Carter's New Classicism

01 October 1989 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...

A Re-Evaluation of Keyboard Harmony

01 October 1982 1957), p. xi. 3Allen Forte, Tonal Harmony In Concept And Practice, 3rd ed. (Holt, Rinehart and Winston, 1979), p. 251. 4Allen Brings, Charles Burkhart, Roger Kamien, Leo Kraft, and Dora Pershing, A New Approach to Keyboard Harmony (W.W. Norton, 1979),...

The Entrepreneurship Curriculum for Music Students: Thoughts Towards a Consensus

03 October 2005 The increasing importance of professional development is one of the most dynamic trends emerging in the arts within higher education. Publicly funded institutions in particular are increasingly relying on entrepreneurship as a means to prepare students...

Music Theory in Re-Transition: Centripetal Signs

01 October 1977 This article was originally delivered as part of a unified group of papers entitled Music Theory: The Art, the Profession, and the Future, which was read at a plenary session of the national conferences of The College Music Society and the American...

Repertoire Choices in the Classroom: A Music Theory Teacher’s Perspective

27 August 2012 Gena R. Greher's recent article in this journal (CMS 49-50, 2010) arguing for the use of rap music in the classroom prompted me to reflect on the music I use in my own classroom and my reasons for using it. That music is almost exclusively Western art...

“Experience is an Identity”: The Collegiate Marching Band and Expressions of Communal Identity

15 November 2022 Abstract The communities formed in higher education institutions often view marching bands as an essential representation of communal identity. Marching bands are able to project this communal identity through musical and visual performance practices...

Connecting Music to Ethics

30 November 2018 Many features of music contribute to its positive potential for promoting social harmony. But music’s influence on human interaction is not entirely benign. I consider features of music that enable it to serve such contrary projects, beginning by...

Seizing the Menotti Moment: Opera meets McLuhan meets Millennials

14 November 2016 Abstract This co-authored paper examines how theories about the effects of technology on society, developed by communications theorist Marshall McLuhan in the mid-twentieth century, are represented in Gian Carlo Menotti’s double bill, The Telephone and...

Creativity in the College Music Classroom: Guidelines for Effective Integration

12 September 2016 Abstract We have many reasons to focus on developing student creativity in the course of music study, including demonstrating relevance to a culture that values creativity, promoting student self-actualization and adaptability, increasing engagement in...

[i]Analysis[/i], by Ian Bent with William Drabkin; [i]Music Analysis in Theory and Practice[/i], by Jonathan Dunsby and Arnold Whittall

01 October 1988 Analysis, by Ian Bent with William Drabkin. New York: W.W. Norton, 1987. 184 pp. ISBN: 0393024474 Music Analysis in Theory and Practice, by Jonathan Dunsby and Arnold Whittall. New Haven: Yale University Press, 1988. 250 pp. ISBN: 0300037139 The two...

The Symbiosis of Teaching and Research: A Forum

01 October 2004 J. Peter Burkholder, with H. Wiley Hitchcock, Brooklyn College, City University of New York; Susan McClary, University of California, Los Angeles; Kay Kaufman Shelemay, Harvard University Introduction J. Peter Burkholder At the November 2003 annual...

Schenker's Parallelisms, Schoenberg's Motive, and Referential Motives: Notes on Pluralistic Analysis

01 October 2001 I Alas, it is one thing to envision in a creative instant of inspiration and it is another to materialize one's vision by painstakingly connecting details until they fuse into a kind of organism. Alas, suppose it becomes an organism . . . and possesses...

American Music in Music Courses

01 October 1985 Virtually everyone in my family is a musician, professional or amateur, and I was brought up with many American works in our daily music-making. No point was made of it particularly; it was simply assumed that American music was an equal, valuable, and...

An Ethnomusicologist's Reflections on "Complexity" and "Participation" in Music

01 October 1977 I. "One of the distinctive facts about contemporary history is that it is world history and that the forces shaping it cannot be understood unless we are prepared to adopt world-wide perspectives; and this means not merely supplementing our...