Form gives organization to sounds. It refers to the overall structure or plan of a piece of music. It is with the patterns, motifs, and cadences contained within form that help make music enjoyable to listen to. In Roger Scruton’s “Aesthetics of Music” Scruton states in Ch. 10 that form relies on two concepts, deep structure or linear and hierarchal order. Deep structure is the concept that most organized sounds have an underlying form. Deep Structure exists within language particularly in the study of syntax. In language deep structure is a theoretical concept that unifies other structures. An example of this would be how the sentences “Max loves Sara” and “Sara is loved by Max” mean the same thing and use similar wording.
Heinrich Schenker favored the deep structure concept that is present in grammar. Schenker corresponded deep structure to his own Schenkerian Analysis of music. He applied a two-level generative structure for melody, harmony, and rhythm. Schenker would analyze a passage of music by showing the hierarchical relationships among the piece’s pitches. He would then come to a conclusion about the structure of the passage from this hierarchy. Schenker makes a bold claim that all works of Western tonal music have the same underlying structure.
Roger Scruton disagrees with this theory of Schenkerian Analysis and deep structure. Scruton rejects it’s generative capability when he says “The ‘deep structure’ becomes another way of describing long range relationships in the foreground; but it does not explain them, still less show how they are generated from a root idea” (p. 323 Scruton). Scruton agrees more with Leonard Meyer’s idea of hierarchically arranged implications and closures in music. To understand this idea we ...
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...d, but about displaying how each work expands on the background structure in a distinctive manner, defining both its individuality and the works meaning. Schenker’s theory is criticized but usually misunderstood. It all makes sense when you hear Schenker’s motto: "always the same, but never in the same manner". The method of Schenkerian Analysis and the theory of deep structure would also explain why we can understand and predict the movement in a tonal, musical work without ever hearing the piece before while Meyer’s theory of hierarchal ordering of musical elements does not explain that.
Does this objection stand up to Scruton’s criticism? Somewhat yes, as much as Schenker’s theory on form seems to make sense in some aspects, he still believes that this deep structure is contained in every piece of western music during his time, which is hard for me to believe.
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
Regarding Structure, sign, and play, three elements in various settings; Structure: thinking about structure, structurality of structure, constitution of structure; Play: the play of repetition, and the repetition of play; Sign: Concepts of signs. Take a myth, or a mythology, or a mythopoetic, first, anything can be ad infinitum, and either too long or too brief; regarding the myth itself, its structure can be itself infinite, or too long or too brief, as well as the sign of myth can be infinite or finite, as well as play can be the same. The structure of a myth can be it falling into a template, a draft, a code, a mannerism, a way to work within language, or the fact of their reciprocity. In fact, sign and play can be in that position as well, the codes of language, signs, can be translated from myth to myth, thus being of symbolic value, representing perhaps a face value, or perhaps concrete point from which to proceed hither and thither. The sign supplements, and the sign concurs movement, as play does as well. Play moves as well, play can be transmuted, and play can be amplified, play creates presence and the disruption of presence. These three elements perhaps can befall a great occurrence: they become similar, and the way they become similar is by a remarkably small number of sentences?
Today I will be describing my design for a music video set in ancient Sumer. My video will depict elements from the Hymns of Inanna and the video of “Blurred Lines.” These two elements will allow a reflection of the cultural metanarrative and the sexual script of ancient Sumer. The video will play out between two gods and a priestess. My video will have four main sections that will breakdown what the video consists of and how it all comes together. These sections will be my main characters, setting, imagery, and lastly the theme of the video. There will be subsections that serve to only expand on each of my main sections and to give clarity to them.
Schönbeit or the beauty of the music has strong ties to the aesthetic of the time period and it’s relation to the performers realization of the score. With beauty being an abstract
Music videos are apart of humans visual language, they are an artform and although they are arguably on the decline, music videos are an important factor of an artists career. Due to new technologies music is consumed on the internet and forgotten about daily. So from a record label point of view, an artist needs something bigger than an a song to get noticed; artists need strong creative visuals to give them a substantial competitive advantage over their peers (Boardman). A music video takes the artists voice and gives them a visual language to connect to their listener, and gives the listener a chance to connect with a wider audience. There are risks associated with music videos, they can either turn out really good and be a cultural phenomenon
From this statement, I believe that there’s a fear of losing the expressive plane, if this problem triggers. On the other hand, we have the general audience. Listeners often neglect them. He argues that a good listener should know the musical structure in order to enhance the enjoyment of music on this plane.
Language is the bearer of meaning and is a universal medium of communication (Evans, 1973; p. 42; Stenlund, 1990; p. 14). With in electroacoustic music, language is used as a 'tool for establishing an aesthetic' (Keane, 1986; p. 118). Pierre Schaeffer considers it as being 'presupposed' (Windsor, 1995; 1.1.1). Although, both talking about language they talk about different aspects of language in relation with electroacoustic music. Schaeffer talks about the creation of music, Keane talks about the process before making music. Schaeffer's theory of language may mask the communication between composer and liste...
These travails point to an underlying critical malaise, namely the comprehensive prejudice that reason and cognition are inherently discursive: to understand is plainly the ability to describe what one has understood. Therefore his failure to nail down musical profundity amounts to a tacit acknowledgement of the ‘ineffability’ of instrumental masterpieces — resulting in musical ‘truths’ being consigned to its sensory modality or else to a demand for marshalling verbal paraphrase for explicit decoding.
...he connection between the composer and the music. Since composers generally write about events that had an impact in their lives, this analysis receives support.
The late nineteenth century to the early twentieth century was a flourishing era in the music community to both musicians and music fans. A great number of composers through their unique musical aesthetics and unrestrained creativity composed a great volume of different style music. A major contemporary trend or the feature of the music at that time was tonality collapse. However, there were quite a few composers still insisting on composing tonal music. In this essay, I will use Burkhart’s “the very musicianly topic of the phrase” theory to analyze Granados’s “Goyescas, No.1 Los Requiebros”. I will singly identify phrase structure of primary sections for identify phrases in different hierarchy, and how does the composer form a larger phrases.
The rhythmic pattern used to compose most songs is regular. Characteristics that make up a piece of music are known as elements. There are different elements in music, this is, texture, timbre, rhythm, melody and form. Texture refers to the number and type of layers used in a music composition. It also looks at the relationship between these layers.
To fully understand any musical style, one must be able to analyze the various elements of music as they exist in that particular style. In this first musical close-up, we shall briefly describe these elements of music. In subsequent musical close-ups, we shall examine one or another of these elements in greater detail as it pertains to a given style or topic.
Secondly, Schafer has established himself as a leading figure in soundscape studies and is considered as th...
“The parallels between musical and linguistic boundaries are obvious” as stated in author Peter M...
As with most of Adorno's writings on music, In Search of Wagner overrides traditional forms of music criticism, where scientific analyses can tend to prevail. Much of Adorno's analyses of music relates music back to socie...