scholarly journals "Chinese Harmony" and Contemporary Non-Tonal Music Theory

2013 ◽  
Vol 19 (2) ◽  
pp. 115-124 ◽  
Author(s):  
Jay Rahn
Keyword(s):  
Twentieth Century ◽  
North America ◽  
Music Theory ◽  
Tonal Music ◽  
Chromatic Harmony

Twentieth-century Chinese theorists and composers have developed a distinctively indigenous approach to harmony, based in part on earlier pentatonic traditions. Mixed as it is with conventions of diatonic and chromatic harmony imported from Europe and North America, the resulting "Chinese harmony" poses music-theoretical problems of coordinating diatonic and pentatonic scales, and tertial and quartal chords. A survey of Chinese harmony as expounded by Kang Ou shows these difficulties to be theoretically intractable within solely Chinese or Euro-American frameworks, but soluble through recent formulations in atonal—or more appropriately, non-tonal-theory, as advanced by such writers as John Clough.

scholarly journals The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory

2014 ◽  
Vol 20 (3) ◽  
Author(s):  
Inessa Bazayev
Keyword(s):  
Twentieth Century ◽  
Music Theory ◽  
Voice Leading ◽  
Tonal Music ◽  
The West ◽  
Traditional Church ◽  
Russian Music ◽  
The Common ◽  
Diatonic Scale

In Russian music theory, the concept oflad(mode) plays a central role in understanding non-tonal Russian music. There is no equivalent term in the West to explain Russianlad. Although early definitions simply described it as a diatonic scale, the term was later expanded, altered, and applied to non-tonal music of Scriabin, Prokofiev, and Shostakovich.Ladapplies not only to the traditional church or Greek modes, but also to alterations thereof, as well as newly created modes, where orthography often determines the function of a single pitch. I explore the ever-changing concept ofladin the writings of prominent Russian theorists Alexeï Ogolevets, Alexander Dolzhanskiĭ, Miroslav Skorik, and Iuriĭ Kholopov, and I show how the concept enables discussion of non-tonal music, first from functional and then from voice-leading perspectives. The Russian analyses highlight continuity between twentieth-century repertoires and music from the common-practice era.

scholarly journals 來自「東方」的聲音圖景：江文也作品的異國情調與民族追尋

2020 ◽  
Vol 36 (36) ◽  
pp. 081-106
Author(s):  
張琬琳 張琬琳
Keyword(s):  
Twentieth Century ◽  
Music Theory ◽  
Global Scale ◽  
Musical Instruments ◽  
International Standards ◽  
The Other ◽  
Western Music ◽  
Political Issue ◽  
The World ◽  
General Society

<p>二十世紀初，在國際間崛起的各國勢力，加速了各民族內部自我整頓與反省的動力，東方音樂家學習西方音樂，也試圖以西方音樂的樂制，來整建自我民族內部的音樂紋理。</p> <p>東方音樂家欲望著西方，希冀能登上國際音樂舞臺；西方樂壇也期待從東方音樂家那裡，聽見西方人能夠「聽得懂」的「東方聲音」。在東 / 西方彼此期待、渴望之間，音樂本身被賦予極大的感官寓意，對西方人而言，帶有異國情調的音樂，尤其能夠吸引他們的目光；對於東方音樂家而言，這些「東方」的元素，卻是取自於不同民族風土的獨特聲音。</p> <p>本文聚焦臺灣近代音樂家江文也，以近年來新出版的傳記、日記和音樂作品全集，以及本論文作者近年於歐洲搜集的史料為分析佐證，探討江文也「屬於自己 / 東方的聲音」創作，如何引發西方樂壇對於「東方聲音」的想像。</p> <p>&nbsp;</p><p>The early twentieth century was a century that had the two global-scale World Wars between world powers across continents and oceans. Rising nationalism and increasing national awareness became a major political issue in general society. Eastern musicians reflected on the issue and diligently learned Western music system to get a remarkable grasp of it. Because they knew well the so-called Oriental music sounds must be rooted in the Western music theory to be able to compete among nations by international standards. On one hand, Eastern musicians desired to be seen and rival upon the world stage; on the other hand, Western musicians looked forward to hearing pure Oriental music sounds from the East. However, for Taiwanese composer Jiang, Wen-Ye, the Oriental music sounds are not the ones of a traditional and exotic concept. Traditionally, the Oriental music sounds derive its flavor from the pentatonic scale and use traditional Chinese musical instruments to play. It is under such circumstances Jiang, Wen-Ye compose beautiful musical forms that embody his love and respectful duty to the Taiwanese motherland throughout frequent international music events and competitions.</p> <p>&nbsp;</p>

