This paper begins by exploring recent scholarship which explands
work that has been done involving neo-Riemannian triadic transformations
into the realm of dominant and half-diminished seventh chords. Two
transformational systems for these seventh chords are compared, with
particular emphasis on the fundamental difference in the way that
sonorities are construed as being closely related and the disjunction that
this difference creates (a disjunction which does not exist for triads, and
thus has not previously been explored).
        A generalized model for set-class-consistent transformations is
proposed which incorporates the priorities of both of these systems. Using
the new model, existing transformational systems for both triads and
seventh chords are examined. A new, generalized notion of "closeness"
emerges, and the musical ramifications of this generalization are brought
to bear in explorations of diverse examples from the repertoire.

Richard Cohn shows that the voice-leading of the L-P cycle (or
hexatonic cycle) causes each voice to toggle, moving between two pitches
and returning to their original pitches after a single pass through all 6
triads in the cycle. In this paper I examine the voice-leading of the related
R-P cycle. In this cycle the voice leading does not toggle but proceeds
consistently in a single direction. Consequently, after a single pass through
the cycle's 8 triads the original triad returns in a different position (5-3, 6-
3, or 6-4). To re-attain the original position one must complete three
passes through the eight triads, passing through every position of each
triad, and arriving at an octave displacement of the original.
        I will argue that the way the voice leading of the R-P cycle
differentiates among the positions of the triads can help us understand
Schubert's song "Der Jungling und der Tod". This song starts in c#- and
moves the long way around an R-P cycle to end in Bb+. I argue that with
the Bb+ triad the cycle returns to the position it started in. Each voice,
instead of returning to its original pitch, returns to its original function
within the triad.

        An examination of musico-textual pacing in Monteverdi's late
madrigals reveals a sophisticated process in which a calibrated scheme of
motion, characterized by spans of intensified and relaxed activity, is
overlaid with structures involving Golden Section and symmetrical
divisions. My paper investigates the influence of these proportional
relationships in the following works from the Seventh and Eighth Book of
Madrigals and the Scherzi musicali of 1632: the opening section of "Ninfa
che scalza il piede," which contains a single, overriding arch of
intensification and relaxation that peaks in the Golden Section measure;
"Dice la mia bellissima Licori," whose two stanzas, each exhibiting
individualized patterns of motion, are separated at the Golden Section (the
shorter segment preceding the longer) and whose division at this point
underscores the shift in the text from male to female speaker; the "Lament
of the Nymph," in which decelerative segments coincide with proportional
divisions and whose double-arch scheme of motion transcends the
rhythmic and harmonic limitations of the descending tetrachord bass; and
the ciaccona "Zefiro torna," which contains complex, multiple arches of
motion and nested layers of ratios that articulate particular words,phrases,
and rhythmic features. Through the close study of these
madrigals, one finds that the expressiveness of Monteverdi's music arises
not only from surface events, but also from an underlying plan that
integrates pacing, phrasing, and proportion in a way that endows
extraordinary balance and beauty to each work.

        Der vollkommene Capellmeister is a textbook intended for the
practicing musician. However, my present concern is the underlying
assumptions and beliefs that inform the text throughout and reveal much
about the intellectual currents of the time. I believe these constitute a
well-developed aesthetic theory although Mattheson does not present it as
such. I will attempt to present a coherent exposition of it by putting the
pieces together, so to speak, and by making explicit what is sometimes
only implied.
        In practice--but less so in theory--instrumental music became
increasingly important in the first half of the eighteenth century. I argue
that one of Mattheson's goals was to provide justification for valuing
instrumental music as highly as vocal music and representational arts such
as painting and poetry by claiming that it deserved to be fully
incorporated into the redoubtable tradition of the rhetorical arts. To do
this, he argues that music alone, without the assistance of a text, is capable
of moving the passions to morally beneficial ends. Mattheson's aesthetic
theory, as I construe it, is designed to support this conclusion. The theory
has three bases: rhetoric, human physiology/psychology, and morality.
The eighteenth-century understanding of human physiology and
psychology was vastly different from our own, however. Furthermore,
whereas today we would tend to view rhetoric and physiology as quite
distinct from morality, for Mattheson they were inextricably related.

