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The time of spatial analysis: on the temporal dimension of some pitch-based analytical models
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Resumo(s)
Desde o final do anos 50 e anos 60, o trabalho académico Norte- Americano em teoria da música produziu uma variedade de modelos matematicamente informados de organização de alturas-de-sons. Análises baseadas nesses modelos frequentemente posicionam relações de alturas em configurações espaciais, que enfatizam o mapeamento entre os domínios de alturas e espaço. No entanto, este ensaio reflecte sobre os aspectos temporais que a mediação da análise de alturas traz à experiência da peça musical. Propõe, por isso, um estudo preliminar abarcando perspectivas orientadas tanto para a estrutura como para o processo da peça. O ensaio argumenta que à medida que os modelos espaciais tentaram conciliar a classificação sistemática das classes-de- conjunto (de alturas) com relações mais flexíveis e dinâmicas, o modo de presenciar o tempo através da análise inflectiu de discontínuo e não linear para uma temporalidade mais linear e directa.
Since the late 1950s and 60s, North-American music-theoretical scholarship has produced a variety of mathematically informed models of pitch organization. Analyses based on such models often depict pitch relations in suggestive spatial configurations, which emphasize the cross-domain mapping between pitch and space. The paper reflects, however, upon the temporal aspects imported to the experience of the piece as it is mediated through pitch-based analysis. It proposes a preliminary survey of the issue, from an initial composer- or structure-oriented perspective to a more listener- or process-oriented one. It argues that as spatial models tried to reconcile the systematic set-class classification of pitch materials with more flexible, dynamic and process-oriented relations, the mode of experiencing time through analysis also inflected from discontinuous, non-linear towards more linear and directed temporalities.
Since the late 1950s and 60s, North-American music-theoretical scholarship has produced a variety of mathematically informed models of pitch organization. Analyses based on such models often depict pitch relations in suggestive spatial configurations, which emphasize the cross-domain mapping between pitch and space. The paper reflects, however, upon the temporal aspects imported to the experience of the piece as it is mediated through pitch-based analysis. It proposes a preliminary survey of the issue, from an initial composer- or structure-oriented perspective to a more listener- or process-oriented one. It argues that as spatial models tried to reconcile the systematic set-class classification of pitch materials with more flexible, dynamic and process-oriented relations, the mode of experiencing time through analysis also inflected from discontinuous, non-linear towards more linear and directed temporalities.
Descrição
Palavras-chave
Affinity spaces Alturas Espaços de afinidade Geometrias musicais Klumpenhouwer networks K-nets Music geometries Neo-Riemannian Pitch Scalar theory Set-theory Tempo Temporalidade Temporality Teoria de conjuntos Teoria de escalas Teoria neo-Riemanniana Timr Transformational Transpositional network
Contexto Educativo
Citação
Martins, J.-A. O. (2013). The time of spatial analysis: on the temporal dimension of some pitch-based analytical models. 22-26. Paper presented at III Encontro Internacional de Teoria e Análise Musical, São Paulo, Brazil.