Kramer, J.d. - (art) Studies Of Time And Music A Bibliography.pdf

Society for Music Theory

Studies of Time and Music: A Bibliography Author(s): Jonathan D. Kramer Source: Music Theory Spectrum, Vol. 7, Time and Rhythm in Music (Spring, 1985), pp. 72106 Published by: Oxford University Press on behalf of the Society for Music Theory Stable URL: http://www.jstor.org/stable/745881 Accessed: 15-01-2018 18:47 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

Oxford University Press, Society for Music Theory are collaborating with JSTOR to digitize, preserve and extend access to Music Theory Spectrum

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography Jonathan D. Kramer

Assembling a bibliography is a matter not only of finding and examining relevant sources but also of making decisions on

sions of life. Many scholars agree that time is both the essential

the listing's scope. When the subject is not a universally recognized area of scholarship, making such decisions can be tanta-

makes its deepest contact with the human spirit. Yet most theo-

mount to defining the field. As I assembled this bibliography, I became increasingly aware that implicit in my choices of what

sic.

to include was my own understanding of what is (or should be) encompassed by the discipline.

Musical time has not been widely recognized as an independent field of study. The New Grove has no article on time; RILM has no separate category for time; The Music Index has only recently begun to list articles under the heading "Time." One might conclude from such neglect in indexes and reference books that the field is small and/or new. Yet the study of musi-

cal time reasonably ought to consider every musical process that takes (place in) time-everything, in fact, inherent in a piece of music. Therefore titles will be found here that might "properly"(that is, narrowly)be thought of as belonging more to musicology than to theory, more to music perception than to

music theory, more to composers' prescriptions about technique than to objective analyses of music. It is ironic that the study of time is not usually considered a subdiscipline of music theory. Music is, after all, a temporal art. Music is pure temporality-abstract sonorous shapes moving through and creating time. Several writers believe that the manner in which music uses time symbolizes-in complex, per-

sonal, yet universal ways-the rhythms, pacings, and progrescomponent of musical meaning and the vehicle by which music rists do not treat time as central to their understanding of mu-

As readers of this journal surely know, theories of music tend instead to be dominated by considerations of pitch. Furthermore, the majority of theoretical works on musical time deal with rhythm and meter and how they are perceived. Yet much lies beyond rhythm, meter, and perception: motion and stasis, continuity and discontinuity, progression, timelessness, pacing, proportion, duration, and tempo. These aspects of music have indeed been studied, although less systematically than rhythm, meter, and perception. Thus I felt it important not to restrict this bibliography to those areas within the mainstream of theoretical thought. The study of time is perhaps the ultimate interdisciplinary field. Thus I have found relevant titles concerned with experimental psychology, cognition, sociology, philosophy, criticism of other temporal arts, and anthropology. I have listed, however, only works from these areas that do treat music in some substantive manner.

Omissions have been necessary. The process of defining (my view of) this discipline's boundaries has been as much exclusionary as inclusionary. Except for sources that are particularly

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 73

theoretical or that offer unique insights or viewpoints, I have not included references dealing with music therapy, popular music, transcription, rhythmic patterning of folk music, peda-

gogy, rudiments, music education, music appreciation, rhythmic abilities, tempo indications, time signatures, eurhythmics, notation, child development, performance practice, or the internal timing of individual notes (e.g., perception of attack rise times). I have also omitted masters theses. I have included only those book reviews of sufficient scope to offer their own insights.

Some works have been published more than once. When a book has reappeared in print long after its original publication, I have listed the more recent edition and indicated the original

date of publication. When articles or dissertations have been revised or collected into books, I have listed only the author's most recent version. When articles appear unchanged in more than one place, I have tried to list the more accessible sources. When only one or two chapters of a book are considered relevant, I have listed them by chapter title. The bibliography is divided into several categories, which are no more rigorously defined than the field itself. Categorization is difficult, because there are inevitably titles that do not fit

the prescribed categories. Listings are grouped more by their authors' orientations and methodologies than by the types of music studied (an exception to this policy, however, is found in "Ethnomusicology"). Most of the works listed might well fall into more than one category. For example, "Analysis" includes sources that study individual composition(s) from temporal viewpoints, while writings that use pieces principally to exem-

plify theoretical ideas are listed under "Music Theory" or "Rhythm and Meter": this distinction between analysis and theory can be rather artificial in a number of cases. I have not, however, resorted to cross referencing, because of the large number of titles that might require multiple listing.

Under "Contemporary Techniques" are found descriptions

and prescriptions of recent composers' approaches to time and rhythm; just how recent a composer must be for inclusion and just what constitutes the dividing line between such descriptions and prescriptions and real analysis (which would be listed under "Analysis") is difficult to say. Under "Ethnomusicology" are found works about music in non-Western cultures, although particularly theoretical treatments of such music are

listed elsewhere. "Aesthetics" and "Phenomenology" might suggest one large category, but I have separated them since phenomenology is emerging as a self-contained subdiscipline of music theory. "Other Arts" refers to writings on temporal arts as compared to music. "History" includes studies that are primarily historical, even if a certain amount of analysis is included. The psychology of music is an enormous field, and I have therefore divided it into two parts: "Perception" includes experimental studies on how we perceive duration and rhythm;

all other appropriate titles are listed under "Psychology." "Tempo" includes theoretical and historical studies but not articles dealing primarily with performance practice or tempo indications. "Proportion" lists sources concerned with the proportions of duration (but not of tempo), whether of individual notes or of lengthier time-spans. "Rhythm and Meter" includes studies of either of these two interrelated ideas, in music of any period. Theoretical writings not falling under the specific topics "Rhythm and Meter," "Harmonic Rhythm," or "Information

Theory" appear under "Music Theory." "Science and Technology" should be self-explanatory. "Textbooks" includes only those texts that present important, interesting, unique, or worthwhile theoretical ideas even in an elementary format.

"Textbooks" is combined with "Bibliography" because both have a small number of titles.

I have chosen not to list any sources originally published before 1900. I have not, however, included everything published since the turn of the century. A rule of thumb has been that the older a source is, the more important it must be to warrant inclu-

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

74 Music Theory Spectrum

sion. I have made a similar decision regarding writings in lan-

trivial or useless articles, I do not want my own view of the disci-

guages other than English. This is primarily an English-

pline inordinately to color my judgment of a work's quality. Hence I have preferred to err on the side of inclusion.

language bibliography, but I have included foreign sources that are particularly important. The farther a source's language is from the expertise of most English-speaking music theorists, the more important the source must be deemed for it to be included. Thus there are only a few listings in Russian, Japanese, or Czech, while there are several in German, French, and Ital-

ian. Titles in languages which do not use the Roman alphabet are given in translation, enclosed in brackets. Naturally a bibliography should list only writings relevant to

its topic. It is not always easy to decide, however, whether a

The list contains obscure as well as easy-to-find sources. It

has therefore not been possible to examine every item in-

cluded. Some works are listed on the basis of careful examination, others because of an abstract or a description in another

writing, and some simply on the basis of an educated guess. I would like to acknowledge the assistance of the Information Retrieval System of the School of Music at the Ohio State University, and in particular Helen Brown, in locating titles in the "Psychology and Cognition" and "Perception" categories. I

given source is related to the nebulously defined field of musical

am also indebted to Lewis Rowell for convincing me to assem-

time. I have tended to be inclusive, choosing to list a source if it

ble this bibliography, for several useful suggestions, and for ed-

has any potential relevance. Similarly, while I prefer to exclude

itorial assistance.

Aesthetics

Alperson, Philip. " 'Musical Time' and Music as an 'Art of Time.' " Journal of Aesthetics and Art Criticism 38 (1980):407-17. Altwein, E. F. "Zeit und Musik." Schweizerische Musikzeitung

Bayer, Raymond. "The Essence of Rhythm," trans. Susanne Langer. In Reflections on Art, ed. Susanne Langer, 186-201. Baltimore: Johns Hopkins Press, 1958. Bennett, Victor. "An Analogy of Music and Experience." Music Review 13 (1952):34-40.

108 (1968):305-13. Berry, Wallace. "Apostrophe: A Letter from Ann Arbor." Anthony, Donald B. "A General Concept of Musical Time Perspectives of New Music 14, no. 2 and 15, no. 1 with Special Reference to Certain Developments in the Mu(1976):187-98. sic of Anton Webern." Ph.D. diss., Stanford University, Binkley, Timothy. "Langer's Logical and Ontological Modes." 1968.

Journal of Aesthetics and Art Criticism 28 (1970):455-64.

Amheim, Rudolph. "A Stricture on Space and Time." Critical

Inquiry 4 (1978):645-55. Balazs, Istvan. "Zenemiiv6szet es tort6nelmi tavlat: Arnold

Schoenberg es a tizenket foku technika belso idoiszo-

Blum, Fred. "Susanne Langer's Musical Aesthetics." Ph.D. diss., State University of Iowa, 1959. Boretz, Benjamin. "Nelson Goodman's Languages of Art from a Musical Point of View." In Perspectives on Contemporary

nyainak ellentmondasai." Magvar zene 15, no. 3 (1974):299-

Music Theory, ed. Benjamin Boretz and Edward T. Cone,

318.

31-44. New York: Norton, 1972.

Ballantine, Christopher. "Towards an Aesthetic of Experimental Music." Musical Quarterly 63 (1977):224-46.

; Oliver, Harold; Childs, Barney; and Whittenberg, Charles. "The Nature of Continuity in Music." Proceedings

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 75

of the American Society of University Composers 6 (1971):49-82. Bosseur, D. "Introduction a la musique americaine: l'experience du temps chez Cage." Musique enjeu 1 (1970):16-22. Brelet, Gisele. "Music and Silence," trans. Susanne Langer. In Reflections on Art, ed. Susanne Langer, 103-21. Baltimore: Johns Hopkins Press, 1958.

. Le Temps musical. Paris: Presses Universitaires de France, 1949. Briner, A. Der Wandel der Musik als Zeit-Kunst. Vienna, 1955.

Burrows, David. "Music and the Biology of Time." Perspectives of New Music 11, no. 1 (1972): 241-49. Butler, Christopher. After the Wake: An Essay on the Contem-

porary Avant-Garde. Oxford: Oxford University Press, 1980.

Carpenter, Patricia. "Musical Form Regained." Journal of Philosophy 62, no. 2 (1965):36-48. Clifton, Thomas. "The Poetics of Musical Silence." Musical Quarterly 62 (1976):163-81

. "Analogical Relations in Musical Pattern." Journal of Aesthetics and Art Criticism 17 (1958):77-84.

Doubravova, Jarmila. "Cas stuktury a struktura casu." Hud V6da 13, no. 2 (1976):128-45. Downs, Philip. "On an Aspect of Schubert's Expressive Means." Studies in Music 2 (1977):41-51. Eisenbrey, Keith E. "Timeshapes." Perspectives of New Music

20 (1981-82):649-50. Emery, Eric. Temps et Musique. Lausanne: L'Age d'Homme, 1975.

Ernst, Anselm. Philosophische Untersuchungen zum Zeitbegriff in derMusik. Aachen: Aachen Technische Hochschule, 1973.

Fischer, Kurt von. "Das Zeitproblem in der Musik." In Das Zeitproblem im 20. Jahrhundert, ed. Rudolf W. Meyer, 296317. Bern: Franke, 1964.

Fraser, J. T. "The Art of the Audible 'Now.' " Music Theory Spectrum 7 (1985):181-84. Hori, Tsukiko. ["Musical Rhythm: From the Point of View of

Coker, Wilson. Music and Meaning. New York: Free Press, 1972.

Cone, Edward T. "Music: A View from Delft." In Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and

Edward T. Cone, 57-71. New York: Norton, 1972. Cott, Jonathan. Stockhausen: Conversations with the Composer. New York: Simon and Schuster, 1973. Dahlhaus, Carl. "Zeitstrukturen in der Oper." Musikforschung

34 (1981):2-11. Dalton, Wayne Arthur. "The Fulfillment of Time: A Langerian/Whiteheadian Aesthetic of Music Performance." Ph.D. diss., Clermont School of Theology, 1974.

de Selincourt, Basil. "Music and Duration," trans. Susanne Langer. In Reflections on Art, ed. Susanne Langer, 152-60. Baltimore: Johns Hopkins Press, 1958. Dickinson, George Sherman. "Aesthetic Pace in Music." Journal of Aesthetics and Art Criticism 15 (1956):311-21.

Time"] (in Japanese). Ongaku gaku 15, no. 1 (1969):66-76. Jameson, Fredric. "Postmodernism and Consumer Society." In The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster, 111-25. Port Townsend, Wash.: Bay Press, 1983.

Keil, Charles M. H. "Motion and Feeling through Music." Journal of Aesthetics and Art Criticism 24 (1966):337-49.

Kihara, Toshiya. ["A Consideration of Rhythm and Meter"] (in Japanese). Ongaku gaku 33, no. 3 (1974):156-65. Klugmann, F. "Die Kategorie der Zeit in der Musik." Ph.D. diss., University of Bonn, 1961. Koechlin, Charles. "Le Temps et la Musique." Revue musicale

58 (1926):45-62. Kramer, Jonathan D. "Beginnings and Endings in Western Art Music." Canadian University Music Review 3 (1982):1-14.

Langer, Susanne. Feeling and Form. New York: Scribners, 1953.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

76 Music Theory Spectrum

Levarie, Siegmund, and Levy, Ernst. Musical Morphology: A Discourse and a Dictionary. Kent, Ohio: Kent State University Press, 1983. Lippman, Edward. "Progressive Temporality in Music." Journal of Musicology 3 (1984):121-41. Lissa, Zofia. "Aesthetic Functions of Silence and Rests in Music," trans. Eugenia Tarska. Journal of Aesthetics and Art Criticism 22 (1964):443-54.

. "The Temporal Nature of a Musical Work," trans. Eugenia Tarska. Journal of Aesthetics and Art Criticism 26

Newman, William S. "The Climax of Music." Music Review 13

(1952):283-93. Nieman, Alfred. "The Composer and Creative Tension." In Tension in the Performance of Music: A Symposium, ed. Carola Grindea, 41-55. London: Kahn and Averill, 1978. Norton, Richard. "What Is Virtuality?" Journal of Aesthetics and Art Criticism 30 (1972):499-505. Pucelle, J. "La musique et le temps." In Actes du IV congres international d'esthetique Athene 1960, 425-27. Athens: Ellenike Organotike Epitrope, 1962.

(1968): 529-38. Marcel, Gabriel. "Bergsonism and Music," trans. Susanne

Quijano, J. P. "La musique, art du temps." Vie musicale 14 (1969):18-23.

Langer. In Reflections on Art, ed. Susanne Langer, 142-51. Baltimore: Johns Hopkins Press, 1958. Martin, F. David. "The Power of Music and Whitehead's The-

Reinhard, Kurt. "Gedanken zur Statik in der Musik." In Neue

ory of Perception." Journal of Aesthetics and Art Criticism

25 (1967):313-22. Mersmann, Hans. "Zeit und Musik." In ZeitschriftfiurAsthetik und allgemeine Kunstwissenschaft 25 (1931):216ff. Mertens, Wim. American Minimal Music, trans. J. Hautekiet.

New York: Alexander Broude, 1983. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956. . Music, the Arts, and Ideas. Chicago: University of Chicago Press, 1967. . "Toward a Theory of Style." In The Concept of Style, ed. Berel Lang, 3-44. Philadelphia: University of Pennsylvania Press, 1979.

Morgan, Robert P. "Musical Time/Musical Space." Critical In-

quiry 6 (1980):527-38. . "Spatial Form in Ives." In An Ives Celebration, ed. H. Wiley Hitchcock and Vivian Perlis, 145-58. Urbana: University of Illinois Press, 1977. Newell, Robert. "Four Tiers on the Foundation of Time." International Review of the Aesthetics and Sociology of Music 7

(1976):147-73.

ethnomusikologische Forschungen: Festschrift Felix Hoergurger zum 60. Geburtstag, ed. Max Peter Baumann, Rudolf Maria Brandl, and Kurt Reinhard, 237-48. Regensburg: Laaber, 1977.

Rochberg, George. "The Concepts of Musical Time and Space." In The Aesthetics of Survival, 78-136. Ann Arbor: University of Michigan Press, 1984. . "The Structure of Time in Music: Traditional and Con-

temporary Ramifications and Consequences." In The Study of Time 2, ed. J. T. Fraser and N. Lawrence, 136-49. New York: Springer-Verlag, 1975. Rowell, Lewis. "The Creation of Audible Time." In The Study of Time 4, ed. J. T. Fraser, N. Lawrence, and D. Park, 198210. New York: Springer-Verlag, 1981.

