...Cristle Collins Judd This article takes Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) as a point of departure for exploring a group of sixteenth-century texts that place music, especially as represented by musical notation, within the form of a dialogue. Music and...

... pratique (1760), with particular attention to the extensive discussion of the topic in the “Art de la basse fondamentale” (c. 1737–43). To a considerable degree, Rameau’s conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points...

... artwork and audience in an era that demands an unprecedented trust in the musical object. It thus engages its audience in its own critical project, in an open dialogue with traditional forms and functions. Both works suggest that modernist music can escape the cycle of justification between the musical...

... . Kaija Saariaho: Visions, Narratives, Dialogues . Farnham : Ashgate . Hutcheon Linda . 1988 . A Poetics of Postmodernism: History, Theory, Fiction . New York : Routledge . Lochhead Judy . 2016 . Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis...

...) is well conceived, but in diver­ 7 The “student” in the early-eleventh-century Dialogus de sos modos seems looser and more evocative of repertory musica, for example, is astounded that a properly marked than...

... interpretive enterprises. A performance that takes inspiration from an analysis responds to it—engages in dialogue with it—rather than instantiates it” (40). A performative attitude toward Schenkerian analysis in particular is the subject of chapter 2 (“Two Interpretive Roles which poses the...

... Humplik Josef . 1967 . Letters to Hildegard Jone and Josef Humplik , translated by Cardew Cornelius . Bryn Mawr, PA : Presser . Whittall Arnold . 1996 . “ Music–Discourse–Dialogue: Webern’s Variations, op. 30 .” In Webern Studies , edited by Bailey Kathryn , 264 – 91 . New...

...- ously considered routine: the use of the dialogue format in sixteenth-century music theory treatises. Just as Fuller unravels the role of the musical incipits and examples provided by Hucbald (which she also did so illuminatingly in her 1996 article on Heinrich...

... mentioned earlier, agential play involving the first three levels can be reinterpreted in terms of virtual subjectivity (chaps. 5 6). A conflict between internal and external agents could be an inner dialogue, and an actorial drama might be embedded within a narrative consciousness whose perspective would...

... Jackson Timothy , 322 – 51 . Cambridge : Cambridge University Press . Hepokoski James . 2016 . “ Sonata Theory, Secondary Themes and Continuous Expositions: Dialogues with Form-Functional Theory .” Music Analysis 35 , no. 1 : 44 – 74 . Hepokoski James Darcy Warren...

...: Norton. Shermer, Michael. 2008. “Patternicity.” Scientific American 299/6: 48. Stravinsky, Igor. 1964. “Dialogue about JFK.” New York Times, 6 December. Reprinted in Igor Stravinsky and Robert Craft, Themes and Episodes, 56–59. New York: Knopf, 1966. Taruskin,  richard. 2011. “Catching Up...

... Smith Peter H. , 217 – 51 . Bloomington : Indiana University Press . Hepokoski James . 2016 . “ Sonata Theory, Secondary Themes, and Continuous Expositions: Dialogues with Form-Functional Theory .” Music Analysis 35 , no. 1 : 44 – 74 . Hepokoski James...

... Horn 8 Example 1. Ber lioz, Symphonie Fantastique, mvt. III, mm. 1–4, which contains an obvious dialogue between two virtual agents intention, animacy, interaction, and causality to stimuli that lack them—has since been observed in several other studies.1...

... regulate a listener s expecta- tions, treat the music as a dialogue between what a listener expects to happen and what actually happens, and focus on deferred or frustrated expectations as the main locus of meaning. Even Hepokoski and Darcy s (2006: 11) defini- tion of deformation as an imaginative...

... Milton . 1965 . “ The Structure and Function of Musical Theory: I .” College Music Symposium 5 : 49 – 60 . BaileyShea Matthew . 2007 . “ The Struggle for Orchestral Control: Power, Dialogue, and the Role of the Orchestra in Wagner’s Ring .” 19th-Century Music 31 : 3 – 27...

... Systems’ .” Journal of Music Theory Pedagogy 6 : 137 – 51 . Houlahan Micheál Tacka Philip . 1994 . “ Continuing the Dialogue: The Potential of Relative Solmization for the Music Theory Curriculum at the College Level .” Journal of Music Theory Pedagogy 8 : 221 – 25...

...” Peter H. Smith    Schumann’s Continuous Expositions 31 that nevertheless recall, and remain in dialogue with, past practice, in this case the eighteenth-century practice of continuous exposition. I hasten to add that my point is not to deny that Schumann develops an alternative to tonal...

... in dialogue with a community- 1 “Toute œuvre est l’œuvre de bien d’autres choses qu’un Theory: the mediation of the individual utterance (parole) ‘auteur through implicit conventions (langue) shared by composer and public...

... that Schumann composed his three op. 41 string quartets least among Schenkerians, Drabkin (2002, 837) observes both as a unified set and in dialogue with this “A-minor that “Schenker provided substantial analyses neither of...

... composi- 3  Simon Keefe has produced a network of studies that build tional substance. Moreover, the emphasis of “virtuosity” upon Koch’s formulation of the concerto as dialogue. See in has shifted since the late...