Allen Forte in Music Analysis
Identifieur interne : 000004 ( Istex/Corpus ); précédent : 000003; suivant : 000005Allen Forte in Music Analysis
Auteurs : Arnold WhittallSource :
- Music Analysis [ 0262-5245 ] ; 2007-03.
English descriptors
- Teeft :
- Allen forte, Allez forte, Analysis today, Anthony pople, Anton webern, Arnold whittall, Atonal, Atonal music, Blackwell publishing, Boris godunov, Claude debussy, Craig ayrey, Creative evolution, Debussy, Debussy article, Foreground rhythm, Forte, Genera theory, Genus, Good indication, Harmonic, Harmonic organization, Inclusion relations, Jonathan dunsby, Journal compilation, Lonely hearts club band, Michael russ, Motivic, Music analysis, Music theory, Musorgsky essay, Octatonic, Octatonic collection, Olivier messiaen, Pierrot lunaire, Present issue, Puritan heritage, Richard taruskin, Round table, Same time, Schenkerian analysis, Special place, Whittall, Yale university press.
Abstract
This article explores the engagement of an American music theorist with a British journal. Music Analysis excludes the word ‘theory’ from its title to avoid confusion with American journals. But many American theorists have welcomed the alternative it represents, and of these Allen Forte is pre‐eminent. His contributions began with Vol. 2/iii (October 1983) and have continued through to the present issue. As this survey suggests, those contributions which are transcripts of spoken presentations emphasise that analysis is not just abstraction but ‘a human thing’. Yet, whether Forte is writing primarily about a topic such as pitch‐class set theory or about admired composers – Musorgsky, Debussy, Messiaen – he offers a distinctive blend of general and particular, placing compositional specifics within wider perspectives which invariably stimulate the reader not just to think but to listen, and re‐listen.
Url:
DOI: 10.1111/j.1468-2249.2007.00253.x
Links to Exploration step
ISTEX:623DAD60D48F857A89B5056FC4B283C1E80DE019Le document en format XML
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Yet, whether Forte is writing primarily about a topic such as pitch‐class set theory or about admired composers – Musorgsky, Debussy, Messiaen – he offers a distinctive blend of general and particular, placing compositional specifics within wider perspectives which invariably stimulate the reader not just to think but to listen, and re‐listen.</p></abstract><textClass><keywords rend="tocHeading1"><term>Original Articles</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/623DAD60D48F857A89B5056FC4B283C1E80DE019/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="03001"><doi origin="wiley">10.1111/musa.2008.26.issue-1-2</doi><numberingGroup><numbering type="journalVolume" number="26">26</numbering><numbering type="journalIssue">1‐2</numbering></numberingGroup><coverDate startDate="2007-03">March‐July 2007</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="2" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2007.00253.x</doi><idGroup><id type="unit" value="MUSA253"></id></idGroup><countGroup><count type="pageTotal" number="11"></count></countGroup><titleGroup><title type="tocHeading1">Original Articles</title></titleGroup><copyright>© 2008 The Author. 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But many American theorists have welcomed the alternative it represents, and of these Allen Forte is pre‐eminent. His contributions began with Vol. 2/iii (October 1983) and have continued through to the present issue. As this survey suggests, those contributions which are transcripts of spoken presentations emphasise that analysis is not just abstraction but ‘a human thing’. Yet, whether Forte is writing primarily about a topic such as pitch‐class set theory or about admired composers – Musorgsky, Debussy, Messiaen – he offers a distinctive blend of general and particular, placing compositional specifics within wider perspectives which invariably stimulate the reader not just to think but to listen, and re‐listen.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Allen Forte in Music Analysis</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Allen Forte in Music Analysis</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Allen Forte in Music Analysis</title></titleInfo><name type="personal"><namePart type="given">Arnold</namePart><namePart type="family">Whittall</namePart><affiliation>King's College London</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2007-03</dateIssued><copyrightDate encoding="w3cdtf">2007</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">0</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">15</extent><extent unit="words">0</extent></physicalDescription><abstract lang="en">This article explores the engagement of an American music theorist with a British journal. 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