. Thinking about Music. Amherst: University of Massachusetts Press, 1983. Schnebel, Dieter. "Auf der Suche nach der befreiten Zeit: Ver-

such iiber Schubert." Neue Zeitschrift fir Musik 131 (1970):498-505. Schuldt, Agnes Crawford. "The Voices of Time in Music." American Scholar 45 (1976):549-59. Seidel, Wilhelm. "Descartes Bemerkungen zur musikalischen Zeit." Archiv fur Musikwissenschaft 27 (1970):287-303.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 77

Souvtchinsky, Pierre. "La Notion du temps et la musique." Re-

vue musicale 191 (1939):309-20. Stadlen, Peter. "Thoughts on Musical Continuity." Score 26 (1960):52-62. Stravinsky, Igor. "The Phenomenon of Music." In The Poetics of Music, trans. Arthur Knodel and Ingolf Dahl, 23-46. New York: Vintage, 1947. Volkova, J. "Der Rhythmus als Objekt der asthetischen Analyse," trans. Wilfried Braumann. Kunst und Literatur 24, no.

1 (1976):81-90. Wiora, Walter. "Musik als Zeitkunst." Musikforschung 10 (1957):15-28.

thar Hoffmann-Erbrecht and Helmut Hucke, 155-61. Tutzing: H. Schneider, 1961. Bockholdt, Rudolf. "Eigneschaften des Rhythmus im instrumental Satz bei Beethoven und Berlioz." In Bericht uber

den internationalen musikwissenschaftlichen Kongress Bonn

1970, ed. Carl Dahlhaus et al., 29-33. Kassel: Barenreiter, 1970.

Boykan, Martin. "The Weber Concerto Revisited." Proceedings of the American Society of University Composers 3

(1968):163-69.

Brandenburg, Sieghard. "Uber die Bedeutung der Anderungen von Taktvorschriften in einingen Werken Beethovens." Beitrage 1976-78: Beethoven-Kolloquium 1977, ed. Rudolf Klein, 37-51. Kassel: Barenreiter, 1978.

Analysis

Bresgen, Cesar. "J. S. Bach als Rhythmiker." Musikerziehung

Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart. Chicago: University of Chicago Press, 1983.

Badura-Skoda, Paul. "Fehlende und iiberzahlige Takte bei Schubert und Beethoven." Osterreichische Musikzeitung 33

29 (1975):3-7, 57-61.

Breuer, Jan6s. "Kolinda Rhythm in the Music of Bart6k." Stu-

dia Musicologica 17 (1975):39-58. Brown, Rosemary. "La sperimentazione ritmica in Dallapic cola tra liberta e determinazione." Revista italiana di musi-

(1978):284-94. Barela, Margaret Mary. "A Comparative Study of Metric Displacement in Schumann's Intermezzi Op. 4 and Waldszenen Op. 82." D. Mus. document, Indiana University, 1977.

Bass, E. C. "Musical Time and Space in Berlioz." Music Review 30 (1969):211-24. Bauer, W. "Antike Metren bei Beethoven." Schweizerische Musikzeitung 98 (1958):249-52. Beeson, Colin. "Rhythm in Beethoven's String Quartets."

cologica 13, no. 1 (1978):142-73. Brown, Samuel E., Jr. "New Evidence of Isomelic Design in Dufay's Isorhythmic Motets." Journal of the American Musicological Society 10 (1957):7-13.

Budde, Elmar. "Metrisch-rhythmische Probleme in Vokalwerk Weberns." In Webern-Kongress Beitrage 1972-73, 52-60. Kassel: Barenreiter, 1973.

Cholopova, Valentina. "Russische Quellen der Rhythmik

Ph.D. diss., University of Reading, 1976. Belotti, G. "L'asimmetria ritmica nella mazurca chopiniana." Revista musicale italiana 5 (1971):657-58, 827-46. Benary, Peter. "Metrum bei Mozart: zur metrischen Analyse

Strawinskys." Musikforschung 27 (1974):43546. Cinnamon, Howard. "Durational Reduction and Bach's CMajor Invention: An Alternative View." In Theory Only 7, no. 4 (1983):25-35. seiner letzten drei Sinfonien." Revue musicale de suisse roCobb, Charlotte Elizabeth. "Poetic Rhythms in the Works of mande 114 (1974):201-5. Joseph Haydn." Ph.D. diss., University of Iowa, 1971. Bernet Kempers, Karel P. "Hemiolenrhythmik bei Mozart." Cone, Edward T. "Stravinsky: The Progress of a Method." In In Festschrift Helmuth Osthoff zum 65. Geburtstag, ed. Lo- Perspectives on Schoenberg and Stravinsky, ed. Benjamin

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

78 Music Theory Spectrum

Boretz and Edward T. Cone, 155-64. New York: Norton, 1972.

Cvetko, Dragotin. "Le probleme du rythme dans les oeuvres de Jacobus Gallus." In Festschrift Bruno Stiblein, ed. Martin Ruhnke, 28-32. Kassel: Barenreiter, 1967.

Dahlhaus, Carl. "Rhythmische Strukturen in Weberns Orchesterstucken Opus 6." In Webern-Kongress Beitrage 1972-73, 73-80. Kassel: Barenreiter, 1973.

. "Rhythmus im Grossen." MeloslNeue Zeitschrift fur Musik 1 (1975):439-41. . "Zur Rhythmik in Beethovens Diabelli Variationen." Ver6ffentlichungen des Institutfuir Neue Musik und Musiker-

ziehung Darmstadt 6 (1967): 18-22.

Darcy, Warren Jay. "Formal and Rhythmic Problems in

Einstein, Alfred. "Narrative Rhythm in the Madrigal," trans. Willis Wager. Musical Quarterly 29 (1943):475-84.

Feil, Arnold. " 'Abmessung (und Art) der Einschnitte': Rhythmus in Beethovens Satzbau." In Bericht iiber den internationalen musikwissenschaftlichen Kongress Bonn 1970, ed. Carl Dahlhaus et al., 33-37. Kassel: Barenreiter, 1970.

. "Rhythm in Schubert: Some Practical Problems," trans.

L. W. Vyse. In Schubert Studies: Problems of Style and Chronology, ed. Eva Badura-Skoda and Peter Branscombe, 327-45. Cambridge: Cambridge University Press, 1982.

. "Zur Rhythmik Schuberts." In Bericht iiber den internationalen musikwissenschaftlichen Kongress Bonn 1970,

ed. Carl Dahlhaus et al., 198-200. Kassel: Barenreiter,

Wagner's Ring Cycle." D.M.A. diss., University of Illinois,

1970.

1973.

. "Zur Satztechnik in Beethovens vierter Sinfonie." Ar-

Deppert, Heinrich. "Rhythmische Reihentechnik in Weberns Orchestervariationen Opus 30." In Festschrift Karl Marx zum 70. Geburtstag, 84-93. Stuttgart: Ichthys, 1967.

Dietz, Hanns-Bertold. "Relations between Rhythm and Dynamics in Works of Beethoven." In Bericht iiber den interna-

chiv fur Musikwissenschaft 16 (1959): 391-99. Firca, G. "Die Giusto-Rhythmik und ihre Einwirkungen auf die Musik Enescus." In Enesciana I: La personalite artistique de Georges Enescu, ed. M. Voicana, 31-38. Bucharest Editura Academiei Republicii Socialiste Roumania, 1976.

Fischer, Kurt von. "Beethoven-Klassiker oder Romantiker?" In Beethoven-Symposium Wien 1970: Bericht, ed. Erich Schenk, 77-95. Vienna: Bohlau, 1971. Domling, Wolfgang. " 'En songeant au temps ... a l'espace . .': Uber einige Aspekte der Musik Hector Berlioz." Ar- Forchert, Arno. "Rhythmische Probleme in Beethovens spationalen musikwissenschaftlichen Kongress Bonn 1970, ed. Carl Dahlhaus et al., 47-53. Kassel: Barenreiter, 1970.

chiv fur Mtusikwissenschaft 33 (1976):241-60.

ten Streichquartetten." In Bericht uber den internationalen

Domek, Richard Charles, Jr. "A Syntactic Approach to the

musikwissenschaftlichen Kongress Bonn 1970, ed. Carl

Study of Rhythm Applied to the Late Piano Works of Johannes Brahms." Ph.D. diss., Indiana University, 1976. Egger, R. Die Deklamationsrhythmik Hugo Wolfs in historischer Sicht. Tutzing: Schneider, 1963.

Dahlhaus et al., 394-96. Kassel: Barenreiter, 1970.

Eibner, F. "The Dotted-Quaver-and-Semiquaver Figure with Triplet Accompaniment in the Works of Schubert." Music Review 23 (1962):281-84.

Eimert, Herbert. "Debussy's Jeux," trans. Leo Black. Die Reihe 5 (1959): 3-20.

Fortassier, Pierre. "Le rhythme dans les melodies de Gabriel

Faure." Revue de musicologie 62 (1975):257-74. Gass, Glenn. "Elliott Carter's Second String Quartet: Aspects

of Time and Rhythm." Indiana Theory Review 4, no. 3 (1981):12-23. Gaudibert, E. "Quelques remarques sur la rhythmique dans l'oeuvre planistique de Beethoven." Schweizerische Musikzeitung 110 (1970):152-54.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 79

Herz, Gerhard. "Lombard Rhythms in the 'Domine Deus' of Bach's B-Minor Mass: An Old Controversy Resolved." sikwissenschaftlichen Kongress Bonn 1970, ed. Carl Bach 8, no. 1 (1977):3-11. Dahlhaus et al., 37-42. Kassel: Barenreiter, 1970. Hilmar, R. "Metrische Proportionen und serielle Rhythmik im Gillis, Frank J. "Hot Rhythm in Piano Ragtime." In Music in Kammerkonzert von Alban Berg." Schweizerische Musikthe Americas, ed. George List and Juan Orrego-Salas, 91zeitung 120 (1980):355-60. 104. Bloomington: Indiana University Research Center for Houghton, Edward F. "Rhythmic Structure in the Masses and Anthropology, Folklore, and Linguistics, 1967. Motets of Johannes Ockeghem." Ph.D. diss., University of Gordon, Thomas Patrick. "The Use of Time in Stravinsky's California, Berkeley, 1971. Neo-Classical Works." Ph.D. diss., University of Toronto, Jander, Owen. "Rhythmic Symmetry in the Goldberg Varia1983. tions." Musical Quarterly 52 (1966):204-8. Graebner, Eric. "Some Aspects of Rhythm in Berlioz." Jarman, Douglas. "Some Rhythmic and Metric Techniques in Soundings 2 (1971-72):18-28. Alban Berg's Lulu." Musical Quarterly 56 (1970):349-66. Green, Douglass. "The Allegro Misterioso of Berg's Lyric Johnson, Mary Imogene Evans. "Characteristic Metrical

Georgiades, Thrasybulos Georgos. "Zu den Satzschliissen der

Missa Solemnis." In Bericht iiber den internationalen mu-

Suite: Iso- and Retrorhythms." Journal of the American Mu-

sicological Society 30 (1977):507-16. Hager, Nancy Barnes. "Rhythm and Voice-Leading as a Facet of Style: Keyboard Works of J. S. Bach, C. P. E. Bach, and Mozart." Ph.D. diss., City University of New York, 1978.

Hantz, Edwin. "Exempli Gratia: A Study in Meter-Chopin, Etude in E Major, Op. 10, No. 3." In Theory Only 1, no. 8

(1975):28-30. . "A Pitch for Rhythm: Rhythmic Patterns in Beethoven's First Symphony: III (Minuetto)." In Theory Only 1, no. 4 (1975):17-21. Headlam, Dave. "A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1." Music Theory Spectrum 7 (1985):114-38.

Hendrickson, H. "Rhythmic Activity in the Symphonies of Brahms." In Theory Only 2 (September 1976):5-12. Hermelink, Siegfried. "Das rhythmische Gefiige in Monteverdis Ciaccona 'Zefiro torna.' " In Congresso internazionale sul tema Claudio Monteverdi e ilsuo tempo, 323-34. Verona: Stamperia Valdoneza, 1969. . "Rhythmische Struktur in der Musik von Heinrich Schiitz." Archivfiir Musikwissenschaft 16 (1959):378-90.

Anomalies in the Instrumental Music of Robert Schumann:

A Study of Rhythmic Intention." Ph.D. diss., University of Oklahoma, 1979.

Jones, James Rives. "Some Aspects of Rhythm and Meter in

Webern's Opus 27." Perspectives of New Music 7, no. 1 (1968):103-9. Kabbash, Paul Andrew. "Form and Rhythm in Webern's Atonal Works." Ph.D. diss., Yale University, 1983. Keller, Hans. "Rhythm: Gershwin and Stravinsky." Score 20

(1957):19-31. Kemp, Ian. "Rhythm in Tippett's Early Music." Proceedings of the Royal Musical Association 105 (1978-79):142-53.

Kilgore, Edna K. "Metric Anomalies in The Well-Tempered Clavier." Ph.D. diss., Catholic University, 1973.

Kruger, W. "Zur Frage des Rhythmik des St. MartialConductus Jubilemus." Musikforschung 9 (1956): 185-88. Larson, Steve. "On Analysis and Performance: The Contribution of Durational Reduction to the Performance of J. S.

Bach's Two-Part Invention in C Major." In Theory Only 7,

no. 1 (1983):31-45.

LaRue, Jan. Guidelines for Style Analysis. New York: Norton 1970.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

80 Music Theory Spectrum

Lester, Joel. "Comment (on Quaestionis gratia, ITO 2, no. 10:35-39)." In Theory Only 3, no. 1 (1977):31.

Lewin, David. "A Metrical Problem in Weber's Opus 27." Journal of Music Theory 16 (1972):124-32.

. "Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Hauptstimme." In Theory Only 6, no. 4 (1982):12-36. Ligeti, Gyorgy. "Pierre Boulez: Decision and Automatism in Structure Ia," trans. Leo Black. Die Reihe 4 (1960):36-62.

Lochhead, Judy. "The Temporal in Beethoven's Opus 135: When Are Ends Beginnings?" In Theory Only 4, no. 7 (1979):3-30. Lockwood, Larry Paul. "Rhythmic Analysis: A Theory, A Methodology, and A Study of Stravinsky's Requiem Canticles." D. M. A. diss., Cornell University, 1975. Marra, James R. "Interrelations between Pitch and Rhythmic Structure in Webern's Opus 11." In Theory Only 7, no. 2

(1983):3-33. ---- . "Rhythmic Stratification in the 'Atonal' Instrumental Music of Anton Webern (1913-1914)." D. M. A. diss., Cornell University, 1977.

diss., University of Michigan, 1979. Morgan, Robert P. "Notes on Varese's Rhythm." In The New Worlds of Edgard Varese: A Symposium, ed. Sherman Van Solkema, 9-25. New York: Institute for Studies in American Music, 1979.

. "On the Analysis of Recent Music." Critical Inquiry 4 (1977):33-53. Neumann, Friedrich. Musikalische Syntax und Form in Lieder-

zyklus Die schone Miillerin von Franz Schubert: eine morphologische Studie. Tutzing: Schneider, 1978. Pasler, Jann. "Debussy's Jeux: Playing with Time and Form." Nineteenth-Century Music 6 (1982):60-75.

Rahn, Jay. "Ockeghem's Three-Section Motet Salve Regina: Problems in Coordinating Pitch and Time Constructs." Music Theory Spectrum 3 (1981):117-31.

Reade, Eugene Walter. "A Study of Rhythm in the Serial Works of Igor Stravinsky." Ph.D. diss., Indiana University, 1979.

Revers, Peter. "Liquidation als Formprinzip: die formpragende Bedeutung des Rhythmus fur das Adagio der 9. Symphonie von Gustav Mahler." Osterreichische Musikzeitung

33 (1978):527-33. Beethoven." In Beethoven-Zentenarfeier: Internationaler Rittenhouse, Robert John. "Rhythmic Elements in the Symphonies of Johannes Brahms." Ph.D. diss., University of musikhistorischer Kongress, 100-04. Vienna: Universal, Iowa, 1967. 1972. Rivera, Benito V. "Rhythmic Organization in Beethoven's McCreless, Patrick. "Schubert's 'Moment Musical' No. 2: The Seventh Symphony: A Study of Cancelled Measures in the Interaction of Rhythmic and Tonal Structures." In Theory Autograph." Nineteenth-Century Music 6 (1983):241-53. Only 3, no. 4 (1977):3-11. Meyer, Leonard B. "Process and Morphology in the Music of Rosenbloom, Paul David. "A Study of Phrase Rhythm in Late Bart6k." D. M. A. diss., Cornell University, 1979. Mozart." Journal of Musicology 1 (1982):67-94. Russell, W. F. "Some Aspects of the Hemiola in the Works of Miller, Hugh Milton. "Beethoven's Rhythm: Some ObservaHandel." Journal of the American Musicological Society 5 tions and Problems." In Essays in Musicology: A Birthday (1952):269-70. Offering for Willi Apel, ed. Hans Tischler, 165-74. Sabin, Paula Louise. "Mozart's Piano Concertos: The First Bloomington: Indiana University School of Music, 1968. Movements Viewed from the Perspective of Metric and Miller, Lynus P. "Theory of Metric Stratification: A Study of Rhythmic Analysis." Ph.D. diss., University of California, Metric Relations in Opus 118 of Johannes Brahms." Ph.D.

