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ASSOCIATIVE SETS, CATEGORIES, AND MUSIC ANALYSIS

ASSOCIATIVE SETS, CATEGORIES, AND MUSIC ANALYSIS “Knowledge about a thing is knowledge of its relations” (William James [1892] 2000, 184) Association is, essentially, an orientation to music analysis that concerns equivalence or similarity between events. In “Orientations, Criteria, Segments” I identify association as one of three orientations to music analysis—disjunction, association, and theory (Hanninen 2001, 355). Association and disjunction are roughly complementary: an associative orientation involves correspondence; a disjunctive orientation, contrast. Association groups notes into events and events into associative sets; dis148 junction separates events from one another. Association defines segments and implies boundaries; disjunction defines boundaries and implies segments. Associative and disjunctive orientations are implemented by contextual and sonic criteria, respectively. A contextual criterion (C) is a rationale for segmentation that identifies an association between two or more segments by repetition, equivalence, or similarity within a specific musical context. Contextual criteria typically involve nonacoustic, nonlinear musical spaces such as (but not limited to) pitch contour, pitch content, pitch-class set, set-class, and duration series.1 Contextual criteria are notated with a capital C, followed, in subscript (or, in musical examples, in parentheses), first by the contextual subtype (e.g., “pitch” for pitch inclusion, “pc” for pitch-class, “ip” for pitch intervals, “SC” for set-class), then by the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

ASSOCIATIVE SETS, CATEGORIES, AND MUSIC ANALYSIS

Journal of Music Theory , Volume 48 (2) – Jan 1, 2004

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Publisher
Duke University Press
Copyright
Copyright 2004 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-48-2-147
Publisher site
See Article on Publisher Site

Abstract

“Knowledge about a thing is knowledge of its relations” (William James [1892] 2000, 184) Association is, essentially, an orientation to music analysis that concerns equivalence or similarity between events. In “Orientations, Criteria, Segments” I identify association as one of three orientations to music analysis—disjunction, association, and theory (Hanninen 2001, 355). Association and disjunction are roughly complementary: an associative orientation involves correspondence; a disjunctive orientation, contrast. Association groups notes into events and events into associative sets; dis148 junction separates events from one another. Association defines segments and implies boundaries; disjunction defines boundaries and implies segments. Associative and disjunctive orientations are implemented by contextual and sonic criteria, respectively. A contextual criterion (C) is a rationale for segmentation that identifies an association between two or more segments by repetition, equivalence, or similarity within a specific musical context. Contextual criteria typically involve nonacoustic, nonlinear musical spaces such as (but not limited to) pitch contour, pitch content, pitch-class set, set-class, and duration series.1 Contextual criteria are notated with a capital C, followed, in subscript (or, in musical examples, in parentheses), first by the contextual subtype (e.g., “pitch” for pitch inclusion, “pc” for pitch-class, “ip” for pitch intervals, “SC” for set-class), then by the

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2004

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