MUSIC, ANALYSIS, AND THE BODY: EXPERIMENTS, EXPLORATIONS, AND EMBODIMENTS Series: Analysis in Context. Leuven Studies in Musicology, 6 Editors: Thumpston R., Reyland N. Summary: How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? Music, Analysis, and the Body: Experiments, Explorations, and Embodiments is a pioneering and timely essay collection uniting major and emerging scholars to consider how theory and analysis address music’s literal and figurative bodies. The essayists offer critical overviews of different theoretical approaches to music analysis and embodiment, then test and demonstrate their ideas in specific repertoires. The range of musics analysed is diverse: Western art music sits alongside non-Western repertoires, folk songs, jazz, sound art, audio-visual improvisations, soundtracks, sing-alongs, live events, popular songs, and the musical analysis of non-musical experiences. Topics examined include affect, agency, energetics, feel, gesture, metaphor, mimesis, rehearsal, subjectivity, and the objects of music analysis – as well as acoustic ecology, alterity, class, distraction, excess, political authority, sensoriality, technology, and transcendence. Year: 2018 ISBN: 978-90-429-3641-6 Pages: XVIII-347 p. Price: 95 EURO MUSIC, ANALYSIS, AND THE BODY: EXPERIMENTS, EXPLORATIONS, AND EMBODIMENTS 100538_Reyland_AiC6_Voorwerk.indd 1 9/03/18 15:27 ANALYSIS IN CONTEXT. LEUVEN STUDIES IN MUSICOLOGY This peer-reviewed series aims at consolidating recent trends in music analysis in which analytical and historical research are seen as interdependent. Compositions will not be analysed in order to prove the validity or propose the universality of any particular theory but rather to disclose their specificity within the historical context in which they originated. This approach may include aesthetic ideas, compositional and listening strategies, sociological conditions, theoretical systems, or genre conventions. Consequently, the aims, methods and results of analysis may be as widely divergent as music history is (historical research as a tool of analysis). On the other hand, if musicology is to include the study of musical works of art, a contextual analysis of compositions is indispensable (analysis as a tool of historical research). Analysis in Context is addressed to an international readership. VOLUME 6 General editor: Mark Delaere Editorial board: Pieter Bergé, Bonnie J. Blackburn, Camilla Bork, David Burn, Jan Christiaens, Jonathan Cross, Julian Horton, Birgit Lodes, Laurenz Lütteken, Katelijne Schiltz Contact information: Katholieke Universiteit Leuven Department of Musicology Blijde-Inkomststraat 21 B-3000 Leuven BELGIUM analysis-in-context@arts.kuleuven.be 100538_Reyland_AiC6_Voorwerk.indd 2 9/03/18 15:27 MUSIC, ANALYSIS, AND THE BODY: EXPERIMENTS, EXPLORATIONS, AND EMBODIMENTS Edited by Nicholas REYLAND and Rebecca THUMPSTON PEETERS Leuven – Paris – Bristol, CT 2018 100538_Reyland_AiC6_Voorwerk.indd 3 9/03/18 15:27 A catalogue record for this book is available from the Library of Congress. ISBN 978-90-429-3641-6 D/2018/0602/??? © 2018, Uitgeverij Peeters, Bondgenotenlaan 153, 3000 Leuven – Belgium No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage or retrieval devices or systems, without prior written permission from the publisher, except the quotation of brief passages for review purposes. 100538_Reyland_AiC6_Voorwerk.indd 4 9/03/18 15:27 For Stacey 100538_Reyland_AiC6_Voorwerk.indd 5 9/03/18 15:27 100538_Reyland_AiC6_Voorwerk.indd 6 9/03/18 15:27 TABLE OF CONTENTS List of Figures and Tables. List of Music Examples . . Contributors . . . . . . . Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 000 000 000 000 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicholas REYLAND & Rebecca THUMPSTON 1 Part 1 THEORIES/ANALYSES (PERFORMERS/COMPOSERS/AUDIENCES) 1 ‘On the Subjects and Objects of Music Analysis’. . . . . . . . . . Arnie COX 2 ‘“Von anderem Planeten”? Gesture, Embodiment, and Virtual Environments in the Orbit of (A)tonality’ . . . . . . . . . . . . . . . Matthew BAILEYSHEA & Seth MONAHAN 000 ‘Becoming-Minoritarian: Embodiment and Disembodiment in Szymanowski’s Mythes, Op. 30/I’. . . . . . . . . . . . . . . . . . Kenneth SMITH 000 3 000 4 ‘The “Feel” of Musical Ascent’ . . . . . . . . . . . . . . . . . . . Rebecca