Salome's Grotesque Climax and Its Implications

Johnston, Blair

doi:10.1093/mts/mtu004

Cited by 5 publications

(2 citation statements)

References 14 publications

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“…303-25), Zohar Eitan (1997), Huron (2007, pp. 322-6), Austin Patty (2009), Blair Johnston (2014) and Lee (2020).…”

Section: The Arrivalmentioning

confidence: 99%

The Arrival 64${6 \atop 4}$ Chord in Wagner's Die Walküre: Types, Function, and Dramatic Meanings

LEE

2023

Music Analysis

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This article applies Hatten's (1994) concept of the ‘arrival ’ – a cadential that resolves tonal or thematic instabilities without necessarily proceeding to V(7) – to cadences and cadential gestures in Wagner's Die Walküre. It identifies and describes three essential types of arrival chord: a cadential becoming I and launching a new leitmotivic passage (type 1); one continuing in the cadential progression and initiating a new leitmotivic passage (type 2) and one continuing in the cadential progression and becoming a rhetorical highpoint (type 3). Ultimately, it demonstrates that examples of each type produce an aurally illuminating, ‘marked’ effect within Wagnerian ‘musical prose’ in conjunction with the dramatic circumstances.

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“…303-25), Zohar Eitan (1997), Huron (2007, pp. 322-6), Austin Patty (2009), Blair Johnston (2014) and Lee (2020).…”

Section: The Arrivalmentioning

confidence: 99%

The Arrival 64${6 \atop 4}$ Chord in Wagner's Die Walküre: Types, Function, and Dramatic Meanings

LEE

2023

Music Analysis

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“…In my recent study of Salome (Johnston ), I argue that some highly dissonant extended tonal passages may be understood as involving a higher‐order negative engagement (‘hyperdissonance’) of different harmonic frames of reference. More generally, I argue in that essay that negative theses (including Hepokoski's deformation theory) are sometimes indispensable when dealing with works composed in the early twentieth century.…”

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confidence: 99%

Off‐Tonic Culmination in Rachmaninoff's Rhapsody on a Theme of Paganini

Johnston¹

2014

Music Analysis

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This article considers the implications that Sergei Rachmaninoff's concept of the ‘culminating point’ has for the analysis of his music, using the off‐tonic climax in his Rhapsody on a Theme of Paganini, Op. 43, as exemplar and case study. In the first part of the essay I position Rachmaninoff's idea in relation to Schoenberg's and Schenker's contemporaneous views of musical coherence and goal orientation, and in relation to recent hermeneutic approaches to music from Rachmaninoff's era (especially those derived from Hepokoski's work), showing how Rachmaninoff's idea, although it shares a nineteenth‐century heritage with those theorists' ideas, has its own analytical and hermeneutic entailments. In the second part of the essay, drawing on metaphors used by Rachmaninoff and on theoretical work by Candace Brower, I outline a model for understanding a culminating point as a moment where contextually determined rhetorical‐structural features map in striking, potentially ‘extraordinary’ ways onto physically oriented ‘image schemas’. I demonstrate the model in brief analyses of four Rachmaninoff works and then treat the Rhapsody at length, showing how image schemas involved at the culminating point interact with the work's generic‐ formal features and large‐scale tonal plan.

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Aesthetics of the Narrative Climax in Contemporary TV Serials

Pérez

2022

The Journal of Aesthetics and Art Criticism

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This article draws on concepts from cognitive psychology to explore the significance of the narrative climax, focusing on the final climax of the series The Americans as a case study. Two aspects of the aesthetic experience are considered: the special intensity that climaxes elicit, and the diversity of the cognitive content they generate, which can include both aesthetic and non-aesthetic properties. The climax is experienced in a state of absorption triggered by a set of strategies of temporal prolongation related to the main suspenseful moments and plotlines, to character engagement, and to the multiplot structure, involving the content of the narrative itself (narrative absorption) and the aesthetic qualities that define it (artifact absorption). The source of this absorption during the climax lies in the interplay between emotion and cognition in a temporal process that may last for a whole series. To demonstrate this idea, this study identifies key narrative comprehension processes, drawing on the explanatory potential of mental model theory to clarify the importance of memory and interrelated inferential processes. The aim of this research is to contribute to explanations of the role of the climax in serialized television and other artistic works.

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Salome's Grotesque Climax and Its Implications

Cited by 5 publications

References 14 publications

The Arrival 64${6 \atop 4}$ Chord in Wagner's Die Walküre: Types, Function, and Dramatic Meanings

The Arrival 64${6 \atop 4}$ Chord in Wagner's Die Walküre: Types, Function, and Dramatic Meanings

Off‐Tonic Culmination in Rachmaninoff's Rhapsody on a Theme of Paganini

Aesthetics of the Narrative Climax in Contemporary TV Serials

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