A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition

Dora A. Hanninen

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Musicology and Musical Analysis Sound Studies and Aurality Literature, Musicology, and Cultural Analysis

Abstract

This paper introduces a theory of recontextualization in music, establishes its breadth of application, and uses the theory to explore phenomenal transformations of repetition in music by Feldman, Haydn, Morris, and Bach. Two contrasting examples, from Morton Feldman's Crippled Symmetry and the first movement of Joseph Haydn's Piano Sonata No. 50 in C Major, introduce the concept of recontextualization. After some preliminary definitions, the theory defines two basic concepts, ideas and instances, and three means for recontextualization—changes in active contextual criteria, segment boundaries, and structural interpretation. Detailed analysis of excerpts from Robert Morris's By Far (1995), a composition for piano solo based on a twelve-tone array, and Johann Sebastian Bach's “Christus, der uns selig macht” (BWV 620), a canonic prelude from the Orgelbüchlein, use the theory to explore changing relations between instances and their musical contexts.

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References

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