Books by Yosef Goldenberg
Edwin Mellen Press. 2008.
Books (edited) by Yosef Goldenberg
A collection of essays co-edited by David Beach and Yosef Goldenberg, forthcoming in Eastman Stud... more A collection of essays co-edited by David Beach and Yosef Goldenberg, forthcoming in Eastman Studies in Music, University of Rochester Press, 15 June 2015
Academic Papers by Yosef Goldenberg
Transformational Analysis in Practice: Music-Analytical Studies on Composers and Musicians from around the World, ed. Bozhidar Chapkanov, Vernon Press, 2024
Neo-Riemannian operations, at least those that involve semitonal motion (P, PL, slide, LP and mot... more Neo-Riemannian operations, at least those that involve semitonal motion (P, PL, slide, LP and motion between hexatonic poles( may be alternatively interpreted as progressions to or from enharmonic equivalents of consonant triads (EECT). This conceptualization offers an alternative to chromatic mediant relations. In those cases where the EECT form altered incomplete structures of piled-up thirds, they lend themselves to their own harmonic scale degrees (e.g., VII b7/#3). Criteria for evaluating the preferred spelling in specific cases include the actual voice leading, motivic parallelism and location of the semitone at the main voice. The kind of enharmonicism engaged by interpretations that involve EECTs by should not be confused with motion across the enharmonic seam.
Indiana Theory Review, 2023
The hardly explored piano music of Scott Joplin (ragtime pieces, waltzes, and marches) is replete... more The hardly explored piano music of Scott Joplin (ragtime pieces, waltzes, and marches) is replete with subtle harmonic details within a square framework. These include specifically interesting usages of two idioms: (1) tonic chords with an added sixth and (2) chromatic voice leading that gives rise to plenty of rare intervals. Among these, there is special use for [inline-graphic 01], a corollary of the augmented-sixth [inline-graphic 02] before a major [inline-graphic 03], and enharmonic equivalent of ♭VI. Each of these idioms serves as a special kind of pivot chord, in Harmony Club Waltz and A Breeze from Alabama respectively. Awareness to Joplin's harmonic details may help to study his historical and cultural position more precisely.
Access to the full text requires subscription.
Gamut, 2021
The study offers a systematic exploration of situations in which dyads in common-practice tonal m... more The study offers a systematic exploration of situations in which dyads in common-practice tonal music change their meaning, when repeated or as pivots. The most common such situation is thirds that serve as either the upper or the lower pair of consonant triad members, most often with the tonic as one of the options. Sometimes, however, an implied harmony turns out to be dissonant. Occasionally, dyads other than thirds are also subject to reinterpretation. In exceptional circumstances, dyads do not imply complete harmonies.
צבי אבני: חייו ויצירתו מאת יהואש הירשברג ורקפת בר שדה, הוצאת כרמל, 2021
ניתוח מפורט של הסונטה השנייה לפסנתר מאת צבי אבני
Music Theory Online , 2020
This article offers a generalized study of continuous question-answer pairs in common-practice to... more This article offers a generalized study of continuous question-answer pairs in common-practice tonal music. In all (and only in) question-answer pairs, the first ending is less conclusive than the second. The first ending need not, however, be a cadence. The category of question-answer pairs (QAPs) that are continuous cuts across various theme types in Caplin’s (1998) taxonomy. Examples of continuous QAPs include (1) continuous periods (with a dominant-version consequent or a consequent with a non-tonic beginning); (2) most, but not all cases of the hybrid theme type compound basic theme + consequent; and (3) many, but not all statement-response pairs in sentential presentations. Various aspects contribute to the evaluation of each specific case, including caesuras, motivic parallelism, symmetry, internal organization, unit length, independence of the hyper-unit, and melodic closure.
Peimot: Music and Culture
English translation of an originally Hebrew publication
מאזניים, 2018
The poet and the music: 120 years of Tchernichovsky and music.
Survey and interpretation of music... more The poet and the music: 120 years of Tchernichovsky and music.
Survey and interpretation of music set to the poetry of Tchernichovsky.
