Books Of Analyse Musicale

Yale University Department of Music

Books and Articles Source: Journal of Music Theory, Vol. 33, No. 2 (Autumn, 1989), pp. 450-460 Published by: Duke University Press on behalf of the Yale University Department of Music Stable URL: http://www.jstor.org/stable/843804 Accessed: 22-03-2018 19:23 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms

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BOOKS AND ARTICLES

BOOKS

Abbate, Carolyn, and Roger Parker, eds. Analyzing Opera: Verdi and Wag Berkeley: University of California Press, 1989.

Berry, Wallace. Musical Structure and Performance.. New Haven: Yale Uni sity Press, 1989.

Blombach, Ann.View, MacGAMUT. Graded Aural Music Training tosh. Mountain California: Mayfield Publishing, 1988. on the Ma

Boethius, Anicius Manlius Severinus. Fundamentals of Music, translated w introduction and notes by Calvin M. Bower, edited by Claude V. Palisca. N Haven: Yale University Press, 1989.

Chan, Mary, Janet D. Hine, and Jamie C. Kassler. Roger North's The Mus Grammarian and Theory of Sounds: Digests of the Manuscripts with an Ana ical Index of 1726 and 1728 Theory of Sounds. Kensington: School of Eng University of New South Wales, 1988.

Cube, Felix-Eberhard von. The Book of the Musical Artwork, translated wit

afterword by David Neumeyer, George R. Boyd, and Scott Harris. Lewist N.Y.: Edwin Mellen Press, 1989.

Dahlhaus, Carl. Nineteenth-Century Music, translated by J. Bradford Ro son. Berkeley: University of California Press, 1989.

Handel, Stephen. Listening: An Introduction to the Perception of Audit Events. Cambridge, Mass.: MIT Press, 1989.

450

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Harrin, Don. In Defense of Music: The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century. Lincoln: University of Nebraska Press, 1989. Jarman, Douglas. Alban Berg, Wozzeck. Cambridge Opera Handbooks Series. Cambridge: Cambridge University Press, 1989. Kostka, Stefan, and Dorothy Payne. Tonal Harmony, With an Introduction to Twentieth-Century Music, 2nd ed. New York: Alfred A. Knopf, 1989.

Lester, Joel. Analytic Approaches to Twentieth-Century Music. New York: W. W. Norton, 1989. Mathews, Max V., and John R. Pierce, eds. Current Directions in Computer Music Research. Cambridge, Mass.: MIT Press, 1989. Narmour, Eugene, and Ruth A. Solie, eds. Explorations in Music, The Arts, and Ideas: Essays in Honor of Leonard B. Meyer. Stuyvesant, N.Y.: Pendragon Press, 1988.

Norris, Christopher, ed. Music and the Politics of Culture. New York: St. Martin's Press, 1989.

Pople, Anthony. Skryabin and Stravinsky 1908-1914: Studies in Theory and Analysis. New York: Garland Publishing, 1989. Schelling, F W. J. The Philosophy of Art, edited, translated, and introduced by Douglas W. Stott; foreword by David Simpson. Minneapolis: University of Minnesota Press, 1989.

Sheldon, David A. Marpurg's Thoroughbass and Composition Handbook: A Narrative Translation and Critical Study. Stuyvesant, N.Y.: Pendragon Press, 1989. Stoquerus, Gaspar. Two Books on Verbal Music, edited and translated by Albert C. Rotola. Lincoln: University of Nebraska Press, 1988. Thomson, Virgil. Music with Words: A Composer's View. New Haven: Yale University Press, 1989.

Ward-Steinman, David. Toward a Comparative Structural Theory of the Arts. San Diego: San Diego State University Press, 1989.

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ARTICLES

Agawu, V. Kofi. "Schubert's Harmony Revisited: The Songs Du liebst nicht and Dass Sie hier gewesen," Journal of Musicological Researc (1989): 23-42.

- . "Stravinsky's Mass and Stravinsky Analysis," Music Theory Spec 11/2 (Fall 1989): 139-163.

Alphonce, Bo H. "Computer Applications: Analysis and Modeling," Theory Spectrum 11/1 (Spring 1989): 49-59.

Arthur, John, and Carl Schachter. "Mozart's Das Veilchen: a commenta the autograph and an analysis of the music," Musical Times 130/1753 (M 1989): 149-155.

Baker, Michael. 'An Artificial Intelligence Approach to Musical Grou Analysis," Contemporary Music Review 3/1 (1989): 43-68.

