Harald Krebs
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195116236
- eISBN:
- 9780199871308
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116236.003.0009
- Subject:
- Music, Theory, Analysis, Composition
This epilogue analyzes one of Schumann's late piano works, the third of the Gesänge der Frühe (Morning Songs) op. 133. Although, as in most of Schumann's late works, there is much less metrical ...
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This epilogue analyzes one of Schumann's late piano works, the third of the Gesänge der Frühe (Morning Songs) op. 133. Although, as in most of Schumann's late works, there is much less metrical dissonance than in the works from the period before 1850, that device is a significant and pervasive feature of the movement.Less
This epilogue analyzes one of Schumann's late piano works, the third of the Gesänge der Frühe (Morning Songs) op. 133. Although, as in most of Schumann's late works, there is much less metrical dissonance than in the works from the period before 1850, that device is a significant and pervasive feature of the movement.
Harald Krebs
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195116236
- eISBN:
- 9780199871308
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116236.003.0002
- Subject:
- Music, Theory, Analysis, Composition
This chapter begins by discussing layers of motion and how they are formed (by accents, repeated patterns, etc.), then describes how the interaction of layers creates metrical consonance (alignment) ...
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This chapter begins by discussing layers of motion and how they are formed (by accents, repeated patterns, etc.), then describes how the interaction of layers creates metrical consonance (alignment) or one of two basic types of dissonance (non-alignment) — grouping dissonance and displacement dissonance. Grouping dissonance arises from the association of incongruent layers, displacement dissonance from the non-aligned presentation of congruent layers. A system of succinct labels for grouping and displacement dissonances is developed. The concept of families of related grouping and displacement dissonances is discussed. Most of the chapter focuses, however, on finer distinctions between dissonances of both basic types: between those based on simultaneous and on adjacent presentation of layers (resulting in direct and indirect dissonances, respectively); between those arising from the actual articulation of conflicting layers (surface-level dissonances) and those arising from the conflict between locally consonant layers and layers only implied by the context (subliminal dissonances); between those that occur on micro-levels, on intermediate levels, and on hypermetric levels (low-, mid-, and high-level dissonances). Varying levels of intensity of dissonance and various possibilities for combinations of dissonances (compound dissonances) are also considered. All types of metrical dissonance are amply illustrated from the works of Robert Schumann.Less
This chapter begins by discussing layers of motion and how they are formed (by accents, repeated patterns, etc.), then describes how the interaction of layers creates metrical consonance (alignment) or one of two basic types of dissonance (non-alignment) — grouping dissonance and displacement dissonance. Grouping dissonance arises from the association of incongruent layers, displacement dissonance from the non-aligned presentation of congruent layers. A system of succinct labels for grouping and displacement dissonances is developed. The concept of families of related grouping and displacement dissonances is discussed. Most of the chapter focuses, however, on finer distinctions between dissonances of both basic types: between those based on simultaneous and on adjacent presentation of layers (resulting in direct and indirect dissonances, respectively); between those arising from the actual articulation of conflicting layers (surface-level dissonances) and those arising from the conflict between locally consonant layers and layers only implied by the context (subliminal dissonances); between those that occur on micro-levels, on intermediate levels, and on hypermetric levels (low-, mid-, and high-level dissonances). Varying levels of intensity of dissonance and various possibilities for combinations of dissonances (compound dissonances) are also considered. All types of metrical dissonance are amply illustrated from the works of Robert Schumann.
Harald Krebs
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195116236
- eISBN:
- 9780199871308
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116236.001.0001
- Subject:
- Music, Theory, Analysis, Composition
This book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical ...
