...Benjamin Steege Myles W. Jackson Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany MIT Press, 2006: x+395 pp. ($40.00 cloth, $23.00 paper) Matthias Rieger Helmholtz Musicus: Die Objektivierung der Musik im 19. Jahrhundert durch Helmholtz' Lehre...

... . Antokoletz Elliott . 2001 . “ The Musical Language of the Fourth Symphony .” In Sibelius Studies , ed. Jackson Timothy L. Murtomäki Veijo , 296 – 321 . Cambridge : Cambridge University Press . Bailey Robert . 1985 . “ An Analytical Study of the Sketches and Drafts .” In Richard...

... : University of Chicago Press . Hepokoski James . 2001 . “ Rotations, Sketches, and the Sixth Symphony .” In Sibelius Studies , edited by Murtomäki Veijo Jackson Timothy , 322 – 51 . Cambridge : Cambridge University Press . Hepokoski James . 2016 . “ Sonata Theory, Secondary...

...” (three chapters, four musical examples); Culture Club, “Karma Chameleon” (four chapters, three musical examples); Huey Lewis and the News, “Hip to Be Square” (three chapters, four musical examples); Michael Jackson, “Bad” (three chapters, two musical examples); John Mellencamp, “Hurts So Good” (four...

... () (N) IV7 IVI Example 18. Beethoven, Overture to “Coriolanus,” Op. 62 129 upon Jackson’s interpretation of a tragic narrative involving the indeci- sive Coriolanus: the wavering modal inflections...

... in a Schenkerian Context: Brahms’s Haydn Variations,” by Timothy Jackson, invokes Ferdinand de Saussure’s structural linguistics, particularly his concepts of synchronic and dia- chronic transformation, to account for paradoxical passages in Brahms’s Variations on a Theme of Haydn, opp. 56a and 56b...

..., Hermann. [1863/1877] 1912 . On the Sensations of Tone as a Physiological Basis for the Theory of Music . Translated by Alexander Ellis. 4th ed. London: Longman, Green. ____. 1867 . Handbuch der physiologischen Optik . Leipzig: Voss. Jackson, Myles. 2006 . Harmonious Triads: Physicists...

... of the American Musicological Society 74 : 501 – 69 . Hui Alexandra . 2012 . The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 . Cambridge, MA : MIT Press . Hui Alexandra , Kursell Julia , and Jackson Myles W. , ed. 2013 . “ Music, Sound...

... Voice-Leading Spaces and Fourier Spaces .” Journal of Music Theory 52 : 219 – 49 . Jackson Allyn . 2002 . “ The World of Blind Mathematicians .” Notices of the American Mathematical Society 49/10 : 1246 – 51 . Lewin David . 1987 . Generalized Musical Intervals...

... that subsume its A≤ tonicization within an overriding C Stufe— although without my emphasis on a middleground voice exchange—see Beach 1994 (13–17), Jackson 1996 (80–83), and Webster 1978 (26–28). 158JMT 50:2 JobJour 149-2na Smithl of M Exampleusic Theory 8 E :2ˆ...

... and its Classical Precedents: Sonata Expositions of Schubert and Brahms .” Intégral 23 : 65 – 119 . Jackson Timothy L. 1996 . “ The Tragic Reversed Recapitulation in the German Classical Tradition .” Journal of Music Theory 40/1 : 61 – 111 . Jakobson Roman . [1935] 1971...

... in Mozart's Idomeneo.” The Music Forum 5 : 233 -56. Jackson, Timothy L. 1989 -90. “Schoenberg's Op. 14 Songs: Textual Sources and Analytical Perception.” Theory and Practice 14-15 : 35 -58. Jonas, Oswald. [1934] 1982 . Introduction to the Theory of Heinrich Schenker . Trans. John Rothgeb. New...

... and Reinterpretation in Chopin.” In Chopin Studies 2 , ed. John Rink and Jim Samson. Cambridge: Cambridge University Press. Darcy, Warren. 1997 . “Bruckner's Sonata Deformations.” In Bruckner Studies , ed. Timothy L. Jackson and Paul Hawkshaw. Cambridge: Cambridge University Press. Everett, Walter. 1990...

...: Cambridge University Press. ____. 2001 . “Rotations, Sketches, and the Sixth Symphony.” In Sibelius Studies , ed. Timothy Jackson and Veijo Murtomäki, 322 -51. Cambridge: Cambridge University Press. Hook, Julian. 2002 . “Uniform Triadic Transformations.” Journal of Music Theory 46 : 57 -126...

... the accompaniments in at least some examples, especially in the section on melodic-harmonic divorce (97–101), where the melodies are described as conflicting with accompaniments represented only by chord symbols and roman numerals. From a study of the Jackson 5’s “ABC” and “several passages from other songs...

..., or two sets of alternating four 284 JOURNAL of MUSIC THEORY equally spaced chords, as one can hear in [my examples] the choruses of Shakira’s 2001 “Whenever, Wherever,” the choruses of Michael Jackson’s 1987 “Smooth Criminal,” and the verses...

..., Michael Jackson’s 1991 single “Black or White” (Example 14), may serve as an example. While this song lacks the major-minor seventh chords and minor-pentatonic melodies characteristic of blues songs, the chord progression is a typical twelve-bar blues that includes IV between V and I at the end...

..., Sketches, and the Sixth Symphony. In Sibelius Studies, edited by Veijo Murtomäki and Timothy Jackson, 322 51. Cambridge: Cambridge University Press. Hepokoski, James. 2002a. Back and Forth from Egmont: Beethoven, Mozart, and the Nonre- solving Recapitulation. Nineteenth-Century Music 25, nos. 2 3: 127...

... was Carl Schachter; and “Analysis Symposium [Beethoven, subsequently addressed in Roland Jackson, “Further Obser- Piano Sonata in C, op. 53 (‘Waldstein,’ 1803–4): Introduzi- vations on Mozart’s Menuetto in D Major,” JMT 11/2 (1967...

... , Columbus, OH , November 10 . Gelfand Michele J. , Caluori Nava , Jackson Joshua Conrad , and Taylor Morgan K. 2020 . “ The Cultural Evolutionary Trade-Off of Ritualistic Synchrony .” Philosophical Transactions of the Royal Society B 375 . doi.org/10.1098/rstb.2019.0432...