Schenker and the Theoretical Tradition—The Concept of Musical Reduction

01 October 1978 Vorträge, IV, ed. Paul Graf Waldersee (Leipzig, 1882), pp. 159-90. 57Ibid., pp. 187-88. 58Ibid., p. 190. authors: Robert P. Morgan author_ids: 1354 authors: Robert P. Morgan author_ids: 1354

Beethoven, Tristan, and The Beatles

01 October 1990 I have often noticed in my teaching that students seem to retain principles or concepts better if the accompanying musical illustrations substitute more exotic or unusual excerpts and composers in place of the steady diet of Germanic "piano sonata"...

Dis-moi, Daphénéo… Erik Satie’s Path to Modernism

01 October 2011 “Berg’s Path to Atonality: The Piano Sonata, Op. 1.” In Alban Berg: Historical and Analytical Perspectives. Edited by Robert P. Morgan and David Gable/ Oxford: Oxford University Press, 1991. Shattuck, Roger. The Banquet Years. NY: Vintage Books, 1968....

A New Curriculum for Secondary General Music

01 October 1966 This article was part of a Symposium entitled Trends in Music Teaching. This discussion intends to convey to our readers current ideas on the newer trends in the teaching of music. Three of the articlesthis article, along with Music Education is Coming...

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

01 October 1989 In Musical Form and Musical Performance, Edward T. Cone states that "artistic quality is intentionally produced esthetic quality"; the so-called intentional fallacy is "no fallacyunless it is the fallacy of believing that there is an intentional...

Reflections on Reflections of Serialism: Using Metaphors of Language, Visual Arts, and Nature as Pathways to Appreciation

03 June 2016 to put various ideas of Eimert, Pousseur, Boulez, Stockhausen, and others in dialogue throughout her fascinating book. Robert P. Morgan defines serialism as “[m]usic constructed according to permutations of a group of elements placed in a certain order...

[i]Ethnomusicology Scholarship and Teaching[/i] - Neurodiversity and the Ethnomusicology of Autism

25 August 2014 Abstract In this article, I explore how musical experience and an emergent ethnomusicology of autism can provide both people with autism and their neurotypical counterparts with opportunities to collectively live, model, and promote an epistemology of...

A Theory of Pitch-Class-Set Extension in Atonal Music

01 October 2001 Over years of teaching pitch-class-set theory and analysis as part of undergraduate twentieth-century theory courses, I have often reflected (and heard perceptive students remark) on an apparent shortcoming of the system. At that stage of their...

A Creative Legacy: Messiaen as Teacher of Analysis

01 October 2000 framework from two to three parts. In essence, Milhaud's promotion and use of polytonality was merely a way, as Robert P. Morgan puts it, "of spicing up an essentially traditional harmonic conception, an element of `modernity' without unwanted...

Music Iconography and Medieval Performance Practice

01 October 1991 Introduction This study of iconography and performance practice is divided into two parts. Part I deals with the definition of iconography and its relationship to performance practice. Part II outlines some general principles necessary to the study of...

Research Applications in Music CAI

01 October 1981 This article was co-authored by Professor Killam and her colleagues at North Texas State University: Philip Baczewski, Antoinette Corbet, Paul Edward Dworak, Jana Kubitza, Michael Morgan, and Lawrence Woodruff. INTRODUCTION Computer-assisted...

Debussy's Canope as Narrative Form

01 October 2002 example in his essay "My Evolution," in Style and Idea: Selected Writings of Arnold Schoenberg (Berkeley, 1984), 80. 12Robert P. Morgan, Twentieth-Century Music (New York, 1991), 48. 13The top line shows the large-scale form as described by Serge Gut in...

The Symbiosis of Teaching and Research: A Forum

01 October 2004 at the University of Chicago, where faculty routinely shared their research with students, in and out of class. When Robert P. Morgan offered a seminar on phrase rhythm in music, we read a recent article of his on the subject to kick off the seminar,...

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

01 October 1989 In The Composer's Voice, Edward T. Cone interprets musical compositions in terms of the various different "personae" which inhabit them. Regarding vocal music, his chief distinction is that between the singer (the "vocal persona") and the accompanist...

The Renaissance of Sir Arthur Sullivan

01 October 1981 When the authoritative work on unjustly neglected composers is written, a prominent chapter will surely have to be devoted to Victorian England's Wunderkind, Arthur Sullivan (1842-1900). Despite the fact that he is one of the very few British composers...

Music and World Events Since 1945: A Graduate Seminar

17 March 2015 Path to Atonality: The Piano Sonata, op. 1” in Alban Berg: Historical and Analytical Perspectives, ed. David Gable and Robert P. Morgan (Oxford: Clarendon Press, 1991). 35Lieberman, “Schoenberg Rewrites His Will,” 195. See especially “National Music”...

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

01 October 1989 Edward T. Cone's book The Composer's Voice is an important and distinctive contribution to recent music scholarship, but it has received relatively little public discussion.1 The following papers show the potential fruitfulness of the book by...

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...

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...

Music Theory in Re-Transition: Centripetal Signs

01 October 1977 This article was originally delivered as part of a unified group of papers entitled Music Theory: The Art, the Profession, and the Future, which was read at a plenary session of the national conferences of The College Music Society and the American...