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This book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical application of the concepts of consonance and dissonance to metrical phenomena. An introductory chapter traces the history of this metaphor from its origins in the early 19th century through to the 20th century. In a series of theoretical chapters, the book then presents detailed descriptions of various types of metrical dissonances (particularly important types are grouping dissonance — based on the association of incongruent metrical layers, and displacement dissonance — based on the non-aligned presentation of congruent layers); a system of labels to characterize specific dissonances; explanations of musical processes that arise from the formation, manipulation, and resolution of these dissonances; and a discussion of the interaction of metrical dissonance with pitch structure, form, and extramusical elements. The emphasis throughout is on the description of the ever-changing metrical states within pieces of music, and on the characterization of the metrical progressions formed by these changing states. The theoretical chapters are interspersed with three intermezzi that adopt a historical or performance-related approach to the topic; these deal, respectively, with influences on Schumann's metrical style; with Schumann's compositional process as it relates to metrical dissonance; and with performance issues arising from metrically dissonant passages. Throughout the book, the theory is applied mainly in the analysis of Robert Schumann's music, but analyses of the music of 18th-century, other 19th-century, and early 20th-century composers are also included.Less
This book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical application of the concepts of consonance and dissonance to metrical phenomena. An introductory chapter traces the history of this metaphor from its origins in the early 19th century through to the 20th century. In a series of theoretical chapters, the book then presents detailed descriptions of various types of metrical dissonances (particularly important types are grouping dissonance — based on the association of incongruent metrical layers, and displacement dissonance — based on the non-aligned presentation of congruent layers); a system of labels to characterize specific dissonances; explanations of musical processes that arise from the formation, manipulation, and resolution of these dissonances; and a discussion of the interaction of metrical dissonance with pitch structure, form, and extramusical elements. The emphasis throughout is on the description of the ever-changing metrical states within pieces of music, and on the characterization of the metrical progressions formed by these changing states. The theoretical chapters are interspersed with three intermezzi that adopt a historical or performance-related approach to the topic; these deal, respectively, with influences on Schumann's metrical style; with Schumann's compositional process as it relates to metrical dissonance; and with performance issues arising from metrically dissonant passages. Throughout the book, the theory is applied mainly in the analysis of Robert Schumann's music, but analyses of the music of 18th-century, other 19th-century, and early 20th-century composers are also included.
Eric Anderson
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199777921
- eISBN:
- 9780199919062
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777921.001.0001
- Subject:
- Psychology, Social Psychology
A resilient cultural myth equates monogamy with a test of true love. Yet, despite this strongly-held cultural ideal, cheating is rampant. Whereas most books seek to cure men from their cheating ...
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A resilient cultural myth equates monogamy with a test of true love. Yet, despite this strongly-held cultural ideal, cheating is rampant. Whereas most books seek to cure men from their cheating malaise, The Monogamy Gap offers a far more radical idea: that men cheat because they love. In this groundbreaking research by Professor Eric Anderson, instead of entering his research with a condemnation of cheating, he examines for the purpose of cheating. Drawing on interviews with 120 straight and gay men, The Monogamy Gap shows how, after the intense and passionate sex of the early relationship fades, cheating functions to keep monogamous couples together. Thus, Professor Anderson finds that men cheat not because they fail to love their partners, but in order to satisfy their sexual desires without desiring to disrupt their emotional relationship. Rather than break up with their lovers so they can have meaningless erotic sex, men cheat as a rational solution to the irrational expectations of monogamy. However, these men still want the cultural capital given to monogamous relationships, and they therefore find themselves living with competing emotional and sexual desires: wanting monogamy, but also wanting recreational sex.Less
A resilient cultural myth equates monogamy with a test of true love. Yet, despite this strongly-held cultural ideal, cheating is rampant. Whereas most books seek to cure men from their cheating malaise, The Monogamy Gap offers a far more radical idea: that men cheat because they love. In this groundbreaking research by Professor Eric Anderson, instead of entering his research with a condemnation of cheating, he examines for the purpose of cheating. Drawing on interviews with 120 straight and gay men, The Monogamy Gap shows how, after the intense and passionate sex of the early relationship fades, cheating functions to keep monogamous couples together. Thus, Professor Anderson finds that men cheat not because they fail to love their partners, but in order to satisfy their sexual desires without desiring to disrupt their emotional relationship. Rather than break up with their lovers so they can have meaningless erotic sex, men cheat as a rational solution to the irrational expectations of monogamy. However, these men still want the cultural capital given to monogamous relationships, and they therefore find themselves living with competing emotional and sexual desires: wanting monogamy, but also wanting recreational sex.
