Oxford Studies in Music Theory - Böcker

The human singing voice holds immense power - to convey mood, emotion, and identity in songs, provide music's undeniable "wow" moments, and communicate a pop song's meaning perhaps more than any other musical parameter. And unlike the other aspects of musical content - like harmony, form, melody, and rhythm, for which generations of scholars have formed sophisticated analyses - scholarly approaches to vocal delivery remain grossly underdeveloped. An exciting and much-needed new approach, A Blaze of Light in Every Word presents a systematic and encompassing conceptual model for analyzing vocal delivery. Author Victoria Malawey focuses on three overlapping areas of inquiry - pitch, prosody, and quality - while drawing on research from music theory and pedagogy as well as gender studies and philosophy to situates the sonic and material aspects of vocal delivery among broader cultural, philosophical, and anthropological approaches to voice. Malawey develops a much-needed and innovative set of analytical tools through in-depth analyses of popular song recordings in genres spanning from hip hop to death metal. A Blaze of Light in Every Word brings new clarity to the relationship between the voice's sonic content and its greater signification, helping us understand the complexity and uniqueness of singing voices.

The human singing voice holds immense power - to convey mood, emotion, and identity in songs, provide music's undeniable "wow" moments, and communicate a pop song's meaning perhaps more than any other musical parameter. And unlike the other aspects of musical content - like harmony, form, melody, and rhythm, for which generations of scholars have formed sophisticated analyses - scholarly approaches to vocal delivery remain grossly underdeveloped. An exciting and much-needed new approach, A Blaze of Light in Every Word presents a systematic and encompassing conceptual model for analyzing vocal delivery. Author Victoria Malawey focuses on three overlapping areas of inquiry - pitch, prosody, and quality - while drawing on research from music theory and pedagogy as well as gender studies and philosophy to situates the sonic and material aspects of vocal delivery among broader cultural, philosophical, and anthropological approaches to voice. Malawey develops a much-needed and innovative set of analytical tools through in-depth analyses of popular song recordings in genres spanning from hip hop to death metal. A Blaze of Light in Every Word brings new clarity to the relationship between the voice's sonic content and its greater signification, helping us understand the complexity and uniqueness of singing voices.

What is musical time? Where is it manifested? How does it enter into our experience, and how do we capture it in our analyses? A compelling approach among works on temporality, phenomenology, and the ecologies of the new sound worlds, Enacting Musical Time argues that musical time is itself the site of the interaction between musical sounds and a situated, embodied listener, created by the moving bodies of participants engaged in musical activities. Author Mariusz Kozak describes musical time as something that emerges when the listener enacts her implicit knowledge about "how music goes," from deliberate inactivity, to such simple actions as tapping her foot in time with the beat, to dancing in a way that engages her entire body.Kozak explores this idea in the context of modernist and postmodernist musical styles, where composers create unfamiliar and idiosyncratic temporal experiences, blur the line between spectatorship and participation, and challenge conventional notions of form. Basing his discussion on the phenomenology of Merleau-Ponty and on the ecological psychology of J. J. Gibson, Kozak examines different aspects of musical structure through the lens of embodied cognition and what phenomenologists call "lived time." A bold new theory derived from an unprecedented fusion of research perspectives, Enacting Musical Time will engage scholars across a range of disciplines, from music theory, music cognition, cognitive science, continental philosophy, and social anthropology.

The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning occur? Kofi Agawu's Music as Discourse has become a standard and definitive work in musical semiotics. Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, Agawu presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself--composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study. The book provides extensive demonstration of the pertinence of a semiological approach to understanding the fully-freighted language of romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language. Music as Discourse is an essential read for all who are interested in the theory, analysis and semiotics of music of the romantic period.

Scholars, critics, and performers alike have long been fascinated by the distinctive blend of music and text in the German Lied. Covering works by Fanny Hensel, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf, Songs in Motion synthesizes the most recent developments in song analysis and rhythmic theory. It offers a valuable new method for understanding the extraordinary coalescense of music and text in this most-studied and frequently performed genre of vocal repertory. Aesthetics of simplicity, songfulness, and folk-like directness fostered poetic styles with consistent meters and rhyme schemes in the later eighteenth and early nineteenth centuries. Author Yonatan Malin explroes the range of rhythmic and expressive possibilities available to composers as they worked within and beyond the original aesthetic dictates of the genre. Malin shows how expressive aspects of the poetic rhythm are intensified and transformed in musical settings, and he interprets rhythmic stratification of the poem, vocal melody, and piano accompaniment as features of the lyric persona's conscious awareness and voice. Changes in musical rhythm over the course of a song are shown to be a significant element in the composer's "reading" of the poem. Malin's innovative and thorough analyses shed light on stylistic features of individual composers while illuminating more generally the changing nature of lyric subjectivity over the course of the nineteenth and early twentieth centuries. Songs in Motion is a must-read for music theorists, historical musicologists, performers, and students and scholars of German studies.

