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SUMMARY:Form as Grammar in Eighteenth-Century Music
DTSTART:20250625T153000
DTEND:20250625T163000
DTSTAMP:20260506T210802Z
UID:259008556e9ec881bff9b7e5e2a4574903bc5b35474e7e273a4ea90b
CATEGORIES:Conferences - Seminars
DESCRIPTION:Jason Yust Jason is a music theorist and Associate Professor o
 f Music Theory at the Boston University School of Music. His research appl
 ies mathematics to topics in music theory\, music analysis\, and music cog
 nition\, and he is interested in how theorists\, composers\, and listeners
  conceptualize tonal and rhythmic spaces and structures.\nAbstract\nWe oft
 en think of the musical conventions of the eighteenth century as a kind of
  language. If so\, what kind of grammar does the language of eighteenth-ce
 ntury musical forms have?\n\nI begin by considering one of the few instanc
 es where we can pinpoint the invention of a form type with specific compos
 ers and pieces\, the sonata-rondo (which first appears in the music of Mic
 hael Haydn and Mozart). A formal language that includes sonata-rondo requi
 res the hierarchical structure of a context-free grammar. This kind of hie
 rarchy of timespans\, a temporal structure\, can be generally defined with
  a network model. This opens the way to define formal grammar more flexibl
 y using just a few generalized processes\, and also makes it possible to c
 ompare formal structures with other temporal structures\, such as one base
 d on harmony and modulations. One consequence of this approach is the iden
 tification of certain innovations of Haydn and Beethoven (off-tonic beginn
 ings\, non-standard subordinate keys\, codas) with particular forms of ton
 al-formal disjunction (mismatches between structures in the two domains)\,
  and the classification of these.
LOCATION:BC 410 https://plan.epfl.ch/?room==BC%20410
STATUS:CONFIRMED
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