The first part of the paper attempts to interpret Beethoven's use of
the term Maestoso in the first movement of op. 127 by asking the
questions: what did the term Maestoso mean in Beethoven's time, what
does it mean in Beethoven's works, and what does it mean in op. 127?
From this discussion I show that Beethoven uses the term Maestoso to
signal the musical topic of a French Overture. Beethoven's portrayal of the
French overture is, however, undercut by various musical means to the
point of failure. From out of the crippled Maestoso seamlessly emerges the
Allegro section. In stark contrast, the Allegro suggests the topic of the
pastoral, but one elevated in stature by the use of a contrapuntal texture
and continuous motivic development and expansion. The juxtaposition of
these topics creates an expressive plot: emergence and growth from
stagnation and decline. Examination of the dynamic opposition between
these topics provides a conceptual framework from which to interpret the
formal and expressive discourse of the entire movement.

        In musical discourse, our appreciation of what comes next often
hinges on motivic associations across formal boundaries. These
associations link the end of one formal unit to the beginning of the next.
The units so bridged may be phrases, themes, sections, or movements. The
term "linkage technique" was coined by Schenker, and briefly exemplified
by Jonas. However, linkage has a much broader historical pedigree as an
identifiable element of compositional rhetoric, or as an object for occasional
analytic remark. How strange, then, that so favored a feature of musical
coherence has received so little attention.
        In this paper we ask: What is the nature of linkage? When and
where does it occur? What does it accomplish and signify? And how does
it change in different stylistic circumstances? By focusing directly on
linkage, we are able to categorize the ways in which it is employed and the
locations in which it occurs. Moreover, this vantage point reveals that the
technique is one of the commonalities of compositional thought across
repertoire domains. Examples of linkage drawn from various centuries
reveal its subtle and often powerful effects.

In 1976, Arvo Pärt began to develop a unique manner of composition
which he refers to as tintinnabulation. The primary feature of pieces
written in this style is an ever-present arpeggiated triad, which serves as
an accompaniment to an independently-composed melodic line. Pärt's
works composed in this manner are typically diatonic in the extreme.
Since De Profundis contains neither functional harmony nor traditional
voice leading, one could say that the piece projects a non-tonal, static kind
of diatonicism. One is tempted to refer to this piece as either E-minor or
Aeolian on E. It is arguable that these methods of identification will
engender inappropriate assumptions from earlier music.
        Fundamentally, the tintinnabulation technique is a two-voice process.
A primary, melodic voice (hereafter, M-voice) and a secondary,
tintinnabuli voice (hereafter, T-voice) sound together in a kind of first
species counterpoint. The contour of the M-voice is either stepwise or a
combination of steps and/or leaps. The T-voice is composed exclusively of
pitches of the composition's principal triad and thus maintains the contour
of an arpeggio. The T-voice can be counterpointed against the M-voice in
several different ways, and the M-voice can be constructed in any of four
scalar modes. Pärt's development of the M-voice modes is a crucial
component in the composition of De Profundis.

Attempts at communication in a foreign language in which one has
only limited fluency may produce quite unexpected results. Any composer
who appropriates words and phrases, if you will, from an established
"other" language," might, in spite of himself, say more than he realizes,
something he does not mean. In his solo cello piece, Ohju (1988), Tokuhide
Niimi (b. 1947) makes use of certain textures, melodic contours, and
methods of formal division found in the music of the Japanese noh theater.
According to Niimi, given his limited knowledge of this musical "other,"
Ohju's nohness is . . ." naturally no more than surface,...textures and
melodic motives that color the surface of the work and go no deeper. . .."
As a musician and performer trained in the noh theater, however, I am not
willing or able to marginalize or ignore the implications of Niimi's noh cues
in the work, and I believe that there are compelling reasons not to do so.
        Using a knowledge of the dramatic conventions, and the music theory
and practice of the Japanese noh theater, as well as an original technique
of rhythmic analysis that I call event segmentation, I follow the
implications of Niimi's noh cues beyond Ohju's "musical surface, " and a la
Roland Barthes, write an "other" Ohju--a noh-based Ohju of which Niimi is
unaware. I construct a deep-level, noh-inspired grammar of rhythms for
Ohju: a grammar in which Niimi's rhythms participate in a drama that
reflects perfectly the interaction of the three stock characters common to
every noh play.

