New Book Releasess

MTO 4.2 1998

New Book Menu

  1. Cornell Univeristy Press
    Jenefer Robinson, ed. Music and Meaning
    Jerrold Levinson, The Pleasure of Aesthetics: Philosophical Essays

  2. Harvard University Press
    Jeffrey Kallberg, Chopin at the Boundaries: Sex, History, and Musical Genre

  3. Harwood Academic Publishers
    Adam Krims, ed. and Henry Klumpenhouwer, commentator, Music and Ideology: Resisting the Aesthetic
    David Nicholls, ed. The Whole World of Music: A Henry Cowell Symposium
    Valeria Tsenova, ed. Underground Music from The Former USSR

  4. Princeton University Press
    Charles Dill, Monstrous Opera: Rameau and the Tragic Tradition
    Kenneth Levy, Gregorian Chant and the Carolingians
    Leslie David Blasius, The Music Theory of Godfrey Winham

  5. University of California Press
    Judit Frigyesi, Bela Bartok and Turn-of-the-Century Budapest

  6. University of Nebraska Press
    Michael Marissen, ed. Bach Perspectives 3: Creative Responses to the Music of J.S. Bach from Mozart to Hindemith
    Glenn Stanley, ed. Beethoven Forum 6

Cornell Univeristy Press

Jenefer Robinson, ed. Music and Meaning

In order to promote new ways of thinking about musical meaning,
this volume brings together scholars in music theory, musicology,
and the philosophy of music, disciplines generally treated as
separate and distinct.  This interdisciplinary collaboration,
while respecting differences in perspective, identifies and
elaborates shared concerns.

This volume focuses on the many and various kinds of meaning in
music.  Do musical meanings exist exclusively in internal, formal
musical relations or might they also be found in the relationship
between music and other areas of expierience, such as action,
emotion, ideas, and values?  Also discussed is the vexed question
why people listen to and apparently enjoy music which expresses
unpleasant emotions, such as melancholy or despair.  Among the
particular pieces the writers discuss are Mahler's Ninth Symphony,
Shostakovich's Tenth Symphony, and Schuber's last piano sonata.
More boradly they consider the relation of musical meaning and
interpretation to language, storytelling, drama, imagination,
metaphor, and emotion.

296 pages, 18 pages of musical examples, 1 drawing, 1 table
Cloth ISBN 0-8014-3299-5 ($47.50)
Paper ISBN 0-8014-8367-0 ($16.95)

Jerrold Levinson, The Pleasure of Aesthetics: Philosophical Essays

Perhaps best known for his work as a philosopher of music, Jerrold 
Levinson is one of the most influential writers in contemporary 
aesthetics.  In this new collection of essays, music remains a central 
concern.  Four essays are devoted exclusively to, and two others deal 
extensively with, the philosophy of music.  Two major essays ("Musical 
Expressiveness" and "Work and Oeuvre") have not previously appeared in 
print; others are revised from their earlier publication.

"Jerrold Levinson is one of the world's outstanding philosophers of 
art.  He is wonderfully intelligent, with acute powers of analysis, . . . 
highly creative, [and] always has a very firm grasp of the artistic 
phenomenon under investigation. . . . The recent essays collected in this 
new volume, which span a wide range of aesthetic issues, display all 
these and many other virtues.  They are essential reading for anyone with 
a serious interest in the subject."--Malcolm Budd, University College 

320 pages,  3 black-and-white illustrations,  6 musical examples
Cloth  ISBN 0-8014-3059-3   $49.95
Paper  ISBN 0-8014-8226-7   $18.95

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Harvard University Press

Jeffrey Kallberg, Chopin at the Boundaries: Sex, History, and Musical Genre

The complex status of Chopin in our culture--he was a native Pole and 
adopted Frenchman, and a male composer writing in "feminine" genres--is 
the subject of Jeffrey Kallberg's absorbing book.  Combining social 
history, literary theory, musicology, and feminist thought, *Chopin at 
the Boundaries* is the first book to situate Chopin's music within the 
construct of his somewhat marginal sexual identity and to explore how 
this should figure in our understanding of his compositional methods.  
Through this novel approach, Kallberg reveals a new Chopin, one situated 
precisely where questions of gender open up into the very important 
question of genre.

