Contemporary analytical practice recognizes three types of motives. There are Schoenbergian motives, motivic parallelisms, of which I identify two kinds, structural and nonstructural, and those motives I call referential. This last category describes sonorities that create networks of cross-references not available through the first two types of motives. This multiplicity of motivic forms is ignored in analysis because each type of motive works within a larger theoretical paradigm. A sensible approach integrates these types of motive, demonstrating how they are commensurable yet maintain their ontological basis. The revisionist outline that I propose coordinates analysis of the contrapuntal-harmonic domain with a detailed mapping of the motivic structure of a tonal composition, demonstrating the need for expanding the analytical horizon of our most valued theoretical models. 

        Analysis of the “March" from the Notebook of Anna Magdalena reveals the wealth of motivic networks at play in a piece of modest proportions, and highlights the inherent complexities in merging different analytical approaches. Consideration of registral and ordering parameters, ignored by Schenkerian motivic parallelisms, demonstrates their crucial role in the work's motivic unfolding. Finally, I examine motivic unfolding as a source of a narratography in which motives are subjects and agents of action. Through motivic narratography their unfolding transcends the diachronic order of the piece. Analysis becomes discourse, the piece its story.  

          I propose to explain the function and evolution of certain expressively conceived structures in Schubert's late piano sonatas (1828), concentrating on the Piano Sonata in A major (D. 959). In these works Schubert thematizes the expressive potential of resonance and articulation-as-gesture in remarkably prescient ways. His harmonic experimentation and lyric mastery have often been cited; but these innovations, which help explain his approach to sonata form, have been neglected. In considering Schubert as “progressive,” I have borrowed a term, and its implications, from Schoenberg's in?uential essay, “Brahms the Progressive" (1975), Schoenberg accounts for developing variation as a formal principle of thematic process in Brahms. In turn, I will account for the ongoing evolution of thematized elements in Schubert, but my account will be conceived in expressive, not merely formal, terms.  

          The treatment of generative musical ideas in Ellen Taaffe Zwilich's Pulitzer Prize-winning Symphony No. 1 (1982) combines the two approaches to organicism recently explored by David Montgomery in the music of Schubert, Schumann and Mendelssohn, among others. At the beginning of the first movement, Zwilich concatenates a series of increasingly distant variations of a simple prototype (a four-note motive), to create a more complex prototype (a seven-bar violin theme). The violin theme functions structurally throughout the work like a main theme, although once it is stated it is never heard again in its complete form. Instead, motives are derived from this complex prototype and from the simple prototype, and the development and prolongation of these motives constitutes the primary melodic and harmonic material of the work. In addition. the prototypes in?uence the long-range harmony and formal  design of the symphony, especially in the first movement.  

        Using an external CD-ROM disk drive the presenter accesses two compact disk recordings of the Goldberg Variations (Trevor Pinnock and Glenn Gould), synchronizing the sound with notation, animation and full-color graphics on the computer screen. In this presentation the author explores various interactive presentation techniques including the use of color, animation, layering of structural elements, aural-visual synthesis of events, and three dimensions.

        The study of multimedia genres, such as opera, poses unique problems for students and teachers, for here it is essential that one comprehends the musical/dramatic structure on a variety of simultaneous levels before more traditional analytical parameters can be addressed in their proper context. At the very least, one should know the opera‘s basic plot, have a sense of the characters and their dramatic interaction on the stage throughout a scene, and understand the direct translation of the text in real time. One might also examine the possible significance of key centers, orchestration or melodic material in the dramatic development of individual characters, or how the musical designs of various scenes fuse together to create a composite dramatic entity. 

        This paper focuses on sonata-form key designs in Mozart's Le nozze di Figaro, which when explored through multi-media can vividly depict the inherent dramatic essence of this form. In this way, sonata form’s stereotypical conflict and resolution between opposing tonalities can be transformed into a three-dimensional theatrical battle between real characters on a stage. Although Hypercard and QuickTime offer exciting new possibilities, the practical limits of these technologies for presenting animation will be addressed.  