THUMPSTON 000 5 ‘Sensible Listening: Cage and his Distractors’ . . . . . . . . . . . Anthony GRITTEN 000 6 ‘Subjectivity, Analysis and the Body: Wolfgang Rihm’s Tutuguri’ . Alastair WILLIAMS 000 7 ‘Metaphorical Bodies and Multiple Agencies in Thomas Adès’s Tevot’ Edward VENN 000 100538_Reyland_AiC6_Voorwerk.indd 7 9/03/18 15:27 VIII TABLE OF CONTENTSS Part 2 PERFORMERS/COMPOSERS/AUDIENCES (THEORIES/ANALYSES) 8 ‘Bodies in Motion: Musical Affect and the Pleasure of Excess’ . . . Michael KLEIN 9 ‘Affect, Representation, Transformation: The Royle Family’s Musical Bodies’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicholas REYLAND 000 000 10 ‘Feeling Sound’ . . . . . . . . . . . . . . . . . . . . . . . . . . . Simon EMMERSON 000 11 ‘Jazz and the Live Performance Event’ . . . . . . . . . . . . . . . Peter ELSDON 000 12 ‘Analysing Sonic Authority: Sensoriality, Affect, and the Unsettled Body’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel BECKLES WILLSON 13 ‘Performers’ Perspectives on “Feel” in Music’ . . . . . . . . . . . Elaine KING & Caroline WADDINGTON-JONES 000 000 14 ‘Critical Listening and Sensory Experience in Soundscape Composition’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ely LYONBLUM 000 15 ‘Composing the Body Electric: Embodied Interaction with Software in Musical Creation’ . . . . . . . . . . . . . . . . . . . . . Vincent MEELBERG 000 16 ‘Pragmatist Ironist Analysis and (Re-)Embodied Interactivity: Experimental Approaches to Sensor-Based Interactive Music Systems Inspired by Music Analysis’ . . . . . . . . . . . . . . . . . . . . . Joshua BANKS MAILMAN Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100538_Reyland_AiC6_Voorwerk.indd 8 000 000 9/03/18 15:27 LIST OF FIGURES Map of Poland at the time of the Second Republic . . . . . . . . . . . BaileyShea’s Three Categories of Musical Forces . . . . . . . . . . . . . Hatten’s ‘various proposed musical forces and their implied source(s)’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.3 Klein’s ‘Map of Narrative Discourse’ . . . . . . . . . . . . . . . . . . . . . . 7.4 Map of Agential Discourse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.1 Visualization of events in If One Night . . . . . . . . . . . . . . . . . . . . . 15.1 The physical interfaces used during composition . . . . . . . . . . . . . 15.2 The Sibelius user interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.3 The Logic Pro user interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.4 Screenshot of dans un espace pantin. . . . . . . . . . . . . . . . . . . . . . . . 16.1 Comparison between rationalist vs. pragmatist approaches to performance and to embodiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16.2 Hardware/software setup for interactive systems: Fluxations (Mailman & Paraskeva 2012) and FluxNOISations (Mailman 2013) . . 16.3 Graph indicating the interonset times of the composite rhythm of a passage from Elliott Carter’s Quartet No. 5, movement 10. . . . 16.4 The fluctuating range of interonset intervals in the entire 10th movement of Carter’s Quartet No. 5 . . . . . . . . . . . . . . . . . . . . . . 16.5 (a) wrist-mounted flex sensor controlling rhythmic flow; (b) flux of rhythmic sparseness as a simulation of flux of interonset volatility, and (c) flux of pulse speed (interonset speed) . . . . . . . . . . . . . 16.6 The fluid form of the beginning and ending of Morris’s In Concert (2000), depicted in terms of the textural vessel: viscosity. . . . . . . 16.7 Fluxations’ interactive control of texture: (a) Varying degrees of viscosity influence the texture significantly. (b) In the mapping used in Fluxations, viscosity (vs. fluidity) is controlled by crouching vs. standing upright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16.8 Circle-of-fifths harmonic space: hollower to fuller harmonic spaces generated by the circle of fifths . . . . . . . . . . . . . . . . . . . . . . . . . . . 16.9 Filling in (populating) the circle-of-fifths space by moving forward in space (toward the depth-sensing video camera) . . . . . . . . . . . . 16.10 Interactive control of some of FluxNOISations’ generative algorithmic input variables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.1 7.1 7.2 100538_Reyland_AiC6_Voorwerk.indd 9 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 9/03/18 15:27 LIST OF TABLES 3.1 Formal overview, marking ‘refrains’ as ‘flows’ . . . . . . . . . . . . . . . . . 