Marshner, F. "Zahlheit, Tempo und Ausdruck bei

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 81

Stroh, Wolfgang Martin. "Alban Berg's 'Constructive

Berkeley, 1978.

Schering, Arnold. "Zur Metrik der 'Psalmen Davids' von Heinrich Schiitz." In Festschrift Peter Wagner, ed. Karl Weinmann. Leipzig: Breitkopf und Hartel, 1926 (repr. 1969). Schmidt, Wolfgang. Gestalt und Funktion rhythmischer Phdnomene in der Musik Arnold Schoenbergs. Wilhelming: Katzbichler, 1973.

Selleck, John. "Pitch and Duration as Textural Elements in Lu-

tostawski's String Quartet." Perspectives of New Music 13,

no. 2 (1975):150-61. Smith, Charles J. "(Supra-) Durational Patterns in Chopin's Revolutionary Etude." In Theory Only 2, no. 5 (1976):3-12. Smither, Howard E. "The Rhythmic Analysis of TwentiethCentury Music." Journal of Music Theory 8 (1964):54-88. Somfai, Laszlo. "Rhythmic Continuity and Articulation in Webern's Instrumental Works." In Webern-Kongress Beitrige 1972-73, 100-10. Kassel: Barenreiter, 1973.

Rhythm.' " Perspectives of New Music 7, no. 1 (1968):1831.

Telle, K. Tanzrhythmen in der Vokalmusik Georg Friedrich Hindels. Munich: Katzbichler, 1977. Thiele, Siegfried. "Zeitstrukturen in der Motetten von Phi-

lippe de Vitry und ihre Bedeutung fur zeitgenossisches Komponieren." Neue Zeitschrift fur Musik 135 (1974):42633.

Tingley, G. P. "Metric Modulation and Elliott Carter's First String Quartet." Indiana Theory Review 4, no. 3 (1981):311.

Toch, Ernst. "Beginning and Ending." In The Shaping Forces in Music, 217-38. New York: Dover, 1977. van den Toorn, Pieter C. "Rhythmic (or Metric) Invention." In

The Music of Igor Stravinsky, 204-51. New Haven: Yale University Press, 1983. Volek, Tomislav. "Das Verhaltnis von Rhythmus und Metrum

Sommer, Antonius. Die Komplikationen des musikalischen Rhythmus in den Buhnenwerken Richard Wagners.

bei J. W. Stamitz." In Bericht iiber den internationalen mu-

Wilhelming: Katzbichler, 1971. Spring, Glenn Ernest, Jr. "Determinants of Phrase Structure in

Dahlhaus et al., 53-55. Kassel: Barenreiter, 1970.

Selected Works of Schoenberg, Berg, and Webern." D. M. A. diss., University of Washington, 1972.

Starr, Mark. "Webern's Palindrome." Perspectives of New Music 8, no. 2 (1970): 127-42. Steger, W. "Rhythmische Kernformeln in Mozarts letzten Sinfonien." Musikforschung 23 (1970):41-50. Steuenberg, Thomas B. "Rhythmic Continuity in Slow Movements from Beethoven Symphonies." Ph.D. diss., Eastman School of Music, 1954.

Stewart, John D. "Metrical and Tonal Stability in the Dance Music of the Fitzwilliam Virginal Book." Ph.D. diss., Indiana University, 1973.

Stockhausen, Karlheinz. "Kadenzrhythmik bei Mozart."

sikwissenschaftlichen Kongress Bonn 1970, ed. Carl Westergaard, Peter. "Webern and 'Total Organization': An Analysis of the Second Movement of the Piano Variations, Opus 27." Perspectives of New Music 1, no. 2 (1963):107-20. Williams, Isabelle. "Manipulation of Imitative Temporal Distance in Textural Progressions of Josquin des Prez." Ph.D. diss., University of Michigan, 1975. Williams, J. K. "Rhythmic Structure in Selected Works of Bin-

chois and Dufay." Indiana Theory Review 1, no. 2 (1978):31-48. Wolff, Hellmuth Christian. "Der Rhythmus bei J. S. Bach."

Bach Jahrbuch 37 (194048):83-121. Youens, Susan. "Poetic Rhythm and Musical Metre in Schubert's Winterreise." Music and Letters 65, no. 1 (1984):2840.

Darmstadter Beitrage zur Neuen Music 4 (1962):38-72.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

82 Music Theory Spectrum

Elliott Carter, ed. Kurt and Else Stone, 243-47.

Contemporary Techniques Attneave, Fred. "Stochastic Composition Process." Journal of Aesthetics and Art Criticism 17 (1959):503-10. Babbitt, Milton. "Twelve-Tone Rhythmic Structure and the

Electronic Medium." Perspectives of New Music 1, no. 1 (1962):49-79. Barraque, Jean. "Rhythme et developpement." Polyphonie 9-

10 (1954):47-73. Blacher, Boris. "Uber variable Metren." Osterreichische Musikzeitung 6 (1951):219ff.

Boulez, Pierre. Boulez on Music Today, trans. Susan Bradshaw and Richard Rodney Bennett. Cambridge: Harvard University Press, 1971. . "Toward a Technology." In Notes of an Apprentice-

ship, trans. Herbert Weinstock, 61-232. New York: Knopf, 1968.

Brant, Henry. "Uses of Antiphonal Distribution and Polyph-

ony of Tempi in Composing." Bulletin of the American

Bloomington: Indiana University Press, 1977. Childs, Barney. "Time and Music: A Composer's View." Perspectives of New Music 15, no. 2 (1977):194-219. Copland, Aaron. "Jazz Structure and Influence." Modern Mu-

sic 4, no. 2 (1927):9-14. Cowell, Henry. New Musical Resources. New York: Knopf 1930.

. "New Terms for New Music." Modern Music 5, no. 4 (1928):21-27. Downey, John. "Texture as Psycho-Rhythmics." Perspectives of New Music 20 (1981-82):640-48.

Drew, James. "Information, Space, and a New TimeDialectic." Journal of Music Theory 12 (1968):86-103.

. "Modo estadistica." Alea 1, no. 1 (1969):16-25. Elston, Arnold. "Some Rhythmic Practices in Contemporary Music." Musical Quarterly 42 (1956):318-29. Erickson, Robert. "Time-Relations." Journal of Music Theory

7(1963):174-92.

rary, ed. Richard Kostelanetz, 288-300. Buffalo: Pro-

Frischknecht, H. E. "Rhythmen und Dauerwerte im 'Livre d'Orgue' von Olivier Messiaen." Musik und Gottesdienst 22, no. 1 (1968):1-12.

metheus, 1978.

Frisius, Rudolf. "Xenakis und der Rhythmus." Neue Zeitschrift

Composers Alliance 4, no. 3 (1955):13-15. Cage, John. "The Future of Music." In Esthetics Contempo-

. "Rhythm, etc." In Module, Proportion, Symmetry, Rhythm, ed. Gy6rgy Kepes, 194-203. New York: Braziller,

fir Musik 144, no. 4 (1983):13-17. Glock, William. "A Note on Elliott Carter (Rhythmic Innova-

tions)." Score 12 (1955):47-52.

1966.

. Silence. Cambridge: MIT Press, 1961. . A Year from Monday. Middletown, Conn.: Wesleyan University Press, 1967. Carter, Elliott. "Music and the Time Screen." In The Writings

of Elliott Carter, ed. Kurt and Else Stone, 343-65. Bloomington: Indiana University Press, 1977.

. "The Rhythmic Basis of American Music." In The Writings of Elliott Carter, ed. Else and Kurt Stone, 160-66. Bloomington: Indiana University Press, 1977.

. "The Time Dimension in Music." In The Writings of

Gray, John H. "Variable Meter and Parametric Progression in the Music of Boris Blacher." D.M.A. diss., Cornell University, 1979. Gressel, Joel William. "Rhythmic Applications of Geometric Series." Ph.D. diss., Princeton University, 1976. Griffiths, Paul. "Xenakis: Logic and Disorder." Musical Times

116 (1975):329-31. Harvey, Jonathan. The Music of Stockhausen. Berkeley and Los Angeles: University of California Press, 1975. Heikinheimo, Seppo. The Electronic Music of Karlheinz Stock-

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 83

hausen. Helsinki: Acta Musicologica Fennica, 1972. Henck, Hubert. "Zur Berechnung und Darstellung irrationaler Zeitwerte." Schweizerische Musikzeitung 120 (1980):26-

34,89-97. Istvan, Miloslav. Metoda montdze izolovanych prvkui v hudbe.

Prague: Panton, 1973.

Johnson, Robert Sherlaw. Messiaen. Berkeley and Los Angeles: University of California Press, 1975. Karkoschka, Erhard. "Zur rhythmischen Struktur in der Musik von Heute." Gesellschaft fur Musikforschung Kongressbericht, 379-88. Kassel: Barenreiter, 1962.

Koegler, H. "Neue rationale Methoden der musikalischen Rhythmik." Melos 18 (1951):314-15. Kohl, Jerome. "The Evolution of Macro- and Micro-time Relations in Stockhausen's Recent Music." Perspectives of New

Music 22 (1983-84):147-86. Kramer, Jonathan D. "Moment Form in Twentieth Century Music." Musical Quarterly 64 (1978):177-94.

. "New Temporalities in Music." Critical Inquiry 7 (1981):539-56. Krastewa, Iwanka Stoianowa. "Le langage rythmique d'Olivier Messiaen et la metrique ancienne grecque." Schweizerische Musikzeitung 112, no. 2 (1972):79-86. Krenek, Ernst. "Ernst Krenek." In The Orchestral Composer's Point of View, ed. Robert S. Hines, 105-27. Norman: University of Oklahoma Press, 1970.

--- . "Extents and Limits of Serial Technique." Musical Quarterly 46 (1960):210-32.

. "Lamentatio Jeremiae Prophetae." In The Com-

fiir Musik 119 (1958): 57-58. Maconie, Robin. The Works of Karlheinz Stockhausen. London: Oxford University Press, 1976.

Mayr, Albert. "Creative Time Organization versus Subsonic Noises." Diogenes 122 (1983):45-63. . "Sketches for a Low-Frequency Solfege." Music Theory Spectrum 7 (1985):107-13. . "Time-Table in A-flat Major: Audio and Subaudio Rhythms, Signals and Noises." Anthro Tech 5, no. 2 (1981):14-19. Melby, John. "A Method of Controlling Local and Large-Scale Rhythmic Relationships in Twelve-Tone and Other Serial Compositions." Ph.D. diss., Princeton University, 1972. Messiaen, Olivier. "Musikalisches Glaubenbekenntnis." Melos 25 (1958):381-85. . Technique de mon langage musical. Paris: A. Leduc, 1944.

Milner, A. "Rhythmic Techniques in the Music of Michael Tip-

pett." Musical Times 95 (1954):468-70. Perkins, John M. "Note Values (in Recent Music)." Perspectives of New Music 3, no. 2 (1965):47-57. Peterson, Larry Wayne. "Messiaen and Rhythm: Theory and Practice." Ph.D. diss., University of North Carolina, 1973. Petzold, F. "Rhythmus und musikalische Architecktonik in der

modernes Musik." Melos 19 (1952):307-12. Pike, Alfred. "The Time Set as a Rhythmic Agent for the Se-

ries." Music Review 24 (1963):168-75. Porter, Steven. "Rhythm and Harmony in the Music of the Beatles." Ph.D. diss., City University of New York, 1979.

Pousseur, Henri. "The Question of Order in New Music," trans. David Behrman. In Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone, . " 'Zeitgemasse' Betrachtungen." Osterreichische Mu-

poser's Point of View, ed. Robert S. Hines, 22-34. Norman: University of Oklahoma Press, 1963. sikzeitung 20 (1965): 6-8.

97-115. New York: Norton, 1972.

Ligeti, Gyorgy. "Metamorphoses of Musical Form," trans. Rahn, John. "On Pitch or Rhythm: Interpretation of Orderings of and in Pitch and Time." Perspectives of New Music Cornelius Cardew. Die Reihe 7 (1965):5-19. 13, no. 2 (1975):182-203. Maack, R. "Rhythmus in Sprache und Musik." Neue Zeitschrift

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

84 Music Theory Spectrum

Reich, Steve. Writings about Music. New York: New York University Press, 1974.

Reynolds, Roger. "It(')s Time." Electronic Music Review 7 (1968):12-17. . Mind Models. New York: Praeger, 1975. Rochberg, George. "Duration in Music." In The Modern Composer and His World, ed. John Beckwith and Udo Kasemets, 56-64. Toronto: University of Toronto Press, 1961.

. "The New Image of Music." Perspectives of New Music 2, no. 1 (1963):1-10. Schnebel, Dieter. "Karlheinz Stockhausen," trans. Leo Black. Die Reihe 4 (1960):121-35. Schonberger, Elmer. "On the Conceiving of Time." Keynotes 13, no. 1 (1981):5-11. Smither, Howard E., and Rzewski, Frederic. "Rhythm." In Dictionary of Contemporary Music, ed. John Vinton, 61825. New York: E. P. Dutton, 1974. Stockhausen, Karlheinz. "The Concept of Unity in Electronic Music," trans. Elaine Barkin. In Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone, 214-25. New York: Norton, 1972. -- . ". .. How Time Passes ...," trans. Cornelius Car-

dew. Die Reihe 3 (1959):10-40. . "Momentform." In Texte zur elektronische und instru-

mentalen Musik 1: 189-210. Cologne: DuMont Schauberg, 1963.

---. "Structure and Experiential Time," trans. Leo Black. Die Reihe 2 (1959):64-74. . "Von Webern zu Debussy (Bemerkungen zur statis-

Composition: A Method of Transforming Rhythmic Content through Operations Analogous to Those of the Pitch Domain." Ph.D. diss., Princeton University, 1966. Westergaard, Peter. "Some Problems Raised by the Rhythmic Procedures in Milton Babbitt's Composition for Twelve Instruments." Perspectives of New Music 4, no. 1 (1965):10918.

Wolff, Christian. "On Form." Die Reihe 7 (1965):26-31. Worner, Karl H. Stockhausen: His Life and Work, trans. Bill Hopkins. Berkeley and Los Angeles: University of California Press, 1973. Zimmermann, Bernd Alois. "Moderne Aspekte des musikali-

schen Zeitbegriffs." Neue Zeitschrift fur Musik 119 (1958):70-72.

Ethnomusicology

Alkema, S. "A Study of African Rhythm." Nada 11 (1975):221-26. Arom, Simha. "Rhythmique et polyrhythmique centrafricain: fonctions, structure." In Conferences des Journees d'Etudes: Festival International du Son 1978, 163-72. Paris: Edition radio, 1978. Becker, Judith. "Hindu-Buddhist Time in Javanese Gamelan Music." In The Study of Time 4, ed. J. T. Fraser, N. Law-

rence, and D. Park, 161-72. New York: Springer-Verlag, 1981.

. "Percussive Patterns in the Music of Mainland South-

east Asia." Ethnomusicology 12 (1968):173-91. chen Form)." In Texte zur elektronische und instrumentalen . "A Southeast Asian Musical Process: Thai Thaw and Musik 1: 75-86. Cologne: DuMont Schauberg, 1963. Javanese Irama." Ethnomusicology 24 (1980):453-64. Suter, Louis-Marc. "La polyrythme d' Olivier Messiaen dans un fragment de la Turangalila-Symphonie." Revue musicale Bielawski, Ludwik. Rytmika polskich piesni ludowych. Krakow: Polskie Wydawnictwo Muzyczne, 1970. de suisse romande 111, no. 6 (1971):333-42. Weinberg, Henry. "A Method of Transferring the Pitch Or- Blacking, John. "Some Notes on a Theory of African Rhythm Advanced by Erich von Hornbostel (Suggested Contrast beganization of a Twelve-Tone Set through All Layers of a

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 85

tween African and European Concepts)." African Music 1,

no. 2 (1955):12-20. Brandel, R. "The African Hemiola Style." Ethnomusicology 3

[Japanese Music and its Surroundings. Festschrift for Eishi Kikkawa.], 179-208. Tokyo: Ongaku no tomo, 1973. Kremenliev, Boris. "Extension and its Effect in Bulgarian Folk

(1959):106-17. Cherbuliez, A. E. "Le rhythme critere de l'attitude indivi-

Song." Selected Reports of the Institute of Ethnomusicology

duelle et collective." Journal of the International Folk Music

Kuckertz, Josef. "Der Tala in der siidindischen Kunstmusik."

Council 4 (1952):9-12.

at UCLA 1, no. 1 (1966):1-27.

Jahrbuch fur musikalische Volks- und Volkende 3

Chemoff, John Miller. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chi-

(1967):85-89. . "Tala, Takt und Trommelspiel: zum Metrum und

cago: University of Chicago Press, 1979. Craig, Dale. "A Macro-Rhythm and Melodic Figuration in P'ip'a Variations." Chung chi Bulletin 9, no. 1 (1969):1-10.