        Animated computer graphic environments and CD-ROM technology offer new potential for the analytical mapping of music. To explore this new graphic medium and some questions it raises for music theory, I will present and discuss several real-time graphic models for sections of Stravinsky's Petrushka. In addition to discussing the analysis itself, which extends traditional analytical perspectives of Stravinsky's music into a new aural/graphic medium, the paper also examines the process of creating and “reading” the analysis, considering cognitive and pedagogical implications of hypertext and real-time musical graphics. 

        One advantage an animated temporal graphic environment offers is that a plurality of viewpoints may be plotted on the temporal grid. This is particularly useful for works which seem to display a heterogeneous sense of unity, rather than a monolithic organicism. It is possible to symbolically represent different analytical paths, which may at times diverge and at other times intersect. The analysis traces and interrelates different perspectives on Petrushka, including the unfolding of referential pitch-class collections, the interplay of non-functional diatonicism and functional associations, and the narrative aspects of Stravinsky's motivic design, which resonate with characterization and scenario.  

        As early as the 1960s scholars have employed computers in numerous ways to assist in the exploration, analysis, and teaching of post-tonal music. These programs often are hindered, however, by the problems associated with score entry and manipulation. Complex and often cryptic alpha-numeric encoding schemes such as DARMS suffer numerous shortcomings in their functionality. Not only do they tend to be decidedly non-intuitive to use, but often they extract a signi?cant cost in time as well. And, since a score must be encoded into a suitable format before it can be used in the computer environment, most students and scholars never even begin to explore the potential. 

        Threader is a Prolog-based interface for entering and exploring post-tonal scores. Essentially, Threader represents a musical score as a series of lines placed on a two-dimensional pitch/time grid. The user enters, edits, and manipulates musical events (pitches, rests) by using the standard Macintosh editing methods. Once a score is entered, the user employs tools for organizing that score into user-identified and defined conceptual “objects” for submission to built-in analytical operations. By following visual cues that more closely resemble the spacial relationships between objects, the student is able to explore more complex analytical interactions than might be possible with traditional pencil and paper approaches.  

        This presentation will focus on tools available for Windows 3.1 developed by IBM Academic Information System (ACIS) and Institute for Academic Technology (IAT) personnel that I have been testing and using since returning from a three-month appointment as a Fellow at the IAT working with multimedia software development. In particular, I will demonstrate a program called CD TimeLiner developed by Dr. Douglas Short of the IBM ACIS group. This software facilitates the creation of Multimedia ToolBook applications that combine CD audio clips with synchronized text, imported bit map graphics, standard MIDI files, and music notation generated by standard PC notation packages, among them Music Printer Plus and Finale. I have developed and used application with good results in class and will share some observations about both the software and the use of such software in instructional settings. 

        In addition, I will demonstrate brie?y CD BRAHMS, a CD ROM and MIDI ToolBook application that presents an in-depth analysis of the Brahms Handel Variations, using as text Schenker's Tonwille essay on the work. The authors of this software, William Renwick and David Walker of McMaster University, regard it as an interactive multimedia program in music analysis. Each variation is presented individually, accompanied by graphs that may be played back via a MIDI instrument and by full music notation coordinated with CD audio.  

       George Crumb's preoccupation with the tonal tradition is manifested in many ways, most notably in his direct and indirect borrowings from past music. Crumb weaves salient features of earlier compositions into the fabric of his music at every level, a “parody” technique that has not received sufficient attention from analysts. The paper describes this essential aspect of Crumb’s music by offering a detailed analysis of the 1969 chamber piece, Night of the Four Moons. The analysis is informed by recent work on intertextuality (Hatten 1985) and musical influence (Straus 1990 and Korsyn 1991). 

       Four Moons is unusual among Crumb’s works from this time in that it does not contain explicit quotations from other pieces. Nevertheless, the piece is deeply influenced by two earlier compositions: Mahler’s Das Lied von der Erde and Haydn’s Symphony 45 ("Farewell"). Associations among these pieces extend to all levels of structure. At the global level, the formal design and main tonal centers are remarkably similar. At a more local level, Crumb derives thematic material from principal melodic and harmonic motives in Mahler and Haydn. Crumb’s peculiar instrumentation, the selection of poetic images from Lorca, the theatrical gestures, and certain symbolic features of Four Moons also seem inspired by his models.

