Of Beginnings and Ends

Greenberg, Yoel

doi:10.1215/00222909-4149546

Cited by 5 publications

(3 citation statements)

References 17 publications

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“…Jerrold Levinson discusses the most extreme position, arguing that musical listening primarily consists of moment-to-moment experiences, and that large-scale form is a separate abstract interpretive layer that we perceive with difficulty or not at all. Several scholars studying classical sonata form have re-examined the conditions under which it is likely or even plausible that a particular listener's conceptual understandings of form match prototypical models (Horton 2005, Wingfield 2008, Greenberg 2017. Given the state of this small but growing literature, I want to be very cautious in making claims about the experiences of large-scale form by listeners who do not listen with scores or explicit "maps."…”

Section: Introductionmentioning

confidence: 99%

Compound AABA Form and Style Distinction in Heavy Metal

Hudson

2021

MTO

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This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Attas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016).

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Section: Introductionmentioning

confidence: 99%

Compound AABA Form and Style Distinction in Heavy Metal

Hudson

2021

MTO

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“…The sonata form can be viewed as an evolution of both aria and concerto Baroque forms (Rosen, 1980;Hepokoski and Darcy, 2006). Greenberg (2017) investigated how sonataform recapitulation may have come from both the double return of the tonic key and the parallel endings in a twopart movement.…”

Section: Sonata Formmentioning

confidence: 99%

“…Nowadays, sonata forms are still taught in music analysis, music history and composition lectures. They are also the focus of recent academic studies (Ratner, 1980;Rosen, 1980;Hepokoski and Darcy, 1997;Caplin, 1998Caplin, , 2001Hepokoski, 2002;Larson, 2003;Miyake, 2004;Hepokoski and Darcy, 2006;Gjerdingen, 2007;Greenberg, 2017). The past decades have seen a revival of the Formenlehre tradition in the classical era (Caplin et al, 2009).…”

Section: Sonata Formmentioning

confidence: 99%

Learning Sonata Form Structure on Mozart’s String Quartets

Allegraud¹,

Bigo²,

Feisthauer³

et al. 2019

Transactions of the International Society for Music Information Retrieval

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The musical analysis of large-scale structures, such as the classical sonata form, requires to integrate multiple analyses of local musical events into a global coherent analysis. Modelling large-scale structures is still a challenging task for the research community. It includes building large and accurate annotated corpora, as well as developing practical and efficient tools in order to visualize the analyses of these corpora. It finally requires the conception of effective and properly evaluated MIR algorithms. We propose a machine learning approach for the sonata form structure on 32 movements from Mozart's string quartets. We release an open dataset, encoding two reference analyses of these 32 movements, totaling more than 1800 curated annotations, as well as flexible visualizations of these analyses. We discuss the occurrence in this corpus of melodic, harmonic, and rhythmic features induced by pitches, durations, and rests. We investigate whether the presence or the absence of these features can be characteristic of the different sections forming a sonata form. We then compute the emission and transition probabilities of several Hidden Markov Models intended to match the structure of sonata forms at several resolutions. Our results confirm that the sonata form is better identified when the parameters are learned rather than manually set up. These results open perspectives on the computational analysis of musical forms by mixing human knowledge and machine learning from annotated scores.

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Follow the Solo: The Formal Evolution of the Concerto in the Eighteenth-Century

Maliniak¹,

Greenberg²

2022

Music Theory Spectrum

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We examine the evolution of the form of the first movement in the eighteenth-century concerto from the Baroque ritornello plan to the eighteenth-century Classical concerto by means of a statistical corpus study. Our data yields a more nuanced understanding of several key characteristics of this evolution, characteristics that have been observed by both contemporary and present-day theorists. We demonstrate how the rise in both quantity and thematic quality of the soloist’s part enabled the convergence of ritornello practices with sonata-form features. We conclude with analytical case studies of works by C. P. E. Bach and Josef Mysliveček, showing how their formal solutions fit within this evolutionary process.

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Of Beginnings and Ends

Cited by 5 publications

References 17 publications

Compound AABA Form and Style Distinction in Heavy Metal

Compound AABA Form and Style Distinction in Heavy Metal

Learning Sonata Form Structure on Mozart’s String Quartets

Follow the Solo: The Formal Evolution of the Concerto in the Eighteenth-Century

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