Rhythmus in der abendlandischen, der vorderorientalisch-

Dauer, Alfons Michael. "Kinesis und Katharsis: Prolegomena zur Deutung afrikanischer Rhythmik." Afrika heute (Sonderbeilage) 19 (October 1969):1-12. Ekwueme, L. E. "Structural Levels of Rhythm and Form in African Music, with Particular Reference to the West Coast." African Music 5 (1976-77):27-35. Frigyesi, J. "Between Rubato and Rigid Rhythm: A Particular Type of Rhythmical Asymmetry as Reflected in Bart6k's Writings on Folk Music." Studia Musicologica Norvegica 24 (1982):327ff. Ghosh, Nikhil. Fundamentals of Raga and Tala, with a New System of Notation. Bombay: Popular Prakashan, 1978. . "Science and the Art of Keeping Time in Indian Music." Journal of the Indian Musicological Society 5, no. 2 (1975):27-32. Gregoire, C. Agyptische Rhythmik: Rhythmen und Rhythmusinstrumente im heutigen Agypten. Strassburg: Heitz, 1960.

Harich-Schneider, E. The Rhythmical Patterns in Gagaku and

Bugaku. Leiden: Brill, 1954. Jones, A. M. African Rhythm. London: International African Institute, 1955. Kauffman, R. "African Rhythm: A Reassessment." Ethnomu-

sicology 24 (1980):393-415. Koshiba, Harumi. ["Rhythm in Noh Music."] (in Japanese). In

en, und der indischen Musik." Music und Bildung 11 (1979):597-602. Laloum, Claude. "Notion morphologique de relation dans les rythmiques de deux musiques traditionelles (Dahomey, Iran)." Ph.D. diss., University of Paris, 1975. Linh, Ngo Duy. "Le rhythme dans la musique vietnamienne." Ph.D. diss., University of Paris, 1975. List, G. "African Influence in the Rhythmic and Metric Organization of Colombian Costeno Folksong and Folk Music." Latin American Music Review 1 (1980):16-17.

Martin, G. "Weapon Dance Melodies and Rhythmic Multiplicity." Studia Musicologica Norvegica 21 (1979):79ff. Merriam, Alan P. "African Musical Rhythm and Concepts of Time-Reckoning." In Music East and West: Essays in Honor

of Walter Kaufmann, ed. Thomas Noblitt, 123-41. New York: Pendragon, 1981.

. "Characteristics of African Music." Journal of the International Folk Music Council 11 (1959): 13-19. Meyers, C. S. "A Study of Rhythm in Primitive Music." British Journal of Psychology, General Section 1 (1966):397-406.

Ohtsu, Yoko. ["Hyoshi in Japanese Traditional Music and Time in Western Music"] (in Japanese). Bulletin of the Faculty of Music of Tokyo University, Fine Arts and Music 4

(March 1979):1-19. Ranganathan, T. "Rhythm in South Indian Music." The World of Music 20 (1978): 142-43.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

86 Music Theory Spectrum

Saxena, S. K. "Aesthetic Theory and Hindustani Rhythm."

Works of the Latter Half of the Nineteenth Century

British Journal of Aesthetics 16 (1976):254-60. Stewart, R. "North Indian Rhythm." The World of Music 20

Ph.D. diss., Indiana University, 1966.

(1978):129-32. Stone, Ruth M. "In Search of Time in African Music." Music Theory Spectrum 7 (1985):139-48.

. "The Shape of Time in African Music." In Time, Science, and Society in China and the West: The Study of Time 5,

ed. J. T. Fraser, F. Haber, and N. Lawrence. Amherst: University of Massachusetts Press (forthcoming).

Tsuge, Gen'ichi. "Avaz: A Study of the Rhythmic Aspects in Classical Iranian Music." Ph.D. diss., Wesleyan University, 1974.

Walker, Judith Ann. "Rhythmic Nonalignment in Aboriginal Australian, West African, and Twentieth-Century Art Musics." Ph.D. diss., University of Wisconsin, 1983.

Waterman, Richard A. "'Hot' Rhythm in Negro Music." Journal of the American Musicological Society 1 (1948):2437.

Widdess, D. R. "Rhythm and Time-Measurement in South Asian Art-Music: Some Observations on Tala." Proceed-

Just, M. "Harmonischer Rhythmus." Musikforschung 2

(1976):7-20.

LaRue, Jan. "Harmonic Rhythm as an Indicator of Rhythmic Function." In Bericht iiber den siebenten internationalen mu-

sikwissenschaftlichen Kongress Koln 1958, ed. Gerald Abraham et al., 176-77. Kassel: Barenreiter, 1959.

. "Harmonic Rhythm in the Beethoven Symphonies." Music Review 18, no. 1 (1957):8-20. Marks, James B. "Harmonic Rhythm as a Factor in Form Delineation in Selected Instrumental Works from 1775 to

1850." Ph.D. diss., Indiana University, 1969. Talbot, M. "Harmony and Metre: A Study in Relationships."

Music Review 33, no. 1 (1972):47-52. Information Theory

Appleton, Jon H. "Reevaluating the Principle of Expectation in Electronic Music." Perspectives of New Music 8, no. 1

(1969):106-11.

Dipert, Randall R. "Meyer's Emotion and Meaning in Music: ings of the Royal Musical Association 107 (1981-82): 132-39. A Sympathetic Critique of Its Central Claims." In Theory

Only 6, no. 8 (1983):3-17. Moles, Abraham. Information Theory and Aesthetic PercepHarmonic Rhythm tion, trans. Joel E. Cohen. Urbana: University of Illinois Press, 1966. Aldrich, Putnam. " 'Rhythmic Harmony' as Taught by Johann Sherburne, Donald W. "Meaning and Music." Journal of AesPhilipp Kirnberger." In Studies in Eighteenth-Century Muthetics and Art Criticism 24 (1966):579-93. sic: A Tribute to Karl Geiringer on His 70th Birthday, ed. Titchener, John M., and Broyles, Michael E. "Meyer, MeanH. C. Robbins Landon and Roger Chapman, 37-52. Loning, and Music." Journal of Aesthetics and Art Criticism 32 don: Allen and Unwin, 1970.

(1973):17-25.

Austin, William H. "Harmonic Rhythm in Twentieth-Century Music." Ph.D. diss., Harvard University, 1951. History

Davis, Shelley. "Harmonic Rhythm in Mozart's Sonata Aldrich, Putnam. Rhythm in Seventeenth-Century Italian MonForm." Music Review 27, no. 1 (1966):25-43. Haenselman, Carl Ferdinand. "Harmonic Rhythm in Selected ody. New York: Norton, 1966.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 87

Alette, Carl. "Theories of Rhythm." Ph.D. diss., Eastman School of Music, 1951.

de Meeuis, F. "Le probleme de la rhythmique gr6gorienne,

propos de travaux recents." Acta Musicologica 2

Anderson, Gordon A. "Magister Lambertus and Nine Rhyth-

mic Modes." Acta Musicologica 45, no. 1 (1973):57-73. Antley, Bob Richard. "The Rhythm of Medieval Music: A Study in the Relationship of Stress and Quantity and a Theory of Reconstruction with a Translation of John of Gar-

land's De mensurabili musica." Ph.D. diss., Florida State University, 1977.

Apel, Willi. "Drei plus Drei plus Zwei = Vier plus Vier." Acta Musicologica 32, no. 1 (1960):29-33. . "From St. Martial to Notre Dame." Journal of the American Musicological Society 2 (1949):145-58. Babitz, Sol. "A Problem of Rhythm in Baroque Music." Musical Quarterly 38 (1952): 533-65.

. "The Restoration of Expressive Rhythm in Seventeenth- and Eighteenth-Century Music." International Musician 51 (February 1953):24-25.

Baud-Bovy, Samuel. "Equivalences metriques dans la musique vocale grecques antique et modere." Revue de musi-

cologie 54, no. 1 (1968):3-15. Burton, Martin C. "Changing Concepts of Rhythm in English

Musical Writings, 1500-1700." Ph.D. diss., Eastman School of Music, 1956.

(1956): 104-75. Dorum, Ivar Chepmell. "Grainger's Free Music." Studies Music 2 (1968):86-97.

Feil, Arnold. Satztechnischen Fragen in den Komp

tionslehren von F. E. Niedt, J. Riepel, und H. Chr. Koch

Heidelberg, 1955.

Floros, C. "Zur Rhythmik der byzantinischen Kirchenmusi Musikforschung 35 (1982):154-55.

Flotzinger, Rudolf. "Zur Frage der Modalrhythmik als Anti Rezeption." Archivffur Musikwissenschaft 29 (1972):203 Gennrich, F. "Grundsatzliches zur Rhythmik der mittelalte

chen Monodie." Musikforschung 7 (1954):150-76.

Georgiades, Thrasybulos Georgos. Der griechische Rhythm Musik, Reigen, Vers und Sprache. Tutzing: Hans Schneide 1977.

Gerasimova, Nina. "Historyczne uwarunkowania kateg czasu w muzyce." Muzyka 23, no. 1 (1978):21-32.

Goldthwaite, S. "Rhythmic Patterns and Formal Symmetry the Fifteenth-Century Chanson." Ph.D. diss., Harvard U versity, 1955.

Gollingham, Bryan R. "Modal Rhythm and the Medieval Se-

quence." Studies in Music 1 (1976):105-23.

. "Theories of Harmonic-Metric Relationships from Rameau to Riemann." Ph.D. diss., University of Chicago,

Gossett, Philip. "The Mensural System and the Choralis Constantinus." In Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. Robert L. Marshall, 71-107. Kassel: Barenreiter, 1974.

. "Tonal Function and Metrical Accent: A Historical

Houle, George L. "The Musical Measure as Discussed by Theorists from 1650 to 1800." Ph.D. diss., Stanford University,

Caplin, William Earl. "Harmony and Meter in the Theories of Simon Sechter." Music Theory Spectrum 2 (1980):74-89.

1981.

1960. Perspective." Music Theory Spectrum 5 (1983):1-14. Hughes, Cohen, Dalia. "Meter and Rhythm in Music and Poetry." Is- Andrew. "Mensuration and Proportion in Early Fifteenth-Century English Music." Acta Musicologica 37 raeli Studies in Musicology 1 (1978):99-141. (1965):48-59. Dahlhaus, Carl. "Zur Entstehung des modernen Taktsystems

Husmann, H. "Deklamation und Akzent in der Vertonung im 17. Jahrhundert." Archiv fur Musikwissenschaft 18 (1961):223-40. mittelateinischer Dichtung." Archiv fur Musikwissenschaft

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

88 Music Theory Spectrum

19-20 (1962-63):1-8. . "Zur Rhythmik des Trouveregesanges." Musikforschung 5 (1952):110-31. Karp, Theodore. "Rhythmic Architecture in the Music of the High Middle Ages." Medievalia et humanistica 1 (1970):6780.

. "St. Martial and Santiago de Compostela: An Analytical Speculation." Acta Musicologica 39, nos. 3-4 (1967): 144-60.

tesco." In Atti del congresso internazionale sul tema "Manierismo in arte e musica," ed. A. Ziino, 287-312. Florence: Olschki, 1977.

Murray, G. "The Authentic Rhythm of Gregorian Chant." Caecilia 86 (Summer 1959):57-71. Neumann, Friedrich. "Die Zeitgestalt als Grundbegriff der musikalischen Rhythmik." Gesellschaft fur Musikforschung Kongressbericht, 268-70. Kassel: Barenreiter, 1962.

Newman, William S. "On the Rhythmic Significance of

Kippenberg, B. Der Rhythmus im Minnesang: eine Kritik der Beethoven's Annotations in Cramer's Etudes." In Bericht literar- und musikhistorischen Forschung. Munich, 1962. iiber den internationalen musikwissenschaftlichen Kongress Bonn 1970, ed. Carl Dahlhaus et al., 43-47. Kassel: Knapp, Janet. "Two Thirteenth-Century Treatises on Modal Rhythm and the Discant." Journal of Music Theory 6 Barenreiter, 1970.

(1962):200-15.

Oesch, Hans. "Isorhythmische Strukturen im Orient und

Kunz, L. "Textrhythmus und Zahlenkomposition in fruhen Se- Abendland." Melos 37, no. 1 (1970):12-14. quenzen." Musikforschung 8 (1955):403-11. Praetorius, Ernst. Die Mensuraltheorie des Franchinus GafuLederer, Josef-Horst. "Zu Hindemiths Idee einer Rhythmen- rius und derfolgenden Zeit bis zur Mitte des 16. Jahrhunderts und Formenlehre." Musikforschung 29 (1976):21-36. (1905). Wiesbaden: Breitkopf und Hartel, 1970. Machatius, Franz-Jochen. "Uber mensurale und spielmannis-Radcliffe, Philip F. "The Relation of Rhythm and Tonality in che Reduktion: der Integer valor und der Kanzonetten- the Sixteenth Century." Proceedings of the Royal Musical

puls." Musikforschung 8 (1955):139-51, Association 57 (1930-31):73-97. Maddrell, John Edward. "Grocheo and the Measurability Ratner, of Leonard. "Eighteenth-Century Theories of Musical Medieval Music: A Reply to Hendrik Vanderwerf." Current Period Structure." Musical Quarterly 42 (1956):439-54. Musicology 11 (1971):89-90. Rayburn, John. Gregorian Chant Rhythm: A History of the . "Mensura and the Rhythm of Medieval Monodic Controversy Concerning its Interpretation. New York: Rayburn, 1964. Song." Current Musicology 10 (1970):64-69. Mathiesen, Thomas J. "Rhythm and Meter in Ancient Greek Reckow, Fritz. "Proprietas und perfectio: zur Geschichte des Music." Music Theory Spectrum 7 (1985):159-80. Rhythmus, seiner Aufzeichnung und Terminologie im 13. Jahrhundert." Acta Musicologica 39, nos. 3-4 (1967):115Mendel, Arthur. "Some Ambiguities of the Mensural Sys43.

tem." In Studies in Music History: Essays for Oliver Strunk, ed. Harold Powers, 137-60. Princeton: Princeton Univer-

Risler, J. "Le rhythme de la musique grecque." In Compte ren-

sity Press, 1968. Meyer, W. Gesammelte Abhandlungen zur mittelateinischen Rhythmik (1905-36). Berlin, 1970. Monterosso, R. "Strutture ritmiche nel madrigale cinquecen-

du du premiere congres du rhythme, ed. A. Pfrimer, 5-9. Geneva: Institut Jacques-Dalcroze, 1926. Rotharmel, Marion. Der musikalische Zeitbegriff seit Moritz Hauptmann, 2d ed. Regensburg: Bosse, 1968.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 89

Rothschild, F. The Lost Tradition in Music: Rhythm and Tempo in the Time of J. S. Bach. London: Oxford University Press, 1953.

Rowell, Lewis. "Abhinavagupta, Augustine, Time, and Music." Journal of the Indian Musicological Society 13, no. 2

(1982):18-36. . "Aristoxenus on Rhythm." Journal of Music Theory 23 (1979):63-79. . "The Subconscious Language of Musical Time." Music Theory Spectrum 1 (1979):96-106.

--- . "Time in the Musical Consciousness of Old High Civilizations-East and West." In The Study of Time 3, ed.

J. T. Fraser, N. Lawrence, and D. Park, 578-611. New York: Springer-Verlag, 1978. Sachs, Curt. Rhythm and Tempo. New York: Norton, 1953. . The Rise of Music in the Ancient World-East and West. New York: Norton, 1943. . The Wellsprings of Music. New York: McGraw-Hill,

Jahrhundert (1936). Regensburg: Bosse, 1978. Seay, Albert. "Classical Metrics and Medieval Music." Bulletin of the Rocky Mountain Modern Language Association 23,

no. 2 (1969):59-67. Seidel, Wilhelm. Rhythmus: eine Begriffsbestimmung. Darmstadt: Wissenschaftliche Buchgesellschaft, 1976. Szabolsci, Bence. "Uber metrische Melodien in Beethovens und Bart6k's Musik." In Musa-Mens-Musici: Im Gedenken

an Walther Vetter, ed. Heinz Wegener, 255-58. Leipzig: VEB deutscher Verlag fur Musik, 1969.

Taubert, K.-H. "Die Beziehungen zwischen den klassichen Tanzen und der Rhythmik." In Deuxieme congres international du rhythme et de la rhythmique, 154-55. Geneva: Institut Jacques-Dalcroze, 1966.

Tischler, Hans. "Die rhythmische Interpretation eines Trouvereliedes." Musikforschung 32 (1979):17-25. . "Rhythm, Meter, and Melodic Organization in Medieval Song." Revue belge de musicologie 28-30 (1971-72):523.

1965.