In this paper, I present a system of triads and a non-commutative
group of transformations that clarify voice leading in Richard Cohn's
(1996) hexatonic system. The new system uses David Lewin's (1987,
1995) exchange group to measure moves between triads. Lewin's original
version of the group modeled different step sizes in the octatonic
collection; I adopt step size as a metaphor for the operation of the
eXchange group on the revised system. Next, I apply the revised system to
an analysis of the first movement of César Franck's Piano Quintet in F
minor. In particular, I propose a reading that generalizes the tonal tension
considered paradigmatic for sonata-allegro movements. Finally, I suggest
that the paper adopts simultaneously two complementary, but generally
separate, perspectives in Neo-Riemannian theory, namely, a generalized
notion of tonal relations on one hand, and a view of the harmonic triad as a
pitch-class set on the other.

        "I acknowledge one great master, but I do not know why he should
be called a classic, because he lives, breathes, and pulsates today. This is Bach . . . "
-Claude Debussy, in an interview with Harper's Weekly, August 29, 1908
        Debussy's art is traditionally approached from the standpoint of its
new freedoms: the innovations of melody, harmony, and form that lend it
a spontaneous, almost improvised quality. While this perspective
embraces an important side of the composer's musical personality, it
simultaneously neglects another, since Debussy's compositions frequently
conceal the presence of a rigorous tonal organization beneath the musical
surface. Several recent studies have suggested that global structure in the
music of Debussy and his contemporaries is organized along readily
defined voice leading patterns, such as the projection of an interval cycle
or pitch collection. In this paper, I will focus on an important corollary to
these procedures, the role of motivic voice leading in the deeper-level
centric organization of Debussy's music.
        Debussy's treatment of motive affords particular insight into the
nature of his multi-leveled voice leading. In the instances explored in this
paper, deeper-level motivic voice leading often produces a coherent and
unified "middleground" structure that, on the one hand, is differentiated
by relative centric emphasis, and on the other, attaches to comparable
pitch organization evident at the surface. More generally, the examples
support the author's contention that the study of motivic voice leading, in
conjunction with a hierarchical approach to centricity, can permit greater
sensitivity to the relationships among interlocking structural levels and to
the meaning of these relationships in Debussy's music.

Although Bartók professed to compose intuitively, claiming that all
his musical choices were "determined by instinct and sensibility,"he later
acknowledged "certain general formulas from which theories can be
deduced." In particular, he cited a "new device"he called "extension in
range:"
          "Working [with] chromatic degrees gave me [an] idea which led to
the use of a new device. This consists of the change of the chromatic
degrees into diatonic degrees. In other words, the succession of chromatic
degrees is extended by levelling them over a diatonic terrain. This new
device could be called extension in range. Such an extension will
considerably change the character of the melody. We will get variety on
one hand, but the unity will remain undestroyed because of the hidden
relation between the two forms."
        This paper explores this "extension in range"technique in Bartók's
music. The continuous motivic variation in his scores often frustrates
conventional analysis predicated upon set-class equivalency. The
composer's comment reveals that he varied a motive by abstracting its
contour and modifying or rescaling the underlying scale or modulus.
Extension in range is thus a compositional device unifying nonequivalent
pitch structures through contour relationships in an evolving web of
dynamic growth or progressive transformation. In this passing reflection
shortly before his death, Bartók gave a subtle hint not only about the
internal structure of his music, but about his creative process in composing
it.