Eric Anderson
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199777921
- eISBN:
- 9780199919062
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777921.003.0017
- Subject:
- Psychology, Social Psychology
This chapter offers a summary of the previous sixteen chapters. It also indicates the need for cultural recognition of varying relationship models without a presumption of the superiority or morality ...
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This chapter offers a summary of the previous sixteen chapters. It also indicates the need for cultural recognition of varying relationship models without a presumption of the superiority or morality of monogamy. This chapter concludes that multiple sexual social scripts and multiple models of relationships should co-exist as equally viable and moral relationship types. Yet, this possibility is currently nullified by the hegemonic control monogamy maintains. Hopefully this research will help ameliorate this problem of monogamy.Less
This chapter offers a summary of the previous sixteen chapters. It also indicates the need for cultural recognition of varying relationship models without a presumption of the superiority or morality of monogamy. This chapter concludes that multiple sexual social scripts and multiple models of relationships should co-exist as equally viable and moral relationship types. Yet, this possibility is currently nullified by the hegemonic control monogamy maintains. Hopefully this research will help ameliorate this problem of monogamy.
Solomon Schimmel
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195188264
- eISBN:
- 9780199870509
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195188264.003.0006
- Subject:
- Religion, Philosophy of Religion
This chapter examines how people acquire religious beliefs and protect them even when they are irrational. It integrates insights from psychology (Festinger on cognitive dissonance; Hinde on the ...
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This chapter examines how people acquire religious beliefs and protect them even when they are irrational. It integrates insights from psychology (Festinger on cognitive dissonance; Hinde on the persistence of religious beliefs), anthropology (Evans‐Pritchard on primitive religion; Boyer on evolution and religion), cultural history (Marsden on ‘creationism’), and social theory. It examines existential, social, and emotional functions served by religion, and how theology develops (unconvincing) bulwarks against challenges to religious beliefs. It analyzes defense mechanisms of believers, and eleven attitudes towards ‘truth’ of fundamentalists of the Abrahamic faiths, and notes similarities between theology and magical beliefs. The chapter debates a religious philosopher who is a critic of ‘evidentialism,’ and discusses the role that evidence and reason should play in making religious commitments about how to lead one's own and how to educate one's children. The chapter considers eighteen factors that can contribute to the loss of religious belief and faith.Less
This chapter examines how people acquire religious beliefs and protect them even when they are irrational. It integrates insights from psychology (Festinger on cognitive dissonance; Hinde on the persistence of religious beliefs), anthropology (Evans‐Pritchard on primitive religion; Boyer on evolution and religion), cultural history (Marsden on ‘creationism’), and social theory. It examines existential, social, and emotional functions served by religion, and how theology develops (unconvincing) bulwarks against challenges to religious beliefs. It analyzes defense mechanisms of believers, and eleven attitudes towards ‘truth’ of fundamentalists of the Abrahamic faiths, and notes similarities between theology and magical beliefs. The chapter debates a religious philosopher who is a critic of ‘evidentialism,’ and discusses the role that evidence and reason should play in making religious commitments about how to lead one's own and how to educate one's children. The chapter considers eighteen factors that can contribute to the loss of religious belief and faith.
Walter van de Leur
- Published in print:
- 2002
- Published Online:
- September 2008
- ISBN:
- 9780195124484
- eISBN:
- 9780199868711
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195124484.003.0004
- Subject:
- Music, History, Western
This chapter brings up the various distinctive techniques in Strayhorn’s composing and arranging. These include through-composed forms with developmental sections and integrated introductions, ...
