jueves, 18 de agosto de 2011

Rock Vs Common Practice





















Ken Stephenson ofrece un muy interesante y detallado análisis del Rock en su texto What To Listen For In Rock. En él evidencia como el instrumental analítico de la práctica común se muestra insuficiente para analizar la estructura del Rock. Ejemplo de ello es la siguiente cita:

"(M)any writers have pointed to the importante in tonal music of the tendency of the seventh scale degree (raised form in minor) to resolve up, a tendency whose force is heightened when the pitch’s tritone relationship with the fourth scale degree is made explicit. This tendency is recognized in the seventh scale degree’s frequently used moniker, leading tone. Most of the standard melodic Systems of rock afford no place for this tendency. Viewed as abridge forms of the “complete” diatonic set, the pentatonic scales leave out precisely the two notes that form the tritone; for example, the pentatonic set C, D, E, G and A would become a C major scale if F and B were added. In the standard major-mode arrangement ([0] of [02479] as tonic), these omissions remove the leading tone from play. In the standard minor-mode arrangement ([9] of [02479] as tonic), a seventh degree is present, but is the lower form, or subtonic, that is, a whole step tonic rather than a half step. The hexatonic standards add (with respect to the pentatonic scales) one member of the tritone but still include no leading tone. And of the diatonic standards, only the Ionian scale includes a leading tone; both Mixolidian and Aeolian scales have subtonic pitches instead. As much as some would like to believe that rock follows common-practice standards, examination of the facts just does not support the claim."

lunes, 1 de agosto de 2011

LEONARD BERNSTEIN The Unanswered Question















El reputado compositor y director de orquesta Leonard Bernstein ofreció seis charlas (Norton Lectures) en Harvard en 1973 bajo el título de The Unanswered Question, tomando el nombre prestado de la influyente obra de Charles Ives. En estas seis fascinantes conferencias Bernstein establece una conexión musical con la Gramática generativa de Noam Chomsky, la cual usa como marco teórico para ofrecer una mirada novedosa a la estructura musical, todo ello con gran maestría, autoridad y claridad de exposición.

Afortunadamente, cada uno de estos episodios están disponibles en You Tube y son una experiencia muy enriquecedora:

1. Musical Phonology
2. Musical Syntax
3. Musical Semantics
4. The Delights & Dangers of Ambiguity
5. The XXth Century Crisis
6. The Poetry Of Earth

JIM SNIDERO Vocabulario