"Kallberg's scholarship is consistently of the highest calibre, his 
research meticulous and exhaustive, his arguments engaging."--John Rink, 
*Times Literary Supplement*

"Kallberg is internationally accepted as one of the most knowledgeable 
writers on Chopin today.  This book shows that he is also the most 
original . . . It is certainly the most stimulating book of Chopin 
criticism I have ever read."--Charles Rosen

Jeffrey Kallberg is Professor of Music at the University of Pennsylvania.

Convergences: Inventories of the Present/A series edited by Edward W. Said

March   6 1/8 x 9 1/4   30 musical examples, 5 halftones, 4 diag.   320 pp.
ISBN 0-674-12791-9   (KALCHX)   $19.95x
Spring '96/0-674-12790-0

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Harwood Academic Publishers

Music and Ideology: Resisting the Aesthetic
Edited and introduced by Adam Krims
Commentary by Henry Klumpenhouwer

This collection of essays, which reflects the views of music scholars 
who bring critical theory to bear on the theory and analysis of music, is 
long overdue.  The essayists are not fixated on aesthetics: rather, they 
focus on the social and psychological concers that previously had been 
considered marginal to their subject.  Music and Ideology is a response 
to the question "Must the practice of music analysis and music theory 
always re-inscribe the ideology of aesthetic autonomy?"  And, if not, 
under what circumstances does it re-inscribe that ideology?  The 
responses to these questions should appeal not only to music and cultural 
theorists, but also to a larger audience engaged in critical theory.  
Essays by Jean-Francois Lyotard, Alan Street, Richard Littlefield, David 
Neumeyer, Marion Guck, Suzanne Cusick, David Gramitjoke Dame, and Robert 

March 1998   160 pp
Paperback   ISBN 90-5701-321-5   US $18.95

David Nicholls, ed. The Whole World of Music: A Henry Cowell Symposium

"I have never been deliberately concerned myself with developing a 
distinctive "personal" style, but only with the excitement and pleasure 
of writing music as beautifully, as warmly, and as interestingly as I 
can."--Henry Cowell

It is impossible to contain Henry Cowell within the boundaries of the 
consistencies of forms, styles, ensembles, and genres of Western art 
music.  John Cage once described Cowell as the "open sesame for new music 
in America."  As the author of the influential book New Musical 
Resources his works include innovative single movement vocal or 
instrumental pieces, 20 symphonies, five string quartets, and 8 suites of 
various kinds.  Cowell was also innovative in his use of instruments from 
different cultures (jalatarang, dragonmouths, Japanese wind glasses, the 
shakuhachi flute) and in his book, Lou Harrison writes of Cowell's 
"adventurous promotion of automobile junkyards for the finding of new 

In this major book of articles and reminiscences, David Nicholls brings 
together for the first time a symposium dealing exclusively with Cowell 
and his work, providing a portrait of a composer who really engaged with 
"the whole world of music."

December 1997   244 pp   93 b&w illus.
Paperback   ISBN 90-5755-0040-0  US $24
Cloth   ISBN 90-5755-003-2   US $59
Contemporary Music Studies, Volume 16
Harwood Academic Publishers

Valeria Tsenova, ed. Underground Music from The Former USSR

This book is a valuable source of information on the composers of the 
generations following the great Stravinsky, Shostakovich and Prokofiev.  
It is a document of the "hidden" period of Russian music, of what 
happened after the denunciation of Shostakovich and Prokofiev by the 
Composer's Union.

