In an experiment, over 100 listeners reported associations with crime and detectives when presented with musical examples that were not originally intended to evoke such responses. These examples all involved melodic and harmonic tritones or half-diminished seventh chords, which have long been standard features of the music of crime-themed films, radio programs, and television shows.
The use of tritones and half-diminished chords in these contexts owes as much to their function as a style indicator of certain types of jazz—and as a genre synecdoche of people, places, and activities associated with that style—as it does to its history of harmonic ambiguity and associations with drama and woe in the European classical tradition.
Darwin’s On the origin of species and Wagner’s Tristan und Isolde, both completed in 1859, share an articulation of the shift from one worldview to another: from change as a repetitive circular movement to development as a cyclic process. Darwin’s treatise is more than a scientific theory—it is an aesthetic account of the wonders and beauty of nature. Wagner’s opera is more than a subjective work of art—it clearly reflects dimensions of evolution akin to scientific explanations of the phenomenon.
In response to a heightened anxiety regarding the preservation of a pure, authentic French identity and spirit as contacts with exotic cultures increased, the collection and dissemination of French traditional songs blossomed during the 1890s and the 1900s.
With harmonizations employing modal inflections, ambiguous tonalities, and unconventional voice leading, these collections presented traditional songs as historical evidence of a clear progression from provincial folk tunes to the sophisticated musical language of the fin de siècle. These harmonizations offer unique insights into the ways in which the French consciously manipulated how they wanted to be heard and understood during this period.
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →