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sbmurphy
About
- Username
- sbmurphy
- Joined
- Visits
- 103
- Last Active
- Roles
- Guest
- First Name
- Scott
- Last Name
- Murphy
- Affliation or Location
- University of Kansas
- Website
- music.ku.edu/scott-murphy-0
Comments
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Hi, John. Here's an unabashed self-promotion of something for your first point. In 2013, I wrote an analysis of the beginning of Penderecki's Paradise Lost ("In the Beginning of Penderecki's Paradise Lost," twentieth-century music 10/2) in which, af…
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"why is this move (DM to CM) a M2M and not a M10M?" In the Oxford Hanbook nomenclature, the ordered pitch-class interval sandwiched in the middle of the Ms is the interval from the root of the (more) tonic triad to the root of the (more) non-tonic t…
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Dimitar, perhaps you are thinking of mm. 5-6 in the fourth movement of Brahms 4: Em: F#7-Em6.
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I call "II# to I" (or "V/V to I") a "return M2M" in the nomenclature I use in my publications on film music, a repertoire in which this tonally oriented progression is not uncommon. (My chapter in the Oxford Handbook of FIlm Music Studies cites the …
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As an outcome of its mathematical-formal design (explained here and half-shown here), the most intense moment of John Luther Adams's "Become Ocean" is exactly halfway -- in terms of clock time -- through the work. If you pull up a complete recording…
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Re: Robert Kelley's recommendation of Boulogne, I've spent some time with his Six Concertante Quartets, and, of the five of the six first movements that are either Type 2 (No. 4) or Type 3 (No. 1, 3, 5, 6) sonatas, the S zone in the recap is usually…
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You might find some published analyses and explanations related to these examples if you conduct a word-search query using the phrase "dissonant counterpoint." Not all dissonant counterpoint is diatonic -- far from it, perhaps -- but a combination o…
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Here's my answer: http://musicellanea.blogspot.com/2020/02/yess-our-song.html -Scott
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IV/IV (instead of, or in addition to (Biamonte 2010) its interpretation as bVII) comes up in the context of "double-plagal" motion, as in Open Music Theory's discussion of plagal progressions.
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Steve, thanks for making me (us) aware of his passing. I'm currently teaching a readings lesson with an undergradaute student this semester during which she is reading all of Toussaint's book. I've assigned it in part to train her in critical thinki…
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Hi, Jeremy -- thanks for playing! Very cool quintuple snare above quadruple time! Yes, to get a cycle of four members, some pulse stream(s) must be in 5 while (an)other pulse stream(s) must be in 4, and that's exactly the case here. However, for the…
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Sam, this is more a response to your May 10 smt-announce message than to this SMT-discuss request, but I've maintained for almost five years a music-theory-themed blog at musicellanea.blogspot.com, where I post one item every month. Some of the post…
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LL Cool J's "I Need Love" comes to mind. Most of the song essentially alternates between F-major and E-minor triads, but in a F-e-e-F four-measure hypermeter parallel to the I-V-V-I design of classical presentation phrases. There are other triads (G…
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An addendum to Jason's analysis: If mm. 1-8 of K. 284/i were excised, then the movement would begin with what Gjerdingen calls a Quiescenza and what Hepokoski and Darcy call a "circular" 8-b7-6-n7-8 pattern. Each source says that, in music from arou…
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Tim, you asked in particular for tonal pieces, and for multi-media resources. I recommend the first x minutes of Anne Hyland's recent SMA video "Analysing Musical Time" (http://www.sma.ac.uk/videos/episode-3), which offers a general introduction, an…
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Thanks, all. It was Sam's that I saw. I concur with Jason -- I had also noticed, in my bibliographic rummaging, that Lewin's time-span GIS hadn't sparked a series of studies like some other parts of GMIT had -- but no time like the present. Best, -S…
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Great points, Mark! I especially enjoyed your extra-musical connections. I cannot help but observing, however whimsically, that the initial anacrustic triplet of the Star Wars main theme (F-F-F) and the following triplet (Eb-D-C), shifted to a downb…
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I'll take a shot at redeeming myself then: How about the casting of the seventh bullet in the Wolf's Glen scene from Der Freischütz? The music is in C minor before, and in F# minor after, and the four measures of °7 are "of tonic" in both keys. No s…
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Hi, David. So, to understand what you are looking for, would something like the music right after the cadenza in the last movement of Beethoven's Violin Concerto suffice? In this music, vii°7 of D -- the main key of the movement -- becomes vii°7 of …
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Thanks, Melissa, for the example, which I like very much. I don't know of it elsewhere in The Magic Flute. There is, however, a cool subdominant version of it that occurs twice back to back in mm. 36-42 of the duet “Crudel! Perché finora…” from The …
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