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...

Introducing Musical Meaning through Popular Music

20 September 2018 inimical to its surroundings, which it proceeds to demolish.”7Cone, “Schubert’s Promissory Note,” 239–40. Additionally, Robert Hatten explores the bass motion of #––during the chord succession V/V–V–I6 in the opening phrase of Beethoven’s Piano Sonata...

Music Theory Pedagogy Panel: "Analysis and Performance Across the Canon"

01 October 2007 Instrumental Music" 5. Matthew Shaftel and Christopher Swanson, "The Problem with Beautiful Singing" A Response by Robert Hatten These five essays explore often widely divergent aspects in the relatively new study of relationships between analysis and...

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 Abstract This article explores tracing as an analytical method and a pedagogical tool. I define “tracing” as following a singular event throughout a work, tracking its evolution, and placing it in an overall narrative context. I use Chopin’s Mazurka in...

“Shot Into the Air Like a Rocket”: Climax in the Lieder of Alma Mahler

01 May 2023 Zemlinsky’s minor to major shift might suggest a change of state that is gendered male in its triumphant closure. Robert Hatten, “On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven,” Indiana Theory Review 12 (1991): 75–98....

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

01 October 2007 14Arnheim, "Perceptual Dynamics in Musical Expression," 301. 15Concerning the concept of expressive opposition, see Robert Hatten, Musical Meaning in Beethoven, 70-82. 16Czerny, On the Proper Performance, 98. 17William Kinderman remarks that this tonal...

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

01 October 2003 potential for unique expressive and representational ends. We may construe this idea in broader terms by borrowing from Robert Hatten in his work on musical meaning: that is, mono- and polytonality may stand in an unmarked/marked relation to one...

Transformation vs. Prolongation in Brahms's "In der Fremde"

01 October 2008 Research in Music Theory. I am grateful to the members of these societies, particularly professors Frank Samarotto and Robert Hatten, as well as the anonymous reviewers of this journal for the numerous comments and suggestions they offered on earlier...

The Allure of Tango: Grafting Traditional Performance Practice and Style onto Art-Tangos

01 October 2007 four of these pieces are included in Mikhashoff's recording Incitation to Desire NA073CD New Albion, 1995. 3Thanks to Robert Hatten for this observation. authors: Kristin Wendland author_ids: 541 authors: Kristin Wendland author_ids: 541

[i]Death in Winterreise: Musico-Poetic Associations in Schubert's Song Cycle[/i] by Lauri Suurpää

12 January 2015 emotions that require an object, such as “fury” or “embarrassment.” Suurpää borrows the term “expressive genre,” used by Robert Hatten to describe the general emotions attached to the overarching expressive course of a composition or section of a...