Approaches to Meaning in Music by Byron Almén, Edward Pearsall
By Byron Almén, Edward Pearsall
Approaches to which 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 in view that the time of Pythagoras. This assortment brings jointly essays that replicate a number of assorted views on methods to musical that means. verified song theorists and musicologists disguise themes together with musical element and temporality, college, borrowing and organization, musical symbols and inventive 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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Approaches to Meaning in Music
Ways to that means in song 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 on the grounds that the time of Pythagoras.
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7. Chopin, Ballade in F Minor, Op. 8)—an ending that inspired André Gide (1949: 48–50) to write the following: I have elsewhere strongly protested against that reputation for nostalgic melancholy which is given, usually without discrimination, to all Chopin’s music, in which I have so many times encountered the expression of the highest joy. But really, in these two preludes [the A minor and D minor] I ¤nd only the most somber despair. 8. Chopin, Prelude in D Minor, Op. 28, No. 24, mm. 8. Chopin, Prelude in D Minor, Op.
Thus the passage becomes caught in a potentially endless pattern of repeating motives. The redundancy of the passage is reinforced by invertible counterpoint; the E –D and B –A suspensions are exchanged upon the return of the passage in measures 80–84 without changing the overall effect. The temporal displacement of the gestures in these measures arrests the discursive unfolding of the piece. As a result, the music seems to hesitate, taking time for a brief catch of breath before resuming its progress.
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. 4 comprises a number of motives heard elsewhere in the piece. These motives are altered in measures 17–20 so that they consist only of pitches drawn from a whole-tone scale.