MUSIC ANALYSIS

MUSIC ANALYSIS

PER GB. 14

 

-ADORNO (T.W.), Form in the New Music (translated by RODNEY LIVINGSTONE ), Vol. 27 (2008), n. 2-3, pp.  201 – 216

-ALEGANT (B.), & LEVEY (J.), Octatonicism in Luigi Dallapiccola’s Twelve-Note Music, Vol. 25 (2006), n. 1-2, pp.  39 – 87

-ANSON-CARTWRIGHT (M.), Elision and the Embellished Final Cadence in J.S. Bach’s Preludes, Vol. 26 (2007), n. 3, pp.  267 – 288

-ATTFIELD (N.), Alexander Rehding, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany, Vol. 31 (2012), n. 2, pp.  242 – 250

-AYREY (C.), Jankélévitch the Obscure(d), Vol. 25 (2006), n. 3, pp.  343 – 358

-BAILES (F.), David Temperley, The Cognition of Basic Musical Structures, Vol. 25 (2006), n. 1-2, pp.  241 – 248

-BAILEYSHEA (M.), ‘The Heaviest Weight’: Circularity and Repetition in a Song by Hugo Wolf, Vol. 25 (2006), n. 3, pp.  289 – 314

-BAUER (A.), The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti’s ‘Galamb borong’, Vol. 27 (2008), n. 2-3, pp.  337 – 374

-BENITEZ (V.), Reconsidering Messiaen as Serialist, Vol. 28 (2009), n. 2-3, pp.  267 – 300

-BIANCOROSSO (G.), The Shark in the Music, Vol. 29 (2010), n. 1-2-3, pp.  306 – 333

-BRETHERTON (D.), Byron Almén, A Theory of Musical Narrative, Vol. 31 (2012), n. 3, pp.  414 – 421

-BRIBITZER-STULL (M.), The End of Die Feen and Wagner’s Beginnings: Multiple Approaches to an Early Example of Double-Tonic Complex, Associative Theme and Wagnerian Form, Vol. 25 (2006), n. 3, pp.  315 – 342

-BROWER (C.), Paradoxes of Pitch Space, Vol. 27 (2008), n. 1, pp.  51 – 106

-BROWN (S.C.), ic1/ic5 Interaction in the Music of Shostakovich, Vol. 28 (2009), n. 2-3, pp.  185 – 220

-BURSTEIN (L.P.), The Off-Tonic Return in Beethoven’s Piano Concerto No. 4 in G Major, Op. 58, and Other Works, Vol. 24 (2005), n. 3, pp.  305 – 348

-BUTT (J.), Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness, Vol. 29 (2010), n. 1-2-3, pp.  19 – 36

-BYROS (V.), Meyer’s Anvil: Revisiting the Schema Concept, Vol. 31 (2012), n. 3, pp.  273 – 345

  • Unearthing the Past: Theory and Archaelogy in Robert Gjerdingen’s Music in the Galant Style, Vol. 31 (2012), n. 1, pp.  112 – 123

-CASCELLI (A.), Tom Pankhurst, SchenkerGuide: A Brief Handbook and a Website for Schenkerian Analysis, Vol. 28 (2009), n. 1, pp.  145 – 152

-CHERLIN (M.), Pierrot Lunaire as Lunar Nexus, Vol. 31 (2012), n. 2, pp.  176 – 214

-CHRISTIAENS (J.), Gianmario Borio (ed.), L’orizzonte filosofico del comporre nel ventesimo secolo/The Philosophical Horizon of Composition in the Twentieth Century, Vol. 28 (2009), n. 2-3, pp.  425 – 432

-CHUA (D.K.L.), Rioting with Stravinsky : a Particular Analysis od the Rite of Spring, Vol. 26 (2007), n. 1-2, pp.  59 – 110

-CLARKE (D.), Between Hermeneutics and Formalism: the Lento from Tippett’s Concerto for Orchestra (Or: Music Analysis after Lawrance Kramer), Vol. 30 (2011), n. 2-3, pp.  309 – 359

-CLARKE (E.), David Huron, Sweet Anticipation: Music and the Psychology of Expectation, Vol. 27 (2008), n. 2-3, pp.  389 – 392

-CLARKE (M.), Analysing Electroacoustic Music: an Interactive Aural Approach, Vol. 31 (2012), n. 3, pp.  347 – 380

-COCHRANE (T.), Using the Persona to Express Complex Emotions in Music, Vol. 29 (2010), n. 1-2-3, pp.  264 – 275

-DAVIES (B.K.), The Structuring of Tonal Space in Webern’s Six Bagatelles for String Quartet, Op. 9, Vol. 26 (2007), n. 1-2, pp.  25 – 58

