No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Musica practica : music theory as pedagogy
... 23 Ayrıca bkz. Wagner, G. (1984). "Anmerkungen zur Formtheorie Heinrich Christoph Kochs", Archiv für Musikwissenschaft, 41. ...
Edebiyatla müziğin ortak yaratımı Literaturoper melez doğası gereği hem edebiyat hem müzik araştırmacılarının ilgisini çekmekte. Bu çalışma, söz konusu türün farklı besteciler, müzik ge- lenekleri ve dillerde verilmiş örnekleri üzerinden edebiyatın operaya nasıl entegre olduğu ve bu dönüşüm sırasında hangi değişikliklerin kaçınılmaz olduğu sorularına cevap aramaktadır. Daha önceden okurla buluşmuş edebiyat metinlerinin operaya uyarlanması sürecinde besteci ve librettistin kaynak metin hakkındaki yorumlarının operayı nasıl şekillendirdiği de çalışma- nın ana konularındandır. Çalışma, farklı örnekler üzerinden edebiyatla müziğin kurduğu ortak dilin opera sahnesindeki yolculuğu hakkında fikir verirken bestecilerin müzikal kimlikleri ve dâhil oldukları gelenekleri de tartışmayı amaçlamaktadır. Bu süreçte bir tür çeviri edimi olarak yorumlanması gereken uyarlamada önemli rol oynayan türe ve erek kültür ile dile özgü norm ve uzlaşımlar da göz önüne alınmaktadır.
... This was especially the case with regard to Richter's harmony textbook 29 and its many translations, which disseminated Gottfried Weber's Roman numeral analysis, making this the standard system for harmonic analysis in many parts of the world. 30 Grieg attended Richter's classes during all the years he was enrolled at the conservatoire. In addition to the conservatoire diploma and testimonies from the teachers to ...
This paper on Edvard Grieg’s relation to music theory was read at the eighth German Edvard Grieg conference in Leipzig, October 15–17, 2020. It was included in the conference report that was published the following year.
This article provides a detailed discussion of the pedagogy and legacy of Ernst Friedrich Richter (1808–79). A theory teacher at the Leipzig Conservatory since its founding in 1843, Richter is most famous for authoring one of the most enduring harmony manuals—the Lehrbuch der Harmonie (1853)—which, among other things, was instrumental in popularizing the use of Roman numeral analysis in harmony pedagogy. Gaining a hegemonic position in the Western music theory discourse of the late nineteenth century, he played a key role in shaping the common practice of modern music theory pedagogy. Richter’s legacy has been tainted by critiques from several later theorists. Applying a Foucauldian discourse-theoretical lens, this article attempts to look beyond this historically negative assessment by asking what enabled Richter’s work to become so influential. The article is structured in six sections. Following the introduction and a brief overview of E. F. Richter’s life and works, two sections discuss what characterizes “Richterian” pedagogy. As source material, these sections draw on Richter’s writings as well as the exercises of one of his most famous students, Edvard Grieg (1843–1907). The last section before the conclusion investigates Richter’s legacy, considering both his initial broad international success and later critiques of his influence on modern music theory pedagogy.
This study investigates the reception of partimento at the Paris Conservatoire between its foundation (1795) and 1840. The circulation of partimento in France during the 19th century is evinced by several sources, although, the use of partimenti in teaching at the Conservatoire has never been explored in depth. The Conservatoire initially emulated institutions such as the Neapolitan Conservatori, with the goal of producing French musicians and singers as successful as their Italian colleagues. Drawing on archival documents, manuscripts, and printed manuals, the teaching at the Conservatoire is reconstructed and the elements of partimento in these sources explored; the teaching of harmonie and accompagnement are also examined.
