Studies in Music with Text

Studies in Music with Text

Volumn , Issue , 2011, Pages 1-422

  Lewin, David ^a  

^a HARVARD UNIVERSITY   (United States)

Author keywords

Composers; Drama; German tradition; Poetry; Texted music; Theatricality

Indexed keywords

EID: 84958672534     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780195182088.001.0001     Document Type: Book

References (148)

1. "Inversional Balance as an Organizing Force in Schoenberg's Music and Thought," Perspectives of New Music 6/2 (Spring/Summer 1968) 1-21.
2. Jan Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schoenberg (Copenhagen: Hansen, 1972);
3. Edward T. Cone, "Sound and Syntax," Perspectives of New Music 13/1 (Fall/Winter): 21-40.
4. Richard Domek, appeared in College Music Symposium 19/2 (Fall 1979): 111-128.
5. Judy Lochhead in her article, "The Temporal in Beethoven's Opus 135: When Are Ends Beginnings?" In Theory Only 4/7 (1979): 3-30.
6. Martha MacLean Hyde, "A Theory of Twelve-Tone Meter," Music Theory Spectrum 6 (1984): 14-51.
7. "Some Investigations into Foreground Rhythmic and Metric Patterning," Music Theory Spectrum, ed. Richmond Browne (New York: Academic Press, 1981), 101-137.
8. George Fisher's article, "Text and Music in Song VIII of Das Buch der hängenden Gärten," In Theory Only 6.2 (1982): 3-15.
9. Harold Lewin's article, "Schoenberg's Pierrot Lunaire: The Rhythmic Relation between Sprechstimme and Instrumental Writing in 'Eine blasse Waescherin'," Theory and Practice 5.1 (1980): 25-39.
10. Schoenberg's own article on "Brahms the Progressive" in Style and Idea, ed. Leonard Stein (New York: St. Martin's Press, 1975), 398-441.
11. Lawrence Kramer, Music as Cultural Practice 1800-1900 (Berkeley: University of California Press, 1990).
12. Kramer, Music as Cultural Practice, 164.
13. Kramer, Music as Cultural Practice, 164-165.
14. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991).
15. McClary, Feminine Endings, 80-111
16. McClary, Feminine Endings, 100.
17. McClary, Feminine Endings, 101.
18. McClary, Feminine Endings, 105.
19. McClary, Feminine Endings, 105-106.
20. McClary, Feminine Endings, 107-108.
21. McClary, Feminine Endings, 100.
22. Gioseffo Zarlino, Istitutioni harmoniche (Venice: Senese, 1573), 281-282.
23. Jean Phillippe Rameau, Traité de l'harmonie (Paris: Ballard, 1722).
24. Marco and Palisca, Counterpoint, 179-180.
25. Zarlino, Istitutioni, 282
26. Jean Phillippe Rameau, Nouveau système de musique théorique (Paris: Ballard, 1726), iii
27. Erwin R. Jacobi in Jean Philippe Rameau, Complete Theoretical Writings, vol. 6 (American Institute of Musicology, 1972).
28. Lori Burns in "J. S. Bach's Chorale Harmonizations of Modal Cantus Firmi" (Ph.D. dissertation, Harvard, 1991).
29. "Du Allerbarmer! Ach, erbarmen!" (I, 1393-1396).
30. "Parsifal" (Berlin, 1933), 176.
31. Edward T. Cone in his heartwarming study The Composer's Voice (Berkeley and Los Angeles: University of California Press, 1974).
32. Newcomb's splendid article can be found in Walter Frisch, ed., Schubert: Critical and Analytical Studies (Lincoln: University of Nebraska Press, 1986).
33. Heinrich Schenker, Free Composition, trans. and ed. Ernst Oster, vol. 2 (New York: Longman, 1979), fig. 40, 2.
