By integrating computer-assisted graphics, animation and CD-ROM/audio within an object-oriented environment such as HyperCard, music theory teachers can now create heuristic platforms for the simultaneous investigation of local and large-scale musical processes. Such multi-media formats are especially useful for introducing students to the complexities of functional-harmonic progression and modulation.

     Several approaches will be demonstrated through CD-ROM/HyperStack excerpts devised fir the study of selected works by Beethoven and Schubert. For example, a graphic rendition of a score can unfold in real time with a multi-level functional-harmonic commentary. A newly-devised system for graphic functional-harmonic modulations on the circle of fifths can also be used to illustrate the relationship between a local key area and the global tonic of a work. The structural implications of such harmonic events can be better understood when viewed simultaneously against other compositional aspects such as melodic contour, motivic construction, dynamic and rhythmic profiles, or even a running translation of the German text.

     The symbolic language we use as music theorists takes on an added dimension when employed in a HyperMedia environment. This paper considers pedagogical and analytical implications of using real-time animated graphics to create a new visual representation of motion in music. By synchronizing graphics with specific audio excerpts from a CD recording, analytical concepts can be presented in superimposed layers of gradually increasing complexity, and musical surface features can be shown in relation to events at deeper structural levels.

     Analyses of examples by Bach and Schubert will illustrate how middleground and background linear graphs can be highlighted in real time in conjunction with a CD performance, and correlated with studies from other analytical perspectives. In studying post-tonal works, aural comprehension and understanding of analytical tools such as set theory can be enhanced through layers of analysis superimposed on a representation of the score, beginning with a basic motivic analysis and progressing to deeper layers of analytical complexity. Musical excerpts by Stravinsky and Webern will illustrate how contextual analysis of the musical surface can be linked to aspects of large-scale form and serial procedures.

            Computer-based instruction in aural training has used one instructional design more than any other—a frame-based drill and practice mode. Extensions of that modality have included (1) an increase in the flexibility of a given program for teachers, allowing them to alter parameters of the software to meet their own teaching preferences, and (2) an expansion of the types of feedback provided to users. While in the first case the basic instructional design has not changed substantially, expanding the types of feedback has moved these designs toward those of intelligent tutoring systems.

            However, the cognitive tasks trained with either of these designs rarely reach beyond those presented by isolated exercises. With the advent of multitimbral keyboards and software sequencers, a different approach to harnessing technology for aural training presents itself. A student not can experience first-hand a real musical context, explore the musical world from different angles within the same piece, and can function—while training the ear—in an environment much more like that of the real musical world. This presentation will focus on the new avenue by (1) briefly surveying knowledge acquisition theory as it relates to learning in complex knowledge domains, (2) discussing the application of that theory to an open-ended, context-sensitive aural training environment, and (3) demonstrating one example of such an application usable with any sequencing program and a multitimbral MIDI keyboard.

       This presentation will demonstrate effective new ways that the presentation of musical analysis can be accomplished with the aid of a graphics-based computer system linked to a compact disc player (CD-ROM).

       Reliance upon visual recognition (score-reading) to suggest ideas and concepts which are, at base, aural is a paradox that presents a substantial impediment to the acquisition of analytical techniques for many musicians. Large-scale or non-contiguous relationships may be the goal of sophisticated analysis, but they are difficult for the novice to explore independently.

       Recent advances in CD-ROM technology allow access to an audio Compact Disc at the block level: 1/75 of a second. A demonstration will be provided showing how current analytical techniques may be implemented, and how this technology makes possible interactive new ones. Apple Computer’s HyperTalk language will be featured.

       Alma Maria Schindler (1879-1964) composed music of various types during the years preceding her marriage to Gustav Mahler, but her only surviving works are fourteen songs published in three separate collections in 1910, 1914, and 1924. Except for a handful of early performances, these songs remained virtually unknown for years. Despite a recent surge of interest, this composer’s music has yet to receive the close analytical study it deserves.

       A close analysis of two representative songs from 1901 reveals a remarkably sophisticated and sensitive approach to the setting of the poetry. The composer illuminates the subtext of Hartleben’s “In meines Vaters Garten” by subtly manipulating three “associative” tonalities (A-flat, E, and A). She also incorporates ingenious references to Tannhäuser, Lohengrin, and Tristan und Isolde. In “Licht in der Nacht,” Bierbaum’s juxtaposition of the dark night with images of light (a famous Tristanesque metaphor) is reflected musically in the composer’s skillful exposition of tonality, motivic harmonies, and three motivic pitch classes (D, E-flat, and A-flat).