Tonality and Transformation is a groundbreaking study in the analysis of tonal music. Focusing on the listener's experience, author Steven Rings employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, Rings introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Rings also engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, Tonality and Transformation balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, Tonality and Transformation is an indispensible work of music theory.

This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Duruflé, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.

Exploring Musical Spaces is a comprehensive synthesis of mathematical techniques in music theory, written with the aim of making these techniques accessible to music scholars without extensive prior training in mathematics. The book adopts a visual orientation, introducing from the outset a number of simple geometric models-the first examples of the musical spaces of the book's title-depicting relationships among musical entities of various kinds such as notes, chords, scales, or rhythmic values. These spaces take many forms and become a unifying thread in initiating readers into several areas of active recent scholarship, including transformation theory, neo-Riemannian theory, geometric music theory, diatonic theory, and scale theory. Concepts and techniques from mathematical set theory, graph theory, group theory, geometry, and topology are introduced as needed to address musical questions. Musical examples ranging from Bach to the late twentieth century keep the underlying musical motivations close at hand. The book includes hundreds of figures to aid in visualizing the structure of the spaces, as well as exercises offering readers hands-on practice with a diverse assortment of concepts and techniques.

With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenäum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.

From prehistoric bone flutes to pipe organs to digital synthesizers, instruments have been important to musical cultures around the world. Yet, how do instruments affect musical organization? And how might they influence players' bodies and minds?Music at Hand explores these questions with a distinctive blend of music theory, psychology, and philosophy. Practicing an instrument, of course, builds bodily habits and skills. But it also develops connections between auditory and motor regions in a player's brain. These multi-sensory links are grounded in particular instrumental interfaces. They reflect the ways that an instrument converts action into sound, and the ways that it coordinates physical and tonal space. Ultimately, these connections can shape listening, improvisation, or composition. This means that pianos, guitars, horns, and bells are not simply tools for making notes. Such technologies, as creative prostheses, also open up possibilities for musical action, perception, and cognition.Throughout the book, author Jonathan De Souza examines diverse musical case studies-from Beethoven to blues harmonica, from Bach to electronic music-introducing novel methods for the analysis of body-instrument interaction. A companion website supports these analytical discussions with audiovisual examples, including motion-capture videos and performances by the author. Written in lucid prose, Music at Hand offers substantive insights for music scholars, while remaining accessible to non-specialist readers. This wide-ranging book will engage music theorists and historians, ethnomusicologists, organologists, composers, and performers-but also psychologists, philosophers, media theorists, and anyone who is curious about how musical experience is embodied and conditioned by technology.

How do musical analysis and performance relate? In a unique collaborative approach to this question, theorist-pianist Daphne Leong partners with internationally renowned performers to interpret twentieth-century repertoire. Imaginative explorations of music by Ravel, Schoenberg, Bartók, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris illuminate focal issues such as the role of embodiment, the affordances of a score, the cultural understanding of notation, the use of metaphor, and - to round out the viewpoints of theorist and performers with those of composer and listeners - the role of structure in audience reception. Each exploration engages deeply with musical structure, redefined to encompass the creative activity of composers, performers, analysts, and listeners. Performances, demonstrations, and interviews online complement the book's written text; practical application and pedagogical guidance round out theoretical and analytical content.The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leong's theory of the things and people that facilitate cross-disciplinary collaboration in music. They also exemplify the antagonisms and synergies that emerge when theorists and performers meet. Both flexibly and rigorously conceived, Performing Knowledge is a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers.