34. Karen A. Hindenlang argues a fully allegorical and political meaning for the poem, in her article, "Eichendorff's Auf einer Burg and Schumann's Liederkreis, Opus 39," The Journal of Musicology 8 (1990), 570-587.
35. Karlheinz Schlager, in "Erstarrte Idylle, Schumanns Eichendorff-Verständnis im Lied op. 39/VII (auf einer Burg)," Archiv für Musikwissenschaft, 23.2 (1976), 119-132.
36. Lori Burns, Bach's Modal Chorales (Stuyvesant, N.Y.: Pendragon Press, 1995), 187-218.
37. Robert Schumann, On Music and Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (New York: Pantheon Books, 1946), 92
38. Nancy B. Reich, Clara Schumann, the Artist and the Woman (Ithaca, N.Y.: Cornell University Press, 1985; paperback edition 1987), 102.
39. Reich, Clara Schumann, 104.
40. Reich, Clara Schumann, p. 76
41. Heinrich Schenker, Free Composition (Der freie Satz), trans. and ed. Ernst Oster (New York: Long-man, 1979).
42. Sigmund Freud, Vorlesungen zur Einführung in die Psychoanalyse (Berlin: Gustav Kiepenheuer Verlag, 1955), 18-34.
43. George Bozarth, "Brahms's Duets for Soprano and Alto, op. 61," Studia Musicologica 25 (1983), 191-210.
44. Raphael Atlas, "Text and Musical Gesture in Brahms's Vocal Duets and Quartets with Piano," Journal of Musicology 10.2 (Spring 1992), 231-260.
45. "Brahms, his Past, and Modes of MusicTheory." The article appears on pages 13-27 of Brahms Studies, Analytical and HistoricalPerspectives, ed. George S. Bozarth (Oxford: Clarendon Press, 1990). pages 25-27.
46. Martin Esslin, Brecht: The Man and His Work (Garden City, N.Y.: Anchor Books, Doubleday & Company, Inc., 1961)
47. Bozarth, "Brahms's Duets," 198-199.
48. Bozarth refers to Renate von Heydebrand, Eduard Mörikes Gedichtwerk (Stuttgart: J.B. Metzlersche Verlagsbuchhandlung, 1972).
49. Ruth A. Solie, "Whose Life? The Gendered Self in Schumann's Frauenliebe Songs," in Music and Text: Critical Inquiries, ed. Steven Paul Scher (Cambridge, England: Cambridge University Press, 1992), 219-240.
50. Solie, "Frauenliebe," 226.
51. William Rothstein's monumental achievement, Phrase Rhythm in Tonal Music (New York: Schirmer Books, 1989)
52. Heinrich Schenker, Free Composition, trans. and ed. Ernst Oster (New York: Longman, 1979), 74
53. Sigmund Freud, Vorlesungen zur Einführung in die Psychoanalyse (Berlin: Gustav Kiepenheuer Verlag, 1955), 18-34.
54. Freud, Vorlesungen, 18-34.
55. "Some Musical Jokes in Mozart's Le Nozze di Figaro," Studies in Music History: Essays for Oliver Strunk, ed. Harold Powers (Princeton, N.J.: Princeton University Press, 1968), 443-447.
56. Joseph Kerman, "A Romantic Detail in Schubert's Schwanengesang," Musical Quarterly 48 (1962), 36-49.
57. Walter Frisch, paperback printing (Lincoln: University of Nebraska Press, 1996), 48-64.
58. Heinrich Schenker, "Franz Schubert, Ihr Bild," trans. William Pastille with the same title in the journal Sonus, 6.2 (1986), 31-37.
59. [Carl Schachter presented this reading of "Ihr Bild" during a lecture, "Structure as Foreground: 'das Drama des Ursatzes'," delivered at Harvard University during the 1991-1992.
60. Carl Schachter and Hedi Siegel (Cambridge: Cambridge University Press, 1999), 298-314.
61. Allen Forte and Steven E. Gilbert, Introduction to Schenkerian Analysis (New York: W. W. Norton, 1982).
62. Forte and Gilbert, Introduction, 218.
