New Book Releases

MTO 2.5 1996

New Book Menu

  1. W.W. Norton
  2. Harvard University Press

    Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony

    Laurence Dreyfus, Bach and the Patterns of Invention

  3. The University of California Press

    Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra

    L�szl� Somfai, B�la Bart�k: Composition, Concepts, and Autograph Sources

    Patricia Hall, A View of Berg's Lulu through the Autograph Sources

  4. Cambridge University Press

W. W. Norton

1) Robert Gauldin, Harmonic Practice in Tonal Music (a text for 
   the four-semester theory sequence; comes with workbook and CDs);

2) Samuel Adler, Sight Singing: Pitch, Interval, Rhythm, 2nd ed. 
   (a text for the four-semester sight singing sequence, based on
   intervals and interval relationships):

3) Sol Berkowitz et al., A New Approach to Sight Singing. 4th ed. (a 
    text for the four-semester sight singing sequence, based on
    tonal relationships);

4) Daniel Kazez, Rhythm Reading: Elementary Through Advanced Training,
   2nd ed. (a text for the four-semester sight singing sequence,
   dealing with rhythm only).

5) The Norton CD-ROM Masterworks

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Havrard University Press

Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony
Laurence Dreyfus, Bach and the Patterns of Invention
After Beethoven: Imperatives of Originality in the Symphony
Mark Evan Bonds

Beethoven cast a looming shadow over the nineteenth century.  For 
composers he was a model both to emulate and to overcome.  "You have no 
idea how it feels," Brahms confided, "when one always hears such a giant 
marching behind one."  Exploring the response of five composers--Berlioz, 
Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as 
the challenge of Beethoven's symphonies, Evan Bonds richly enhances our 
understanding of the evolution of the symphony and Beethoven's legacy.

Bonds lucidly argues that the great symphonists of the 
nineteenth century cleared creative space for themselves 
by both confronting and deviating from the practices of their 
potentially overpowering precursor.  His analysis places 
familiar masterpieces in a new light.

January    6 1/4 x 9 1/4    41 musical examples    208 pp.
ISBN 0-674-00855-3    (BONAFT)    $35.00t     Music

Bach and the Patterns of Invention
Laurence Dreyfus

In this major new interpretation of the music of J. S. Bach, we gain 
a striking picture of the composer as a unique critic of his age.  
By reading Bach's music "against the grain" of contemporaries such 
as Vivaldi and Telemann, Laurence Dreyfus explains how Bach's 
approach to musical invention in a variety of genres posed a 
fundamental challenge to Baroque aesthetics.

"Invention"--the word Bach and his contemporaries used for the 
musical idea that is behind or that generates a composition--emerges 
as an invaluable key in Dreyfus's analysis.  Looking at important 
pieces in a range of genres, including concertos, sonatas, fugues, 
and vocal works, he focuses on the fascinating construction of the 
invention, the core musical subject, and then shows how Bach disposes, 
elaborates, and decorates it in structuring his composition. Bach and 
the Patterns of Invention  brings us fresh understanding of Bach's 
working methods, and how they differed from those of the other leading 
composers of his day.  We also learn here about Bach's unusual 
appropriations of French and Italian styles--and about the elevation 
of various genres far above their conventional status.

February   7x10   11 halftones, 73 musical examples     256 pp.
ISBN 0-674-06005-9    (DREBAC)     $45.00s       Music

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The University of California Press

Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra
L�szl� Somfai, B�la Bart�k: Composition, Concepts, and Autograph Sources
Patricia Hall, A View of Berg's Lulu through the Autograph Sources

Stravinsky and the Russian Traditions: A Biography of the Works Through 
Richard Taruskin

"Taruskin's vast and detailed knowledge of Russian culture, music, and
traditions provides an unparalleled background for this monumental
study. .  . . Taruskin lets us see Stravinsky in a global context, as
we would a continent from the space shuttle-but he also gives us a
microscopic view of details that is nothing less than Proustian in its
nuances and shadings. .  . . A simply incredible achievement!"
-George Perle, author of The Listening Composer

