Onset asynchrony in Western art music

Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.

Do I Get a Say in This? Environmental Sound Composition, the Phonograph and Intentionality

<p>Environmental sound composition, a term I employ to describe all forms of electroacoustic works in which the core materials are abstracted from real environments through technology, has been practiced in a variety of forms for more than 50 years. A tension exists between environmental sound composition and western art music, one that continues to make this marriage uncomfortable. In short, the use of mimetic materials in environmental sound composition does not fit the prescriptions of formalism, an ideology that electroacoustic composition inherited from western art music. Though attempts have been made to lessen this tension (Emmerson, 1986 and Smalley, 1996), an underlying anxiety persists in environmental sound composition, as the twin legacy of Pierre Schaeffer’s ideas concerning musique concrète and the concerns of acoustic ecology, a movement championed by soundscape composers (Westerkamp, 2002), continues to influence the genre. Recently there has emerged an increasing resistance to the didactic ideology of soundscape theory in particular, as exemplified by Lopez (1997), Ingold (2007) and Kelman (2010). However, soundscape theory continues to influence the production of environmental sound composition, as composers seek to align themselves with such concerns, or place themselves in opposition to them. In my view, the tension between formalism and mimesis has resulted in a widespread fixation on poietic intent in environmental sound composition. As a result, composers have tried to dictate how their works should be heard, while ignoring the complexity of listener response. While a number of fresh perspectives have arisen in recent years looking at environmental sound composition methodology and the role of esthetic analysis in such works, including Voegelin (2010) and Lane and Carlyle (2013), a rigorous investigation into the roles of intentionality, technology and hermeneutic analysis in the production and reception of environmental sound composition remains absent. My thesis explores the nature of the phonograph (an audio recording) and phonography (the act of recording) in broad terms, and then with specific attention to environmental sound composition. Various recording genres and phonograph types associated with these genres are identified, while the attitudes of composers towards technology and the ontological nature of their works are investigated. This approach is applied in making a critical assessment of environmental sound composition, exposing the specificity of the rift between poietic intention and esthetic reception. I argue for a hermeneutic evaluation of the phonograph on similar terms as those set out by Roland Barthes in Camera Lucida (1981). In examining the temporal dimensions of the phonograph, along with its formal and affective traits, my research aims to elevate the phonograph from the role of a passive bearer of composer intentionality, to that of a primary contributor to the listening experience. With this aim in mind, I present a portfolio of creative works as a second volume to this thesis, born of the ideas discussed herein, which explore the nature of the phonograph, its temporalities, the site specific aspects of phonography and compositional intervention with the phonograph. I will refer to my works throughout this thesis, detailing how I have incorporated my theoretical concerns into my compositional practice, especially in chapter four, five and six.</p>

Do I Get a Say in This? Environmental Sound Composition, the Phonograph and Intentionality

<p>Environmental sound composition, a term I employ to describe all forms of electroacoustic works in which the core materials are abstracted from real environments through technology, has been practiced in a variety of forms for more than 50 years. A tension exists between environmental sound composition and western art music, one that continues to make this marriage uncomfortable. In short, the use of mimetic materials in environmental sound composition does not fit the prescriptions of formalism, an ideology that electroacoustic composition inherited from western art music. Though attempts have been made to lessen this tension (Emmerson, 1986 and Smalley, 1996), an underlying anxiety persists in environmental sound composition, as the twin legacy of Pierre Schaeffer’s ideas concerning musique concrète and the concerns of acoustic ecology, a movement championed by soundscape composers (Westerkamp, 2002), continues to influence the genre. Recently there has emerged an increasing resistance to the didactic ideology of soundscape theory in particular, as exemplified by Lopez (1997), Ingold (2007) and Kelman (2010). However, soundscape theory continues to influence the production of environmental sound composition, as composers seek to align themselves with such concerns, or place themselves in opposition to them. In my view, the tension between formalism and mimesis has resulted in a widespread fixation on poietic intent in environmental sound composition. As a result, composers have tried to dictate how their works should be heard, while ignoring the complexity of listener response. While a number of fresh perspectives have arisen in recent years looking at environmental sound composition methodology and the role of esthetic analysis in such works, including Voegelin (2010) and Lane and Carlyle (2013), a rigorous investigation into the roles of intentionality, technology and hermeneutic analysis in the production and reception of environmental sound composition remains absent. My thesis explores the nature of the phonograph (an audio recording) and phonography (the act of recording) in broad terms, and then with specific attention to environmental sound composition. Various recording genres and phonograph types associated with these genres are identified, while the attitudes of composers towards technology and the ontological nature of their works are investigated. This approach is applied in making a critical assessment of environmental sound composition, exposing the specificity of the rift between poietic intention and esthetic reception. I argue for a hermeneutic evaluation of the phonograph on similar terms as those set out by Roland Barthes in Camera Lucida (1981). In examining the temporal dimensions of the phonograph, along with its formal and affective traits, my research aims to elevate the phonograph from the role of a passive bearer of composer intentionality, to that of a primary contributor to the listening experience. With this aim in mind, I present a portfolio of creative works as a second volume to this thesis, born of the ideas discussed herein, which explore the nature of the phonograph, its temporalities, the site specific aspects of phonography and compositional intervention with the phonograph. I will refer to my works throughout this thesis, detailing how I have incorporated my theoretical concerns into my compositional practice, especially in chapter four, five and six.</p>

