Tonal Harmony, with an Introduction to Twentieth-Century Music

Kostka, Stefan; Payne, Dorothy; Almén, Byron

doi:10.2307/843581

Cited by 21 publications

(15 citation statements)

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“…Applications of the law of objective set in the musical field have been carried out explicitly by James Tenney (1988), who cites it as one of the factors of cohesion and segregation of temporal gestalt-units (TGs) 8 directly related to certain Gestalt laws. According to this author, objective set "[...] will refer to expectations or anticipations arising during a musical experience which are produced by previous events occurring within the same piece […]" (Tenney 1988, p. 44).…”

Section: Gestalt Analysismentioning

confidence: 99%

Gestalt Modeling of Ponteio No. 30 by Camargo Guarnieri

Oliveira¹,

Pitombeira²

2023

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The present work proposes the gestalt modeling (hereinafter GM) of Ponteio No. 30 by Camargo Guarnieri with the purpose of elaborating a compositional system to be used in the planning of a work for solo piano. The creation of this new work was possible based on observations of the structural dispositions of the ponteio in question, following the suggestions by Tenney (1988) for the musical application of the gestalt law of objective group. The initial purpose of this work was to identify and describe in Ponteio No. 30 these musical suggestions and the relationships between the musical elements in this context. Based on a generalization of these relationships, definitions of the hypothetical system that generated the intertext (Ponteio No. 30) were prepared, which served as the basis for planning the new work. The similarities between the two works occur at a deep level, in an abstract way, while the differences between them reside in the different elements used to fill in the structural archetypes and in the decisions regarding parameters not included in the systemic model. We understand that GM is effective for the creation of new works, since it provides a consistent starting point for compositional planning and gives freedom in choosing the elements that must be inserted in the structures of the models and also outside them. In addition, GM has its analytical potential for coherently presenting new perspectives based on the listener's perception.

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Section: Gestalt Analysismentioning

confidence: 99%

Gestalt Modeling of Ponteio No. 30 by Camargo Guarnieri

Oliveira¹,

Pitombeira²

2023

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“…Meter in music refers to the pattern of beats that are consistent throughout a passage (Kostka et al, 2013), as it is also a perceptual phenomenon that is usually characterized in terms of an internal sense of accent or strong and weak beats (Lerdahl & Jackendoff, 1982). The concept of music meter has probably existed as early as the music itself.…”

Section: Introductionmentioning

confidence: 99%

“…5 Early Songs by Razak Abdul Aziz were written in 1980 (3 songs) and 1988 (2 songs). The researchers had chosen to conduct a systematic theoretical analysis of the chosen work using music theories proposed by Kostka et al (2013), Santa (2018), andLocke (2010). The analysis found that the use of the metric element is more complex in the two songs that were composed in 1988, suggesting that the 8-year gap the composer had given him time to acquire more musical materials, maturing over the years.…”

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confidence: 99%

What’s the Time? Deciphering “Meter” in Razak Abdul Aziz’s 5 Early Songs

Zamani,

Abu Bakar,

Tan

2023

MJM

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The concept of meter in music has existed probably as old as music itself. Scholars had a variety of ways of categorizing meters in music. Recent investigations on the element of meter in contemporary art music show that scholars were more Europe-American-centric and only 10 Pantun Settings and Maria Zaitun by Razak Abdul Aziz were previously discussed academically, hence justifying the need to conduct this investigation. 5 Early Songs by Razak Abdul Aziz were written in 1980 (3 songs) and 1988 (2 songs). The researchers had chosen to conduct a systematic theoretical analysis of the chosen work using music theories proposed by Kostka et al. (2013), Kostka and Santa (2018), and Locke (2010). The analysis found that the use of the metric element is more complex in the two songs that were composed in 1988, suggesting that the 8-year gap the composer had given him time to acquire more musical materials, maturing over the years. It is hoped that this investigation would spark some interest among other scholars to conduct studies on the similar or other work(s) of Razak Abdul Aziz and possibly expand this to other Malaysian contemporary composers.

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“…Scholarly research on the PD is scant, save a seminal paper exploring the expansion of the function in music composed in the Romantic era (Stein, 1983) and a recent experiment on the perceived attraction of various PDs to the dominant (Brown, Tan, & Baker, 2021). Further, while Western harmony textbooks consistently organize ordering within the PD according to a regulative syntax (e.g., IV goes to ii), authors differ on its rationale and are rarely explicit about the repertoire(s) on which it is based (e.g., Clendinning & Marvin, 2021;Gauldin, 2004;Kostka, Payne, & Almén, 2018;Laitz, 2008;Piston & deVoto, 1978;Shaffer, Hughes, & Moseley, 2014;Snodgrass, 2015). The PD is also said to be an essential feature of complete cadential closure (Caplin, 1998(Caplin, , 2013Rohrmeier & Neuwirth, 2015;Sears, Caplin, & McAdams, 2014), but this has yet to be systematically examined in corpora.…”

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confidence: 99%

“…We surveyed the seven most popular textbooks and found that examples from these sonatas appear on an average 29 pages per book. In the two textbooks that occupy 54% of the market share (Ewell, 2020), those by Kostka, Payne, and Almén (2018) and by Clendinning and Marvin (2016), Mozart piano sonatas appear on the greatest number of pages, tied only with Bach chorales. This emphasis on Mozart piano sonatas is extended into scholarly literature; for example, in a chapter on understanding cadential syntax (Rohrmeier & Neuwirth, 2015), Mozart piano sonatas are the most frequently discussed examples out of any other repertoire/composer.…”

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confidence: 99%

An Analytical Dataset of Approaches to V in Mozart

Brown

Tan

Lin

2023

EMR

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Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V, and their formal location.

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Tonal Harmony, with an Introduction to Twentieth-Century Music

Cited by 21 publications

References 0 publications

Gestalt Modeling of Ponteio No. 30 by Camargo Guarnieri

Gestalt Modeling of Ponteio No. 30 by Camargo Guarnieri

What’s the Time? Deciphering “Meter” in Razak Abdul Aziz’s 5 Early Songs

An Analytical Dataset of Approaches to V in Mozart

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