How We Got Out of Analysis, and How We Can Get Back In Music 575, Seminar in Theory Autumn 1994 John Rahn Wednesdays 3:30 - 5:20 Music room 27 Journals to peruse: Music Analysis Perspectives of New Music Music Theory Spectrum Journal of Music Theory Music Forum Critical Inquiry (Suzzallo Periodicals Display Shelves AS30 .C7) Current Musicology The Journal of Musicology Nineteenth-Century Music Early Music Music Perception Barkin, Elaine. 1978. Notes in Progress. Journal of Music Theory 22/2: 291-312. -----. 1979. play it AS it lays. Perspectives of New Music 17/2: 17-24. __. 1979-80. A Dedication, Five ADmusementS, & A Digression. Perspectives of New Music 18: 407-21. -----. 1980-81. Earl Kim: Earthlight. Perspectives of New Music 19: 269-77. -----. 1981. Schoenberg's Opus 19/2. In Theory Only 6/1: 40. -----. 1982. In Your Own Verse: [a.k.a. "An Alice is Lost"]." In Theory Only 6/4: 3-8. Bernard, Jonathan. 1993. The Minimalist Aesthetic in the Plastic Arts and in Music. Perspectives of New Music 31/1 (Winter 1993): 86-133. -----. 1988. The Evolution of Elliott Carter's Rhythmic Practice. Perspectives of New Music 26/2 (Summer 1988): 164-203. Boretz, Benjamin. 1971. Meta-Variations: studies in the Foundations of Musical Thought. Ph.D. dissertation, Princeton University, 1971. (This is in our Music Library.) -----. 1972. Meta-Variations, Part IV: Analytic Fallout (I). Perspectives of New Music 11/1 (Fall-Winter 1972): 146-223. -----. 1977. What Lingers On (, When the Song Is Ended). Perspectives of New Music 16/1: 102-9. -----. 1979. Language, as a Music. Perspectives of New Music 17/2: 131-196. -----. 1981-82. If I am a musical thinker. Perspectives of New Music 20: 464-518. -----. 1985. Interface, Part I: Commentary: The Barrytown Orchestra on Hunger Day, November 15, 1984. Perspectives of New Music 23/2: 90-95. -----. 1987. Interface, Part II: Thoughts in Reply to Boulez/Foucault, "Contemporary Music and the Public." Perspectives of New Music 25: 608-11. ----. 1989a. On Thinking about Various Issues induced by the Problem of Discovering That One Is Not a 'Composer', and That the Space Which One Inhabits Musically is Not 'America'. Perspectives of New Music 27/2 (Summer): 38-44. -----. 1989b. The Logic of What? Journal of Music Theory 33/1 (Spring): 107-16. -----. 1990. The Inner Studio: Strategies for Retrieving Reality in Music Experience and Practice. Unpublished MS (on reserve in Music Library). Cohn, Richard. 1992. Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music. Perspectives of New Music 30/2 (Summer 1992): 146-77. Cook, Nicholas. 1989. Musical Analysis and the Listener. NY: Garland. Suzanne Cusick, Marion Guck, Marianne Kielian-Gilbert, and Susan McClary. 1994. Toward a Feminist Music Theory. Four papers in a symposium from SMT. Perspectives of New Music 32/1 (Winter 1994): 6-85. Dubiel, Joseph. 1990-92. Three Essays on Milton Babbitt. Perspectives of New Music 28/2: 216-61; Perspectives of New Music 29/1 (Winter 1991): 90-123; Perspectives of New Music 30/1 (Winter 1992): 82-131. Dunsby, Jonathan, and Arnold Whittall. 1988. Music Analysis in Theory and Practice. New Haven: Yale University Press. Francois, Jean-charles. 1991. Organization of Scattered Timbral Qualities: A Look at Edgard Varese's Ionization. Perspectives of New Music 29/1 (Winter 1991): 48-79. Gaburo, Kenneth, et al. 1979-80. Gaburo. Perspectives of New Music 18: 11-257. -----. 1987. LA. Perspectives of New Music 25: 496-510. Gann, Kyle. 1993. La Monte Young's Well-Tuned Piano. Perspectives of New Music 31/1 (Winter 1993): 134-63. Gilmore, Bob. 1992. On Harry Partch's Seventeen Lyrics by Li-Po. Perspectives of New Music 30/2(Summer 1992): 22-59. Gjerdingen, Robert. 1988. A Classic Turn of Phrase: Music and the Psychology of Convention. Philadelphia: University of Pennsylvania Press. Goldstein, Malcolm. 1982-83. The Politics of Improvisation. Perspectives of New Music 21: 79-91. Kerman, Joseph. 1980. How We Got into Analysis, and How to Get Out. Critical Inquiry 7/2: 311-32. -----. 1985. Contemplating music : challenges to musicology. Cambridge, Mass: Harvard University Press. Kohl, Jerome. 1990. Into the Middleground: Formula Syntax in Stockhausen's Licht. Lewin, David. 1986. Music Theory, Phenomenology, and Modes of Perception. {bib} Music Perception 3/4: 327-92. -----. