Approaches to Meaning in Music by Byron Almén, Edward Pearsall

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By Byron Almén, Edward Pearsall

Approaches to which means in track provides a survey of the issues and matters inherent in pursuing which means and signification in track, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists given that the time of Pythagoras. This assortment brings jointly essays that mirror a number of varied views on techniques to musical that means. validated song theorists and musicologists conceal issues together with musical point and temporality, university, borrowing and organization, musical symbols and artistic mythopoesis, the articulation of silence, the mutual interplay of cultural and music-artistic phenomena, and the research of gesture.

Contributors are Byron Almén, J. Peter Burkholder, Nicholas prepare dinner, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.

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Ives’s Unanswered Question (1953) provides an excellent proving ground for testing these ideas. 1. In terms of its melody alone, then, the passage seems to embody a sense of motion. The underlying harmony and voice leading, however, con®ict with this interpretation. While the ¤rst few chords of the piece outline the key of G, for example, the leading tone (F ) veers uncharacteristically downward in measure 5, thus weakening the tonal effect of G. Even the promising discursive move from G7 to C in measures 6 and 7 fails to restore a clear sense of harmonic continuity because the passage ultimately ends on A minor.

Schirmer, Inc. (ASCAP). International Copyright Secured. All Rights Reserved. Reprinted by Permission. tial six-four chords, functions as the dominant throughout the passage despite the presence of a number of repeating stepwise ascents and descents. The performative silence that occurs in Mozart’s G minor Symphony is intermittent because it is sandwiched between more discursive events in the music. Another instance of intermittent silence involving a motivic breakdown occurs in the third movement of Debussy’s Iberia, demonstrating that the techniques leading to non-discursiveness can be applied, with similar results, to music of different styles and periods.

In this case, the length of the pitch set governs the number of repetitions, and hence the length of each large measure. New pitches are introduced in consecutive measures until all the pitches of the complete aggregate have occurred, after which the process begins again. In this movement, the redundancy of the pitch set produces an ethereal, ®oating effect similar to that of Ligeti’s Atmospheres. Like Ligeti’s Atmospheres, moreover, the structure that gives rise to this effect remains largely hidden.

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