JOE ARGENTINO
Biographic Data
| ID | 6307032 |
|---|---|
| NAME | JOE ARGENTINO |
| GIVEN NAMES | JOE |
| FAMILY NAME | ARGENTINO |
| SIGNATURE | ARGENTINO J |
| AFFILIATIONS | McMaster University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 0 |
Transformations in serial music and language games
This study contributes to the investigation of formal similarities between music and language by examining commonalities between reversing operations found in language games and pitch patterns found in serial music. Our approach provides a new framework for analysing transformations in serial compositions, especially those involving pitch–class relationships between invariant hexachords. Although transformations in serial repertoire have been arg…
Schoenberg and Liszt
This article explores passages from Liszt's and Schoenberg's compositions that share the versatile hexatonic collection which can function within, without or somewhere in between a tonal harmonic framework. The underlying harmonic structure of the hexatonic‐based passages from Liszt's oratorio St. Stanislaus (1875), Schoenberg's ‘Nacht’ from Pierrot lunaire (1912), and Modern Psalm , Op. 50c (1950), are almost identical, even though the works wer…
Tripartite Structures in Schoenberg'sA Survivor from Warsaw
Arnold Schoenberg's Holocaust cantataA Survivor From Warsaw, op. 46 features tripartite parallelisms between his self-penned text and his highly-charged music. Tripartite structures permeate all aspects of this Holocaust cantata. Schoenberg's text includes three languages, utilizes three points of view, and key words or text descriptors are repeated three times. The three languages, three points of view, and tripartite text descriptors are consis…
No prominent works on this page.
Tripartite Structures in Schoenberg'sA Survivor from Warsaw
Arnold Schoenberg's Holocaust cantataA Survivor From Warsaw, op. 46 features tripartite parallelisms between his self-penned text and his highly-charged music. Tripartite structures permeate all aspects of this Holocaust cantata. Schoenberg's text includes three languages, utilizes three points of view, and key words or text descriptors are repeated three times. The three languages, three points of view, and tripartite text descriptors are consis…
Schoenberg and Liszt
This article explores passages from Liszt's and Schoenberg's compositions that share the versatile hexatonic collection which can function within, without or somewhere in between a tonal harmonic framework. The underlying harmonic structure of the hexatonic‐based passages from Liszt's oratorio St. Stanislaus (1875), Schoenberg's ‘Nacht’ from Pierrot lunaire (1912), and Modern Psalm , Op. 50c (1950), are almost identical, even though the works wer…
Transformations in serial music and language games
This study contributes to the investigation of formal similarities between music and language by examining commonalities between reversing operations found in language games and pitch patterns found in serial music. Our approach provides a new framework for analysing transformations in serial compositions, especially those involving pitch–class relationships between invariant hexachords. Although transformations in serial repertoire have been arg…
Art (2 works) · Computer Science (2 works) · Music Technology and Sound Studies (2 works) · Musicology and Musical Analysis (2 works) · Acoustics (1 work) · Art history (1 work) · Digital Humanities and Scholarship (1 work) · Diverse Musicological Studies (1 work) · Harmonic (1 work) · Human–computer interaction (1 work)