Rehearing the Moment and Hearing In-the-Moment: Schubert's First Two Moments Musicaux

01 October 1990 I. Introduction In the first part of Schubert's C-Major Moment Musical, the return of the opening theme has all the drama of a recapitulation after a long and episodic development. The preceding "development," however, is very short, and does not...

The Pedagogy of Early, Twentieth-Century Music: Ideas for a Classroom Discussion based on a Multi-Faceted Analysis of Scriabin's Op. 31, No. 4.

29 November 2016 Abstract The literature of the early part of the twentieth-century poses a unique set of pedagogical challenges when introducing it to the undergraduate population. On the one hand, there are elements that continue in the common-practice tradition,...

Comprehending Twelve-Tone Music as an Extension of the Primary Musical Language of Tonality

01 October 1984 During the past decade several of Schoenberg's musical compositions have begun to take their places in the standard concert repertoire. Fine recorded performances have been made available of each of his mature works; and successful live performances of...

Schenkerian Analysis, Metaphor, and Performance

01 October 2007 One model of the relation between analysis and performance asserts that analysis, because it is a rational endeavor, is in a position to preside over performance—to determine how it should be—because performance is by nature more intuitive and emotive....

The Mind's Ear: I Hear Music and No One Is Performing

03 October 2005 "He is a good musician, who understands the music without the score, and the score without the music. The ear should not need the eye, the eye should not need the (outward) ear."1 Hearing music in the mind's ear, without any sound source present, is a...

Music Theory in Re-Transition: Centripetal Signs

01 October 1977 by Vernon Kliewer What Theorists Do, by Peter Westergaard Diversity and the Decline of Literacy in Music Theory, by Carl E. Schachter Sketch of a Foundation for Music Theory Today, by Carlton Gamer (These papers were also included in SYMPOSIUM Volume...

Composers' Words, Theorists' Analyses, Ravel's Music (Sometimes the Twain Shall Meet)

01 October 2003 Last year a graduate student in musicology at the University of Connecticut took an independent study with me on the music of Maurice Ravel. While in the end his work was insightful and successful, he was quite frustrated and discouraged at the...

Teleology and Structural Determinants in Beethoven's C# Minor Quartet, Op. 131

01 October 1990 To characterize Beethoven's Minor Quartet as teleology is to underscore its purposeful structural design, and to consider how Beethoven achieved its powerful underlying integration in movements comprising a scenario of dramatic contrasts. The work...

Sketch of a Foundation for Music Theory Today

01 October 1977 by Vernon Kliewer What Theorists Do, by Peter Westergaard Diversity 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...

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...

Diversity and the Decline of Literacy in Music Theory

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...

Dis-moi, Daphénéo… Erik Satie’s Path to Modernism

01 October 2011 Throughout the twentieth-century musical composition was characterized by the evolution of two distinct traditions that developed simultaneously and in opposition to one another. As a number of critics and historians have noted, these traditions...

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...

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

01 October 1977 by Richmond Browne What Theorists Do, by Peter Westergaard Diversity and the Decline of Literacy in Music Theory, by Carl E. Schachter Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by...

A Multi-Level Approach to More Secure Memorization

01 October 2009 Memorizing is essential for the solo pianist, thanks to a long tradition dating back to the nineteenth century. Requiring solo piano recitals to be performed from memory, however, is not without controversy. While memorizing comes naturally to some...

What Theorists Do

01 October 1977 Fallacies, Divisions, and Needs, by Vernon Kliewer Diversity and the Decline of Literacy in Music Theory, by Carl E. Schachter Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by Allen...

If We Are All Theorists, Why Aren't We All Theorists?

01 October 1977 by Vernon Kliewer What Theorists Do, by Peter Westergaard Diversity and the Decline of Literacy in Music Theory, by Carl E. Schachter Sketch of a Foundation for Music Theory Today, by Carlton Gamer Music Theory in Re-Transition: Centripetal Signs, by...