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Dissertations / Theses on the topic 'Music theory. Schenkerian analysis'

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Published: 4 June 2021

Last updated: 6 February 2022

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1

Carrabré, Ariel. "Understanding Schenkerian Analysis from the Perspective of Music Perception and Cognition." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32850.

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This thesis investigates the perceptual and cognitive reality of Schenkerian theory through a survey of relevant empirical research. It reviews existing Schenkerian-specific empirical research, examines general tonal research applicable to Schenkerian analysis, and proposes the possibility of an optimal empirical research method by which to explore the theory. It evaluates data dealing with musical instruction’s effect on perception. From this review, reasonable evidence for the perceptual reality of Schenkerian-style structural levels is found to exist. This thesis asserts that the perception

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2

Yust, Jason D. "Formal models of prolongation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11317.

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3

Whittle, Barbara. "The cultural context of the theories of Heinrich Schenker." Thesis, n.p, 1993. http://ethos.bl.uk/.

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4

Stevens, Bryan. "Formal Organization in Ground-bass Compositions." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804844/.

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This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupi

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5

Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata op. 2 no. 3 : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/944.

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6

Graf, Benjamin. "An Analytical Study of Paradox and Structural Dualism in the Music of Ludwig van Beethoven." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849697/.

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Beethoven's rich compositional language evokes unique problems that have fueled scholarly dialogue for many years. My analyses focus on two types of paradoxes as central compositional problems in some of Beethoven's symphonic pieces and piano sonatas. My readings of Beethoven's Piano Sonata No. 27 (Op. 90), Symphony No. 4 (Op. 60), and Symphony No. 8 (Op. 93) explore the nature and significance of paradoxical unresolved six-four chords and their impact on tonal structure. I consider formal-tonal paradoxes in Beethoven's Tempest Sonata (Op. 31, No. 2), Ninth Symphony (Op. 125), and Overture die

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7

Ishihama, Kanako. "Triangles of Soul—Schubert the “Wanderer” and His Music Explained by Neo-Riemannian Graphs." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23148.

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In Schubert’s music, the theme “wandering” is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme “death.” In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale “My Dream,” and in that tale, he writes as follows; “when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love.

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8

Naxer, Meghan M. "César Franck’s Trois chorals pour orgue No. 3: A Schenkerian Perspective." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1293670461.

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9

Desbruslais, Simon Stephen. "The identity, application and legacy of Paul Hindemith's theory of music." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:eadcc792-503f-46e3-960c-e1d08ccb8cd0.

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This thesis investigates the relationship between Hindemith’s music theory and his evolving compositional practice. It focuses on the first volume of his Unterweisung im Tonsatz (1937); both evaluating the very identity of the treatise and analysing how it may be applied to free composition. Above all, this work highlights the increased use of quartal pitch collections found in Hindemith’s Unterweisung-based compositions. Archival documents from the universities of Yale, Berlin, Buffalo, and the Frankfurt Hindemith Institute augment this process, and are used to revise our understanding of how

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10

Yun, Xiao. "Tonal Enigmas: A Study of Problematic Openings and Endings." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248491/.

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When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a d

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11

Shantz, Bren. "Organic relationships motivic parallelisms between the first and second themes of sonata form /." Diss., Connect to online resource - MSU authorized users, 2008.

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12

Heyer, David 1979. "Vocabulary, Voice Leading, and Motivic Coherence in Chet Baker's Jazz Improvisations." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12152.

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xxv, 492 p. ： music<br>This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in

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13

Huff, David. "Prolongation in Post-Tonal Music: A Survey of Analytical Techniques and Theoretical Concepts with an Analysis of Alban Berg's Op. 2, No. 4, Warm Die Lüfte." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33168/.

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Prolongation in post-tonal music is a topic that music theorists have engaged for several decades now. The problems of applying Schenkerian analytical techniques to post-tonal music are numerous and have invited several adaptations of the method. The bulk of the thesis offers a survey of prolongational analyses of post-tonal music. Analyses of theorists such as Felix Salzer, Allen Forte, Joseph Straus, Edward Laufer, and Olli Väisälä are examined in order to reveal their various underlying theoretical principles. The thesis concludes with an analysis of Alban Berg's Warm die Lüfte from his Op.

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14

Mau, Amelia. "Background Structures and Narrative in Music by Women." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22697.