       A comprehensive study of Alma Schindler Mahler’s music is urgently needed if we are to understand more fully her complex personality. This paper is offered as a first step to that goal.

        It is widely known that Russian and early Soviet visual artist led the way in exploration of abstract art at the beginning of the twentieth century through several avant-garde movements ranging from Cubo-Futurism and Rayonism to Suprematism, Rationalism, and Constructivism. Similarly, a few of their composer colleagues in Moscor and Leningrad experimented with redefining the parameters of music by abandoning traditional methods of pitch organization. The composer Nicholai Andreevich Roslavets (1881-1944) belonged to this group of Russian musical modernists. He is noted for formulating a “new system of tone organization” between 1913 and 1919 which he continued to refine in his compositions dating from the 1920s. Although Roslavets did not document the details of his compositional method, George Perle, Detlef Gojowy and Yuri Kholopov have associated his work fleetingly with serialism and twelve-tone composition. Supressed since 1930 by the Communist regime, Roslavets’s music has recently found new appreciation and deserves fair critical evaluation The present paper offer a timely reintroduction to the composer and focuses on the initial development of hit “new system.” The presentation is limited to an examination of two of his early compositions: 1. “Nocturne,” a chamber piece of oboe, two violas, cello, and harp dating from 1913; and 2. “Composition II” from his Three Compositions for Piano written in 1914.

       Schoenberg’s discussions of form and developing variation are used as a basis for the creation of an analytical vehicle that links observations of musical structure to the musical surface of his early pre-serial works. This analytical process differentiates elements of the musical surface according to their importance and function within a larger binding connection that identifies cohesion and unity of a composition. Remodeled techniques of developing variation are presented to illustrate how a basic motivic idea can generate larger musical segments up to the phrase level.

       Illustrating the growth of a formal unit from a single motive speaks of a type of background structure operating in a composition. The overall design of the analytical approach presented in this paper rests more upon the non-tonal associative model of Joseph Straus rather than a Schenkerian-inspired model of prolongation. Analyses demonstrating these remodeled techniques of developing variation will be taken from Drei Klavierstuecke, Op. 11/1 and various movments of Das Buch der hängenden Gaerten, Op. 15.

       David Lewin’s Generalized Musical Intervals and Transformations (1987) has provided a wealth of new possibilities for approaching music of all style periods. As this author began the process of trying out Lewin’s methodology on a complete composition, Schoenberg’s “Nacht” from Pierrot Lunaire, it soon became apparent that the piece would be a superb vehicle for introducing Lewin’s ideas to the undergraduate theory class. It is this pedagogical potential that will be explored in this presentation, which will focus on several parameters: significant pitch structures (identified and compared), textual influences on these structures, general shape and form, extramusical considerations (Schoenberg’s interest in painting), and additional possibilities for classroom exploration.

       “Nacht” is permeated with variations and networks of one primary three-note motive, labeled MOTH for this study. By expanding on procedures defined by Lewin, these MOTH networks can be identified, labeled, and compared with little difficulty; and, to the student’s advantage, their presence is apparent both visually and aurally.

       Once these primary networks have been identified, it becomes clear that text plays a crucial role in their generation and organization. Each section contains its own characteristic MOTH structures, and specific words as well as phrases of text affect changes in networks, textures, register, as well as subtle transformations of small motives and even changes as minute as a single pitch.

       The paper will conclude by focusing on the advantages of introducing network analysis, by way of “Nacht,” to an under-graduate theory class, advantages of which include the method’s approachability, creativity, and concern for the listener.

       Each time span in John Adams’s music contains an ordered triple of pc sets called a complex. A complex consists of (1) a chord—a strongly projected triad or seventh chord; (2) a sonority—all strongly presented pcs in the time span, including the chord plus other strongly presented pcs, if any; and (3) a field—a complete diatonic collection plus strongly presented non-diatonic pcs, if any, encompassing both the chord and the sonority. The Common Tone Index (CTI) compares two complexes in terms of the number of pcs in common between their chords, sonorities, and fields. The CTI for diatonic complexes consists of three numbers separated by slashes, for example 3/4/5 (common chord/sonority/field tones). The CTI for superdiatonic complexes (which include a diatonic collection plus pcs outside of the diatonic field) adds the non-diatonic field tones in parentheses, for example 3/4/5(+1). The CTI-class offers a simplified version of the CTI, listing the number of common chord tones and common field tones only, for example 3//5, with a variable number of common sonority tones. Along with the theoretical apparatus described above, the poster displays an analytical exploration of John Adams’s Common Tones in Simple Time (1980), including harmonic sketches of the three main sections and a pc graph that summarizes the role of common tones in this piece.

