"Circulatio"-Tradition, "Maria Lactans", and Josquin as Musical Orator

Kirkendale, Warren

doi:10.2307/932617

Cited by 6 publications

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“…Note the chord modulation from to via in Figure 6(b) and back to in measures 2–6. The melody highlighting indicates how the starting motif (red) transforms to a repetitive Circulatio pattern [Kir84] in measures 4–8 [ T1 ].…”

Section: Exemplary Analysis Workflowmentioning

confidence: 99%

Augmenting Digital Sheet Music through Visual Analytics

Miller

Fürst

Schäfer

et al. 2022

Computer Graphics Forum

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Music analysis tasks, such as structure identification and modulation detection, are tedious when performed manually due to the complexity of the common music notation (CMN). Fully automated analysis instead misses human intuition about relevance. Existing approaches use abstract data‐driven visualizations to assist music analysis but lack a suitable connection to the CMN. Therefore, music analysts often prefer to remain in their familiar context. Our approach enhances the traditional analysis workflow by complementing CMN with interactive visualization entities as minimally intrusive augmentations. Gradual step‐wise transitions empower analysts to retrace and comprehend the relationship between the CMN and abstract data representations. We leverage glyph‐based visualizations for harmony, rhythm and melody to demonstrate our technique's applicability. Design‐driven visual query filters enable analysts to investigate statistical and semantic patterns on various abstraction levels. We conducted pair analytics sessions with 16 participants of different proficiency levels to gather qualitative feedback about the intuitiveness, traceability and understandability of our approach. The results show that MusicVis supports music analysts in getting new insights about feature characteristics while increasing their engagement and willingness to explore.

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Section: Exemplary Analysis Workflowmentioning

confidence: 99%

Augmenting Digital Sheet Music through Visual Analytics

Miller

Fürst

Schäfer

et al. 2022

Computer Graphics Forum

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“…The offbeat neighbour-note pattern also appears in the Chigi toccatas in passages that resemble Rossi and Froberger shown in Example 9.Example 9. A comparison of offbeat neighbour-note patternsIn addition to the Frescobaldian motivic formulae in this manuscript, there are also some longer figurations that are used by Rossi and Frescobaldi, such as a scalic gesture in contrary motion that Kirkendale described as a circulatio figure, and the use of a persistent ostinato in one hand against a changing pattern in the other 70. Both of these gestures are created by physical movement of the hands.…”

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confidence: 94%

The Italian Keyboard Toccata c.1615–1650: A Repository for Oral Compositional Practices

Barker

2019

Res. Chron. RMA

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This research uses statistical analysis of a sample of keyboard toccatas including pieces by Frescobaldi, Rossi, Froberger and the anonymous composer of the manuscript R-Vat Mus Chigi Q.IV.25 to investigate the extent to which surviving written examples of the genre contain indicators of their unwritten compositional processes. The results of the analysis indicate that within the measurably formulaic textural disposition, there are clearly defined motivic patterns and melodic shapes that are present in the work of all three composers. The intertextuality thus implied is indicative of common unwritten procedures used in the process of composing toccatas at the keyboard and undermines common assumptions about the use of concordances between sources as indicative of authorship.

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Beethoven’s Birdstrokes: Figuration, Subjectivity, and the Force of the Score in the Pastoral Symphony and Copying Beethoven

Kumbier

2010

Literature Compass

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The inscription of a musical score is, at root, a figural gesture. As the score’s figures construct a metaphoric bridge, from the composer’s conception through their spatial representation to the composition’s aural realization, they also play, reflexively, off and into other musical figurations and what those figurations signify. Beethoven’s Pastoral Symphony, Op. 68, provides a rich and distinctive instance of scoring in which the musical figurations seem especially charged to generate meanings beyond the sounds that one ‘hears’ when reading the score mainly as a script for performance. This work, despite Beethoven’s famous assertion that it is ‘more expression of feeling than painting’, mediates aural and visual realms with its deft deployment of musical figurations traditionally heard and seen as pictorial, notably through those figurations associated with water and birdsong in the work’s second movement, ‘Scene by the Brook’. In Beethoven’s scoring his unusual insistence on the physical and pictorial, his development of the spatial dimensions of the music, intensifies the music’s programmatic or mimetic thrust but also marks the music’s metamimetic distance from its pastoral referents. Beethoven’s figuration thus becomes a means of mediating subjective consciousness and the world that consciousness encounters or imagines. The force of musical figuration and its implications for subjectivity, again with key reference to Beethoven, are vividly realized also in the recent cinematic reading of the scoring and performance of Beethoven’s Ninth Symphony, Agnieszka Holland’s Copying Beethoven (2007).

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"Circulatio"-Tradition, "Maria Lactans", and Josquin as Musical Orator

Cited by 6 publications

References 0 publications

Augmenting Digital Sheet Music through Visual Analytics

Augmenting Digital Sheet Music through Visual Analytics

The Italian Keyboard Toccata c.1615–1650: A Repository for Oral Compositional Practices

Beethoven’s Birdstrokes: Figuration, Subjectivity, and the Force of the Score in the Pastoral Symphony and Copying Beethoven

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