Distinguished music theorist and composer David Lewin (1933-2003) applies the conceptual framework he developed in his earlier, innovative Generalized Musical Intervals and Transformations to the varied repertoire of the twentieth century in this stimulating and illustrative book. Analyzing the diverse compositions of four canonical composers--Simbolo from Dallapiccola's Quaderno musicale di Annalibera ; Stockhausen's Klavierstuck III ; Webern's Op. 10, No. 4; and Debussy's Feux d'articifice --Lewin brings forth structures which he calls "transformational networks" to reveal interesting and suggestive aspects of the music. In this complementary work, Lewin stimulates thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring. Musical Form and Transformation , first published in 1993 by Yale University Press, was the recipient of an ASCAP Deems Taylor Award.

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.

This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.

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.

Essays in diatonic set theory, transformation theory, and neo-Riemannian theory -- the newest and most exciting fields in music theory today. The essays in Music Theory and Mathematics: Chords, Collections, and Transformations define the state of mathematically oriented music theory at the beginning of the twenty-first century. The volume includes essays in diatonic set theory, transformation theory, and neo-Riemannian theory -- the newest and most exciting fields in music theory today. The essays constitute a close-knit body of work -- a family in the sense of tracing their descentfrom a few key breakthroughs by John Clough, David Lewin, and Richard Cohn in the 1980s and 1990s. They are integrated by the ongoing dialogue they conduct with one another. The editors are Jack Douthett, a mathematician and music theorist who collaborated extensively with Clough; Martha M. Hyde, a distinguished scholar of twentieth-century music; and Charles J. Smith, a specialist in tonal theory. The contributors are all prominent scholars, teaching at institutions such as Harvard, Yale, Indiana University, and the University at Buffalo. Six of them (Clampitt, Clough, Cohn, Douthett, Hook, and Smith) have received the Society for Music Theory's prestigious PublicationAward, and one (Hyde) has received the ASCAP Deems Taylor Award. The collection includes the last paper written by Clough before his death, as well as the last paper written by David Lewin, an important music theorist also recently deceased. Contributors: David Clampitt, John Clough, Richard Cohn, Jack Douthett, Nora Engebretsen, Julian Hook, Martha Hyde, Timothy Johnson, Jon Kochavi, David Lewin, Charles J. Smith, and Stephen Soderberg.

This book introduces a theory of music analysis that one can use to explore aspects of segmentation and associative organization in a wide range of repertoire including Western classical music from the Baroque to the present, with potential applications to jazz and popular music, and some non-Western musics. Rather than a methodology, the theory provides analysts with precise language and a broad, flexible conceptual framework through which they can formulate and investigate questions of interest and develop their own interpretations of individual pieces and passages. The theory begins with a basic distinction among three domains of musical experience and discourse about it: the sonic (psychoacoustic); the contextual (or associative, sparked by varying degrees of repetition); and the structural (guided by a specific theory of musical structure or syntax invoked by the analyst). A comprehensive presentation of the theory, with copious musical illustrations, is balanced with close analyses of works by Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A. Hanninen is professor of music theory at the University of Maryland. She received the 2010 Outstanding Publication Award from the Society for Music Theory.

This handbook provides an extensive overview of traditional and emerging research areas within the field of intermediality studies, understood broadly as the study of interrelations among all forms of communicative media types, including transmedial phenomena. Section I offers accounts of the development of the field of intermediality - its histories, theories and methods. Section II and III then explore intermedial facets of communication from ancient times until the 21st century, with discussion on a wide range of cultural and geographical settings, media types, and topics, by contributors from a diverse set of disciplines. It concludes in Section IV with an emphasis on urgent societal issues that an intermedial perspective might help understand.

Arguably one of the most influential and revered figures in contemporary music theory, David Lewin (1933-2003) revolutionized the field through his work on transformational theory and theoretical methodology. David Lewin's Morgengruß: Text, Context, Commentary presents in print for the first time Lewin's legendary 1974 essay on Franz Schubert's "Morgengruß," from the composer's song cycle, Die Schöne Müllerin. The essay was central to Lewin's graduate teaching, and copies of it have circulated by hand through the music-scholarly community for decades. This book presents the original text of Lewin's essay along with over 200 graphical illustrations. Lewin's ability to present an artful and rich argument, based on a close reading of a short, "simple" score is but one of the wonders to behold in his masterful essay. At once deeply nuanced and widely accessible, Lewin's "Morgengruß" offers insight into Schubert's composition as well as the analytical process itself. Along with the full text of Lewin's essay, this book includes a small but pointed collection of essays interpreting the content and significance of Lewin's "Morgengruß." Drawing on current research as well as personal reflection, editors Richard Cohn and David Bard-Schwarz, along with contributors Brian Kane and Henry Klumpenhouwer, elaborate on the analytical, pedagogical, and philosophical contexts of Lewin's work. Taken together, the editors and contributors offer a compelling account of the enduring significance of Lewin's writing. David Lewin's Morgengruß is a must-have for anyone with an interest in Lewin's career, Schubert's music, or music theory generally.

Understanding the way music unfolds to the listener is a major key for unlocking the secrets of the composer’s art. Musical Form and Analysis, highly regarded and widely used for two decades, provides a balanced theoretical and philosophical approach that helps upper-level undergraduate music majors understand the structures and constructions of major musical forms. Spring and Hutcheson present all of the standard topics expected in such a text, but their approach offers a unique conceptual thrust that takes readers beyond mere analytical terminology and facts. Evocative rather than encyclopedic, the text is organized around three elements at work at all levels of music: time, pattern, and proportion. Well-chosen examples and direct, well-crafted assignments reinforce techniques. A 140-page anthology of music for in-depth analysis provides a wide range of carefully selected works.

This book constitutes the thoroughly refereed proceedings of the 7th International Conference on Mathematics and Computation in Music, MCM 2019, held in Madrid, Spain, in June 2019. The 22 full papers and 10 short papers presented were carefully reviewed and selected from 48 submissions. The papers feature research that combines mathematics or computation with music theory, music analysis, composition, and performance. They are organized in topical sections on algebraic and other abstract mathematical approaches to understanding musical objects; remanaging Riemann: mathematical music theory as “experimental philosophy”?; octave division; computer-based approaches to composition and score structuring; models for music cognition and beat tracking; pedagogy of mathematical music theory. The chapter “Distant Neighbors and Interscalar Contiguities” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.