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This chapter brings up the various distinctive techniques in Strayhorn’s composing and arranging. These include through-composed forms with developmental sections and integrated introductions, transitory sections and codas. His clever use of temporary modulations points up his control over harmony and counterpoint. The chapter shows how Strayhorn further availed himself of a variety of elements — harmonic, melodic, and rhythmic figures and passages that not only guarantee the internal cohesion of a given piece, but also strongly unify his works as a whole, clearly setting it apart it from Ellington’s oeuvre. The characteristics that allow the listener to distinguish Strayhorn’s work from Ellington’s are detailed: specific usage of dissonance, chords, voice leading, instrumentation, rhythmic figures, textures, and backgrounds.Less
This chapter brings up the various distinctive techniques in Strayhorn’s composing and arranging. These include through-composed forms with developmental sections and integrated introductions, transitory sections and codas. His clever use of temporary modulations points up his control over harmony and counterpoint. The chapter shows how Strayhorn further availed himself of a variety of elements — harmonic, melodic, and rhythmic figures and passages that not only guarantee the internal cohesion of a given piece, but also strongly unify his works as a whole, clearly setting it apart it from Ellington’s oeuvre. The characteristics that allow the listener to distinguish Strayhorn’s work from Ellington’s are detailed: specific usage of dissonance, chords, voice leading, instrumentation, rhythmic figures, textures, and backgrounds.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0008
- Subject:
- Music, Opera
This chapter looks at Act V — a room in the castle — which begins with wounded Mélisande in bed and closes the opera with Mélisande's forgiveness of Golaud and her death.
This chapter looks at Act V — a room in the castle — which begins with wounded Mélisande in bed and closes the opera with Mélisande's forgiveness of Golaud and her death.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0010
- Subject:
- Music, Opera
This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's ...
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This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's (Stefi's) motif of the seventh-chord and the chromatic motif of “Blood”. Descending third transpositions of variant seventh chords produce chromatic collisions as an implication of the “Blood” motif. Interaction of diatonic and whole-tone spheres produce dissonance and the move toward ultimate fate.Less
This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's (Stefi's) motif of the seventh-chord and the chromatic motif of “Blood”. Descending third transpositions of variant seventh chords produce chromatic collisions as an implication of the “Blood” motif. Interaction of diatonic and whole-tone spheres produce dissonance and the move toward ultimate fate.
Yonatan Malin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340051
- eISBN:
- 9780199863785
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340051.003.0002
- Subject:
- Music, Theory, Analysis, Composition
This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary ...
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This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary perspectives of notation, perception, and performance. Topics include metric hierarchies, entrainment, hypermeter, phrase rhythm, metric “dissonance” (including syncopation and hemiola), and qualities of motion and energy. Notes on Schubert's “Der Lindenbaum” and Brahms's “Das Mädchen spricht” illustrate the analytic methodologies, which are adapted in part from work by Harald Krebs. Richard Cohn's metric graphs provide a further perspective on metric states. Rhythmic layers in the piano are discussed together with those of the poetry and vocal lines, and all three are considered in relation to poetic and musical meaning.Less
This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary perspectives of notation, perception, and performance. Topics include metric hierarchies, entrainment, hypermeter, phrase rhythm, metric “dissonance” (including syncopation and hemiola), and qualities of motion and energy. Notes on Schubert's “Der Lindenbaum” and Brahms's “Das Mädchen spricht” illustrate the analytic methodologies, which are adapted in part from work by Harald Krebs. Richard Cohn's metric graphs provide a further perspective on metric states. Rhythmic layers in the piano are discussed together with those of the poetry and vocal lines, and all three are considered in relation to poetic and musical meaning.
Clive Brown
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780198161653
- eISBN:
- 9780191716263
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198161653.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter investigates the relationship between theory and practice in accentuation. It deals with the ways in which notation may imply accentuation where it is not explicitly indicated, for ...
