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... They were made into prescriptive theoretical pedagogy in the 18th century, most notably by German musician Johann Joseph Fux whose textbook, Gradus ad Parnassum, published in 1725, subtitled (in translation) Guide to Musical Composition by the Rules, using a New and Sure Method, Never Before Published in so Methodical an Arrangement, became what Ian Bent has called a 'tabula byno-means rasa on which [generations of] theorists and pedagogues have written.' 17 Fux made composition 'easy' by presenting idealised solutions to largely hypothetical problems of consonance and dissonance, in a puritanical church vocal style already outmoded in 1725. This became the ground plan for harmony and counterpoint teaching, establishing, even to the present day, a benchmark for the learning of Western classical music. ...
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.
Johann Joseph Fux foi não apenas um dos compositores mais prestigiados do mundo germânico na primeira metade do século XVIII como também o autor de um dos tratados de música mais lidos e estudados do período: Gradus ad Parnassum. Não obstante, o fato de Fux ter defendido a emulação do stile antico acabou levando uma parte significativa dos musicólogos a subestimarem a sua importância para o desenvolvimento da música nos séculos XVIII e XIX. Considerando as controvérsias que permeiam o Gradus ad Parnassum, a pouca atenção dedicada a ele e seu valor histórico, este artigo propõe uma reavaliação da recepção deste tratado e da preservação do stile antico. A partir desta reavaliação será possível ampliar as possibilidades de percepção e compreensão da produção musical e tratadística do século XVIII, assim como a influência do trabalho de Fux nas gerações posteriores de músicos e compositores.
This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries and the musical theory concepts presented by Olivier Messiaen in his Technique de mon langage musical (Messiaen 1944a and 1944b) and Traité de Rythme, de Couleur, et d’Ornithologie (Messiaen 1994a, 1994b and 1994c), first, second and third volumes. For this purpose, it relates Messiaen´s theory concepts to analysis techniques presented by authors like Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997),
Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) and Felix Salzer (1982). Trough the analysis of five piano pieces by Olivier Messiaen the efficiency of this process is demonstrated. The analyses are supported by the composer´s biography, as well as by articles previously written by prestigious researchers. It adds to the musical analysis bibliography in Portuguese language and it contributes to broaden the theory concepts presented by the composer. The five Annexes that complement this work bring new revelations by Brazilian composer Almeida Prado, about an Olivier Messiaen´s project, never made concrete, to compose a second Catalogue d’oiseaux. In the Conclusion we trace lines of conduct concerning the musical analysis techniques as well as Olivier Messiaen’s piano work as a whole. / Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e nos três primeiros volumes do Traité de Rythme, de Couleur, et d’Ornithologie (Messiaen 1994a, 1994b e 1994c). Para tanto, nos dois Capítulos que o compõem, inter-relaciona tais conceitos teóricos a técnicas de análise apresentadas por autores como Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) e Felix Salzer (1982); e demonstra a eficiência do procedimento, através da apresentação de cinco análises de peças para piano compostas por Olivier Messiaen, contextualizadas tanto por dados biográficos do compositor, como por artigos anteriormente escritos por pesquisadores teoricamente relevantes. O trabalho justifica-se por contribuir para a bibliografia sobre análise musical em língua portuguesa, bem como por constituir um trabalho de análise musical que amplia a vertente teórica do compositor. Nos cinco Anexos que completam o exemplar, destaca declarações inéditas na literatura mundial, proferidas pelo compositor Almeida Prado, a respeito de planos não concretizados para a composição de um segundo Catalogue d’oiseaux. Na Conclusão, foram traçadas vertentes, tanto em relação às técnicas de análise utilizadas, como à obra para piano de Olivier Messiaen como um todo.
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.
Em 1936 era publicada uma edição da Revista Brasileira de Música comemorativa do centenário de nascimento de Antônio Carlos Gomes (1836-1896). Neste volume, um interessante artigo de Paulo Silva tratava dos estudos de contraponto e fuga do autor de Il guarany. Silva, professor de contraponto e fuga do então Instituto Nacional de Música, selecionou exemplos de exercícios de Gomes realizados na Itália sob a orientação de Lauro Rossi, professor e diretor do Conservatório de Milão. Em muitos desses exemplos, são apontados erros ou deslizes que Silva atribui, pelo menos em parte, às deficiências do método de ensino de Rossi. O presente trabalho busca encontrar as motivações, estéticas e ideológicas, subjacentes aos comentários presentes em seu artigo. A figura do partimento e seus desdobramentos na formação contrapontística de Gomes foram o ponto de partida para a discussão sobre o ensino do contraponto na Europa e no Brasil no século XIX e primeira metade do XX. A isso soma-se uma menção ao ambiente musical brasileiro à época em que o artigo de Silva foi publicado.