Artistic Research is a contemporary phenomenon that broadly refers to rigorous and systematic research undertaken in academic contexts by arts practitioners on their own creative processes and artistic products. As a field in continual emergence, evolution, and expansion, artistic research encourages a self-reflexive approach towards its own methods and outcomes. While artistic research in music performance is by now a well-established area, its connections with the discipline of music theory have so far not been explored in any significant detail. This article aims to take some initial steps towards investigating the relationships between these two ways of researching and knowing music. The discussion emphasizes points of tension as well as agreement, and promotes a view of artistic research in music performance as providing a robust broadening and bolstering of contemporary music theoretical activity.
Künstlerische Forschung ist ein zeitgenössisches Phänomen, das sich auf gründliche und systematische Forschung im akademischen Kontext stützt, bei der praktizierende Künstler*innen ihre eigenen kreativen Prozesse und künstlerischen Produkte beforschen. Als ein sich fortlaufend in Entstehung, Entwicklung und Erweiterung befindliches Feld befördert Künstlerische Forschung einen selbstreflexiven Zugang zu den jeweiligen Methoden und Ergebnissen. Während Künstlerische Forschung in Bezug auf musikalische Interpetation bereits ein etabliertes Gebiet ist, sind ihre Verbindungen mit der Disziplin Musiktheorie bisher noch nicht detailliert untersucht worden. Dieser Artikel zielt darauf ab, die Beziehungen zwischen diesen beiden Arten des Erforschens und Wissens von Musik abzustecken. Die Diskussion hebt dabei sowohl Spannungsmomente als auch Übereinstimmungen hervor und vertritt eine Sichtweise von Künstlerischer Forschung im Bereich musikalische Interpretation, die eine tragfähige Erweiterung und Unterstützung von gegenwärtiger musiktheoretischer Praxis bietet.
What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.
This article explores Roland Barthes’s use of the term musica practica (which emanates from historical theoretical treatises on music) in his eponymous essay of 1970, which was originally a contribution to a journal issue dedicated to Ludwig van Beethoven. It is possible that Barthes was familiar with the term either from awareness of medieval music theory or through its secondary use by writers whose works he knew. It is suggested that the term may have been employed by Barthes as a result of dialogue with the composer André Boucourechliev, the editor of the Beethoven issue who later became Barthes’s own piano teacher. Nevertheless, it appears to be used as a shorthand for the concept Barthes propounds in contemporaneous essays using the performance of music as an analogy, in other words for engaging with texts, like Beethoven’s, that elicit active participation from the performer, allowing them to contribute to the formulation of a work’s meaning.
Harmony appears to have a vital role in listeners’ perceptions of musical similarity. However, long-established theories of harmony such as Hugo Riemann’s theory of ‘harmonic functions’ have been under-utilised in the fields of music cognition and perception, and particularly in music information retrieval and forensic musicology. Indeed, it is surprising that such crucial applications still generally rely upon ad-hoc and proprietary methods for determining similarity. My doctoral research explores whether traditional scholarly music-theoretical methods of determining harmony (such as Riemann’s theory of harmonic function, and aspects of Schenkerian analysis) could aid in developing better methods for determining similarity. I propose that we would be better able to extract high-level musical features by using traditional music-theoretical methods.
Firstly, I report an initial study that highlights harmonies relevance in participants’
classification of audible music similarity. Riemann’s theory is then utilised to explain
some of the apparent discrepancies in human-annotated harmony datasets; specifically, the Chordify Annotator Subjectivity Dataset, a subset of Chordify’s user edit data, and my own annotation study using the song ‘Little Bit O’ Soul’ (Chapters 3, 4, and 6).
This thesis concludes by proposing an adapted version of Riemannian theory (removing the need for a key), which can be applied not only to computationally encoded scores, but also audio and other computationally available data (Chapters 5, and 7). Overall, I show that a Riemannian-based approach that observes the chord labels (not using a score) enables music similarity approaches to explore audible music similarity in more depth.
This research not only has significant importance in our understanding of harmonic
similarity, but also in understanding how current audio-based extraction methods can
incorporate music theory. My use of this theoretical framework in the study of musical
similarity could improve methods of determining music similarity used in a variety of
other fields, such as the development and implication of copyright law, commercial music sales, music information retrieval extraction and evaluation metrics.