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This chapter investigates the relationship between theory and practice in accentuation. It deals with the ways in which notation may imply accentuation where it is not explicitly indicated, for instance, in relation to slurs, dissonant or chromatic notes, high or low pitch, long notes, syncopation, beaming, final notes, and other factors, such as varying accentuation on the repetition of a figure. It also considers different types of accent and the ways in which they were executed. Agogic accent and related issues of ‘inequality’ are discussed with reference to the writings of Quantz, Mozart, Koch, Löhlein, Corri, Crelle, Spohr, García, Dommer, and Riemann. Charles de Bériot's instructions for different degrees of percussive accent are discussed.Less
This chapter investigates the relationship between theory and practice in accentuation. It deals with the ways in which notation may imply accentuation where it is not explicitly indicated, for instance, in relation to slurs, dissonant or chromatic notes, high or low pitch, long notes, syncopation, beaming, final notes, and other factors, such as varying accentuation on the repetition of a figure. It also considers different types of accent and the ways in which they were executed. Agogic accent and related issues of ‘inequality’ are discussed with reference to the writings of Quantz, Mozart, Koch, Löhlein, Corri, Crelle, Spohr, García, Dommer, and Riemann. Charles de Bériot's instructions for different degrees of percussive accent are discussed.
Fred Lerdahl
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195178296
- eISBN:
- 9780199870370
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178296.003.0004
- Subject:
- Music, Theory, Analysis, Composition
This chapter applies the pitch-space model to sequences and hierarchies of events to reveal patterns of tonal tension and attraction. Intuitions of tonal tension and relaxation correspond to ...
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This chapter applies the pitch-space model to sequences and hierarchies of events to reveal patterns of tonal tension and attraction. Intuitions of tonal tension and relaxation correspond to distances in relation to a given reference point (the tonic). Computational methods for both sequential and hierarchical tension are developed and illustrated in a Mozart sonata. These considerations lead to a reformulation of the interaction principle. The factor of surface dissonance is incorporated into the model. Intuitions of melodic anchoring motivate the complementary theory of melodic (or voice-leading) attractions. The crucial factors in the melodic attraction rule are proximity and stability. Attractions between reciprocal pitches and chords are asymmetrical, and attractions are provisionally equated with expectancies. The melodic attraction model is extended to harmonic attraction. The relationship between tonal tension and attraction is discussed, as are connections to other theories.Less
This chapter applies the pitch-space model to sequences and hierarchies of events to reveal patterns of tonal tension and attraction. Intuitions of tonal tension and relaxation correspond to distances in relation to a given reference point (the tonic). Computational methods for both sequential and hierarchical tension are developed and illustrated in a Mozart sonata. These considerations lead to a reformulation of the interaction principle. The factor of surface dissonance is incorporated into the model. Intuitions of melodic anchoring motivate the complementary theory of melodic (or voice-leading) attractions. The crucial factors in the melodic attraction rule are proximity and stability. Attractions between reciprocal pitches and chords are asymmetrical, and attractions are provisionally equated with expectancies. The melodic attraction model is extended to harmonic attraction. The relationship between tonal tension and attraction is discussed, as are connections to other theories.
Fred Lerdahl
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195178296
- eISBN:
- 9780199870370
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178296.003.0008
- Subject:
- Music, Theory, Analysis, Composition
This chapter extends and adapts the constructs and procedures of the previous chapters for the analysis of atonal music. Atonal music is seen to be in flat space. To remnants of the chord distance ...
