Venue: Heinze Room, Melbourne Conservatorium of Music
Presenters: Professor Richard Cohn
This series of colloquia perpetuates the legacy and cultural impact of Melburnian music patron and publisher Louise Hanson-Dyer (1884–1962), founder of Éditions de l’Oiseau-Lyre, by bringing cutting-edge issues in music research to a public forum for discussion and debate. It presents lectures by renowned scholars working in diverse fields of music research, including historical musicology, ethnomusicology, music theory, performance studies, and composition.
Along with tonality, meter is one of the systems through which the mind regulates and organizes musical input. In theories of musical form, though, tonality is perpetually a colossal star, while meter sits quietly on the bench watching. This is a strange state of affairs on the face of it, but it makes sense when we regard it as a consequence of an under-nourished and archaic theory of meter. That theory equates meter with meter signatures; meter signatures typically do not change, except occasionally at formal boundaries that are marked by simultaneous change in other parameters; and without change, there is no form in time. As soon as we release meter from metric notation, and link it to music as heard and experienced, we license it to get out there on the floor of musical form, and we can quickly see that it has a vigorous contribution to make.
Richard Cohn is a prominent music theorist and Battell Professor of Music Theory at Yale University. He is the author of Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature (Oxford University Press, 2012) and numerous leading studies on music theory. Richard Cohn proposes a general model of meter, and makes a case for its analytical value through a range of classical, popular, and “world” musics.
from
https://events.unimelb.edu.au/events/8190-louise-hanson-dyer-music-colloquia-meter-and-musical-form
No comments:
Post a Comment