Sanders, Ernest H. "Consonance and Rhythm in the Organum of the Twelfth and Thirteenth Centuries." Journal of the

American Musicological Society 33 (1980):264-86. Schenkman, Walter. "Rhythmic Patterns of the Baroque." Bach 5, nos. 3 and 4 (1974):21-28, 9-16. Schering, Arnold. "Musikalischer Organismus oder Deklama-

tionsrhythmik?" Zeitschrift fir Musikwissenschaft 11 (1928-29):212-21. Schneider, Marius. "Le rhythme de la musique artistique es-

pagnole du XVI siecle vu a travers la chanson populaire." Studia Musicologica 7 (1965):125-40. Schrade, Leo. "Uber die Natur des Barockrhythmus." In De scientia musicae studia orationes, ed. Ernst Lichtenhahn, 360-84. Bern: Paul Haupt, 1967. Schwarzmaier, Ernst. Die Takt- und Tonordnung Joseph Riepels: ein Beitrag zur Geschichte der Formenlehre im 18.

--_--. "Some Rhythmic Features in Early ThirteenthCentury Motets." Revue belge de musicologie 21 (1967):107-17. ----. "Vermass und musikalischer Rhythmus in NotreDame-Conductus." Archiv fir Musikwissenschaft 37 (1980):292-304. Vanderwerf, Hendrik. "Concerning the Measurability of Medieval Music." Current Musicology 10 (1970):69-73.

. "Deklamatorischer Rhythmus in den Chansons der Trouveres." Musikforschung 20 (1967):122-44. Waite, William G. The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice. New Haven: Yale University Press, 1954.

Williams, Charles Francis Abdy. The Aristoxenian Theory of Musical Rhythm. Cambridge: Cambridge University Press, 1911.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

90 Music Theory Spectrum

. "Some Ancient Conceptions of Rhythm." Musical

Clifton, Thomas. "An Application of Goethe's Concept of Steigerung to the Morphology of Diminution." Journal of

Times 64 (1923):105-6. Wolf, R. Peter. "Metrical Relationships in French Recitative of the Seventeenth and Eighteenth Centuries." Recherches

18 (1978):29-49. Yudkin, J. "The Rhythm of Organum Purum." Journal of Mu-

sicology 2 (1983):355-76. Zingerle, H. "Zur Entwicklung der Rhythmik und Textbehandlung in der Chanson von c. 1470 bis c. 1530." Musikforschung 9 (1956):355-58. Music Theory Babbitt, Milton. "The Synthesis, Perception, and Specification of Musical Time." Journal of the International Folk Music

Council 16 (1964):92-95. Backus, John. "Pseudo-Science in Music." Journal of Music Theory 4 (1960): 221-32.

Benward, Bruce C. "A Proposal for the Analysis of Motion Factors in Music." Ph.D. diss., Eastman School of Music, 1951.

Bernet Kempers, Karel P. "Isometrische Begriffe und die Musik des 19. Jahrhunderts." In Festschrift Friedrich Blume zum 70. Geburtstag, ed. Anna Amalie Abert and Wilhelm Pfannkuch, 34-49. Kassel: Barenreiter, 1963. Bielawski, Ludwik. "The Zones of Time in Music and Human Activity." In The Study of Time 4, ed. J. T. Fraser, N. Law-

rence, and D. Park, 173-79. New York: Springer-Verlag, 1981.

Boretz, Benjamin. "Two Replies." Perspectives of New Music

15, no. 2 (1977):239-42. Brodhead, Garry L. "Structural Time in Twentieth-Century Tonal Music." Ph.D. diss., Indiana University, 1983. Cazden, Norman. "The Principle of Direction in the Motion of

Similar Tonal Harmonies." Journal of Music Theory 2 (1958): 162-92.

Music Theory 14 (1970):165-89. Dickinson, George Sherman. "Style from the Viewpoint of Pattern." In A Handbook of Style in Music, 5-105. New York: Da Capo, 1969. Durr, Walther. "Rhythm in Music: A Formal Scaffolding of

Time." In The Voices of Time, ed. J. T. Fraser, 180-200. New York: Braziller, 1966.

Epstein, David. "On Musical Continuity." In The Study of Time 4, ed. J. T. Fraser, N. Lawrence, and D. Park, 18097. New York: Springer-Verlag, 1981. Hanson, Jens Lewis. "An Operational Approach to the Theory of Rhythm." Ph.D. diss., Yale University, 1969. Hsu, Dolores Menstell. "Ernst Kurth and His Concept of Music as Motion." Journal of Music Theory 10 (1966):2-17. Kaden, Christian. "Strukturelle Segmentierung von Musik: Probleme, Schwiergkeiten, Moglichkeiten." Beitrage fur Musikwissenschaft 18 (1976):149-62, 293-334. Kramer, Jonathan D. "Temporal Linearity and Non-Linearity in Music." In Time, Science, and Society in China and the West: The Study of Time 5, ed. J. T. Fraser, F. Haber, and N. Lawrence. Amherst: University of Massachusetts Press (forthcoming).

Lange, Martin. "Begegnung von Sprache und Musik: dargestellt am Beispiel einer Schiitz-Motette." In Festschrift fur Helmut Walcha zum 70. Geburtstag, ed. Walther Dehnhard and Gottlob Ritter, 129-43. Frankfurt: Evangelischer Presseverbend in Hesse-Nassau, 1978.

Mathiassen, Finn. "Om begrebet 'covariation.' " Svensk Tidskriftfor Musikforskning 62 (1970):68-70.

McQuere, Gordon D. "Boris Asafiev and Musical Form as a Process." In Russian Theoretical Thought in Music, ed. Gor-

don D. McQuere, 217-52. Ann Arbor: UMI Research Press, 1983.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 91

. "The Theories of Boleslav Yavorsky." In Russian Theoretical Thought in Music, ed. Gordon D. McQuere, 109-

Kowzan, Tadeusz. "Music and the Plastic Arts in Conquest of

64. Ann Arbor: UMI Research Press, 1983.

Norton, Glyn P. "Retrospective Time and the Musical Experi-

Meyer, Leonard B. Explaining Music. Berkeley and Los Angeles: University of California Press, 1973. Narmour, Eugene. Beyond Schenkerism: The Need for Alternatives in Musical Analysis. Chicago: University of Chicago Press, 1977. Pierce, Alexandra. "Climax in Music: Structure and Phrase."

In Theory Only 4, no. 5 (1978), 5, no. 3 (1979), 7, no. 1

(1983):22-35, 3-24, 3-30. . "Juncture." In Theory Only 3, no. 6 (1977):23-34. Rosen, Charles. The Classical Style. New York: Norton, 1972.

Time and Space." Diogenes 73 (1971):1-20.

ence in Rousseau." Modern Language Quarterly 34

(1973):131-45. Porter, David H. "Reflective Symmetry in Music and Literature." Perspectives of New Music 8, no. 2 (1970):118-22.

Shattuck, Roger. "Making Time: A Study of Stravinsky, Proust, and Sartre." Kenyon Review 25 (1963):248-63. Stechow, W. "Raum und Zeit in der graphischen und musikalischen Illustration." Zeitschrift fiir Asthetik und allgemeine Kunstwissenschaft 25 (1931):118-26. Stofft, Paul William. "A Structuralist Approach to Music and

Schering, Arnold. "Betonungs- und Gewichtsprinzip." In

Painting, Emphasizing Space and Time." Ph.D. diss., Uni-

Bericht iiber den 1. musikwissenschaftlichen Kongress der deutschen Musikgesellschaft in Leipzig, 1925,460ff. Wiesbaden: Sandig, 1969. Schmidt, E. Uber den Aufbau rhythmischer Gestalten. Munich,

versity of Southern California, 1975.

1939.

Tull, James R. "B. V. Asaf'ev's Musical Form as a Process: Translation and Commentary." Ph.D. diss., Ohio State University, 1977. Yeston, Maury. "Rubato and the Middleground." Journal of

Music Theory 19 (1975):286-301.

Aaronson, Roberta. "Perception and Immediate Recall of Auditory Sequences." Ph.D. diss., University of Pennsylvania, 1966.

Bachem, A. "Time Factors in Relative and Absolute Pitch Determination." Journal of the Acoustical Society of America

26 (1954):751-53. Barlett, D. L. "Effect of Repeated Listenings on Structural and Affective Response." Journal of Research in Music Ed-

Other Arts

Bertola, Elena de. "On Space and Time in Music and the Vis-

ual Arts." Leonardo 5, no. 1 (1972):27-30. Diirr, Werner. Untersuchung zurpoetischen und musikalischen Metrik. Tubingen, 1962.

Engelmann, H. U. "Rhythmus und bildnerisches Denken." Melos 33 (1966):261-67. Fleming, William. "Newer Concepts of Time and Their Relation to the Temporal Arts." Journal of Aesthetics and Art

Criticism 4 (1945):101-6.

Perception

ucation 21 (1973):302-17. Bengtsson, Ingmar; Tove, Per-Arne; and Thorsen, StigMagnus. "Sound Analysis and Rhythm Research Ideas at the Institute of Musicology." In Studia instrumentorum musicae popularis 2, ed. Erich Stochmann, 53-76. Stockholm: Musikhistoriska, 1969.

Bregmann, A. A., and Campbell, J. "Primary Auditory Stream Segregation and Perception of Order in Rapid Sequence of Tones." Journal of Experimental Psychology 89

(1971):244-49.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

92 Music Theory Spectrum

Clynes, Manfred, and Walker, Janice. "Neurobiologic Func-

tions of Rhythm, Time, and Pulse in Music." In Music, Mind, and Brain, ed. Manfred Clynes, 171-216. New York: Plenum, 1982. Colwell, Richard. The Theory of Expectation Applied to Musi-

cal Listening. Urbana: University of Illinois Cooperative Research Project No. H-106, 1966.

Deutsch, Diana. "Dislocation of Tones in a Musical Sequence: A Memory Illusion." Nature 226 (1970):286. . "Grouping Mechanisms in Music." In The Psychology of Music, ed. Diana Deutsch, 99-134. New York: Academic Press, 1982.

- . "Music Recognition." Psychological Review 76 (1969):300-7. . "The Processing of Structured and Unstructured

Tonal Sequences." Perception and Psychophysics 28 (1980):381-89. Deva, Bigamudre Chaitanya. "Perception of Rhythm." Journal of the Music Academy, Madras 38 (1967):132-35. Divenyi, Pierre Laszlo. "The Rhythmic Perception of MicroMelodies: Detectability by Human Observers of a Time Increment Between Sinusoidal Pulses of Two Different, Suc-

cessive Frequencies." Ph.D. diss., University of Washington, 1970. Dowling, W. Jay. "Rhythmic Groups and Subjective Chunks in Memory for Melodies." Perception and Psychophysics 14

tory Rhythm Patterns." Scandinavian Journal of Psychol-

ogy 14 (1973):138-60. . Studies in Rhythm. Uppsala: Almqvist and Wiksell,

1973.

Halpern, Andrea R., and Darwin, Christopher J. "Duration Discrimination in a Series of Rhythmic Events." Perception

and Psychophysics 31 (1982):86-89. Handel, Stephen. "Temporal Segmentation of Repeating Auditory Patterns." Journal of Experimental Psychology 101

(1973):46-54. , and Oshinsky, James S. "The Meter of Syncopated Auditory Polyrhythms." Perception and Psychophysics 30

(1981):1-9. Homick, J.L.; Elfner, L.F.; and Bothe, G. G. "Auditory Temporal Masking and the Perception of Order." Journal of the Acoustical Society of America 45 (1969):712- 18.

Isaacs, Elcanon. "The Nature of the Rhythmic Experience." Psychological Review 27 (1920):270-99. Jones, Mari Riess. "Controlled Attending as a Function of Melodic and Temporal Context." Perception and Psychophy-

sics 32 (1982):211-18. . "Time, Our Lost Dimension: Toward a New Theory of Perception, Attention, and Memory." Psychological Review 83 (1976):325-55. . "A Tutorial on Some Issues and Methods in Serial Pat-

tern Research." Perception and Psychophysics 30 (1981):492-504. (1973):37-40. Dunlap, Knight. "Rhythm and Time." Psychological Bulletin 8 Knapp, Robert H., and Green, H. B. "The Judgement of Music-Filled Intervals and n Achievement." Journal of So(1911):239-42. cial Psychology 54 (1961):263-67. Gabrielsson, Alf. "Adjective Ratings and Dimension Analyses Longuet-Higgins, H. Christopher, and Lee, Christopher S. of Auditory Rhythm Patterns." Scandinavian Journal of "The Perception of Musical Rhythms." Perception 11 Psychology 14 (1973):244-60. (1982):115-28. . "Perception and Performance of Musical Rhythm." In Music, Mind, and Brain, ed. Manfred Clynes, 159-69. New Lora, Doris. "Musical Pattern Perception." College Music York: Plenum, 1982. Symposium 19, no. 1 (1979):166-82. . "Similarity Ratings and Dimension Analyses of Audi- Matsuda, F. "Development of Time Estimation: Effects of

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 93

Frequency of Sounds Given During Standard Time." Japanese Journal of Psychology 36 (1966):285-94. Noorden, Leon P. A. S. van. Temporal Coherence in the Per-

ception of Tone Sequences. Eindhoven: Technische Hogeschool, 1975. Orlov, Henry. "The Temporal Dimensions of Musical Experience." Musical Quarterly 65 (1979):368-78. Pepinsky, Abe. "The Nature of Rhythmic Experience." Pro-

ceedings of the Music Teachers National Association 40

(1946):321-29. Perkins, D. "Coding Position in a Sequence by Rhythmic Grouping." Memory and Cognition 2 (1974):219-33. Pollack, Irwin. "Discrimination of Changes in the Structure of Auditory Markov-Sequences." Proceedings of the 75th Annual Convention of the American Psychological Association

2 (1967):35-36.

tion 39 (1945):79-89. Schiitte, H. "Subjectiv gleichmassiger Rhythmus: ein Beitrag zur zeitlichen Wahrehmung von Schallereignissen." Acus-

tica 41 (1978):197-206. Simon, Herbert A. "Perception du pattern musical par auditeur." Sciences de l'art 5, no. 2 (1968):28-34. Sink, P. E. "Effects of Rhythmic and Melodic Alterations on Rhythmic Perception." Journal of Research in Music Edu-

cation 31 (1983):101-13. Stallings, Charles K. "The Effects of Changes in Certain Musical Parameters on Time Estimation." Ph.D. diss., Washington University, 1969. Steedman, M. J. "The Perception of Musical Rhythm and Me-

tre." Perception 6 (1977):555-71. Sturges, P. T., and Martin, J. G. "Rhythmic Structure in Audi-

tory Temporal Pattern Perception." Journal of Experimen-

Povel, Dirk-Jan. "Internal Representation of Simple Temporal Patterns." Journal of Experimental Psychology: Human Perception and Performance 7 (1981):3-18.

. "Temporal Structure of Performed Music: Some Preliminary Observations." Acta Psychologica 41 (1977):30920.

, and Okkerman, Hans. "Accents in Equitone Sequences." Perception and Psychophysics 30 (1981):565-72. Preusser, David. "The Effect of Structure and Rate on the Recognition and Description of Auditory Temporal Patterns." Perception and Psychophysics 11 (1972):233-40. Rashid, M. A. "Rhythmic Perception and Human Behavior: Rhythmic Perception, Age, Intelligence, and Musical Perception." Pakistan Journal of Psychology 3, nos. 1-2

(1970):3-15.

tal Psychology 102 (1974):377-83. Terhardt, Ernst. "Psychoacoustic Evaluations of Musical Sounds." Perception and Psychophysics 23 (1978):483-92. Vos, Peter G. "Critical Duration Ratios in Tone Sequences for

the Perception of Rhythmic Accent and Grouping." Reports of the Psychological Laboratory, University of Nijmegen, 1979. . "Identification of Metre in Music." Reports of the Psychological Laboratory, University of Nijmegen, 1976.

. "Pattern Perception in Metrical Tone Sequences." Reports of the Psychological Laboratory, University of Nijme-

gen, 1973.

. "Pattern Perception in the Measurement of Sound with Metrical-Organized Time Structures." Nederlands Tijdschrift voor de Psychologie en Haar Grensgebieden 28,

Royer, F. L., and Garner, W. R. "Perceptual Organization of

Nine-Element Auditory Temporal Patterns." Perception and Psychophysics 7 (1970):115-20. Ruckmick, Christian A. "The Nature of the Rhythmic Experience." Proceedings of the Music Teachers National Associa-

no. 8 (1974):565-80. . "Temporal Duration Factors in the Perception of Auditory Rhythmic Patterns." Scientific Aesthetics 1 (1977):183-99. Wang, C. C. "Discrimination of Modulated Music Tempo by

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

94 Music Theory Spectrum

Music Majors." Journalfor Research in Music Education 31

(1983):49-55.

Greene, David B. Mahler, Consciousness and Temporality. New York: Gordon and Breach, 1984.

Warren, R. M., and Obusek, C. J. "Identification of Temporal

. Temporal Processes in Beethoven's Music. New York:

Order within Auditory Sequences." Perception and Psychophysics 12 (1972):86-90. Weaver, H. E. "Syncopation: A Study in Musical Rhythms."

Gordon and Breach, 1982.