     Of Alexander Zemlinsky’s four string quartets, the second, Op. 15, is arguably the most progressive and complex. Completed in March 1915, it is a one-movement, multi-sectional work in the same manner as Schoenberg’s Op. 7 quartet. Schoenberg’s Op. 10 quartet seems to have had an especially direct influence on Zemlinsky, and links between the composers’ two quartets will be explored.

     Zemlinsky’s quartet belongs to the problematic “transitional” repertoire of the early twentieth century. Tonal ambiguity is achieved in several passages by the unfamiliar juxtaposition of familiar harmonies. The composer uses two “triadic tetrachords” (specifically, major and minor triads plus ^#4; Forte’s 4-18 and 4-Z29) in a nonnormative tonal context. Other non-triadic harmonies are also exploited. Many otherwise difficult passages are best understood as developing variations of motives from the opening measures. It is hoped that this study provides a viable approach to Zemlinsky’s quartet and similar compositions of the period.

            The finale of the First Symphony has long engendered discomfort even among Mahler’s champions: La Grange, for example, faults it on both formal terms and on the basis of its dramatic texture. Rather than ascribe the difficulty to some weakness in the pieces themselves, however, we should be prepared to seek a novel analytic solution to the unique musico-dramatic problems that Mahler’s symphonies present.

            The finale of the First Symphony is construed here as an interweaving of four distinct organizational strands: formative, narrative, cyclical, and allusive. Thus while some traditional sonata functions are clearly represented, that of recapitulation is largely supplanted by the programmatic structure embodied in the movement’s 1893 title, Dall’ Inferno al Paradiso; likewise, many formally problematic features, including the movement’s tonal structure, are illuminated by overt and underlying tonal and motivic associations with earlier movements.

            Finally, the symphony is considered in light of the transcendent position held by Beethoven’s Ninth Symphony in the world of the 19^th-century symphonist: thus the reference to Brahms’s well-known remark. The Ninth was a specialty of Mahler’s, and its influence—including strategic allusions to each of its four movements—is shown to be a crucial formative factor for the nature an shape of Mahler’s initial symphonic essay.

            One of the challenges one faces when teaching lower-division theory classes is the problem of maintaining a high level of student interest and morale. In his theory classes at South Dakota State University (particularly Sophomore Theory), Lis has used pop tunes by recording artists such as The Police, The Doors, The Beatles, The Pointer Sisters, and Lionel Ritchie to illustrate such concepts as modes, borrowed chords, the Neapolitan Sixth, augmented sixth chords, chromatic mediants, and altered dominants. He has found this approach to be an excellent way of motivating students. Drawing on his ten years of experience teaching undergraduate theory, Lis has assembled a bibliography that lists nearly 70 tunes that contain examples of modal writing and/or chromatic harmony. Lis’s bibliography lists each tune, the composer, the catalogue number of any available recording, and the specific measures where each device may be found in the sheet music.

            Paul Simon’s 1975 album, “Still Crazy After All These Years,” represents a watershed for Simon’s work in its large-scale structural coherence, the close relationship between narrative and music, and, surprisingly, in its structural similarities to the German Romantic song cycles of Schubert and Schumann. “Still Crazy” shares with the earlier cycles the principles of association and succession. In the former, specific characters and ideas are associated with particular keys, although not necessarily in a coherent ordering; in the later, key succession significantly corresponds with the narrative progression. “Still Crazy” associates the general tonal strategy for each song with its expressive content and placement in the cycle. Thus the songs of Part I (nos. 1-5) feature progressive tonal structure (beginning and ending in different keys), reflecting narrative themes of instability and the search for identity; conversely, the songs of Part II (nos. 6-10) feature circular structure and simpler harmonic organization, reflecting the theme of attempted self-acceptance. More detailed analysis demonstrates parallels between the introduction of the opening song and the larger key succession, as well as further aspects of cyclic coherence.

