A computer-aided inquiry on music communication / Mario Baroni, Rossana Dalmonte, Carlo Jacoboni.

Format:

Book

Author/Creator:

Baroni, Mario.

Contributor:

Dalmonte, Rossana.

Jacoboni, Carlo

Rosengarten Family Fund.

Series:

Studies in the history and interpretation of music ; v. 92.

Studies in the history and interpretation of music ; v. 92

Language:

English

Subjects (All):

Musical analysis--Data processing.

Musical analysis.

Communication in music.

Music theory.

Physical Description:

xv, 549 pages : illustrations, music ; 24 cm.

Place of Publication:

Lewiston, NY : Edwin Mellen Press, 2003.

Contents:

Part 1 For a theory of musical grammar 1

1 The concept of grammar in music 3

1.1 Implicit and explicit knowledge 3

1.2 Production and reception: The problem of musical communication 7

1.3 Composition, listening, grammar 12

2 Grammar as an ordered system of rules 19

2.1 Grammar and morphological definitions 19

2.2 Grammar and rules of syntax 22

2.3 The fields of application of the rules 25

2.4 The order of the rules: Structural hierarchies and macroform 29

3 Expressive functions of grammar 35

3.1 Rules, choices, exceptions 35

3.2 Grammar and hermeneutics 38

3.3 The rules and syntactic contexts 42

3.4 The 'correctness' of a musical grammar 47

3.5 The problem of percentages of choice 50

4 Music and cognitive apparatus 53

4.1 Verbal grammar and musical grammar 53

4.2 Musical rules and cognitive laws 59

5 Grammar, style and analysis 67

5.1 The contribution of analysis to grammar 67

5.2 Dynamics of change in musical grammar 71

5.3 The contribution of grammar to analysis 77

6 Computer verification of rules 81

6.1 The heuristic functions of the computer application 81

6.2 Analysis via synthesis 86

6.3 The statistical apparatus of the program 93

6.4 The model of the aria as a theoretic tool 95

Part 2 A musical grammar: Legrenzi's arias 99

7 The repertory 101

8 Processing the text 109

8.1 Major and minor repetitions 110

8.2 The metrical-syntactic tree 112

8.3 Major repetitions, or rules governing the structure of the form 120

8.4 Minor repetitions 124

9 The macroform 129

9.1 Segmentation into phrases 130

9.2 The tonal plan 134

9.3 Cadences 147

10 The construction of the melodic phrase 161

10.1 Structural principles of melody 162

10.2 The melodies of the Legrenzi arias 170

11 Harmony 203

11.1 Harmonic analysis 203

11.2 The main harmonies of the cycle 211

11.3 Second-level harmonies 212

11.4 Harmonic functions and chords 214

11.5 Forbidden harmonic successions 215

11.6 Cadence chords 216

11.7 Compatibility between melody and harmony 218

11.8 Melodic segments depending on the harmony 222

11.9 Modulations 229

11.10 Repeated phrases 230

12 The melodic line of the bass 233

12.1 The general problem 233

12.2 Division into phrases 235

12.3 The melodic line of the bass 239

12.4 Compatibility with the harmony 240

12.5 Compatibility with the upper melody 242

12.6 A digression on the grammar rules and the production process 244

12.7 Links between phrases 247

13 The Legre computer program 249

13.1 Choices and random numbers 250

13.2 From the grammar to the program 252

13.3 The general program 256

13.4 The Avvio module 258

13.5 The Legre3 module 258

13.6 The Musica module 261

13.7 The Profili module 262

13.8 The Harmon module 263

13.9 The Harmon2 module 266

13.10 The Basso module 268

13.11 The Superf module 270

13.12 The Stampa module 270

Part 3 Ten centuries of melody 273

14 Problems of melodic theory 275

14.2 How to begin a discourse on Melody 277

14.3 Aims of the various treatises 279

14.4 Primary melodic procedures 281

14.5 The development of melody 283

14.6 Division of the melody into parts 285

14.7 The concepts of correctness and value 287

14.8 The implication-realization model 291

15 Melodic contours in pre-tonal monody 295

15.1 Gregorian Chant 295

15.2 The melody of the Trouveres 315

15.3 Machault's monodic virelais 328

16 Melodic profiles in pre-tonal religious polyphony 339

16.1 Machault's Mass 340

16.2 The Hercules Dux Ferrariae Mass of Josquin Despres 349

16.3 The Ecce Sacerdos Magnus Mass of Giovanni Pierluigi da Palestrina 361

17 Melodic profile in the XVIII century 373

17.1 Melodic figures depending on harmony 373

17.2 The choice of the sample 378

17.3 Syllabic phrases 380

17.4 The melodic profile of extensive vocalizations 384

18 The Romantic Lied 389

18.1 Anacrusis 390

18.2 Cadence 398

18.3 The body of the phrase 401

19 Melody between the XIX and XX centuries 407

19.1 Segmentation into phrases 408

19.2 Anacrusis 410

19.3 Kernel scale and chromaticism 410

19.4 Modification of figures through chromaticism 413

19.5 Modification of the Inversion figure 414

19.6 Modification of figures by addition of notes (figure within a figure) 414

19.7 Register transposition 416

19.8 Metamorphoses of the T figure 418

Appendix A The 31 arias of the Legrenzi sample 425

Appendix B Metrical-syntactic trees of the verbal texts 469

Appendix C Macroformal analysis of the aria 477

Appendix D Analyses of Legrenzi's melodic phrases 491

Appendix E Examples of arias produced by the Legre program 503.

Notes:

Includes bibliographical references and indexes.

Local Notes:

Acquired for the Penn Libraries with assistance from the Rosengarten Family Fund.

ISBN:

0773469281

OCLC:

52266108