Johannes Tinctoris: Complete theoretical works presents a complete new edition of Tinctoris’s treatises, along with full English translations and multiple layers of commentary material, covering a wide range of technical, historical, and critical issues arising from both the texts themselves and the wider context of Tinctoris’s life and the musical environment of early Renaissance Europe.
Combining the highest levels of historical, textual, and critical scholarship with innovative technological presentation, this open-access edition explores new methods of relating text-based materials to the numerous, often complex, music examples that punctuate the treatises.
The project, which is based at Birmingham Conservatoire, is an outgrowth of the ongoing research of Ronald Woodley into the life and works of Tinctoris.
Above, a depiction of Tinctoris at his desk; below, the Kyrie from his Missa L’homme armé.
In The music of the Temporalists by Andrei Covaciu-Pogorilowski (Charleston: Create space, 2011), a Parisian drugstore owner and amateur pianist experiences a two-year mental trip as an avatar in a parallel (Temporalist) world in which music is cultivated as the art of time rather than the art of sound.
There he meets a musicologist called Jean-Philippe and an old psychologist, Herr Sch…; they teach him all they can about their musical theory and its cognitive aspects so he can transmit what he has learned to his own music culture.
Within this imaginary frame an alternative to the classical bar-rhythm theory is proposed, based on an empirical study of key phenomena of temporal discretization, including entrainment, chunking, subjective accentuation, pulsatory inertia, and temporal gap perception.
In 2012 Praesens Verlag launched the series Wiener Veröffentlichungen zur Theorie und Interpretation der Musik with Im Schatten des Kunstwerks. I: Komponisten als Theoretiker in Wien vom 17. bis Anfang 19. Jahrhundert, edited by Dieter Torkewitz.
The book’s articles discuss Viennese composers from the 17th through the 19th centuries who were also theorists; future publications will cover other topics in Viennese music theory and interpretation.
Analysis of compositions has long been one of the mainstays of Western musicology. What, in turn, are the mainstays of analysis? We recently checked RILM’s database to see which works have inspired the largest numbers of analytical studies.
The hands-down winner is Bach’s Das wohltemperierte Klavier, BWV 846–93, with 112 analyses—perhaps not terribly surprising since the work comprises 48 preludes and fugues, some of which are fiendishly complex. The rest of the top ten are:
2. Wagner’s Tristan und Isolde (75 analytical studies)
3. Debussy’s Préludes (45)
4. Bach’s Die Kunst der Fugue, BWV 1080 (31)
5. Wagner’s Der Ring des Nibelungen (29)
6. Beethoven’s symphony no. 9, op. 125 (29)
7. Schoenberg’s Pierrot lunaire, op. 21 (27)
8. Mozart’s symphony no. 40, K.550 (26)
9. Stravinsky’s Le sacre du printemps (23)
10. Schubert’s Die Winterreise, D. 911 (22)
Above, part of the manuscript for Das wohltemperierte Klavier.
Routledge inaugurated the series Routledge studies in music theory on 3 April 2012 with Music and twentieth-century tonality: Harmonic progression based on modality and the interval cycles by Paolo Susanni and Elliott Antokoletz.
The book explores the web of pitch relations that generates the musical language of non-serialized 12-tone music, and supplies the analytical materials and methods necessary for analyses of a vast proportion of the 20th-century musical repertoire.
The Western tonal system is founded on specific procedures for modulating from one key to another; the harmonic relationships involved have parallels in Western architecture’s classic proportional relationships, suggesting the idea of architectural modulation.
In the above examples, the floor plan on the left shows the width-to-length ratios of the principal spaces in a project from I Quattro libri dell’architettura by Andrea Palladio (1508–1580). The unexpected and somewhat disturbing angled wall of the rear courtyard space could function like a pivot chord, leading to the hypothetical addition shown on the right.
This according to “Modulation in music and architecture” by Radoslav Zuk, an essay included in Systems research in the arts. IV: Music, environmental design, and the choreography of space (Windsor: International Institute for Advanced Studies in Systems Research and Cybernetics, 2003, pp. 1–8).
Although the notion of pitches being relatively high or low was well-established by the first century C.E., when Pliny used the terms summus, medius, and imus, there is no evidence that earlier Greek theorists espoused this metaphor. The terms νήτη (nētē, “down-located”) and ὑπάτη (hypatē, “up-located”) were used, but they referred to the physical placement of kithara strings, not to a spatial concept of pitch; in fact, the higher the pitch in our terms, the further down-located it was on the instrument.
The commonest adjectives for pitch in ancient Greek writings are ὀξύς (oxys, “sharp, piercing”) and βαρύς (barys, “heavy”). Ptolemy wrote that the former quality was a result of λεπτότης (leptotēs, “fineness”) and πυκνότης (pyknotēs, “close spacing [of notes]”, and that the latter was caused by μανότης (manotēs, “thickness”) and παχύτης ( pachytēs, “loose spacing”) . The idea of higher and lower sounds, and their eventual depiction as such in notation, was a later development.
This according to “The development of vertical direction in the spatial representation of sound” by Eleonora Rocconi, an essay included in Archäologie früher Klangerzeugung und Tonordnung: Musikarchäologie in der Ägäis und Anatolien (Rahden: Leidorf, 2002), pp. 389–392.
Many thanks to David Bloom for help with this post!
Related article: The perfect-pitch puzzle
Founded in response to the excitement generated by the First International Conference on Analytical Approaches to World Music in 2010, Analytical approaches to world music (ISSN 2158-5296) brings together disciplines including music theory, ethnomusicology, musicology, cognitive psychology, computer science, and mathematics for a cross-cultural dialogue that aims to promote and enhance understanding of the diverse collection of traditions that is commonly referred to as world music.
Edited by Lawrence Shuster and Rob Schultz, the inaugural issue of this peer-reviewed online journal includes articles by Robert Morris, Sarah Weiss, David Locke, Richard Widdess, Jay Rahn, and Michael Tenzer.
Libreria Musicale Italiana launched the series Musica ragionata in 2009 with Musica poetica: Retorica e musica nel periodo della Riforma by Ferruccio Civra; the book explores Reformation treatises on rhetoric and on music, illuminating the connections between them. The series is overseen by Alberto Basso.
When he coined the term sonorystyka in the 1950s, Józef Michał Chomiński (1906–94) considered sonoristics a new branch of study centered on the sound technique of a composition. Discernible as early as certain works by Debussy, sonoristics involves a whole new layer of a musical work that emphasizes its actual sound, transcending older approaches in which structural elements were considered independently of their sonorous realization.
Among his expositions of his sonoristic theories, Chomiński showed how the first six measures of Webern’s Die Sonne (op. 14, no. 1) present no traces of melody or harmony in the traditional sense; rather, they embody a full transformation of both concepts into a sonic universe regulated by timbre, rhythm, and register contrasts.
This according to “Rediscovering sonoristics: A groundbreaking theory from the margins of musicology” by Zbigniew Granat, an essay included in our recently published Music’s intellectual history. Below, a performance of Webern’s op. 14; Chomiński’s example begins the set.