In recent years, music theorists have been increasingly eager to incorporate findings from the science of human cognition and linguistics into their methodology. In the culmination of a vast body of research undertaken since his influential and award-winning Conceptualizing Music (OUP 2002), Lawrence M. Zbikowski puts forward Foundations of Musical Grammar, an ambitious and broadly encompassing account on the foundations of musical grammar based on our current understanding of human cognitive capacities. Musical grammar is conceived of as a species of construction grammar, in which grammatical elements are form-function pairs. Zbikowski proposes that the basic function of music is to provide sonic analogs for dynamic processes that are important in human cultural interactions. He focuses on three such processes: those concerned with the emotions, the spontaneous gestures that accompany speech, and the patterned movement of dance. Throughout the book, Zbikowski connects cognitive research with music theory for an interdisciplinary audience, presenting detailed musical analyses and summaries of the basic elements of musical grammar.

From its dynamic start at dance parties in the South Bronx in the late 1970s, hip hop and rap music have exploded into a dominant style of popular music in the United States and a force for activism and expression all over the world. So, too, has scholarship on hip hop and rap music grown. Yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip hop artists. Fundamental among these choices is the rhythm of the rapping voice, termed "flow." Flow presents unique theoretical and analytical challenges. It is rhythmic in the same way other music is rhythmic, but also in the way speech and poetry are rhythmic. For the first time, Mitchell Ohriner's Flow: The Rhythmic Voice in Rap Music reconciles approaches to key concepts of rhythm, such as meter, periodicity, patterning, and accent, treated independently across other branches of scholarship. Ohriner theorizes flow by weaving between the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses and individual tracks, the book addresses theories of rhythm, meter, and groove in the unique ecology of rap music. In a series of case studies in the second half, the work of Eminem clarifies how flow can relate to text, the work of Black Thought of The Roots clarifies how flow can relate to other instrumental streams, and the work of Talib Kweli clarifies how flow can relate to rap's persistent meter. While Ohriner focuses on rap music throughout the book, the methods he introduces will be useful for other musical genres that feature the voice freely interacting with a more rigid metric framework.

Organized Time is the first attempt to unites theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form-author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann-but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun. Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for multivalent a approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.

The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive.Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.

Beating Time & Measuring Music in the Early Modern Era chronicles the shifting relationships between ideas about time in music and science from the sixteenth through the early nineteenth centuries. Centered on theories of musical meter, the book investigates the interdependence between theories of meter and conceptualizations of time from the age of Zarlino to the invention of the metronome. These formulations have evolved throughout the history of Western music, reflecting fundamental reevaluations not only of music but also of time itself. Drawing on paradigms from the history of science and technology and the history of philosophy, author Roger Mathew Grant illustrates ways in which theories of meter and time, informed by one another, have manifested themselves in the field of music.During the long eighteenth century, treatises on subjects such as aesthetics, music theory, mathematics, and natural philosophy began to reflect an understanding of time as an absolute quantity, independent of events. This gradual but conclusive change had a profound impact on the network of ideas connecting time, meter, character, and tempo. Investigating the impacts of this change, Grant explores the timekeeping techniques - musical and otherwise - that implemented this conceptual shift, both technologically and materially. Bringing together diverse strands of thought in a broader intellectual history of temporality, Grant's study fills an unexpected yet conspicuous gap in the history of music theory, and is essential reading for music theorists and composers as well as historical musicologists and practitioners of historically informed performance.

As children, many of us learn to sing, "If you're happy and you know it, clap your hands." But despite the familiarity of this tune, few of us realize that what we're singing is actually part of a pervasive - and centuries-old - musical scheme. This particular pattern, the "Sweet Thing" scheme, has generated a large group of songs spanning a broad range of topics, genres, and time periods, but all related through a specific stanzaic form. Early twentieth-century blues songs "My Babe" and "Motherless Children," country songs "Peg and Awl" and "Crawdad Song," and gospel songs "Pure Religion" and "This Train" use this form, along with popular songs like Ray Charles's "I Got a Woman," The Beatles's "One After 909," and the Velvet Underground's "I'm Waiting for the Man."Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form studies one of the most productive and enduring shared musical resources in North American vernacular music. Author Nicholas Stoia offers the most comprehensive examination to date of the long history of the "Sweet Thing" scheme, exploring how it made its way from sixteenth-century Scotland to eighteenth-century British broadside ballads to nineteenth-century American ragtime. Stoia also examines the form in various contexts, including early blues and country music, and moving forward to rhythm and blues, soul, and rock music, connecting these modern forms to their ancient roots. Through this close look at a ubiquitous musical from, Sweet Thing shows us how it has linked listeners and musicians alike across the boundaries of genre, race, and even time.

