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âKnowledge about a thing is knowledge of its relationsâ (William James [1892] 2000, 184) Association is, essentially, an orientation to music analysis that concerns equivalence or similarity between events. In âOrientations, Criteria, Segmentsâ I identify association as one of three orientations to music analysisâdisjunction, 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., âpitchâ for pitch inclusion, âpcâ for pitch-class, âipâ for pitch intervals, âSCâ for set-class), then by the
Journal of Music Theory – Duke University Press
Published: Jan 1, 2004
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