Longo, Lauren M. Pietro Gianotti's Le Guide du compositeur
AUTHOR: Longo, Lauren, M. TITLE: Pietro Gianotti's Le Guide du compositeur: A Reworking of Rameau's "L'Art de la basse fondamentale"--An Annotated Translation and Critical Edition of Part I INSTITUTION: City University of New York BEGUN: COMPLETED: July 1997 ABSTRACT: "L'Art de la basse fondamentale" (MS 2474, Institut de France) is a relatively unknown treatise by Rameau that served as the textbook draft for a six-month long composition course offered between 1737 and 1744. Pietro Gianotti later issued his own printed version of "L'Art" as Le Guide du compositeur in 1759. This dissertation provides an English translation of Part I of Gianotti's Guide and a critical edition that cites the corresponding passages of Rameau's two drafts of "L'Art" in English translation alongside Gianotti's in a three-column format. Critical assessment of the presentation of ideas from each author's point of view follows each of Gianotti's 15 chapters in editorial commentaries. Volume II of the critical edition also furnishes a full transcription of each manuscript draft of Rameau's first section of "L'Art." KEYWORDS: Rameau, Gianotti, Fundamental bass, Pedagogy, Harmony text CONTACT: 798 Franklin Lake Road Franklin Lakes, NJ 07417 e-mail: longol@saturn.montclair.edu
AUTHOR: Noll, Thomas TITLE: Morphologische Grundlagen der abendlaendischen Harmonik (Morphological Foundations of Occidental Harmony) INSTITUTION: Technical University of Berlin BEGUN: October, 1992 COMPLETED: July, 1995 ABSTRACT: The dissertation has been published in German as volume 7 of the series "Musikometrika," edited by Moisei Boroda, Universitaets Verlag Brockmeyer, Bochum 1997 I. Musikalischer Teil: I.1 Tone und Intervalle I.1.1 Vorbereitung I.1.2 Der Torus der abstrakten Toene I.1.3 Basistoene und das Intervallbuendel I.1.4 Fraktale Toene I.1.5 Die Konsonanz / Dissonanz - Dichotomie fuer Intervalle I.2 Akkorde I.2.1 Chorde und Chordklassen I.2.2 Fraktale Akkorde I.2.3 Endomorphismen I.3 Funktionsharmonik: Versuch einer Rekonstruktion I.3.1 Die Funktionmorpheme I.3.2 Hauptdreiklaenge, Nebendreiklaenge und Medianten I.3.3 Die Konsonanz / Dissonanz - Dichotomie fuer fraktale Toene I.3.4 Repraesentanten der Dominante I.4 Enharmonizitaet I.4.1 Eine Autokomplementaritaetsfunktion im Eulermodul I.4.2 Die Mutation I.4.3 Enharmonizitaet als Unschaerferelation der Symmetriegruppe II. Semiotischer Teil: II.1 Syntaktik der Musik II.1.1 Das Morrissche Programm II.1.2 Syntaktik1: Formale Aspekte musikalischer Zeichen II.1.3 Syntaktik2: Relationen zwischen musikalischen Zeichen II.1.4 Syntaktik3: Komplexe musikalische Zeichen II.2 Das harmonische Vokabular II.2.1 Methodologische Ueberlegungen II.2.2 Akkorde und Zusammenklaenge der traditionellen Harmonielehre II.2.3 Zusammenklaenge bei Skrjabin II.2.4 Zusammenklaenge bei anderen Komponisten II.3 Morphologie der Funktionsharmonik II.3.1 Der metamusikalische Status der Funktionstheorie II.3.2 Das Riemannsche Programm und das Dahlhaussche Problem II.3.3 Anwendung: Funktionsharmonik und Auffuehrungssimulation II.4 Das geometrische Paradigma II.4.1 Die Yoneda-Philosophie II.4.2 Perspektiven in der Logik II.4.3 Perspektiven im Kontrapunkt II.4.4 Form und Prozessualitaet III. Mathematischer Teil: III.1 Affine Endomorphismen von Z12 III.1.1 Restklassen modulo 12 III.1.2 Die Idempotenzzerlegung III.2 Akkordklassifikation III.2.1 Konjugationsklassen musikalischer Halbgruppen III.2.2 Konjugationsklassen von Chord-Endomorphismen III.3 Bigenerische Halbgruppen III.2.1 Systematik III.2.2 Bigenerische (�)-Akkorde III.2.3 Die Klassifikation musikalischer bigenerischer (�)-Akkorde III.4 Strukturtheorie der Euleralgebra III.4.1 Affine Endomorphismen des Eulermoduls III.4.2 Euleralgebra und Exponentialfunktion III.4.3 Kommutatoren und Kommutatorklassen von SL2(Z) Anhang: Tabellen: Die Klassenliste der H�llakkorde Literaturverzeichnis (ISBN 3-8196-0493-6) The monograph presents a semiotic theory of occidental harmony. In contrast to the accoustical, resp. psychoacoustical approaches it consideres tones, chords, intervals and interval dichotomies as morphological objects. Following Guerino Mazzolas Mathematical Theory od Music the 12-tone system is interpreted as a torus whose internal symmetries - the 144 fractal tones - make it possible to define the morphological features of chords, as well as to characterize the prototypical representatives of tonal functions intesionally, resp. to reconstruct the full variety of possible representatives extensionally. It is demonstrated that the chords preferably used in the European music for a long period are especially rich in fractal tones. Further, the Fuxian and the Riemannian dichotomies of consonance and dissonance are algebraically and geomtrically reconstructed and related one to each other. A theory of the enharmonicity is suggested, making it possible to explain the interrelations between the three-dimensional