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Music 37200
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This is a working bibliography for Music 37200, Larry Zbikowski's course in the history of music theory, Winter term 2005.
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A.Agawu, Victor Kofi. Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton: Princeton University Press, 1991. Agawu, Victor Kofi. “The Challenge of Semiotics.” In Rethinking Music, edited by Nicholas Cook and Mark Everist, 138-60. Oxford: Oxford University Press, 1999.
B.Baker, Nancy Kovaleff. “Heinrich Koch’s Description of the Symphony.” Studi Musicali 9, no. 2 (1980): 303-16. Baest, Arjan van, and Hans van Driel. The Semiotics of C.S. Peirce Applied to Music: A Matter of Belief. Tilburg, The Netherlands: Tilburg University Press, 1995. Baker, Nancy Kovaleff. “Heinrich Koch’s Description of the Symphony.” Studi Musicali 9, no. 2 (1980): 303-16. Baker, Nancy Kovaleff. “An Ars Poetica for Music: Reicha’s System of Syntax and Structure.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning, 419-49. Styvesant, New York: Pendragon Press, 1992. Baker, Nancy Kovaleff, and Thomas Christensen, eds. and trans. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge Studies in Music Theory and Analysis, vol. 7. Cambridge: Cambridge University Press, 1995. Barnett, Gregory. “Tonal Organization in Seventeenth-Century Music Theory.” In CHWMT, 407-55. Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997. Barzun, Jacques. “Berlioz on the Future of Rhythm.” In Berlioz and the Romantic Century. New York, Columbia University Press, 1969. 2: 336-339. Beach, David W. “The Origins of Harmonic Analysis.” The Journal of Music Theory 18, no. 2 (Fall 1974): 274-306. Beiche, Michael. “Tonalität.” In Handwörterbuch der musikalischen Terminologie, edited by Hans Heinrich Eggebrecht. Wiesbaden: Franz Steiner, 1992. Benary, Peter. Die deutsche Kompositionlehre des 18. Jahrhunderts. Leipzig: Breitkopf und Härtel, 1962. Benjamin, William. “A Theory of Musical Meter.” Music Perception 1 (1984): 355-413. Bent, Ian. “The ‘Compositional Process’ in Music Theory, 1713-1850.” Music Analysis 3 (1984): 29-55. Bent, Ian (editor). Music Analysis in the Nineteenth Century. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1994:
Bent, Ian, ed. Music Theory in the Age of Romanticism. Cambridge: Cambridge University Press, 1996. Bent, Ian. “The ‘Compositional Process’ in Music Theory, 1713-1850.” Music Analysis 3, no. 1 (1984): 29-55. Bernard, Jonathan W. “The Marpurg-Sorge Controversy.” Music Theory Spectrum 11, no. 2 (1989): 164-86. Blacking, John. “The Problem of ‘Ethnic’ Perceptions in the Semiotics of Music.” In The Sign in Music and Literature, edited by Wendy Steiner, 184-94. Austin: University of Texas Press, 1981. Blasius, Leslie. “Mapping the Terrain.” In CHWMT, 27-45 Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of Oration. Cambridge, Massachusetts: Harvard University Press, 1991. Boyd, Malcom, ed. Music and the French Revolution. Cambridge: Cambridge University Press, 1992. Brossard, Sebastien de. Dictionary of Music. Trans. and ed. Albion Gruber. Henryville, Pa.: Institute of Mediaeval Music, 1982. Browne, Richmond, ed. Music Theory: Special Topics. New York: Academic Press, 1981. Buelow, George J. “Johann Mattheson and the Invention of the Affektenlehre.” In New Mattheson Studies, edited by George J. Buelow and Hans Joachim Marx, 393-407. Cambridge: Cambridge University Press, 1983. Buelow, George J. Thorough-Bass Accompaniment According to J. D. Heinichen. Rev. ed. Ann Arbor, Michigan: UMI Research Press, 1986.
