Stefan Caris Love
Biographic Data
| ID | 1191108 |
|---|---|
| NAME | Stefan Caris Love |
| GIVEN NAMES | Stefan Caris |
| FAMILY NAME | Love |
| SIGNATURE | LOVE S C |
| AFFILIATIONS | University of Massachusetts Amherst |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
Historical Hypermetrical Hearing
This article attempts a partial reconstruction of historical metrical hearing for late eighteenth-century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth-century listeners werefirst-time listeners, a simple fact with significant consequences for how we understand composers' intentions and listeners' experiences. Second, eighteenth-century listeners were saturated with the music of the day,…
Historical Hypermetrical Hearing
This paper proposes a cyclic model to represent how hypermeter in the minuet was perceived by the typical late eighteenth-century listener: a first-time listener intimately familiar with the local style. The listener seeks to match the music to a quadruple hypermetrical cycle whenever possible. Disruptions to the cycle includeinterruption, where a cyclic hyperdownbeat arrives unexpectedly early;deferral, where an expected cyclic hyperdownbeat is …
Possible Paths
This paper proposes a schematic approach to analyzing Charlie Parker's improvisations on the twelve-bar blues. Schemata are pre-learned, recurring solutions to the problems of high-speed improvisation. Phrasing schemata solve the meter problem: they are templates for the chorus-level organization of phrases. Parker employs five phrasing schemata, each of which organizes the blues' twelve measures differently. Melodic schemata solve the harmony pr…
Historical Hypermetrical Hearing
This article attempts a partial reconstruction of historical metrical hearing for late eighteenth-century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth-century listeners werefirst-time listeners, a simple fact with significant consequences for how we understand composers' intentions and listeners' experiences. Second, eighteenth-century listeners were saturated with the music of the day,…
Possible Paths
This paper proposes a schematic approach to analyzing Charlie Parker's improvisations on the twelve-bar blues. Schemata are pre-learned, recurring solutions to the problems of high-speed improvisation. Phrasing schemata solve the meter problem: they are templates for the chorus-level organization of phrases. Parker employs five phrasing schemata, each of which organizes the blues' twelve measures differently. Melodic schemata solve the harmony pr…
Possible Paths
This paper proposes a schematic approach to analyzing Charlie Parker's improvisations on the twelve-bar blues. Schemata are pre-learned, recurring solutions to the problems of high-speed improvisation. Phrasing schemata solve the meter problem: they are templates for the chorus-level organization of phrases. Parker employs five phrasing schemata, each of which organizes the blues' twelve measures differently. Melodic schemata solve the harmony pr…
Historical Hypermetrical Hearing
This paper proposes a cyclic model to represent how hypermeter in the minuet was perceived by the typical late eighteenth-century listener: a first-time listener intimately familiar with the local style. The listener seeks to match the music to a quadruple hypermetrical cycle whenever possible. Disruptions to the cycle includeinterruption, where a cyclic hyperdownbeat arrives unexpectedly early;deferral, where an expected cyclic hyperdownbeat is …
Historical Hypermetrical Hearing
This article attempts a partial reconstruction of historical metrical hearing for late eighteenth-century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth-century listeners werefirst-time listeners, a simple fact with significant consequences for how we understand composers' intentions and listeners' experiences. Second, eighteenth-century listeners were saturated with the music of the day,…
Art (3 works) · Computer Science (3 works) · Linguistics (3 works) · Literature (3 works) · Music and Audio Processing (3 works) · Musicology and Musical Analysis (3 works) · Philosophy (3 works) · Musical (2 works) · Neuroscience and Music Perception (2 works) · Psychology (2 works)