          A study of the rough sketches for Apollo shows how closely this work re?ects Stravinsky’s belief that “something new” can be produced when “a tradition is carried forward." It might not always be possible, or necessary, to identify which traditions Stravinsky was carrying forward in this piece, since it was not his intention to imitate past successes. Rather, he sought to create "new conventions" by using models of the past. 

          It is likely that the sketchbooks for Oedipus Rex and Apollo were originally combined. The French musicologist André Schaeffner wrote that Stravinsky sketched the birth of Apollo chord at the end of his Oedipus Rex notebook. The Apollo and Oedipus Rex notebooks are now separate—thus, the birth of Apollo chord appears on the second page of the sketchbook for Apollo, and not in the sketchbook for Oedipus Rex. Nevertheless, the birth of Apollo chord can be linked stylistically to at least one passage within Oedipus Rex. And, nestled within the introductory pages of the rough sketches for Apollo Musagète, there is evidence of the tritonal axis from the “Coronation Scene" of Boris Godunov. In other instances, the sketches for Apollo are improvisational and show Stravinsky’s use of montage. 

          In spite of the musical objectivity that seems to be Stravinsky’s purpose in using classical Greek subjects, certain emblematic “Stravinskyisms” survive in the musical kaleidoscope for Apollo.  

        Schoenberg's Gurre-lieder strikes me as a young composer’s self-conscious agon with received musical tradition. On the one hand, he demonstrates his mastery of the craft of his predecessors—he makes it his own. On the other, he begins the struggle to find his own distinctive voice as a composer. The range of musical styles within the work—from the reactionary to the innovative—seems almost to constitute a musical symbol that parallels an important theme of the text: generational conflict, change, and renewal. 

        My presentation will demonstrate the range of styles with respect to one particular musical parameter: phrase rhythm; I will contrast three distinct styles of phrase rhythm found in Gurre-lieder and discuss their respective relationships to musical tradition and to subsequent musical developments. The first shows Schoenberg using phrase rhythm in a “classical” manner. The second shows the in?uence of Wagner's style of “musical prose” and “endless melody.” Finally, the third exhibits an unprecedented degree of metric conflict and complexity that is very progressive, but which I interpret to be a development of the technique of Brahms in particular.  

        This paper seeks to demonstrate the versatility that Bill Evans exhibited in his writing and his playing, with respect to temporal structuring. Frequently in his compositions, the boundaries are blurred between linearity and nonlinearity, as well as between goal direction and nondirection. In performances of both his own works and the works of others, he demonstrates the unusual ability to transform the time structure of the piece into a form other than the original. Four pieces are examined: Peace Piece, Orbit (Unless it's You), N.Y.C.'s No Lark, and Are You All the Things? Discussion includes the written and recorded versions of each piece, with a comparison of their temporal genres.  

        Since the seventeenth century the word “accent” (accento in Italian, Akzent in German, accent in French) has been associated with meter. But in recent American treatises accent is not only associated with meter and hypermeter, but also with phrase rhythm. In other words, the initiation and termination of tonal motion. The distinction between meter and rhythm is an important one for it corrects the mistaken notion that the phrase is simply a measure writ large—a formal group without an identity distinct from meter. American treatises are not the first to make this distinction however. My review of the literature over the past three centuries reveals that Mathis Lussy’s Traite de I'expression musicale (1874) is the ?rst to rescue accent from the clutches of meter, proposing independently-founded metric and rhythmic accents.