This paper synthesizes the theories of cognitive development
proposed by Serafine (1988) and various proponents of the writing-to-
learn movement. This cross-disciplinary pedagogical movement has
advanced the premise that manipulation of writing--the symbolic
representation of language--can foster learning in every discipline. The
writing-to-learn movement is based in part on the theoretical principles of
Vygotsky (1934). His theories postulate that there is an area of knowledge
that is subconsciously inherent within our understanding of any situation,
an "inner speech". Writing-to-learn advocates claim that writing
encourages learners to process information through this inner speech, and
thus enhances learning. Writing prose, as an activity, engages the learning
process with greater efficiency than other types of activities, even in
symbol-dominated fields like mathematics or music (Connolly and Vilardi,
1989). The premise that writing is the most efficient transmitter of new
information--even in music--was the catalyst for a series of investigations.
        The results of these investigations suggest that part writing--
manipulating the symbolic language of music--is more effective than
writing prose for learning music theory constructs. Part-writing music
seems to involve the same type of cognitive processes that prose writing
does. The theories of Vygotsky are re-investigated in light of this new
research, and a hypothesis is made that there is within every human an
"inner music"--an area where musical understanding resides. This area is
analogous to Serafine's idea of music as cognition, an "internal, subjective
entity springing from mental operations (1988)."   This paper concludes by
synthesizing elements of Serafine's cognitive theories with those of
Vygotsky.

        This paper explores collaborative opportunities between collegiate
music theorists and music educators in enhancing music education in
primary and secondary schools. Music educators can increase the
importance they place on musical skill development--which is more than
the mechanics of instrumental or vocal performance--at all levels. Music
theorists can reach out to help define musicianship goals and assist in the
implementation of skill-based curricula in the schools. A sample
curriculum for children in grades K-4 is described. This curriculum,
currently in use in the musicianship classes of a university community
music school, draws on the strengths of both fields and has had success in
developing sophisticated musicianship skills in elementary-age children.
        Teaching theory skills to school age children and college students
reveals fundamental similarities in the needs and abilities of both levels.
Too often we assume too much of our college students and too little of our
grade school students. We plunge the older population into abstract tasks
without reinforcing the fundamentals. Indeed, despite their advanced
theoretical understanding, many college students can't match pitch, keep a
steady beat, or improvise a simple tonic-subdominant-dominant chord
progression. Likewise, it is possible to teach these skills to ordinary
elementary students who have no formal theory knowledge. The key is
defining a set of expectations for all students at all levels.

Most of our listening consists of "real time" processing without musical scores. In the concert hall, a piece is usually played once, and listeners attempt to apprehend the formal, melodic, harmonic, and expressive content of the work without the aid of musical notation. In my
experience, most instruction in aural skills does not model or improve our ability to listen to music in real time. Traditional instruction in the field emphasizes reading (sight singing/preparing music for performance) and writing (melodic and harmonic dictation). Such emphasis on notation
often means that listening skills that can and should be developed independently of the written score are neglected, or given insufficient attention.
        In this paper, I advance several techniques that I have used successfully to enhance students' abilities to process music aurally: echo/response techniques, imitative vocal and instrumental dictation, guided improvisation, and guided listening assignments without scores. These devices can be implemented at all levels of instruction, and across broad ranges of musical repertoire. I offer them as a supplement to instruction in reading and writing, and I assert that successful mastery of these skills goes hand-in-hand with proficiency in music reading, sight singing, and dictation.

This paper suggests ways in which generative, paradigmatic, and
musematic analytic methods, such as those developed by Philip Tagg
(1982) and Nicolas Ruwet (1966), can elucidate aspects of Jimi Hendrix's
improvisational idiom. "Voodoo Child (Slight Return)" from Electric
Ladyland (1968) is well-suited to our discussion because it (1) yields a
wealth of syntactic and processive features typical of Hendrix's intraopus
style; (2) enables comparison of aesthetic and material changes between
studio and concert performance contexts; (3) crystallizes the rich
genealogical history of Hendrix's blues aesthetic; and with respect to this
last issue, exemplifies ways in which he reshaped rural blues riff
structures in the context of the rock power trio. Likewise, the alternative
analyses I offer serve to demonstrate how particular stock structures and
improvisational formulae of Hendrix's intraopus style (1) stabilize the
syntax of phrases and phrase groupings, and (2) destabilize syntax through
processive means. Finally, this study of "Voodoo Child (Slight Return)"
supports my general arguments concerning Hendrix's impact on the
development of '60s American and British progressive rock.

