Volume 48

Introduction Canonic writing has been part of the education of music students for centuries. Considered a routine means of elaborating primary musical material in the Renaissance,2 it maintained an important place in the didactic writings of later periods. Yet perusals of historical treatises as well as modern counterpoint texts usually…
Sometime in March 1939 Leonard Bernstein, then a Harvard University senior, wrote a letter to his former piano teacher and future secretarial assistant Helen Coates on Stillman Infirmary letterhead.2 After a day which found him prostrate as a "victime de la grippe," the patient felt "perfectly fine again," although he worried…
A performer may develop an interpretation of a piece of music using a number of tools, including analyzing the structure, working out physical motions, following intuitions, and listening to other performances. The process of translating printed notes into mental and physical gestures is often difficult to capture in words, but…
In his article "Misconceptions in Linking Free Jazz with the Civil Rights Movement" (Vol. 47 [Fall 2007]: 139-55), Mark Gridley denies any substantive connection between the civil rights movement of the late 1950s and 1960s and the style of black music known as "free jazz" that developed alongside it. For…
Mark Hijleh argues that a reformed undergraduate music theory curriculum could stand once again in its proper place at the center of a revised music curriculum. He argues that to do this one must make it more relevant to today's students who have limited time to learn diverse skills and…
HYSTERIUM: I'm calm, I'm calm, I'm perfectly calm, I'm utterly under control. I haven't a worry— Where others would hurry, I stroll. (HE runs frantically around the stage.) I'm calm, I'm cool, A gibbering fool Is something I never become! When thunder is rumbling And others are crumbling, I hum.…
Introduction The last decade has offered a surge in scholarship on music performance. Scholars interested in music performance can draw from a range of perspectives. Ethnomusicologists examine the performed activity of music1 as a social and cultural discourse.2 Musicologists examine the performance histories of musical works,3 performance as critique of…
In her essay, "Defending Music Theory in a Multicultural Curriculum" (College Music Symposium 46, pp. 45-63), YouYoung Kang clearly and helpfully articulates what I believe are some of the most important issues in the undergraduate music curriculum today. Kang is especially right to note that music theory has long stood…
Studies of social and interactive processes in music improvisation constitute an important dimension of contemporary ethnomusicological research.1 The range of topics, issues, and traditions addressed is vast, yet one may identify across this literature a shared interest in the fundamental interconnectedness that exists between improvisational processes and the modes and…
In a recent paper presented at the annual meeting of the Society for Music Theory, Frank Samarotto discussed a specific point of contrast between the transformational approach to tonal harmony, in the form of Neo-Riemannian triadic transformational theories, and the prolongational approach, as exemplified by Schenkerian theory.2 He mentioned that…
Introduction Recent discussions about women's experiences in the orchestral profession1 have revealed the gendered politics behind many of the generally accepted norms and customs in the orchestral tradition. With the bourgeoning of feminist musicology, these voices have intensified and resulted in a greater representation of women's stories and experiences in…