In contains profiles of the most interesting and innovative composers 
from Russia and the former Soviet republics, written by leading 
musicologists.  Featured composers include: Andrei Volkonsky, Philip 
Gershkovich, Sergei Slonimsky, Boris Tishchenko, Valentin Silestrov, 
Leonid Grabovsky, Nikolai Karetnikov, Alemdar Karamanov, Roamn Ledenyov, 
Vyacheslav Artyombv, Faraj Karayev, Alexander Knaifel, Vladislav Shoot, 
Alexander Vustin, Victor Ekimovsky, Alexander Rasktov, Sergei Pavieno, 
and Vladimir Tamopolsky.

March 1998   272 pp
Paperback   ISBN 3-7186-5821-6   US $29

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Princeton University Press

Charles Dill, Monstrous Opera: Rameau and the Tragic Tradition

 One of the foremost composers of the French Baroque operatic 
tradition, Rameau is often cited for his struggle to steer lyric tragedy 
away from its strict Lullian form, inspired by spoken tragedy, and toward 
a more expressive musical style.  In this fresh exploration of Rameau's 
compositional aesthetic, Charles Dill depicts a much more complicated 
figure: one obsessed with tradition, music theory, his own creative 
instincts, and the public's expectations of his music.  Dill examines the 
ways Rameau mediated among these often competing values and how he 
interacted with his critics and with the public.  The result is a 
sophisticated rethinking of Rameau as a musical innovator.

In his compositions, Rameau tried to highlight music's potential for 
dramatic meanings.  But his listeners, who understood lyric tragedy to be 
a poetic rather than musical genre, were generally frustrated by these 
attempts.  In fact, some described Rameau's music as monstrous--using an 
image of deformity to represent the failure of reason and communication.  
Dill shows how Rameau answered his critics with rational, theoretical 
arguments about the role of music in lyric tragedy.  At the same time, 
however, the composer sought to placate his audiences by substantially 
revising his musical texts in later performances, sometimes abandoning 
his most creative ideas.

Monstrous Opera illuminates the complexity of Rameau's vision, 
revealing not only the tensions within the music but also the conflicting 
desires that drove the man--himself caricatured by his contemporaries as 
a monster.

Charles Dill is Associate Professor of Music History at the University 
of Wisconsin-Madison.

Princeton Studies in Opera: Carolyn Abbate and Roger Parker, Editors

JUNE   240 pages
22 music examples   6 x 9
0-691-04443-0   Cloth

Kenneth Levy, Gregorian Chant and the Carolingians

A world-renowned scholar of plainchant, Kenneth Levy has spent a 
portion of his career investigating the nature and ramifications of this 
repertory's shift from an oral tradition to the written versions dating 
to the tenth century.  In Gregorian Chant and the Carolingians, which 
represents the culmination of his research, Levy seeks to change 
long-held perceptions about ceratin crucial stages of the evolution and 
dissemination of the old corpus of plainchant--most notably the 
assumption that such a large and complex repertory could have become and 
remained fixed for over a century while still an oral tradition.  Levy 
protrays the promulgation of an authoritative body of plainchant during 
the reign of Charlemagne by clearly differentiating between actual 
evidence, hypotheses, and received ideas.

How many traditions of oral chant existed before the tenth century?  
Among the variations noted in written chant, can one point to a single 
version as being older or more authentic than the others?  What 
precursors might there have been to the notational system used in all the 
surviving manuscripts, where the notational system seems fully formed and 
mature?  In answering questions that have long vexed scholars of 
Gregorian chant's early history, Levy offers fresh explanations of such 
topics as the origin of Latin neumes, the shifting relationships between 
memory and early notations, and the puzzling differences among the first 
surviving neume-species from the tenth century, which have until now 
impeded a critical restoration of the Carolingian musical forms.

Kenneth Levy is a Scheide Professor of Music History Emeritus at 
Princeton University.  He is well known for his work in medieval music, 
particularly Byzantine and Latin plainchant.  He is the author of 
Music: A Listener's Introduction.

