...Marianne Kielian-Gilbert Intensely chromatic and tonally open, Bach's chorale prelude “Das alte Jahr vergangen ist,” BWV 614, suggests different contexts of reception “as-music-analysis.” I imagine a reception of the prelude as liturgical-musical contemplation and religious experience. I construe...

...David Temperley My discussion of Bach's chorale prelude “Das alte Jahr vergangen ist” centers on its key structure: the hierarchical arrangement of keys in the piece and the relationships between them. In the course of this discussion, I make a number of observations about the nature of key...

... Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice...

... piano preludes (“Ondine” and “Brouillards,” both from Book 2). Aside from showing that Stravinsky was not the first composer to employ this formal model, these analyses show that Cone’s theory is eas- ily adaptable to the unique demands of a work, for Debussy’s use of strat- ified form is in some...

... it. In addressing the two complete compositions analyzed in part II, Beach for the first time deals with provenance. In chapter 5, on the keyboard suite BWV818a, we are told that the work exists in two largely identical versions, except that the one chosen contains a prelude and substitutes a variant...

...: Cambridge University Press. DeLong, Kenneth. 1991 . “Roads Taken and Retaken: Foreground Ambiguity in Chopin's Prelude in A-flat, op. 28, no. 17.” Canadian University Music Review 11 / 1 : 34 –49. Eigeldinger, Jean-Jacques. 1986 . Chopin: Pianist and Teacher as Seen by His Pupils . New York...

... along with this point, the Tristan analy- sis offered does little to support it—at least not for the reasons given. It treats the return of material from both the prelude and “Liebestod” at the close of Act III, where, according to Kinderman, one of the music drama’s principal dramatic issues...

..., “Associative Harmony: The Reciprocity of Ideas in Musical Space,” in In Theory Only, vol. 10, no.1–2 (September 1987): 31–64, Carl Schachter, “The Prelude in E minor, Op. 28, No. 4: autograph sources and inter- pretation,” in Chopin Studies 2, ed. John Rink and Jim Samson (Cambridge: Cam...

... and structural high points rarely coincide. The author discusses expressive high points in Schubert’s “An die Musik,” Chopin’s Prelude in C, op. 28/1, Wagner’s Tristan Prelude, and even passages from Mahler’s Tenth Symphony (i) and Bartók’s Music for Strings, Percussion and Celesta (i). The author...

... similar subdominant returns, and some of these may be based upon octave lines. Two more Bach ex- amples come immediately to mind: the F major Invention, and the E major Prelude from Book I of the WTC. The first displays prominent tetrachordal motives like those of the Preludio, and the second features...

..., exemplified in lesson 1 by actual musical examples alongside hypothetical ones, are ways of “expressing harmony through a melodic line” (3). Linear progressions embody some of the dynamism inherent in the constitutive lines of a Bach or Chopin prelude, a Mozart or Beethoven sonata, a Haydn string...

... for the Instrumental Music of Haydn, Mozart, and Beethoven . New York: Oxford University Press. Chopin, Frédéric. 1943 . Preludes for the Piano . Ed. Rafael Joseffy. G. Schirmer: New York. ____. 1968 . Préludes . Ed. Ewald Zimmermann. G. Henle Verlag: Munich. Cone, Edward T. 1977 . “Three Ways to Read...

... .” Perspectives of New Music 9 , no. 2–10 , no. 1 : 209 – 31 . Rothgeb John . 1987 . Review of Walter Frisch, Brahms and the Principle of Developing Variation . Music Theory Spectrum 9 : 204 – 15 . Schachter Carl . 1994 . “ The Prelude in E Minor op. 28 no. 4: Autograph Sources...

... and to highlight JMT’s historical editorial breadth, we asked three leading music theorists to examine “Das alte Jahr vergangen ist,” a short and intense cho- rale prelude by J. S. Bach. All authors are struck by the extraordinary fea- tures of this work. William Renwick, well known as a scholar...

... dramatically over time in step with the evolution of harmonic thinking. Generations of musicians have been exquisitely aware that the polyphony of a motet by Machaut is quite unlike that of a Bach cho- rale prelude, both of which are similarly unlike...

... not appear. A scena or recitative, usu- ally introduced by an orchestral prelude, comes first, but its status as part of the number is equivocal.21 The primo tempo or tempo d’attacco follows.22 Both terms mean, roughly, “first tempo” or “first movement” (the verb attaccare can mean to initiate...

... arpeggiations to pro- vide support. In some of the graphs in Volumes I–II, the Urlinie does not consist of a single descending line. It may contain a rising and falling third, as in No. 7 of Bach’s Twelve Short Preludes (I, 58) or “two linear progressions and in the course of which the ∞ can be seen...

... expresses the underlying harmony. The “leading” Zug arpeg- 209 giates the harmony; the “follower” goes along passively for the contra- puntal ride. A classic instance is found in mm. 1–19 of Bach’s C-major Prelude (WTC I), as analyzed by Schenker...