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Volume 33

A "Requiem for the Requiem"1: On Stravinsky's Requiem Canticles I. Time Travel and Ritual It is in the nature of things—and it is this which determines the uninterrupted march of evolution in art as much as in other branches of human activity—that epochs which immediately precede us are temporarily farther…
An Analytical Approach to Seventeenth-Century Music: Exploring Inganni in Fantasia Seconda (1608) by Girolamo Frescobaldi1 With the passing of the fourth centennial of Girolamo Frescobaldi's birth (1983), a number of commemorative meetings and festivals attempted to solidify research concerning this composer known for his extensive use of chromaticism, which was…
Beyond "Bach-Centrism": Historiographic Perspectives on Johann Sebastian Bach and Seventeenth-Century Music1 In connection with the preparation of an article on Bach's early works,2 I recently have examined books and essays of all kinds, some intended for a scholarly audience and others for a more general readership, in order to discern…
How do composers write music? To what extent can we explain their thought processes? Ever since Nottebohm's pioneering excavations of Beethoven's sketchbooks, musicologists and theorists have tried to find answers in composers' sketches and drafts. Psychologists, too, have recognized the significance of these workings. As John Sloboda points out: Sketches…
Deconstructing McClary: Narrative, Feminine Sexuality, and Feminism in Susan McClary's Feminine Endings1 The frustration and excitement of reading Kristeva's writings makes my own relationship to them similar to what she describes as the relation to the abject mother. I am both attracted to and repelled by her writings at the…
The question of value in popular music has probably crossed the mind of every music scholar in America—our scholarly commitment almost always depends in some way on music's aesthetic qualities, and we encounter its popular forms daily. Answers to the question are often not pursued at length, whether because the…
Lessons from a World: Balinese Applied Music Instruction and the Teaching of Western "Art" Music1 The teacher does not seem to teach, certainly not from our standpoint. He is merely the transmitter; he simply makes concrete the musical idea which is to be handed on, sets the example before the…
Although long an archetype of modern thought, biological evolution's eminent role has not always been an appropriate one: its convenience as a cover for all manner of processive change has often been abused. Arenas of thought once presumed accountable by the biological paradigm turned out to be immune to its…
Reflections on the Relationship of Analysis and Performance1 Introduction In their common endeavor to make and deliver personal interpretations about musical compositions, the activities and preoccupations of analysts and performers of music intersect in several notable ways. Both analysts and performers begin, presumably, with an emotional response to or fascination…
This paper grows out of a dissertation entitled Problems of Tonality: Schoenberg and the Concept of Tonal Expression (Columbia University, 1989). The author wishes to acknowledge the support of the Social Sciences and Humanities Research Council of Canada without which the investigation would have been severely curtailed. And he wishes…
Contemporary critics have described Schoenberg the theorist by focusing on his analytic concerns with surface motives.l It is my contention that hitherto unpublished manuscripts such as Der musikalische Gedanke und die Logik, Technik und Kunst seiner Darstellung [The Musical Idea and the Logic, Technique, and Art of Its Presentation]and Zusammenhang,…
The usefulness of sketch studies for analysis has been a topic of some controversy in recent years, particularly since the exchange that took place in 19th Century Music in 1978 between Douglas Johnson and others.1 In his arguments against the use of sketches for analysis, Johnson raised what one writer…
Women Choral Conductors at the Collegiate Level: Status and Perspectives1 Women's Studies, now in its third decade, is no longer characterized by special interest groups orbiting only the most progressive or tolerant musical organizations. Across the nation, feminist scholarship continues to flourish, women augment and administer editorial boards and boards…