3.2 Flows and Breakdowns, showing becomings-pandiatonic; becomingsoctatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1 Musical process of Cage’s Music for Marcel Duchamp. . . . . . . . . . . 7.1 Thomas Adès, Tevot (2007), overview of content . . . . . . . . . . . . . . 9.1 An increasingly animated polylogue from The Royle Family . . . . . . 100538_Reyland_AiC6_Voorwerk.indd 10 000 000 000 000 000 9/03/18 15:27 LIST OF MUSICAL EXAMPLES 2.1 2.2 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 3.13 3.14 4.1 4.2 6.1 6.2 6.3 7.1 7.2 7.3 7.4 7.5 8.1 15.1 Wolfgang Amadeus Mozart, Piano Sonata in C, K. 545, bb. 1–12 Arnold Schoenberg, Klavierstück, Op. 11 No. 1, bb. 1–13. Used by permission of Belmont Music Publishers, Los Angeles . . . . . . The opening of Mythes, Op. 30/I, The Fountain of Arethusa . . . . Figure 4 of Mythes, Op. 30/I, bars 47–52. . . . . . . . . . . . . . . . . . . Figure 7 of Mythes, Op. 30/I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Poco avviviano from §9 of Mythes, Op. 30/I. . . . . . . . . . . . . . . . . Momentary bitonal clashes between E♭ minor and D . . . . . . . . . ‘Wünsche’, Love Songs from Hafiz, Op. 24/i. . . . . . . . . . . . . . . . . Reduction of opening bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice-leading reduction of §5–7. . . . . . . . . . . . . . . . . . . . . . . . . . Two layers of chromatic descent . . . . . . . . . . . . . . . . . . . . . . . . . . Mythes, Op. 30/II & ‘Podhalean’ Mode (‘pre-discovery’) . . . . . . . Mazurka Op. 50/1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Sabala Tune from the Tatra region . . . . . . . . . . . . . . . . . . . . . . The ‘Narcissism’ chord (aka, the Skryabin chord) and the Podhalean mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mazurka, Op. 50/2, bars 45–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . Elgar, Cello Concerto, movement one, bb. 30–33 (cello and piano reduction) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elgar, Cello Concerto, movement one, representation of move from equilibrium to disequilibrium and back (b. 31) . . . . . . . . . . Bild I, bb. 5–27: Tutuguri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The first big percussion entry from Bild I, bb. 90–94: Tutuguri . Transition between textures in ‘Peyote Dance’ from Bild III, bb. 1148–51: Tutuguri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas Adès, Tevot (2007), bb. 142–4 . . . . . . . . . . . . . . . . . . . . Thomas Adès, Tevot (2007), bb. 1–6 . . . . . . . . . . . . . . . . . . . . . . Thomas Adès, Tevot (2007), bb. 19–26 . . . . . . . . . . . . . . . . . . . . (a) Thomas Adès, Tevot, bb. 314–23; (b) Thomas Adès, Violin Concerto, second movement, Fig. 20+6–20+10 . . . . . . . . . . . . . . . . Thomas Adès, Tevot (2007), bb. 223–8 . . . . . . . . . . . . . . . . . . . . Chopin, Polonaise-Fantasie, Op. 61, bb. 109–206. . . . . . . . . . . . dans un espace pantin (piano version) . . . . . . . . . . . . . . . . . . . . . . 100538_Reyland_AiC6_Voorwerk.indd 11 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 000 9/03/18 15:27 XII 16.1 16.2 16.3 16.4 16.5 LIST OF MUSIC EXAMPLES (a) Excerpt from the beginning of Robert Morris’s In Concert (2000), bb. 1–4; (b) Excerpt from Robert Morris’s In Concert (2000), bb. 17–19; (c) Excerpt from Robert Morris’s In Concert (2000), bb. 23–29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gradual expansion in cycle-of-fifths space in Reich’s Music for 18 Musicians (1974–6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gradual shift and expansion in cycle-of-fifths space in Liszt’s Mephisto Waltz No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Entire diatonic collections shifting incrementally on circle-of-fifths space in Reich’s New York Counterpoint (1985) . . . . . . . . . . . . . . Circle-of-fifths pitch-class transposition in Fluxations achieved through lateral movement of the body (as detected by a motion tracking system using a depth sensing video camera) . . . . . . . . . . 