Burnham, Scott. “A. B. Marx and the Gendering of Sonata Form.” In Music Theory in the Age of Romanticism: 163-186. Burnham, Scott. Beethoven Hero. Princeton, New Jersey: Princeton University Press, 1995. Burnham, Scott. “Form.” In CHWMT, pp. 880-906. Burnham, Scott. “The Role of Sonata Form in A. B. Marx’s Theory of Form.” Journal of Music Theory 33, no. 2 (Fall 1989): 247-71. Burnham, Scott. “The Second Nature of Sonata Form.” In Music Theory and Natural Order: 111-141.
C.Caplin, William F. “Theories of musical rhythm in the eighteenth and nineteenth centuries,” in CHWMT, pp. 657-694. Carpenter, Patricia, and Severine Neff. “Commentary.” In The Musical Idea and the Logic, Technique, and Art of Its Presentation, by Arnold Schoenberg, 1-74. New York: Columbia University Press, 1995. Charles, Daniel. “Music and Antimetaphor (to Eero Tarasti).” In Musical Signification: Essays in the Semiotic Theory and Analysis of Music, 27-42. Christensen, Thomas. “Fétis and emerging tonal consciousness,” in Ian Bent, ed. Music Theory in the Age of Romanticism (Cambridge: Cambridge University Press, 1996): 37-56. Christensen, Thomas. “Introduction.” In Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, edited and translated by Nancy Kovaleff Baker and Thomas Christensen. Cambridge Studies in Music Theory and Analysis, 3-24. Cambridge: Cambridge University Press, 1995. Christensen, Thomas. “Music Theory and Its Histories.” In Music Theory and the Exploration of the Past, edited by Christopher Hatch and David W. Bernstein, 9-39. Chicago: University of Chicago Press, 1993. Christensen, Thomas. Rameau and Musical Thought in the Enlightenment (Cambridge, 1993). Christensen, Thomas. “The Règle de l’Octave in Thorough-Bass Theory and Practice.” Acta Musicologica 64, no. 2 (1992): 91-117. Christensen, Thomas. “The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory.” Journal of Music Theory 36, no. 1 (Spring 1992): 1-42. Chua, Daniel K. L. “Vincenzo Galilei, Modernity and the Division of Nature.” In Music Theory and Natural Order: 17-29. Churgin, Bathia. “Francesco Galeazzi's Description (1796) of Sonata Form,” JAMS 21/2 (1968): 181-199. Clarke, Suzannah, and Alexander Rehding, eds. Music Theory and Natural Order from the Renaissance to the Early Twentieth Century. Cambridge: Cambridge University Press, 2001. Clarke, Suzannah. “Seduced by Notation: Oettingen’s Topography of the Major-Minor System.” In Music Theory and Natural Order: 161-80. Coelho, Victor Anand, ed. Music and Science in the Age of Galileo. The University of Western Ontario Series in Philosophy of Science. Dordrecht: Kluwer Academic Publishers, 1992. Cohen, Albert. Music in the French Royal Academy of Sciences: A Study in the Evolution of Musical Thought. Princeton, New Jersey: Princeton University Press, 1981. Cohen, David E. “The ‘Gift of Nature’: Musical ‘Instinct’ and Musical Cognition in Rameau.” In Music Theory and Natural Order: 68-92. Cohen, H. F. Quantifying Music: The Science of Music at the First Stage of the Scientific Revolution, 1580-1650. Dordrecht: D. Reidel Publishing Company, 1984. Cohn, Richard L. “The Autonomy of Motives in Schenkerian Accounts of Tonal Music.” Music Theory Spectrum 14, no. 2 (Fall 1992): 150-70. Cook, Nicholas. “Music Theory and ‘Good Comparison’: A Viennese Perspective.” Journal of Music Theory 33, no. 1 (Spring 1989): 117-41. Cooper, Grosvenor W., and Leonard B. Meyer. The Rhythmic Structure of Music (Chicago, 1960) Cumming, Naomi. “The Subjectivities of ‘Erbarme Dich.’” Music Analysis 16, no. 1 (March 1997): 5-44. Cumming, Naomi. The Sonic Self: Musical Subjectivity and Signification. Advances in Semiotics. Bloomington: Indiana University Press, 2000. Czerny, Carl. School of practical composition: complete treatise on the composition of all kinds of music, both instrumental and vocal together with a treatise on instrumentation, in three volumes; opus 600, trans. John Bishop [repr. London: R. Cocks, 1848] (New York : Da Capo Press, 1979)
D.Dahlhaus, Carl. Musiktheorie im 18. und 19. Jahrhundert, Erster Teil: Grundzüge einer Systematik. Geschichte der Musiktheorie, vol. 10. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984. Dahlhaus, Carl. Musiktheorie im 18. und 19. Jahrhundert, Zweiter Teil: Deutschland. Geschichte der Musiktheorie, vol. 11. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984. Dahlhaus, Carl. Studies on the Origins of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990. Call number: ML128 .T5D270 1990 Mu
E.Eckert, Stefan. “Ars Combinatoria, Dialogue Structure, and Musical Practice in Joseph Riepel’s Anfangsgründe Zur Musicalischen Setzkunst.” Ph.D. diss. Stony Brook, New York: State University of New York at Stony Brook, 2000. Epstein, David. Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books, 1995.
