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SMT
Volume 17 Number 2, July 2011
Copyright © 2011 Society for Music Theory
Editor’s Message
Articles
Embodying Music: Principles of the Mimetic Hypothesis
17.2.1
Arnie Cox
(Oberlin Conservatory of Music)
A Tonal Revolution in Fifths and Semitones: Aaron Copland’s
Quiet City
17.2.2
David J. Heetderks
(University of Michigan)
Creating Space: Perception and Structure in Charles Ives’s Collages
17.2.3
Jennifer Iverson
(University of Iowa)
Music, Memory and Memes in the Light of Calvinian Neuroscience
17.2.4
Steven Jan
(University of Huddersfield)
Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
17.2.5
Stanley V. Kleppinger
(University of Nebraska-Lincoln)
Essays
Essays in honor of Milton Babbitt (1916–2011)
Subjectivity and Structure in Milton Babbitt’s
Philomel
17.2.6
Emily J. Adamowicz
(University of Western Ontario)
Duplicated Subdivisions in Babbitt’s
It Takes Twelve to Tango
17.2.7
Zachary Bernstein
(The Graduate Center, City University of New York)
Webs and Snares: Multiple References in Babbitt’s
Homily
and
Beaten Paths
17.2.8
Daphne Leong
(University of Colorado-Boulder)
What Do I Hear Now,
Groupwise
?
17.2.9
Ciro Scotto
(University of South Florida)
How Register Tells the Story in Scriabin’s Op. 22, No. 2
17.2.10
Martin Kutnowski
(St. Thomas University)
Reviews
Review of Charles M. Atkinson,
The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music
(Oxford University Press, 2009)
17.2.11
Jeremy Grall
(University of Alabama at Birmingham)
Review of Yonatan Malin,
Songs in Motion: Rhythm and Meter in the German Lied
(Oxford University Press, 2010)
17.2.12
Justin London
(Carleton College)
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