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Tidying Tonal Terminology
including parts of ‘The Symbiosis of Epistemic Inertia’1st presented at Euromac Music Analysis Conference, Rome, 2011-10-02
Updated versions: Glasgow, 2011-10-12; Århus, 2011-11-18; Durham 2011-12-06; Liverpool 2012-01-31;
Newcastle 2012-02-22; Lancaster 2012-03-16; Nottingham 2012-03-20This online version, Huddersfield 2012-03-29
Philip TaggVisiting Professor (retired) ,Universities of Huddersfield and Salford, UK
www.tagg.org
N.B. No audiovisuals are embedded in this PowerPoint presentation. You will need to download or stream the
relevant files (see next slide) and play them at the points indicated in this presentation.
P Tagg Hudd1203
Tidying Tonal TerminologyDownload all 8 clips to where you’ll find them on your computer
and play each of them when instructed to do so in this PowerPoint
1. The Female Drummer (all). www.tagg.org/Clips/FemDrumAll.mpg
2. 11 extracts of popular musics. www.tagg.org/Clips/RomeMontageV2.mpg
3. Aesthesic v. poïetic (Van Eyck v. Em9). www.tagg.org/Clips/VanEyckBond.mpg
4. Atonal, no! Atonical, yes! (Morricone). www.tagg.org/Clips/MissionM1Atonical.mpg
5. Ionian tertial parallels. www.tagg.org/Clips/RomeParallels.mpg
6. I or V or IV? Guantanamera-s with different endings. www.tagg.org/Clips/Guantanameras.mpg
7. Mixolydian Montage. www.tagg.org/Clips/MixolydV06.mpg8. Bimodality: ionian or aeolian? Aeolian or phrygian?
www.tagg.org/Clips/ Bimodality.mpgP Tagg Hudd1203
Tidying Tonal Terminology
presentation overview as intended 2012-02-22
• Brief overview of central epistemic issues (30%)
• Background (improvised) (5%)
• Troubles with tonal terminology (50%)
• Conclusions (15%)
P Tagg Hudd1203
Tidying Tonal Terminology
• You can start either on the next slide or, to concretise the issue from the outset (if you have time), play The Female Drummer complete (www.tagg.org/Clips/FemDrumAll.mpg)
• Questions to ask of the recording: [1] does it have a main tonic or potential drone note and, if so, which? [2] Does it have a secondary (alternative) tonal centre and, if so, which? [3] What mode is used in the vocal and guitar riff parts? (Answers towards end of article “Troubles with Tonal Terminology” at http://www.tagg.org/xpdfs/Aharonian2011.pdf).
• If you run The Female Drummer here you can skip it in the first montage (slide 7).P Tagg
Hudd1203
Popular Music HistoryPopular Music Analysis
Music and the Moving Image
If you teach or study…
… you’ll need to talk about the SOUNDS of
music, about MUSICAL STUCTURES.That’s not easy if you’re only going to
use the standard terminology of
conventional, euroclassical music theory!
P Tagg Hudd1203
Montage 1: 11 extracts
Play this montage exemplifying the range of musics to be covered in popular music studies:www.tagg.org/Clips/RomeMontageV2.mpg
• The Female Drummer is no. 11 in the montage and can be omitted if you already played it (slide 4).
• Main question: which extracts can and cannot be adequately described using the tonal terminology of conventional euroclassical music theory?
P Tagg Hudd1203
Omitted from montage (for example)
• West African polymetricity• Appalachian old-time musica ficta and florid melismatics
Both important in charting origins of popular music in N. America and for counteracting racist reductionism in history of music
P Tagg Hudd1203
Popular Music Analysis: structural denotation, the central problem
• Graphocentrism– The ‘work’ or ‘text’ as something written– Notatable parameters at expense of others
(e.g. timbre, metricity, aural staging)
• Poïetic v. aesthesic descriptors
P Tagg Hudd1203
1. Music as knowledge (knowledge in music)
1a. Poïetic competence (construction)
involves: creating, originating, producing, composing, arranging, performing, etc.
institutionalised in: conservatories, colleges of music, etc.
1b. Aesthesic competence (perception)
involves: recalling & recognising musical sounds, distinguishing between them and between their culturally specific connotations and functions
institutionalised in: ……?
P Tagg IbAm08
2. Metamusical knowledge (knowledge about music)
2a. Metatextual discourse
involves: ‘music theory’, conventional music analysis, identification and naming elements and patterns of musical structure, etc.
institutionalised in: departments of music(ology), colleges of music, etc.
2b. Metacontextual discourse
involves: explaining how musical practices relate to culture and society, incl. approaches from semiotics, acoustics, business studies, sociology, anthropology, etc.
institutionalised in: departments of social science; literature, media, cultural studies.
P Tagg IbAm08
Aesthesic v. poïetic
Play Aesthesic v. poïetic www.tagg.org/Clips/VanEyckBond.mpg
P Tagg Hudd1203
Canonic quotes
Music excites the body to automatic movement, an exhilaration that defeats boredom and inspires insight… Music gives the body control over itself, granting personal freedom and revealing sexual potential’ (Lull 1992)
‘[T]he power of pop lies not in its meaning but in its noise,… the non-signifying, extra-linguistic elements that defy “content analysis”: the grain of the voice, the materiality of the sound, the biological effect of the rhythm, the fascination of the star’s body’ (Reynolds 1990).