Intégral, 2018
The common term “diatonic modulation” involves two distinct meanings:
modulations into keys whose... more The common term “diatonic modulation” involves two distinct meanings:
modulations into keys whose tonics are diatonic triads in the source keys (this study also distinguishes them from closely related keys) and modulations via a pivot chord that is diatonic in both source and target keys. Modulations may fulfill one condition but not the other. Modulations can reach a diatonic goal by several means: pivot chords that are chromatic in either the source key, the target key, or both; by means of enharmonic pivot chords; or without any pivot chords. Modulations can also reach some distant goals by means of pivot chords that are diatonic in both source and target keys. A corollary aspect of normative diatonic modulations is a stable phrase rhythm, but this can also be separated from diatonic modulations. The study also suggests pedagogical adaptation of the distinctions made, since they are missing in harmony textbooks.
This is my earliest academic paper, originally published in Bulgarian Musicology 2001, no. 2, pp.... more This is my earliest academic paper, originally published in Bulgarian Musicology 2001, no. 2, pp. 148-161. The publication was on a cheap paper so the music examples were hard to see. Due to an editing error, it was published without the footnotes.
The current PDF is scanned from a printout. The original files are by now corrupt. At least the music examples were made in an obsolete software.
Most of the music examples might be subject to copyright and would be removed on demand.
פרק אנליטי מתוך "יחזקאל בראון: חייו ויצירתו", ספרם של יחזקאל בראון, רותם לוז ויהואש הירשברג, הוצא... more פרק אנליטי מתוך "יחזקאל בראון: חייו ויצירתו", ספרם של יחזקאל בראון, רותם לוז ויהואש הירשברג, הוצאת המכון למוסיקה ישראלית והוצאת כרמל, 2017, עמ' 131 עד 149. המאמר אינו זמין באופן מקוון.
Cadential 6/4 chords that take place at boundary points challenge the normative interpretation of... more Cadential 6/4 chords that take place at boundary points challenge the normative interpretation of cadential 6/4s as dominants with two suspending or accented passing tones. There are two kinds of cadential 6/4s at boundary points: (1) backward-grouped cadential 6/4s (boundary points in time), where the cadential 6/4 is grouped together with the previous subdominant and (2) cadential 6/4s after which the melodic direction of the upper voice changes (boundary points in pitch) ,as when supporting the middle member of the configuration ^5–^4–^1–^2–^3, ^3–^2–^1–^2–^3 (under certain metrical circumstances),or ^1– ^2–^3–^4–^5. In these situations the tonic potential of cadential 6/4s plays a role but does notnecessarily override the sense of dominant with non-chord tones.The result is either ambiguous either/or situations, more vague compromises, or the simultaneous existence of irresolvably contradictory elements.
The article is available online onlie through subscription to Music Theory and Analysis.
English translation of the article published in Hebrew from Cathedra 2004.
This version is very s... more English translation of the article published in Hebrew from Cathedra 2004.
This version is very slightly updated.
גרסה עברית של המאמר
Relationships between Steps and Music in Israeli Folk Dances for Beginners
הת... more גרסה עברית של המאמר
Relationships between Steps and Music in Israeli Folk Dances for Beginners
התיעוד הנלווה קיים בגרסה האנגלית בלבד.
Music Analysis 35/3 (2016): 314-340. Available online via Wiley; access is not free.
In common-p... more Music Analysis 35/3 (2016): 314-340. Available online via Wiley; access is not free.
In common-practice tonal music, normative voice leading is challenged when motives based on arpeggiated chords recur transposed by leaps. Most often, linear readings become possible by means of choosing a different member from each participating chord. The exact details depend on the specific harmonic progression. Some alternative readings are also possible. There is a danger of theoretical bias in such readings, although many of the actual instances are strongly convincing.
Bach to Brahms (ed. David Beach and Yosef Goldenberg, forthcoming June 2015), pp. 97-114
Music and Dance in Time 2014: Interweaving Realities in Performing Arts, May 2014
מוזיקה בישראל, בסדרת הנושא של עיונים בתקומת ישראל, 2014
The representation of the desert in Israeli songs and art music is most often a private case of a... more The representation of the desert in Israeli songs and art music is most often a private case of an orientalistic approach. The desert serves as a place both desired and frightening. Often it is realized in specific topoi. Alternatives include meditative music and other directions. Examination of international musical representation of the desert shows that the Israeli case has specific features.
