Required Readings

 

Agawu, Kofi. "How We Got out of Analysis, and How to Get Back in Again," Music Analysis 23/2-3 (2004), 276–86.

 

Born, Georgina. “On Musical Mediation: Ontology, Technology and Creativity.” twentieth-century music 2/1 (2005): 7–36.

 

Brody, Martin. “'Music for the Masses': Milton Babbitt’s Cold War Music Theory.” The Musical Quarterly 77/2 (1993): 161–92.

 

Carey, Norman. “Introduction." In Distribution Modulo 1 and Musical Scales. Diss., University of Rochester, 1998, pp. 2–8.

 

Cavell, Stanley. “Music Discomposed.” In Must We Mean What We Say?. New York: Cambridge University Press, 1976, 180–212.

 

Christensen, Thomas. “Music Theory in Clio’s Mirror.” In Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, edited by Thomas J. Mathiesen, 1– 19. Lincoln: University of Nebraska Press, 2002.

 

Christensen, Thomas. “Genres of Music Theory 1650–1750.” In Towards Tonality: Aspects of Baroque Music Theory, edited by Peter Dejans, 9–39. Leuven: Leuven University Press, 2007.

 

Cohn, Richard. "Mapping the Triadic Universe"," in Audacious Euphony: Chromatic Harmony and the Triad's Second Nature (Oxford University Press, 2012), 1–15.

 

Cook, Nicholas. “Music Theory and ‘Good Comparison’: A Viennese Perspective,” Journal of Music Theory 33/1 (1989), 117–41.

 

Cox, Arnie. "Mimetic Comprehension." In Music and Embodied Cognition. Bloomington: Indiana University Press, 2016, 11-35.

 

De Souza, Jonathan. "Sounding Actions." In Music at Hand: Instruments, Bodies, Cognition. Oxford: Oxford University Press, 2017, 28–50.

 

Dean, Roger T. and Freya Bailes. “Cognitive Processes in Musical Improvisation.” In The Oxford Handbook of Critical Improvisation Studies, Vol. I, edited by George E. Lewis and Benjamin Piekut, 2014. Also online.

 

Forte, Allen. “Schenker’s Conception of Musical Structure.” Journal of Music Theory3/1 (1959), 1–30.

 

Givans, Benjamin. “Rethinking Interaction in Jazz Improvisation.” Music Theory Online 22/3 (2016).

 

Hatten, Robert S. “Introduction.” In Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press, 2004, 1–18.

 

Hooper, Giles. “A Sign of the Times: Semiotics in Anglo-American Musicology.” Twentieth-Century Music 9/1–2 (2013): 161 – 176.

 

Kopp, David.;"A Chromatic Transformation System,"," in Chromatic Transformations in Nineteenth-Century Music (Cambridge University Press, 2002), 165–91.

 

Lewin, David. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3/4 (1986): 327–92.

 

McCreless, Patrick. “Rethinking Contemporary Music Theory.” In Keeping Score: Music, Disciplinarity, Culture. edited by Anahid Kassabian and Lawrence Siegel David Schwarz, Charlottesville: University Press of Virginia, 1997, 13–53.

 

Monelle, Raymond. “The Search for Topics.” In The Sense of Music: Semiotic Essays. Princeton University Press, 2010, 14–40.

 

Montague, Eugene. "Entrainment and Embodiment in Musical Performance." In Youn Kim and Sander L. Gilman, edit. The Oxford Handbook of Music and the Body. Oxford: Oxford University Press, 2019. Online.

 

Morgan, Robert P. "On the Analysis of Recent Music." Critical Inquiry4/1 (1977), 33–53.

 

Norris, Christopher. “Deconstruction, Musicology and Analysis.” Thesis Eleven 56 (1999), 107–118.

 

Rohrmeier, Martin. “The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form.” Music Theory & Analysis 7/1 (2020), 1-62.

 

Satyendra, Ramon, "An Informal Introduction to some Formal Concepts from Lewin’s Transformational Theory," Journal of Music Theory 28/1 (1994), 99–141. Focus on concepts.

 

Schuijer, Michiel. “Pitch-Class Set Theory: An Overture.” In Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts, Rochester: University of Rochester Press, 2008, 1–28.

 

Straus, Joseph N. “The Problem of Prolongation in Post-Tonal Music,” Journal of Music Theory 31/1 (1987), 1–21.