Understanding Maasai perceptions of whiteness can give insight in how and why images based on racial constructs continue to be (re)produced. Embedded in anthropological methods I used Q method with illiterate people to create detailed mindmaps of their images of ‘the other’ which can be compared to make visible more general social perspectives. The image that Maasai from a small village in Tanzania have of what they call ‘whites’ is remarkably positive and consistent among a variety of demographic categories. ‘Whites’ are characterized as people of God, having a white heart. They are described as extremely capable and virtuous, which distinguishes them from Maasai. However, they also share with Maasai a certain sociability and familiarity. Under the influence of increased interaction, negative characteristics and mistrust are added to the extremely positive image, however without replacing the positive traits. The stubborn character of the positive characteristics in the Maasai’ views leads to an overall contradictory image of whites as having a double character. These views are reflected in a mythological story that explains the differences and similarities between Maasai and ‘whites’ while prescribing and legitimating their relationship and behaviour towards each other in terms of a mythical blood relationship. As is the case with tourists’ image of Maasai as ‘noble savages’, Maasai’ idea of ‘whites’ as capable and virtuous, has an ideological function. It is a mythical image that was never constructed to adequately describe ‘the other’ but created to explain, legitimize and cope with the position of ‘the self’ vis-à-vis ‘the other’.
Unsettling Whiteness brings together an international collection that considers anew the politics, practices and representations of whiteness at a time when nations worldwide continue to grapple with issues that are underwritten by whiteness. It draws together case studies of the performance of whiteness from significantly different political and social contexts with shared purpose; to investigate (re)constructions of whiteness, to explore the mechanisms which give whiteness power (and make power itself whitened), and to dissect the social processes through which whiteness is made visible and invisible. The collection makes a significant contribution to contemporary debates on whiteness by unsettling historical definitions and examining artistic, intimate and institutional attempts to reinforce or dismantle white norms and privileges. The case studies and analyses offer insightful reading on their own, but together offer a unique transdisciplinary approach to the complex task of exposing, resisting and subverting racialised domination across social relations today.
In this article I address the problem of locating ‘music theory’ within contemporary critical theories in the social sciences and humanities. I show how two kinds of music theory can be distinguished: music theory as an interpretative and ‘critical’ set of theories used mainly in music analysis, and theory of music as an ‘uncritical’ set of practical tools for both composition and analysis. I trace the origins of such theories and the separation between the two, and argue that theory of music as a prerequisite for practice comes from a notion of theory inculcated by music pedagogy in the nineteenth century, entrenched through the external examinations of London-based conservatoires. I show how the ethos of such examinations became lodged in the musical consciousness of South Africans as one of many colonial traces, but I argue that, unlike other aspects of colonialism, theory of music did not become adapted in the process of colonization, but has remained something of an anomaly in music teaching and practice. Especially, it has remained a different kind of ‘theory’ in critical discourse in the social sciences and humanities. Music theory in South Africa, too, has not undergone the kind of transforming process as other ‘critical’ theories have although it has far more possibilities for critique, but has remained a somewhat limited tool for music analysis in South African scholarship.
This study looks into heavy metal harmony from the point of view of music theory and analysis; the main focal point is the era that has been called classic or traditional. This era ranges roughly from the late 1960s to the mid 1980s, including bands such as Black Sabbath, Deep Purple, Led Zeppelin, Judas Priest, and Iron Maiden. The study illuminates characteristics from the elementary to the complex which may be considered central to the harmonic language of heavy metal in that time period. Meanwhile, the applicability of traditional theories and methods of music analysis are discussed in the context of this music.
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.
The Attwood papers recently entered the public domain, having been acquired by the British Library. This is fitting, for they constitute a kind of national monument—a vital force that has made itself felt upon English musical thought and training for nearly two centuries. Ever since Attwood brought them back from his period of study with Mozart in Vienna in 1785–7 they have been used repeatedly for teaching purposes, and handed on with reverence from master to disciple (thus escaping total destruction, the usual fate of such documents). Upon Attwood's death in 1838 the papers passed to his pupil John Goss, who had already published the Minuet in C major, perhaps the best known of Attwood's pieces rewritten by Mozart, in his Introduction to Harmony and Thorough Bass (1833).
The Fux–Mattheson Correspondence: An Annotated Translation
- Lester
Haydn’s Elementarbuch: A Document of Classic Counterpoint Instruction
- Mann
Port-Royal Education: A Sketch of its History with Extracts from its Leading Authors
- Cadet