-DIBBEN (N.), Subjectivity and the Construction of emotion in the Music of Björk, Vol. 25 (2006), n. 1-2, pp.  171

-DICKSON (I.), Towards a Grammatical Analysis of Scelsi’s Late Music, Vol. 31 (2012), n. 2, pp.  216 – 241

-DODSON (A.), Performance, Grouping and Schenkerian Alternative Readings in Some Passages from Beethoven’s ‘Lebewohl’ Sonata, Vol. 27 (2008), n. 1, pp.  107 – 136

– DRABKIN (W.), Schenker’s ‘Decline’: an Introduction, Vol. 24 (2005), n. 1-2, pp.  3 – 32

-EARLE (B.), Dallapiccola’s Early Synthesis: No. 1, ‘Vespro, tutto riporti’, from Cinque Frammenti di Saffo, Vol. 25 (2006), n. 1-2, pp.  3 – 38

-EEROLA (T.), Analysing Emotions in Schubert’s Erlkönig: a Compositional Approach, Vol. 29 (2010), n. 1-2-3, pp.  214 – 233

-FLADT (H.), Hans Keller, Functional Analysis: The Unity of Contrasting Themes, Vol. 27 (2008), n. 2-3, pp.  385 – 388

-FORTE (A.), Alban Berg’s Piano Sonata, Op. 1: a Landmark in Early Twentieth-Century Music, Vol. 26 (2007), n. 1-2, pp.  15 – 24

-GOLDMAN (J.), Charting Mémoriale: Paradigmatic Analysis and Harmonic Schemata in Boulez’s … explosante-fixe …, Vol. 27 (2008), n. 2-3, pp.  217 – 252

-GJERDINGEN (R.O.), Mozart’s Obviously Corrupt Minuet, Vol. 29 (2010), n. 1-2-3, pp.  61 – 82

-GRABÓCZ (M.) (translated by Delphine Mordey), Fabien Lévy (ed.), Les écritures du temps, Vol. 25 (2006), n. 3, pp.  359 – 368

-GRANT (M.J.), Stephen Peles, Stephen Dembski, Andrew Mead and Joseph N. Straus (eds.), The Collected Essays of Milton Babbitt, Vol. 26 (2007), n. 3, pp.  365 – 372

-GRIFFITHS (D.), After Relativism: Recent Directions in the High Analysis of Low Music, Vol. 31 (2012), n. 3, pp.  381 – 412

-GRIMES (N.), The Schoenberg/Brahms Critical Tradition Reconsidered, Vol. 31 (2012), n. 2, pp.  127 – 175

  • Walter Frisch and Kevin C. Karnes (eds), Brahms and His World, Vol. 30 (2011), n. 1, pp.  140 – 150

-HARPER-SCOTT (J.P.E.), ‘A Nice Sub-Acid Feeling’: Schenker, Heidegger and Elgar’s First Symphony, Vol. 24 (2005), n. 3, pp.  349 – 382

-HASEGAWA (R.), Gérard Grisey and the ‘Nature’ of Harmony, Vol. 28 (2009), n. 2-3, pp.  349 – 372

-HATTEN (R.S.), Aesthetically Warranted Emotion and Composed Expressive Trajectories in Music, Vol. 29 (2010), n. 1-2-3, pp.  83 – 101

-HENEGHAN (Á.), Kathryn Bailey, ‘Composing with Tones’: A Musical Analysis of Schoenberg’s Op. 23 Pieces for Piano, Vol. 26 (2007), n. 3, pp.  373 – 380

-HIBBERD (K.), David Metzer, Quotation and Cultural Meaning in Twentieth-Century Music, Vol. 26 (2007), n. 1-2, pp.  247 – 252

-HOOPER (G.), Moving Music, Vol. 26 (2007), n. 3, pp.  357 – 364

-HORTON (J.), Schoenberg and the ‘Moment of German Music’, Vol. 24 (2005), n. 1-2, pp.  235 – 264

-HUOVINEN (E.) & TENKANEN (A.), Bird’s-Eye Views of the Musical Surface: Methods for Systematic Pitch-Class Set Analysis, Vol. 26 (2007), n. 1-2, pp.  159 – 216

-HYLAND (A.M.), Rhetorical Closure in the First Movement of Schubert’s Quartet in C major, D. 46: A Dialogue with Deformation, Vol. 28 (2009), n. 1, pp.  111 – 144

-IVANOVITCH (R.), Mozart’s Art of Retransition, Vol. 30 (2011), n. 1, pp.  1 – 36

-JUSLIN (P.K.) & LINDSTRÖM (E.), Musical Expression of Emotions: Modelling Listeners’ Judgements of Composed and Performed Features, Vol. 29 (2010), n. 1-2-3, pp.  334 – 364

