The Function of Dynamics in the Music of Haydn, Mozart, and Beethoven: Some Implications for the Performer

01 October 1976 or wrong. If they prompt new thought or better approaches, they serve a good purpose. The writings of theorists such as Edward T. Cone, Leonard B. Meyer, and Erwin Stein have encouraged me to compose the following essay, not because I disagree with...

Documentary Evidence Concerning the Aria "Ich folge dir gleichfalls" from Bach's St. John Passion

01 October 1965 meeting of the Society held in Washington, D.C., December 28-30, 1964. The other participants were Donald J. Grout, Edward T. Cone, and Edward A. Lippman. Their articles also appear in SYMPOSIUM Volume 5. The earliest surviving sources for the St. John...

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

01 October 2003 to one another; or, conversely, conventional tonality may be marked within a dissonant polytonal field.17 Just as Edward T. Cone's essay "Schubert's Beethoven" sheds considerable light on the younger master's own work by detailing his take on Beethoven,...

Historical Approach: No. 13, "Ich folge dir gleichfalls" from Bach Passion according to St. John

01 October 1965 meeting of the Society held in Washington, D.C., December 28-30, 1964. The other participants were Arthur Mendel, Edward T. Cone, and Edward A. Lippman. Their articles also appear in SYMPOSIUM Volume 5. I suppose it is only fair that one who has been...

J.S. Bach Teaches Us How to Compose: Four Pattern Preludes of the Well-Tempered Clavier

01 October 1998 early eighteenth-century musicians certainly heard the prelude differently, as various modern analysts have explained. Edward T. Cone has demonstrated that the arpeggiation pattern, like many Baroque continuous-rhythm figurations, is far more intricate...

Diabolical Dances and Rhythmic Poetry: Interpreting and Performing Franz Liszt’s Metric Conflicts

28 October 2025 Editor, Scholarship and Research James A. Grymes Expand Article The technical and musical difficulties of Franz Liszt’s piano music are well known to pianists and non-pianists alike. Such difficulties have been discussed in diverse venues from...

Some Aspects of Organization in Schoenberg's Book of the Hanging Gardens, Opus 15

01 October 1979 See Forte, The Structure of Atonal Music, pp. 13-15. 5For a discussion of what are called harmonic "normals," see Edward T. Cone, "Sound and Syntax: An Introduction to Schoenberg's Harmony," Perspectives of New Music, Fall-Winter 1974, pp. 22-23. See...

The Problem of Music Analysis and Universals

01 October 1966 since 1932 have not weighed the implications of the distinction more carefully. In an article called "Analysis Today,"5 Edward T. Cone distinguishes between three levels or procedures of musical tinkering which he labels the "descriptive," the...

Integrating Music Theory Instruction into Studio Teaching

30 April 1991 and students alike) who wish to explore the implications of metric hierarchy for musical interpretation. These are Edward T. Cone's Musical Form and Musical Performance (W. W. Norton, 1968) and William Rothstein's Phrase Rhythm in Tonal Music (Schirmer...

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...

Carl Nielsen's Tonal Language: An Examination of the Piano Music

01 October 1982 "pianism" in works of composer-pianists. However this relationship can also affect other levels of musical structure. Edward T. Cone for example sees this factor as a possible explanation for idiosyncratic key relations in Chopin's piano concertos....