            Miles Davis is a predominant figure in the evolution of jazz during the past half-century. While his death in September 1991 ended his direct influence on further stylistic innovations, the impact of his music on the jazz community and other popular musical idioms remains. Davis is recognized as the originator of the cool jazz style during the 1950’s and as one of the first to meld characteristics from other popular musical idioms to create a new form, fusion. He is also regarded as a leading proponent for the technique of modal improvisation. This paper traces some of the stylistic features that transformed Davis’s music from the cool jazz of the late Fifties to the fusion of the late Sixties. Differences in melody, harmony, and form are examined in three pieces that represent Davis’s stylistic development during this period.

            Many students in first or second year theory classes cannot relate the music theory they are learning to the music that they already know, and to many musical experiences outside the classroom. Many of these students are more familiar with rock music than classical music. These students could better understand the principles of classical music theory of a connection between these theoretical constructs and the students’ “folk” music (rock music) was made, i.e., if the professor could show correctly voiced Classical chord resolutions and progressions, and identical correctly voiced resolutions and progressions occurring in rock music. There are countless examples of parallels between rock and Classical music, yet the connections between these different musics are seldom made.

            Similarly, students in many ear training classes are too often insulated from realistic and musical learning experiences. Most ear training classes involve the harmonic, melodic, and rhythmic perception by means of dictation. The music used in this dictation is usually played at a piano and divorced of context—a progression played as block chords in the middle register of the piano, at a dynamic level of mezzo forte and in a uniform heterogeneous rhythm is common.

            This paper will present a concrete methodology outlining how and why Classical music and recent American rock music can be used simultaneously in theory and ear training classes. The paper will focus on the development of proper voice leading in rock and Classical music beginning with first and second inversion triads and their preparations and resolutions, and secondary dominants. The presentation will feature striking audio-taped examples of identical chord progressions in works by Beethoven and Van Halen, Haydn and Talking Heads, Brahms and The Doors, and others. The paper will conclude with examples of metric modulation and polymeter in the music of the Pixies and Oingo Boingo.

          How do composers write pieces of music? To what extent can we explain this process? Although these questions are of great interest to musicologists and psychologists, we are still a long way from offering any satisfactory solutions. In part, these difficulties arise because the problems are inherently complex: any answer raises issues not only about the composer’s stylistic background, aesthetic intentions, and psychological pro?le, but also about the structure of the ?nal score and its reworkings, as well as about the ways human beings input, store, process and retrieve music. However, difficulties also arise because of basic differences in outlook between musicologists and psychologists; whereas the former are largely unaware of recent research in music cognition, the latter often neglect the concerns of music historians and music theorists. 

          This paper tries to bridge the gap between the two fields by examining the way Debussy composed Iberia, the second of his orchestral Images. The piece was chosen for several reasons. First, the Images have a rather elaborate composition history. Debussy began the set in 1905, but did not finish Iberia and Rondes de printemps until 1910 and Gigues until 1913. Luckily, we can chart the work’s genesis from numerous letters and manuscript sources, including the autograph, several drafts, and various preliminary sketches. Second, Iberia presented Debussy with several speci?c compositional problems. In fact, the work is the culmination of his experiments in symphonic writing and cyclic composition. By focusing on these issues, we can invoke recent cognitive models for problem solving and pattern recognition and thereby begin to understand Debussy’s decision-making process.

          The author describes his work on the music and theories of Josef Matthias Hauer (1883-1959). Investigating Hauer’s music presents many problems: first, since only preliminary catalogs of Hauer’s complete works exist (Stefan 1961, Szmolyan 1965), the possibility always exists that the scholar may uncover a previously unknown work (and this is especially true of the late Zwoelftonspiele). Second, since Hauer frequently gave his late works to friends as gifts, these unknown works can sometimes be found in unsuspected places. In fact, in the course of his research in libraries and archives in Austria and Switzerland, the author uncovered a number of previously uncatalogued works. 

          But some of the most important sources of information and documentation of Hauer’s music exist in a few small private archives in Vienna, Graz, and Klagenfurt. The author describes how he set about “tracking down” these archives and the ways in which the documents he examined enriched his work. 