-KANG (Y.), Monteverdi’s Early Seventeenth-Century ‘Harmonic Progressions’, Vol. 30 (2011), n. 2-3, pp.  186 – 217

-KENNETT (C.), Erkki Huovinen, Pitch-Class Constellations: Studies in the Perception of Tonal Centricity, Vol. 25 (2006), n. 1-2, pp.  231 – 240

-KRAMER (L.), A Note: On Informal Thinking, Vol. 31 (2012), n. 1, p.  125

-KORSYN (K.), Schenker’s Vienna: Nicholas Cook on Culture, Race and Music Theory in fin-de-siècle Austria, Vol. 28 (2009), n. 1, pp.  153 – 180

-LOCANTO (M.), ‘Composing with Intervals’: Intervallic Syntax and Serial Technique in Late Stravinsky, Vol. 28 (2009), n. 2-3, pp.  221 – 265

-LOSADA (C.), The Process of Modulation in Musical Collage, Vol. 27 (2008), n. 2-3, pp.  295 – 336

-LOWE (B.), Analysing Performances of Sibeliu’s Fifth Symphony: the ‘One Movement or Two’ Debate and the Plurality of the Music Object, Vol. 30 (2011), n. 2-3, pp.  218 – 271

-MAILMAN (J.B.), An Imagined Drama of Competitive Opposition in Carter’s Scrivo in Vento, with Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus, Vol. 28 (2009), n. 2-3, pp.  373 – 424

-MALIN (Y.), Metric Displacement dissonance and Romantic Longing in the German Lied, Vol. 25 (2006), n. 3, pp.  251 – 288

-MANNING (D.), Alain Frogley, Vaughan Williams’s Ninth Symphony, Vol. 24 (2005), n. 3, pp.  471 – 476

-MATRAVERS (D.), Recent Philosophical Work on the Connection between Music and the Emotions, Vol. 29 (2010), n. 1-2-3, pp.  8 – 18

-McCLELLAND (R.), Brahms and the Principle of Destabilised Beginnings, Vol. 28 (2009), n.1, pp.  3 – 62

-McDONALD (M.), De-composition? Schenker (and his Corpus) Today, Vol. 26 (2007), n. 1-2, pp.  217 – 246

-McKEE (E.), Mozart in the Ballroom: Minuet-Trio Contrast and the Aristocracy in Self-Portrait, Vol. 24 (2005), n. 3, pp.  383 – 436

-MILLS (S.), The Tale of the Three Young Brothers: an Analytical Study of Music and Communal Joy (Hûng) in Korean Folk Culture, Vol. 29 (2010), n. 1-2-3, pp.  276 – 305

-MOORTELE (S.V.), Jan Phlipp Sprick, Reinhard Bahr and Micheal von Troschke (eds.), Musiktheorie im Kontext: 5. Kongress der Gesellschaft für Musiktheorie, Hamburg 2005, Vol. 28 (2009), n. 2-3, pp.  433 – 438

-MURPHY (S.), On Metre in the Rondo of Brahm’s Op. 25, Vol. 26 (2007), n.3, pp.  323 – 356

-NEIDHÖFER (C.), Inside Luciano Berio’s Serialism, Vol. 28 (2009), n. 2-3, pp.  301 – 348

-NEUMEYER (D.), Description and Interpretation: Fred Lerdahl’s Tonal Pitch Space and Linear Analysis, Vol. 25 (2006), n. 1-2, pp.  201 – 230

-NOVEMBER (N.), Register in Haydn’s String Quartets: Four Case Studies, Vol. 26 (2007), n. 3, pp.  289 – 322

-O’CONNOR (M.P.), Margaret Notley, Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism, Vol. 27 (2008), n. 1, pp.  179 – 188

-PADDISON (M.), Mimesis and the Aesthetics of Musical Expression, Vol. 29 (2010), n. 1-2-3, pp.  126 – 148

-PEDERSON (S.), Thomas S. Grey (ed.), Richard Wagner and His World, Vol. 30 (2011), n. 2-3, pp.  467 – 476

-PURI (M.J.), Memory and Melancholy in the Épilogue of Ravel’s Valses nobles et sentimentales, Vol. 30 (2011), n. 2-3, pp.  272 – 308

-REYLAND (N.), Live or Symphony? Lutoslawski’s Livre pour orchestra and the Enigma of Musical Narrativity, Vol. 27 (2008), n. 2-3, pp.  253 – 294

-RILEY (M.), Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791, Vol. 31 (2012), n. 2, pp.  251 – 258

  • Haydn’s Missing Middles, Vol. 30 (2011), n. 1, pp.  37 – 57

-ROEDER (J.), Co-operating Continuities in the Music of Thomas Adès, Vol. 25 (2006), n. 1-2, pp.  121 – 154

