John Roeder
Biographic Data
| ID | 1609287 |
|---|---|
| NAME | John Roeder |
| GIVEN NAMES | John |
| FAMILY NAME | Roeder |
| SIGNATURE | ROEDER J |
| AFFILIATIONS | University of British Columbia |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Hearing Durational Process in A Huli Song
Christopher Hasty's Meter as Rhythm describes the experience of music as a richly varying flux of concurrent promises perceived, fulfilled and denied. Resisting conventions of notation and serialism, it treats duration not as a fixed property of an event, given at its onset, but as a process of ‘dynamic becoming’ or accumulation which listeners measure based on judgements they are making (consciously or otherwise) about immediately past durations…
Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999)
Chen Yi’s Ba Ban (1999) for solo piano, like many works of Western-trained Chinese composers, situates fragments of evocative traditional folk melody within a post-tonal discourse that is well described by transformation theory. The eponymous folk tune that it quotes is a standard of the sizhu (“silk-and-bamboo”) repertoire. In sizhu performance practice, the evenly pulsed rhythm of the 68-beat melody is augmented and each pitch is highly “flower…
A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”
The third movement of Thomas Adès’s string quartet Arcadiana features a complex, free textural counterpoint that seems resistant to the transformational analysis of the common sort that focuses, as does motivic analysis, on a small family of structured objects. However, by choosing a suitable space of very elementary objects, the pitch processes of the various streams can be represented in an animation that shows how they are coordinated to creat…
Transformational Distance and Form in Berg’s “Schlafend trägt man mich”
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summarizes previous analyses that treat voice leading, transpositional invariance, and the behavior of the “French 6th” chords in the piece. It then shows how to unify those observations in the context of a particular transformational space that provides additio…
Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1-32
David Lewin's didactic examples of transformational analysis leave open questions about how to choose the most expressive object families, network types, and visual representations, as well as deeper questions about the nature of "gesture" and the agent "inside the music." By developing several contrasting analyses of a Bartók passage, this article presents an analytical pragmatics that addresses those questions and explores how animation can bri…
Co-operatingContinuities in theMusic ofThomasAdès
Jonathan Kramer defined postmodern music as an ironic, fragmentary mix of past and present compositional procedures embodying multiple temporal dimensions. Recent theorising grounded in phenomenological and cognitive-scientific accounts of musical experience suggests that it may be possible to develop a more insightful interpretative perspective by extending Kramer's notions of 'direction', 'linearity', 'narrative' and 'motion' to more fundamenta…
Set (ii)
"Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök's "With Drums and Pipes
Polyphony has many interesting rhythmic properties that do not obtain in textures that are modeled by most rhythmic theories. This paper invokes the concept of pulse streams to demonstrate how phenomenal accent and grouping are organized in a extended two-voice polyphony by Bartók to create convincing form and process. The pulse-stream analysis is manifested audibly by Quicktime examples that combine audio playback, a scrolling annotated score, a…
Response to Commentaries (on his MTO 0.5 article)
Toward a Semiotic Evaluation of Music Analyses
Eco's theory of codes provides the basis for analyzing the structure of meaning in three contrasting types of music- analytical representation. An evaluation of the pitch-class-integer code highlights the essential arbitrariness of the links between music and mathematics. Graphical representations of music are also evaluated with reference to a computer program designed to represent musical data in any conceivable graphical form. Lastly the paper…
Co-operatingContinuities in theMusic ofThomasAdès
Jonathan Kramer defined postmodern music as an ironic, fragmentary mix of past and present compositional procedures embodying multiple temporal dimensions. Recent theorising grounded in phenomenological and cognitive-scientific accounts of musical experience suggests that it may be possible to develop a more insightful interpretative perspective by extending Kramer's notions of 'direction', 'linearity', 'narrative' and 'motion' to more fundamenta…
Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1-32
David Lewin's didactic examples of transformational analysis leave open questions about how to choose the most expressive object families, network types, and visual representations, as well as deeper questions about the nature of "gesture" and the agent "inside the music." By developing several contrasting analyses of a Bartók passage, this article presents an analytical pragmatics that addresses those questions and explores how animation can bri…
Hearing Durational Process in A Huli Song