Uploads
Books by Yosef Goldenberg
Books (edited) by Yosef Goldenberg
Academic Papers by Yosef Goldenberg
Access to the full text requires subscription.
Survey and interpretation of music set to the poetry of Tchernichovsky.
modulations into keys whose tonics are diatonic triads in the source keys (this study also distinguishes them from closely related keys) and modulations via a pivot chord that is diatonic in both source and target keys. Modulations may fulfill one condition but not the other. Modulations can reach a diatonic goal by several means: pivot chords that are chromatic in either the source key, the target key, or both; by means of enharmonic pivot chords; or without any pivot chords. Modulations can also reach some distant goals by means of pivot chords that are diatonic in both source and target keys. A corollary aspect of normative diatonic modulations is a stable phrase rhythm, but this can also be separated from diatonic modulations. The study also suggests pedagogical adaptation of the distinctions made, since they are missing in harmony textbooks.
The current PDF is scanned from a printout. The original files are by now corrupt. At least the music examples were made in an obsolete software.
Most of the music examples might be subject to copyright and would be removed on demand.
The article is available online onlie through subscription to Music Theory and Analysis.
This version is very slightly updated.
Relationships between Steps and Music in Israeli Folk Dances for Beginners
התיעוד הנלווה קיים בגרסה האנגלית בלבד.
In common-practice tonal music, normative voice leading is challenged when motives based on arpeggiated chords recur transposed by leaps. Most often, linear readings become possible by means of choosing a different member from each participating chord. The exact details depend on the specific harmonic progression. Some alternative readings are also possible. There is a danger of theoretical bias in such readings, although many of the actual instances are strongly convincing.
Access to the full text requires subscription.
Survey and interpretation of music set to the poetry of Tchernichovsky.
modulations into keys whose tonics are diatonic triads in the source keys (this study also distinguishes them from closely related keys) and modulations via a pivot chord that is diatonic in both source and target keys. Modulations may fulfill one condition but not the other. Modulations can reach a diatonic goal by several means: pivot chords that are chromatic in either the source key, the target key, or both; by means of enharmonic pivot chords; or without any pivot chords. Modulations can also reach some distant goals by means of pivot chords that are diatonic in both source and target keys. A corollary aspect of normative diatonic modulations is a stable phrase rhythm, but this can also be separated from diatonic modulations. The study also suggests pedagogical adaptation of the distinctions made, since they are missing in harmony textbooks.
The current PDF is scanned from a printout. The original files are by now corrupt. At least the music examples were made in an obsolete software.
Most of the music examples might be subject to copyright and would be removed on demand.
The article is available online onlie through subscription to Music Theory and Analysis.
This version is very slightly updated.
Relationships between Steps and Music in Israeli Folk Dances for Beginners
התיעוד הנלווה קיים בגרסה האנגלית בלבד.
In common-practice tonal music, normative voice leading is challenged when motives based on arpeggiated chords recur transposed by leaps. Most often, linear readings become possible by means of choosing a different member from each participating chord. The exact details depend on the specific harmonic progression. Some alternative readings are also possible. There is a danger of theoretical bias in such readings, although many of the actual instances are strongly convincing.
Abstract:
Israeli popular music includes many quotations from earlier Israeli songs as well as other Israeliana references. Quotations may take various forms, from cover versions to the mere evocation of song titles. This phenomenon preceded the rockisation of Israeli music, had its apex in the 1970s with early rockisation, and is continuing today, despite a certain decline. The purpose of the quotations is often a mere interaction with traditional materials, but it also sometimes expresses a striving towards an experience of life that is more sincere. Two subtopics of special significance are adolescence and political critique. Since earlier hegemony in Israel was maintained by the old left, the rock music rebellion was not as anti-capitalistic as in the Woodstock Festival, rather manifesting anti-authoritarian trends similar to (but milder than) those encountered in Eastern Europe.
Middleton WI: A-R editions.
A corrected version of Example 2 may be seen at https://www.zemereshet.co.il/song.asp?id=3645