Essays / Jonathan Service, "Chinese Music Theory"


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Chapter 1. Introduction
Laurel Parsons and Brenda Ravenscroft

Order, Freedom and Design

Chapter 2. Ursula Mamlok, Panta Rhei, Third Movement (1981)
"Twelve Tone in My Own Way": An Analytical Study of Ursula Mamlok's Panta Rhei, Third Movement, with Some Reflections on Twelve-Tone Music in America
Joseph N. Straus

Chapter 3. Norma Beecroft, Improvvisazioni Concertanti No. 1 (1961)
Improvvisazioni Concertanti No. 1 by Norma Beecroft: Serialism, Improvisatory Discourse, and the Musical Avant-Garde
Christoph Neidhöfer

Chapter 4. Joan Tower, Silver Ladders (1986)
"Octatonicism," the Octatonic Scale, and Large- Scale Structure in Joan Tower's Silver Ladders
Jonathan W. Bernard

Gesture, Identity and Culture

Chapter 5. Sofia Gubaidulina, String Quartet No. 2 (1987)
"Difference Inhabits Repetition": Sofia Gubaidulina's String Quartet No. 2
Judy Lochhead

Chapter 6. Chen Yi, Symphony No. 2 (1993)
The Transformative Power of Musical Gestures: Cultural Translation in Chen Yi's Symphony No. 2
Nancy Yunhwa Rao

Music, Words and Voices

Chapter 7. Kaija Saariaho, "The claw of the magnolia..." From the Grammar of Dreams (1988)
Superposition in Kaija Saariaho's "The claw of the magnolia..."
John Roeder

Chapter 8. Libby Larsen, Chanting to Paradise (1997)
Music as a Mirror: Libby Larsen's Chanting to Paradise
Brenda Ravenscroft

Chapter 9. Elisabeth Lutyens, Essence of Our Happinesses (1968)
This Imaginary Halfe-Nothing: Temporality in Elisabeth Lutyens's Essence of Our Happinesses
Laurel Parsons



Essay about Music Theory - 1434 Words - StudyMode

Journal of Music Theory | Duke University Press

Impressionism released the chord from its function in regard to the movement and goal of the music. Chords could be freely altered. Chords no longer required preparation or resolution in conventional harmonic patterns. Writers describe this as the "emancipation of sound." Harmonic patterns were free to move in non-traditional manners. This blurring of traditional tonal progressions may be analogous to the Impressionist painters' technique of avoiding hard edges and sudden, sharp contrasts.

Journal of Music Theory 52:2 (52:2) • Essays in Honor of ..

"There is no theory. You have only to listen. Pleasure is the law. I love music passionately. And because l love it, I try to free it from barren traditions that stifle it. It is a free art gushing forth, an open-air art boundless as the elements, the wind, the sky, the sea. It must never be shut in and become an academic art."

Made possible by tl1e Jacob and Rosa Stern Musical Fund, the professorship
r easonable grounds for believing that the musical processes and strtlctures

Essay on music the essence of life / Coursework Writing Serv

"A glance at any twentieth-century music textbook will give one the impression that serialism, chance music, electronic music, and the post-modern trends of minimalism and neo-romanticism have seemed to dominate the music of the second half of the twentieth century. However, a more detailed look into the music presented in the texts suggests that the work of most individual composers during the period represents a more eclectic collection of influences that include one or more of these major trends among them, sometimes only during a short period of the composer's productive life. This observation shows that a more complete view of late twentieth-century music comes from looking at the influences on individual composers and thus gives the perspective that this music abounds with tradition. Much of this rich sophistication in twentieth-century music was fueled by the explosion of resources that arose from musicological and ethnomusicological research. Only in the twentieth century have musicologists and other researchers successfully begun to construct a complete musical picture of such sources as the Medieval period, non-Western cultures, and the political and philosophical of all of the many times and cultures. Music in the twentieth century, then, does not draw on one central and contemporary tradition to the exclusion of foreign influence, but, rather, makes use of many much more individualistic origins and inspirations as its "tradition". "

made by composers, then ideas about music expressed by the composer him-

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Again, , 138–39) argues that the above three approaches, by themselves, are necessarily incomplete and that an analysis of all three levels is required. , 50–51) shows that musical analysis shifted from an emphasis upon the poietic vantage point to an esthesic one at the beginning of the eighteenth century (, 137).

this mode of musical understat1din.g is essentiall)' formal, rather than proces*

Music Theory - Free Music Games & Activities for Kids

Some analysts, such as (whose are among the most accessible musical analyses) have presented their analyses in prose. Others, such as (who devised a technique he called ) used no prose commentary at all in some of their work.[]