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By Byron Almén, Edward Pearsall

Approaches to that means in tune provides a survey of the issues and matters inherent in pursuing which means and signification in tune, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists seeing that the time of Pythagoras. This assortment brings jointly essays that replicate a number of different views on ways to musical which means. validated song theorists and musicologists hide subject matters together with musical point and temporality, university, borrowing and organization, musical symbols and inventive mythopoesis, the articulation of silence, the mutual interplay of cultural and music-artistic phenomena, and the research of gesture.

Contributors are Byron Almén, J. Peter Burkholder, Nicholas cook dinner, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.

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Furthermore, non-discursive events themselves may occur intermittently, pervasively, or concurrently with discursive events over the course of a given composition. Not every instance of silent articulation is corroborated by the composer’s own word as it is in the pieces by Ives and Tavener discussed so far. In such cases, the analytical judgments of the observer become especially important. In the analyses that follow, the silence I attribute to the excerpts by Vaughan Williams, Mozart, and Debussy is substantiated by the analysis of the events themselves rather than by references to correspondence in letters and books.

All in all, you cannot hear my music as it appears on paper. This music not only embodies the principle of silence by means of its blurred, atmospheric texture, then, but does so also because the canonic structure of the piece itself is inaudible. Hence Ligeti’s music of silence takes on ¤gurative as well as aesthetic connotations. The third movement of Barbara Kolb’s Appello also incorporates a largely inaudible compositional structure with similar results. 9 illustrates how the ¤rst two measures unfold.

The structural cadential measure (m. 65) of the Prelude continues the established hypermetric regularity, but the delay of the ¤rst two-measure descent isolates a measure of the passionate vamp. The descents themselves are curious: not only are they unmeasured, unlike those of the Ballade, but they are far more gnarled harmonically, since the modal g7 chord of the right-hand descent grinds against the D–F–G sonority of the left hand. They thus seem wilder and more out of control. Moreover, these descents plummet to the tonic, not to the dominant; the accented melodic Ds—note that each descent concludes with 3–2–1—especially over the strong-beat Ds in the bass, impart a grim sense of melodic ¤nality that the similar descents, which conclude on 5, in the Ballade, do not.

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