the test? If so, which one? For the theory history class or the contemporary music theory class?
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One good approach would be to study the scores of Ruth Crawford Seeger while reading Joseph Straus' excellent study The Music of Ruth Crawford Seeger. Her contributions to Charles Seegers' work in compositional theory were so great that it would be …
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Thanks, @Nicolas. As I indicated, I am trying to come at a possible connection from Messiaen's perspective as a composer. I think there's a larger composition-theoretic point underlying this for the analyst. If we consider that Messiaen never visit…
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Thanks for your personal input, @carsonics, but I'm looking for something much more specific. A couple people have written to me that transferring such rhythms into Western notation is difficult & can be misleading. (Some may call the attempt qu…
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Just one last comment. Beethoven, Symphony 9, Scherzo. Molto vivace 3/4 with 1 measure (dotted half) = MM116 1) Obviously, this is not 'in 3' by the time signature Beethoven chose... no conductor would beat 3 to a bar (but it would be fun to watc…
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This will get radical, but please hear me out. Perhaps the problem is that SMT is trying to fit everyone under one umbrella organization -- still trying too hard to justify the break from AMS which, after all, was essentially a fight over the import…
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@Nicolas I just remembered you once mentioned having taken a theory course with Messiaen. If so, was it his course on rhythm? And, if so, how did he teach it -- historical/survey or related to his own theories on rhythm?
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John & Rick, My fault for trying to be too clever by playing 'performance cue' against 'structural cLue', further obfuscating a subtle concept. Reading in the 'L' may show that I am close to what John replied. The way I approach 'meter' (a term …
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Thank you, Andrea! I most likely agree with what you say & I should have replied in support of your previous post. (I would delete your word 'prove' here - but you may have intended it ironically.) I don't have experience with 'Ski-hill graphs' …
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Rick et al... With all due respect... Seriously.... As the question is framed and as this discussion is going – as if everyone knows what they are talking about ..... THIS IS THE ISSUE???? It's like assuming a universal diatonic by pointing to the w…
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Mitch! You just woke me up! So glad to learn you are doing this & especially that your initial experience teaching it has made you want to expand. I agree with Bob & Jason re Xenakis as well as Nono, Ligeti & Carter. There are two other …
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Also, I just remembered: the accompanying figure (starts in vl & vc) in the Dvorak f minor Pno Trio (op.65) – the allegretto grazioso mvmnt. I just wrote a program note for this piece a couple months ago when I discovered Dvorak's obsession with…
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Judith Shatin - Penelope's Song (link to version for soprano sax & electronics -- there are also versions for violin, viola, cello, clarinet & flute). The electronics are from a recording of a large treadle loom.
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Thank you, Steve. We're dying of false equivalencies on many levels.
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I would also add readings from: The Physicist and the Philospher: Einstein, Bergson, and the debate that changed our understanding of time. Jimena Canales. Princeton University Press c2015. Q: Why/how/when did our concept of time in music radically…
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Jonathan Bernard. 'Elliott Carter and the Modern Meaning of Time' (MQ 79:4). Bernard nails it. Relates musical time perceptions to other developments in perception of time outside music that influenced Carter (and arguably all composers - but he wis…
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I think Rick has given the most likely answer as to what inspired Lewin's typesetting adventure - i.e., contact with Zuckerkandl's published work more than Lewin's familiarity with math literature. And it's certainly not surprising that Lewin remain…
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'If we demand that all music that we examine be on the aesthetic level of the great tonal masterworks, and that all the theoretical equipment we invoke be at the level of sophistication and power that tonal theory has achieved after two and a half …
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For those interested in the larger discussion around "What is music theory?", please go to: https://www.academia.edu/s/ecffe28292?source=link
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@Nicolas wrote, 'You cannot, on behalf of the future, abolish the past.' To take off from there: I remember a session at an SMT meeting on metaphor. One example that came up was the common notion that the past is behind us while we face the future,…
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