Materials and Techniques of Post Tonal Music

Kostka, Stefan

doi:10.4324/9781315663586

Cited by 12 publications

(12 citation statements)

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“…Textbooks that discuss additive harmony (however briefly) using the extended-triad model include Aldwell and Schachter 2003, Benjamin, Horvit, and Nelson 2003, Dallin 1957, Forte 1979, Gauldin 2004, Kostka 1989, Kostka and Payne 2000, O&man 2000, Persiche&i 1961, Piston 1978, Roig-Francolí 2003, Spencer 2003, Steinke 1999, and Ulehla 1966 Return to text 7. Robert Hasegawa has also explored this phenomenon on acoustic grounds, stating that "[complex harmonies] are more ambiguous in their root implications, and thus more sensitive to changes in voicing" (2011,5 Return to text 9.…”

Section: Analytic Vigne Esmentioning

confidence: 99%

A Voicing-Based Model for Additive Harmony

Blättler

2017

MTO

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This article develops, for the Parisian modernist repertoire, a model of additive harmony in which voicing plays a foundational role. In comparison with the conventional extendedtriad model of additive harmony, the voicing-based model be&er describes the range of novel verticalities used in tonal progressions in this repertoire, and the features that allow those verticalities to serve as stand-ins for common-practice chords. This study also enriches our understanding of the important developments in Western tonal language that took place in the late nineteenth and early twentieth centuries. Most research on these stylistic developments details how innovation within certain horizontal-domain pitch constraints allowed for the incorporation of new harmonic successions into tonal contexts; this paper demonstrates that a similar process can be read in the vertical domain, wherein adherence to certain vertical-domain pitch constraints allowed for the incorporation of new chords into tonal contexts.

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Section: Analytic Vigne Esmentioning

confidence: 99%

A Voicing-Based Model for Additive Harmony

Blättler

2017

MTO

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“…Some composers are known to prioritise the playability of the score, whereas others focus on so-called purely musical and aesthetic considerations (see McCutchan, 1999). Also, one path to compositional innovation is to stretch the bodily and material capacities of musicians and their instruments (see Kostka, 2016).…”

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confidence: 99%

Embodiment in composition: 4E theoretical considerations and empirical evidence from a case study

Pohjannoro

2020

Musicae Scientiae

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The purpose of this study was to theorise on a composer’s corporeality from the point of view of the embodied, enacted, embedded, and extended cognition paradigm, in the light of empirical data that cover the compositional process of creating one particular piece of music. The data include related manuscripts and the composer’s verbal account of those manuscripts. Composition is seen as an interactive coping behaviour and an adaptive process of knowledge acquisition and production in a sonic environment. In this epistemic process, the composer begins working with various kinds of ideas: sounds, timbres, musical structures, experiences, philosophical thoughts. They explicate these intuitive or reflective embodied representations through different kinds of externalisations, such as musical gestures, narratives, visualisation, and finally, musical notation. This study substantiates the way in which embodied, extrabodily, embedded, and enactive processes constitute the cognitive acts of a composer, usually considered as almost purely mental. It shows how musical composition may not only be grounded but also depend on embodied knowledge that the score only partly conveys. In addition to helping composers and performers communicate in real life, the findings may be useful for identifying the different cognitive premises and circumstances that can result in discrepancies between the ways in which they interpret musical notation.

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“…Na formação dessa Sociedade, os objetivos foram tornar a Teoria da Música reconhecidacomo uma disciplina por seus próprios méritos e incrementar o ensino da Análise de alturas e coleções de referência(KOSTKA, 2016. p.178). Estas podem ser associadas em vários níveis, como uma altura específica ou um conjunto em determinado contorno, gerando sons sucessivos e ou simultâneos, utilizadas para unificar e articular seções de peças(STRAUS, 2005).O que se chama de Textura na música não possui uma definição clara, mas se refere aos componentes sonoros, seus relacionamentos e interações(BERRY, 1987. KOSTKA, 2016.…”

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Banda De Música E Identidade Cultural

Cruz¹

2020

Estudos Latino-Americanos Sobre Música: Vol I

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Todo o conteúdo deste livro está licenciado sob uma Licença de Atribuição Creative Commons. Atribuição 4.0 Internacional (CC BY 4.0). O conteúdo dos artigos e seus dados em sua forma, correção e confiabilidade são de responsabilidade exclusiva dos autores. Permitido o download da obra e o compartilhamento, desde que sejam atribuídos créditos aos autores, e sem a possibilidade de alterá-la de nenhuma forma ou utilizá-la para fins comerciais.

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Materials and Techniques of Post Tonal Music

Cited by 12 publications

References 0 publications

A Voicing-Based Model for Additive Harmony

A Voicing-Based Model for Additive Harmony

Embodiment in composition: 4E theoretical considerations and empirical evidence from a case study

Banda De Música E Identidade Cultural

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