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Comprehensive Feature Theories CS 275B/Music 254.

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Präsentation zum Thema: "Comprehensive Feature Theories CS 275B/Music 254."—  Präsentation transkript:

1 Comprehensive Feature Theories CS 275B/Music 254

2 Work of Anja Volk (Utrecht Univ.) inner metric structure [outer metric structure = meter] Schumann Waltz Op. 124, N. 15, mm. 1-4 Spectral Weights (in association with metric weights) CS 275B/Music Eleanor Selfridge-Field 2

3 Overview CS 275B/Music Eleanor Selfridge-Field3  Hypermeter is key to genre identification  Anja Volk  Partimento [compositional] theory  Robert Gjerdingen  Giorgio Sanguinetti

4 2016 Eleanor Selfridge-Field4 Volk’s Inner metric structure CS 275B/Music 254

5 Inner vs outer metric sturcture CS 275B/Music Eleanor Selfridge-Field5

6 Work of Anja Volk (Utrecht Univ.) inner metric structure [outer metric structure = meter] Spectral weights start period length Spectral weights CS 275B/Music Eleanor Selfridge-Field6

7 CS 275B/Music Eleanor Selfridge-Field7

8 Inner metric structure -Ausgangspunkt ist midi-Repräsentation d.Stückes, am Ende erhält man für jede Note ein metrisches Gewicht, dass die metr. Bedeutung dieses Tones kodieren soll [Start with MIDI representation] - metr. Analyse berücksichtigt nun lediglich die Einsatzzeiten der Töne, vergißt Tonhöhe und Dauern -sucht nach Regularitäten in den EZ, indem nach wiederholenden Einsatzzeitenabständen gesucht wird [Identify pitch and duration of each one.] -d.h. ermittelt werden die sog. Lokalen Metren, dies sind Raster oder Kämme von Tönen im gleichen Einsatzzeitenabstand [Identify local meter] -metr. Gewicht einer EZ berechnet sich als gewichtete Summe aus allen lokalen Metren, an denen sie beteiligt ist (man „mißt“ die Regularitäten) [consolidate local-meter values] -höchstes metr. Gewicht auf G entspricht nicht unserer Erwartung; -Frage: was kann man denn erwarten von diesem Ansatz? [Determine likely movement type] CS 275B/Music Eleanor Selfridge-Field8

9 Partimenti: Harmony as foundation of improvisation 2016 Eleanor Selfridge-Field9  18 th Neapolitan practice of composition  Sanguinetti (2012): The Part of Partimento  Robert Gjerdingen (2010): web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm  CS 275B/Music 254

10 Gjerdingen website 2016 Eleanor Selfridge-Field10CS 275B/Music 254 Northwestern University

11 Sanguinetti: Overview 2016 Eleanor Selfridge-Field11  The Rule of the Octave  Suspensions  Elaborations of the Rule of the Octave  Relationships to compositional genres  How to create your own partimenti CS 275B/Music 254 The Art of Partimento (OUP, 2012)

12 Sanguinetti, Eleanor Selfridge-Field12  The Rule of the Octave  How to harmonize an octave  Ascending/descending  Major/minor  Suspensions  Elaborations of the Rule of the Octave  Relationships to compositional genres  How to create your own partimenti CS 275B/Music 254

13 Sanguinetti, Eleanor Selfridge-Field13  The Rule of the Octave  How to harmonize an octave  Ascending/descending  Major/minor  Suspensions  In the soprano: by the 4 th, by the 7 th, by the 9 th  In the bass: by the 2nd  Elaborations of the Rule of the Octave  Relationships to compositional genres  How to create your own partimenti CS 275B/Music 254

14 Sanguinetti, Eleanor Selfridge-Field14  The Rule of the Octave  How to harmonize an octave  Ascending/descending  Major/minor  Suspensions  In the soprano: by the 4 th, by the 7 th, by the 9 th  In the bass: by the 2nd  Elaborations of the Rule of the Octave  Interpolations in the bass line  Variations, diminutions in any part  Motives, subjects et al.  Relationships to compositional genres  How to create your own partimenti CS 275B/Music 254

15 Examples: Ascending, descending scales 2016 Eleanor Selfridge-Field15  Octave, ascending, 3 positions  Ascending, minor, 1 st position Descending, minor, 1 st position CS 275B/Music 254

16 Examples: Suspensions 2016 Eleanor Selfridge-Field16  Fourth suspensions  Seventh suspensions  Ninth suspensions Mutated bass “Major,” “minor” fourths CS 275B/Music 254

17 Examples: Rhythmic variation 2016 Eleanor Selfridge-Field17  Limping suspensions  Rhythmic enrichment CS 275B/Music 254

18 Examples: Patterned basses 2016 Eleanor Selfridge-Field18  Sequential bass  Patterns based elaboration  Rising by 3rds, falling by step  Falling by 4ths, rising by step CS 275B/Music 254


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