... by Benjamin Boretz and Edward T. Cone. New York: Norton. 1972. ORIENTATIONS, CRITERIA, SEGMENTS: A GENERAL THEORY OF SEGMENTATION FOR MUSIC ANALYSIS Dora A. Hanninen the non-trivial aspect of defining ‘what music is’resides...

... modifies the prototypical big-band arrangement by merging the solo section with the ensemble feature, resulting in a trademark “Solo-Recapitulation trajectory,” which creates a deep-level structure comprising three “Spaces.” “Space division criteria” capture how broad expectations for jazz performance...

... describe and give detailed criteria for identifying each technique. In doing so, I provide a new vocabulary by which scholars and analysts can model the way in which they hear chromatic music from this period. 2009 2009 Kyle Adams is assistant professor of music theory and aural skills...

... of units stressed through sonic and contextual criteria, thus providing insight into the syntactic elements of the musical language and indicating listening and analytic strategies for this music. Copyright © 2017 by Yale University 2017 Pierre Boulez Domaines transformational theory composing...

... they marshal different criteria and model out-of-phase relationships between, say, formal boundaries and Schenkerian tonal pillars. Throughout, the emphasis is on dynamic interactions between a type 2 movement’s generic formal characteristics and its compositional idiosyncrasies. Two movements distinguished...

..., Criteria, Segments: A General Theory of Segmentation for Music Analysis.” Journal of Music Theory 45 : 345 -433. ____. 2002 . “Understanding Stefan Wolpe's Musical Forms.” Perspectives of New Music 40/2 : 8 -66. ____. 2003a . “A Theory of Recontextualization in Music: Analyzing Phenomenal...

... and builds the framework from general to specific, examining in great detail both the logical relationships among each of its components and their musi- cal implications. It consists of two chapters, “Orientations, Criteria, Segments” and “Associative Sets...

... of the harmonic criteria that are definitional in Caplin s system. Therefore the third goal of this article is to demonstrate that a predictive approach is an especially effective way to adapt formal types to postclassical styles, providing solutions to such problems as defining an ante- cedent in the absence...

... the author presents six “criteria for analysis” that encapsulate the salient, perceptible features of romantic music: topics (topoi), the beginning-middle-ending paradigm, high points, periodicity, the three modes of enunciation (speech, song, and dance...

... criteria for determin- ing directional tonality (to be reviewed presently) have been convinc- ingly applied to some pieces, I believe that other ostensibly directional pieces must be judged according to different criteria. “Phänomen” is an especially instructive example of the latter kind of piece...

... as an investigation of con- ventions or forms of life, Cavell writes: In philosophizing, I have to bring my own language and life into imagination. What I require is a convening of my culture’s criteria, in order to confront them with my words and life as I pursue them and as I may imagine them...

..., to deviations from exact proportions and criteria for judging their significance or lack of it, to issues of temporal order threshold and consequent aspects of temporal perception. Chapter 9 offers case studies of music from seven nonwestern cultures which sug- gest that proportional tempo may be a universal...

..., palindromic retrograde symmetry, or both).4 These criteria serve as normative frames against which the events of a piece can be understood: having established both a twelve-tone series and, possibly, a symmetrical arrangement of that series (generally in combi...

...). But with no established criteria to determine whether the decisions, gestures, and actions inscribed in a work were in fact meant or not, it was impossible to say if a piece merited serious attention, let alone the sort of commitment or attachment traditionally reserved for art...

... compelling for that. Because she is concerned to demonstrate not only that the music is effective but also that the composer’s process of shaping it implied definite criteria of effectiveness, she makes frequent and profitable reference to Stravinsky’s sketches. (I...

...- longational structure; in extreme cases, they may even lead an analyst to a problematic reading according to other standard Schenkerian criteria. In the Schubert and Brahms examples, connections in the top voice stand on the border between association and prolongation. Motivic repeti- tions...

..., scanning it this time with two criteria in mind, in order to discover the progressions listed in Table 4. As the intervallic criteria for a progression grow more complex, the strategy of searching a catalog for progression vectors that match each criterion becomes increasingly cumbersome...

... a “normal” succession when its fragments are joined in succession.3 Some sort of rough continuity can perhaps be claimed for the strata, but only if tonal criteria alone are considered. (That the strands link together tonally is hardly revelatory: they were initially separated by tonal criteria...

... opposite. He institutes strict criteria for determining whether a pitch shape is a viable candidate for motivic status. Auerbach admires Epstein's rigor, but doubts the soundness of some of his chosen criteria. For example, Epstein tries to consider both metric weight and harmonic weight, but does not have...

... Hanninen (1997, 64 et seq.) defines three basic types of segmentation criteria: sonic, contextual, and structural. The sonic criteria “respond to disjunctions in psychoacoustic dimensions such as pitch, attack-points, dynamics, and so on and are manifest as attributes of individual notes...