![]() It was copied along with other works apparently imported from northern Italy to the court of the duke of Calabria in Valencia in the early 1540s, the supposed provenance of the choirbook, and bears every indication of having been written by a skilled Franco-Flemish hand c.1520–3. Preserved anonymously and without title in Barcelona 1967 is a unique six-voice polyphonic Mass which to a large extent ‘parodies’ Josquin's famous setting of the Marian sequence Inviolata, integra et casta es Maria. The methodology intends to include the performance in the scope of musical analysis, as performative decisions may lead to dramatic differences in the final perceived sonic layout of a musical work. The methodology consists of three main steps, and was based on the methodology of analysis of the sonority by Guigue (2009): (1) the first step is the artistic process, which gets up to the construction of two performances of the piece by the same pianist (the first author of this paper), with different and contrasting performative decisions, and their recordings (2) then, the piece is divided into homogeneous sonic units, always having the performative decisions as guides and (3) at last, these units are analyzed using the software Spear and Sonic Visualiser for audio files and Open Music for MIDI files. In this context, the musical work is understood as a process, since the score is only one of the elements that will influence the final result (Costa, 2016). ![]() The main goal of this analysis is to present a methodology where the performative decisions are understood as main sources of information, with specific attention to the sonic aspects of the piece. This paper presents an analysis of sonority in selected parts of two performances of a piano piece by the Brazilian composer Almeida Prado, extracted from the first volume of his cycle Cartas Celestes I (1974), and of this piece as a whole. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today. Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982 here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. ![]() From the 15th to the 17th centuries, they increasingly appeared as final sonorities. Major and minor triads emerged in western music in the 13th to 15th centuries.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |