Edward T. Cone's [i]The Composer's Voice[/i]: Agency in Instrumental Music and Song

01 October 1989 In Musical Form and Musical Performance, Edward T. Cone states that "artistic quality is intentionally produced esthetic quality"; the so-called intentional fallacy is "no fallacyunless it is the fallacy of believing that there is an intentional...

Edward T. Cone's [i]The Composer's Voice[/i]: Responses by Edward T. Cone

01 October 1989 measure, but also—enharmonically reinterpreted—as a German 6th chord in major, the key of the upcoming Presto. -Ed. 4Edward T. Cone, "Music and Form," in What is Music? ed. Philip Alperson (New York, 1987), 140. 5Edward T. Cone, "On Derivation: Syntax...

Edward T. Cone's [i]The Composer's Voice[/i] - Introduction: [i]The Composer's Voice[/i] as Music Theory

01 October 1989 Edward T. Cone's book The Composer's Voice is an important and distinctive contribution to recent music scholarship, but it has received relatively little public discussion.1 The following papers show the potential fruitfulness of the book by...

Patterning Beyond Hypermeter

01 October 1992 proposes an alternative perspective on its overall design. Invention of the term "hypermeter" is generally credited to Edward T. Cone, who first employed it in his study Musical Form and Musical Performance.1 In the first of the book's three essays,...

Edward T. Cone's [i]The Composer's Voice[/i]: Cone's "Personae" and the Analysis of Opera

01 October 1989 In The Composer's Voice, Edward T. Cone interprets musical compositions in terms of the various different "personae" which inhabit them. Regarding vocal music, his chief distinction is that between the singer (the "vocal persona") and the accompanist...

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...

Edward T. Cone's [i]The Composer's Voice[/i]: The Camera's Voice

01 October 1989 real world," both on the stage and on the screen. This very effective music is of a specific dramatic type discussed by Edward T. Cone in The Composer's Voice. Cone calls it realistic song, meaning that an operatic character enacts the singing of a...

Reflections on Reflections of Serialism: Using Metaphors of Language, Visual Arts, and Nature as Pathways to Appreciation

03 June 2016 specific discussions of relationships between the natural world and serial music are harder to find.54 Thankfully, Edward T. Cone provides one in the final chapter of his influential Musical Form and Musical Performance.55 There, he first distinguishes...

Structure and Imagination

01 October 1983 intuition and ear, intelligence and wit, imagination and taste. There are standards; we who care have to nurture them. 1Edward T. Cone, "Beyond Analysis," Perspectives on Contemporary Music Theory, Benjamin Boretz and Edward T. Cone, editors (New York:...

Motion in Musical Time and Rhythm

01 October 1979 and Symbol, Bollingen Series XLIV, 1956, and Bollingen Series, 1969 (Princeton, N.J.: Princeton University Press); Edward T. Cone, Musical Form and Musical Performance (New York: W.W. Norton & Co., Inc., 1968); Leonard B. Meyer, Emotion and Meaning in...

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

01 October 1989 The four movement of Schubert's "Wanderer" Fantasy are linked by transitions. But the word "transition," as a characterization of the first of these—the passage that links the opening C-Major Allegro to the following -Minor Adagio—conceals more than it...

Introducing Musical Meaning through Popular Music

20 September 2018 to non-texted music, where the nonresolution of tendency tones may carry different, more nuanced meanings. For example, Edward T. Cone uses voice-leading factors to extract meaning from Schubert’s Moment Musical no. 6 (op. 94, D. 780, 1824) in his 1982...

Approaching Musical Classicism—Understanding Styles and Style Change in Eighteenth-Century Instrumental Music

01 October 1980 addition to the author's own observations, it owes much to the works listed in the bibliography, particularly those of Edward T. Cone, Jan LaRue, Leonard Ratner, and William S. Newman. LaRue's work also provided the framework for the presentation. II...

[i]Erlkönig:[/i] Goethe, Schubert, and Resurrecting the Son

01 May 2021 of human nature and is responsible, directly or at least indirectly, for the child’s death. Citing just a few examples, Edward T. Cone (1974, 7–8) suggests that, “the Erlking belongs to another world—perhaps of the son’s feverish imagination”; Lawrence...

On the Structure of Ich folge dir

01 October 1965 This article was originally part of a Round Table discussion entitled Four Approaches to the Understanding of a Single Musical WorkThe Aria "Ich folge dir gleichfalls" from the St. John Passion of J.S. Bach, which took place at the seventh annual...

The First Movement of Beethoven's Opus 132 and the Classical Style

01 October 1987 Only with the publication of studies by, among others, Deryck Cooke, Joseph Kerman, Erwin Ratz, Charles Rosen, and Edward T. Cone have technical commentaries been offered as corollaries to critical judgement.2 A critical assessment of late Beethoven has...

Tradition and Creation: Hugo Wolf's "Fussreise"

01 October 1988 its own aims, may leave aside these elemental philosophical concerns, which such skilled thinkers as Peter Kivy and Edward T. Cone have recently addressed.8 Not required either and perhaps not wanted is any set of prior findings as to the meaning of...

Undergraduate Preparation for Graduate Education—Rutgers, The State University of New Jersey

01 October 1971 of an undergraduate education, we should be careful to apply standards of judgment that will minimize this force. Edward T. Cone of Princeton University has suggested in "Analysis Today," an essay appearing in the Musical Quarterly (Vol. 46), that . .....

An Interpretation of Bach's "Ich folge dir gleichfalls"

01 October 1965 Society held in Washington, D.C., December 28-30, 1964. The other participants were Arthur Mendel, Donald J. Grout, and Edward T. Cone. Their articles also appear in SYMPOSIUM Volume 5. Since a musical work is written in a social and cultural setting...

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

01 October 1990 2a. Sudden as it seems, this moment of darkening, this negative transformation arises from earlier events in the piece. Edward T. Cone traces it back to the undermining influence of the (or ) in measure 12 (Ex. 2b).1 Example 2b. This promissory note,"...