=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== M U S I C T H E O R Y O N L I N E A Publication of the Society for Music Theory Copyright (c) 1999 Society for Music Theory +-------------------------------------------------------------+ | Volume 5, Number 1 JANUARY, 1999 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@smt.ucsb.edu or to mto-manager@smt.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.99.5.1.bks University of Nebraska Press *The Philosophy and Aesthetics of Music* Edward A. Lippman Introduction by Christopher Hatch Edward A. Lippman's writings on musical aesthetics comprise a wide variety of areas and employ both systematic and historical approaches, reflecting throughout his unrivaled knowledge of the philosophical literature on music and his deep understanding of the musical repertory. These essays span a broad range of subjects, from the ancients' sense of what music encompasses to the experience of rhythm in Anton Webern's work. Lippman surveys the physical and psychological factors that condition musical perception, and he explores the effect of sung text in vocal music. In the more purely philosophical realm, he argues persuasively that music speaks in its own terms, not in any formalistic sense but through the symbolic meanings it conveys. The historically focused essays include investigations of the aesthetic thinking of Wagner and Schumann, an endeavor that leads Lippman to probe the sources and drives behind musical creativity. Elsewhere he explores the development of particular musical styles. *The Philosophy and Aesthetics of Music* draws upon both philosophy and musicology in demonstrating how the interpretation of music extends far beyond the scope of conventional theory and analysis. Edward A. Lippman is a professor emeritus of music at Columbia University. He is the author or editor of several books, including *A History of Western Musical Aesthetics* (Nebraska 1992). Chrostipher Hatch was a lecturer in music at Columbia University for almost forty years and has written numerous articles and book reviews. June Music 272 pp. 6x9 19 musical examples, index $25.00s paper 0-8032-7984-1 LIPPHX $60.00s cloth 0-8032-2912-7 LIPPHI ----------------------------------- *Bach Perspectives 4: The Music of J. S. Bach: Analysis and Interpretation* Edited by David Schulenberg This volume contains contributions by nine scholars on two broad themes: the analysis of Johann Sebastian Bach's orchestral works, especially his concertos, and the interpretation and performance of his music in general. The contributors are a diverse group, active in the fields of performance, organology, music theory, and music history. Several work in more than one of these areas, making them particularly well prepared to write on the interdisciplinary themes of the volume. Part 1 includes Alfred Mann's introduction to Bach's orchestral music as well as essays by Gregory G. Butler and Jeanne Swack on the Brandenburg Concertos. Part 2 offers groundbreaking articles by John Koster and Mary Oleskiewicz on the harpsichords and flutes of Bach's day as well as essays by David Schulenberg and William Renwick on keyboard performance practice and the study of fugue in Bach's circle. Paul Walker explores the relationships between rhetoric and fugue, and John Butt reviews some recent trends in Bach performance. David Schulenberg is an assistant professor of music at the University of North Carolina, Chapel Hill. He is the author of several books, including *The Keyboard Music of J. S. Bach* and a forthcoming textbook on Baroque music. May Music 256pp. 6 3/4x10 60 musical examples, 12 tables, 6 figures, indexes $65.00s cloth 0-8032-1051-5 AMEBP4 *Bach Perspectives* George J. Buelow, Laurence Dreyfus, Don O. Franklin, Walter B. Hewlett, Robert L. Marshall, Martin Petzoldt, George B. Stauffer, Russell Stinson, and Christoph Wolff, series editors ----------------------------------- *Beethoven Forum 7* Edited by Mark Evan Bonds "The best of present-day Beethoven scholarship."--Stanley Sadie, editor of *New Grove Dictionary of Music and Musicians*. "Since 1992, the University of Nebraska Press has published a *Beethoven Forum*, which is rich in information and knowledge. Fundamental research and topicality, once the domain of the Beethoven-Haus in Bonn, are admirably combined in the *Forum*."--*Der Spiegel*. The essays in this volume grew out of an international Beethoven conference held in honor of Lewis Lockwood at Harvard University in 1996. Michelle Fillion's opening essay explores the Mass in C and its turn away from the "heroic" style of the "middle-period" works. In "Beethoven and the Aesthetic State," Karol Berger reflects on the manner in which the composer's music often shifts back and forth between a "real" and an "imagined" world. William Drabkin examines the role of the cello part in Beethoven's late quartets, particularly in regard to the elusive parameter of texture. Richard Kramer's reading of the song "Resignation" (1818) opens new perspectives on the idea of a "late" style in the composer's output. In "Beethoven's 'Expressive' Markings," Leo Treitler demonstrates how seemingly straightforward directions to performers about tempo, mood, or dynamics raise fundamental questions about the relationship betweeb music and language. Michael C. Tusa reviews more than a century of attempts to relate form and content in the last movement of the Ninth Symphony and offers a new interpretation on the idea of the choral finale as a kind of four-movement symphony in its own right. Maynard Solomon's essay on the "Diabelli" variations argues that the theme itself, although simple, is by no means trivial and indeed is "perfectly suited to unpacking issues of firstness and lastness and the interchangeability." William Drabkin concludes the volume with a review essay on *Beethoven: Interpretationen seiner Werke*, edited by Albrecht Riethmueller, Carl Dahlhaus, and Alexander Ringer. May Music 196 pp. 8 1/2x11 35 musical examples, 5 tables, figure, indexes $65.00s cloth 0-8032-1292-5 BEEBF7 *Beethoven Forum* Lewis Lockwood, editor-in-chief; Mark Evan Bonds, Christopher Reynolds, and Elaine R. Sisman, editors ----------------------------------- *Petterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay* Graeme M. Boone The relationship between text and music is a central issue in fifteenth-century music studies. Decades of research and performance have failed to provide clear answers to the most basic questions, such as which notes go with which syllables and why. *Patterns in Play* focuses on the early French songs of Guillaume Dufay and proposes a basis for determining some rules of common procedure for interpreting both underlay and style. Graeme M. Boone examines questions of rhythm and declamation, considering mensuration, linguistic and poetic prosody, and prosody in song. The first three chapters comprise a set of discussions preliminary to close rhythmic analysis of Dufay's texted song melodies. Beginning with mensural rhythm and proceeding to poetics and the relationship between Dufay's poetic and musical rhythms and musical declamation, Boone examines the musical features of rhythm, melody, tonal organization, counterpoint, text setting, and text expression. Offering fresh insight into the issues he raises, Boone clarifies the relationship between underlay and style and provides a better understanding of the technical and aesthetic issues that Dufay and other composers faced in weaving their patterns of song. Graeme M. Boone is an associate professor of music at Ohio State University. He is the editor of *Essays on Medieval Music in Honor of David G. Hughes* and, with John Covach, of *Understanding Rock: Essays in Musical Analysis*. July Music 466 pp. 8x10 74 musical examples, 13 figures, 2 tables, facsimile appendix, index $75.00s cloth 0-8032-1235-6 BOOPAT +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] *Music Theory Online* (*MTO*) as a whole is Copyright (c) 1999, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (*MTO*) are held by their authors. Items appearing in *MTO* may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may *not* be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of *MTO*. 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