Barry, Barbara. "Les Noces, The Genesis of a Wedding," Sonus 9/2 (S 1989): 25-35.

Bayer, Francis. "Atmospheres de Gy6rgy Ligeti: 616ments pour une ana

Analyse Musicale 15 (1989): 18-24.

Beach, David. "The Analytic Process: A Practical Demonstration," Jour Music Theory Pedagogy 3/1 (Spring 1989): 25-46.

- . "Motivic Repetition in Beethoven's Piano Sonata Op. 110: Part II," gral 2 (1988): 75-98.

3-14.

. "Schenkerian Theory," Music Theory Spectrum 11/1 (Spring 19

Bennighof, James. "A Selected Bibliography of Source Materials for Cu

Music-Theoretical Systems," Journal of Music Theory Pedagogy 3/1 (S 1989): 47-94.

Berardi, Angelo. "Regole per le cantilene a pii Chori," Musiktheorie (1989): 153-156.

Bernard, Jonathan W. "The Marpurg-Sorge Controversy," Music Theory trum 11/2 (Fall 1989): 164-186.

452

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Biget, Michelle. "La terrasse des audiences du clair de lune: ou le primat du geste instrumental," Analyse Musicale 16 (1989): 85-91. Braus, Ira. "Poetic-Musical Rhetoric in Brahms's Auf dem Kirchhofe, Op. 105,

No. 4," Theory and Practice 13 (1988): 15-30.

Bridger, Michael. 'An Approach to the Analysis of Electroacoustic Music Derived from Empirical Investigation and Critical Methodologies of Other Dis-

ciplines," Contemporary Music Review 3/1 (1989): 145-160. Brower, Candace. "Tonal Hierarchy Reconsidered," In Theory Only 11/3 (July 1989): 31-36.

Budd, Malcolm. "Music and the Communication of Emotion," Journal of Aesthetics and Art Criticism 47/2 (Spring 1989): 129-138.

Cadwallader, Allen. "Echoes and Recollections: Brahms's Op. 76, No. 6," Theory and Practice 13 (1988): 65-78.

- . "Prolegomena to a General Description of Motivic Relationships in Tonal Music," Integral 2 (1988): 1-36. Caplin, William E. "Recent Research in the History of Theory: Eighteenth and

Nineteenth Centuries," Music Theory Spectrum 11/1 (Spring 1989): 29-34.

Carey, Norman, and David Clampitt. 'Aspects of Well-Formed Scales," Music Theory Spectrum 11/2 (Fall 1989): 187-206. Carpenter, Patricia. 'A Problem in Organic Form: Schoenberg's Tonal Body," Theory and Practice 13 (1988): 31-64.

Cherlin, Michael. "Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics," Theory and Practice 13 (1988): 115-132. Clarke, David. "Structural, Cognitive, and Semiotic Aspects of the Musical Present," Contemporary Music Review 3/1 (1989): 111-132. Clarke, Eric F. "Mind the Gap: Formal Structures and Psychological Processes in Music," Contemporary Music Review 3/1 (1989): 1-14.

Croonen, W. L. M., and P. F. M. Kop. "Tonality, Tonal Scheme, and Contour in Delayed Recognition of Tone Sequences," Music Perception 7/1 (Fall 1989):

49-68.

453

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Danchenka, Gary. 'A Critique of Current Theoretical Practice: Terminological Miscues," Journal of Music Theory Pedagogy 3/1 (Spring 1989): 95-126. D'Angiolini, Giuliano. "Tierkreis, oeuvre pour instrument melodique et/ou harmonique: un tournant dans le parcours musical de Stockhausen," Analyse Musi-

cale 14 (1989): 68-73.

Delaigue, Olivier. "La Sonate pour piano op. 109 de Beethoven: rigueur et invention d'une trajectoire dialectique," Analyse Musicale 15 (1989): 54-63.

Delalande, Franqois. "La terrasse des audiences du clair de lune: essai d'analyse esth6sique," Analyse Musicale 16 (1989): 75-84. D'Escrivan, Julio. "Reflections on the Poetics of Time in Electroacoustic

Music," Contemporary Music Review 3/1 (1989): 197.202. D6mling, Wolfgang. "Les nouvelles dimensions de l'espace et du temps dans la musique d'Hector Berlioz," Analyse Musicale 15 (1989): 7-17. Dunsby, Jonathan. "Considerations of Texture," Music and Letters 70/1 (Febru-

ary 1989): 46-57. Escot, Pozzi. "'Charm'd Magic Casements,' Mathematical Models in Ligeti," Sonus 9/1 (Fall 1988): 17-37. Federhofer, Hellmut. "Christoph Bernhards Figurenlehre und die Dissonanz," Die Musikforschung 42/2 (1989): 110-127. Fend, Michael. "Zarlinos Versuch einer Axiomatisierung der Musiktheorie in den Dimostrationi harmoniche (1571)," Musiktheorie 4/2 (1989): 113-126.