        Gerald Mc Boing Boing is a score worthy of note among Gail Kubik‘s (I914-1984) entire output not only for its inherent musicality and effectiveness but also for its decided departure from the stylized norms of motion picture music, and even more extraordinarily in this case, music for an animated cartoon. Central to the music's interest is Kubik’s manipulation of its rhythmic and temporal possibilities. Within a primarily linear framework, the composer creates temporal strata which are reflected in the instrumentation, narrative, and visual aspects of the ?lm, resulting in a sort of “temporal counterpoint” which is exploited for both musical and dramatic purposes. In addition to examining these aspects of Gerald, this presentation will include a deconstruction of motivic groups for their generative possibilities and their role in the rhythmic and melodic evolution of the work. The aural vs. visual impact of various meters throughout the piece will be discussed and comparatively analyzed as well.  

        A pervasive feature of Brahms's sonata forms is his blurring of the articulation that normally results from the simultaneous return of the first theme and the tonic at the beginning of the recapitulation. While acknowledging that a full appreciation of Brahms's recapitulations depends on their relationship to conventional expectations, the formal overlap at the reprise in the first movements of the C-Minor String Quartet, the F-Major Cello Sonata, and the Fourth Symphony is viewed as an intensification of the organicist component inherent in the sonata style. Through an examination of the con?ict between the extension of a retransitional process of liquidation through rhythmic augmentation and the emergence of the reprise, the paper explores one of Brahms’s major contributions to sonata form, his expansion of the possibilities for the nature of the recapitulatory articulation. The analyses also reflect on the debate between Schenkerians and Schoenbergians regarding the priority of middleground tonal structure and foreground motivic process for formal articulation, and suggest that the prolongational connections on the earlier structural levels and the processes on the musical surface together form a context in which each can be understood more fully.

        Early in his career, Claude Debussy developed a tonal language which evolved from nineteenth-century chromatic functional harmony to a system which can be described as the intersection of major and minor third-related harmonies around a tonic pitch center. This "major-minor third axis” is traced in three of Debussy's early works: the Symphonie (1881), the first movement of the Quatour a cordes (1893), and L'lsle joyeuse (1904). Analysis reveals that the long-range tonal designs of these pieces are based on a teleological schema based on this axis. In the later works, the major-minor third axis is also found on the musical surface, thus exhibiting a sort of quasi-hierarchical system of tonal associations. While the major-minor third axis embraces the traditional tonic-dominant polarity of functional harmony, it also serves to explain other phenomena in Debussy’s music such as whole-tone passages and other non-traditional scales.  

        We study two distinct but interrelated topics as they apply to Berg's Violin Concerto: 1) phrase formation and its relation to musical rhetoric and affect; and 2) musical double-entendre, constructions that allow musical ideas to function as “closing" as we enter into their time-space and as “opening” as we exit from that time-space. The discussion of phrase formation is based on Berg's adaptation of Schoenberg’s categories of musical period and musical sentence. Within the Violin Concerto, virtually every musical phrase is patterned after one model or the other. Moreover, each phrase type correlates with specific kinds of affects and with specific formal functions within the larger context of the work. 

        The discussion of double-entendre takes as its point of departure David Lewin’s comment that music does not take place in “Euclidian space.” By this, Lewin means that unlike points on a line, notes on a page are not merely fixed moments in a linear progression of sound events. On the contrary, musical objects are subject to revision as we anticipate (or recollect) them in various contexts of the musical stream. In our examples, music that serves to bind larger sections together is composed so that as we enter its space it sounds like an extension of closing of what had come before, and as we continue past that space it is experientially brought into the section that seems to continue out of it.  

        In Elliot Carter‘s music, the sense of departure and arrival is essential and forms a prominent pan of our listening experience with this music. This presentation focuses on the manner in which Carter articulates these goal-oriented moves in his Second String Quartet in the domain of pitch. Special emphasis is given to the interaction between the various aspects of the composition of these moves. These aspects involve: 1) the register and registral distribution of the pitch material, 2) the generation of the pitch material from all-interval tetrachords and from different combinations of these tetrachords, and 3) the intricate interplay within and between the instrumental parts based on the intervallic repertoire assigned to each instrument. The paper proposes that it is from the interaction between these different aspects that the sense of motion in the Second String Quartet arises.  