In our increasingly multimodal era, it is widely recognized that music educators ought to consider anew which ways are more effective for students to be engaged with music, what it means to teach music in a multimodal context, and what changes in pedagogy, curriculum, and methodologies are needed. Whereas traditional notions of music theory focus primarily on reading and writing music through standard notation and musical symbols, multimodal multi-sensory activities allow new types of music understanding and learning, leading to the formation of new types of music literacies. However, "Theory of Music" courses in Greece, as a part of the overall music conservatory curriculum being in-use for more than 60 years, are not consistent with the current philosophical trends in the field of music education. In this article, we argue that music teachers in "Theory of Music" classrooms can incorporate multimodal multisensory activities-aural, visual, tactile, and kinesthetic-in order to reinforce the perception of abstract musical concepts. Furthermore, preliminary findings of a pilot study in conservatory settings will be presented, as well as musical-educational activities development based on the multimodal and multi-sensory music teaching-learning approach.
This paper critiques a traditional approach to music theory pedagogy. It argues that music theory courses should draw on pedagogies that reflect the diversity and pluralism inherent in 21 st century music making. It presents the findings of an action research project investigating the experiences of undergraduate students undertaking an innovative contemporary art music theory course. It describes the students’ struggle in coming to terms with a course that integrated composing, performing, listening and analysing coupled with what for many was their first exposure to the diversity of contemporary art music. The paper concludes with suggesting that the approach could be adopted more widely throughout music programs.
This essay explores new models of the citizen-patient by attending to the post-Revolutionary blind 'voice'. Voice, in both a literal and figurative sense, was central to the way in which members of the Hospice des Quinze-Vingts, an institution for the blind and partially sighted, interacted with those in the community. Musical voices had been used by members to collect alms and to project the particular spiritual principle of their institution since its foundation in the thirteenth century. At the time of the Revolution, the Quinze-Vingts voice was understood by some political authorities as an exemplary call of humanity. Yet many others perceived it as deeply threatening. After 1800, productive dialogue between those in political control and Quinze-Vingts blind members broke down. Authorities attempted to silence the voice of members through the control of blind musicians and institutional management. The Quinze-Vingts blind continued to reassert their voices until around 1850, providing a powerful form of resistance to political control. The blind 'voice' ultimately recognised the right of the citizen-patient to dialogue with their political carers.
In considering the role of practical music in education, this book attempts to define the art of performance in Germany during the Baroque period. The author examines the large number of surviving treatises and instruction manuals used in the Lutheran 'Latin' schools during the period 1530–1800 and builds up a picture of the function and status of music in both school and church. The understanding, gained through these educational texts, of music as a functional art - musica practica - in turn gives us insight into the thoughts of the contemporary performer and how he might have performed the sacred work of Praetorius, Schütz, Buxtehude or Bach. For all those interested in historical performance this book provides valuable information on the growing science of performance practice and the development of a conscious awareness of style and idiom in this period.
A. B. Marx was one of the most important German music theorists of his time. Drawing on idealist aesthetics and the ideology of Bildung, he developed a holistic pedagogical method as well as a theory of musical form that gives pride of place to Beethoven. This volume offers a generous selection of the most salient of his writings, the majority presented here in English for the first time. It features Marx's oft-cited but little understood material on sonata form, his progressive program for compositional pedagogy and his detailed critical analysis of Beethoven's 'Eroica' Symphony. These writings thus deal with issues that fall directly among the concerns of mainstream theory and analysis in the last two centuries: the relation of form and content, the analysis of instrumental music, the role of pedagogy in music theory, and the nature of musical understanding.
Die Anfänge der allgemeinen Musiklehre: Gottfried Weber – Adolf Bernhard Marx
- Hahn
Hindemith and Nature
- Cazden
- Ouseley
Hindemith the System Builder: a Critique of his Theory of Harmony
- Landau
The Musical Notation of Guido of Arezzo,
- Waesberghe
Gaffurius’s Practica Musicae: Origin and Contents
- Miller