F.Fauvel, John, Raymond Flood, and Robin Wilson, eds. Music and Mathematics: From Pythagoras to Fractals. Oxford: Oxford University Press, 2003. Fétis, Françoise Joseph. Esquisse de l'histoire de l'harmonie: an English-language translation of the Françoise Joseph Fétis history of harmony, trans. Mary Arlin (Stuyvesant, NY: Pendragon Press, 1994) Fétis, Françoise Joseph. Traité Complet de la Théorie et de la Pratique de l’Harmonie. 12th ed. Paris: Brandus, 1879.
Field, J. V. “Musical Cosmology: Kepler and His Readers.” In Music and Mathematics: From Pythagoras to Fractals: 29-44.
G.Gärdenfors, Peter. “Semantics, Conceptual Spaces and the Dimensions of Music.” In Essays on the Philosophy of Music, 9-27. Gessele, Cynthia M. “The Institutionalization of Music Theory in France: 1764-1802.” Ph.D. diss. Princeton, New Jersey: Princeton University, 1989. Gouk, Penelope. “The Role of Harmonics in the Scientific Revolution.” In CHWMT, 223-45. Gozza, Paolo, ed. Number to Sound: The Musical Way to the Scientific Revolution. Boston: Kluwer Academic Publishers, 2000. Grave, Floyd K., and Grave Margaret G. In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler. Lincoln, Nebraska: University of Nebraska Press, 1988. Groth, Renate. Die Französische Kompositionlehre des 19. Jahrhunderts (Wiesbaden: Franz Steiner, 1983). Grund, Cynthia. “Metaphors, Counterfactuals and Music.” In Essays on the Philosophy of Music 28-53.
H.Harrison, Daniel. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press, 1994. Harriss, Ernest C. Johann Mattheson’s Der vollkommene Capellmeister: A Revised Translation with Critical Commentary. Studies in Musicology, vol. 21. Ann Arbor: UMI Research Press, 1981. Hasty, Christopher. “Just in Time for More Dichotomies—A Hasty Response,” Music Theory Spectrum 21/2 (Fall, 1999) 275-293. Hasty, Christopher. Meter as Rhythm (Oxford, 1998) Hatch, Christopher, and David W. Bernstein, eds. Music Theory and the Exploration of the Past. Chicago: University of Chicago Press, 1993. Hatten, Robert. “Review of Agawu, Playing with Signs, and Nattiez, Music and Discourse.” Music Theory Spectrum 14, no. 1 (1992): 88-98. Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington, Indiana: Indiana University Press, 1994. Hatten, Robert. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington, Indiana: Indiana University Press, 2004. Hauptmann, Moritz. The Nature of Harmony and Metre. Translated by W. E. Heathcote. 1893. New York: Da Capo Press, 1991. Henneberg, Gudrun. Theorien zur Rhythmik und Metrik. Tutzing: Hans Schneider, 1974.