How does musical harmony engage listeners in relations of desire? Where does this desire come from? Author Kenneth Smith seeks to answer these questions by analyzing works from the turn of the twentieth- century that are both harmonically enriched and psychologically complex. Desire in Chromatic Harmony yields a new theory of how chromatic chord progressions direct the listener on intricate journeys through harmonic space, mirroring the tensions of the psyche found in Schopenhauer, Freud, Lacan, Lyotard, and Deleuze. Smith extends this mode of enquiry into sophisticated music theory, while exploring philosophically engaged European and American composers such as Richard Strauss, Alexander Skryabin, Josef Suk, Charles Ives, and Aaron Copland. Focusing on harmony and chord progression, the book drills down into the diatonic undercurrent beneath densely chromatic and dissonant surfaces. From the obsession with death and mourning in Suk's asrael Symphony to an exploration of "perversion" in Strauss's elektra; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Copland's The Tender Land, Desire in Chromatic Harmony cuts a path through the dense forests of chromatic complexity, revealing the psychological make-up of post-Wagnerian psychodynamic music.

Overturning the inherited belief that popular music is unrefined, Form as Harmony in Rock Music brings the process-based approach of classical theorists to popular music scholarship. Author Drew Nobile offers the first comprehensive theory of form for 1960s, 70s, and 80s classic rock repertoire, showing how songs in this genre are not simply a series of discrete elements, but rather exhibit cohesive formal-harmonic structures across their entire timespan. Though many elements contribute to the cohesion of a song, the rock music of these decades is built around a fundamentally harmonic backdrop, giving rise to distinct types of verses, choruses, and bridges. Nobile's rigorous but readable theoretical analysis demonstrates how artists from Bob Dylan to Stevie Wonder to Madonna consistently turn to the same compositional structures throughout rock's various genres and decades, unifying them under a single musical style. Using over 200 transcriptions, graphs, and form charts, Form as Harmony in Rock Music advocates a structural approach to rock analysis, revealing essential features of this style that would otherwise remain below our conscious awareness.

Overturning the inherited belief that popular music is unrefined, Form as Harmony in Rock Music brings the process-based approach of classical theorists to popular music scholarship. Author Drew Nobile offers the first comprehensive theory of form for 1960s, 70s, and 80s classic rock repertoire, showing how songs in this genre are not simply a series of discrete elements, but rather exhibit cohesive formal-harmonic structures across their entire timespan. Though many elements contribute to the cohesion of a song, the rock music of these decades is built around a fundamentally harmonic backdrop, giving rise to distinct types of verses, choruses, and bridges. Nobile's rigorous but readable theoretical analysis demonstrates how artists from Bob Dylan to Stevie Wonder to Madonna consistently turn to the same compositional structures throughout rock's various genres and decades, unifying them under a single musical style. Using over 200 transcriptions, graphs, and form charts, Form as Harmony in Rock Music advocates a structural approach to rock analysis, revealing essential features of this style that would otherwise remain below our conscious awareness.

With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenäum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.

Hailed by the New Grove Dictionary of Music (2nd edition) as "the most original and far-ranging theorist of his generation," David Lewin (1933-2003) explored for over four decades how composers in the German tradition set poetry and drama to music. He conceived Studies in Music with Text as a unified collection, reproducing papers on music by Mozart, Schubert, Wagner, Schoenberg, and Babbitt, many of which have become classics in the fields of music theory and historical musicology. He also included new analytical essays on Mozart, Wagner, and Schubert, and provided fresh readings of selected songs by Clara Schumann, Robert Schumann, and Johannes Brahms. The analyses collected here focus on how the music, from its small details to its large formal schemes, engages the poetic and dramatic dynamics of the works at hand, and how music and text enact each other reciprocally. A recurrent topic is the theatricality of texted music for the concert as well as operatic stage, and Lewin's perspectives offer many interpretive insights and conceptual perspectives for the musical performer. A methodological eclectic, Lewin cultivated a magisterial command of historical theories and thought deeply about how those theories could inform contemporary understanding. Analytical models by Zarlino, Schenker, Riemann, Rameau, and Babbitt are brought into play, and the range of poetic and dramatic questions that emerge are explored, concerning inter alia psychological and social identity, the relation of psychological inner worlds to phenomenal reality, and the narrowly biographical and broadly historical conditions of artistic creation. As it illuminates the richness and profundity of the language/music partnership, Studies in Music with Text offers incisive thinking about the scope--and limitations--of descriptive and analytical discourse about music.