‘Passions must be powerful, the musician’s feelings [must be] unfettered — no mind control,… no clever ideas…(Diderot: Le neveu de Rameau, 1762)
[Listening to music the right way means] ‘fully surrendering the spirit to the welling torrent of sensations and disregarding every disturbing thought’…(Wackenroder, 1792)
P Tagg Hudd1203
Absolutism and semiotics in music studies
Syntax
Semantics
Pragmatics
Conventionaleuroclassical
‘Pomo-Rockologist’
Lots of text, v. little context
All context, no text
‘Theory’
P Tagg Hudd1203
Inflation of ‘theory’ c. 1980-2000‡
• The Adorno problem and empiriphobia - no ‘text’, no audience but left-wing credentials*• CCCS, multidisciplinarity and the need for intellectual commonality - inflation of theoretical litanies, ‘La French Theory’• Bourdieu’s critique of scholasticism† - lack of reflexivity on power agenda of discourse* Tagg & Clarida: Ten Little Title Tunes, pp. 39-47, 59-77 (MMMSP, 2003) and Mattelart & Neveu: Cultural Studies Stories (in Réseaux, 1996).† Bourdieu: Practical Reason pp. 127-140 (Stanford Uni. Press, 1998) and Pascalian Meditations pp. 49-84 (Polity, 2000). ‡ A J Bruce Johnson: Cultural Theory: Who Needs It? (Conference paper, 2009 at www.tagg.org/xpdfs/TheoryWhoNeedsIt.pdf).
P Tagg Hudd1203
Tonal Terminology: focus
• Aspects of musical structure compatible with Western notation:
• i.e. a system of graphic representation developed to encode mainly monometric music whose pitches conform to the twelve notes of our chromatically divided octave.
• (a v. small % of all music in the world)
P Tagg Hudd1203
¿¡“Atonal”!?
Play Atonal, no! Atonical, yes! (Morricone)www.tagg.org/Clips/MissionM1Atonical.mpg
P Tagg Hudd1203
Definitions
• TONE a note with audible fundamental pitch
• TONALconsisting of or characteristic of tones
• TONALITYsystem of tonal configuration
P Tagg Hudd1203
Linguistic derivative pattern (1)
centre central centrality centralist
form formal formality formalist
crime criminal criminality criminalistic
sense sensual sensuality sensualist
tone tonal tonality — ???
P Tagg Hudd1203
…better than before but still a bit weird…
Linguistic derivative pattern 2
(better!)comic comical clinic clinical
ethic[s] ethical magic magical
music musical optic optical
polemic polemical rhetoric rhetorical
statistic statistical tropic[s] tropical
TONIC TONICAL – TONICALITYP Tagg
Hudd1203
Chordal mystery category
QUARTAL‘triadic’? ‘functional’ ? ‘diatonic’?TERTIAL
P Tagg Hudd1203
Gm11
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3 categories of tonical tertial harmony
• Euroclassical tertial harmony• Non-classical ionian tertial harmony• Non-ionian tertial harmony
P Tagg Hudd1203
Montage 2: Non-euroclassical tertial harmony
Play Ionian Tertial Parallels www.tagg.org/Clips/RomeParallels.mp
g
P Tagg Hudd1203
Montage 3: Guantanameras
Play Guantanamera-swww.tagg.org/Clips/Guantanameras.mpg
P Tagg Hudd1203
Mixolydian and ionian cadencing
Play Mixolydian Montage www.tagg.org/Clips/MixolydV06.mpg
P Tagg Hudd1203
Aeolian cadencing to I (3)
P Tagg Hudd1203
Same chords, different tonics
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Montage 5: bimodality
Play Bimodality: ionian or aeolian?
Aeolian or phrygian? www.tagg.org/Clips/Bimodality.mpg
P Tagg Hudd1203
Conclusions (1 of 2)
• Tonal impoverishment• ‘Tonal’ and its illogical prefixes ‘pre-’, ‘post-’, ‘a-’• ‘Tonal’ as absurd opposite to ‘modal’: is the ionian not a mode, too?• Ethnocentricity
P Tagg Hudd1203
Conclusions (2 of 2)
• Don’t confuse TONE with TONIC. Tonal music without a tonic is ATONICAL, not ‘atonal’.• Don’t confuse TRIADs with THIRDS. If harmony based on stacked fourths is quartal, harmony based on stacked thirds is TERTIAL.• Don’t propagate false contradictions like ‘TONAL v. MODAL’. Please conceptualise all modes, including the ionian, as modes.• Don’t use TONAL and TONALITY in a musically, culturally and intellectually restrictive manner. Please consider the PLURALITY OF TONAL SYSTEMS (TONALITIES) in the real world.
P Tagg Hudd1203
What to do?• Go home, pretend that nothing is wrong and carry on as before (ostrich strategy)• Take note but no action. (‘We have to deal with “music theory” as is: we can’t change >100 years of ethnocentricity and inexactitude’.)• Risk alienation from conservative musicology (both ancient and modern) by making life easier for the popular majority of students through: - simple reform of a few basic terms; - recognition of vernacular musical competence; - reintegration of music as a specific form of symbolic production on a par with others,.
P Tagg Hudd1203
Three numbers
127
14
0
Total # musicologists employed inItalian universities in 2008
of which ethnomusicologists
of which popular music specialists
1 (2009)
P Tagg Hudd1203
THE ENDPhilip Tagg,
Huddersfield/Rome/Glasgow/Århus/Durham/Liverpool/Newcastle/Lancaster/Nottingham Sept 2011-March 2012This online version updated 2012-03-29
www.tagg.org
P Tagg Hudd1203