Forte, Allen. "La terrasse des audiences du clair de lune:approche motivique et lin6aire," Analyse Musicale 16 (1989): 23-29.

- . "Banquet Address: SMT, Rochester, 1987," Music Theory Spectrum

11/1 (Spring 1989): 95-99.

Gauldin, Robert, and Mary Wennerstrom. "Pedagogy," Music Theory Spectrum 11/1 (Spring 1989): 66-73. Goehr, Lydia. "Being True to the Work," Journal of Aesthetics and Art Criticism 47/1 (Winter 1989): 55-67.

454

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Golab, Maciej. 'Analyse und Werk-Zu den Polemiken fiber Heinrich Schenkers Theorie," International Review of the Aesthetics and Sociology of Music 19/2 (December 1988): 197-215. Gossett, Philip. "Carl Dahlhaus and the 'Ideal Type,'" 19th Century Music 13/1

(Summer 1989): 49-56. Graybill, Roger. "Phenomenal Accent and Meter in the Species Exercise," In Theory Only 11/1-2 (May 1989): 11-43. Greer, Taylor. "Music Theory: Anatomy of a Discipline," Theory and Practice 13 (1988): 133-150. Groth, Renate. "Zur Musiktheorie Angelo Berairdis," Musiktheorie 4/2 (1989): 157-160.

Harbinson, William. "Performer Indeterminacy and Boulez's Third Sonata," Tempo 169 (June 1989): 16-21. Hartmann, Giinter. "Schon wieder: der (?) 'Tristan-Akkord,"' Die Musikforschung 42/1 (1989): 36-52. Hatten, Robert. "Semiotic Perspectives on Issues in Music Cognition," In Theory Only 11/3 (July 1989): 1-10.

Helleu, Laurence. "Interchangeabilit6 de l'espace et du temps dans Les Soldats de B.A. Zimmermann," Analyse Musicale 15 (1989): 25-32. Helman, Zofia. "Von Heinrich Schenkers analytischer Methode bis zur generat-

iven Theorie der tonalen Musik," International Review of the Aesthetics and Sociology of Music 19/2 (December 1988): 181-195.

Hicks, Michael. "Exorcism and Epiphany: Luciano Berio's Nones," Perspectives of New Music 27/2 (Summer 1989): 252-269. Hirsbrunner, Theo. "A la recherche de l'inanalysable," Analyse Musicale 16 (1989): 19-22. Huron, David, and Deborah A. Fantini. "The Avoidance of Inner-Voice

Entries: Perceptual Evidence and Musical Practice," Music Perception 7/1 (Fall 1989): 43-48.

455

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Hyde, Martha M. "Twentieth-Century Analysis during the Past Decade: Achievements and New Directions," Music Theory Spectrum 11/1 (Spring 1989): 35-39.

Jones, Kevin. "Generative Models in Computer-Assisted Musical Composition," Contemporary Music Review 3/1 (1989): 177-196.

Josephson, Nors S. "Westeuropiiische Stilmerkmale in der Musik Mussorgskis," Beitriige zur Musikwissenschaft 31/2 (1989): 95-111. Kaminsky, Peter. "Principles of Formal Structure in Schumann's Early Piano Cycles," Music The-

ory Spectrum 11/2 (Fall 1989): 207-225.

Kauffman, W. H., and J. C. Carlsen. "Memory for Intact Music Works: The Importance of Music Expertise and Retention Interval," Psychomusicology 8

(Spring 1989): 3-20. Kerman, Joseph. "Carl Dahlhaus, 1928-1989," 19th Century Music 13/1 (Summer 1989): 57-58. Knapp, Raymond. "The Finale of Brahms's Fourth Symphony: The Tale of the Subject," 19th Century Music 13/1 (Summer 1989): 3-17.

Konold, Wulf. "Mendelssohns Jugendsymphonien. Eine analytische Studie," Archiv far Musikwissenschaft 46/1-2 (1989): 1-43, 155-183.

