...Robert P. Morgan 1999 © Yale University, New Haven, Connecticut 06520 1999 ARE THERE TWO TONAL PRACTICES IN NINETEENTH-CENTURY MUSIC? Robert P. Morgan Article/review of The Second Practice of Nineteenth-Century Tonality, William Kinderman and Harald Krebs...

...Robert P. Morgan Taking my own Schenker-derived view of dissonant prolongations as a point of departure, this article attempts to clarify this phenomenon by considering it in relation to tonal prolongation. This is accomplished in three ways: by reconsidering Schenker's mature attitude toward...

...Robert P. Morgan David W. Beach Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study University of Rochester Press, 2005: xiii + 92 pp. ($75.00 cloth) © 2008 by Yale University 2008 Reviews David W. Beach Aspects of Unity in J. S. Bach’s Partitas and Suites...

...Matthew Arndt REVIEW Robert P. Morgan Becoming Heinrich Schenker: Music Theory and Ideology Cambridge University Press, 2014: xx+275 pp. ($99.00 cloth) Matthew Arndt Robert P. Morgan’s Becoming Heinrich Schenker: Music Theory...

... Collection . Washington, DC : Library of Congress . Montgomery David L. 1992 . “ The Myth of Organicism: From Bad Science to Great Art .” Musical Quarterly 76 , no. 1 : 17 – 66 . Morgan Robert P. 1998 . “ Symmetrical Form and Common-Practice Tonality .” Music Theory Spectrum...

... of Technology. Richard Kurth is Assistant Professor of Music at the University of British Colum- bia. Andrew Mead is Professor of Music (Theory) and Chair of the Department of Music Theory at the University of Michigan School of Music. Robert P. Morgan is Professor of Music at Yale University...

... P. Morgan is Professor Emeritus of Music at Yale University. Alexander Rehding is Professor of Music at Harvard University. His publications include Hugo Riemann and the Birth of Modern Musical Thought (Cambridge Uni­versity Press, 2003). He is currently interested in questions...

... such as Robert P. Morgan’s “Disso- Journal of Music Theory  50:1, Spring 2006 DOI 10.1215/00222909-2008-002  © 2008 by Yale University 3 4 Journal of Music Theory nant Prolongations: Theoretical and Compositional Precedents” and Joseph...

... NOTES An earlier version of this essay was read at the Third International Schenker Sym- posium at the Mannes College of Music, March 13, 1999. The author wishes to thank Michael Friedmann, Robert P. Morgan, and Susan Youens for their critical comments on a preliminary draft. 1. Bach...

.... John Covach and Graeme M. Boone, 93–112. Oxford: Oxford University Press. Cone, Edward T. 1974. The Composer’s Voice. Berkeley: University of California Press. [1960] 1989. “Analysis Today.” In Music: A View from Delft, ed. Robert P. Morgan, 39–54. Chicago: University of Chicago Press...

... Christblume” I am grateful to a number of individuals for their comments and suggestions on earlier versions of this article, especially Robert Morgan, John Covach, Steven Rings, and my anonymous readers. 1  See especially Cohn 1996, 1999, 2004, 2006. Cohn him- 2  For critiques regarding...

... Voice . Berkeley: University of California Press. ____. [1988] 1989 . “The World of Opera and Its Inhabitants.” In Music: A View from Delft: Selected Essays , ed. Robert P. Morgan. Chicago: University of Chicago Press. ____. 1992 . “Poet's Love or Composer's Love?” In Music and Text: Critical...

... NOTES 1. Half=80 is specified as the governing tempo for the “Freude” theme at m. 92, its first occurrence. Though not specified as such when the theme recurs at m. 237, I (and many others) see the connection as implicit. 2. Robert Morgan’s recent article provides significant insights...

.... Martino, Donald. 1961 . “The Source Set and its Aggregate Formations.” Journal of Music Theory 5/2 : 224 -73. Morgan, Robert. 1976 . “Dissonant Prolongation: Theoretical and Compositional Precedents.” Journal of Music Theory 20 : 49 -91. Marvin, Elizabeth West and LaPrade, Paul A. 1987...

... of their individual linear-contrapuntal environments. Each motivic harmony gains meaning through its particular tonal function, but each also exists within a network of associative connection based more generally on chord identity. for Robert P. Morgan in the passage from his A-major violin sonata shown...

... Spectrum 19 /2: 155 –83. Cone, Edward T. 1989 . “Three Ways of Reading a Detective Story—Or a Brahms Intermezzo.” In Music: A View from Delft: Selected Essays . Ed. Robert P. Morgan. Chicago: University of Chicago Press, 77 –93. Descartes, René. 1637/ 1996 . Discourse on Method . New Haven...

... for his typographic advice. 22 For a groundbreaking approach to interval successions in Renaissance polyphony that is empirical rather than deductive, see Morgan 2016 . 23 Berger ( 1987 : 122–39) refers to these as lower and upper leading tones, respectively. 24 I adopt...

... Harvey, The Music of Stockhausen: An Introduction (Berkeley: University of California Press, 1975) or Robert P. Morgan, Anthology of Twentieth-Century Music (New York: W.W. Norton, 1992). 20. William Rothstein and Andrew Mead both discuss the relationship between the row and the succession...

... and Transformations. New Haven: Yale University Press. Morgan, Robert P. 1976 . “Dissonant Prolongation: Theoretical and Compositional Precedents.” Journal of Music Theory 20 : 47 -91. Morris, Robert D. 1982 . “Set Groups, Complementation, and Mappings among Pitch-Class Sets.” Journal of Music Theory...

.... 1970 . Der Krise der Konzertkadenz bei Beethoven . Bonn: Bouvier. Morgan, Robert. 1976 . “Dissonant Prolongation: Theoretical and Compositional Precedents.” Journal of Music Theory 20 : 49 -91. Mueter, John. 1982 . “An Unpublished Cadenza by Gounod for Mozart's Piano Concerto KV 491...