Sunnyside Timeline

Sunnyside ◽  
2020 ◽  
pp. 146-149
Author(s):  
Laura Wright
Keyword(s):  
Twentieth Century ◽  
North America ◽  
Open Field ◽  
Land Tenure ◽  
Sir Walter Scott ◽  
Washington Irving ◽  
Chronological Order ◽  
Legal Concept ◽  
Scottish Gaelic ◽  
Field System

The timeline summarises the findings presented in the book and re-orders them in chronological order. Dividing land into sunny and shady parts was originally a technical North British legal concept to do with land tenure, evidenced in manuscripts from the twelfth century and with counterparts in Scandinavia known as solskifte. When the open-field system was abandoned, houses built on former sunny divisions retained the name Sunnyside. Greens was the Scottish Gaelic expression of the same concept. The name largely stayed within North Britain until the Nonconformist movements of the 1600s spread it southwards via networks of travelling Quakers, who took it to North America. In 1816 Washington Irving saw Sunnyside, Melrose when visiting Sir Walter Scott, and renamed his house Sunnyside accordingly. Wealthy London nonconformists named their grand suburban villas Sunnyside, consolidating the trend. Twentieth-century plotlands house-naming is also considered, and the prevalence of historic sol- farm names in Scandinavia.

Situation ethics

2018 ◽  
Author(s):  
Gene Outka
Keyword(s):  
Twentieth Century ◽  
North America ◽  
Christian Communities ◽  
Moral Ideals

‘Situation ethics’ accords morally decisive weight to particular circumstances in judging whether an action is right or wrong. Thus we should examine critically all traditional rules prohibiting kinds of actions. Proponents of these views have exerted their greatest influence in Europe and North America in the twentieth century, although such influence waned by 1980. The views received extensive scrutiny in Christian communities. Three quite different warrants were offered for privileging discrete situations. First, we should remain dispositionally open to God’s immediate command in a particular time and place (theological contextualism). Second, we should take the actual consequences of particular actions as morally decisive (empirical situationism). Third, we should be ready to perform actions that compromise moral ideals when doing so improves matters in ways a given situation, with its distinctive constraints, makes viable (mournful realism).

The Perception of Frozen Intervals in Anton Webern’s Concerto for Nine Instruments, Op. 24, Third Movement

2019 ◽  
Vol 42 (1) ◽  
pp. 38-53 ◽  
Author(s):  
Jenine Brown
Keyword(s):  
Music Theory ◽  
Reference Point ◽  
Analytical Approach ◽  
Forced Choice ◽  
Formal Training ◽  
Musical Style ◽  
Tonal Music ◽  
Twelve Tone ◽  
Passive Exposure

Abstract Many have described twelve-tone music as difficult to aurally comprehend (e.g., Huron, 2006; Meyer, 1967). This study addresses such claims by investigating what listeners can implicitly learn when hearing a recording of a twelve-tone composition. Krumhansl (1990) has argued that listeners unfamiliar with a musical style attune to the distribution of pitch occurrences, with the most frequent pitch providing a reference point. However, in Anton Webern’s Concerto for Nine Instruments, Op. 24/iii, each pitch occurs nearly the same number of times. Because the distribution of pitches in this twelve-tone work is flat, this study investigates whether listeners instead perceive its recurring intervals. After passive exposure to the composition, musician participants (n = 12) with no formal training in non-tonal music theory demonstrated learning of the frequent intervals (and pairs of intervals) in both forced-choice and ratings tasks. Nonmusicians (n = 13) did not. I then use these empirical findings to inform an interval-based analytical approach to Webern’s compositions.

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