Anno 2024/1

Rivista di Analisi e Teoria Musicale

Anno XXX n. 1, 2024


Timothy L. Jackson, “A True and Genuine Music”: Berg’s Linear Counterpoint, pp. 7-91

Ana Llorens – Carlota Martínez-Escamilla, In the Quest for Variety: Analysis of Performances of the Prelude, from Bach’s Cello Suite no. 4, BWV 1011, pp. 93-148

Raffaele Longo, New compositional paths between Carter’s harmony and post-structuralism: a grammatological approach to the Harmony Book, pp. 149-188

Notizie sugli autori / Notes on contributors, pp. 189-191

Timothy L. Jackson - pag. 7-91

“A True and Genuine Music”: Berg’s Linear Counterpoint

While many post-tonal languages, particularly those of Schoenberg, Webern and Berg, depart from tonality, they never abandon musical logic based on voice-leading, i.e., linear progressions. Indeed, they maintain an emphasis on voice-leading, or goal-directed linear motion, as a means of creating structure, continuity and unity. As a result, it is possible, even absent a tonal framework, to perceive in many post-tonal works an underlying linear-contrapuntal structure and to hear and understand certain pitches and sonorities in a post-tonal work as structuring elements in conjunction with interrelated, linear, goal-directed virtual voices. 

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Ana Llorens – Carlota Martínez-Escamilla - pag. 93-148

In the Quest for Variety: Analysis of Performances of the Prelude from Bach’s Cello Suite no. 4, BWV 1011

Variety in music performance has been deemed a natural necessity on the part of practitioners [Godlovitch, 1988; Margulis, 2014; Smith, 1993]. In fact, a strive for variety has been noticed both in terms of performative patterns that vary throughout a given interpretation [Rink, Spiro, and Gold 2011] and across the multiple performances of a given piece [Fabian 2015; Fabian and Ornoy 2009; Llorens 2018; 2021b; Ornoy 2008]. 

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Raffaele Longo - pag. 149-188

New compositional paths between Carter’s harmony and post-structuralism: a grammatological approach to the Harmony Book

This article attempts to link music theory to compositional practice from an innovative methodological standpoint. The original features of this approach can be found in the attempt to define a new paradigm in music composition. The author investigates if and how the harmony of Elliott Carter (1908–2012) — as systematised in his Harmony Book — can be the driver to explore novel compositional paths by testing the values of a “new humanistic” prospect through the decon- structionist approach. 

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