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

01 October 1990 in D major, Op. 53; G major, Op. 78; and C minor, Op. Posth.; and of the String Quartet in G major, Op. 161. authors: Charles B. Fisk author_ids: 987 authors: Charles B. Fisk author_ids: 987

A Study in Jazz Historiography: [i]The New Grove Dictionary of Jazz[/i]

01 October 1989 A Study in Jazz Historiography: The New Grove Dictionary of Jazz * The word monumental has been overused in recent years in connection with the New Grove Dictionaries, but there seems to be no adequate substitute for describing the new addition to the...

Performance, Analysis, and Musical Imagining, Part II: Schumann's Kreisleriana, No. 2

01 October 1997 analysis." 2Charles Rosen, The Romantic Generation (Cambridge: Harvard University Press, 1995), 669-679. authors: Charles B. Fisk author_ids: 987 authors: Charles B. Fisk author_ids: 987

Performance, Analysis, and Musical Imagining, Part I: Schumann's Arabesque

01 October 1996 Paper read at the annual meeting of the Society for Music Theory in Austin, Texas, October 28, 1989. authors: Charles B. Fisk author_ids: 987 authors: Charles B. Fisk author_ids: 987

Edward T. Cone's [i]The Composer's Voice[/i]: Questions about the Persona of Schubert's "Wanderer" Fantasy

01 October 1989 ("Der Tod und das Mädchen [1824]), and the C-major Fantasy for Violin and Piano ("Sei mir gegrüsst" [1827]). authors: Charles B. Fisk author_ids: 987 authors: Charles B. Fisk author_ids: 987

Cultural Influences of Organ Music Composed by African American Women

01 June 2015 Cultural Influences on Organ Music Written By African American Women 1 Abstract In this paper, major events in African American history are described and contrasted with the history of organ music written by African American women in the twentieth- and...

Edward T. Cone's [i]The Composer's Voice[/i]: Beethoven as Dramatist

01 October 1989 In The Composer's Voice, Edward Cone argues that music is not utterly abstract sound structure perfectly isolated from the rest of life, but rather that music is a symbolic representation of human experience. He makes his case by drawing an elaborate...