Most listeners prefer tonal music to atonal music, but what exactly is the difference between them? In this groundbreaking work, author Dmitri Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. Tymoczko creates for the reader a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz. A Geometry of Music provides an accessible introduction to Tymoczko's revolutionary geometrical approach to music theory. The book shows how to construct simple diagrams representing the relationships among familiar chords and scales. This gives readers the tools to translate between the musical and visual realms, revealing surprising degrees of structure in otherwise hard-to-understand pieces. Tymoczko uses these theoretical ideas to retell the history of Western music from the eleventh century to the present day. Arguing that traditional histories focus too narrowly on the "common practice" period from 1680-1850, he proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. Using analysis to make his argument clear, he discusses a host of familiar pieces by Bach, Mozart, Chopin, Debussy, Stravinsky, Shostakovich, Miles Davis, Bill Evans, and others.A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an interest in music. Defining its terms along the way, it presupposes no special mathematical background and only a basic familiarity with Western music theory. The book also contains exercises designed to reinforce and extend readers' understanding, along with a series of appendices that explore the technical details of this exciting new theory.

Qualities of motion and emotion in song come from poetic images, melody, harmony, and voice leading, but they also come from rhythm and metre-the flow and articulation of words and music in time. This book explores rhythm and metre in the nineteenth-century German Lied, including songs for voice and piano by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf.The Lied, as a genre, is characterized especially by the fusion of poetry and music. Poetic metre itself has expressive qualities, and rhythmic variations contribute further to the modes of signification. These features often carry over into songs, even as they are set in the more strictly determined periodicities of musical metre. A new method of declamatory-schema analysis is presented to illustrate common possibilities for setting trimeter, tetrameter, and pentameter lines. Degrees of rhythmic regularity and irregularity are also considered.There has been a wealth of new work on metric theory and analysis in the past thirty years; here this research is reviewed and applied in song analysis. Topics include the nature of metric entrainment (drawing on music psychology), metric dissonance, hypermeter, and phrase rhythm. Whereas narrative accounts of the nineteenth-century Lied typically begin with Schubert, here forms of expansion and elision in songs by Hensel provide a point of departure. Repetition links up directly with motion in songs by Schubert, including his famous "Gretchen am Spinnrade." The doubling and reverberation of vocal melody creates a form of interiorized resonance in Schumann's songs. Brahms and Wolf are typically understood as polar opposites in the later nineteenth century; here the differences are clarified along with deeper affinities. Songs by both Brahms and Wolf may be understood as musical performances of poetic readings, and in this regard they both belong to a late period of cultural history.

Tonality and Transformation is a groundbreaking study in the analysis of tonal music. Focusing on the listener's experience, author Steven Rings employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, Rings introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Rings also engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, Tonality and Transformation balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, Tonality and Transformation is an indispensible work of music theory.

Playing with Meter makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Playing with Meter will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.

Hailed by the New Grove Dictionary of Music (2nd edition) as "the most original and far-ranging theorist of his generation," David Lewin (1933-2003) explored for over four decades how composers in the German tradition set poetry and drama to music. He conceived Studies in Music with Text as a unified collection, reproducing papers on music by Mozart, Schubert, Wagner, Schoenberg, and Babbitt, many of which have become classics in the fields of music theory and historical musicology. He also included new analytical essays on Mozart, Wagner, and Schubert, and provided fresh readings of selected songs by Clara Schumann, Robert Schumann, and Johannes Brahms. The analyses collected here focus on how the music, from its small details to its large formal schemes, engages the poetic and dramatic dynamics of the works at hand, and how music and text enact each other reciprocally. A recurrent topic is the theatricality of texted music for the concert as well as operatic stage, and Lewin's perspectives offer many interpretive insights and conceptual perspectives for the musical performer. A methodological eclectic, Lewin cultivated a magisterial command of historical theories and thought deeply about how those theories could inform contemporary understanding. Analytical models by Zarlino, Schenker, Riemann, Rameau, and Babbitt are brought into play, and the range of poetic and dramatic questions that emerge are explored, concerning inter alia psychological and social identity, the relation of psychological inner worlds to phenomenal reality, and the narrowly biographical and broadly historical conditions of artistic creation. As it illuminates the richness and profundity of the language/music partnership, Studies in Music with Text offers incisive thinking about the scope--and limitations--of descriptive and analytical discourse about music.

Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts.

Organized Time is the first attempt to unite theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form--author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann--but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun. Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for a multivalent approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.