MARCH   296 pages
28 halftones   36 line illus.
2 tables   6 x 9
0-691-01733-6   Cloth

Leslie David Blasius, The Music Theory of Godfrey Winham

This book serves as an introduction to the work of Godfrey Winham, an 
influential figure in American music theory circles in the 1960s. Little 
published in his lifetime, Winham left behind, at his premature death in 
1974, a massive collection of notes: correspondence, unfinished 
articles, sketches for books, etc. These notes were transcribed and 
deposited in the Special Collections of Firestone Library at Princeton 
University. They cover a fascinating range of subjects: exercises in 
analytical logic, thoughts on the construction of a formally consistent 
music theory, studies of particular pieces, and an epistemological 
reconception of Schenker's analysis.

In The Music Theory of Godfrey Winham, Leslie David Blasius attempts 
to synthesize the various aspects of the theorist's thinking into a 
single coherent, if unfinished, endeavor. Blasius concentrates in 
particular on Winham's attempts to define formally the basic terms of 
music theory, his axiomatic phenomenology of pitch and harmonic 
relations, his tentative steps towards an axiomatic phenomenology of 
rhythm, and his fresh consideration of the reciprocal relationship 
between theory and analysis. In so doing, Blasius gives a clear picture 
of the materials in the archives, particularly when they exhibit 
Winham's multiple attempts to come to terms with a specific problem. The 
volume includes a set of complete excerpts of materials cited in 
Blasius's text and an index for the entire collection.

Leslie David Blasius is currently Assistant Professor of Music Theory at 
the University of Wisconsin-Madison. He is the author of Schenker's 
Argument and the Claims of Music Theory.

A publication of the Department of Music, Princeton University
208 pages 
6 x 9
0-691-01227-X  Cloth $35.00 US L27.50 UK and Europe

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University of California Press

Judit Frigyesi, Bela Bartok and Turn-of-the-Century Budapest

"Outstanding...a significant achievement not only in Bartok research,
but for its special perspective and its wealth of information and
documentation regarding Hungarian culture and its relation to the
broader European modern scene."

-Elliott Antokoletz, author of The Music of Bela Bartok

Bela Bartok and Turn-of-the-Century Budapest is an imaginative and
powerful reinterpretation of Bartok's aesthetic achievement, which is
presented as integrally related to its historical milieu in early
twentieth-century Hungary. This is neither a conventional biography of
Bartok, nor a systematic analysis of his musical oeuvre. Rather, it is
a sustained interpretation of the meaning of Bartok's modernism and
folklorism, within the context of Hungarian modernism. Few scholars
besides Frigyesi, in or out of Hungary, possess the combination of
skills necessary to write such a book and it will be a standard
treatment of the subject for many years to come."

-Mary Gluck, author of Georg Lukacs and His Generation

Bartok's music is greatly prized by concertgoers, yet we know little
about the intellectual milieu that gave rise to his artistry. Bartok
is often seen as a lonely genius emerging from a gray background of an
"underdeveloped country." Now Judit Frigyesi offers a broader
perspective on Bartok's art by grounding it in the social and cultural
life of turn-of-the-century Hungary and the intense creativity of its
modernist movement.

Bartok spent most of his life in Budapest, an exceptional man living
in a remarkable milieu. Frigyesi argues that Hungarian modernism in
general and Bartok's aesthetic in particular should be understood in
terms of a collective search for wholeness in life and art and for a
definition of identity in a rapidly changing world. Is it still
possible, Bartok's generation of artists asked, to create coherent art
in a world that is no longer whole? Bartok and others were preoccupied
with this question and developed their aesthetics in response to it.

In a discussion of Bartok and of Endre Ady, the most influential Hungarian
poet of the time, Frigyesi demonstrates how different branches of art and
different personalities responded to the same set of problems, creating
oeuvres that appear as reflections of one another. She also examines
Bartok's Bluebeard's Castle, exploring philosophical and poetic ideas of
Hungarian modernism and linking Bartok's stylistic innovations to these

Judit Frigyesi is a Fulbright Fellow at Bar-Ilan University.