"What Fernand Braudel did for the Mediterranean, Richard Taruskin has
done for Stravinsky's Russian Period."  -David Schiff, author of The
Music of Elliott Carter

"This book will arouse great interest and attention, and also, to be
sure, heated debate; but whatever one's reaction, no one will be able
to ignore it. . . . I suspect it will, with a single blow (the word
has been chosen carefully), establish Taruskin as the foremost scholar
of twentieth-century music in the world."-Robert P. Morgan, author of
Twentieth-Century Music

"To my knowledge, no previous book has situated music-music subtly
described and understood-within such a richly embroidered fabric of
cultural and intellectual history.  A landmark study, at once
engaging, necessary, and compelling."  -Joseph Horowitz, author of
Wagner Nights: An American History

This book undoes 50 years of mythmaking about Stravinsky's life in
music.  During his spectacular career, Igor Stravinsky underplayed his
Russian past in favor of a European cosmopolitanism. Richard Taruskin
has refused to take the composer at his word. In this long-awaited
study, he defines Stravinsky's relationship to the musical and
artistic traditions of his native land and gives us a dramatically new
picture of one of the major figures in the history of music.

Taruskin draws directly on newly accessible archives and on a wealth
of Russian documents. In Volume One, he sets the historical scene: the
St.  Petersburg musical press, the arts journals, and the writings of
anthropologists, folklorists, philosophers, and poets. Volume Two
addresses the masterpieces of Stravinsky's early maturity-Petrushka,
The Rite of Spring, and Les Noces. Taruskin investigates the
composer's collaborations with Diaghilev to illuminate the
relationship between folklore and modernity. He elucidates the Silver
Age ideal of "neonationalism"-the professional appropriation of motifs
and style characteristics from folk art-and how Stravinsky realized
this ideal in his music.

Taruskin demonstrates how Stravinsky achieved his modernist technique
by combining what was most characteristically Russian in his musical
training with stylistic elements abstracted from Russian folklore. The
stylistic synthesis thus achieved formed Stravinsky as a composer for
life, whatever the aesthetic allegiances he later professed.

Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky. Richard Taruskin is Professor of Music at the University of California at Berkeley. His most recent books are Musorgsky: Eight Essays and an Epilogue (1993) and Text and Act: Essays on Music and Performance (1995). The University of California Press Publication Date: July 21, 1996 0-520-07099-2 $125.00 cloth until 6/30/96, $175.00 thereafter 1,800 pages in two-volume boxed set, 7 x 10", 187 b/w illustrations, 2 color plates, 623 music examples World rights except omit Europe, British Commonwealth except Canada

B�la Bart�k: Composition, Concepts, and Autograph Sources
L�szl� Somfai

"This book is at the frontiers of Bart�k research. It presents a
vast array of unknown material. Both the breadth and the depth of
Somfai's approach is unique among source studies in twentieth-century
music."  -Reinhold Brinkmann, Harvard University

This long-awaited, authoritative account of Bart�k's compositional
processes stresses the composer's position as one of the masters of
Western music history and avoids a purely theoretical approach or one
that emphasizes him as an enthusiast for Hungarian folk music.

For B�la Bart�k, composition often began with improvisation at
the piano.  L�szl� Somfai maintains that Bart�k composed
without preconceived musical theories and refused to teach composition
precisely for this reason. He was not an analytical composer but a
musical creator for whom intuition played a central role.

These conclusions are the result of Somfai's three decades of work
with Bart�k's oeuvre; of careful analysis of some 3,600 pages of
sketches, drafts, and autograph manuscripts; and of the study of
documents reflecting the development of Bart�k's
compositions. Included as well are corrections preserved only on
recordings of Bart�k's performances of his own works.  Somfai also
provides the first comprehensive catalog of every known work of
Bart�k, published and unpublished, and of all extant draft, sketch,
and preparatory material. His book will be basic to all future
scholarly work on Bart�k and will assist performers in clarifying
the problems of Bart�k notation. Moreover, it will be a model for
future work on other major composers.