Houle, George. Meter in Music, 1600-1800: Performance, Perception, and Notation. Bloomington, Indiana: Indiana University Press, 1987. Hoyt, Peter. “Review of Mark Evan Bonds, Wordless Rhetoric.” Journal of Music Theory 38, no. 1 (Spring 1994): 123-43. of journal Hoyt, Peter. “The Concept of Développement in the Early Nineteenth Century.” In Music Theory in the Age of Romanticism: 141-62. Brian Hyer, “Tonality,” CHWMT, pp. 726-752.
I.Imig, Renate. Systeme der Funktionsbezeichnung in den Harmonielehre seit Hugo Riemann. Düsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft, 1970.
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K.Kirnberger, Johann Philipp. The Art of Strict Musical Composition. Translated by David Beach and Jurgen Thym. New Haven: Yale University Press, 1982. Koch, Heinrich Christoph Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4. Translated by Nancy Kovaleff Baker. New Haven: Yale University Press, 1983. Koch, Heinrich Christoph. Musikalisches Lexicon. Heidelberg: Mohr und Winter, 1816. Koch, Heinrich Christoph. Versuch einer Anleitung zur Composition. 1782-93. Hildesheim: Georg Olms, 1969. Augustus Frederic Christopher Kollmann, An Essay on Practical Musical Composition (New York: Da Capo Press, 1973) Kopp, David. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002. Kramer, Jonathan. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer, 1988. Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999. Kurth, Ernst. Ernst Kurth: Selected Writings. Edited and translated by Lee A. Rothfarb. Cambridge: Cambridge University Press, 1991. Ernst Kurth, Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme. Bern: Akademische Buchhandlungen von Max Dreschel, 1913. (Bern: 1947 [1930])
L.Lenneberg, Hans. “Johann Mattheson on Affect and Rhetoric in Music.” Journal of Music Theory 2 (1958): 47-84. Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, Massachusetts: MIT Press, 1983. Lester, Joel. Between Modes and Keys: German Theory, 1592–1802. Stuyvesant, New York: Pendragon Press, 1989. Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge, Massachusetts: Harvard University Press, 1992. Lester, Joel. “Rameau and Eighteenth-Century Harmonic Theory,” CHWMT, pp. 753-777. Lewin, David. “Two Interesting Passages in Rameau's Traité de l'harmonie,” In Theory Only 4/3 (July 1978): pp. 3-11. (You will find this in the stacks—the call is ML1.I38.) Lewin, David. “Concerning the Inspired Revelation of F.-J. Fétis,” Theoria 2 (1987): pp. 1-12. Lewin, David. “Some Investigations Into Foreground Rhythmic and Metric Patterning.” In Music Theory: Special Topics, edited by Richmond Browne, 101-37. New York: Academic Press, 1981. Linfield, Eva. “Modulatory Techniques in Seventeenth-Century Music: Schütz, a Case in Point.” Music AnalysisÿA 12, no.ÿA 2 (July 1993):ÿA 197–214. Listenius, Nicolas. Music (Musica). 1549 ed. Translated by Albert Seay. Colorado Springs, Colorado: Colorado College Music Press, 1975. Lidov, David. Is Language a Music?: Writings on Musical Form and Signification. Musical Meaning and Interpretation. Bloomington, 2005. Lobe, Johann Christian. “First-Movement Form in the String Quartet [:Beethoven: Op. 18 no. 2 in G: Allegro],” in Fugue, Form and Style, vol. 1 of Music Analysis in the Nineteenth Century ed. Ian Bent, pp. 197-220. London, Justin. “Hasty’s Dichotomy,” Music Theory Spectrum 21, no. 2 (Fall, 1999): 260-274. London, Justin. “Rhythm in twentieth-century theory,” in CHWMT, pp. 880-906. London, Justin. Hearing in Time: Psychological Aspects of Musical Meter. New York: Oxford University Press, 2004. Lussy, Mathis. Musical Expression, Accents, Nuances, and Tempo, in Vocal and Instrumental Music. Translated by M. E. von Glehn. London: Novello, 1892.
