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

01 October 1989 in The Composer's Voice extend beyond Western music? Discussion by ethnomusicologists would be fascinating. authors: Fred Everett Maus author_ids: 880 authors: Fred Everett Maus author_ids: 880

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

01 October 1989 1988; I am indebted to the participants, whose responses enabled me to clarify and improve this paper. authors: Fred Everett Maus author_ids: 880 authors: Fred Everett Maus author_ids: 880

Ethnomusicology, Music Curricula, and the Centrality of Classical Music

01 October 2004 Shatin, and Richard Will for careful reading and comments that helped me work toward this final version. authors: Fred Everett Maus author_ids: 880 authors: Fred Everett Maus author_ids: 880

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

01 October 1989 probably offer other occasions for ambiguity of this kind—or for confusion. 1The Composer's Voice, 106-07. 2See Fred Everett Maus, "Music as Drama," Music Theory Spectrum 10 (1988): 70. 3The in question, which is not found in many older editions,...

Tracing as an Analytical Approach in the Music Theory Classroom: Exploring Chopin's Mazurka in A-flat Major, Op. 17, no. 3

01 May 2020 the physical and emotional connections that we have with musical events as the guide for his classroom analyses.1See Fred Everett Maus (1988, 56–73) for perhaps one of the most influential looks into musical narrative. Maus’s discourse on effectively...

[i]Idea[/i] and Analysis: Aspects of Unification in Musical Explanation

01 October 1990 22/2 (1978), 291-312; Marion Guck, "A Flow of Energy: Density 21.5," Perspectives of New Music 23 (1984), 334-347; Fred Everett Maus, "Music as Drama," Music Theory Spectrum 10 (1988), 56-73. A more extensive bibliography and commentary can be found in...

Musicians as Authors: Teaching the Art of Writing Program Notes

01 October 2004 writing and how writing reviews and notes changed his perceptions of the relationships between writers and listeners. Fred Everett Maus, "Learning from 'Occasional' Writing," Repercussions 6:2 (1997): 5-23. 9Although this project involved choral music...

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

01 October 1989 motivated by conflict. 4This formulation of actor and action is derived from Aristotle, Poetics, as quoted in Fred Everett Maus, "Music as Drama," Music Theory Spectrum 10 (1988): 72. 5As I have redefined it, the concept "persona" should probably be...

Defending Music Theory in a Multicultural Curriculum

02 October 2006 Defending Music Theory in a Multicultural Curriculum1 Music theory has served as the foundation for undergraduate music curricula in the United States for much of the past century. Within many music departments, it has been used to introduce students...

The Ins and Outs of Teaching Composition: 1957-2007

01 October 2009 like to thank University of Virginia Music Librarian Erin Mayhood; Uniersity of Virginai Professors Michael Kubovy and Fred Everett Maus; Robby D. Gunstream, Executive Director of The College Music Society; the staff of The College Music Society; and...

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

01 October 1996 of Analysis to Performance: Beethoven's Bagatelles Op. 126, nos. 2 and 5," Journal of Music Theory 29/1 (1985): 1-31. 5Fred Everett Maus, "Musical Performance as Composition." Paper read at the annual meeting of the Society for Music Theory in Austin,...

From Poem to Performance: Brahms's "Edward" Ballade, Op. 10, No. 1

01 October 2008 A performer may develop an interpretation of a piece of music using a number of tools, including analyzing the structure, working out physical motions, following intuitions, and listening to other performances. The process of translating printed notes...

Open-Access Music Journals and the Possibility of Global Dialogue[sup]1[/sup]

15 November 2021 Abstract Musicians increasingly operate in a global community connected by the internet that has affected performance, composition, and listening habits. Similarly, there is a growing trend of publishing scholarly research “open access,” meaning it is...

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

01 October 2001 Analysis and Meaning in Music, ed. Antony Pople, (Cambridge: Cambridge University Press, 1994), 57-73. See also Fred Everett Maus, "Music as Drama," Music Theory Spectrum 10 (1988): 56-73. 19See footnote 14, above. 20Schoenberg, Coherence, 27....

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

01 October 1989 Despite many obvious similarities between stage works and motion pictures, the two media are very different, even almost opposite, in one important respect. The type of world we observe when we experience a play or opera is, in terms of those...

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

01 October 1989 Voice, esp. chaps. 1-2. 2On "agency" in music, see the article by Marion A. Guck in this collection of essays; and Fred Everett Maus, "Music as Drama," Music Theory Spectrum 10 (1988). 3I survey these issues in "To Understand Verdi and Wagner We Must...