L�szl� Somfai is the Director of the Bart�k Archives in
Budapest and Professor of Musicology at the Liszt Academy of Music,
Budapest. He has published books on Haydn, Bart�k, and Webern in
German and Hungarian, and an English edition of The Keyboard Sonatas
of Joseph Haydn (1995).

The Ernest Bloch Lectures, 9

The University of Califonia Press
Publication Date: May 7, 1996
0-520-08485-3     $60.00 cloth
340 pages, 7 x 10", 90 b/w illustrations, 84 music examples
World rights

A View of Berg's Lulu through the Autograph Sources
Patricia Hall

"Hall was the first to study this material whole and in such depth;
the result of her study remains an important, and in many ways
path-breaking, piece of work."-Douglas Jarman, author of The Music of
Alban Berg

After 50 years of analysis we are only beginning to understand the
quality and complexity of Alban Berg's most important twelve-tone
work, the opera Lulu. Patricia Hall's new book represents a primary
contribution to that understanding-the first detailed analysis of the
sketches for the opera as well as other related autograph material and
previously inaccessible correspondence to Berg.

In 1959, Berg's widow deposited the first of Berg's autograph
manuscripts in the Austrian National Library. The complete collection
of autographs for Lulu was made accessible to scholars in 1981, and a
promising new phase in Lulu scholarship unfolded. Hall begins her
study by examining the format and chronology of the sketches, and she
demonstrates their unique potential to clarify aspects of Berg's
compositional language. In each chapter Hall uses Berg's sketches to
resolve a significant problem or controversy that has emerged in the
study of Lulu.  For example, Hall discusses the dramatic symbolism
behind Berg's use of multiple roles and how these roles contribute to
the large-scale structure of the opera. She also revises the commonly
held view that Berg frequently invoked a free twelve-tone style.

Hall's innovative work suggests important techniques for understanding
not only the sketches and manuscripts of Berg but also those of other
twentieth-century composers.

Patricia Hall is Assistant Professor of Music at the University of
California, Santa Barbara.

The University of California Press
Publication Date: September
0-520-08819-0     $42.00x cloth
185 pages, 6 x 9", 47 b/w illustrations, 51 music examples
World rights

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Cambridge University Press

Organised Sound

Aims and Scope

Cambridge University Press is pleased to announce the publication in 1996 of a new journal, Organised Sound. Organised Sound is published three times a year and focuses on the rapidly developing methods and issues arising from the use of technology in music today. The journal concentrates upon the impact which the application of technology is having upon music in a variety of genres, including multimedia, performance art, sound sculpture and electroacoustic composition. Organised Sound provides a unique forum for engineers, composers, performers, computer specialists, mathematicians and music scholars to share the results of their research as they affect musical issues. Each issue includes articles relating to a specific theme, as well as other articles and occasional tutorial articles on topics relevant to this exciting field. There is also a useful Announcements section, which keeps readers abreast of current events and points of note. The theme of issue 1 is "Sounds and Sources" and the other themes for Volume 1 are "The Time Domain" and "Algorithmic Composition." An accompanying CD will be sent free to subscribers annually.

Subscription Information

Organised Sound is published three times a year in April, August, and December. Volume 1 in 1996 is �63 ($98) for institutions, �35 ($49) for individuals and �25 ($36) for students. Delivery by airmail is �14 per year extra. An annual CD is issued free with the subscription.

Order Form

Please enter my subscription to Organised Sound (ISSN 1355-7718) Volume 1, 1996 $98 institutions $49 individuals $36 students (Prices good through 12/31/96) Please return order to: Journals Department Cambridge University Press 40 West 20th Street New York NY 10011-4211 USA Tel: (914) 937-9600 x154 Fax: (914) 937-4712 or you may phone your order direct (toll-free) on 1-800-872-7423 Email: Outside the USA, Canada and Mexico, please write to: Journals Marketing Department Cambridge University Press The Edinburgh Building Cambridge CB2 2RU United Kingdom Tel: +44 (0) 1223 325806 Fax: +44 (0) 1223 315052 Email:

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