Debussy's Canope as Narrative Form

01 October 2002 203-232. 19Howat, Debussy in Proportion, 6-7. 20Donald W. Lucas, Aristotle: Poetics (Oxford, 1968), 182. authors: Richard Hoffman author_ids: 889 authors: Richard Hoffman author_ids: 889

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 Mind's Ear: I Hear Music and No One Is Performing

03 October 2005 "He is a good musician, who understands the music without the score, and the score without the music. The ear should not need the eye, the eye should not need the (outward) ear."1 Hearing music in the mind's ear, without any sound source present, is a...

The Fairbank Collection

01 October 1976 The Newberry Library, Chicago, contains a distinguished music collection, rare book, manuscript, and print holdings, and archives relevant both to the United States (and its Indian populations) and to the city of Chicago. Thus it is understandable that...

Preface to a Graduate Course in the History of Music Theory

01 October 1982 As a doctoral degree certifies (among other things) to a breadth of knowledge in the field, one requirement for the Ph.D. in music theory should be a scholarly course surveying the history of theory. To decide on this requirement, however, is easier...

A Brief History of Composers' Groups in the United States

01 October 1980 hall musical taste in America from 1852 to 1881 through the pages of his Journal of Music, such men as William Mason, Richard Hoffman (a sometime accompanist for Jenny Lind), George Warren, and Charles Hopkins, the latter of whom founded the American...

Oral History in Music: A Practical Guide

01 October 1980 In a recent article for this journal Barry S. Brook discussed the function of oral history in musical research, its special advantages to historians, and the distinctions between oral and written documents.1 Oral history, he noted, provides "the...

Design for Change: Creating Significant Learning Experiences in the Music Classroom

02 October 2006 Burns' "'Joanie' Get Angry: k.d. lang's Feminist Revision," and the exploration of narrative analysis in music through Richard Hoffman's "Debussy's Canope as Narrative Form." The interaction between music and cultural coding (an introduction to the...

Teaching Music History: An Interview with William Kimmel

01 October 1980 William Kimmel was born in Dayton, Ohio in 1908. He went to college in Naperville, Illinois, receiving his A.B. degree from North Central College. He received his M.M. and Ph.D degrees from the Eastman School of Music in 1935 and 1942 respectively....

Music Appreciation Revisited: Responses to Mann and Kivy

31 August 2000 I read with great interest Brian Mann's recent essay on music appreciation: "A Response to Kivy: Music and `Music Appreciation' in the Undergraduate Liberal Arts Tradition (College Music Symposium, vol. 39, 1999). To my mind, Mann's recommendations for...