Description
Music theory has recently seen burgeoning efforts to make the field more inclusive and diverse. One prominent response involves a concerted effort to collect musical examples by historically marginalized composers for use in the classroom. Less has been done, however, on behalf of the scholars whose work is taught in our classrooms. This collection addresses this concern: scholarship taught in the music theory classroom is often dominated by one particular cultural reality, and this collection is a step toward changing that paradigm by bringing together short essays written by marginalized scholars who model analytical writing for students using a variety of music theories and genres from diverse regions of the world, including for example China, India, Japan, North and South America, and Turkey. The essays represent current music analytical trends in a substantial breadth of genres, including ballet, chamber music, film music, jazz, musical theater, opera, oratorio, orchestral music, popular music, video game music, and vocal music. Modeling Musical Analysis marks an important step in making the field of music theory, the classroom, and the study of music in general more inclusive by amplifying the representation of, and substantive contributions made by, scholars of color.
Table of Contents
Tala as Phrase Meter Somangshu Mukherji Prolongation in Turkish Classical Music Adem Merter Birson The Role of A-flat in Beethoven's Funeral March from the Eroica Symphony Jan Miyake Locating the “Sonata” in Fanny Hensel's Sonata o Fantasia Catrina Kim “A Blueprint for Dancers:” the Fiery and Unforgettable Measures of Rosendo Mendizábal's “El Entrerriano” John Turci-Escobar Comparing the Choreomusical Styles of Marius Petipa and George Balanchine in the Berceuse of Harlequinade Kara Yoo Leaman Analyzing Verismo Opera: “Vissi d'arte” (“I lived on art”) from Puccini's Tosca, Act 2 Ji Yeon Lee Yamada Kosaku's Inno Meiji: A Portrait of Modern Optimism Liam Hynes-Tawa A Rhetorical Strategy to Subvert Artistic Suppression: A “March” That Is Not a 'March' in R. Nathaniel Dett's The Ordering of Moses (1937) Jeannie Ma. Guerrero Metrical Dissonance and Phrase Grouping in HWANG Yau-Tai's Oblivion Joseph Chi-Sing Siu Reminiscences of the Past and Hybrid Traditions in Yoshinao Nakada's Art Songs Tomoko Deguchi Malambo and Motive in The Second Movement of Ginastera's Sonata para piano David Castro 'That Word in My Bible': Listening Critically to the Louvin Brothers' 'Broad Minded' Sumanth Gopinath Writing with Cathy Berberian's Performance of Sequenza III Vivian Luong The Restorative Obsession of Shostakovich's Violin Concerto No. 2 Táhirih Motazedian Curious Words and Exaggerated Singing-Humor and Satire in Musicals Wing Lau Jesus Woodlaají Sin: Translating Singable Navajo Hymns Renata Yazzie Motivic development and transformation in Toru Takemitsu's Itinerant (1989) Robert Hasegawa Loco Vocable: Semantic Satiation in “Aria Agraria” by Les Luthiers Fernando Benadon Sonic Imagery of Chen Yi's Bright Moonlight Nancy Yunhwa Rao The Duality of Drums: Exploring Timpani's Melodic and Percussive Potential in Rodis's Colossus Jose M. Garza, Jr. The Musical Language of Freedom and Oppression in Richard Danielpour and Toni Morrison's Margaret Garner Andrew Pau Celebrating the Underdog: Rhythm and Meter in Pink's “Raise Your Glass” John Peterson Storytelling and Meter in clipping.'s “story 2” Hanisha Kulothparan The Spiritual Pastoral in The Kansas Rapture for Saxophone Quartet by (Farhad) Forrest Pierce Kimberly Goddard Loeffert Melodic Refusal and Racialized Anxiety in Mitski's “Your Best American Girl” Toru Momii Harmonizing Uncertainty: Ambiguous Tonicizations in The Music of Summer Walker Richard Desinord Texture and Timing in the Score-Stop Gerardo Lopez