100538_Reyland_AiC6_Voorwerk.indd 12 000 000 000 000 000 9/03/18 15:27 CONTRIBUTORS Matthew BaileyShea is an Associate Professor of Music Theory in the College Music Department at the University of Rochester and the Eastman School of Music. He has published on topics such as musical form, chromatic harmony, and, most recently, poetry and song. Joshua Banks Mailman has been teaching music at Columbia University, NYU, U.C. Santa Barbara, and University of Alabama, since earning his Ph.D. in Music Theory from the Eastman School in 2010. He researches form from flux: dynamic form. He creates interactive audio-visual computer music and writes on analysis of music of Schoenberg, Carter, Babbitt, Ligeti, Grisey, and others. His writings appear in Music Analysis, Music Theory Spectrum, Journal of Sonic Studies, TEMPO, Psychology of Music, Music Theory Online, Open Space Magazine, Leonardo Electronic Almanac, and Perspectives of New Music. www.joshuabanksmailman.com. Rachel Beckles Willson is Professor of Music at Royal Holloway, University of London. Her publications range between analysis, history, and ethnomusicology, engaging with twentieth- and twenty-first-century repertoires and practices, particularly in the former Eastern Bloc and the Middle East. Her most recent monograph is Orientalism and Musical Mission: Palestine and the West (Cambridge University Press, 2013). She is also a multi-instrumentalist and composer. Arnie Cox is Associate Professor at the Oberlin College and Conservatory of Music (Ohio, USA) where he teaches music theory, ear training, and cognitive musicology. He is author of Music & Embodied Cognition: Listening, Moving, Feeling, & Thinking (Indiana University Press, 2016) and of various articles on embodied music cognition. He is currently drafting a manuscript on music and emotion. Peter Elsdon is Senior Lecturer in Music at the University of Hull. His book on Keith Jarrett’s Köln Concert was published by Oxford University Press in 2013, and he is co-editor with Björn Heile and Jenny Doctor of Watching Jazz (OUP, 2016). He has also published work on jazz recordings, gesture in music, and the music of Icelandic band Sigur Rós. 100538_Reyland_AiC6_Voorwerk.indd 13 9/03/18 15:27 XIV CONTRIBUTORS Simon Emmerson is Professor at De Montfort University, a composer, and a writer on electronic music since the early 1970s. Commissions include: GRM (Paris), Inventionen (Berlin), Darragh Morgan (violin), Philip Mead (piano), Sond-Arte Ensemble (Lisbon). Recordings: Sargasso. Writings include: The Language of Electroacoustic Music (1986), Music, Electronic Media and Culture (2000), Living Electronic Music (2007), Expanding the Horizon of Electroacoustic Music Analysis (2016). Anthony Gritten is Head of Undergraduate Programmes at the Royal Academy of Music. He has edited two volumes on Music and Gesture and published essays on Stravinsky, Delius, Lyotard, Nancy, Bakhtin, and numerous issues in music performance studies, including distraction, problem solving, listening, empathy, and entropy. Elaine King is Senior Lecturer in Music at the University of Hull. She co-edited Music and Gesture (Ashgate, 2006), New Perspectives on Music and Gesture (Ashgate, 2011), Music and Familiarity (Ashgate, 2013) and Music and Empathy (Routledge, 2017). She has published widely in the fields of music psychology and performance studies, notably on different aspects of ensemble rehearsal and performance. She is Associate Editor of Psychology of Music and an experienced cellist, pianist, and conductor. Michael L. Klein is Professor of Music at Boyer College of Music and Dance, Temple University. His research is directed toward critical theory and its applications to understanding music. His publications include Intertextuality in Western Art Music and Music and the Crises of the Modern Subject (2005 and 2015, Indiana University Press), ‘Chopin’s Fourth Ballade as Musical Narrative’ (Music Theory Spectrum), which won a publication award from the Society for Music Theory, and (as co-editor with Nicholas Reyland) Music and Narrative Since 1900 (2013, Indiana University Press). Ely Lyonblum recently received his Ph.D. in Music at the University of Cambridge, and is the Research Grants Officer at the Faculty of Music at the University of Toronto. His work has been presented by CBC Radio 1, the Smithsonian Institution, the British Library, and at universities internationally. Vincent Meelberg is Senior Lecturer and