Volume 29

A Study in Jazz Historiography: The New Grove Dictionary of Jazz * The word monumental has been overused in recent years in connection with the New Grove Dictionaries, but there seems to be no adequate substitute for describing the new addition to the series, The New Grove Dictionary of Jazz…
Some listeners have detected a new classicism in Elliott Carter's recent works or even a revival of the neo-classicism of his early music.1 Unless I am missing something, I do not think they are referring to any of the stylistic allusions to eighteenth-century music which we associate with neo-classicism—Carter's recent…
Edward T. Cone's book The Composer's Voice is an important and distinctive contribution to recent music scholarship, but it has received relatively little public discussion.1 The following papers show the potential fruitfulness of the book by investigating some of its analytical and theoretical consequences.2 This introduction offers a general description…
In Musical Form and Musical Performance, Edward T. Cone states that "artistic quality is intentionally produced esthetic quality"; the so-called intentional fallacy is "no fallacyunless it is the fallacy of believing that there is an intentional fallacy."1 The issue is important, and Cone has returned to it in several contexts.…
In The Composer's Voice, Edward Cone argues that music is not utterly abstract sound structure perfectly isolated from the rest of life, but rather that music is a symbolic representation of human experience. He makes his case by drawing an elaborate analogy. "All music," he says, "like all literature, is…
In The Composer's Voice, Edward T. Cone interprets musical compositions in terms of the various different "personae" which inhabit them. Regarding vocal music, his chief distinction is that between the singer (the "vocal persona") and the accompanist (the "virtual persona"); their synthesis is the "implicit" or "complete persona," equated with…
The four movement of Schubert's "Wanderer" Fantasy are linked by transitions. But the word "transition," as a characterization of the first of these—the passage that links the opening C-Major Allegro to the following -Minor Adagio—conceals more than it reveals. Toward the end of that Allegro, from m. 143 to m.…
There is probably less disagreement between Marion Guck and me than she thinks. Our chief difference arises from her attempt to separate the musical persona from its musical experience. I may not have made this point clear enough in The Composer's Voice: the musical persona exactly is its musical experience.…
Despite many obvious similarities between stage works and motion pictures, the two media are very different, even almost opposite, in one important respect. The type of world we observe when we experience a play or opera is, in terms of those "universals" of concern to aestheticians, quite different from the…
Feminist Scholarship and the Field of Musicology: I1 In a study entitled Feminist Scholarship: Kindling in the Groves of Academe, five authors surveyed recent scholarship in the fields of anthropology, education, history, literature, and philosophy in what they termed the most conservative core of academic research—the publications in leading scholarly…
Persons concerned about the future of the arts and aware that the arts are essential to the continuance of culture were thrilled with past Secretary Of Education William Bennett's recent report on James Madison High School, in which he stated that all American students should have one semester of music…
O, beauty, are you not enough? -Sara Teasdale All his life Goethe passionately spoke up for the need to discover the universal laws of nature through which her special form, the human being, attempts to create—and does create—whenever and wherever possible. Regrettably, not all of these laws can actually be…
Dear Professor Komar, Enclosed is a copy of the revised article; in addition to incorporating the revisions you suggested, I've made a few others. Permissions . . . the saga continues! One would think that with fairly recent and frequently performed material, this would be a relatively straightforward matter, but…
Pygmalions of Pop: Reinterpreting Jazz and Rock Standards1 The pop musician's practice of reinterpreting a tune previously recorded by another artist is common to both jazz and rock. Jazz musicians traditionally look to the vast reserves of the Tin Pan Alley repertoire or to jazz compositions in choosing material on…
"How many Ph.D.s in music will be needed during the next five or ten years?" This question is of interest to university administrators evaluating proposals for new doctoral programs in music, to faculties in established Ph.D. programs planning admission levels, and to students already in doctoral programs or contemplating advanced…
THE CBMR FORUM CONCEPT CBMR Forum, a program of the Center for Black Music Research, is comprised of thirteen Chicago-area scholars and the professional staff of the Center for Black Music Research—a coterie of thinkers who address concerns and issues exclusive to black music scholarship, performance, and teaching. The Forum…
We live in confusing times. In virtually every field of artistic endeavor, a plethora of stylistic/aesthetic "isms" abounds: almost daily, new media and art forms spring up, ranging from subsets and hybrids of performance to new technologies unimagined a few months before; increasingly rapid communications make artists aware of and…
Born from the political women's movement of the late 1960s, the academic discipline of women's studies is now twenty years old. In its two decades of existence, the field has generated a tremendous amount of influential scholarship. Almost every issue of The New York Times Book Review or New York…