Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-12-04T20:12:44.521Z Has data issue: false hasContentIssue false
  • English
  • Français

Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis by Judy Lochhead . Routledge, 2016. £90.00

Published online by Cambridge University Press:  28 September 2016

Mark Hutchinson
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
BOOKS
Information
Tempo , Volume 70 , Issue 278 , October 2016 , pp. 104 - 106
Copyright
Copyright © Cambridge University Press 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Iddon, Martin, ‘Darmstadt Schools: Darmstadt as Plural Phenomenon’. TEMPO 65:256 (2011), p. 2CrossRefGoogle Scholar.

2 In particular, Robert Fink's critique of the concept of surface and depth in Schenkerian theory and Robert Adlington's exploration of alternatives to motion-based metaphors of structure both deal explicitly with the challenges contemporary music poses to spatial metaphors of form, and suggest possible solutions. See Fink, Robert, ‘Going Flat: Post-Hierarchical Music Theory and the Musical Surface’, in Rethinking Music, ed. Cook, Nicholas and Everist, Mark (Oxford: Oxford University Press, 1999), pp. 102–37Google Scholar; and Adlington, Robert, ‘Moving Beyond Motion: Metaphors for Changing Sound’, Journal of the Royal Musical Association 128:2 (2003), pp. 297–318 CrossRefGoogle Scholar.

3 One excellent place to start is the work of Marion Guck, who as long ago as 1983 wrote of her concern that the desire for music theory ‘to emulate the kind and degree of rigor evident in theories of the physical sciences’ would end up ‘limiting music theory to those features of musical structure that lend themselves to quantification or formal-logical expression … creative thinkers need not apply’. See Kielian-Gilbert, Marianne and Guck, Marion, ‘Reflections on Music Theory’, Perspectives of New Music 22:1–2 (1983), pp. 581–2CrossRefGoogle Scholar.