Meta + Hodos and META Meta + Hodos. James Tenney. Frog Peak Music Amazon PDF · Home. Composer James Tenney’s Meta+Hodos was an early formulation of what he described as a “conceptual framework for musical description and. PRAXIS META†HODOS: THREE LOVE SONGS FOR JAMES TENNEY. Thesis. Submitted in partial fulfillment of the requirements for the. Degree of. Master of.

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Fifty years after it first appeared in print, the book remains a thought-provoking, methodical analysis of the experience of perceiving music.

Percorsi Musicali: Fifty Years After the Way: James Tenney’s Meta+Hodos

Tenneywho was a performer as well as a composer, wrote early computer music based on information theory and later wrote for conventional instruments using just jame and alternate tunings. From Clang to Sequence to Form.

It is important to note that the clang as a musical unit encompasses not only tone, but other qualities of musical sound such as timbre and texture. This expansive conception of musical sonority is a reflection of the situation of art music in the middle of the 20 th century, when musical ideas had become centered not only on pitch and harmony but on other, previously subordinate dimensions of sound.

The clang thus provides for cases where janes musical unit will be shaped not by pitch or harmony alone or even predominantly, but by any of these other factors instead. Once this musical unit is established Tenney goes on to identify and analyze the formal factors by which musical units can be recognized and ordered into larger complexes.


James Tenney — Meta + Hodos

Borrowing again from Gestalt psychology, this time from Max Wertheimer, Tenney proposes temporal placement and aural resemblance or non-resemblance as the primary factors allowing jamrs to perceive individual musical events as belonging together in sequences or standing separately as independent units.

A particularly intense passage will be perceived as the focus or initiation of a clang, thus providing a means of delimiting the clang as a unit. Subjective set describes the set of expectations a listener brings to any piece of music, based on, for example, his or her prior listening experiences and background knowledge about music and music history.

A piece of music written according to common practice harmony, for example, would set up certain expectations in the listener about how the piece will develop as manifested in the sound patterns set up by the functional relationships among chords.

The importance of subjective set and objective set lies in the way they relate musical events to each other in time, particularly to the hodoos that an earlier event will be perceived as having had an influence on a later event. Having described the basic musical unit and its ordering into sequences, Tenney moves on to consider the question of hodow perception of larger-scale musical form.

These differences will be heard as cues signaling the boundaries of musical units and groupings and will allow the listener to hear the relevant patterns linking and separating clangs and sequences.

Meta + Hodos and META Meta + Hodos

In this way the work can be resolved into the formal units which give it its musical configuration and cohesion. From the phenomenological point of view put forth by Tenney, then, we hear music the way we do because of the way it is—divided into mwta and smaller units relating to each other by virtue of their qualitative similarities and differences.


Nor is it meant to. While radical, these latter works are still essentially based on relationships of pitch and harmony; by contrast, much contemporary experimental music is music of timbre and texture, of unpitched sounds and silence. Consider in this context the concept of the clang. Thus by definition the clang as an analytical tool accommodates itself easily to compositions made primarily or even exclusively of sound material that falls outside of traditional musical categories.

As such, it lends itself to the analysis and understanding of compositions that would be virtually incomprehensible to conventional musical analysis.

Hearing these works in terms of their perceptual shapes would be one way to reveal the continuities and formal relationships that would likely escape an ear attuned to pitch and functional harmony. tneney

Tenney was undoubtedly right to suggest that if the range of viable musical materials has broadened, so must be our ways of understandi ng them as units and in their hodow. Diritti Riservati – Pubblicato da Ettore Garzia a Posta un commento Nota. Solo i membri di questo blog possono postare un commento.

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