          For many of Hauer’s late Zwoelftonspiele, there exist corresponding melische Entwurfen. These “melic designs” are four-colored sketches that show how the twelve-tone structure and its four-voice polyphonic setting are organized. With the aid of color slides, the author will demonstrate how a melic design was transcribed first onto a four-color orchestral score, and from that onto a standard orchestral score.

          Sketch studies of Alban Berg's music have yielded rich insights into the composer and his compositional methods.  The re?ections of Berg’s “secret life” in his music have been uncovered by George Perle, Douglas Jarman, Douglas Green, Patricia Hall, Brenda Dalen, and Mark Devoto, and sketch study has revealed the hidden song in the final movement of the Lyric Suite and allowed for the completion of Lulu by Friedrich Cerha. While it would seem that such study is above reproach in Berg scholarship, the very nature of Berg’s cryptic number and pitch symbolism raises certain analytical questions. 

          For each of his twelve-tone pieces, Berg left extensive row charts and row-related sketches, in which specific rows and order positions are marked. In terms de?ned by Philip Gosset, these sketches are useful in that they are confirmatory, they confirm relationships analyzed from the score, and suggestive, they suggest different angles on relationships found in the score. Berg’s derivations of material from rows in his twelve-tone music are often so complicated, however, that the row sketches themselves direct the analysis. In this role, they fall into Gosset’s problematical category of “conceptual,” where sketch evidence uncovers the origins of relationships that have been substantially transformed in the piece or have become irrelevant in context. For instance, the row origins of the “Klagegesang” violin melody (mm. 164ff.) and the Trio 11 theme (mm. l55ff.) in Berg’s Violin Concerto are given in the sketches, but their order position attributions and “relationship” to the row have no analytical value in the piece and are actually misleading by positing a false unity. Similar questions about sketches determining analysis have been raised by George Perle in relation to the derived rows in Lulu. Berg’s more recondite derivations are often akin to secret codes, such as the “23” and “10” symbolism in the Lyric Suite, which have no analytical relevance in themselves. Analysts must carefully distinguish sketch evidence which illuminates the composer and his working methods from that which yields analytical insights into his pieces.

          The documents surrounding a composer’s work—music manuscripts and verbal records such as diaries and letters—exert a strong attraction to anyone who values that work. By examining artifacts produced by the composer, we feel closer to the composer’s physical person and perhaps even imagine that we understand his thought processes. Both of these impressions are illusory and should be resisted. Source studies will not provide a secret key to unlock the mysteries of the music at hand; their value lies instead in their power to change our reception of that music. 

          Webern’s sketches and drafts of his pre-twelve-tone music, for example, allow us to see a different side of the composer, one that substantially modifies the post-war view of Webern as cerebral constructivist. This “other Webern” is suggested by the fragments, sketches, and drafts of his middle-period Lieder (Op. 12, 13, 14, 15) found in the Paul Sacher Foundation in Basel. Several fragments from the middle 1910s are much more traditional than the contemporaneous published works (Op. 12, 13, 14 and 15); many drafts use extended ostinato, four-bar phrase structure, and even triadic tonality. Some of these experiments found their way, in transformed guise, into the finished works. Knowing the origin of a musical idea, we can develop historically informed analytical tools to interpret it; in this case, that means resisting seeing motivic transformations as anticipating an as yet unknown twelve-tone technique. 

          The sources from these years reveal something even more important than musical technique; they show the extent to which Webern derived inspiration from poetry. We know from the fact that he composed only songs for ten years that he had a strong attraction to the lyric genre. The primary message of the sources, however, is that verbal texts—of Trakl, Bethge, Kraus, Goethe, and others—provided the initial impetus for composition and continued to guide the entire process. This emphasis can help us to reevaluate the signi?cance of Webern’s neglected Lieder and can also affect how we hear his later twelve-tone music.

            The first edition of Schoenberg’s Ode to Napoleon Buonaparte, op. 41 (Schirmer, 1944), was compromised at the outset by a number of typographical errors. The Belmont edition of 1973 has corrected the most obvious of these and stands, at present, as the most reliable printed score Yet, an examination of the precompositional sketches, the autograph first draft, and the fair copy raises questions as to the accuracy of the Belmont edition.