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This chapter extends and adapts the constructs and procedures of the previous chapters for the analysis of atonal music. Atonal music is seen to be in flat space. To remnants of the chord distance rule are added principles involving atonal branching, atonal function, sensory consonance and dissonance, and fusion. These analytic tools are applied to passages in the music of Schoenberg and Webern. An attempt to analyze a 12-tone excerpt in Schoenberg results in relative failure, thereby showing the limits of the methods under consideration. A distinction is drawn between compositional system and heard structure, and reasons for the cognitive opacity of serialism are given. Future prospects are suggested, particularly with respect to compositional practice.Less
This chapter extends and adapts the constructs and procedures of the previous chapters for the analysis of atonal music. Atonal music is seen to be in flat space. To remnants of the chord distance rule are added principles involving atonal branching, atonal function, sensory consonance and dissonance, and fusion. These analytic tools are applied to passages in the music of Schoenberg and Webern. An attempt to analyze a 12-tone excerpt in Schoenberg results in relative failure, thereby showing the limits of the methods under consideration. A distinction is drawn between compositional system and heard structure, and reasons for the cognitive opacity of serialism are given. Future prospects are suggested, particularly with respect to compositional practice.
Harald Krebs
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195116236
- eISBN:
- 9780199871308
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116236.003.0003
- Subject:
- Music, Theory, Analysis, Composition
This chapter considers some of the music that likely influenced Schumann's metrical style: that of contemporary pianist-composers, such as Moscheles and Hummel, which he studied and performed in his ...
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This chapter considers some of the music that likely influenced Schumann's metrical style: that of contemporary pianist-composers, such as Moscheles and Hummel, which he studied and performed in his youth; that of Paganini, some of whose Caprices for Solo Violin Schumann transcribed for piano; the keyboard music of J. S. Bach, which Schumann analyzed and played in the early 1830s; and that of Beethoven and Schubert. Substantial analyses of the music of these composers demonstrate the importance of metrical conflict therein. The chapter concludes with analyses of some of Schumann's very early works, which reveal his gradual absorption of some of the metrical procedures of earlier composers.Less
This chapter considers some of the music that likely influenced Schumann's metrical style: that of contemporary pianist-composers, such as Moscheles and Hummel, which he studied and performed in his youth; that of Paganini, some of whose Caprices for Solo Violin Schumann transcribed for piano; the keyboard music of J. S. Bach, which Schumann analyzed and played in the early 1830s; and that of Beethoven and Schubert. Substantial analyses of the music of these composers demonstrate the importance of metrical conflict therein. The chapter concludes with analyses of some of Schumann's very early works, which reveal his gradual absorption of some of the metrical procedures of earlier composers.
Crawford Gribben
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195326604
- eISBN:
- 9780199870257
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326604.003.0008
- Subject:
- Religion, History of Christianity
This chapter documents a range of evangelical responses to the sudden mainstreaming of prophecy culture in the aftermath of Left Behind. It describes some of the most important of these many ...
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This chapter documents a range of evangelical responses to the sudden mainstreaming of prophecy culture in the aftermath of Left Behind. It describes some of the most important of these many texts—those sharing the series’ branding and publisher, those prepared by the series’ authors with a different branding and publishers, those by other authors taking advantage of the popularity of apocalyptic narratives, and those written to counter the series’ claims. In particular, the chapter focuses on the challenge to Left Behind’s politics, and especially their representation of Israel and the Jews; their theology, including their exegesis and description of the rapture; and their challenge to the cognitive dissonance of the sudden mainstreaming of a system of belief that must maintain its marginality if it is to coherently survive. The chapter highlights the growing ambiguity about the immorality of violence.Less
This chapter documents a range of evangelical responses to the sudden mainstreaming of prophecy culture in the aftermath of Left Behind. It describes some of the most important of these many texts—those sharing the series’ branding and publisher, those prepared by the series’ authors with a different branding and publishers, those by other authors taking advantage of the popularity of apocalyptic narratives, and those written to counter the series’ claims. In particular, the chapter focuses on the challenge to Left Behind’s politics, and especially their representation of Israel and the Jews; their theology, including their exegesis and description of the rapture; and their challenge to the cognitive dissonance of the sudden mainstreaming of a system of belief that must maintain its marginality if it is to coherently survive. The chapter highlights the growing ambiguity about the immorality of violence.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0011
- Subject:
- Music, History, Western
Initially published by La Chevardière in 1774, Op. 20 acquired the name “Sun” from a sunburst image on the title page of Hummel's 1779 edition. Despite resemblances to Opp. 9 and 17, the new quartets ...
