... of fact: not that no one can write like Mozart any more but that no one does . The question of why remains unanswered. My own essay proposes an answer. On historical grounds it shifts the question from Mozart to Beethoven to focus on a specific composition. When my students listen to Beethoven's “Kreutzer...

... structure: which is more important? With their different answers to this fundamental question, the resulting theories are as divergent as Heinrich Schenker's near-total emphasis on tonal structure and J. C. Lobe's equally single-minded interest in thematic design. A related and equally important question...

... adjustments required by tonal answers. A good fugue writer, such as Bach, knows when it is appropriate to alter a subject, or to contrast it with an interlude or episode. Though subject mutation occurs relatively infrequently in Bach, its dramatic role in certain fugues has not received much scholarly...

... also restrict our attention to non-empty sets X and Y: <NULLSET,Y>, for any set Y, is trivially a constant-IFUNC pair: its IFUNC is (000000000000). 1.3 ANSWER 1A: The following—(a) through (g)—is an exhaustive list of constant-IFUNC pairs <X,Y> where the cardinality of X is between 1 and 6...

...? What processes of expansion and contraction can be observed in the cadenza's dotted rhythms? How is music written for only one hand made to sound like two? And how might answers to these questions be found in recordings of different pianists? Writing together of their separate experiences performing...

... “Fate” is critically about. (Cavell 1995, 102)3 Cavell’s “way” can be read as a poetic evasion of Fleming’s subtle critique; however, his answer has implications for the understanding of both musical and philosophical borrowing. It posits that having a “self...

... with it. One might even say that minuets and trios are oblivious to each other, while a rondo’s Seitensatz recog- nizes the Hauptsatz by its particular answer. Casting an eye briefly forward to the section on sonata form, we can glimpse where this necessity is heading...

... these motives—beginning with an incipit five-note melodic gesture answered by a quarter-note chordal progression between the downbeats of m. 2 and m. 3—is but one of many fascinating compositional features that Larson, to my knowledge, is the first to discuss in print. The bridge in “ ’Round...

... on Horlacher 287 taken as emblematically hostile to genetic criticism [see Hall and Sallis 2004, 221n.7], but when sketches are used to answer well-focused questions rather than merely illustrate the progress of a composition toward perfection, they are as likely a source of useful evidence as any...

... this complex behavior? Walton’s answer is that empathizing consists in making the judgment that another person feels like this, where the “this” makes ostensive reference to an aspect of the empathizer’s current state of mind. The empathizer thus subsumes some...

... of essays on the Italian partimento tradition. In answering questions about the origins and development of tonality, historians of music theory have been understandably more likely to turn to the great treatises in which master theorists explicitly laid out reasoned, totalizing conceptual...

... to the elegance of Evans’s improvisation than the features I point out below.) When this D–C–B≤ is joined to B≤–A–G–F, the result is a descending sixth. That sixth is fol- lowed by a number of “motivic answers,” most of which may be described as an ascending leap of a seventh to an unstable note...

... is restricted to musical analysis answerable to pre-analytic hearing. Given the question, what is the relationship between an analysis and a hearing to which it (allegedly) corresponds, one might reply: why is this a philosophically interesting question—or a relevant methodological ques- tion...

... whether such tonally associated passages may not, if linked together and ab- stracted from their immediate surroundings, form long-range musical continuities, which he calls “time-streams.” In search of an answer, how- ever, he turns first not to music but to Maurizio Nichetti’s film The Icicle Thief...

... of fraudulence and trust as essential to the experience of art, I am in effect claiming that the answer to the question “What is art?” will in part be an answer which explains why it is we treat certain objects, or how we can treat certain objects, in ways normally reserved...

... also asks that a simple transitivity condition be satisfied. The condition is this: for any two space-elements (say the pitch classes C and D≥) there must be exactly one group-element that will transform the first into the second. Is this true for our musical system? The answer...

..., what are partimenti? Why are they so important for under- standing the professional training of composers from Bach to Haydn, to Rossini, Wagner, Ravel, and even Berio? The articles in this collection provide excellent starting points for anyone seeking answers to these questions...

... it means to move along with it, or even whether music itself can move, Arnie Cox has a provocative answer for you: it s an illusion! As he argues in Music and Embod- ied Cognition, it is an illusion based on how committed you feel to the sense that music is an intangible, ephemeral product of the physical...

... abrupt manner and then play the answering phrase starting in measure 21 more evenly and calmly, like a solemn chorale. (3) In this passage, an instinct about the suddenness of the sforzando points to an analytical observation (about mm. 17–18 as a compression of mm. 1–3), which in turn...

... for those matters, however, one is left with an awkward question: what purpose does the verbal text have? Given what the book sets out to do, the answer would seem to be “very little.” One solution would be to cut it drastically, which would leave the book almost exclusively graphic but have...