Volume 36

Preliminaries In the 1990s, college music is undergoing radical curriculum reform in response to various calls to diversify subject matter and repertoire. Traditional programs of study are being challenged, and classical canons of repertoire broken down. In music as in virtually all other academic disciplines, "new accounts, new theoretical frameworks,…
Up until the mid 1980s it was not uncommon to encounter students beginning music appreciation courses who could read notation and articulate perceptions about musical works using appropriate terminology. College was the time to build on their prior knowledge and musical experiences by acquainting them more fully with historical epochs…
In Memoriam Luther Noss (1907-1995) and Thomas Binkley (1931-1995) who generously supported this project with their guidance. Paul Hindemith—composer, teacher, and performer of early music—was an inaugurator of the early music revival in the United States. His years of near-annual public early music concert programs in 1941, (1943), 1945-48, 1950,…
Our explanations of music over the centuries have not lacked for their perplexities, their mysteries and even contradictions. One of the most persistent anomalies of our history has managed to embody all three: the conceptual duplicity surrounding the dyad of the fourth and the second inversion triad. In one breath…
1995 Robert M. Trotter Lecture Almost 20 years ago I attended a professional meeting at which Bob Trotter spoke. It was electrifying! His imagination, energy, and insight continue to inspire everyone he touched, persistently urging us to see more deeply. Trotter's article "Lessons for Teaching a Course in Music Listening"1…
Introduction Writers who address the relationship between music analysis and performance have usually begun their discussions with analytic observations and then, after completing them, have tried to draw conclusions from them about how to play the music being analyzed. Even though some of these writers deny the direct applicability of…
-1- The function of art is the enrichment of life. To that end, I believe the most important function of music is meaningful communication. Musical composition is the transmission of experience in its broadest sense, into auditory patterns. The content of music, however, is neither emotion nor experience, but the…
Chopin's nineteenth-century chromaticism can be problematic for analysts—although Chopin's music is tonal, some passages defy chord analysis. At times Chopin's non-harmonic chromaticism simply masks the harmonic progressions; at other times extreme chromatic harmonies prevent analysis with traditional Roman numerals. In the past few decades alternate analytical systems have provided fresh…
Discrimination against women employed in higher education is receiving increased attention as our nation strives to correct gender inequities deeply entrenched in society. It is disturbing to imagine that different realities exist for males and females on our country's campuses in what is purported to be a society of equal…
Sightsinging teaching in the United States is not based on any universally adopted methodology or common set of principles and assumptions (as is the case, for example, with harmonic analysis, which is usually directed by the conceptual worlds of Rameau and/or Schenker). This situation regarding sightsinging can be confirmed by…
I Hindemith's title of his four-movement von Weber suite of 1943 poses a problem. The composer's characteristic reticence about his sources delayed their documentation for some twenty years, whereupon it was found that the Symphonic Metamorphosis was based, not only on themes, but on complete pieces.1 Rather than "thematic transformation,"…