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Initially published by La Chevardière in 1774, Op. 20 acquired the name “Sun” from a sunburst image on the title page of Hummel's 1779 edition. Despite resemblances to Opp. 9 and 17, the new quartets break fresh ground in matters of cyclic profile, opus design, and sonority, and they exceed their predecessors in musical wit, technical sophistication, expressive range, and formal variety. Memorable novelties include instances of metrical dissonance, tonal derailment, and dense chromaticism as well as passages that feature the cello as a tenor-range soloist. With two quartets cast in minor keys, there are new perspectives on minor-key discourse; and the incorporation of three technically exacting fugal finales points to a new concept of cyclic profile, with the finale now a focus of cyclic culmination.Less
Initially published by La Chevardière in 1774, Op. 20 acquired the name “Sun” from a sunburst image on the title page of Hummel's 1779 edition. Despite resemblances to Opp. 9 and 17, the new quartets break fresh ground in matters of cyclic profile, opus design, and sonority, and they exceed their predecessors in musical wit, technical sophistication, expressive range, and formal variety. Memorable novelties include instances of metrical dissonance, tonal derailment, and dense chromaticism as well as passages that feature the cello as a tenor-range soloist. With two quartets cast in minor keys, there are new perspectives on minor-key discourse; and the incorporation of three technically exacting fugal finales points to a new concept of cyclic profile, with the finale now a focus of cyclic culmination.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0013
- Subject:
- Music, History, Western
Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, ...
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Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.Less
Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.
Thomas O Beebee
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780195339383
- eISBN:
- 9780199867097
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195339383.003.0004
- Subject:
- Literature, American, 20th Century Literature, American, 18th Century and Early American Literature
Literature has not neglected the fact that millennial expectations have hitherto always been defeated. Leon Festinger developed his theory of cognitive dissonance in part to explain the persistence ...
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Literature has not neglected the fact that millennial expectations have hitherto always been defeated. Leon Festinger developed his theory of cognitive dissonance in part to explain the persistence of belief in the face of disconfirmed prophecy. This chapter examines numerous literary examples of defeated millennium under the hypothesis that literature replaces cognitive dissonance with what I call reflective dissonance. It analyzes fictional texts’ rhetorics of reflection vs. persuasion, the types of possible worlds they construct, and the contribution these make to millennial discourse in the Americas. Three types of millennial defeat are posited: 1) defeated millennium nearly always takes historical examples as its objects of mimesis, and thus simply documents the defeats of millennial outbreaks by real-world forces; 2) pseudo-millennium shrinks millennial activity down to a simulation exercise, as in Ahab’s elevation of a whale hunt to a “final battle” between good and evil; and 3) dystopic millennium allows the millennial movement to “succeed,” but with a result far from the joy and plenitude promised by Revelation, and with the eschatechnologies of the New Order resembling those of a prison.Less
Literature has not neglected the fact that millennial expectations have hitherto always been defeated. Leon Festinger developed his theory of cognitive dissonance in part to explain the persistence of belief in the face of disconfirmed prophecy. This chapter examines numerous literary examples of defeated millennium under the hypothesis that literature replaces cognitive dissonance with what I call reflective dissonance. It analyzes fictional texts’ rhetorics of reflection vs. persuasion, the types of possible worlds they construct, and the contribution these make to millennial discourse in the Americas. Three types of millennial defeat are posited: 1) defeated millennium nearly always takes historical examples as its objects of mimesis, and thus simply documents the defeats of millennial outbreaks by real-world forces; 2) pseudo-millennium shrinks millennial activity down to a simulation exercise, as in Ahab’s elevation of a whale hunt to a “final battle” between good and evil; and 3) dystopic millennium allows the millennial movement to “succeed,” but with a result far from the joy and plenitude promised by Revelation, and with the eschatechnologies of the New Order resembling those of a prison.
