Aspects of Musical Meaning in the Works of American and Western-European Music Theorists of the 1990–2000s
Article Sidebar
Main Article Content
Abstract
This overview offers a Russian reader an array of the most
recent concepts of western music theory and musicology,
resounding, in one way or another, with the discussion of musical
content in current Russian musicology. The latter has
emerged in writings of Dr. Valentina Kholopova and Dr.
Ljudmila Schaimukhametova in the 1990s. The overview presents
eight major concepts of the past two decades. It opens
with the description of modern musical semiotics, represented
by the names of Eero Tarasti and Gino Stefani in Europe, and
Kofi Agawu and Jean-Jacques Nattiez in North America. The
German tradition, the Dahlhaus project, is offered as another
example of content-oriented theory. The third segment presents
the American topic theory, a creation of Leonard Ratner, viewed
through the eyes of Kofi Agawu. A theory of musical
metaphor, raised to a highly conceptual level by Michael Spitzer
and Raymond Monelle, is covered in the fourth segment. The
fifth segment is dedicated to the current discussions of interaction
of analysis, interpretation and performance at the Dutch-
Flemish Society for music theory. The sixth segment addresses
the concepts of musical emotions, viewed from both artistic
(Peter Kivy, Michel Imberty) and scientific (David Huron, Carol
Krumhansl) standpoints. The seventh segment approaches the
area of New Musicology as a kind of theory of musical content.
content.
The overview ends with mentioning a recent publication
of Siglind Bruhm on musical ekphrasis. The author intended to
balance the scholarly style, appropriate for a Russian reader,
with the insider's point of view on western topics.
Keywords: musicology, semiotics, musical content, reviews
of the concepts, theory of metaphor, topic analysis, New
Musicology
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Holtmeier L. German music theory between Wandervogel and the Third Reich /Abstract // Annual Meeting of the American Musicological Society. — Columbus, 2002.
3. Polth M. German music theory in post-war exile /Abstract // Annual Meeting of the American Musicological Society. — Columbus, 2002.
4. Rohringer S. Music theory and Musikwissenschaft: foundations of German systematic musicology: abstract // Annual Meeting of the American Musicological Society.-Columbus, 2002.
5. Schwab-Feelish O. Contemporary German reception of American music theory: abstract) // Annual Meeting of the American Musicological Society. — Columbus, 2002.
6. Khannanov I. Interpretation and performance as constituents of methodology of analysis at the Moscow Conservatory in the 1970s and 80s // Tijdschrift voor Musiektheorie. — Amsterdam, 2004. — Vol. 9, № 3.
7. Khannanov I. Russian Methodology of Music Theory and Analysis: Ph.D. dissertation. — UMI, ProQuest. — Ann Arbor, 2003.
