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Editor’s Message

[1] In this issue, Alan Dodson explores the role of “performing nuance” in shaping the interpretation of hypermetric structure, as described in Lerdahl and Jackendoff’s A Generative Theory of Tonal Music.  Focusing attention on the first 20 bars of Mozart’s Symphony No. 40, a passage exhibiting an irregular hypermeter, Dodson studies how recorded performances conducted by Bernstein, Britten, Marriner, and Walter employ different strategies involving timing and loudness to negotiate that irregularity.  Dodson provides new transformation rules to describe these strategies.  Recordings of the performances, in RealAudio format, enable the reader to confirm Dodson’s analyses.

[2] Also in this issue is a review of Bryan Simms’ 2000 book, The Atonal Music of Arnold Schoenberg 1908-1923 by Bruce Quaglia.  The issue is rounded out with listings of recently completed dissertations, job opportunities, new books, and general announcements.

[3] Reactions to Dodson’s article or Quaglia’s review can be shared in two ways. The mto-talk email list is available to MTO subscribers (subscription is free) for online discussion of any MTO-related topic. (This link will help you determine if you are a subscriber.) To post to mto-talk, simply send an email message to Longer responses may be submitted for publication in the Commentary section of the next issue. These should be formatted and submitted according to MTO’s Author Guidelines.

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Eric J. Isaacson, General Editor
Music Theory Online
School of Music
Indiana University
Bloomington, IN 47405
voice: (812) 855-0296 (with voice mail)
fax: (812) 855-4936

Updated 03 July 2013
Brent Yorgason