The musical object revisited

Music Analysis

Volumn 21, Issue 3, 2002, Pages 327-380

  Butterfield, Matthew ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949520955     PISSN: 02625245     EISSN: None     Source Type: Journal    
DOI: 10.1111/1468-2249.00170     Document Type: Article

References (42)

1. Berland, Jody, 1992: 'Angels Dancing: Cultural Technologies and the Production of Space', in L. Grossberg, C. Nelson and P. Treichler (eds.), Cultural Studies (New York: Routledge).
2. Brower, Candace, 1993: 'Memory and the Perception of Rhythm', Music Theory Spectrum, 15/i, pp. 19-35.
3. Butler, Judith, 1990: Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge).
4. Carpenter, Patricia. 1967: 'The Musical Object', Current Musicology, 5, pp. 56-87.
5. Chion, Michel, 1994: Audio-Vision: Sound on Screen (New York: Columbia University Press).
6. Cook, Nicholas, 1990: Music, Imagination, and Culture (Oxford: Oxford University Press).
7. -, 2001: 'Between Process and Product: Music and/as Performance', Music Theory Online, 7/ii, pp. 1-31.
8. Dahlhaus, Carl, 1985: 'Was heisst "Geschichte der Musiktheorie"?', in F. Zaminer (ed.), Ideen zu einer Geschichte der Musiktheorie: Einleitung (Darmstadt: Wissenschaftliche Buchgesellschaft).
9. Floyd, Samuel A. Jr., 1991: 'Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry', Black Music Research Journal, 11/ii, pp. 265-87.
10. -, 1995. The Power of Black Music: Interpreting its History from Africa to the United States (Oxford: Oxford University Press).
11. Gjerdingen, Robert O., 1988: A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia: University of Pennsylvania Press).
12. Godlovitch, Stan, 1998: Musical Performance: a Philosophical Study (London: Routledge).
13. Goehr, Lydia, 1992: The Imaginary Museum of Musical Works: an Essay in the Philosophy of Music (Oxford: Oxford University Press).
14. Goffman, Erving, 1974: Frame Analysis: an Essay on the Organization of Experience (New York: Harper & Row)
15. Goodman, Nelson, 1969: Languages of Art: an Approach to a Theory of Symbols (Indianapolis: Bobbs-Merril).
16. Gramit, David, 1998: 'Musicology, Commodity Structure, and Musical Practice', in P. F. Broman, N. A. Engebretsen and B. Alphonce (eds.), Crosscurrents and Counterpoints: Offerings in Honor of Bengt Hambraeus at 70 (Göteborg: University of Gothenburg, Department of Musicology).
17. Hanslick, Eduard, 1986: On the Musically Beautiful, trans. Geoffrey Payzant, 8th edn. (Indianapolis: Hacket Publishing).
18. Hasty, Christopher F., 1997: Meter as Rhythm (New York: Oxford University Press).
19. Hyde, Lewis, 1979: The Gift: Imagination and the Erotic Life of Property (New York: Random House).
20. Johnson, Mark, 1987: The Body in the Mind: the Bodily Basis of Meaning,Imagination, and Reason (Chicago: University of Chicago Press).
21. Kennedy, Raymond F., 1987: 'Jazz Style and Improvisation Codes', Yearbook of Traditional Music, 19, pp. 37-43.
22. Lakoff, George, 1987: Women, Fire, and Dangerous Things: What Categories Reveal about the Mind (Chicago: University of Chicago Press).
23. Lakoff, George and Johnson, Mark, 1980: Metaphors We Live By (Chicago: University of Chicago Press).
24. Larson, Steve, 1998: 'Schenkerian Analysis of Modern Jazz: Questions About Method', Music Theory Spectrum, 20/ii, pp. 209-11.
25. Levinson, Jerrold, 1980: 'What a Musical Work Is', Journal of Philosophy, 77, pp. 5-28.
26. Martin, Robert L., 1993: 'Musical Works in the Worlds of Performers and Listeners', in M. Krausz (ed.), The Interpretation of Music: Philosophical Essays (Oxford: Clarendon Press).
27. McClary, Susan, 1991: Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press).
28. -, 1993: 'Narrative Agendas in "Absolute" Music: Identity and Difference in Brahms's Third Symphony', in Ruth Solie (ed.), Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley: University of California Press).
29. -, 1994: 'Constructions of Subjectivity in Schubert's Music', in Philip Brett, Elizabeth Wood and Gary C. Thomas (eds.), Queering the Pitch: the New Gay and Lesbian Musicology (New York: Routledge).
30. Narmour, Eugene, 1990: The Analysis and Cognition of Basic Melodic Structures (Chicago: University of Chicago Press).
31. -, 1992: The Analysis and Cognition of Melodic Complexity : the Implication-Realization Model (Chicago: University of Chicago Press)
32. Neisser, Ulric, 1976: Cognition and Reality: Principles and Implications of Cognitive Psychology (San Francisco: W. H. Freeman).
33. Porter, Lewis, 1985: 'John Coltrane's "A Love Supreme": Jazz Improvisation as Composition', Journal of the American Musicological Society, 38, pp. 593-621.
34. Rosch, Eleanor, Mervis, Carolyn, Gray, Wayne, Johnson, David and Boyes-Braem, Penny, 1976: 'Basic Objects in Natural Categories', Cognitive Psychology, 8, pp. 382-439.
35. Rosenwald, Lawrence, 1993: 'Theory, Text-Setting, and Performance', Journal of Musicology, 11, pp. 52-65.
36. Saslaw, Janna, 1996: 'Forces, Containers, and Paths: the Role of Body-Derived Image Schemas in the Conceptualization of Music', Journal of Music Theory,40/ii, pp. 217-43.
37. Small, Christopher, 1998: Musicking: the Meanings of Performing and Listening (Hanover, NH: Wesleyan University Press).
38. Tirro, Frank, 1974: 'Constructive Elements in Jazz Improvisation', Journal of the American Musicological Society, 27/ii, pp. 285-305.
39. Tversky, Barbara and Hemenway, Kathleen, 1984: 'Objects, Parts, and Categories', Journal of Experimental Psychology : General, 113/ii, pp. 169-93.
40. Whitrow, G. J., 1980: The Natural Philosophy of Time, 2nd edn. (Oxford: Clarendon Press).
41. Wilson, Olly W., 1990: 'Musical Analysis of African American Music', unpublished paper read at the Preconference Symposium of the Society for Ethnomusicology, 7 November, Oakland, CA.
42. Zbikowski, Lawrence M., 1997: 'Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy', Journal of Music Theory, 41/ii, pp. 193-225.