Beyond synchronization

In the Western art music tradition, among many others, top ensembles are distinguished on the basis of their creative interpretation and expressivity, rather than purely on the precision of their synchronization. This chapter proposes that visual cues serve as social motivators during ensemble performance, promoting performers’ creative engagement with the music and each other. This chapter discusses findings from a study in which skilled duo musicians’ use of visual cues (eye gaze and body motion) was examined across the course of a rehearsal session. Results show that performers are driven to interact visually: (1) by temporal irregularity in the music and (2) by increased familiarity with the music and their co-performer. Synchronization success was unimpaired during a “blind” performance where performers could not see each other. Ensemble musicians thus choose to supplement their auditory interactions with visual cues despite their visual interactions offering no apparent benefit to synchronization.

‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour

This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).

A Conversation with Robert Hatten about A Theory of Virtual Agency for Western Art Music

From August to October 2020, the Brazilian Society for Music Theory and Analysis (TeMA) held a series of five online meetings, each featuring a well-stablished theorist who presented one of his/her recent publications. Following the guest speaker’s presentation, a discussion session ensued, featuring guests from TeMA. On August 20th, TeMA received Robert Hatten to open the series, who was invited to talk about his most recent book: A Theory of Virtual Agency for Western Art Music (2018). Six guests from TeMA joined Hatten for the discussion session: Maria Lúcia Machado Pascoal, Cristina Capparelli Gerling, Flavio Santos Pereira, Diósnio Machado Neto, Guilherme Sauerbronn de Barros, and Paulo de Tarso Salles. Aiming at bringing Hatten’s presentation and the lively ensuing discussion to a wider audience, this essay presents an edited transcription of this meeting.

Lifeblood: Funding popular music education in Wales

This study investigates the funding of popular music education (PME) in Wales at a time when the Welsh government is examining its current Music Service provision. Our research considers the potential impact of this move on PME in Wales, alongside analysis of the availability of state-funded PME across the four UK nations. Music curricula and funding have historically favoured western art music (WEAM), with PME often happening in more informal settings. However, this situation has changed in recent years, with both state and private funders now providing more support for PME in Wales. Our research includes interviews with both funders and grantees offering PME activities across the country, finding that the terminology used to describe PME varies widely between organizations. We also observe that Welsh organizations face challenges in both applying for and receiving funding.

Hearing Film Music Topics outside the Movie Theatre

This chapter describes a cognitively informed framework based on analogy for theorizing cinematic listening; in this case, it tests the hypothesis that contemporary listeners might use associations learned from film music topics to make sense of western art music (WAM). Using the pastoral topic as a case study, a corpus of film scores from 1980–2014 determines common associations for this topic based on imagery, emotion, and narrative contexts. Then, the chapter outlines potential narratives a modern moviegoer might make by listening “cinematically” to a Sibelius movement. The hypothesis is empirically tested through an experiment where participants record their imagined narratives and images while listening to WAM and film music. The meaning extraction method, a statistical analysis for identifying associational themes, is used to analyze people’s responses.