Allen Forte in Music Analysis
Identifieur interne : 000382 ( Main/Exploration ); précédent : 000381; suivant : 000383Allen Forte in Music Analysis
Auteurs : Arnold Whittall [Royaume-Uni]Source :
- 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
Affiliations:
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Le document en format XML
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<front><div type="abstract" xml:lang="en">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.</div>
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