            This paper deals exclusively with pitch discrepancies between the various versions of the Ode, arriving at a proposed set of corrections that is supported by the autograph, as well as by the theoretical/compositional precepts evident in the sketches. Analytical studies of the Ode are few in number and limited in scope, but one principle emerges consistently: that the work is based on a twelve-tone set, reducible to two third-order all-combinatorial hexachords of Tn/TnI type [014589] (Rahn), or Forte’s set 6-20. While Schoenberg’s free approach to ordering within the hexachord precludes the identification of a single basic set, the logic of the hexachordal partitions suggests that certain changes in the later versions of the score represent copying errors, rather than revisions.

          The Arnold Schoenberg Institute, as the repository for nearly all of the known Schoenberg manuscripts, offers the Schoenberg scholar an incredibly intimate look at the many fascinating facets of the composer’s life and works. And for the musician in us all it is impossible to view the sheer size of this collection without feeling admiration and joy for this creative human spirit. But once beyond this initial impression, the scholar will find the detailed study of Schoenberg’s documents invaluable, not because they will give de?nitive answers to your questions (they probably won’t), but because they raise so many interesting questions on their own.

          In this paper the author will give a brief overview of his own ?ndings at the Arnold Schoenberg Institute, including the discovery of the earliest known sketches for the Third String Quartet, Op. 30. The topic will then broaden to a more general discussion of the differences between Schoenberg’s sketches for his post-tonal works and his twelve-tone works, comparing Schoenberg's own published statements about his compositional problems concerning free atonality and serial composition with the evidence of revisions and theoretical diversions found in the sketches.  Finally, the paper will conclude with a discussion of important areas of future research with Schoenberg’s documents and some suggestions and ideas for scholars contemplating a research project at the Arnold Schoenberg Institute.

          Music theorists may be called to testify as expert witnesses in infringement litigation on whether similarities between two works warrant a legal inference of copying. Expert testimony is supposed to help the lay trier of fact understand unfamiliar or complex issues. This paper presents the expert testimony and legal strategies of Selle v. Gibb, a 1983 case in which the Bee Gees’ “How Deep Is Your Love" was accused of plagiarizing the work of an amateur composer. The law requires either proof of access plus “substantial similarities” or a showing by a qualified expert of “striking similarities” that could only be the result of copying. 

          Selle, like many cases previously tried, presents musical analyses which are often haphazard and sometimes theoretically baseless. As a result, the intellectual approach to music has been viewed with much skepticism by the courts, and the law has favored the “untutored perceptions of the ordinary listener.” In Selle, plaintiff’s expert, a distinguished professor of music theory, failed to satisfy the legal criteria, and the judge overturned the jury verdict as a result.

          Alternative temperament systems to the standard twelve-tone equal tempered system (ETS) have gained in popularity in the twentieth century as new compositional resources. However, these alternative systems also offer intriguing analytical possibilities; in many ways ETSs 19 and 31 are better suited than ETS 12 to the analysis of Renaissance music. One consideration is that meantone temperament was the predominant temperament during the Renaissance; ETSS 19 and 31 do a better job of approximating meantone temperament than ETS 12. The relative merits of ETSs 19 and 31 as analytical frameworks are examined in this paper. ETS 31 allows for the distinction between chromatic semitones and minor seconds. The difference between these two intervals is a little over 41 cents, which is nearly a quarter tone in ETS 12. This difference is perceivable and, to be true to Renaissance music, should be reckoned with. Aspects of pitch-space and pitch-class space within these ETS frameworks are examined in “Consonanze stravaganti,” an organ work by Giovanni Macque, and “lo pur respiro,” a madrigal by Carlo Gesualdo. Theoretical sources include Robert Morris and Easley Blackwood.  

          In the St. Matthew Passion Bach follows Christ's prayer, “My Father, if it be possible, let this cup pass from me,” with a bass aria: “Gladly, whatever the cost, I shall carry the cross and drink the cup (Kreuz und Becher), just as did the Savior.” In the autograph score, rather than write the word Kreuz, Bach substitutes the Greek letter chi (X), producing a rebus, a puzzle where pictures substitute for words. Bach sets the chi to a variation of a musical metaphor that he often uses to represent the cross, but a variation upon which, in this instance, he appears to have suspended himself—a contrapuntal permutation of his own name. The synergy of word, music, and symbol invites us to speculate that Bach intended, here, to represent not just the beliefs of Christendom, but his own beliefs. The purpose of this paper is to consider how the Christian cross, as symbolized in the sacred repertory of Johann Sebastian Bach, has influenced the musical structure of that repertory.

            Abstract not available.