63. Robert Cogan, in New Images of Musical Sound (Cambridge, Mass.: Harvard University Press, 1984)
64. David Lewin, Generalized Musical Intervals and Transformations (New Haven, Conn.: Yale University Press, 1987), 96.
65. "Some Instances of Parallel Voice-Leading in Debussy," 19th Century Music 11.1 (1987), 59-72.
66. Violin Sonata, Le vent dans la plaine, and Canope. Generalized Musical Intervals and Transformations (New Haven, Conn.: Yale University Press, 1987), 230-244.
67. Reflets dans l'eau. Chapter 4 of Musical Form and Transformation (New Haven, Conn.: Yale University Press, 1993), 97-159.
68. Edmund Husserl, The Phenomenology of Internal Time Consciousness, trans. J. S. Churchill (Bloomington: Indiana University Press, 1964), 43.
69. Izchak Miller, Husserl, Perception, and Temporal Awareness (Cambridge, Mass.: The MIT Press, 1984).
70. Miller, Husserl, 2-3.
71. Miller, Husserl, 118-144.
72. Judith Lochhead, "The Temporal Structure of Recent Music: A Phenomenological Investigation" (Ph.D. diss., State University of New York at Stony Brook, 1982).
73. Thomas Clifton, Music as Heard: A Study in Applied Phenomenology (New Haven, Conn.: Yale University Press, 1983).
74. Taylor A. Greer, "Listening as Intuiting: A Critique of Clifton's Theory of Intuitive Description" In Theory Only 7.8 (1984), 3-21.
75. Nicholas Cook, "Review of Clifton, Music as Heard," Music Analysis 2.3 (1983), 291-294;
76. James Tenney, "Review of Clifton, Music as Heard," Journal of Music Theory 29.1 (1985), 197-213.
77. Jonathan Kramer, "New Temporalities in Music," Critical Inquiry 7.3(1981), 539-556.
78. Kramer was a consulting editor for Music Theory Spectrum, vol. 7 (1985).
79. "The Subconscious Language of Musical Time," Music Theory Spectrum 1 (1979), 96-106.
80. Christopher Hasty, "Rhythm in Post-tonal Music: Preliminary Questions of Duration and Motion," Journal of Music Theory 25.2 (1981), 183-216.
81. David Lewin, "Some Investigations into Foreground Rhythmic and Metric Patterning," Music Theory: Special Topics, ed. Richmond Browne (New York: Academic Press, 1981), 101-136.
82. Marvin Minsky, "Music, Mind, and Meaning," in Music, Mind, and Brain, ed. M. Clynes (New York: Plenum, Press, 1982), 1-19.
83. Eugene Narmour, Beyond Schenkerism (Chicago: University of Chicago Press, 1977), 40
84. H. L. Dreyfus and H. Hall, Husserl, Intentionality, and Cognitive Science (Cambridge, Mass.: The MIT Press, 1982)
85. Richmond Browne, "The Dialectic of Good Continuation in Tonal Music," Music Analysis 4.1/2 (1985), 5-13.
86. Miller, Husserl, 70-71.
87. Raphael Eric Atlas, "The Diachronic Recognition of Enharmonic Equivalence: A Theory and its Application to Five Instrumental Movements by W. A. Mozart" (Ph.D. diss., Yale University, 1983).
88. "apperception" given in The American Heritage Dictionary of the English Language (New York: American Heritage Publishing Co., Inc., 1969), 63.
89. Generative Theory of Tonal Music (Cambridge, Mass.: The MIT Press, 1983), 264-269.
90. Freud, Vorlesung zur Einführung in die Psychoanalyse (Berlin: Gustave Kiepenheuer Verlag, 1955), 64-65.
91. Joan Riviere, in A General Introduction to Psychoanalysis (New York: Washington Square Press, 1952), 68-69.