Journal of General Psychology 20 (1939):409-29. Wood, Robert William. "The Perceptual Processing of Rhythmic Auditory Pattern Temporal Order." Ph.D. diss., University of Michigan, 1981.

Woodrow, Herbert A. "A Quantitative Study of Rhythm." Archives of Psychology 14 (1909):1-66.

. "The Role of Pitch in Rhythm." Psychological Review 18 (1911):54-77. Yeager, Joy. "Absolute Time Estimates as a Function of Complexity and Interruption of Melodies." Psychonomic Sci-

ence 15, no. 4 (1969):177-78. Phenomenology Batstone, Philip. "Musical Analysis as Phenomenology." Perspectives of New Music 7, no. 2 (1969):94-110.

Carpenter, Patricia. "The Musical Object." Current Musicology 5 (1967):56-86. Chatterjee, Margaret. "Towards a Phenomenology of TimeConsciousness in Music." Diogenes 74 (1971):49-56. Clifton, Thomas. "Music as Constituted Object." Music and Man 2 (1976):73-98. . Music as Heard. New Haven: Yale University Press, 1983.

. "Some Comparisons between Intuitive and Scientific Descriptions of Music." Journal of Music Theory 19 (1975):66-110. Dahlhaus, Carl. "Toward the Phenomenology of Music." In Esthetics of Music, trans. William W. Austin, 74-83. Cambridge: Cambridge University Press, 1982.

Ihde, Don. Listening and Voice: A Phenomenology of Sound. Athens, Ohio: Ohio University Press, 1976. Lochhead, Judy. "Some Musical Applications of Phenomenology." Indiana Theory Review 3, no. 3 (1979):18-27.

. "The Temporal Structure of Recent Music: A Phenomenological Investigation." Ph.D. diss., State University of New York at Stony Brook, 1982.

Maniates, Maria Rika. "Sound, Silence, and Time: Towards a Fundamental Ontology of Music." Current Musicology 3

(1966):59-64. Skarda, Christine A. "Alfred Schutz's Phenomenology of Music. " Journal of Musicological Research 3 (1979):75- 132. Smith, F. Joseph. "Musical Sound as a Model for Husslerian Intuition and Time." Journal of Phenomenological Psychol-

ogy 4 (1973):271-96. Stambaugh, Joan. "Music as a Temporal Form." Journal of Philosophy 61 (1964):265-80. Proportion Bachmann, Tibor and Peter J. "An Analysis of Bela Bart6k's Music through Fibonacci Numbers and the Golden Mean."

Musical Quarterly 65 (1979):72-82. Cone, Edward T. "The Uses of Convention: Stravinsky and His Models." In Stravinsky: A New Appraisal of His Work, ed. Paul Henry Lang, 21-33. New York: Norton, 1963. Demaree, Robert William, Jr. "The Structural Proportions of

the Haydn Quartets." Ph.D. diss., Indiana University, 1973.

Hewitt, Helen. "A Study in Proportions." In Essays in Honor

of Archibald Thompson Davison, 69-81. Cambridge: Harvard University Press, 1957.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 95

Howat, Roy. "Bart6k, Lendvai, and the Principles of Propor-

tional Analysis." Music Analysis 2 (1983):69-95. . Debussy in Proportion. Cambridge: Cambridge University Press, 1983.

. "Debussy, Ravel, and Bart6k: Towards Some New Concepts of Form." Music and Letters 58 (1977):285-93. Huff, Jay. "Serial Control of Time Spans in the Last Movement

of Webern's Opus 28." Composer Magazine 1 (1970):175. Kramer, Jonathan D. "Discontinuity and Proportion in the Music of Stravinsky." In Stravinsky Reheard, ed. Jann Pasler. Berkeley and Los Angeles: University of California Press, 1986.

. "The Fibonacci Series in Twentieth-Century Music." Journal of Music Theory 17 (1973):110-48. Krenek, Ernst. "Proportionen und pythagoraische Haimmer."

Musica 14 (1960):708-12. Larson, Paul. "The Golden Section in the Earliest Notated

Massenkeil, G. Untersuchungen zum Problem der Symmetri in der Instrumentalmusik W. A. Mozarts. Wiesbaden:

Steiner, 1962.

Mendel, Arthur. "A Brief Note on Triple Proportion in Schiitz." Musical Quarterly 46 (1960):67-70. Norden, Hugo. "Proportions and the Composer." Fibonac Quarterly 10 (1972):319-23.

. "Proportions in Music." Fibonacci Quarterly 2

(1964):219.

Pascoe, Clive. "Golden Proportion in Musical Design." D. M. E. diss., University of Cincinnati, 1973.

Perry-Camp, Jane. "Time and Temporal Proportion: The Golden Section Metaphor in Mozart, Music, and History." Journal of Musicological Research 3 (1979):133-76.

. "Temporal Proportions: A Study of Sonata Forms in the Piano Sonatas of Mozart." Ph.D. diss., Florida State University, 1968.

Powell, Newman W. "Fibonacci and the Golden Mean: RabWestern Music." Fibonacci Quarterly 16 (1978):513-15. Lendvai, Erno. Bart6k's Style. Budapest: Zenemukiado, 1955. bits, Rumbas, and Rondeaux." Journal of Music Theory 23 - . Bela Bart6k: An Analysis of His Style. London: Kahn (1979):227-73. and Averill, 1971. Risinger, Karel. "Kotazce casov6ho rozsahu skladeb." Hud . "Duality and Synthesis in the Music of Bela Bart6k." Veda 8, no. 2 (1971):195-97. In Module, Proportion, Symmetry, Rhythm, ed. Gy6rgy Rogers, Michael R. "The Golden Section in Musical Time: Kepes, 174-93. New York: Braziller, 1966. Speculations on Temporal Proportion." Ph.D. diss., Uni. "Introduction aux formes et harmonies bart6k-

versity of Iowa, 1977.

iennes." In Bart6k: Sa vie et son oeuvre, ed. Bence SzaRothwell, James A. "The Phi Factor: Mathematical Proporbolsci, 88-136. Budapest: Corvina, 1956. tions in Musical Forms." Ph.D. diss., University of Mis. "Remarks on Roy Howat's 'Principles of Proportionalsouri, Kansas City, 1977. Analysis.' " Music Analysis 3, no. 3 (1984):255-64. Sandresky, Margaret Vardell. "The Continuing Concept of the ---- . The Workshop of Bart6k and Koddly. Budapest: EdiPlatonic-Pythagorean System and its Application to the tio Musica, 1983.

Analysis of Fifteenth-Century Music." Music Theory Spec-

Lowman, Edward. "An Example of Fibonacci Numbers Used trum 1 (1979):107-20. to Generate Rhythmic Values in Moder Music." Fibonacci . "The Golden Section in Three Byzantine Motets of Quarterly 9 (1971):423-26, 436.

Dufay." Journal of Music Theory 25 (1981):291-306.

. "Some Striking Proportions in the Music of Bela BarTrowell, Brian. "Proportion in the Music of Dunstable." Prot6k." Fibonacci Quarterly 9 (1971):527-28, 537. ceedings of the Royal Musical Association 105 (1979):100-

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

96 Music Theory Spectrum

41.

ody Tells about Metre in Music." Zeitschriftifur Psychologie

Vollaerts, Jan. W. A. Rhythmic Proportions in Early Medieval Ecclesiastical Chant, 2d ed. Leiden: Brill, 1960.

Webster, J. H. Douglas. "Golden Mean Form in Music." Music and Letters 31 (1950):238-48. Williams, B. M. "Time and the Structure of Stravinsky's Symphony in C." Musical Quarterly 59 (1973):355-69.

Psychology Bamberger, Jeanne. "Cognitive Structuring in the Apprehension and Description of Simple Rhythms." Archive de psy-

chologie 48 (1980):171-99.

189 (1981): 25-33. Conradin, Hans. "Das Problem der Bewegung in der Musik." Gesellschaft fur Musikforschung Kongress Bericht, 141ff. Kassel: Barenreiter, 1950. Davies, John Booth. The Psychology of Music. Stanford: Stanford University Press, 1978. Del Perugia, Paul. "From Music to Ecstasy." World of Music

13, no. 3 (1971):3-17. Deutsch, Diana. "The Deterioration of Pitch Information in Memory." Ph.D. diss., University of California, San Diego, 1969.

. "Facilitation by Repetition in Recognition Memory

Beauvillain, C., and Fraisse, Paul. "On the Temporal Control

of Polyrhythmic Performance." Music Perception 1 (1984):485-99. Bengtsson, Ingmar. "Empirische Rhythmusforschung in Uppsala." In Hamburger Jahrbuch fur Musikwissenschaft 1, ed. Constantin Floros, Hans Joachim Marx, and Peter Peter-

sen, 195-219. Hamburg: Wagner, 1975.

for Tonal Pitch." Memory and Cognition 3 (1975):263-66.

. "Interference in Memory between Tones Adjacent in the Musical Scale." Journal of Experimental Psychology 100

(1973):228-31. . "Mapping of Interactions in the Pitch Memory Store."

Science 175 (1972):1020-2. . "Memory and Attention in Music." In Music and the

. "Uber Korrelation zwischen Durationsvariable und Brain, ed. Macdonald Critchley and R. A. Henson, 95-130. London: Heinemann, 1977. Rhythmuserlebnis." In Bericht iiber den internationalen musikwissenschaftlichen Kongress Kassel 1962, ed. G. Reichert. "Music Perception." Musical Quarterly 66 (1980):16579. and M. Just, 276-78. Kassel: Barenreiter, 1963.

, and Gabrielsson, Alf. "Rhythm Research in Uppsala." In Music, Room and Acoustics, 19-56. Stockholm:

. "Organizational Processes in Music." In Music, Mind, and Brain, ed. Manfred Clynes, 119-36. New York:

Royal Swedish Academy of Music, 1977.

Plenum, 1982.

--; --- ; and Thors6n, Stig-Magnus. "Empirisk rytmforskning: en orientering on musikvetenskaplig bakgrund, utveckling och nagaktuella projekt." Svensk Tidskrift for

Musikforskning51 (1969): 49-118.

. "Tones and Numbers: Specificity of Interference in Short-Term Memory." Science 168 (1970):1604-5. Fay, Thomas. "Context Analysis of Musical Gestures." Journal of Music Theory 18 (1974):124-51.

Cherbuliez, A.-E. "L'unit6 du temps et sa division: probleme

. "Perceived Hierarchic Structure in Language and Mu-

psychologique fondamental du rhythme musical." In

sic." Journal of Music Theory 15 (1971):112-37. Fitzherbert, Joan. "The Rhythm of Pop Music." British Journal of Psychiatry 119 (1971):119. Fraisse, Paul. "Is Rhythm a Gestalt?" In Gestalttheorie in der

Compte rendu du premiere congres du rhythme, 33-38. Geneva: Institut Jacques-Dalcroze, 1926.

Collard, R.; Vos, Peter G.; and Leeuwenburg, E. "What Mel-

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 97

modernen Psychologie, ed. S. Ertel, L. Kemmler, and Stadler, 227-32. Darmstadt: Steinkopff, 1975.

. The Psychology of Time, trans. Jennifer Leith. New York: Harper and Row, 1963.

sic." American Journal of Psychiatry 101 (1944):364-69. Harris, J. D. "The Decline of Pitch Discriminations with Time." Journal of Experimental Psychology 43 (1952):9699.

--- . "Rhythm and Tempo." In The Psychology of Music,

Hartman, James B. "A Gestalt Theory of Musical Percep-

ed. Diana Deutsch, 149-80. New York: Academic Press,

tion." Ph.D. diss., Northwestern University, 1959. Hutchinson, William. "Aspects of Musical Time." Selected Re-

1982.

. Les structures rhythmiques. Louvain: Publications Universitaires de Louvain, 1956.

ports of the Institute of Ethnomusicology of UCLA 1 (1966):66-76.

. "Time and Rhythm Perception." In Handbook of Per- Jones, Mari Riess. "Only Time Can Tell: On the Topology of ception 8, ed. E. C. Carterette and M. P. Friedman. New Mental Space and Time." Critical Inquiry 7 (1981):557-76. York: Academic Press, 1978. Frances, R. La Perception de la musique. Paris: Librairie Philo-

Longuet-Higgins, H. Christopher. "The Perception of Music." Interdisciplinary Science Reviews 3, no. 2 (1978):148-56.

sophique, 1958. Lundin, Robert W. "Rhythm as Stimulus and Response." In Gabrielsson, Alf. "Experimental Research on Rhythm." HuAn Objective Psychology of Music, 2d ed., 93-111. New York: Ronald, 1967. manities Association Review 30, nos. 1-2 (1979):69-92. . "Music Psychology: A Survey of Problems and Cur- Lunney, H. W. M. "Time as Heard in Speech and Music." Natrent Research Activities." Basic Music Functions and Musiure 249 (1974):592. calAbility 32, Royal Swedish Academy of Music, 1981. Mainwaring, J. "Kinaesthetic Factors in the Recall of Music . "Performance of Rhythmic Patterns." Scandinavian Experience." British Journal of Psychology 23 (1933):284307. Journal of Psychology 15 (1974):63-72. Gooddy, William. "The Timing and Time of Musicians." McLaughlin, In Terrence. "Time Tensions." In Music and ComMusic and the Brain, ed. Macdonald Critchley and R. A. munication, 31-40. London: Faber and Faber, 1970. Henson, 131-40. London: Heinemann, 1977. Miller, M. D. "Music and Tension." Psychoanalytic Review 54, no. 1 (1967):141-56. Gordon, Edwin E. Tonal and Rhythm Patterns: An Objective Analysis. Albany: State University of New York Press, Minsky, Marvin. "Music, Mind, and Meaning." In Music, 1976. Mind, and Brain, ed. Manfred Clynes, 1-19. New York: Plenum, 1982. Handel, Stephen. "Perceiving Melodic and Rhythmic Auditory Patterns." Journal of Experimental Psychology 103 Motte-Haber, Helga de la. Ein Beitrag zur Klassifikation musi(1974):922-33. kalischer Rhythmen: Experimental-psychologische Unter. "Using Polyrhythms to Study Rhythm." Music Percepsuchungen. Cologne: Arno Volk, 1968. tion 1 (1984):465-84. Mull, Helen K. "Preferred Regions in Musical Compositions , and Lawson, G. R. "The Contextual Nature of Rhythand the Effect of Repetition upon Them." American Jourmic Interpretation." Perception and Psychophysics 34 nal of Psychology 55 (1942):110-11. (1983):103-20. Mursell, James L. "The Perception of Rhythm." In The PsyHanson, Howard. "Some Objective Studies of Rhythm in Muchology of Music, 149-75. New York: Norton, 1937.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

98 Music Theory Spectrum

Robinson, Doris. "Is There a Correlation between Rhythmic

Response and Emotional Disturbance?" Journal of Music Therapy 7, no. 2 (1970):54. Roiha, E. "On the Psychology of Musical Time (Measure)." In Thirteenth International Congress of Psychology: Proceedings and Papers, 210ff. Nendeln: Kraus, 1974. Seashore, Carl E. "Duration: Time." In Psychology of Music, 90-94. New York: McGraw-Hill, 1938.

Yates, S. "Some Aspects of Time Difficulties and Their Relation to Music." International Journal of Psychoanalysis 16

(1935):341-54. Yeomans, W. "The Repetitive Factor in Music." Monthly Mu-

sical Record 85 (1955):63-67.

Rhythm and Meter

. "Rhythm." In Psychology of Music, 138-48. New York: McGraw-Hill, 1938. Simon, Herbert A., and Sumner, Richard K. "Pattern in Mu-

Abril, Mario S. "Mixed Meter: The Changing Beat." Ph.D.

sic." In Formal Representation of Human Judgement, ed. Benjamin Kleinmuntz, 219-50. New York: Wiley, 1968. Sternberg, S.; Knoll, R. L.; and Zukovsky, Paul. "Timing by Skilled Musicians." In The Psychology of Music, ed. Diana

Alette, Carl. "Theories of Rhythm." Ph.D. diss., Eastman

diss., Florida State University, 1971. School of Music, 1951.