M.Martinez, José Luiz. Semiosis in Hindustani Music. Acta Semiotica Fennica 5. Helsinki: Hakapaino Oy, 1997. Adolph Bernhard Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method. Edited and translated by Scott G. Burnham. Cambridge Studies in Music Theory and Analysis, vol. 12. Cambridge: Cambridge University Press, 1997. Marx, Adolph Bernhard. Die Lehre von der musikalischen Komposition, praktisch theoretisch. 4th ed. Leipzig: Breitkopf & Härtel, 1841-47 Masson, Charles. Nouveau Traité Des Regles Pour la Composition de la Musique. With an introduction by Imogene Horsley. 1694. New York: Da Capo Press, 1967. Mattheson, Johann. Der vollkommene Capellmeister. Edited by Margarete Reimann. 1739. Dokumenta Musicologica, 1 Reihe, Druckschriften-Faksimiles, vol. 5. Kassel: Bärenreiter, 1954. McClary, Susan. Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press, 2000. McClary, Susan. “The Transition from Modal to Tonal Organization in the Works of Monteverdi.” Cambridge, Massachusetts: Harvard University, 1976. McClary, Susan. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley: University of California Press, 2004. Mitchell, William J. “Modulation in C.P.E. Bach’s Versuch.” In Studies in Eighteenth-Century Music. A Tribute to Karl Geiringer on His Seventieth Birthday, edited by H. C. Robbins Landon and Roger E. Chapman, 333-42. New York: Oxford University Press, 1963. Momigny, Jérôme-Joseph de. Cours complét d'harmonie et de composition, d'après une théorie neuve et générale de la musique (Paris: Chez L'auteur, 1806) Monelle, Raymond. Linguistics and Semiotics in Music. Contemporary Music Studies. Chur, Switzerland: Harwood Academic, 1992. Monelle, Raymond. “Music and Semantics.” In Musical Signification: Essays in the Semiotic Theory and Analysis of Music, 91-107. Monelle, Raymond. The Sense of Music: Semiotic Essays. Princeton, New Jersey: Princeton University Press, 2000. Moreno, Jairo. Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber. Musical Meaning and Interpretation. Bloomington: Indiana University Press, 2004. Morgan, Robert P. “The Theory and Analysis of Tonal Rhythm.” The Musical Quarterly 64/4 (October 1978): 436-440.
N.Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music. Translated by Carolyn Abbate. Princeton, New Jersey: Princeton University Press, 1990. Neff, Severine. “Introduction.” In Coherence, Counterpoint, Instrumentation, Instruction in Form, by Arnold Schoenberg, xxiii-lxxii. Lincoln, Nebraska: University of Nebraska Press, 1994. Neubauer, John. The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics. New Haven: Yale University Press, 1986. Niedt, Freiderich Erhardt. The Musical Guide. Translated by Pamela L. Poulin and Irmgard C. Taylor. 1700-17. Oxford: Clarendon Press, 1989. Nichols, Robert S. “Fétis’ Theories of Tonalité and the Aesthetics of Music,” Revue Belge de Musicologie/Belgische Tijdschrift voor Muziekwetenschap, 27-27 (1972-1973): 116-129.
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P.Palisca, Claude V. “Ut Oratoria Musica: The Rhetorical Basis of Musical Mannerism.” In The Meaning of Mannerism, edited by F. W. Robinson and S. G. Nichols, Jr. Hanover, New Hampshire: University Press of New England, 1972. Palisca, Claude V. “Scientific Empiricism in Musical Thought.” In Seventeenth Century Science and the Arts, edited by Hedley Howell Rhys, 91-137. Princeton, New Jersey: Princeton University Press, 1961. Palisca, Claude V. The Florentine Camerata: Documentary Studies and Translations. New Haven, Connecticut: Yale University Press, 1989. Palisca, Claude V. “Moving the Affections Through Music: Pre-Cartesian Psycho-Physiological Theories.” In Number to Sound: The Musical Way to the Scientific Revolution, edited by Paolo Gozza, 191-99. Boston: Kluwer Academic Publishers, 2000. Palisca, Claude V. “Was Galileo’s Father an Experimental Scientist?” In Number to Sound: The Musical Way to the Scientific Revolution, edited by Paolo Gozza, 191-99. Boston: Kluwer Academic Publishers, 2000. Powers, Harold. “Language Models and Musical Analysis.” Ethnomusicology 24, no. 1 (1980): 1-60.