92. Introduction to Schenkerian Analysis (New York: W. W. Norton, 1982), 182-183.
93. Oliver Strunk, Source Readings in Music History (New York: W. W. Norton, 1950), 84-85.
94. Guy Marco and Claude Paliscain Zarlino, The Art of Counterpoint, Part Three of Le Istitutioni Harmoniche (New Haven, Conn.: Yale University Press, 1968), xviii-xxiv.
95. Heinrich Schenker's remarks about the Ursatz appear in Free Composition, trans. and ed. E. Oster (New York: Longman, 1979), 10-11.
96. Russell, A History of Western Philosophy (New York: Simon & Schuster, 1945).
97. Miller, Husserl, 7-32.
98. Gadamer, Hegel's Dialectic, trans. P. C. Smith (New Haven, Conn.: Yale University Press, 1976), 36.
99. "The Composer and His Message," a lecture delivered atPrinceton University in the fall of 1939, reprinted in Edward T Cone, ed., Roger Sessions on Music (Princeton, N.J.: Princeton University Press, 1979), 25-26.
100. Arnold Schoenberg, Structural Functions of Harmony (New York: W. W. Norton, 1954), 194
101. Judith Lochhead and George Fisher, "The Performer as Theorist: Preparing a Performance of Daria Semegen's Three Pieces for Clarinet and Piano (1968)," In Theory Only 6.7 (1982), 23-39.
102. Harold Bloom, The Anxiety of Influence (New York: Oxford University Press, 1973), 70
103. The Pursuit of Signs (Ithaca, N.Y.: Cornell University Press, 1981), 14, 107-111.
104. James Randall's "Compose Yourself: A Manual for the Young," Perspectives of New Music 10.2 (1972), 1-12.
105. David Antin and Marjorie Perloff later in this article. Pieces by and about Robert Ashley appear in Formations, vol. 2, no. 1 (Spring 1985), 14-63.
106. Marjorie Perloff, "Postmodernism and the Impasse of Lyric," Formations 1.2 (1984), 43-63, and, in particular, 57.
107. Perloff, "Postmodernism," 43.
108. Perloff, "Postmodernism," 60-61.
109. G. R. Kay, ed., The Penguin Book of Italian Verse, (Harmondsworth, Middlesex: Penguin Books Ltd., 1958).
110. J. Barish, The Anti-Theatrical Prejudice (Berkeley: University of California Press, 1981).
111. Atlas, "The Diachronic Recognition" (26-27, 32-33)
112. Robert Pack and Marjorie Lelash, Mozart's Librettos (Cleveland, 1961), 114-116.
113. Beaumarchais, Le Mariage de Figaro, vol. 1, ed. Pierre Richard, in the series Classiques Larousse (Montrouge, 1934), 60.
114. "Up to this winter I owed my most enjoyable evenings in the theater to Shakespeare and Mozart," Eric Bentley, "God's Plenty in Paris" (1949), In Search of Theater (New York, 1954), 55
115. Mr. Burnham's lecture is largely incorporated within his Ph.D. dissertation, "Aesthetics, Theory and History in the Works of Adolph Bernhard Marx" (Ph.D. diss., Brandeis University, 1988).
116. Thomas Grey, "Metaphorical Modes in Nineteenth-Century Music Criticism: Image, Narrative and Idea," in Steven Paul Scher, ed., Music and Text: Critical Inquiries, Cambridge and New York: Cambridge University Press (1992), 93-117.
117. "Die Persiflage Heines, der seine Verse über ein Paar Lackschuhe...dichtete." Dietrich Fischer-Dieskau, Robert Schumann: Wort und Musik, Das Vokalwerk (Stuttgart: Deutsche Verlags-Anstalt, 1981), 49.
118. Dietrich Fischer-Diekau, Robert Schumann: Words and Music: The Vocal Compositions, trans. Reinhard G. Pauly (Portland, Ore.: Amadeus Press, 1988), 50.]
