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...

And Now We Begin—A Survey of Recent Theory Texts

01 October 1973 The 1960s were a time for reexamination of the aims, contents and methods of college courses designed to teach music theory, and, as a corollary, of the texts intended for those courses. Several factors contributed to the creation of a "crisis in the...

Transformation vs. Prolongation in Brahms's "In der Fremde"

01 October 2008 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...

An Analysis of Triadic Post-tonality in Sky Macklay’s [i]Many Many Cadences[/i] for String Quartet

10 January 2018 of observing that the largest class has only 10 pc roots. These harmonic classes are tabulated in the Appendix. Following Allen Forte’s nomenclature for unordered set classes, each harmonic class is assigned a two-number label (abbreviated HC in the...

[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 set is more "generally applicable to analysis" and that the "most significant analytical contribution has been made by Allen Forte . . . " (p. 64). These statements are somewhat misleading. First, they bring up the issue of the relation between theory...

Analysis for Performance: Teaching a Method for Practical Application

02 October 2006 One of the more difficult tasks facing the college music theory teacher is linking analysis with performance. Too often students do not understand the connection between the analytical techniques they learn in theory classes and the decisions they make...

Reflections on the Relationship of Analysis and Performance

01 October 1993 Joachim Quantz, On Playing the Flute, tr. and ed. Edward R. Reilly (New York: Schirmer Books, 1966), 136-61. 21See Allen Forte and Stephen Gilbert, Introduction to Schenkerian Analysis (New York and London: Norton, 1982), 7-9. 22Stephen Hefling writes...

A Re-Evaluation of Keyboard Harmony

01 October 1982 above, the rigidity of piano style in playing chord progressions often carries over into the harmonization of melodies. Allen Forte for example acknowledges the practical keyboard approach when he discusses the procedures for composing a soprano voice...

Preface to a Graduate Course in the History of Music Theory

01 October 1982 As a doctoral degree certifies (among other things) to a breadth of knowledge in the field, one requirement for the Ph.D. in music theory should be a scholarly course surveying the history of theory. To decide on this requirement, however, is easier...

Music Analysis in an Historical Context

01 October 1966 charge loses much of its substance. I should like to insert as one example of the possibilities the insights which Allen Forte has derived from the sketches for Beethoven's opus 109, in his monograph The Compositional Matrix.7 This is a promise of what...

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

01 October 2001 of Chicago Press, 1990), 23-38. 12A similar analysis featuring this parallelism is given in the Instructor's Manual for Allen Forte and Steven Gilbert, Introduction to Schenkerian Analysis (New York: W.W. Norton & Company, 1982), 106-07. 13Cohn (165-67)...

Music as Organic Evolution: Schoenberg's Mythic Springboard Into the Future

01 October 1993 some musicians. 20Schoenberg's search for rational procedures to replace those of tonality has been disussed at length by Allen Forte, Jan Maegaard, and Fusako Hamao, each with a particular interest in time and on substance. The most focused examination...

Schenker and the Theoretical Tradition—The Concept of Musical Reduction

01 October 1978 in Western music. 14A brief discussion of sixteenth century diminution theory in a Schenkerian context appears in Allen Forte, The Compositional Matrix (New York, 1961), pp. 16-17. Schenker himself frequently employs the word "diminution" and devotes a...

Sketch of a Foundation for Music Theory Today

01 October 1977 and the Decline of Literacy in Music Theory, by Carl E. Schachter Music Theory in Re-Transition: Centripetal Signs, by Allen Forte (These papers were also included in SYMPOSIUM Volume 17#1.) As my title indicates, my intention in this brief paper is to...

Diversity and the Decline of Literacy in Music Theory

01 October 1977 Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by Allen Forte (These papers were also included in SYMPOSIUM Volume 17#1.) At present, activity in music theory is characterized above all...

What Theorists Do

01 October 1977 Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by Allen Forte (These papers were also included in SYMPOSIUM Volume 17#1.) I would like to try to characterize for you what I think the...

Music Theory's Negativisms, Fallacies, Divisions, and Needs

01 October 1977 Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by Allen Forte (These papers were also included in SYMPOSIUM Volume 17#1.) To initiate a re-examination of our art and profession, I shall...

Campus Focus: A Curriculum for Understanding Music through Discovery and Discussion—The Yale Music Curriculum Project

01 October 1969 James Drew has developed a unit on American music, including Afro-American, jazz, and contemporary music; and Professor Allen Forte has been a consultant on theoretical problems. Several graduate students in history of music have been employed as...