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By Byron Almén, Edward Pearsall

Approaches to which means in song offers a survey of the issues and concerns inherent in pursuing that means and signification in track, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists considering the time of Pythagoras. This assortment brings jointly essays that replicate a number of different views on techniques to musical which means. tested track theorists and musicologists conceal issues together with musical point and temporality, university, borrowing and organization, musical symbols and artistic mythopoesis, the articulation of silence, the mutual interplay of cultural and music-artistic phenomena, and the research of gesture.

Contributors are Byron Almén, J. Peter Burkholder, Nicholas cook dinner, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.

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Call antiteleological art. ” For Kramer, anti-teleological events—or “nonlinear” events as he calls them—resist the sense of progression in music whereas linear events amplify music’s temporal unfolding. Nonlinear events, that is, seem to coalesce into a unitary object suspended in space, one whose component parts can be scrutinized in any order like the objects in a painting. This seems compatible with our cognitive experience of nonlinear music; as the repetitive features of the music come into focus, we begin to understand how its beginning connects to its end.

1–186) to a crashing climax at measure 181, while the rebounds in the measures that follow prepare a transition to the more restrained second section that begins at measure 205. Many details here are different from the Messiaen examples—for example, it is a right-hand ostinato rather than technical ¤ligree that accomplishes the buildup to the peak, and the descent slows down, gathering weight as it goes, rather than falling quickly and precipitously to the bottom—but the schema is unmistakable.

112; the nine measures leading into this passage are included in the example in order to establish the musical context of the return). 12). The chords from measures 3–4 are now omitted, so that this E begins a restatement of the same gesture, this time at the same pitch level rather than a semitone higher, as at the beginning. The coup de grâce comes in the last ¤ve measures, when the change of harmony (to V7/ II) at measure 115 forces the next downbeat, at which the march tune and the plunge again coincide, up to an E, so that the triumphant rebound chords are in the wrong key, E major.

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