The Topic of the Sacred Hymn in Beethoven's Instrumental Music

01 October 2007 Religious scenes in eighteenth-century opera are embedded within secular plots. To be dramatically effective it was necessary for composers, as well as librettists, costume designers, and set designers, to accentuate and magnify the religious nature of...

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

01 October 2001 I Alas, it is one thing to envision in a creative instant of inspiration and it is another to materialize one's vision by painstakingly connecting details until they fuse into a kind of organism. Alas, suppose it becomes an organism . . . and possesses...

The Woman in the Music (On Feminism as Theory and Practice)

01 October 2000 University of Minnesota Press, 1988, xiii-xiv; Ruth Solie. "Changing the Subject." Current Musicology 53, 1993; Marion A. Guck. "A Woman's (Theoretical) Work." Perspectives of New Music 32, no. 1 (1994), 28-43; and Fred Maus. "Recent Ideas and...

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

01 October 1993 Deconstructing McClary: Narrative, Feminine Sexuality, and Feminism in Susan McClary's Feminine Endings1 The frustration and excitement of reading Kristeva's writings makes my own relationship to them similar to what she describes as the relation to...

The Limits of Metaphorical Interpretation

01 October 1999 much attention has been paid in the past decade to the role of metaphor in music analysis by music theorists such as Marion A. Guck, Robert Snarrenberg, and Janna Saslaw. These scholars have succeeded in exposing many of the fallacies of formalism, yet...

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

01 October 1990 Idea and Analysis: Aspects of Unification in Musical Explanation1 I myself consider the totality of a piece as the idea: the idea which its creator wanted to present. (Arnold Schoenberg, "New Music, Outmoded Music, Style and Idea (1946)," Style and...

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

01 October 1989 gesture is an action that emulates an utterance—an action that tries to speak," with which I cannot agree. authors: Marion A. Guck author_ids: 1203 authors: Marion A. Guck author_ids: 1203

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

01 October 1989 tool in carrying out this enterprise. 1The Composer's 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...

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

01 October 1989 There is probably less disagreement between Marion Guck and me than she thinks. Our chief difference arises from her attempt to separate the musical persona from its musical experience. I may not have made this point clear enough in The Composer's...

The Ins and Outs of Teaching Composition: 1957-2007

01 October 2009 Thinking about the ins and outs of the teaching of composition during the past fifty years meant continuing a lively internal and external dialogue: What do composers need to know, and when do they need to know it? And, given the rock of the pop...