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press. -----. 1993. Musical Form and Transformation: 4 Analytic Essays. New Haven: Yale University Press. McClary, Susan . 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press. See particularly the essay ªGetting Down Off the Beanstalk,º pp. 112-31. Pope, Stephen. 1986. Music Notations and the Representation of Musical Structure. {bib} Perspectives of New Music 24/2: 156-89. Rahn, John. 1976. How Do You Du (by Milton Babbitt)? Perspectives of New Music 14, no. 2 and 15, no. 1 (double issue): 61-81. -----. 1979a. Aspects of Musical Explanation. {bib} Perspectives of New Music 17/2: 204-24. -----. 1979b . Logic, Set Theory, Music Theory. College Music Symposium 19, no. 1 (Spring): 114-27. -----. 1983. "D-Light Reflecting: On the Nature of Comparison." Proceedings of the International Brahms Conference, Library of Congress. Oxford University Press. -----. 1987. Ethnomusicological Approaches to Western Art Music: A Native Reflection. The World of Music 29/1: 9-18. -----. 1988a . Theories for Some Ars Artiqua Motets, with Attendant Methodological Considerations. English version of Teorie su alcuni mottetti dell'Ars antiqua, con relative considerazioni metodologiche. Musikometrika 1: 191-214. -----. 1989a. New Research Paradigms. Spectrum 12/1 (Spring): 84-94. -----. 1989b. What is Valuable in Art, and Can Music Still Achieve It? Perspectives of New Music 27/2 (Summer): 6-17. -----. 1989e. Notes on Methodology in Music Theory. Journal of Music Theory 33/1: 143-54. -----. 1993a. Repetition. Contemporary Music Review vol 7, part 2 : 49-58. -----. 1993b. Differences. Perspectives of New Music 31/2 (Summer): 58-71. -----. ND. (M)Other, or, Disciplinin' Dozens. Unpublished MS, on reserve. (Reply to Kerman 1980.) Randall, J. K. 1972a. Compose Yourself -- A Manual for the Young: Dedication in the form of a Prelude. Perspectives of New Music 10/2: 1-8. -----. 1972b. Act II Scene 1 Arises Out Of Its Own Vorspiel. Perspectives of New Music 10/2: 9-12. -----. 1973. Language Lab. Perspectives of New Music 11/1: 77-91. -----. 1974a. Revelstoke. Perspectives of New Music 12/1, 12/2: 231-60. -----. 1974b. Lovejoy. Perspectives of New Music 12/1, 12/2: 261-81. -----. 1975. a Soundscroll. Perspectives of New Music 13/2: 126-49. -----. 1976. how music goes. Perspectives of New Music 14/2, 15/1: 424-521. -----. 1979. ____ __ ____ __ ____. Perspectives of New Music 17/2: 197-203. -----. 1985. Are You Serious? Perspectives of New Music 23/2: 72-89. Rochlitz, Rainer. 1989. Language for One, Language for All: Adorno and Modernism. Perspectives of New Music 27/2 (Summer): 18-37. Schenker, Heinrich. 1973. Thirteen essays from the three yearbooks, Das Meisterwerk in der Musik. Translated and annotated by Kalib, Sylvan Sol. Evanston, Ill., Northwestern University. -----. 1979. Free composition (Der freie Satz) : volume III of New musical theories and fantasies. Translated and edited by Ernst Oster. New York : Longman, c1979. -----. 1981. Beethoven's Third Symphony, First Movement. Translation with annotations by William Eli Zwozdesky. UW M.A. dissertation, 1981. -----. 1992. Beethoven's ninth symphony : a portrayal of its musical content, with running commentary on performance and literature as well. Translated and edited by John Rothgeb. New Haven : Yale University Press, c1992. Solie, Ruth A. What Do Feminists Want? A Reply to Pieter van den Toorn. The Journal of Musicology 9, no. 4 (1991): 399-411. Stadelman, Jeffrey. 1991. A Symmetry of Thought. Perspectives of New Music 29/2 (Summer 1991): 402-439. Toop, Richard. 1990. Brian Ferneyhough's Lemma-Icon-Epigram. Perspectives of New Music 28/2: 52-101. van den Toorn, Pieter. 1991. Politics, Feminism, and Contemporary Music Theory. The Journal of Musicology 9, no. 3 (1991): 275-99. Wolpe, Stefan. 1979. Thoughts on Pitch and Some Considerations Connected With It. Perspectives of New Music 17/2: 28-55. ------. 1982-83. Any Bunch of Notes: A Lecture. Perspectives of New Music 21: 295-311. -----. 1986. Lecture on Dada by Stefan Wolpe. Edited by Austin Clarkson. Musical Quarterly 72/2: 202-15. Yeston, Maury. 1977. Readings in Schenker analysis and other approaches. New Haven : Yale University Press.