Researcher at Radboud University Nijmegen, the Netherlands, Department of Cultural Studies, and at the Academy 100538_Reyland_AiC6_Voorwerk.indd 14 9/03/18 15:27 CONTRIBUTORS XV for Creative and Performing Arts in Leiden and The Hague. He is founding editor of the online Journal of Sonic Studies, a sound designer, and an improvising double bassist. Seth Monahan is Associate Professor of Music Theory at the Eastman School of Music and two-time recipient of the Society for Music Theory’s Emerging Scholar Award. Nicholas Reyland is Head of Undergraduate Programmes at the Royal Northern College of Music, Manchester. He has published extensively on screen music (film and TV), Polish music (especially Lutosławski), narratology, affect, embodiment, and, more generally, the theory and analysis of music since 1900. His books include the co-edited collections Music and Narrative Since 1900 (with Michael L. Klein, 2013) and Lutosławski’s Worlds (with Lisa Jakelski, 2018), and the monograph Zbigniew Preisner’s ‘Three Colors’ Trilogy: Blue, White, Red (2011). He has published in journals including Music Analysis, Music & Letters, Music, Sound and the Moving Image, and Twentieth-Century Music. Kenneth Smith is Senior Lecturer in Music at the University of Liverpool. His books include Skryabin, Philosophy and the Music of Desire (Ashgate, 2013) and the forthcoming Desire in Chromatic Harmony. He has published articles and book chapters on composers such as Skryabin, Szymanowski, Charles Ives, Zemlinsky, and Wagner, from the perspective of Lacanian and post-Lacanian theory and music-theoretical Funktionstheorie. His work on popular music began with an article on Modest Mouse in Popular Music (2014) and an article on the Britpop band Suede, and he has co-edited The Routledge Companion to Popular Music Analysis: Expanding Approaches. Rebecca Thumpston is Research Associate at the Royal Northern College of Music, Manchester, and Administrator for the Society for Music Analysis. She completed her Ph.D., ‘Agency in twentieth-century British cello music’, at Keele University in 2015. Rebecca has published on the music of Benjamin Britten and Simon Holt and, with Barbara Kelly, on ‘Maintaining the Entente Cordiale: Musicological Collaboration Between the United Kingdom and France’ (Revue de musicologie, 2017). Edward Venn is Associate Professor of Music at the University of Leeds and Associate Editor for Music Analysis. His research focuses on twentieth-century 100538_Reyland_AiC6_Voorwerk.indd 15 9/03/18 15:27 XVI CONTRIBUTORS and contemporary music. His monograph, Thomas Adès: Asyla, supported by a Leverhulme Research Fellowship, was published in 2017, and his earlier The Music of Hugh Wood was recently reissued as a paperback. Caroline Waddington-Jones obtained her Ph.D. in music psychology from the University of Hull, for which she examined empathy in ensemble playing. She works as a professional clarinettist and SEND music practitioner, and is Lecturer in Music and Therapeutic Arts at the University of Derby. Alastair Williams is Professor of Music at Keele University. He has research interests in modernism and modernity, Austro-German traditions, and subjectivity in music. He is the author of New Music and the Claims of Modernity (1997), Constructing Musicology (2001), and Music in Germany Since 1968 (2013). He is also a contributor to the Cambridge History of Twentieth-Century Music (2004) and the forthcoming Routledge Research Companion to Musical Modernism. He has recently published an article on Wolfgang Rihm’s opera Dionysos in Contemporary Music Review. 100538_Reyland_AiC6_Voorwerk.indd 16 9/03/18 15:27 ACKNOWLEDGEMENTS XVII ACKNOWLEDGEMENTS The editors would like to thank Stacey Sewell, for her visionary role in the inception and origins of this project; Mark Delaere and colleagues, for their encouragement and support throughout the production of the book; the speakers and delegates at the 2014 EuroMAC session; and our former colleagues at Keele University. Nicholas Reyland would like to thank his family, dog, cats, and bees. Rebecca Thumpston would like to thank her family and friends, especially Michael for his patience, constant encouragement, and love. 100538_Reyland_AiC6_Voorwerk.indd 17 9/03/18 15:27 100538_Reyland_AiC6_Voorwerk.indd 18 9/03/18 15:27