... considered rather routine. Through scrutiny of modal references and explanatory rhetoric within the treatise, this study corrects some modern readings of Hucbald's teaching on mode and offers a new assessment of the relationship between modal lore and venerable Boethian theory in Hucbald's theoretical...

..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...

..., harmonic functions, or pitch centricity. The Dasian space is a closed, nonoctave repeating scalar cycle, where each element is identified by a unique coordination of pitch class and modal quality. The dual description of each element enables both the specification of location in a given cycle and the...

... appeared first in the eleventh century. Detailed analysis and comparison of the music (and theory) of Hermannus Contractus (1013-1054) with Hildegard's demonstrates a shared emphasis on Hermannus's modal nodes of final, fifth, and octave. Further analyses of antiphons from the later Middle Ages for Saints...

.... 1985 . “Bitonality, Mode, and Interval in the Music of Karol Szymanowski.” Journal of Music Theory 29 : 61 –84. Miller, Ron. 1996 . Modal Jazz: Composition and Harmony . 2 vols. Rottenburg: Advance Music. Perle, George. 1995 . The Right Notes . Stuyvesant, NY: Pendragon. Porter...

... Middle Ages to 1300, ed. Richard Crocker and David Hiley, 485–556. Oxford: Oxford University Press. 1990. “ Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut.” In Studies in Medieval Music: Festschrift for Ernest Sanders...

... research includes analysis and performance of Japanese con- temporary flute music, as well as the modelling of modal processes in Bartók and in Balinese music. 253 ...

... Klavierstücke with a few of Schubert’s other works, as a means of 7 For further discussion of Schubert’s use of modal mix- ture, see Tovey 1928 and Beach 1998. 58 JOURNAL of MUSIC THEORY suggesting that his use of mixture in the Klavierstücke appears to be reflective...

... California Press . McClary Susan . 2004 . Modal Subjectivities: Self-Fashioning in the Italian Madrigal . Berkeley : University of California Press . Mengozzi Stefano . 2010 . The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History . Cambridge...

..., but in the end appears to be mere conjecture. Perhaps Graeme Boone’s analysis of modal ambiguity in the Grateful Dead’s “Dark Star” provides a summary for some of the problems en- countered in the weaker chapters. After providing a detailed study of shifting modality and motivic structure for a...

... major topic in the “Form” chapter, where the author posits a “harmonic modal system” in which a progression’s modality is—ostensibly—“identified simply by the harmonic roots” (73). Right away there is a hitch: his system clearly does not work this way, as his very first example unintentionally...

... Symphony and Tapiola .” In The Sibelius Companion , ed. Goss Glenda Dawn , 147 – 66 . Westport, CT : Greenwood . Murtomäki Veijo . 2008 . “ Modal-Tonal Techniques in Sibelius’s opus 114 .” Musurgia 15 / 1–3 : 71 – 81 . Musurgia . 2008 . “ The International Sibelius Conference...

... : Ashgate . Harley John . 2005 . William Byrd's Modal Practice . Burlington, VT : Ashgate . Harman Alec R. , ed. 1952 . A Plain and Easy Introduction to Practical Music. New ed. of A Plaine and Easie Introduction to Practicall Musicke , by Morley Thomas . London : Dent...

... . Accessed February 26, 2009. Berger, Christian. 2003 . “Machaut's Balade Ploures dames (B32) in the Light of Real Modality.” In Machaut's Music: New Interpretations , ed. Elizabeth Eva Leach, 193 -204. Studies in Medieval and Renaissance Music, Tess Knighton and Andrew Wathey, ser. eds. Woodbridge...

... “modes” (296) are many important contributors to early modal theory, including Boethius, Hucbald, and the authors of Alia Musica and the Enchiriadis treatises. Although nonspecialists seeking a comprehensive pic- ture of topical development have other...

... octatonic pitch relations within a broad modal context and supported by a series of nonan- notated music examples. I am not sure these are necessarily the “thorough analyses” promised, a little self-servingly, in the introduction (3), but they...

... Jay . 1956 . Sergei Rachmaninoff: A Lifetime in Music . New York : New York University Press . Burns Lori . 1995 . Bach’s Modal Chorales . Stuyvesant, NY : Pendragon . Burstein Poundie . 2006 . “ Schenker’s Concept of the Auxiliary Cadence .” In Essays from the Third...

..., trans. Cornelius Cardew, 189 –204. New York: Harcourt, Brace, and World. Brinkman, Alexander. 1980 . “The Melodic Process in J. S. Bach's Orgelbüchlein.” Music Theory Spectrum 2 : 46 –73. Burns, Lori. 1995 . Bach's Modal Chorales . Harmonologia Series 9. Stuyvesant, NY: Pendragon...

... single octave, “Tonraum,” the quintessential melodic space in the background, is effectively limited to an octave.3 In strict species coun- terpoint, the cantus firmus must begin and end on the tonic (or modal final), and cadences in two voices require arrival at an octave or unison via contrary...

... from Haydn’s symphonies, including examples from Nos. 55, 58, 78, 83, 90, and 93. We see how modal shifts, motivic parallelisms, harmonic reinterpretations, formal conflicts, and apparent tonics serve as sources of surprise and joviality. While Burstein demystifies some of the mechanics of Haydn’s...