Layers of Musical Meaning

Přední strana obálky
Museum Tusculanum Press, 2006 - Počet stran: 333

This book is a radical attempt to explain musical meaning as the complex fabric of tension and relaxation resulting from the courses of the individual musical elements: e.g. rhythm, where the musical tension manifests itself by the opposition between strong and weak beats - or harmony, where the chords of the tonal cadence generate courses of tension and relaxation.

It is strongly emphasized that the total structure of contributors to the web of tension/relaxation, in short, the musical style, is constantly changing, and it is an error to believe that any musical way of articulation is eternal: new ways of expression arrive and others drop out gradually - precisely as with ordinary language. This consideration, however, implies that too many and radical changes over a short period of time are foredoomed to go over the head of the ordinary listener. The radical modernism of the 1950s illustrates how composers in their endeavour to wipe the slate clean in order to start from scratch largely failed.

Attempts at semantic interpretations of music are rejected. Such interpretations belong to the private sphere and cannot be scholarly supported. No hermeneutic interpretation, however elaborate, can claim higher truth value than another.

 

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Obsah

Language and music
6
Anything may be perceived as anything
13
The integrator
23
Representation paraphrasing and interpretation
35
Musical Hermeneutics
43
Arnold Schering
51
Lawrence Kramer
67
Eero Tarasti A Theory of Musical Semiotics
78
Cadential Harmony
179
Sequences
217
Mixture and pseudomixture
225
Notation of harmonic analysis
232
Summary
241
Metrical rhythm
252
Rhythmic alienation
273
Dance music and the theme with variations
281

Summary
102
Tonality in Gregorian Chant
107
The melodies in the fa system
117
The melodies in the ce system
145
Further development of the tonal theory
154
The incidental tertian structure
164
The development of tonal codes
170
The sonata form
290
The fugue
305
The meaning of musical forms
311
The inclusion of rhythm
319
The strongweak opposition
325
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