tone system of "just tuned" octaves, fifths and thirds and the 12-tone system as its commutative deep structure. Moisei Boroda KEYWORDS: Mathematical Music Theory, Musical Semiotics, Functional Harmony, Consonance/Dissonance-Dichotomy, Enharmonicity, Fractal Tones, Fractal Chords, Tone Persectives, Harmonic Topology, Chord Neighborhood TOC: Einleitung I. Musikalischer Teil: I.1 Toene und Intervalle I.1.1 Vorbereitung I.1.2 Der Torus der abstrakten Toene I.1.3 Basistoene und das Intervallbuendel I.1.4 Fraktale Toene I.1.5 Die Konsonanz / Dissonanz - Dichotomie fuer Intervalle I.2 Akkorde I.2.1 Chorde und Chordklassen I.2.2 Fraktale Akkorde I.2.3 Endomorphismen I.2.4 Fraktale Intervalle ubd Intervallakkorde I.3 Funktionsharmonik: Versuch einer Rekonstruktion I.3.1 Die Funktionmorpheme I.3.2 Hauptdreiklaenge, Nebendreiklaenge und Medianten I.3.3 Die Konsonanz / Dissonanz - Dichotomie fuer fraktale Toene I.3.4 Repraesentanten der Dominante I.4 Enharmonizitaet I.4.1 Eine Autokomplementaritaetsfunktion im Eulermodul I.4.2 Die Mutation I.4.3 Enharmonizitaet als Unschaerferelation der Symmetriegruppe II. Semiotischer Teil: II.1 Syntaktik der Musik II.1.1 Das Morrissche Programm II.1.2 Syntaktik1: Formale Aspekte musikalischer Zeichen II.1.3 Syntaktik2: Relationen zwischen musikalischen Zeichen II.1.4 Syntaktik3: Komplexe musikalische Zeichen II.2 Das harmonische Vokabular II.2.1 Methodologische Ueberlegungen II.2.2 Akkorde und Zusammenklaenge der traditionellen Harmonielehre II.2.3 Zusammenklaenge bei Skrjabin II.2.4 Zusammenklaenge bei anderen Komponisten II.3 Morphologie der Funktionsharmonik II.3.1 Der metamusikalische Status der Funktionstheorie II.3.2 Das Riemannsche Programm und das Dahlhaussche Problem II.3.3 Anwendung: Funktionsharmonik und Auffuehrungssimulation II.4 Das geometrische Paradigma II.4.1 Die Yoneda-Philosophie II.4.2 Perspektiven in der Logik II.4.3 Perspektiven im Kontrapunkt II.4.4 Form und Prozessualitaet III. Mathematischer Teil: III.1 Affine Endomorphismen von Z12 III.1.1 Restklassen modulo 12 III.1.2 Die Idempotenzzerlegung III.2 Akkordklassifikation III.2.1 Konjugationsklassen musikalischer Halbgruppen III.2.2 Konjugationsklassen von Chord-Endomorphismen III.3 Bigenerische Halbgruppen III.2.1 Systematik III.2.2 Bigenerische-Akkorde III.2.3 Die Klassifikation musikalischer bigenerischer-Akkorde III.4 Strukturtheorie der Euleralgebra III.4.1 Affine Endomorphismen des Eulermoduls III.4.2 Euleralgebra und Exponentialfunktion III.4.3 Kommutatoren und Kommutatorklassen von SL2(Z) Anhang: Tabelle 1: Die Klassenliste der Huellakkorde Tabelle 2: Die Liste der konsonanten fraktalen Intervalle Literaturverzeichnis CONTACT: Dr.phil.Thomas Noll Technische Universitaet Berlin Fax: (+4930) 314 21 116 Arbeitsstelle fuer Semiotik Telefon: (+4930) 314 25 403 Ernst-Reuter-Platz 7 Sekretariat TEL 16-1 D-10587 Berlin e-mail: noll@cs.tu-berlin.de
AUTHOR: Vlagopoulos Panos Ph. TITLE: Le noble rhetorique: Mental Models in the Song Production of Guillaume de Machaut INSTITUTION: Ionion State University BEGUN: September, 1995 COMPLETED: June, 1998 ABSTRACT: The introduction contains a critique of current reductionist interpretation models and argues for the use of - a variant of - radical constructivism in the attempt to gain historic-musicological knowledge. Some of the key-notions put in use are mental models, metaphors, observer and reflexivity. On this basis the goal of the research is set as: to first distinguish fourteenth-century mental models in a number of different areas, from education to literature and everyday life, then find relevant - not merely similar - models of musical thinking in the song production of Guillaume de Machaut. Machaut's opus is considered as the result of a highly ecletic, complicated, past- as well as future-orientated artistic attitude, which I try to illuminate using the notion of reflexivity and self-reflexivity: this is brought about by an analytical examination of concrete compositional techniques and an investigation of an -implicit- Machaudian theory of genres, which is shown to be a prerequisite for self-reflexivity and, at the same time, to be regulated by it. KEYWORDS: Guillaume de Machaut, Ars nova, formes fixes, radical constructivism, metaphor, mental model TOC: A. Fourteenth-Century Mental Models Introduction Sciences Aristotelian Metaphysics, Sign Theory of Occam and Oresmian Physics Time and Measurement Ars Nova Ideology Antiquus/modernus/novus Classification Models and Genres Time and Measurement B. Machaut's Musical Mind Compositional Techniques: Floskeln and Tenor Types Genre and the Fourteenth-Century Ordenance Concept Reflexivity and Self-Reflexivity As Keys to Machauts Concept of Composition Conclusions CONTACT: Panos Vlagopoulos Ag. Sofias street 24 17123 Nea Smyrni Athens/Greece OR Vas. Sofias & Kokkali 11521 Athens/Greece tel +301 7282772 / 9343959 fax +301 7259196 panovlag@otenet.gr
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