1,720,957 research outputs found
What Haydn Teaches Us about Sonata Form: The Da Capo Aria and the Early Keyboard Sonatas, Hob. XVI: 1 & 3
Get PDFRecent approaches to Formenlehre tend to prioritize music of the late eighteenth century, and by extension that of Beethoven and Mozart. These approaches are based on assumptions of a sonata form with a normative underlying structure of two clearly articulated themes corresponding to the two key areas found in expositions. Adaptations of this approach for the undergraduate theory classroom have led to distortions of understanding of sonata form’s origins, and of Haydn’s place with respect to the history and development of the form in particular. Understood in many respects as unique, Haydn’s tendency toward the use of continuous expositions is often explained away as musical wit, that somehow the listener is being tricked. However, Haydn began his career at a time when sonata form was beginning to emerge as a genre. The form in part resulted in the use of borrowing techniques from the operatic stage to enliven the forms of instrumental music for the entertainment of a rising middle class of amateur keyboardists and musical societies. Haydn, for his part, was active during the 1750s as a private teacher who composed numerous works for his students to perform. This paper explores the pedagogical application of analysis of Haydn’s early keyboard sonatas in C major, Hob. XVI: 1 and 3, through an investigation of their stylistic predecessor in the da capo aria
The Use of Minor Mode and Playing with Sonority in the Expositions of Haydn\u27s String Quartets, Opp. 9 and 17
Get PDFHaydn’s early string quartets have been receiving more scholarly attention than previously within the last decade. Whether they treat these works as part of larger discussions of the entire ouvre of Haydn’s quartets, or as the focus of studies in their own right, scholars have recently been willing to break from the traditional focus on quartets beginning from Op. 33 and allow for deeper engagement with the early quartets on terms more broadly conceived. This study aims to add to the growing body of knowledge on Opp. 9 and 17 by demonstrating how the first movements of Op. 9 no. 1 in C major, Op. 17 no. 2 in F major and Op. 17 no. 6 in D major each employ the minor mode at analogous moments in the exposition, with a disruptive effect on both the harmonic progression and the emotional register of the music. The impact of these modal digressions is analyzed, as they lead to climactic moments of fixation on a dissonant sonority. This momentarily freezes all four voices of the ensemble in a chromatic harmony that lends an expressive, at times even eccentric, character to the tonal drama. Thus important musical moments are uncovered, which have mostly gone unnoticed due to a general lack of emphasis of the early quartets as serious works. This approach opens up new avenues to understanding of the harmonic and expressive capability of Haydn’s approach to sonata form
Using Turkish Aksak Rhythms To Teach Asymmetrical Meter
No full textEar training courses often treat the topic of asymmetrical meter (5, 7 beats) as uncommon in Western music. This causes musical examples in the subject to be less idiomatic than those which deal with more "normative" meters, in 2, 3, and 4 beats. Turkish music, on the other hand, often organizes beats asymmetrically, a feature known as aksak or "limping." This paper discusses strategies for incorporating both Turkish musical examples and pedagogical practices in aural skills class in order to teach the topic of asymmetrical meter
Galant Style Composition Using Koch\u27s Versuch and Voice-Leading Schemata
Get PDFRobert Gjerdingen’s 2007 study, Music in the Galant Style, offers today’s music theory teachers the possibility of using idiomatic voice-leading progressions from the eighteenth-century in the modern theory classroom. These progressions, currently identified as schemata, would have been taught to musicians using a methodology known as partimento, a cross between a thorough-bass exercise and a compositional sketch. One aspect that Gjerdingen does not cover, however, is how musicians from the period were taught form. Eighteenth-century theorists, like Heinrich Christoph Koch, are explicit in detailing the relationship of smaller forms like dances and songs to larger forms like sonatas, arias, and concertos; the latter are said to grow out of the former by means of expanding musical periods. In volume two of Koch’s Versuch einer Anleitung zur Composition (1793), the theorist features a series beginner’s exercises in the smaller forms intended to lead to larger compositions. Inspired by both Gjerdingen’s study and Koch’s treatise, this article argues for a historical approach to music theory pedagogy, chronicling the classroom experience of a second-semester theory course that featured a series of galant-style composition assignments. Starting with a four-measure phrase, students went on to compose eight-measure periods, sixteen-measure dances, forty-measure theme and variations, and sixty-measure rondos. Students used galant schemata borrowed from Gjerdingen to create original melodies that were stylistically idiomatic. The result was a method to teaching music theory whereby students acquired the ability to compose original works in an eighteenth-century style
Using Turkish Aksak Rhythms To Teach Asymmetrical Meter
Get PDFEar training courses often treat the topic of asymmetrical meter (5, 7 beats) as uncommon in Western music. This causes musical examples in the subject to be less idiomatic than those which deal with more "normative" meters, in 2, 3, and 4 beats. Turkish music, on the other hand, often organizes beats asymmetrically, a feature known as aksak or "limping." This paper discusses strategies for incorporating both Turkish musical examples and pedagogical practices in aural skills class in order to teach the topic of asymmetrical meter
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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