Pub date: March 23, 1998
0-520-20740-8     $45.00 cloth
367 pages, 6 x 9", 11 b/w photographs, 48 music examples
World rights

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University of Nebraska Press

Michael Marissen, ed. Bach Perspectives 3: Creative Responses to the 
Music of J.S. Bach from Mozart to Hindemith

This volume examines a fascinating dimension of J. S. Bach's music: 
the crucial influence it has exerted upon the musical works of many other 
composers.  In a series of articles by distinguished musicologists, 
compositions my Mozart, Beethoven, Brahms, Hindemith, and others are 
considered in light of the ways in which they bear Bach's unmistakable 

Ludwig Finscher opens with a survey of Bach's influence through 
several centuries, examining his sway over composers from Mozart and 
Beethoven to Schumann, Wagner, and Reger.  Thomas Christensen shows that 
various of Bach's early disciples claimed authority from their master for 
opposing assessments of music and musical theory.  Robert L. Marshall 
argues that Mozart's intense involvement with Bach's music probably 
occurred much earlier in his career than has generally been thought.  
William Kinderman demonstrates that Beethoven's assimilation of Bach also 
occurred very early in his career and that all aspects of Beethoven's 
mature style are heavily indebted to Bach.  Walter Frisch reveals how 
Brahms's absorption in Bach's work involves a fruitful relation to 
cultural tradition.  Steven Hinton traces Hindemith's evolving--yet 
essentially consistent--understanding of Bach's music.

A work that subtly yet decisively traces Bach's presence in the 
ongoing history of composition, this volume is an important contribution 
to our understanding of Bach and of his many eminent successors.

Michael Marissen is a professor of music at Swarthmore College and 
vice president of the American Bach Society.  He is also the author of 
The Social and Religious Designs of J. S. Bach's Brandenburg Concertos.

June     Music
240 pp.   6 3/4 x 10     45 musical examples,
table, indexes
$55.00s  cloth  0-8032-1048-5   AMEBP3

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.  Ask for 
a complete list of titles in the series.

Glenn Stanley, ed. Beethoven Forum 6

"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.

Glenn Stanley opens Beethoven Forum 6 with a consideration of the 
"piano sonata culture" of the late eighteenth century and how Beethoven's 
sonatas influenced this culture.  Lawrence Kramer explores the "Tempest" 
sonata and the way it exemplifies "one of the leading intellectual 
projects of the Enlightenment, the project of speculative anthropology or 
'universal history.'"  Elaine R. Sisman examines the "lyrical," 
"small-scale" sonatas of Beethoven's middle period in relation to his 
renewed preoccupation with the idea of "fantasia."  Nicholas Marston 
concludes the volume's consideration of the piano sonatas with a study of 
the development of a musical idea in the "Hammerklavier" sonata.

Birgit Lodes examines the relationship between the human and the 
divine as they are represented in the Gloria of Beethoven's great mass, 
the Missa Solemnis.  In a second article on this late masterpiece, 
Norbert Gertsch describes a subscription copy of the *Missa Solemnis*--a 
copy that Beethoven had corrected--and its significance for a future 
scholarly edition of the work.

Maynard Solomon offers a commentary, transcription, and translation of 
a papal document concerning the marriage of Beethoven's great-uncle 
Cornelius.  In a review article, Nicholas Marston discusses the recent 
edition of the Landsberg 5 sketchbook and future prospects for sketchbook 
eiditions.  Robert Levin concludes the volume with a review of 
Performing Beethoven, edited by Robin Stowell.

Glenn Stanley, an associate professor of music at the University of 
Connecticut, organized the March 1996 conference at Carnegie Hall 
entitled "The Beethoven Piano Sonatas: The Works and Their Critical 
Reception," at which these papers were first presented.  He is also the 
editor of Beethoven Forum 3.

February     Music
288 pp.     8 1/8 x 10 1/4     48 musical examples;
5 tables; 6 illustrations, indexes
$55.00s   cloth   0-8032-4267-0   BEEBF6

Beethoven Forum: Lewis Lockwood, editor-in-chief; Mark Evan Bonds, 
Christopher Reynolds, and Elaine R. Sisman, series editors.  Ask for a 
complete list of titles in the series.

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