This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory.
Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context.
Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music.
Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [ Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
1. Musicology beyond historicism: Epistemological implications and scope
of John Walter Hills cognate music theory Ignacio Prats-Arolas Part I:
Framing concepts
2. Cognate music theory John Walter Hill
3. Insiders and
outsiders: Revisiting Indigenous musical thought Bruno Nettl Part II: Syntax,
form, and genre
4. Heinrich Christoph Koch's description of the Andantino e
cantabile in Joseph Haydn's Symphony No. 42 as a response to recent sonata
theories Gregory Hellenbrand
5. Artisanal knowledge as a cognate music
theory: Reading a partimento Robert Gjerdingen
6. Intersections of biography,
analysis, and performance: Beethoven at Heiligenstadt in 1802 William
Kinderman
7. A cognate theory of generic classification in the Airs sérieux
et ą boire of Sébastien de Brossard Kenneth Smith Part III: Rhetoric and
emotions
8. Ripas Iconologia as a source for musical rhetoric of the
seventeenth century Barbara Russano Hanning
9. The language of emotions from
Descartes to Metastasio Įlvaro Torrente and José Marķa Domķnguez Part IV:
Timbre, color, and temperament
10. "Quegli strumenti, che erano pił atti a
far proporzionata accompagnatura al balletto a cavallo: Envisioning a
cognate theory of instrumental timbre in early modern Florence Kelley Harness
11. Énergie des modes:Tuning and temperament in seventeenth-century France
Charlotte Mattax Moersch
12. "Il cembalo de colori, e la musica degli
occhi: Francesco Algarotti and a cognate concept of music in the age of the
Enlightenment Bella Brover-Lubovsky Part V: Historical sources and cultural
hermeneutics
13. Insider and outsider views in early modern correspondence
involving patrons and musicians Dinko Fabris
14. Anthropology, music, and
theater in a seventeenth-century year Robert L. Kendrick
15. Song about song,
music about life: Herder on music's transcendent moment Philip V. Bohlman.
Index
Ignacio Prats-Arolas is on the faculty of musicology at the Conservatorio Superior de Mśsica Joaquķn Rodrigo in Valencia, Spain and teaches courses on music at the Florida State University Valencia Study Center. He holds a PhD in musicology from the University of Illinois, Urbana-Champaign.
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