-ROSENBLATT (J.), Christopher H. Gibbs and Dana Gooley (eds.), Franz Liszt and His Worls, Vol. 28 (2009), n. 2-3, pp. 439 – 454

-RUSCH (R.), Rethinking Conceptions of Unity: Schubert’s Moment Musical in Ab Major, D. 780 (Op. 94) No. 2, Vol. 30 (2011), pp.  58 – 88

-RUSS (M.), Some Observations on Pm,n Relations within Set Classes, Vol. 26 (2007), n. 1-2,  pp.  111 – 158

-SCHENKER (H.), The Decline of the Art of Composition: a Technical-Critical Study (translated by WILLIAM DRABKIN), Vol. 24 (2005), n. 1-2, pp.  33 – 130

  • Über den Niedergang der Kompositionskunst: eine technisch-kritische Untersuchung, Vol. 24 (2005), n. 1-2, pp.  131 – 233

-SNARRENBERG (R.), Brahms’s Six Songs, Op. 3, Vol. 31 (2012), n. 1, pp.  2 – 36

-SLATER (M.), Timbre and Non-radical Didacticism in the Streets‘ A Grand Don’t Come for Free: a Poetic-Ecological Model, Vol. 30 (2011), n. 2-3, pp.  360 – 396

-SMITH (K.), ‘A Science of Tonal Love’? Drive and Desire in Twenthieth-Century Harmony: the Erotics of Skryabin, Vol. 29 (2010), n, 1-2-3, pp.  234 – 263

-SMITH (P.H.), Brahms’s Motivic Harmonies and Contemporary Tonal Theory: Three Case Studies from the Chamber Music, Vol. 28 (2009), n. 1, pp.  63 – 110

-SPITZER (M.), Guest Editorial: The Emotion Issue, Vol. 29 (2010), n. 1-2-3, pp.  1 – 7

  • Mapping the Human Heart: a Holistic Analysis of Fear in Schubert, Vol. 29 (2010), n. 1-2-3, pp.  149 – 213
  • Tovey’s Evolutionary Metaphors, Vol. 24 (2005), n. 3, 437 – 470

-STOCK (J.P.J.), Micheal Tenzer, Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music, Vol. 27 (2008), n. 2-3, pp.  375 – 384

-SUBTONIK (R.R.), The Unwritable in Full Pursuit of the Unreadable: Adorno’s Philosophie der neuen Musik in Translation, Vol. 30 (2011), n. 1, pp.  89 – 139

  • The Unwritable in Full Pursuit of the Unreadable: Adorno’s Philosophie der neuen Musik in Translation: Supplement, Vol. 30 (2011), n. 2-3, pp.  397 – 466

-SWINKIN (J.), Variation as Thematic Actualisation: the Case of Brahms’s Op. 9, Vol. 31 (2012), n. 1, pp.  37 – 89

-TURCI-ESCOBAR (J.), Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal, Vol. 30 (2011), n. 2-3, pp.  152 – 185

-TYMOCZKO (D.), Scale Theory, Serial Theory and Voice Leading, Vol. 27 (2008), n. 1, pp.  1 – 50

-VENN (E.), ‘Asylum Gained’? Aspects of Meaning in Thomas Adès’s Asyla, Vol. 25 (2006), n. 1-2, pp.  89 – 120

-WAGNER (N.), Starting in the Middle: Auxiliary Cadences in the Beatles’ Songs, Vol. 25 (2006), n. 1-2, pp.  155 – 170

-WATKINS (H.), Keith Chapin and Lawrence Kramer (eds), Musical Meaning and Human Values, Vol. 31 (2012), n. 2, pp.  259 – 271

-WHITTALL (A.), Allen Forte in Music Analysis, Vol. 26 (2007), n. 1-2, pp.  3 – 14

-WILLIAMS (A.), New Music, Late Style: Adorno’s ‘Form in the New Music’, Vol. 27 (2008), n. 2-3, pp.  193 – 201

-WINGFIELF (P.), Beyond ‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History, Vol. 27 (2008), n. 1, pp.  137 – 178

-WU (N.), Coda with a Final Twist: the Vivace Codetta in the First Movement of Brahms’s Cello sonata in F major, Vol. 31 (2012), n. 1, pp.  90 – 111

-YIH (A.K.), Simon Trezise (ed.), The Cambridge Companion to Debussy, Vol. 26 (2007), n. 1-2, pp.  253 – 260

-ZBIKOWSKI (L.M.), Music, Emotion, Analysis, Vol. 29 (2010), n. 1-2-3, pp.  37 – 60

-ZENTNER (M.), Homer’s Prophecy: an Essay on Music’s Primary Emotions, Vol. 29 (2010), n. 1-2-3, pp.  102 – 125

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