R.Rameau, Jean-Philippe. Treatise on Harmony (1722). Translated by Philip Gossett. New York: Dover, 1971. Rantala, Veikko, Lewis Rowell, and Eero Tarasti, eds. Essays on the Philosophy of Music. Acta Philosophica Fennica, vol. 43. Helsinki: Philosophical Society of Finland, 1988. Ratner, Leonard. “Harmonic Aspects of Classic Form.” Journal of the American Musicological Society 2, no. 3 (Fall 1949): 159-68. Ratner, Leonard. “Eighteenth-Century Theories of Musical Period Structure.” The Musical Quarterly 32, no. 4 (October 1956): 439-54 Rehding, Alexander. “August Halm’s Two Cultures of Nature.” In Music Theory and Natural Order: 142-60. Rehding, Alexander. Hugo Riemann and the Birth of Modern Musicology. Cambridge: Cambridge University Press, 2003. Reiner, Thomas. Semiotics of Musical Time. Berkeley Insights in Linguistics and Semiotics. New York: Peter Lang Publishers, 2000. Riemann, Hugo. Musikalische Syntaxis: Grundriß einer harmonischen Saßbildungslehre. Leipzig: Breitkopf und Härtel, 1877. Riemann, Hugo. Handbuch der Harmonielehre. 2d ed. Leipzig: Breitkopf & Härtel, 1887. Riemann, Hugo. System der musikalischen Rhythmik und Metrik. Leipzig: Breitkopf & Härtel, 1903. Riepel, Joseph. Sämtliche Schriften zur Musiktheorie. Edited by Thomas Emmerig. Wiener Musikwissenschaftliche Beiträge, vol. 20. Wien: Böhlau, 1996. Rivera, Benito. “The Seventeenth-Century Theory of Triadic Generation and Invertibility and Its Application in Contemporaneous Rules of Composition.” Music Theory Spectrum 6 (1984): 63-78. Rivera, Benito. German Music Theory in the Early 17th Century: The Treatises of Johannes Lippius. Ann Arbor, Michigan: UMI Research Press, 1980. Roeder, John. Review of Christopher Hasty's Meter as Rhythm, Music Theory Online 4/4 (July 1998). Rothfarb, Lee A. Ernst Kurth as Theorist and Analyst. Philadelphia: University of Pennsylvania Press, 1988. Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer Books, 1989. Rousseau, Jean-Jacques. A Complete Dictionary of Music. 2nd ed. Translated by William Waring.[Reprint of the 1779 ed. printed for J. Murray, London] New York: AMS Press, 1975.
