A universe of universals

Journal of Musicology

Volumn 16, Issue 1, 1998, Pages 3-24

  Meyer, Leonard B ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 63149107520     PISSN: 02779269     EISSN: None     Source Type: Journal    
DOI: 10.1525/jm.1998.16.1.03a00010     Document Type: Article

References (18)

1. Clifford Geertz, The Interpretation of Cultures (New York, 1973), 24
2. See, among others, Robert G. Hopkins, "When is a Coda More than a Coda," Explorations in Music, the Arts, and Ideas, ed. by R. Solie and E. Narmour (Stuyvesant, NY, 1988), 393-410
3. Robert P. Morgan, "Coda as Culmination," Music Theory and the Exploration of the Past, ed. by C. Hatch and D. W. Bernstein (Chicago, 1993), 357-76
4. Also see G. B. West, J. H. Brown, and B.J. Enquist, "A General Model for the Origin of Allometric Scaling Laws in Biology, Science, 276 (4 April 1997), 122-26
5. See "Early Music," Science, 276 (11 April 1997), 205
6. and Bob Fink, "Neanderthal Flute," on the internet: http://www.webster.sk.ca/greenwich/f1-comp.htm
7. Conversely, functional differentiation is what distinguishes return from reiteration. Put too simply: because the recapitulation in a sonata-form movement is separated from the exposition by the functional tension of a development section, the return of the first theme is understood as a "return" rather than as a "reiteration."
8. See Steven Weinberg, "Reductionism Redux," The New York Review of Books, XLII/15 (October 5, 1995), 40f
9. Like hierarchic discontinuity, the reciprocal relationship between information and redundancy may be a universal that constrains functional relationships in quite diverse realms. For instance, it appears that in some animal species an increase in the size of one organ or feature is inversely related to the size of another organ. See Wade Roush, "Sizing Up Dung Beetle Evolution", Science, 277 (11 July 1997), 184
10. Quoted in Gustave Reese, Music in the Renaissance (New York, 1954), 449
11. Carolyn Abbate, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, N.J., 1991), 6. One might, however, argue that the strophic organization of the music is inappropriate because it is incompatible with the other stylistic constraints or with the particular nature of the subject
12. The Possible and the Actual, 61
13. The Expanding Circle: Ethics and Sociobiology (New York, 1981), 42
14. Unison textures are often used to signify the power of compulsion. (See Janet M. Levy, "Texture as a Sign in Classic and Early Romantic Music," Journal of the American Musicological Society XXXV, 482-531.) Dynamic intensity, which is generally characteristic of unison passages, also signifies power
15. See George Herbert Mead, Mind, Self, and Society (Chicago, 1934), 42-75
16. Needless to say, stylistic changes are not genetic as most biological changes are. But neither are all biological changes. In this connection, see Virginia Morell, "Catching Lizards in the Act of Adapting," Science, 276, No. 5313 (3 May 1997), 682-83
17. Forewords and Afterwords. Selected by Edward Mendeshon (New York, 1974), 89
18. Quoted in Howard Gardner, "Green Ideas Sleeping Furiously," The New York Review of Books, XLII/5 (March 23, 1995), 37