        A few years before The Cat in the Hat, Theodore Geisel (a.k.a. Dr.
Seuss) created his only full-length, live-action film, the musical-fantasy
The 5,000 Fingers of Dr. T. Released in 1952, most of the movie is the
vivid nightmare of a ten-year-old boy about his authoritarian, probably
gay, and vaguely foreign piano teacher, Dr. Terwilliker. In the dream, Dr.
T. (played well over-the-top by Hans Conried), is on the verge of opening
his "Happy Fingers Institute, " a kind of concentration camp in which 500
boys will be forced to play continuously on the longest piano keyboard in
the world. The movie's underlying theme of oppression and
authoritarianism follows closely from Geisel's previous work producing
pro-U.S. war propoganda and indoctrination films during WWII. In
addition to the fantastical set designs and some outrageously camp musical
numbers, Seuss transposes the subject matter of his previous films to the
domain of music and projects rather interesting (and sometimes
conflicting) constructions of power relations, gender, ethnicity, and class
onto the piano.
        From Dr. T.'s perspective, the piano is portrayed as a modern,
rational, superior machine that is the only worthwhile musical instrument.
In addition to his enslavement of the 500 boys, Dr. T. has imprisoned (and
tortures) all other instrumentalists (non-pianists) in his dungeon. I will
argue that the movie's portrayal of the piano as hegemonic and oppressive
(and masculine) is emblematic of its position within Western music.
Entirely consistent with Dr. Seuss's personal politics, The 5,000 Fingers of
Dr. T. serves as a cautionary tale about despotic dictatorships, while
revealing some of the hidden ideologies that surround the piano and its
role in musical culture.

The paper enlists "Brouillards" as a test site for an analytical project
that engages concerns commonly associated with the fields of post-modern
literature, perceptual psychology, and cultural criticism.
        In "Brouillards" the analyst is constantly enjoined to keep vivid a
striking number of seemingly unmotivated and unrelated narrative
threads--threads that tend to fracture the timeline of the work. As a
result, the ascriptions "before" and "after" cannot be made on linear
grounds alone, for a later section may represent the aural precursor of an
earlier one. Temporal rifts are common features in post-modern literature,
and the utilization of strategies from literary criticism proves useful in
treating the prelude's relationship with time.
        Chronology is mainly an inter-sectional issue in "Brouillards; in the
intra-sectional domain, we are left to contend with another dimension, as
stratification among competing voices challenges established principles
concerning the treatment of space. Novel works call for novel analytical
strategies, and I propose that grafting into the analysis principles
associated with perceptual psychology--viz. the concept of reference-frame
realignments--yields lucent results.
        In assessing "Brouillards," then, we must move from what Hayden
White defines as an organicist's world hypothesis--the metaphor for which
is tonal music--to an analytical strategy based upon contextualism. If, for
example, the definition of music as motion toward a specific point still
pertains to Debussy, then entailments such as linearity, progression, and
motivic association demand reassessment based on something other than
teleological principles.

Many music theorists have attempted to apply Roland Barthes's
theories to the study of music, Patrick McCreless being a notable example.
My paper, however, differs from many earlier efforts because it takes
Barthes on his own terms. My intention is to present a thoroughly
"Barthesian" analysis of the second movement of Schumann's Kreisleriana,
op. 16, that is at once faithful to the spirit of Barthes's theories but also
cast in sufficiently concrete musical terms that it may be of use in studying
other works of music.
        Barthes's notion of the "third meaning" of a text is especially
pertinent to the study of music. The third meaning is, in Barthes's words, a
"vague idea of meaning" which somehow cannot be "structurally situated,"
or even predicated at all, no matter how powerful it is. In the Kreisleriana,
Barthes locates such a meaning in what he calls the "body that beats."
Much of the beating of that body has to do with Schumann's use of phrase
rhythm and metrical dissonance. My analysis attempts to articulate a
third meaning in the Kreisleriana's second movement by following, and
also characterizing, the peculiar movements of that "Schumannian body."
        The question remains: Are we doing Barthes a disservice by
attempting to predicate, musically, what he hears? I contend that if we
listen to Schumann through Barthes's post-structuralist ears--but even
more closely and carefully than Barthes does--the third meaning will
"wound" us even more severely.

