...Jennifer Bain; Meredith Evans 2008 2008 A Sarah Fuller Bibliography Compiled by Jennifer Bain and Meredith Evans Dissertation 1969. “ Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” Ph.D. diss., University of California, Berkeley...

...., University of Michigan. ———. 1993 . “Dave McKenna's Performance of `Have You Met Miss Jones?'” American Music 11 : 283 –315. ———. 1997–98 . “Triple Play: Bill Evans' Three-Piano Performance of Victor Young's `Stella by Starlight.'” Annual Review of Jazz Studies 9 : 45 –56 and 105–7...

... are meticulous graphic analyses, with exhaustive textual commentary, of the Thelonious Monk composition “ ’Round Midnight” as played by its composer and by two other leading postwar American jazz pianists, Oscar Peterson and Bill Evans.2 Following...

... Recordings, and he read a paper on Bill Evans at the 2007 Interna- tional Conference of the Dutch-Flemish Society for Music Theory. Keith Waters is Associate Professor of Music Theory at the University of ­Colorado–Boulder. He is the coauthor with Henry Martin of Jazz: The First Hun- dred...

...: University of Chicago Press. DeBellis, Mark. 1995 . Music and Conceptualization . New York: Cambridge University Press. Dowling, W. Jay, and Dane Harwood. 1986 . Music Cognition . San Diego: Academic Press. Evans, Gareth. 1982 . “Molyneux's Question.” In Collected Papers . Oxford: Clarendon...

... Rusch, and David Pfeiffer, eds. 2003 . Rethinking Disability: The emergence of New Definitions, Concepts and Communities . Antwerp: Garant. Dolar, Mladen. 2006. A voice and Nothing More. Cambridge: MIT Press. Evans, Dylan. 1996 . An introductory Dictionary of Lacanian Psychoanalysis . New York...

... . “ On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (III) .” Tempo 157 : 21 – 26 . Clampitt David . 2009 . “Webern’s String Quartets .” In Intimate Voices: The Twentieth-Century String Quartet , edited by Jones Evan , 195 – 219 . Rochester : University...

.... Although the ironic narrative archetype has no associated expressive genre within the possibilities that Hatten lists, we might expand the expressive genres to include works of high comic-irony of the type that Mark Evan Bonds (1991) discusses in the music...

... Sciences 3, no. 1: 42 54. doi.org/10.3390/bs3010042. Berkowitz, Aaron. 2010. The Improvising Mind: Cognition and Creativity in the Musical Moment. New York: Oxford University Press. Bonds, Mark Evan. 2006. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton, NJ: Princeton...

... of individual forms and, as 6  As Mark Evan Bonds has pointed out, Marx is the first I argue below, the workings of form itself. theorist to make an explicit distinction between the form of Patrick Wood Uribe    Marx’s Sonatenform, Beethoven’s...

...- ing Mark Evan Bonds, Scott Burnham, William Caplin, James Hepokoski, David Lewin, Anthony Newcomb, and James Webster), and she offers an elo- quent argument for their reconciliation in the notion of “form as process.” As Schmalfeldt astutely observes, despite...

...–1995, ed. J. Häusler. Wiesbaden: Breitkopf and Härtel. 2004. “On My Second String Quartet (‘Reigen seliger Geister Translated by Evan Johnson. Contemporary Music Review 23/3–4: 59–79. Lichtenfeld, Monika. 2007. “Komposition und Kommentar.” In György Ligeti, Gesammelte...

... work raises. Works Cited Bonds, Mark Evan. 1991. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cam- bridge, MA: Harvard University Press. Caplin, William. 1998. Classical Form: A Theory of Formal...

... summary of this theory, showing the links between such techniques as tritone substitution, avoid tones, and “side-stepping,” and his voice-leading concerns. For his final exhibit, he applies as many of the book’s concepts as he can to his transcription of an improvisation by Bill Evans. He...

... to as the preted as such. It would perhaps be better to view these “immediate reprise” by Webster (1982, 128), the “precur- cases as lacking a true double return, with the omission sory recapitulation” by Mark Evan Bonds (1988, 225...

... as Mark Evan Bonds (1991, 203) proposes. What instead emerges from the debate of Caplin versus Hepo- koski and Darcy is a conception of formal function as a pure potential for use that accompanies musical materials even in the absence of their actual use...

... in the mid-nineteenth century, of spatial repre- sentations of form. As Mark Evan Bonds has carefully documented, formal diagrams, an overt expression of a conceptual turn toward the synoptic, became customary in theoretical and analytical treatises at the turn...

... Ballade as Musical Narrative.” Music Theory Spectrum 26/1 : 23 -56. Korsyn, Kevin. 1994 . Review of Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge: Harvard University Press, 1991. In Music Theory Spectrum 16/1 : 124 -33. Kramer, Lawrence. 1989...

... Form and the Metaphor of the Oration, by Mark Evan Bonds. Music Theory Spectrum 16/1 : 124 -33. Lester, Joel. 1992 . Compositional Theory in the Eighteenth Century . Cambridge: Harvard University Press. Marpurg, Friedrich Wilhelm. 1755-1760. Handbuch bey dem Generalbasse und der...

... own word, Debussy preferred to maintain a single motif throughout a piece. In a letter to Edwin Evans quoted in the appendix of Roger Nichol’s and Richard Langham Smith’s Pelleás et Mélisande (1989, 186), Debussy admonishes Evans to “notice that the motif which accompanies Mélisande...