Anderson, Gordon. "The Rhythm of the Monophonic Con-

ductus in the Florence Manuscript as Indicated in Parallel Deutsch, 181-239. New York: Academic Press, 1982. Sources in Mensural Notation." Journal of the American Sundberg, Johan, and Lindholm, Bjorn. "Generative Theories Musicological Society 31 (1978):480-89. in Language and Music Descriptions." Cognition 4 Ansermet, Ernest. "Les structures du rhythme." In Ecrits sur la musique, 135-49. Neuchatel: Editions de la Bacconiere, (1976):99-122. 1971. , and Verrillo, Violet. "On the Anatomy of the Retard: A Study of Timing in Music." Speech Transmission Labora. "Le temps musical." In Ecrits sur la musique, 159-68. Neuchatel: Editions de la Bacconiere, 1971. tory Quarterly Progress and Status Report 2-3 (1977):4457. Apfel, Ernst. "Rhythmisch-metrische und andere Beobachtungen an Ostinatobassen." Archiv fur Musikwissenschaft Tenney, James, and Polansky, Larry. "Temporal Gestalt Per33, no. 1(1975):48-67. ception in Music." Journal of Music Theory 24 (1980):20541. , and Dahlhaus, Carl. Studien zur Theorie und Geschichte der musikalischen Rhythmik und Metrik. Munich: Wetzel, Hermann. "Zur psychologischen Begrundung des Katzbichler, 1974. Rhythmus und die aus ihr fliessende Bestimmung der BeBlazek, Zdenek. "Polyphonie und Rhythmik in Janaceks Mugriffe Takt und Motiv." In Gesammelte Studien: Hugo siktheorie," trans. Jan Gruna. Shorkik Praci Br6nske U Riemann zum 60. Geburtstag, 100-21. Leipzig: M. Hesse, 1909. Rada Hud 18, no. 4 (1969):107-16. Barela, Margaret Mary. "Motion in Musical Time and Winckel, Fritz. "The Concept of Time." In Music, Sound and Sensation: A Modern Exposition, trans. Thomas Brinkley, Rhythm." College Music Symposium 19, no. 1 (1979):7892. 75-86. New York: Dover, 1967. Woodrow, Herbert. "The Role of Pitch in Rhythm." PsychoBenary, Peter. "Musikalische Werkbetrachtung in metrischer Sicht." Musikforschung 14 (1961):2-10. logical Review 18 (1911):56-77.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 99

. "Die Rhythmik als aktuelles Problem." Schweizerische Musikzeitung 100 (1960):224-29. Bengtsson, Ingmar. "On the Relationship between Tonal and Rhythmic Structures in Western Multipart Music." Svensk Tidskriftfor Musikforskning 43 (1961):49-76.

Benjamin, William E. "A Theory of Musical Meter." Music Perception 1 (1984):355-413. Berendt, J. E. "Form und Rhythmus in moderen Jazz." Me-

los 21 (1954):135-38. Berry, Wallace. "Dialogue and Monologue in the Professional

Community." College Music Symposium 21, no. 2 (1981):84-100. . "Metric and Rhythmic Articulation in Music." Music Theory Spectrum 7 (1985):7-33.

. "Review of Musical Form and Musical Performance, by Edward T. Cone." Perspectives of New Music 9, no. 210, no. 1 (1971):271-90. . "Rhythm and Meter." In Structural Functions in Music, 301-424. Englewood Cliffs: Prentice-Hall, 1976.

. "Rhythmic Accelerations in Beethoven." Journal of Music Theory 22 (1978):177-240. Bie, Oscar. "Rhythm," trans. Theodore Baker. Musical Quar-

terly 11 (1925):331-38. Bliimel, Rudolf. "Die rhythmischen Mittel." In Germanica: Eduard Sievers zum 75. Geburtstag, 661-77. Halle: M. Niemeyer, 1925. Bockholdt, Rudolf. "Studien der Funktion des Rhythmus in der Musik seit dem 14. Jahrhundert." Archiv fur Musikwis-

haven: Heinrichshofen, 1977.

Broyles, M. E. "Rhythm, Metre and Beethoven." Music Review 33 (1972):300-22. Bruce, I. M. "A Note on Mozart's Bar-Rhythms." Music Review 17 (1956):35-47. Bund, W. "Einige strittige Probleme der musikalischen Rhy-

thmik und Metrik." Ph.D. diss., University of Vienna, 1927.

Caplin, William Earl. "Der Akzent des Anfangs: zur Theorie des musikalischen Taktes." Zeitschrift fur Musiktheorie 9,

no. 1 (1978):17-28. Child, Peter Burlingame. "The Theory and Analysis of Musical Phrase Structure." Ph.D. diss., Brandeis University, 1981.

Childs, Barney. "Poetic and Musical Rhythm: One More Time." In Music Theory: Special Topics, ed. Richmond Browne, 33-57. New York: Academic Press, 1981. Cone, Edward T. "Letter: Comment on Westergaard." Perspectives of New Music 1, no. 2 (1963):206-10.

. Musical Form and Musical Performance. New York: Norton, 1968.

---- . "Musical Form and Musical Performance Reconsidered." Music Theory Spectrum 7 (1985):149-58.

Cooper, Grosvenor, and Meyer, Leonard B. The Rhythmic Structure of Music. Chicago: University of Chicago Press, 1960.

Crocker, Richard L. " 'Musica Rhythmica' and 'Musica Metrica' in Antique and Medieval Theory." Journal of Music

Theory 2 (1958):2-23. Dahlhaus, Carl. "Allegro frenetico: zum Problem des Rhyth-

senschaft 29 (1972):275-84. Boepple, P. "Theoretisches und Praktisches zur Rhythmik der neuesten Musik." In Bericht iber musikwissenschaftlichen

Kongress in Basel (1925), ed. W. Merian, 80-87. Wiesbaden: Sandig, 1969.

Boretz, Benjamin. "In Quest of the Rhythmic Genius." Perspectives of New Music 9, no. 2-10, no. 1 (1971):149-55. Bresgen, Cesar. Im Anfang war der Rhythmus. Wilhelms-

mus bei Berlioz." Melos 3 (1977):212-24. . "Polemisches zur Theorie der musikalischen Rhythmik und Metrik." Musikforschung 29 (1976):183-86.

. "Probleme des Rhythmus in der neuen Musik." In Zur Terminologie der neuen Musik. Berlin, 1965.

. "Zur Rhythmik der Mensuralmusik." Musik und Kirche 29 (May/June 1959):118-23.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

100 Music Theory Spectrum

---. "Zur Theorie des Tactus im 16. Jahrhundert." Archiv

sitions." Journal of the American Musicological Society fiir Musikwissenschaft 17 (1960):22-39. (1966):59-72. Dirr, Walther; Gerstenberg, Walter; and Harvey, Jonathan. Gatty, Reginald. "Syncopation and Emphasis." Musical Time 53 (1912):369-72, 442-46. "Rhythm." In The New Grove Dictionary of Music and Mu-

sicians, ed. Stanley Sadie, 15:804-24. London: Macmillan, Gerstenberg, Walter. "Grundfragen der Rhythmus-

1980. Forschung." In Bericht iiber den siebenten internationalen Diirr, Werner. "Studien zu Rhythmus und Metrum in italienismusikwissenschaftlichen Kongress Koln 1958, ed. Gerald che Madrigal, inbesondere bei Luca Marenzio." Ph.D.Abraham et al., 113-18. Kassel: Barenreiter, 1959.

diss., University of Tiibingen, 1956. Giroud, Jean. "Rhythme poetique et rhythme musical." Recherches et travaux: U.E.R. de Lettres, Grenoble 7 Dunk, John L. The Origin and Structure of Rhythm. London: James Clarke, 1952. (1973):52-62. Eberhardt, W. "Das Prinzip der Metrik Beethovens."Giuleanu, Ph.D. Victor. Ritmul muzical. Teoria ritmului. Bucharest: diss., University of Berlin, 1953. Union of the Composers of the Socialist Republic Rumania, 1968. Eibner, F. "Zum Rhythmus der klassischen Musik." Musiker-

ziehung 21, no. 2 (1967):67-72. Goschl, Johannes Berchmans. "Was bedeutet 'freier RhythEickhoff, P. "Die Bedeutung des Viertakters als herrschenden mus' in Gregorianischen Choral?" In Festschrift Ferdinand Prinzips in der griechische-romanischen Metrik und RhyHaberl zum 70. Geburtstag: Sacerdos et cantus gregoriani thmik." In Bericht iiber den 1. musikwissenschaftlichenmagister, ed. Franz A. Stein, 117-27. Regensburg: Bosse, 1977. Kongress der Deutschen Musikgesellschaft in Leipzig, 1925, 203-6. Wiesbaden: Sandig, 1969. Graziano, John. "A Theory of Accent in Tonal Music of the

Epstein, David. "Duration." In Beyond Orpheus, 55-98.Classic-Romantic Period." Ph.D. diss., Yale University, 1975. Cambridge: MIT Press, 1979. Hackman, Willis H. "A Clarification and Reconstruction of the Erickson, Raymond. "Rhythmic Problems and Melodic Structure in Organum Purum: A Computer-Assisted Study." Concept of Meter for Music-Structural Rhythmic Analysis Ph.D. diss., Yale University, 1970. Following Philosophical-Analytical Paradigms." Ph.D. Fletcher, Grant. Rhythm, Notation and Production. Tempe, diss., George Peabody College for Teachers, 1975. Ariz.: Autograph Scores of Grant Fletcher, 1969. Haenselman, Carl F. "Toward a Theory of Rhythm." Cana-

dian Association of University Schools of Music 1, no. 1 Flik, G. "Die Morphologie des Rhythmus." Ph.D. diss., University of Berlin, 1936. (1971):38-47. Forte, Allen. "Aspects of Rhythm in Weber's Atonal Music." Haimo, Ethan. "Rhythmic Theory and Analysis." In Theory Music Theory Spectrum 2 (1980):90-109. Only 4, no. 1 (1978):18-35.

-- . "Foreground Rhythm in Early Twentieth-Century Handschin, Jacques. "Zur Notre Dame-Rhythmik." ZeitMusic." Music Analysis 2 (1983):239-68. schriftfiir Musikwissenschaft 7 (1924):386-89. Friedheim, Philip. "Berlioz and Rhythm." Music Review 37,Christopher F. "Rhythm in Post-Tonal Music: PrelimiHasty, no. 1 (1976):5-44. nary Questions of Duration and Motion." Journal of Music ---. "Rhythmic Structure in Schoenberg's Atonal CompoTheory 25 (1981):183-216.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 101

Henneberg, Gudrun. Theorien zur Rhythmik und Metrik:

Archiv fur Musikwissenschaft 31 (1974):290-311. . "Takt und Motiv: zur neuzeitlichen musikalischen

Moglichkeiten und Grenzen rhythmischer und metrischer Analyse, dargestellt am Beispiel der Wiener Klassik. Tiitzing: Schneider, 1974.

. "Was ist der musikalische Rhythmus?-eine Entgegnung." Musikforschung 29 (1976):465-67.

Htawiczka, Karol. "Musikalischer Rhythmus und Metrum." Musikforschung 24 (1971): 385-406.

. "Die rhythmische Verwechslung." Musikforschung 11

(1958):33-49.

Howeler, C. "Zur internationalen Uniformitat der Begriffe Metrum und Rhythmus." In Bericht iiber den internationa-

len musikwissenschaftlichen Kongress Bamberg 1953, ed.

W. Brennecke, W. Kahl, and R. Steglich, 47-50. Kassel: Barenreiter, 1954.

Rhythmik." Archiv fir Musikwissenschaft 19-20 (1962-

63):194-207.

Kolinski, Mieczyslaw. "A Cross-Cultural Approach to MetroRhythmic Patterns." Ethnomusicology 17 (1973):494-506. Komar, Arthur. Theory of Suspensions. Princeton: Princeton University Press, 1971.

Krog, P., et al. Rytmisk musik. Copenhagen: Glydendalske Boghandel, 1979. Kunst, Jaap. Metre, Rhythm, Multi-Part Music. Leiden: Brill, 1950.

Lehmann, G. "Zum Begriff des Rhythmus." Schweizerische

Musikzeitung 103 (1963):273-79. Lerdahl, Fred, and Jackendoff, Ray. "An Overview of Hierar-

Holopova, Valentina. "Die formbildende Rolle des Rhythmus in Musikwerken," trans. Christof Riiger. Kunst und Litera-

tur 24, no. 1 (1976):91-98. - . [ The Problem of Rhythm in the Works of Composers of the First Half of the 20th Century] (in Russian). Moscow: Muzyka, 1971.

, ed. [Problems in Musical Rhythm] (in Russian). Moscow: Muzyka, 1978. Houghton, Edward. "Rhythm and Meter in 15th-Century Polyphony." Journal of Music Theory 18 (1974):190-212.

Husmann, H. "Das System der modalen Rhythmik." Archiv fiir Musikwissenschaft 11 (1954):1-38.

Hyde, Martha M. "A Theory of Twelve-Tone Meter." Music Theory Spectrum 6 (1984):14-51. Imbrie, Andrew. " 'Extra' Measures and Metrical Ambiguity in Beethoven." In Beethoven Studies, ed. Alan Tyson, 4466. New York: Norton, 1973. Jackendoff, Ray, and Lerdahl, Fred. "A Grammatical Parallel between Music and Language." In Music, Mind, and Brain, ed. Manfred Clynes, 83-117. New York: Plenum, 1982. Jammers, Ewald. "Gregorianischer Rhythmus, was ist das?"

chical Structure in Music." Music Perception 1 (198384):229-52. . A Generative Theory of Tonal Music. Cambridge,

Mass.: MIT Press, 1983.

Levy, Ernst. "Von der Synkope: ein Beitrag zur Metrik und Rhythmik." In Festschrift Karl Nef zum 60. Geburtstag,

150-56. Zurich: Hugel, 1933. Lewin, David. "Some Investigations into Foreground Rhythmic and Metric Patterning." In Music Theory: Special Topics, ed. Richmond Browne, 101-37. New York: Academic Press, 1981. Little, Jean. "Architectonic Levels of Rhythmic Organization in Selected Twentieth-Century Music." Ph.D. diss., Indiana University, 1971.

Longuet-Higgins, H. Christopher, and Lee, Christopher S. "The Rhythmic Interpretation of Monophonic Music." Mu-

sic Perception 1 (1984):424-42. Lowinsky, Edward E. "On Mozart's Rhythm." In The Creative World of Mozart, ed. Paul Henry Lang, 31-55. New York: Norton, 1963. Machatius, Franz-Jochen. "Dreiertakt und Zweiertakt als

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

102 Music Theory Spectrum

Eurhythmus und Ekrhythmus." In Festschrift Walter Gerstenberg zum 60. Geburtstag, ed. Georg von Dadelsen and

Andreas Holschneider, 88-97. Wolfenbiittel: Moseler,

Orel, A. "Zur Frage der rhythmischen Qualitat in Tonsatzen des 15. Jahrhunderts." Zeitschrift fir Musikwissenschaft 6

(1923-24):559-607. Perkins, D. N., and Howard, Vernon A. "Toward a Notation

1964.

Martin, F. "Les sources du rhythme musical." Revue musicale

de suisse romande 18, no. 3 (1965):3-5; 18, no. 4 (1965):35; 28, no. 1 (1975):1-6. Martin, Henry. "Review of The Stratification of Musical Rhythm, by Maury Yeston." In Theory Only 2, no. 5

(1976):13-26. Mehner, Klaus. "Grundfragen einer Theorie des musikalischen Rhythmus." Ph.D. diss., Humboldt University, 1976. Mertin, Josef. "Metrum und Auffiihrungspraxis." Osterreichische Musikzeitung 16 (1961):513-18.

. "Vom 'Tactus.' "Musikerziehung 24, no. 1 (1970):1318.

Monelle, Raymond. "Levels of Rhythm in Vocal Music." British Journal of Aesthetics 22 (1982): 17-36. Morgan, Robert P. "The Delayed Structural Downbeat and Its Effect on the Tonal and Rhythmic Structure of Sonata Form Recapitulation." Ph.D. diss., Princeton University, 1969.

. "The Theory and Analysis of Tonal Rhythm." Musical Quarterly 64 (1978):435-73. Mursell, James L. "The Structure of Musical Rhythm." In The Psychology of Music, 176-98. New York: Norton, 1937. Nestler, G. "Betonungsrhythmik und musikalische Form: im

for Rhythm Perception." Interface 5, no. 1 (1976):69-86. Perkins, Marion Louise. "Changing Concepts of Rhythm in the Romantic Era: A Study of Rhythmic Structure, Theory and Performance Practice Related to Piano Literature."

Ph.D. diss., University of Southern California, 1961. Petzsch, C. "Die rhythmische Struktur der Liedtenores d Adam von Fulda: ein Beitrag zur Frage des Schwerpunkt-

taktes in der Zeit um 1500." Archiv fur Musikwissenschaf

15 (1958):143-50.

Pfautz, H. "Rhythmus und Takt in neuen Liedgut." Hausmu sik 19 (May/June 1955):80-86. Pierce, Alexandra. "The Analysis of Rhythm in Tonal Music Ph.D. diss., Brandeis University, 1968.

--- . "Metric Structure." Piano Quarterly 97 (1977):29-3 98 (1977):34-36.

Pighi, Giovanni B., ed. Studi di ritmica e metrica: Raccolti a cura Facolta di Lettere dell'Universitc degli Studi di Bologn

Torino: Bottega d'Erasmo, 1970. Rahn, Jay. "Evaluating Metrical Interpretations." Perspective of New Music 16, no. 2 (1978):35-49.