        In "Music As Narrative" (1991), Fred Everett Maus suggests that by
regarding musical events as characters and actions, listeners can assemble
successions of musical events into plots. What Maus first attributes to
interpretive behavior, he eventually regards as part of music itself: it is
neither the composer nor the performer but the music that creates the
fictional world in which musical plots unfold. There is a distinction,
however, between listeners narrating about music and the claim that
music itself narrates. The former involves narrating, the latter
narrativizing. As Hayden White explains, the difference is between "a
discourse that openly looks out on the world and reports it and a discourse
that feigns to make the world speak itself and speak itself as a story."
        The tendency for listeners to narrativize music reflects a wider
human behavior that makes sense of the world by supplementing events
with narrative frameworks. A literary example illustrates the propensity
to narrativize: in Umberto Eco's The Name of the Rose, William of
Baskerville discovers an apocalyptic plot behind several mysterious
deaths--an erroneous analysis that nonetheless enables him to solve the
crimes. Recent analyses of Robert Schumann's Carnaval demonstrate
musical narrativization. Anthony Newcomb has argued that the "narrative
strategy" Witz unifies the seemingly disparate piano miniatures, by means
of three mysteriously silent motivic cells appearing as a cipher in the
middle of the work; but it is Lawrence Kramer who narrativizes Carnaval
by constructing teleology in Witz, "discovering" inevitability in the
relations between fragments. I conclude by speculating briefly that one
reason atonal music often meets with indifference among concert
audiences is that it resists narrativization.

Conspicuously absent from analyses of the first movement of
Brahms's Horn Trio in E-flat Major, op. 40, is any mention of sonata form.
In fact, nearly every writer who discusses this work makes a point of
saying that this is the only instance among Brahms's chamber works in
which he avoids the traditional plan for the first movement of a sonata.
Dating from 1865, the Trio came into being at a time when sonata-form
accounts of the 1830s and 1840s had become well-established models for
young composers. Consequently, Brahms's music was subjected to much
greater scrutiny than that of his predecessors. To put it another way,
greater expectations were placed on Brahms to fulfill the sonata-form plan.
        In response, Brahms seems to disguise his musical discourse in an
apparently unknown genre--a trio for piano, violin, and horn--as to
distance himself from the sonata-form tradition and his listeners from
their sonata-form expectations. That is to say, he speaks a new voice in
unfamiliar surroundings, indirectly communicating his resistance to the
constraints imposed by a rarely challenged musical institution of that
time--traditional sonata form--while simultaneously seeking a more
dynamic and engaging relationship with his listeners. In so doing, Brahms
challenges us to re-examine long-standing prejudices toward musical form
so that ready-made formal schemes do not substitute for direct contact
with the music itself.

        An abundant theoretical tradition has consecrated "developing
variation" as a quintessentially Brahmsian trait. This procedure, first
described in Schoenberg's writings, refers to a type of organization where
the musical discourse is generated through either the freely audible or
hidden development of one or a limited number of basic motives. This
paper, consisting of two parts, initially presents a critical account of the
literature on developing variation and identifies specific stylistic and
formal problems that lead to a dead-end; it then proposes solutions to this
impasse in a concluding analytical section.
        The first part shows that attempting to use developing variation as
an element of stylistic characterization is problematic, in part because the
concept's great flexibility prevents us from grasping the individuality of a
work or a group of compositions. Furthermore, Meyer has shown that
developing variation cannot function as the main principle of formal
organization because it has no syntax: specifically, it fails to offer any rule
of succession which would explain the chain of motivic transformations. In
the second part, an analysis of Brahms's themes shows that motivic
transformations, though incapable of expressing an inner logic, can
articulate various "temporal modes"of formal succession. For instance,
different versions of a motive are used to mark the phases of initiation,
continuation and conclusion of a theme. Coordination between motivic
manipulations and phases of formal succession lead to the identification of
particular Brahmsian procedures, that open the way to a new and viable
means of stylistic characterization.