        In numerous writings and interviews over the last three decades, György Ligeti has articulated not only the basic principles of his musical thought, but also the key concepts that apply to each of his works or to particular groups of works. Using some of these concepts as a point of departure, the present paper examines the compositional techniques of net-structures, webs of ?nely-woven interacting lines in constant pitch and intervallic transformation, as illustrated by Ramifications for string orchestra (1968-69). Pitch reductions are used to analyze net-structures based on chromatic fluctuation of melodic microstructures, and those that result from constant canonic transformation of harmonic cells by means of intervallic expansion or contraction. Ligeti's net-structures, supported by carefully balanced harmonic processes displaying both symmetrical arrangements and long-range intervallic structures, are built into large formal designs governed by proportions such as the golden means.

        Fritz Heinrich Klein (1896-1977), a pupil of both Schoenberg and Berg, is best known for developing the row used by Berg in the Lyric Suite. In an article of 1925, “Die Grenze der Halbtonwelt," Klein described his discoveries of this twelve-note row, as an all-interval chord called the “Mutterakkord,” as well as a “Pyramid chord” from an ordered series of the twelve intervals (an “octatonic” collection), and his derivation of the 4095 distinct pitch-class sets. Klein also mentions his own composition, Die Maschine from 1921, which features the “Mutterakkord," “Pyramidakkord,” a twelve-tone theme, a twelve-attack rhythm, an ordered twelve-interval theme, and a “neutral” scale of alternating whole and half steps. Despite his innovations, Klein has been largely omitted from the history of set and twelve-tone theory. This paper presents a discussion of Klein, his writings, and the piece Die Maschine. 

        At issue is the extent to which re?ection mediates musical experience: I will argue against the common critical notion that the grim business of interpretation blunts both the emotional impact and cognitive confusion of our initial responses to the music. In their impatience to move around the hermeneutic circle, to arrive at a knowable understanding of the music, critics often elaborate a dull formalism that impoverishes the musical present. This needn't be: focusing our interpretive activities on the “temporal predicament” of listening makes our musical immediacies— rather than the formal con?gurations of the music—available to critical reflection. A remarkable moment in this regard occurs on several occasions in the first movement of the Eroica when the main theme devolves from E flat onto an ominous C sharp, a “little cloud" that, for Tovey, casts a dark shadow over the music. I will consider contexts that, on each of its occurrences, marginalize our knowing how this C sharp (or is it a D ?at?) continues, a knowing gained from innumerable, numbing encounters with this music. I will argue that our initial responses to his moment remain available to us on subsequent hearings, that each time we listen to the Eroica we experience this nebula with renewed alarm: in this music, second immediacies are far more immediate than second.

        The aim of this paper is to demonstrate how the composer has constructed this work and the varying techniques employed. The Kestrel Paced Round the Sun for flute alone was written in 1975 in-between movements of Davies’ large scale Symphony and in the same year as the chamber piece Ave Maris Stella. Both these works have their pitches determined by a “magic square" that Davies creates, yet The Kestral has no such constraints and this analysis deals primarily with alternative methods of pitch organization.  

        There is nothing novel in suggesting that popular music can be the subject of serious scholarly inquiry. American musicologists, for example, have firmly established the field of “American Music" (which includes both popular and art music) within university music departments across the country. Sociologists interested in popular culture have developed a substantial secondary literature, and this research indicates the value that the study of various types of popular music can have in exploring social, political, and economic questions. 

        With only a few exceptions, however, very little of this scholarship has endeavored to subject the music under discussion to close music-analytical inspection. This is in part due to the fact that what constitutes an appropriate approach to the analysis of popular music—or, more broadly, any music outside the Western art—music tradition—is the topic of strong disagreement among popular-music researchers. Some scholars feel that techniques developed for the analysis of Western art music can be applied to popular music, others insist that these traditional techniques will necessarily produce a false analytical reading of popular music. 

        This paper will outline the issues involved in the analysis of rock music. I will argue that the analysis of rock music enriches both the field of music theory and the ?eld of popular music studies.