Koto, Takashi. "Basic Cells and Foreign Bodies in Varese's Integrales," Sonus 9/2 (Spring 1989): 36-45. Laske, Otto E. "Introduction to Cognitive Musicology," Journal of Musicological Research 9/1 (1989): 1-22.

Laufer, Edward. "On the Fantasy," Intigral 2 (1988): 99-134.

Leopold, Silke. "Das Madrigal und die wahren Theatermusik. Die Stillehre Giovanni Battista Donis," Musiktheorie 4/2 (1989): 143-152.

Lerdahl, Fred. 'Analyse de La terrasse des audiences du clair de lune de Debussy," Analyse Musicale 16 (1989): 54-60. Lewis, Christopher. "Into the Foothills: New Directions in Nineteenth-Century Analysis," Music Theory Spectrum 11/1 (Spring 1989): 15-23.

456

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-- . "Text, Time, and Tonic: Aspects of Patterning in the Romantic Cycle," Intigral 2 (1988): 37-74.

Longuet-Higgins, H. Christopher, and Edward R. Lisle. "Modelling Musical Cognition," Contemporary Music Review 3/1 (1989): 15-28. Luchese, Diane. "Levels of Infrastructure in Ligeti's Volumina," Sonus 9/1 (Fall 1988): 38-58. Magnani, Francesca. "La Sequenza I de Berio dans les po6tiques musicales des ann6es 50," Analyse Musicale 14 (1989): 74-81. Mainka, Juirgen. "Athanasius Kirchers Exemplifizierungen zur Affektenlehre.

Ein Beitrag zur Geschichte der Musikpsychologie," Beitrage zur Musikwissenschaft 31/2 (1989): 81-94.

Marsden, Alan, and Anthony Pople. "Modelling Musical Cognition as a Community of Experts," Contemporary Music Review 3/1 (1989): 29-42. Mead, Andrew. "The State of Research in Twelve-Tone and Atonal Theory," Music Theory Spectrum 11/1 (Spring 1989): 40-48.

Mesnage, Marcel. "La terrasse des audiences du clair de lune: esquisse d'analyse mod61is6e," Analyse Musicale 16 (1989): 31-43.

- , and Andre Riotte. "Les Variations pour piano op. 27 de Webern: approche cellulaire barraqueenne et analyseassist6e par ordinateur," Analyse Musicale 14 (1989): 41-67. Miyazaki, Ken'ichi. 'Absolute Pitch Identification: Effects of Timbre and Pitch

Region," Music Perception 7/1 (Fall 1989): 1-14. Molino, Jean. "Analyser," Analyse Musicale 16 (1989): 11-13.

Morris, David. 'A Semiotic Investigation of Messiaen's Abime des oiseaux," Music Analysis 8/1-2 (March/July 1989): 125-158. Narmour, Eugene. "L'implication et la r6alisation melodique dans La terrasse des audiences du clair de lune de Debussy," Analyse Musicale 16 (1989): 44-53.

Nattiez, Jean-Jacques. "Reflections on the Development of Semiology in Music," translated by Katherine Ellis, Music Analysis 8/1-2 (March/July 1989): 21-76.

457

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Neumeyer, David. "Fragile Octaves, Broken Lines: On Some Limitations in Schenkerian Theory and Practice," In Theory Only 11/3 (July 1989): 11-30.

Pedler, Emmanuel. "Les cheminements de l'6coute musicale: du modele lettr6 aux structurations indigenes," Analyse Musicale 15 (1989): 33-46. Prost, Christine. "Nuits, premiere transposition de la d6marche de Iannis Xena-

kis du domaine instrumental au domaine vocal," Analyse Musicale 15 (1989): 64-70.

Pulido, Alejandro. "Differentiation and Integration in Ligeti's Chamber Concerto, III," Sonus 9/1 (Fall 1988): 59-80.

Radford, Colin. "Emotions and Music: A Reply to the Cognitivists," Journal of Aesthetics and Art Criticism 47/1 (Winter 1989): 69-76.

Rahn, John. "New Research Paradigms," Music Theory Spectrum 11/1 (Spring 1989): 84-94.

