Reflections on the Relationship of Analysis and Performance

01 October 1993 a performer strive to bring out such motivic parallelisms? Theorists who have broached this question are equivocal. Wallace Berry addresses the issue in regard to the Adagio introduction to the first movement of Beethoven's 4th Symphony, in which the...

A New Learned Society for Music Theory

01 October 1978 methods of the discipline of music theory. On the following day, a meeting of music theorists, under the chairmanship of Wallace Berry (CMS Member-at-Large for Music Theory), had extensive further discussion of possibilities, problems, and potential...

Performance, Analysis, and Musical Imagining, Part I: Schumann's Arabesque

01 October 1996 analysis as a foundation for performance, as a way of grounding or validating performance objectively. In his review of Wallace Berry's Musical Structure and Performance, John Rink takes issue with the implicit belief of these writers that what he calls...

Dialogue and Monologue in the Professional Community

01 October 1981 and Brown, Life Against Death: The Psychoanalytical Meaning of History (New York: Viking Books, 1959), p. 322. authors: Wallace Berry author_ids: 830 authors: Wallace Berry author_ids: 830

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

01 October 1989 that many musicians feel for him—or, one could say, for the personas he has created in various writings and lectures. Wallace Berry, in reviewing Cone's earlier book Musical Form and Musical Performance,3 pauses to admire "the tone of the essays," which...

A Survey of Music Anthologies

01 October 1979 examples of chamber, choral, keyboard, and orchestral works are included in Eighteenth-Century Imitative Counterpoint by Wallace Berry and Edward Chudacoff. Two of the anthology's five parts are devoted to music by J.S. Bach and Handel. For reference...

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

02 October 2006 Education in music is most sovereign, because more than anything else rhythm and harmony find their way to the inmost soul and take strongest hold upon it, bringing with them and imparting grace, if one is rightly trained, and otherwise the...

Folk Music and the "Free and Equal Treatment of the Twelve Tones": Aspects of Béla Bartók's Synthetic Methods

01 October 1987 The Music Review 18 (1957):189; Ernö Lendvai, Béla Bartók: An Analysis of his Music (London: Kahn & Averill, 1971); Wallace Berry, "Symmetrical Interval Sets and Derivative Pitch Materials in Bartók's String Quartet No. 3," Perspectives of New Music 18...

Patterning Beyond Hypermeter

01 October 1992 But Cone repeats his rejection of strictly metrical modelling of the typical tonal phrase. At one point he chides Wallace Berry, because "insisting on the primacy of a pattern of alternation, he neatly turns the standard phrase into a hypermeasure" (p....

Schenkerian Analysis, Metaphor, and Performance

01 October 2007 M. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford: Oxford University Press, 2002. Endnotes 1Wallace Berry embraces this model in Musical Structure and Performance. Eugene Narmour seems to as well, for, in his "On the...

If We Are All Theorists, Why Aren't We All Theorists?

01 October 1977 aegis of, the CMS 1977 meetings at Northwestern University (Evanston, Illinois). A CMS committee, headed by Professor Wallace Berry (University of Michigan), broadly representative of theory activities in every region of the country, will plan that...

Architectural Control in Josquin's Tu Pauperum Refugium

01 October 1978 see Lowinsky, Ibid., pp. 267ff. 3For a recent discussion of some harmonic aspects, as well as textural functions, see Wallace Berry, Structural Functions in Music (Englewood Cliffs: Prentice-Hall, 1976), pp. 45ff and 236ff. Certainly the most exhaustive...

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

01 October 1990 analyses) can be read as :Np, thus reflecting a motivic parallelism within an adjusted tonal context. 17See especially Wallace Berry, Structural Functions in Music (Englewood Cliffs: Prentice-Hall, 1976), 68-69. 18The association is suggested despite...