By Byron Almén, Edward Pearsall
Approaches to that means in track provides a survey of the issues and matters inherent in pursuing that means and signification in tune, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists considering the fact that the time of Pythagoras. This assortment brings jointly essays that replicate a number of various views on ways to musical which means. verified track theorists and musicologists disguise subject matters together with musical element and temporality, college, 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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Extra resources for Approaches to Meaning in Music
In the analyses that follow, the silence I attribute to the excerpts by Vaughan Williams, Mozart, and Debussy is substantiated by the analysis of the events themselves rather than by references to correspondence in letters and books. 22 Concurrent Discursive and Non-Discursive Events Measures 118–42 of the fourth movement of Vaughan Williams’s Symphony No. 3—the Pastoral Symphony—contain a subtle example of a texture in which discursive and non-discursive events intermingle, producing a powerful expressive statement on the semantic level.
1 One of the ¤rst theorists to have made such an observation is Leonard Meyer (1967: 72): music of the avant-garde directs us toward no points of culmination—establishes no goals toward which to move. It arouses no expectation, except presumably that it will stop. It is neither surprising nor, once you get used to its sounds, is it particular startling. It is simply there. And this is the way it is supposed to be. Such directionless, unkinetic art, whether carefully contrived or created by chance, I .
Used by permission of European American Music Distributors LLC, agent for Universal Edition A. , Vienna. the accumulated tension built up through the right-hand glissando, and both peak with a double-note trill on the highest notes of the piano. A precipitous descending glissando falls to an accented cluster chord in the middle register, followed in quick succession by a cluster of the lowest three notes on the piano, the chord, the low cluster, and a ¤nal rebounding ascent to the brusque chord for the last time.
Approaches to Meaning in Music by Byron Almén, Edward Pearsall