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Perspectives on Contemporary Music Theory
Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and caliber of his published work, and also his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics. This book, a festschrift for Korsyn, comprises essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory.
The Oxford Handbook of Sound and Imagination
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true forthe role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors address this tendency head-on, correcting the currentbias towards visual imagination to instead highlight the many forms of sonic and musical imagination. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination inarchitectural design; and the design of sound artifacts for cinema and computer games.
Composing Capital
The familiar old world of classical music, with its wealthy donors and ornate concert halls, is changing. The patronage of a wealthy few is being replaced by that of corporations, leading to new unions of classical music and contemporary capitalism. In Composing Capital, Marianna Ritchey lays bare the appropriation of classical music by the current neoliberal regime, arguing that artists, critics, and institutions have aligned themselves—and, by extension, classical music itself—with free-market ideology. More specifically, she demonstrates how classical music has lent its cachet to marketing schemes, tech firm-sponsored performances, and global corporate partnerships. As Ritchey shows, the neoliberalization of classical music has put music at the service of contemporary capitalism, blurring the line between creativity and entrepreneurship, and challenging us to imagine how a noncommodified musical practice might be possible in today’s world.
The Oxford Handbook of Critical Concepts in Music Theory
Music Theory operates with a number of fundamental terms that are rarely explored in detail. This book offers in-depth reflections on key concepts from a range of philosophical and critical approaches that reflect the diversity of the contemporary music theory landscape.
Rethinking Difference in Music Scholarship
This major essay collection takes a fresh look at how differences among people matter for music and musical thought.
In Other Shoes
In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.
Cognate Music Theories
This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory. Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context. Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
Hearing Homophony
""This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, ...
Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments
This book approaches opera fantasias – instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material – both historically and theoretically, concentrating on compositions for and by woodwind-instrument performers in Italy in the nineteenth century. Important overlapping strands include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. Through archival research in Italy, theoretical analysis, and exploration of European cultural contexts, this book clarifies a genre that has been consciously stifled and societal resonances that still impact music reception and performance today.
The Power of Pastiche
In eighteenth-century England, “variety” became a prized aesthetic in musical culture. Not only was variety—of counterpoint, harmony, melody, and orchestration—expected for good composition, but it also manifested in cultural mediums such as songbook anthologies, which compiled miscellaneous songs and styles in single volumes; pasticcio operas, which were cobbled together from excerpts from other operas; and public concerts, which offered a hodgepodge assortment of different types and styles of performance. I call this trend of producing music through the collection, assemblage, and juxtaposition of various smaller pieces as musical miscellany; like a jigsaw puzzle (also invented in ...