Diana G. Tumminia
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780195176759
- eISBN:
- 9780199835720
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195176758.003.0011
- Subject:
- Religion, Religion and Society
The discussion revisits the criticisms of Leon Festinger’s cognitive dissonance theory by indicating alternative explanations of disconfirmed prophecy and adherence to irrational beliefs. Subsequent ...
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The discussion revisits the criticisms of Leon Festinger’s cognitive dissonance theory by indicating alternative explanations of disconfirmed prophecy and adherence to irrational beliefs. Subsequent empirical research on actual prophecies show Festinger’s original perspective to be flawed. Charismatic organizations that give rise to prophecy provide whole lifeworlds of activity and meaning that go beyond a single prediction. Groups, like Unarius, with repeated prophetic failure develop coping mechanisms and specific methods of interpretation that explain away the reality disjuncture connected with such disappointments. One Unarian method is to account for the non-arrival of the Space Brothers in terms of past lives.Less
The discussion revisits the criticisms of Leon Festinger’s cognitive dissonance theory by indicating alternative explanations of disconfirmed prophecy and adherence to irrational beliefs. Subsequent empirical research on actual prophecies show Festinger’s original perspective to be flawed. Charismatic organizations that give rise to prophecy provide whole lifeworlds of activity and meaning that go beyond a single prediction. Groups, like Unarius, with repeated prophetic failure develop coping mechanisms and specific methods of interpretation that explain away the reality disjuncture connected with such disappointments. One Unarian method is to account for the non-arrival of the Space Brothers in terms of past lives.
Marie K. Krug and Cameron S. Carter
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195391381
- eISBN:
- 9780199776894
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195391381.003.0001
- Subject:
- Psychology, Cognitive Neuroscience, Social Psychology
This chapter addresses the topic of self-control from the perspective of conflict theory, a well-studied framework for understanding the behavioral and neural adaptation effects seen during the ...
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This chapter addresses the topic of self-control from the perspective of conflict theory, a well-studied framework for understanding the behavioral and neural adaptation effects seen during the performance of a selective attention task. We begin with an in-depth explanation of conflict theory and a review of recent literature in support of this theory. We explain how the anterior cingulate cortex (ACC) monitors for processing or response conflict and recruits dorsolateral prefrontal cortex (DLPFC) to resolve these conflicts, increasing attention to goal-related stimuli and adaptively improving behavioral performance. Next, we review alternative theories and explanations of cognitive control and compare them to conflict theory. Finally, we focus on the recent application of conflict theory to the understanding of a wide range of mental processes including emotion regulation and appraisal as well as social cognitive phenomena such as moral reasoning and attitudes, social exclusion, and cognitive dissonance. We conclude that conflict theory, a mechanistic framework originally designed to account for cognitive control functions related to attention, also shows promise in its ability to elucidate higher-level emotional and social behaviors and their associated neural activity. We propose that this model should be considered in future studies of processes related to self-control.Less
This chapter addresses the topic of self-control from the perspective of conflict theory, a well-studied framework for understanding the behavioral and neural adaptation effects seen during the performance of a selective attention task. We begin with an in-depth explanation of conflict theory and a review of recent literature in support of this theory. We explain how the anterior cingulate cortex (ACC) monitors for processing or response conflict and recruits dorsolateral prefrontal cortex (DLPFC) to resolve these conflicts, increasing attention to goal-related stimuli and adaptively improving behavioral performance. Next, we review alternative theories and explanations of cognitive control and compare them to conflict theory. Finally, we focus on the recent application of conflict theory to the understanding of a wide range of mental processes including emotion regulation and appraisal as well as social cognitive phenomena such as moral reasoning and attitudes, social exclusion, and cognitive dissonance. We conclude that conflict theory, a mechanistic framework originally designed to account for cognitive control functions related to attention, also shows promise in its ability to elucidate higher-level emotional and social behaviors and their associated neural activity. We propose that this model should be considered in future studies of processes related to self-control.