119. Lori Burns, Bach's Modal Chorales (Stuyvesant, N.Y.: Pendragon Press, 1995).
120. Carl Dahlhaus, Studies on the Origin of Harmonic Tonality, trans. Robert O. Gjerdingen (Princeton, N.J.: Princeton University Press, 1990), 223.
121. "Music Theory, Phenomenology, and Modes of Perception," cited earlier (Chapter 4 in this book). Most of the pertinent discussion there is in Part IV of the chapter (pp. 79-93)
122. David Lewin, Generalized Musical Intervals and Transformations (New Haven, Conn.: Yale University Press, 1987), 179.
123. Brian Hyer in a recent study, Tonal Intuitions in Tristan and Isolde (Ph.D. diss., Yale University, 1989);
124. idem, "Reimag(in)ing Riemann," Journal of Music Theory 39.1 (1995), 101-138.
125. David Lewin, "Behind the Beyond, A Response to Edward T. Cone," Perspectives of New Music 7.2 (1969): 59-72.
126. Idem, Generalized Musical Intervals and Transformations (New Haven, Conn.: Yale University Press, 1987).
127. Gioseffo Zarlino, Istitutioni harmoniche, 2nd ed. (Venice: Senese, 1573).
128. Zarlino, Istitutioni harmoniche, Book 3, Chapter 21. "sono composte...della Diatesseron et del Ditono, over del Semiditono;..." (131).
129. Oliver Strunk, Source Readings in Music History (New York: W. W. Norton, 1950), 30-31.
130. François-Joseph Fétis, Traité de l'harmonie, 12th ed. (Paris: Braudus et Cie, 1879).
131. Fétis, Traité de l'harmonie, table "des intervalles naturels," page 6.
132. Fétis, Traité de l'harmonie, table "des intervalles consonants," page 9.
133. David Lewin, "Music Theory, Phenomenology, and Modes of Perception," Chapter 4 in this volume.
134. Marion Guck's key article is "Musical Images as Musical Thoughts: The Contribution of Metaphor to Analysis," In Theory Only 5.5 (1981): 29-42.
135. Richard Swift, "Some Aspects of Aggregate Composition," Perspectives of New Music 14.2/15.1 (1976): 236-248.
136. John Hollander, Vision and Resonance, 2nd ed. (New Haven, Conn.: Yale University Press, 1985), 294-297.
137. Funk & Wagnall's, Standard Universal Dictionary (New York: Garden City Publishing, 1946), 491.
138. J. N. Adams, The Latin Sexual Vocabulary, paperback ed. (Baltimore: The Johns Hopkins University Press, 1990), 105-108.
139. Hugo Riemann, Grosse Kompositionslehre, vol. 1 (Berlin and Stuttgart: W. Spemann, 1902), 479.
140. Carl Dahlhaus, "Sonata Form in Schubert," trans. Thilo Reinhard, in Schubert, Critical and Analytical Studies, ed. Walter Frisch (Lincoln: University of Nebraska Press, 1986), 10.
141. Elizabeth West Marvin, "The Perception of Rhythm in Non-Tonal Music," Music Theory Spectrum 13.1 (1991): 61-78
142. Larry Polansky and Richard Bassein, "Possible and Impossible Melody: Some Formal Aspects of Contour," Journal of Music Theory 36.2 (1996): 259-284.
143. "Inversional Balance as an Organizing Force in Schoenberg's Music and Thought," Perspectives of New Music 6.2 (1968), 1-21.
144. Robert Bailey (New York: W. W. Norton, 1985), 305-307.
145. Boretz's Tristan analysis appears in vol. 11, no. 1 (Fall 1972), 159-217.
146. Brian Hyer, Tonal Intuitions in "Tristan und Isolde" (Ph.D. dissertation, Yale University, 1989).
147. Bailey's analytical study of Wagner's sketches and drafts is superb on this issue (Prelude and Transfiguration, 126 ff.)
148. Bailey, Prelude and Transfiguration, 41.