Fifty years after its publication, Schoenberg's essay "Brahms the
Progressive" remains a seminal work of criticism. Indeed, J. Peter
Burkholder has argued that the dialectic of emulation and innovation is the
key to a full appreciation of Brahms's historical significance: his ability to
mold procedures from diverse traditions into a distinctive new voice
marks the beginnings of musical modernism. The present study links the
idea of Brahms the Progressive and Brahms the Modernist through an
exploration of a special type of hybrid phrase. This phrase type achieves
the fluidity of developing variation that Schoenberg so admired through a
synthesis of styles in the manner that Burkholder identifies as modernist.
The phrase structure merges aspects of Classical-style
antecedent/consequent construction with Baroque subject/answer rhetoric.
The result is pure Brahms.
        The analysis focuses on the first-movement main themes of the G-
minor Piano Quartet and A-minor Clarinet Trio, as well as the E-minor
"Gypsy" theme from the quartet's finale. These examples provide a context
in which to explore the influence of hybrid phrase structure on large-scale
form. They also demonstrate that a hybrid theme's idiosyncratic tonal
structure can have important repercussions in the motivic dimension. The
paper concludes with comments on further avenues in which to explore
Brahms's synthesis of Baroque and Classical conventions.

        In "Interpreting musical analogy", Marianne Kielian-Gilbert laid the
groundwork for a description of the role of analogy in understanding
music, with special attention to the expressive meanings made possible by
analogy. The example that framed Kielian-Gilbert's article and argument
was Erik Satie's "Le Water-chute", from Sports et Divertissements.
Towards the end of her essay she presented an analytical table that
showed correspondences between four different domains invoked by
Satie's piece (the general, musical, textual, and visual), and she discussed
intersemiotic transpositions that obtained between the latter three.
However, she did not seek to formalize these correspondences or
transpositions (this being beyond the scope of her investigation) and
limited her comments to general observations about their expressive
purpose.
        In this paper, I would like to re-visit Kielian-Gilbert's approach to
analogy, and in particular her analysis of "Le Water-chute, " and consider
both in terms of recent work on conceptual integration networks by Mark
Turner and Gilles Fauconnier. Turner and Fauconnier argue that
correspondences between domains similar to those sketched by Kielian-
Gilbert are central to understanding, and that these correspondences are a
source of meaning construction. I shall show how Turner and Fauconnier's
formalizations can be applied to "Le Water-chute", and what conclusions
about meaning construction follow from this application. In the last
portion of the paper, I shall describe how this approach to the correlation
of the musical domains with other domains can be generalized, with special
attention to its application to song.

        This paper offers Schenkerian analyses of Mahler's Adagietto in
order to illustrate the concepts of directional tonality and double-tonic
complexes. In his analytical work on Mahler's Ninth Symphony,
Christopher Lewis introduces the notion that a composition can have two
tonics that work together to produce a "tonal plot." Robert Bailey describes
the structural process of these compositions as an example of directional
tonality, where the principal operation involves the motion from one key
to another, rather than the prolongation of a single tonality. While the
appearance of such a "tonal plot"within a large-scale tonal structure is in
itself an interesting discovery, what is of primary importance to analysts
trying to understand Mahler's chromatic language is the exploration of the
specific techniques by which the composer is able to effect this type of
progression.
        The musical examples that accompany this paper attempt to
demonstrate the harmonic necessity of Mahler's Adagietto within the
"tonal plot"of his Fifth Symphony. According to Bailey's theory of the
double-tonic complex, either key of a tonal pair can serve as a
representative of the structural tonic within the movement. For example,
Mahler's Adagietto starts with a modulating period that begins in F major
and ends with an auxiliary cadence in A minor. The fundamental structure
of this movement is clearly in F major; however, A minor is important in
the middle section as it acts, through modal mixture, as the dominant
preparation for the eventual motion to the final D major which concludes
the symphony.