... nonetheless remains directly indebted to musical practice and consistently rejects that esprit du système that is so characteristic of Rameau's theory. While Rameau, acting in the modern, scientific spirit of the early Enlightenment, attempts to derive all aspects of his theory from a few fundamental...

... of Hermann von Helmholtz's On the Sensations of Tone , used the concertina as a demonstration tool in public lectures intended to popularize Helmholtz's acoustic theories. The English concertina's history reveals the peculiar fissures and overlaps between scientific and popular cultures, speculative...

... change in musical structures. Yet this historical dimension, in many ways typical of its era, is complicated by a tenuous balance between the determinism demanded by rigorous scientific explanation and Helmholtz's evident desire to preserve a complex role for the “choice” of fundamental aesthetic...

... as a scientific thinker. This emphasis on the voice, moreover, lets him situate rhetoric in terms of the relationship between the voice and the soul, thus linking delivery with divinity. With both oratory and music being understood as specialized forms of sound production, music is shown to aid rhetoric just...

..., which is in turn motivated by his Hanslickian musical absolutism. What emerges from this triangulation of commitments is that Schenker's interpretive practice accords with the scientific precepts Kant's philosophy of biology attempts to establish. This result casts new light on the purport of Schenker's...

.... Otto Sibum. 2003 . “Introduction: Scientific Personae and Their Histories.” Science in Context 16/1-2 : 1 -8. Dolan, Emily I. 2003 . “The Origins of the Orchestra Machine.” Current Musicology 76 : 7 -23. ____. 2006 . “The Idea of Timbre in the Age of Haydn.” Ph.D. diss., Cornell...

...Ramon Satyendra 2004 © Yale University, New Haven, Connecticut 06520 2004 Artin, Michael, Algebra . Englewood Cliffs: Prentice Hall, 1991 . Armstrong, M. A. Groups and Symmetry . New York: Springer, 1988 . Brown, Matthew, and Douglas Dempster. 1989 . “The Scientific Image...

... traditional scientific realism, which sits uncomfortably with Cavell’s Wittgensteinian outlook. (More on this below.) But it is also because I worried that Cavell was downplaying two fun- damental features of twentieth-century art. The first was its connection to philosophy. Cavell writes...

... and grandiose metaphors (music as a “universal language,” the “language of the soul,” etc as well as the source of careful ruminations by great thinkers from Adorno to Agawu, has recently spawned vigorous and widespread theoretical and scientific efforts that build on the foundations of cognitive...

... the scientific literature on collaboration. I outline chapters in the order they appear in the text; suggestions for use in the classroom follow at the end. How do the performers of Ravel's Concerto for the Left Hand negotiate the handoff from orchestra to soloist the moment the opening cadenza begins...

... research, he remains cautious about empirical testing. Cognitive approaches, he asserts, cannot presume to explain (or constrain) by scientific methods those potential meanings that accrue from historical, learned, and aesthetic behaviors (27 28). This principled critique of scientism and defense...

... Rameau and After.” Music Analysis 15: 75–100. Judd, Cristle Collins. 2000. Reading Music Theory: Hearing with the Eyes. Cam- bridge: Cambridge University Press. Korsyn, Kevin. 2003. Decentering Music. New York: Oxford University Press. Kuhn, Thomas. [1962] 1970. The Structure of Scientific...

... Straus’s “The Problem of Prolongation in Post-tonal Music,” and special issues dealing with Brown and Dempster’s “The Scientific Image of Music Theory” and with neo-Riemannian theory. While the need for translations has perhaps abated over the years, we still...

...). Moreover, Schenker (1979, 5) says that “music is never comparable to . . . architecture,” as the term structure would imply. This objec- tion is not a quiddity. The use of the term structure reflects a broader Ameri- can abandonment of Schenker’s organicism in favor of scientific imagery (Snarrenberg...

... . 2008 . “ Patternicity .” Scientific American 299/6 : 48 . Stravinsky Igor . 1964 . “ Dialogue about JFK .” New York Times , 6 December . Reprinted in Igor Stravinsky and Robert Craft, Themes and Episodes, 56–59. New York: Knopf, 1966 . Taruskin Richard . 2011 . “ Catching...

... in the same way scientific claims are; humanistic claims are more or less convincing based on the depth and thoroughness of inquiry at both levels of the binary opposition at hand, and the skill with which the play between them is captured.2 Sounding Off begins the project of bringing the other...

... and Practice 17 : 103 – 18 . Covach John . 1996 . “ The Sources of Schoenberg’s ‘Aesthetic Theology’ .” Nineteenth-Century Music 19 / 3 : 252 – 62 . Goethe Johann Wolfgang von . 1988 . Scientific Studies , edited by Miller Douglas E. Vol. 12 of Collected Works . New York...

... the Renaissance to the Early Twentieth Century , ed. Suzannah Clark and Alexander Rehding, 68 –92. Cambridge: Cambridge University Press. Cohen, H. F. 1989 . Quantifying Music: The Science of Music at the First Stage of the Scientific Revolution . Dordrecht, Boston, and Lancaster: D. Reidel. Descartes...

... . “The Scientific Image of Music Theory.” Journal of Music Theory 33/1 : 65 –106. Browne, Richmond. 1974 . Review of The Structure of Atonal Music, by Allen Forte. Journal of Music Theory 18/2 : 390 –415. Browne, Richmond. 1979 . “The Inception of the Society for Music Theory.” Music Theory...

... not delve into the specifics of how racial discrimination shaped Kant's worldview to such an extent that some modern critics have labeled him the “first to propose a rigorous scientific concept of race” (Bernasconi and Lott 2000 : viii). 8 Also significant is the Eurocentrism and racism embedded within...