S.Saslaw, Janna K. “Gottfried Weber and the Concept of Mehrdeutigkeit.” Ph.D. diss. New York: Columbia University, 1996. Schellhous, Rosalie. “Fétis’s Tonality as a Metaphysical Principle: Hypothesis for a New Science.” Music Theory Spectrum 13, no. 2 (1991): 219-40. Schenker, Heinrich. Harmony. Ed. and annotator Oswald Jonas. Translated by Elisabeth Mann Borgese. Chicago: University of Chicago Press, 1954. Schoenberg, Arnold. Harmonielehre. Leipzig: Verlagseigentum der Universal-Edition, 1911. Schoenberg, Arnold. Fundamentals of Musical Composition. Edited by Gerald Strang and Leonard Stein. London: Faber and Faber Limited, 1967. Schoenberg, Arnold. Structural Functions of Harmony. Rev. ed. New York: W. W. Norton & Company, Inc., 1969. Schoenberg, Arnold. Models for Beginners in Composition: Syllabus, Music Examples, and Glossary. Los Angeles: Belmont Music Publishers, 1972. Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein. Translated by Leo Black. New York: St. Martins Press, 1975. Schoenberg, Arnold. Theory of Harmony. Translated by Roy E. Carter. Berkeley: University of California Press, 1978. Schoenberg, Arnold. Coherence, Counterpoint, Instrumentation, Instruction in Form. Edited by Severine Neff. Translated by Severine Neff and Charlotte M. Cross. Lincoln, Nebraska: University of Nebraska Press, 1994. Schoenberg, Arnold. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Edited and translated by Patricia Carpenter and Severine Neff. New York: Columbia University Press, 1995. Sisman, Elaine. “Small and Expanded Forms: Koch’s Model and Haydn’s Music.” The Musical Quarterly 48, no. 4 (October 1982): 444-75. Smither, Howard Elbert. Theories of Rhythm in the Nineteenth and Twentieth Centuries with a Contribution to the Theory of Rhythm for the Study of Twentieth-Century Music. Ph.D. diss. Ithaca, New York: Cornell University, 1960. Stevens, Jane R. “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form.” Journal of the American Musicological Society 28, no. 1 (Spring 1974): 25-60. Stockhausen, Karlheinz. “Structure and Experiential Time.” In Die Reihe, edited by Herbert Eimert and Karlheinz Stockhausen, 64-74. London: Universal Edition, 1958. Stockhausen, Karlheinz. “. . . How Time Passes . . .” In Die Reihe, edited by Herbert Eimert and Karlheinz Stockhausen, 10-40. London: Universal Edition, 1959.
T.Tarasti, Eero, ed. Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Approaches to Semiotics, vol. 121. Berlin: Mouton de Gruyter, 1995. Tarasti, Eero. A Theory of Musical Semiotics. Advances in Semiotics. Bloomington: University of Indiana Press, 1994. Tarasti, Eero. Signs of Music: A Guide to Musical Semiotics. Hawthorne, New York: Mouton de Gruyter, 2002. Tarasti, Eero, Paul Forsell, and Richard Littlefield, eds. Musical Semiotics in Growth. Acta Semiotica Fennica 4. Bloomington: University of Indiana Press, 1996. Thomas, Downing A. Music and the Origins of Language: Theories from the French Enlightenment. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 1995.
V.Van Leeuwen, Theo. Speech, Music, Sound. Basingstoke, Hampshire: MacMillan Press, 1999. Vogler, Georg Joseph. Tonwissenschaft und Tonsetzkunst. 1776. Hildesheim: Georg Olms Verlag, Kuhrfürstlichen Druckerei, 1970.
W.Waldbauer, Ivan. “Riemann’s Periodization Revisited and Revised.” Journal of Music Theory 33, no. 2 (1989): 333-91. Walker, D. P. (Daniel Pickering). Studies in Musical Science in the Late Renaissance. London: Warburg Institute, University of London, 1978. Walker, Paul. Theories of Fugue from the Age of Josquin to the Age of Bach. Rochester, New York: University of Rochester Press, 2000. Wason, Robert W. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor, Michigan: UMI Research Press, 1985. Weber, Gottfried. Theory of Musical Composition, Treated with a View to a Naturally Consecutive Arrangement of Topics. Edited by John Bishop. Translated by James F. Warner. London: Messrs. Robert Cocks and Co., 1851. Wuensch, Gerhard. “Hugo Riemann’s Musical Theory.” Studies in Music from the University of Western Ontario 2 (1977): 108-24.
Y.Yeston, Maury. The Stratification of Musical Rhythm. New Haven: Yale University Press, 1976.
Z.Zaminer, Friedrich, ed. Ideen zu einer Geschichte der Musiktheorie. Geschichte der Musiktheorie, vol. 1. Darmstadt: Wissenschaftliche Buchgesellschaft, 1985. Zbikowski, Lawrence. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002.
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Copyright © 2005 Lawrence M. Zbikowski For inquiries about this page, or suggestions, contact Lawrence Zbikowski, Department of Music, University of Chicago. |