Rahn, John. "Rhythm, and Talk about It." Perspectives New Music 15, no. 2 (1977):235-38. Anschluss an die Melodielehre Paul Hindemiths." Melos 18 Rajeczky, Benjamin. "Le chant gregorien est-il mesure Etudes Gregoriennes 8 (October 1967):21-28. (1951):309-14. Ricci, Robert. "The Division of the Pulse: Progressive an Neumann, Friedrich. "Musikalischer Rhythmus und Metrum: Uberlegungen zum Aufsatz von Karol Htawiczka." Mu-Retrogressive Rhythmic Forces." In Theory Only 1, no. 8 (1975):13-19. sikforschung 25 (1972):189-90. Riemann, Hugo. System der musikalischen Rhythmik und M . "Die Zeitgestalt als Grundbegriff der musikalischen

Rhythmik." In Bericht uber den internationalen musikwis- trik (1903). Wiesbaden: Sandig, 1971. senschaftlichen Kongress Kassel 1962, ed. G. Reichert and Righini, Pietro. Studio analitico sul ritmo musicale e sue defin zioni attraverso i secoli. Padova: Zanibon, 1972. M. Just, 268-70. Kassel: Barenreiter, 1963. Rosenthal, Felix. "Probleme der musikalischen Metrik." --- . Die Zeitgestalt: eine Lehre vom musikalischen Rhythmus. Vienna: Kaltschmid, 1959. Zeitschrift fiir Musikwissenschaft 8 (1925-26):262-88.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 103

Rothgeb, John. "Review of Theory of Suspensions, by Arthur

- . Uber Rhythmustheorien der Neuzeit. Bern: Francke,

Komar." Journal of Music Theory 16 (1972):210-19. Rothstein, William. "Rhythm and the Theory of Structural

1975.

Levels." Ph.D. diss., Yale University, 1981. Routley, Nicholas. "Metric Structure in Music." Ph.D. diss., Cambridge University, 1975.

Sanders, Ernest. "Comments and Issues" (response to Leo Treitler). Journal of the American Musicological Society 33

(1980):602-7.

- . "Duple Rhythm and Alternate Third Mode in the Thirteenth Century." Journal of the American Musicologi-

cal Society 15 (1962):249-91. Schachter, Carl. "Rhythm and Linear Analysis: A Preliminary

Study." In The Music Forum 4, ed. Felix Salzer and Carl

Schachter, 281-334. New York: Columbia University Press, 1976.

- . "Rhythm and Linear Analysis: Durational Reduction." In The Music Forum 5, ed. Felix Salzer and Carl

Schachter, 197-232. New York: Columbia University Press, 1980. Schillinger, Joseph. Encyclopedia of Rhythms: Instrumental Forms of Harmony; A Massive Collection of Rhythm Patterns (Evolved According to the Schillinger Theory of Interference) Arranged in Instrumental Form (1966). New York:

Da Capo, 1976. Schneider, Marius. "Die Natur des Rhythmus." Neue ZeitschriftfurMusik 129 (1968):81-84.

. "Prolegomena zu einer Theorie des Rhythmus." In

Bericht uber den siebenten internationalen musikwissens-

. "Zum Verstandnis der Akzenttheorie: eine Antwort

auf die Entgegnung von Gudrun Henneberg." Musikfor-

schung 29 (1976):468-69.

Smith, Charles J. "Rhythm Restratified." Perspectives of New

Music 16, no. 1 (1977):144-76. Smither, Howard E. "Theories of Rhythm in the Nineteenth and Twentieth Centuries." Ph.D. diss., Cornell University, 1960.

Stablein, Bruno. "Modale Rhythmen im Saint-Martial-

Repertoire?" In Festschrift Friedrich Blume zum 70. Geburtstag, ed. Anna Amalie Abert and Wilhelm Pfannkuch,

340-62. Kassel: Barenreiter, 1963. Steglich, R. " 'Rhythmische Verwechslung?' " Musikforschung 12 (1959):92-93. Thigpen, Edmund. Rhythmus: Analyse und Koordinations

grundlage. Munich: K. Maas, 1980. Tischler, Hans. "A Propos Meter and Rhythm in the Ars Antiqua." Journal of Music Theory 26 (1982):313-29.

. "Metrum und Rhythmus in franzosischer Dichtung

und Musik des 13. Jahrhunderts." Archiv fiir Musikwissenschaft 32 (1975):72-80.

Treitler, Leo. "Regarding 'A Propos Meter and Rhythm in th Ars Antiqua.' "Journal of Music Theory 27 (1983):215-22.

. "Regarding Meter and Rhythm in the Ars Antiqua." Musical Quarterly 65 (1979):524-58. Van Diest, Norman Henry. "The Rhythms of Ragtime: An

Operational Analysis of the Music of Turpin, Joplin, Scott, chaftlichen Kongress Koln 1958, ed. Gerald Abraham et al., and Lamb." Ed. D. diss., Columbia University Teachers

264-77. Kassel: Barenreiter, 1959.

College, 1976.

Schrade, Leo. "Das Ratsel des Rhythmus in der Musik." Me- Verchaly, Andre. "La metrique et le rhythme musical au temps los 18 (1951):305-9. de l'humanisme." In Report of the Eighth Congress, InternaSeidel, Wilhelm. "Heinrich Christoph Kochs Begriff des musi- tional Musicological Society, ed. Jan LaRue, 66-74. Kassel: kalischen Metrums." In Bericht uber den internationalen Barenreiter, 1961-62.

musikwissenschaftlichen Kongress Bonn 1970, ed. Carl Verwey, A. Rhythmus und Metrum. Halle, 1934. Waskowska-Larsen, Teresa. "Den musikalske rytme og dens

Dahlhaus et al., 570-3. Kassel: Barenreiter, 1970.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

104 Music Theory Spectrum

vigtigste fremtraedelsesformer." Musik Forskning 2 (1976):145-53. Wenk, Brian J. "Speech Patterns in Music: The French (Rhythmic) Connection." International Review of the Aesthetics and Sociology of Music 13 (1982):191-97. Westergaard, Peter. "Some Problems in Rhythmic Theory and Analysis." Perspectives of New Music 1, no. 1 (1962):18091.

Performance." Svensk Tidskrift for Musikforskning 40, no.

1(1978):15-24. Boulez, Pierre. " 'At the Ends of Fruitful Lands . .' (Paul

Klee)." Die Reihe 1 (1958):19-29. Kramer, Jonathan D. "The Impact of Technology on Musical Time." Percussive Notes 22, no. 3 (1984):16-25.

Kummel, Werner Friedrich. "Puls und Musik (16.-18. Jahrhundert)." Medizinhistorisches Journal 3 (1968):269-

Wiehmayer, Theodor. Musikalische Rhythmik und Metrik. Magdeburg: Heinrichschofen Verlag, 1917. . "Uber die Grundfragen der musikalischen Rhythmik und Metrik." In Bericht iiber den 1. musikwissenschaftlichen

Kongress der deutschen Musikgesellschaft in Leipzig, 1925,

445-60. Wiesbaden: Sandig, 1969. Willems, E. Le rhythme musical: rhythme, rhythmique, metri-

que. Paris: Presses Universitaires de France, 1954. Williams, Charles Francis Abdy. The Rhythm of Modern Music. London: Macmillan, 1909. Winold, Allen. "Rhythm in Twentieth-Century Music." In Aspects of Twentieth-Century Music, ed. Gary E. Wittlich, 208-69. Englewood Cliffs: Prentice-Hall, 1975.

Wittlich, Gary. "Review of The Stratification of Musical

93.

Schmid, C. "The Analysis and Identification of Musical Rhythm Using Walsh Functions." Acustica 36 (1976):4244.

Smits van Waesberghe, Joseph. "Rhythmus, Metrum, Tempo und Struktur im biologischen Rhythmus der Musik." In Bericht iiber den internationalen musikwissenschaftlichen Kongress Bonn 1970, ed. Carl Dahlhaus et al., 575-77. Kassel: Barenreiter, 1972. Winckel, Fritz. "Rhythmus and Resonanz." In Deuxieme congres international du rhythme et de la rhythmique, 141-47. Geneva: Institut Jacques-Dalcroze, 1966.

Tempo

Rhythm, by Maury Yeston." Journal of Music Theory 21

(1977):355-73.

Auda, Antoine. Theorie etpratique du tactus. Brussels, 1965.

Yeston, Maury. The Stratification of Musical Rhythm. New Ha-

ven: Yale University Press, 1976.

Zuckerkandl, Victor. "Meter and Rhythm." In The Sense of Music, 98-136. Princeton: Princeton University Press, 1959.

. Sound and Symbol: Music and the External World, trans. Willard R. Trask. Princeton: Princeton University Press, 1956. Science and Technology

Bengtsson, Ingmar; Gabrielsson, Alf; and Gabrielsson, Barbro. "A Computer Program for Analysis of Rhythmic

Bank, Joannes Antonius. Tactus, Tempo, and Notation in Mensural Music from the 13th to the 17th Century. Amsterdam: Annie Bank, 1972.

Barbag-Drexler, I. "Tempo Rubato." Musikerziehung 25, no. 4 (1972):159-62. Barthe, Englehard. Takt und Tempo: Studien iiber Zusammenhange. Hamburg: Sikorski, 1960. Behne, Klaus-Erst. Der Einfiuss des Tempos auf die Beurteilung von Musik. Cologne: A. Volk & H. Gerig, 1972. . "Tempo und Affekt: Ergebnisse einer experimentellen Studie." Musik und Bildung 6 (1974): 668-71. ----. "'Zeitmasse': zur Psychologie des musikalischen Tempo empfindens." Musikforschung 29 (1976):155-64.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

Studies of Time and Music: A Bibliography 105

Benary, Peter. "Tempo und Tempoanderung: zum Verhaltnis von Notentext und Wiedergabe." Neue Zeitschriftfiir Musik

Heckmann, H. "Bemerkungen zu Beethovens Tempi." Beethoven Jahrbuch (1955-56):24-54.

131 (1970):566-68. Carpenter, H. "Tempo and Tactus in the Age of Cabezon." Anuario Musical 21 (1966):123-30. Casell, Judith Carls. "Rhythmic Inequality and Tempo in

Higgins, T. "Tempo and Character in Chopin." Musical Quarterly 59 (1973):106-20.

French Music between 1650 and 1740." Ph.D. diss., Univer-

Hodgson, Walter. "Absolute Tempo: Its Existence, Extent, and Possible Explanation." Proceedings of the Music Teach-

ers NationalAssociation 48 (1951):158-69. Kolinski, Mieczyslaw. "The Evaluation of Tempo." Ethnomu-

sity of Minnesota, 1973.

Christensen, Dieter. "Inner Tempo and Melodic Tempo," trans. Bruno Nettl. Ethnomusicology 4, no. 1 (1960):9-14.

Cole, M. S. "Mozart Rondo Finales with Changes of Meter and Tempo." Studia Musicologica 16 (1974):25-53. Court, R. "Rhythme, tempo, mesure." Revue d'esthetique 27,

no. 2 (1974):143-59.

sicology 3, no. 2 (1959):45-57. ---. "Notes on Christensen's Article 'Inner and Melodic

Tempo.' " Ethnomusicology 4, no. 1 (1960):14-15. Kolisch, Rudolf. "Tempo and Character in Beethoven sic." Musical Quarterly 29 (1943):169-87, 291-312.

Kravitt, Edward F. "Tempo as an Expressive Element in

Dahlhaus, Carl. "Uber das Tempo in der Musik des spaten 16.

Late Romantic Lied." Musical Quarterly 59 (1973)

Jahrhunderts." Musica 13 (1959):767-69. Deas, S. "Beethoven's 'Allegro Assai.' "Music and Letters 31

518.

(1950):333-36. Elvers, R. "Untersuchungen zu den Tempi in Mozarts Instrumentalmusik." Ph.D. diss., Free University of Berlin, 1953. Epstein, David. "Tempo Relations." Music Theory Spectrum 7

(1985):34-71. Farnsworth, Paul R.; Block, Harold A.; and Waterman, Ward

C. "Absolute Tempo." Journal of General Psychology 10

(1934):230-33.

Forte, Allen. "The Structural Origin of Exact Tempi in the Brahms-Haydn Variations." Music Review 18 (1957):13849.

Kiimmel, Werner Friedrich. "Zum Tempo in der italien Mensuralmusik des 15. Jahrhunderts." Acta Musicolog

42, nos. 3-4 (1970):150-63. Kuhn, T. L. "Discrimination of Modulated Beat Temp Professional Musicians." Journal of Research in Music

cation 22 (1974):270-77. Lukacs, M. "Subjektive Untersuchungen fiber den Z

menhang zwischen der Nachhallzeit und dem musikalis Tempo." In Proceedings of the Third International Con

on Acoustics, ed. L. Cremer, 979-82. Amsterdam: E vier, 1961.

Lund, Max W. "An Analysis of the 'True Beat' in Music."

Geissler, Fredrick Dietzmann. "Considerations of Tempo as a Structural Basis in Selected Orchestral Works of Elliott

Carter." D. M. A. diss., Cornell University, 1974.

Ph.D. diss., Stanford University, 1939. Machatius, Franz-Jochen. "Die Tempi in der Musik um 1600." Ph.D. diss., Free University of Berlin, 1952.

Gullo, Salvatore. Das Tempo in der Musik des 13. und 14.. "Die Tempo-Charaktere." In Bericht iiber den siebenJahrhunderts. Bern: Haupt, 1964.

ten internationalen musikwissenschaftlichen Kongress Koln

1958, ed. Gerald Abraham et al., 185-88. Kassel: BarenreiGuttmann, A. "Das Tempo und seine Variationsbreite." In ter, 1959. Bericht iiber den 12. Kongress der Deutschen Gesellschaftfur

Psychologie, ed. G. Kafka, 341ff. Jena: Gustav Fischer, Margulis, V. "Eine Formel fur Tempoverwandtschaft." Mu1932. sica 36, no. 1 (1982):31-33.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms

106 Music Theory Spectrum

Mauser, S. "Zum Verhaltnis von Tempo- und Ausdruckbezeichnungen in den spaten Klaviersonaten Beethovens." Osterreichische Musikzeitschrift 36 (1981):617-22.

Mendel, Arthur. "A Note on Proportional Relationships in Bach Tempi." Musical Times (December 1959):683-84. Mertin, Josef. "Tempoprobleme um den Tactus." Osterreichische Musikzeitung 25 (1973):564-74. Newman, William S. "Freedom of Tempo in Schubert's Instrumental Music." Musical Quarterly 61 (1975):528-45.

--- . "Tempo in Beethoven's Instrumental Music: Its Choice and its Flexibility." Piano Quarterly 116 (198182):22-29; 117 (1982):22-31. Planchart, Alejandro E. "The Relative Speed of Tempora in the Period of Dufay." Royal Musical Association Research

Stadlen, Peter. "Beethoven and the Metronome." Soundings 9

(1982):57-73. Tauberg, K. H. "Das Zeitmass bei der musikalischen Interpretation alter Tanzformen." Osterreichische Musikzeitung 24

(1969):617-26. Temperly, N. "Tempo and Repeats in the Early Nineteenth Century." Music and Letters 47 (1966):323-36. Wagner, Christoph. "Experimentelle Untersuchungen uber das Tempo." Osterreichische Musikzeitung 29 (1974):589604.

Wolff, Hellmuth Christian. "Das Tempo bei Telemann." Beitrage zur Musikwissenschaft 11, no. 1 (1969):41-46.

. "Das Tempo der franzosischen Musik um und nach 1700." Musica 27 (1973):452-53.

Chronicle 17 (1981):33-51. Raebur, C. "Das Zeitmass in Mozarts Opern." Osterreichi-

Textbooks and Bibliography

sche Musikzeitung 12 (September 1957):329-33. Reckziegel, Walter. "Ein subjektives Tempomass." In Bericht iiber den internationalen musikwissenschaftlichen Kongress

Cogan, Robert, and Escot, Pozzi. "Time and Rhythm: Dimensions and Activity." In Sonic Design: The Nature of Sound

Leipzig 1966, ed. Carl Dahlhaus et al., 457-58. Kassel: Barenreiter, 1966. Reiche, Jens Peter. "Ein Transkriptionsverfahren und dessen

Anwendung bei Tempo-Analysen." Mitteilungen der Gesellschaftfuir Musik des Orients 9 (1970):11-15.

Schulze, W. Temporelationen im symphonischen Werk von Beethoven, Schubert, und Brahms. Bern: Verlag Kreis der Freunde um Hans Kayser, 1981. Seay, Albert. "The Setting of Tempos by Proportions in the Sixteenth Century." The Consort 37 (1981):394-98.

and Music, 220-309. Englewood Cliffs: Prentice-Hall, 1976.

Creston, Paul. Principles of Rhythm. New York: Columbo, 1964.

Wedge, George H. Rhythm in Music. New York, 1927.

Westergaard, Peter. "A Little Closer to the Real Thing: A Theory of Tonal Rhythm." In An Introduction to Tonal Theory, 225-410. New York: Norton, 1975. Winick, Steven D. Rhythm: An Annotated Bibliography. Metuchen, N. J.: Scarecrow, 1974.

This content downloaded from 158.109.174.204 on Mon, 15 Jan 2018 18:47:43 UTC All use subject to http://about.jstor.org/terms