-. "Toward a Theory for Chord Progression," In Theory Only 11/1-2 (May 1989): 1-10. --. "What is Valuable in Art, and Can Music Still Achieve It?," Perspectives of New Music 27/2 (Summer 1989): 6-17. Ramaut, Alban. "Le Miserere des J6suites de Marc-Antoine Charpentier: style italien ou sensibilit6 franoaise?," Analyse Musicale 15 (1989): 47-53. Rempp, Frieder. "Bemerkungen zum Selbstverstindnis der italienischen Musiktheorie im 16. Jahrhundert," Musiktheorie 4/2 (1989): 100-112.

Riggins, H. Lee, and Gregory Proctor.. 'A Schenker Pedagogy," Journal of Music Theory Pedagogy 3/1 (Spring 1989): 1-24. Rivera, Benito V. "Studies in Analysis and History of Theory: Sixteenth and Seventeenth Centuries," Music Theory Spectrum 11/1 (Spring 1989): 24-28. Rochlitz, Rainer. "Language for One, Language for All: Adorno and Modernism," Perspectives of New Music 27/2 (Summer 1989): 18-37. Sachs, Klaus-Jiirgen. "'Theorica e Prattica di Musica' in PietroPontios Dialogo (Parma 1595)," Musiktheorie 4/2 (1989): 127-142.

458

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Samuels, Robert. "Derrida and Snarrenberg," In Theory Only 11/1-2 (May 1989): 45-58. Schenker, Heinrich. "Graphic Analysis of Brahms's Auf dem Kirchhofe, Op. 105, No. 4," with introduction and commentary by Hedi Siegel and Arthur Mai-

sel, Theory and Practice 13 (1988): 1-14. Schmidt, Lothar. "Arabeske. Zu einigen Voraussetzungen und Konsequenzen von Eduard Hanslicks musikalischen Formbegriff," Archiv fiir Musikwissenschaft 46/2 (1989): 91-120.

Searby, Michael. "Ligeti's Chamber Concerto-Summation or Turningpoint?," Tempo 168 (March 1989): 30-34. Serafine, Mary Louise, and Wayne Slawson. "Interdisciplinary Directions in Music Theory," Music Theory Spectrum 11/1 (Spring 1989): 74-83. Smaldone, Edward. "Japanese and Western Confluences in Large-Scale Pitch Organization of Toru Takemitsu's November Steps and Autumn," Perspectives of New Music 27/2 (Summer 1989): 216-231. Stefani, Gino, and Luca Marconi. "De l'interpr6tation a la theorie: une s6miose progressive," Analyse Musicale 16 (1989): 61-66.

Street, Alan. "Superior Myths, Dogmatic Allegories: The Resistance to Musical Unity," Music Analysis 8/1-2 (March/July 1989): 77-124. Tarasti, Eero. "L'analyse s6miotique d'un prel1ude de Debussy: La terrasse des audiences du clair de lune," Analyse Musicale 16 (1989): 67-74.

Tepping, Susan. 'A Lesson in Analysis: An Account of the Study of Bach's E Major Invention with Felix-Eberhard von Cube," Indiana Theory Review 9/1 (Spring 1988): 63-74.

Thompson, William Forde. "Composer-Specific Aspects of Musical Performance: An Evaluation of Clynes's Theory of Pulse for Performances of Mozart

and Beethoven," Music Perception 7/1 (Fall 1989): 15-42. Vera Tejeiro, Ana. "Naturaleza de la aptitud musical," Revista de Musicologia 11/1 (1988): 171-206.

Walker, Rosemary. "Modes and Pitch-Class Sets in Messiaen: A Brief Discussion of Premiere communion de la Vierge," Music Analysis 8/1-2 (March/July

1989): 159-168.

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Warburton, Dan. "A Working Terminology for Minimal Music," Intigral 2 (1988): 135-160. Whittall, Arnold. "Some Recent Writings on Stravinsky," Music Analysis 8/1-2

(March/July 1989): 169-176. Willner, Channan. "Analysis and Interpretation in the Performance of Handel's

Concerti Grossi, Op. 6," Musical Times 130/1753 (March 1989): 138-141.

-- . "Chromaticism and the Mediant in Four Late Haydn Works," Theory and Practice 13 (1988): 79-114. Wittlich, Gary. "Computer Applications: Pedagogy," Music Theory Spectrum 11/1 (Spring 1989): 60-65. Wuthrich, C. E., and T. W. Tunks. "The Influence of Presentation Time Asyn-

chrony on Music Interval Perception," Psychomusicology 8 (Spring 1989): 3146.

Yuasa, Joji. "Music as a Reflection of a Composer's Cosmology," Perspectives of New Music 27/2 (Summer 1989): 176-197.

460

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