Résumés
Abstract
Barrie Cabena’s Sonata Festiva (1971) highlights SLIDE, a chord progression familiar from the neo-Riemannian and twentieth-century Russian music-theoretic literatures. Diverse expressions of SLIDE involve chord pairs, single chords, and melodic lines in textural, tonal, and formal contexts, leading to contemplative, energetic, comedic, and triumphant effects. Aspects of pitch-class set theory help to relate SLIDE to other harmonic phenomena in the work.
Keywords:
- Barrie Cabena,
- Sonata Festiva,
- SLIDE,
- neo-Riemannian theory,
- set theory
Résumé
La Sonata Festiva (1971) de Barrie Cabena met en lumière SLIDE, une progression d’accords connue des littératures musicales théoriques néo-riemanniennes et russes du XXe siècle. Les expressions diverses de SLIDE impliquent notamment des paires d’accords, des accords simples et des lignes mélodiques dans des contextes texturaux, tonals et formels, conduisant à des effets contemplatifs, énergiques, comiques et triomphants. Certains aspects de la théorie des ensembles aident à relier SLIDE à d’autres phénomènes harmoniques dans l’oeuvre.
Mots-clés :
- Barrie Cabena,
- Sonata Festiva,
- SLIDE,
- théorie néo-riemannienne,
- théorie des ensembles
Veuillez télécharger l’article en PDF pour le lire.
Télécharger
Parties annexes
Biographical note
Mark Sallmen is an Associate Professor (teaching stream) of music theory in the Faculty of Music at the University of Toronto. He teaches music theory and musical skills courses in the undergraduate core curriculum, as well as upper-level undergraduate and graduate seminars in post-tonal music topics. Other published work involves the music of Schoenberg, Webern, and Carter, and the pedagogy of twentieth-century music.
Bibliography
- Alegant, Brian, and Donald McLean. 2001. “On the Nature of Enlargement.” Journal of Music Theory 45 (1): 31–72.
- Bass, Richard. 1988. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis 7 (2): 197–214.
- Bent, Margaret. 2002. Counterpoint, Composition and Musica Ficta. New York: Routledge.
- Bribitzer-Stull, Matthew. 2006. “The A♭–C–E Complex: The Origin and Function of Chromatic Major Third Collections in Nineteenth-Century Music.” Music Theory Spectrum 28 (2): 167–90.
- Cabena, Barrie. (1971) 2007. Sonata Festiva. St. Louis: E.C. Schirmer Music.
- Capuzzo, Guy. 2004. “Neo-Riemannian Theory and Analysis of Pop-Rock Music.” Music Theory Spectrum 26 (2): 177–99.
- Cohn, Richard L. 1988. “Inversional Symmetry and Transpositional Combination in Bartok.” Music Theory Spectrum 10: 23–38.
- Cohn, Richard L. 1997. “Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations.” Journal of Music Theory 41 (1): 1–66.
- Cohn, Richard L. 2000. “Weitzmann’s Regions, My Cycles, and Douthett’s Dancing Cubes.” Music Theory Spectrum 22 (1): 89–103.
- Fankhauser, Gabe. 2008. “Flat Primary Triads, Harmonic Refraction, and the Harmonic Idiom of Shostakovich and Prokofiev.” In Musical Currents from the Left Coast, edited by Jack Boss and Bruce Quaglia, 202–15. Middlesex: Cambridge Scholars.
- Forrest, David, and David Sears. 2019. “Rock Slides and Other Uncommon Progressions in Popular Music Harmony.” Paper presented at the Society for Music Theory Conference, Columbus, OH, 6–10 November.
- Harley, Konrad. 2014. “Harmonic Function in the Music of Sergei Prokofiev.” PhD diss., University of Toronto.
- Heinemann, Stephen. 1998. “Pitch-Class Set Multiplication in Theory and Practice.” Music Theory Spectrum 20 (1): 72–96.
- Honarmand, Amin. 2019. “Aggregates and Quasi-Aggregates: A Study of Dodecaphony in Schnittke’s Music.” Music Theory Spectrum 41 (2): 305–22.