Presenters also include Sang-Hie Lee (University of Michigan) and Allan Dudek (The Ohio State University).

            Beethoven’s score is an “action notation”: it tells the performer what to do when, but not why (in the sense of musical connections or emphases). Every performance is thus an analysis of the score which attempts to supply missing information in several domains. A theorist can suggest structural and affectual ideas to be translated by a master pianist into coaching instructions for an advanced student. The computerized Bösendorfer piano provides quantitative analytic detail and controlled re-performances.

            A demonstration of techniques for the analysis of piano performances using the Bösendorfer 209-SE grand piano will be given. These techniques will utilize two Opcode MIDI software programs, Vision and Max, as well as the Stahnke editing system in generating, manipulating, and analyzing data culled from real-time performances on the Bösendorfer. In addition, a method for combining data from two performances of the same piece into an aggregate performance will be demonstrated and discussed, along with a report of results from a perception study using aggregate performances to determine factors influencing listeners’ choices of timing data or velocity data as prominent in the recognition of individual performance style.

          A distinctive aspect of Schenker’s methodology is the combining of representations of large-scale structure with indications of foreground closure within one and the same analytic sketch. In such cases one or more initial members of the Urlinie govern signi?cantly large time-spans of the piece, whereas the ?nal 2-l descent occupies only a relatively brief time-span. This approach may be troublesome when it comes to analyzing da capo-type forms, since the music associated with structural closure of the final A section literally repeats the music which earlier effects closure of the initial A section. 

          In this paper it is suggested that this kind of analytic method violates our empirical experience of tonal music; and it is further argued that the pitch-classes associated with background structure should be clearly differentiated from the pitches comprising foreground closure. Indeed, they should be regarded as two independent elements of tonality, and as such totally disassociated in analytic sketches.  

          This paper examines Schenker’s approach to form with particular attention to three-part undivided forms. Schenker‘s somewhat fragmentary criteria as to what exactly constitutes three-part form is developed and extended. Through analyses of selected works, it will be shown that three-part inner forms are derived, not, as Schenker suggests, from the governance of some deep—middleground event, but rather through the mutual rapport of several levels of harmonic/voice- leading structure, which may or may not be aligned with a piece's outer form. The paper concludes with some observations on different ways three-part inner forms (harmonic/voice-leading structure) may interact with outer form (phrase structure). 

          For despite what Schenker says, formal processes do not simply reside at some middleground level just waiting to be found; and it is misleading and perhaps even wrong to say that the form of a particular piece can be characterized as one part or two part. It is all a matter of focus. And to focus a formal discussion upon one level, be it deep middleground or in the phrase structure, is to lose sight of the incredible, dynamic depth that music holds.  

          In his recent book Mimesis as Make-Believe, philosopher Kendall Walton provides a general account of imagining that has many fruitful implications for considering how we regard tonal music, two of which I explore in this paper. The first part of the paper examines some ways in which common theoretical concerns do in fact directly engage the imagination, taking as my point of departure Schenker’s striking description of the passing tone in second species counterpoint as a “curious intrusion of the imaginary.” Using Walton's analysis of non-objective painting as an analogical case in the pictorial arts, I show that absolute music can be considered representational insofar as the fictional worlds created by it are populated with tones. The second part of the paper brie?y sketches a way of using Walton's distinction between the fictional worlds of representational works and the fictional worlds of the games we play with them to aid our understanding of the discomfort theorists also feel with explanations of musical “meaning,” explanations which, from a theorist’s point of view, are usually unwarranted intrusions of the imaginary.

            The presentation on jazz focuses mainly on the application of techniques derived from performance practice to the teaching of aural skills. In addition, a succinct presentation provides some ideas for the incorporation of jazz pieces into the theory classroom.

            The presentation on film music offers a brief historical-stylistic overview of film music, provides information on sources (in handouts), discusses the use of film music in theory classes, and demonstrates with two or three examples (as time permits).

            The presentation on black music concentrates on analysis appropriate to a course in materials and/or literature. Extant analyses of black pieces (largely art music) are examined, followed by a discussion of what an effective analysis should demonstrate.

            The two-part presentation on rock examines ways in which rock music can be tamed for study in the music-theory classroom. Part One focuses on helping students understand rock music, by engaging theoretical and analytic issues. Part Two outlines some ways in which rock is helpful for improving students’ aural dictation skills.