Christopher Hasty's Meter as Rhythm describes the experience of music as a richly varying flux of concurrent promises perceived, fulfilled and denied. Resisting conventions of notation and serialism, it treats duration not as a fixed property of an event, given at its onset, but as a process of ‘dynamic becoming’ or accumulation which listeners measure based on judgements they are making (consciously or otherwise) about immediately past durations…
"Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök's "With Drums and Pipes
Polyphony has many interesting rhythmic properties that do not obtain in textures that are modeled by most rhythmic theories. This paper invokes the concept of pulse streams to demonstrate how phenomenal accent and grouping are organized in a extended two-voice polyphony by Bartók to create convincing form and process. The pulse-stream analysis is manifested audibly by Quicktime examples that combine audio playback, a scrolling annotated score, a…
Toward a Semiotic Evaluation of Music Analyses
Eco's theory of codes provides the basis for analyzing the structure of meaning in three contrasting types of music- analytical representation. An evaluation of the pitch-class-integer code highlights the essential arbitrariness of the links between music and mathematics. Graphical representations of music are also evaluated with reference to a computer program designed to represent musical data in any conceivable graphical form. Lastly the paper…
Response to Commentaries (on his MTO 0.5 article)
Set (ii)
"Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök's "With Drums and Pipes
Polyphony has many interesting rhythmic properties that do not obtain in textures that are modeled by most rhythmic theories. This paper invokes the concept of pulse streams to demonstrate how phenomenal accent and grouping are organized in a extended two-voice polyphony by Bartók to create convincing form and process. The pulse-stream analysis is manifested audibly by Quicktime examples that combine audio playback, a scrolling annotated score, a…
Co-operatingContinuities in theMusic ofThomasAdès
Jonathan Kramer defined postmodern music as an ironic, fragmentary mix of past and present compositional procedures embodying multiple temporal dimensions. Recent theorising grounded in phenomenological and cognitive-scientific accounts of musical experience suggests that it may be possible to develop a more insightful interpretative perspective by extending Kramer's notions of 'direction', 'linearity', 'narrative' and 'motion' to more fundamenta…
A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”
The third movement of Thomas Adès’s string quartet Arcadiana features a complex, free textural counterpoint that seems resistant to the transformational analysis of the common sort that focuses, as does motivic analysis, on a small family of structured objects. However, by choosing a suitable space of very elementary objects, the pitch processes of the various streams can be represented in an animation that shows how they are coordinated to creat…
Transformational Distance and Form in Berg’s “Schlafend trägt man mich”
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summarizes previous analyses that treat voice leading, transpositional invariance, and the behavior of the “French 6th” chords in the piece. It then shows how to unify those observations in the context of a particular transformational space that provides additio…
Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1-32
David Lewin's didactic examples of transformational analysis leave open questions about how to choose the most expressive object families, network types, and visual representations, as well as deeper questions about the nature of "gesture" and the agent "inside the music." By developing several contrasting analyses of a Bartók passage, this article presents an analytical pragmatics that addresses those questions and explores how animation can bri…
Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999)
Chen Yi’s Ba Ban (1999) for solo piano, like many works of Western-trained Chinese composers, situates fragments of evocative traditional folk melody within a post-tonal discourse that is well described by transformation theory. The eponymous folk tune that it quotes is a standard of the sizhu (“silk-and-bamboo”) repertoire. In sizhu performance practice, the evenly pulsed rhythm of the 68-beat melody is augmented and each pitch is highly “flower…
Hearing Durational Process in A Huli Song
Christopher Hasty's Meter as Rhythm describes the experience of music as a richly varying flux of concurrent promises perceived, fulfilled and denied. Resisting conventions of notation and serialism, it treats duration not as a fixed property of an event, given at its onset, but as a process of ‘dynamic becoming’ or accumulation which listeners measure based on judgements they are making (consciously or otherwise) about immediately past durations…
Art (9 works) · Musicology and Musical Analysis (8 works) · Computer Science (7 works) · Music Technology and Sound Studies (6 works) · Philosophy (6 works) · Psychology (6 works) · Aesthetics (5 works) · Communication (5 works) · Linguistics (5 works) · Neuroscience and Music Perception (5 works)