SMT-V: Videocast Journal of the Society for Music Theory

Was it Diegetic, or Just a Dream? Music’s Paradoxical Place in the Film Inception             April 2018 (4.1)

Christopher Doll (Rutgers University)

Between "diegetic" film music (heard by the characters) and "nondiegetic" film music (heard only by the audience) is a paradoxical space called the "fantastical gap." A film such as Inception (2010) makes traversal of this gap into an overt theme, obscuring our sense of place to such a degree that even the literal plot of the movie is open to interpretation, and thus also illustrating the extent to which filmmakers can manipulate an audience's understanding of the filmic world through the blurring of the diegetic/nondiegetic divide.

SMT-V Video Archive

Music, Poetry, and Performance in a Song by Maria Schneider
December 2017 (3.3)
Stephen Rodgers (University of Oregon)

In this video I explore the way song composers respond not just to the meanings of words but also to their sounds. Using a song from Maria Schneider’s 2013 song cycle Winter Morning Walks as a case study, I consider how a particular performance of a song and a particular performance of a poem can heighten our awareness of the connections between music and the materiality of poetry.

Schoenberg’s ‘Advice for Beginners in Composition with Twelve Tones
June 2017 (3.2)
J. Daniel Jenkins (University of South Carolina)

In 1951, Schoenberg received a letter from composer Humphrey Searle asking Schoenberg to record a lecture for the BBC radio program “Music Magazine.” Schoenberg immediately proposed a subject, “Advice for Beginners in Composition with Twelve-Tones,” and requested to use television rather than radio because his musical examples “were perhaps less easily to realize by the ear than by the eye.” Although Schoenberg wrote a script, he died before he could record it. Only recently has this fascinating document been published, providing keen insights into Schoenberg’s compositional process, and posing interesting questions about the reception of twelve-tone composition after his death.

Parenthetic Aside in a 1789 Analysis of Mozart’s K. 284
February 2017 (3.1)
L. Poundie Burstein, with Quynh Nguyen (piano) (Hunter College and the Graduate Center, CUNY)

In a 1789 treatise, the Darmstadt musician J.G. Portmann presents what amounts to a multi-level harmonic analysis of Mozart’s Sonata for Piano in D, K. 284, I. Portmann’s interpretation of the movement's exposition is in line with concepts expressed by other eighteenth-century theorists, but suggestively differs from standard modern conceptions of the form, especially in its understanding of what nowadays is labeled as the secondary theme.

Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2" (Part 1 of 2)
Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2" (Part 2 of 2)
July and December 2016 (2.2 and 2.3)
Steven Reale (Youngstown State University)

This two-video series explores how the scoring to the video game Portal 2, published by Valve Corporation, not only helps tell the game’s story, but also comments on the game developers’ philosophy of puzzle design. The first video explores how the game’s title theme 9999999, including its texture, voice leadings, and chord qualities, musically enacts dual aspects of the character of the game’s central antagonist GlaDOS: once human, her personality was uploaded into a computer mainframe where she has become a sociopathic, homicidal artificial intelligence who takes delight in subjecting humans to hazardous scientific experimentation. The second video demonstrates that 9999999 serves as the theme for a set of double variations in the game’s middle act. Since Valve’s philosophy of player training centers on iterative puzzle-design that systematically increase in complexity, and the musical accompaniments for these puzzles feature coordinated developments in musical complexity, the scoring here lets us parse the puzzle design into a kind of set of gameplay theme-and- variations.

Vertigo Theme (Recording)

"9999999" from Portal 2 (Recording)

"9999999" from Portal 2 (Score)

The Influence of Clara Schumann’s Lieder on Declamation in Robert Schumann’s Late Songs
February 2016 (2.1)
Harald Krebs (University of Victoria)

In his late songs (from 1849-52), Robert Schumann’s vocal rhythm strays much farther than in his earlier songs from the poetic rhythm. His late style of declamation may have been influenced by Clara Schumann’s Lieder of the 1840s. His late songs exhibit the following characteristics, which are also found in her songs: 1) the vocal rhythms are based on the poetic rhythm at least occasionally, so that listeners have a foil against which they can perceive declamatory irregularities; 2) there are numerous deviations from consistent coordination of stresses with strong beats, and of four-bar hypermeasures with poetic units; 3) rests are often employed in an unpredictable manner; and 4) there are text-expressive motivations for declamatory irregularities.

Multiple Musical Agency in Mozart's Chamber Music
October 2015 (1.3)
Edward Klorman (Queens College and The Julliard School)

Comparisons between the string quartet and artful conversation have flourished since the genre’s birth. If a quartet performance resembles stylized social intercourse, each player may be understood to enact the role of an individual persona engaged in the discourse. This study introduces the concept of multiple agency, whereby musical events are interpreted through the actions and interactions of these individual personas. This analytical approach is demonstrated through the analysis of a passage from Mozart’s Quartet in G Major, K. 387. A more thorough exposition of multiple agency’s historical and conceptual underpinning appears in the author’s monograph, Mozart’s Music of Friends.

Contrapuntal Thinking in Haydn
June 2015 (1.2)
Peter Schubert (McGill University)

The first eight measures of the finale of Haydn’s Symphony #99 are straightforward as to harmony and formal function (they are a textbook period ending in PAC V). But the first theme group takes on larger proportions as a direct repetition of the basic idea introduces a new formal function. The momentum that Haydn builds up as this first theme group grows in length depends on “contrapuntal thinking.” In this video, Peter Schubert pulls apart the little melodic fragments that Haydn cleverly recombined.

Repetition & Musicality
February 2015 (1.1)
Elizabeth Hellmuth Margulis (University of Arkansas)

This video explores the connection between repetition and musicality. It starts by demonstrating the role of repetition in a popular web app, and then chronicles the centrality of repetition within musical practice at large. Given this centrality, musical repetition has been relatively understudied, but the methods and perspectives of cognitive science might help illuminate its functions. The rest of the video reviews recent empirical work that examines the role of repetition in musical perceptions, suggesting that repetition shapes attention and engagement in powerful ways.

Poundie Burstein, Editor Seth Monahan, Associate Editor
(Hunter College and the Graduate Center, CUNY) (Eastman School of Music)

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