- Hook, Julian. 2002. “Uniform Triadic Transformations.” Journal of Music Theory 46 (1–2): 57–126.
- Kholopov, Yuriy. 2003. Garmoniya: Teoretischeskiy kurs [Harmony: A theoretical course]. 2nd ed. Saint Petersburg: Lan’.
- Koblyakov, Lev. 1990. Pierre Boulez: A World of Harmony. Chur: Harwood Academic.
- Lehman, Frank. 2014. “Schubert’s SLIDEs: Tonal (Non-) Integration of a Paradoxical Transformation.” Music Theory and Analysis 1 (1–2): 61–100.
- Lehman, Frank. 2018. Hollywood Harmony: Musical Wonder and the Sound of Cinema. New York: Oxford University Press.
- Lewin, David. (1987) 2007. Generalized Musical Intervals and Transformations. New York: Oxford University Press. Originally published by Yale University Press.
- Losada, Catherine. 2014. “Complex Multiplication, Structure and Process: Harmony and Form in Boulez’s Structures II.” Music Theory Spectrum 36 (1): 86–120.
- Losada, Catherine. 2017. “Between Freedom and Control: Composing Out, Compositional Process, and Structure in the Music of Boulez.” Journal of Music Theory 61 (2): 201–42.
- Losada, Catherine. 2019. “Middleground Structure in the Cadenza to Boulez’s Éclat.” Music Theory Online 25 (1).
- Mazel’, Lev. 1957. “O r asshireniiponyatiya odnoimyonnoy tonal’nosti.” Sovetskaya muzïka 2:141–45.
- Mazel’, Lev. 1982. Stat’i po teorii i analizu muzïki. Moscow: Sovetskiy kompozitor.
- Morris, Robert D. 1990. “Pitch-Class Complementation and Its Generalizations.” Journal of Music Theory 34 (2):175–246.
- Morris, Robert D. 1998. “Voice-Leading Spaces.” Music Theory Spectrum 20 (2): 175–208.
- Morris, Robert D. 2001. Class Notes for Advanced Atonal Music Theory. Lebanon, NH: Frog Peak Music.
- Orfeyev, Serafim. 1970. “Odnovïsotnïye trezvuchiya i tonal’nosti.” In Voprosï teorii muzïki, vol. 2, edited by Yuriy Tyulin, 54–85. Moscow: Muzïka.
- Overduin, Jan. 1978. “The Published Organ Works of Barrie Cabena.” M.Mus. thesis, University of Western Ontario.
- Overduin, Jan. 1985. “Sonata IX by Barrie Cabena.” American Organist 19 (5): 66–67.
- Rifkin, Deborah. 2004. “A Theory of Motives for Prokofiev’s Music.” Music Theory Spectrum 26 (2): 265–89.
- Rupprecht, Philip. 2001. Britten’s Musical Language. New York: Cambridge University Press.
- Segall, Christopher. 2013. “Triadic Music in Twentieth-Century Russia.” PhD diss., City University of New York. Chapter on SLIDE is 80–117.
- Segall, Christopher. 2017. “Alfred Schnittke’s Triadic Practice.” Journal of Music Theory 61 (2): 243–87.
- Straus, Joseph N. 2003. “Uniformity, Balance and Smoothness in Atonal Voice Leading.” Music Theory Spectrum 25 (2): 305–52.
- Straus, Joseph N. 2004. “Atonal Composing Out.” In Order and Disorder: Music-Theoretical Strategies in 20th-Century Music, 31–51. Leuven: Leuven University Press.
- Straus, Joseph N. 2016. Introduction to Post-Tonal Theory. 4th ed. New York: W. W. Norton.
- Tiftikidi, Nikolay. 1970. “Teoriya odnotertsovoy i tonal’noy khromaticheskoy sistem.” In Voprosï teorii muzïki, vol. 2, edited by Yuriy Tyulin, 22–53. Moscow: Muzïka.
- Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press.