8. Nattiez J.-J. Musicologie générale et sémiologie. — Paris, 1987.
9. Tarasti E. A theory of musical semiotics. — Bloomington, 1994.
10. Tarasti E. Signs of music: a guide to musical semiotics. — Berlin, 2002.
11. Tarasti E. Musical signification: essays in semiotic theory and analysis of music. — Berlin, 1995.
12. Tarasti E. Musical semiotics revisited. — Imatra, 2003.
13. Tarasti E. Existential semiotics. — Bloomington, 2000.
14. Tarasti E. De l'interprétation musicale. — Paris, 1983.
15. La psicologia della musica en Europa e in Italia / ed. Gino Stefani e Franca Ferrari. — Bologna, 1985.
16. Marconi L. Gli intervali musicali. — Milano, 1992.
17. Stefani G. L'esspressione vocale e instrumental nella liturgia. — Torino, 1967.
18. Stefani G. La Melodia. — Milano, 1992.
19. Stefani G. Musica barocca: poetica e ideologia. — Milano, 1987.
20. Stefani G. Il segno della musica. — Roma, 1987.
21. Stefani G., Guerra Lisi S. Dizionario di Musica nella globalitá dei linguaggi. — Lucca, 2004.
22. Dahlhaus C. Analyse und Werturteil. — Mainz, 1970.
23. Eggebrecht H.-H. Sinn und Gehalt: Aufsätze zur musikalische Analyse. — Heinrichshofen, 1979.
24. Goehr L. The imaginary museum of musical works: an essay in philosophy of music. — New York, 1992.
25. Goehr L. The quest for voice: on music, politics and the limits of philosophy. — New York, 1998.
26. Goehr L., Herwitz D. «Don Giovanni» moment: essays on legacy of an opera. — New York, 2006.
27. Agawu K. Playing with signs. A semiotic interpretation of classic music. — Princeton, 1991.
28. Allanbrook W.J. Rhythmic gesture in Mozart's «Le nocce di Figaro» and «Don Giovanni». — Chicago,1983.
29. Ratner L. Classic music: expression, form and style. — New York, 1980.
30. Ratner L. The musical experience: sound, movement and arrival. — Stanford, 1983.
31. Ratner L. Romantic music: sound and syntax. — New York, 1992.
32. De Man P. Allegories of reading: figural language in Rousseau, Nietzsche, Rilke and Proust. — New Haven, 1979.
33. Lakoff G., Johnson M. Metaphors we live by. — Chicago, 1980.
34. Monelle R. Linguistics and semiotics in music. — Chur, 1992.
35. Spitzer M. Metaphor and musical thought. — Chicago, 2004.
36. Spitzer M. Music as philosophy: Adorno and Beethoven's late style. — Bloomington, 2006.
37. Kemme C. An analysis for performers: Debussy's song 'Il pleure dans mon coeur', no. 2 from Ariettes oubliées (1885–1888) // Annual meeting of the Society for Music Theory.-Washington D.C., 2005.
38. Mooiman B. O. Messiaen en de Franse harmonie: een studie over de verwantschap tussen de romantische orgel en het vroegerewerk van Olivier Messiaen // Tijdschrift voor Musiecktheorie. Vol. 9/1. — Amsterdam, 2004. — Vol. 9, № 1.
39. Huron D. Applying cognitive science to music analysis: a case study of musically-evoked laughter // Annual Meeting of the Society for Music Theory. — Baltimore, 2007.
40. Huron D. Sweet anticipation: music and psychology of expectation. — Cambridge, 2006.
41. Juslin P. N., Sloboda, J. A. Music and emotion. Theory and research. — Oxford, 2001.
42. Kivy P. Corded shell: reflections on musical expression. — Princeton, 1980.
43. Kivy P. Music alone: philosophical reflection on the purely musical expression. — Ithaca, 1990.
44. Kivy P. New essays on musical understanding. — Oxford, 2004.
45. Kivy P. Sound sentiment: an essay on musical emotions. — Philadelphia, 1989.
46. Krumhansl C. Cognitive foundations of musical pitch. — New York, 2001.
47. Meyer L. Emotion and meaning in music. — Chicago, 1956.
48. Meyer L. Explaining music: essays and explorations. — Chicago, 1975.
49. Trainor L. Musical origins: early competencies, acquisitions, and effects of musical experience on the brain // Annual Meeting of the Society for Music Theory. — Baltimore, 2007.
50. Khannanov I. D. Uchit'sya slyshat' muzyku: retsenziya na knigu L. Kramera «Muzykal'nyy smysl: k kriticheskoy istorii voprosa» // Siniy Divan. — 2003. — № 4.
51. Lacoue-Labarthe Ph. Musica ficta (figures de Wagner). — Paris, 1991.
52. McClary S. Feminine endings: music, gender and sexuality. — Minneapolis, 1991.
53. McClary S. Conventional wisdom: the content of musical form. — Berkeley, 2000.
54. Kramer L. Classical music and postmodern knowledge. — Berkeley, 1995.
55. Kramer L. Musical meaning: toward a critical history. — Berkeley, 2002.
56. Kramer L. Music as cultural practice, 1800-1900. — Bereley, 1991.
57. Taruskin R. Defining Russia musically: historical and hermeneutical essays. — Princeton, 1997.
58. Taruskin R. Text and act: essays on musical performance. — New York, 1995.
59. Tomlison G. Music and historical critique. — Burlington, 2007.
60. Subotnik R. Deconstructive variations: music and reason in Western society. — Minneapolis, 2006.
61.Žižek Sl. Opera's second death. — New York, 2002.
62. Bruhm S. Musical ekphrasis: composer's reaction to poetry and painting. — NewYork, 2000.
63. Lidov D. Elements of semiotics. — New York, 1999.
64. Lidov D. Is language a music? Writings on musical form and signification. — Bloomington, 2005.
65. Music and emotion: theory and research. Ed. Patrick N. Juslin and John A. Sloboda. — Oxford, 2001.
66. Schmalfeldt J. Berg's Wozzek: harmonic language and dramatic design. — New Haven, 1983.
67. Schmalfeldt J. Music that turns inward: new roles for interior movements and secondary themes in the early nineteenth-century music // Tijdschrift voor Musiektheorie. — Amsterdam, 2004. — Vol. 9/3.