The Limits of Metaphorical Interpretation

01 October 1999 reliance upon metaphor, yet fail to acknowledge the metaphorical dimension of their own work.7 Contextualists, such as Leo Treitler, defend the use of metaphor, but avoid the hard questions concerning its precise function in music analysis.8 While...

Beyond "Bach-Centrism": Historiographic Perspectives on Johann Sebastian Bach and Seventeenth-Century Music

01 October 1993 become greater; I must become less" (John 3:30). Of course, this model is not unique to the Bach literature. In fact, Leo Treitler has observed that what he calls the "developmental doctrine" is "a prominent feature in the philosophical background of...

[i]Beethoven's Critics: Aesthetic Dilemmas and Resolutions During the Composer's Lifetime[/i], by Robin Wallace

01 October 1988 each one was written at unusual length and with considerable richness of detail. Using recent articles by Ian Bent and Leo Treitler as a background,6 Wallace proceeds to take us through Beethoven's Fifth Symphony movement by movement while juggling the...

An Essay on Word Painting

01 October 1984 3rd edition (New York: Norton, 1980), pp. 28 ff. 5For an investigation of the early history of this phenomenon, see: Leo Treitler, "The Early History of Music Writing in the West," Journal of the American Musicological Society, XXXV (1982), 237-279....

Fluidity in Paul Simon's Graceland: on Text and Music in a Popular Song

01 October 1993 nonmusical elements. Indeed, Newcomb and others, including Edward Cone, Joseph Kerman, Lawrence Kramer, Gary Tomlinson, Leo Treitler, and Martin Williams, have suggested that the listener's potential perception of a musical work can be most fully...

An Outsider’s Guide to Classical Music: Teaching the Western Canon as “Other”

01 October 2009 critical context for musical meaning. It may also risk suggesting that this music no longer has any other significance. Leo Treitler has argued: No other basis for the comparison of artworks has been considered so important as the chronological-genetic...

Report of the Symposium on Armenian Music

01 October 1981 of Surrey, England Gilbert Reaney, University of California, Los Angeles Bryan Simms, University of Southern California Leo Treitler, State University of New York, Stony Brook Milo Velimirovic, University of Virginia Bonnie Wade, University of...

Music Analysis in an Historical Context

01 October 1966 MUSIC ANALYSIS IN AN HISTORICAL CONTEXT1 The past three issues of the Journal of the American Musicological Society have carried installments of a spirited dialogue about the need for Criticism in History.2 This session of The College Music Society...

Music as Organic Evolution: Schoenberg's Mythic Springboard Into the Future

01 October 1993 about the seductive dangers of this hidden hypothesis. The most eloquent messenger of late has been music historian Leo Treitler. Over the past quarter-century he has several times renewed his charge that the evolutionary perspective is rooted in a...

Interpretation through Style Analysis

01 October 1978 layers in LaRue, Guidelines, pp. 90-94. 18LaRue, Guidelines, p. 1. 19See the comment on the "intentional fallacy" in Leo Treitler, "Music Analysis in an Historical Context," College Music Symposium 6 (1966), 80. authors: Floyd Grave author_ids: 1225...

Composition Before Rameau: Harmony, Figured Bass, and Style in the Baroque

01 October 1984 few references to any particular stylistic development in music history. Meyer's book is sympathetically criticized by Leo Treitler in "The Present as History," Perspectives of New Music VII/2 (1969), 42-57. 39New Grove, II, p. 178. 40The familiar...

Style Periods of Music History Considered Analytically

01 October 1984 and is included here in this form for the sake of simplicity (like so many other entries). However, Ritva Jonsson and Leo Treitler, in their "Medieval Music and Language" (Studies in the History of Music, 1: Music and Language, New York: Broude Bros.,...

Berg, Strindberg, and D Minor

01 October 1990 Berg, Strindberg, and D Minor1 Berg's fusion of tonality and atonality is a notable feature of his musical language, and the key of D minor appears with surprising regularity. D minor can be found in various of his early unpublished piano sonatas, in...

Deconstructing McClary: Narrative, Feminine Sexuality, and Feminism in Susan McClary's Feminine Endings

01 October 1993 206-33; see also McClary's reply, "A Response to Elaine Barkin," Perspectives of New Music 30, no. 2 (1992): 234-39; Leo Treitler, "Gender and Other Dualities of Music History," in Musicology and Difference: Gender and Sexuality in Music Scholarship,...

Music History at Ten Years a Minute

01 October 2004 1950), 199. This important passage was regrettably excised from the recent revised version of Strunk's Source Readings, Leo Treitler, gen. ed. (New York: Norton, 1998). 6It is highly likely that the differentiation of Classical/Romantic is due at least...

[i]Analysis[/i], by Ian Bent with William Drabkin; [i]Music Analysis in Theory and Practice[/i], by Jonathan Dunsby and Arnold Whittall

01 October 1988 examples include Sarah Fuller, "Line, Contrapunctus, and Structure in a Machaut Song," Music Analysis 6 (1987): 37-58; Leo Treitler, "Meter and Rhythm in the Ars Antiqua," Musical Quarterly 65 (1979): 524-58; Richard Kramer, "Schubert's Heine,"...