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Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6
transformational theory Rochberg form sonata transposition K-nets inversional balance animation
2010/3/24
To the extent that it represents the actual temporal event-series of a composition, transformational theory can reveal some interesting correlations between the formal functions of sections and the tr...
Exploring Relationships between the Kinematics of a Singer’s Body Movement and the Quality of Their Voice
Embodied cognition motion-capture singing computational analysis
2008/10/30
Background in music psychology. Physical movement plays an important role in musical
perception and production. It is generally agreed among professional singers and vocal
teachers, for example, tha...
The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement
Jazz Avant-Garde Black Arts Movement Black Aesthetic
2008/10/29
This essay focuses on the relationship between writers associated with the Black Arts Movement in the United States and the experimental directions in jazz that occurred during the 1960s, the decade g...
Skalkottas’s First Suite for Piano, First Movement (1936): From First Ideas to Realization
Skalkottas First Suite Piano First Movement First Ideas
2008/10/24
Even if, in retrospect, one finds too much of a naive pride in Schoenberg's belief that he had given a new supremacy to the German-Austrian tradition for a hundred years to come, it is more and more o...
Reply to "Embodied Rhythm" by Bruno Repp and "Do Preferred Beat Rate and Entrainment to the Beat Have a Common Origin in Movement?" by Laurel Trainor
rhythm perception beat induction anthropometrics
2010/9/26
Two leading issues raised in commentaries on the authors’ earlier
article (2007) involved the possible roles of gender differences and the vestibular
system on test results. Those issues are discuss...
Cognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 101
cognitive dissonance embodiment image schemata performance analysis Beethoven Op. 101 Robert Hatten
2010/3/25
Much of Beethoven’s music—especially that of the late period—demands that the performer follow interpretive markings that seem to be musically counterintuitive. Conflict between the competing desires ...
Do preferred beat rate and entrainment to the beat have a common origin in movement?
rhythm perception beat induction entrainment
2010/9/26
The idea that beat induction derives from body movement is attractive, but
until recently unequivocal empirical evidence of such a linkage has been elusive. Todd et
al. (2007) provide evidence that ...
"Schenkerian-Schoenbergian Analysis" and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1
motive hidden repetition Grundgestalt musical idea, Schenker Schoenberg Beethoven
2010/3/29
A process akin to Schoenberg's "musical idea" accounts to a large degree for motivic coherence in the first movement of Beethoven's Piano Sonata Op. 10, No. 1. My article illustrates this process by m...