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This thesis explores the use of modified Schenkerian analysis and how it relates to a feminine narrative in a piece of music. In music theory literature about music by women, Schenkerian analysis is a tool that is often ignored; some scholars claim that the goal-oriented nature of Schenkerian analysis prevents it from being an effective tool to analyze music that doesn’t adhere to traditional tonal models, including modern works by women composers. In this study, it was found that modifying the Urlinie and Bassbrechung to reflect salience rather than a traditional harmonic structure allowed fo

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15

Lehmann, Kennett. "Tonal unity and quality of motion : a Schenkerian study /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11433.

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16

Ayotte, Benjamin McKay. "Incomplete Ursatzformen transferences in the vocal music of Heinrich Schenker." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008.<br>Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.

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17

Myers, Karl J. "A system for the generation of tonal music based on transformations /." Online version of thesis, 1988. http://hdl.handle.net/1850/10293.

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18

Wu, Chia-Ying. "The aesthetics of minimalist music and a Schenkerian-oriented analysis of the first movement "Opening" of Philip Glass' Glassworks." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10975.

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19

Peterson, Jordan Thomas. "A MULTITHREADED ANALYTICAL APPROACH TO FATE AND LEGACY IN MANUEL M. PONCE'S VARIATIONS SUR "FOLIA DE ESPAÑA" ET FUGUE." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/546675.

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Music Education<br>M.M.<br>Multithreading, or applying different analytical tools to a piece or work concurrently in order to produce an ultimate deduction. In this presentation, the author analyzes Manuel Ponce’s Variations sur “Folia de España” et Fugue, a sophisticated amalgamation of German counterpoint and French harmony, infused with Spanish music. Utilizing analytical tools such as Sonata theory, Schenkerian analysis, and Hermeneutic discourse, this analysis provides insight into the ways multithreading can produce a holistic analysis without being too broad or narrow. The author first

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20

Vitalino, Michael. "Franz Liszt's Settings Of “was Liebe Sei?”: A Schenkerian Perspective." Connect to this title, 2008. http://scholarworks.umass.edu/theses/170/.

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21

Luong, Vivian. "Schenkerian performance and analysis in dialogue: A reconsideration of Beethoven's Piano Sonata in E minor, Op. 90, i." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114549.

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Heinrich Schenker's analytical essays in Das Meisterwerk in der Musik and Der Tonwille demonstrate a prescriptive and analytically-biased approach to performance. His critical editions and personally-annotated scores reveal a similar approach, where only the universal structure of a piece—attained through analysis and a consideration of the composer's intentions—should inform performance. Schenker's restrictions on the performer's agency and personal interpretation stand opposed to current scholarship, where a reciprocal and equal relationship between performers and analysts is central. In ord

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22

Wu, Chia-Ying (Charles). "The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10975/.

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Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minim

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23

Hahn, Stephen (Stephen Ernst). "Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of Fugue." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538652/.

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This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.

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24

Jeong, Soo Hyun. "Harmonic and Thematic Interactions in Richard Strauss's Vier letzte Lieder: A Synthesis of Two Analytical Approaches." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1573573186212936.

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25

HOFFMAN, BRIAN D. "Tonal Mirages: a multifaceted view of tonality in the early transitional pieces of Alexander Scriabin." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204809598.

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26

Borthwick, Alastair. "Music theory and analysis : the limitations of logic /." New York ; London : Garland, 1995. http://catalogue.bnf.fr/ark:/12148/cb35855187v.

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27

Borthwick, Alastair Bruce. "Music theory and analysis : the limitations of logic." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606301.

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The motivation for this thesis is rooted in the problems arising from the lack of a single theoretical framework within which to assimilate different analytical methods; whether they are applied to an individual work, compositions embracing an underlying common practice or to the study of stylistically remote pieces. By devising a series of logical axioms and definitions, collectively referred to as a metatheory and situating them - as an expression of the neutral level originally proposed by Jean Molino - in the context of the semiological tripartition, it is found that the metatheory can be

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28

Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.

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29

Cockell, James Edward. "Schenkerism and the Hungarian oral tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ34305.pdf.

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30

Harvey, David I. H. "The later music of Elliott Carter a study in music theory and analysis /." New York : Garland Pub, 1989. http://catalog.hathitrust.org/api/volumes/oclc/19321659.html.

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31

Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.

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Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical a

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32

Howard, Jason Tad. "Part I: A Nighttime Trilogy for Saxophone and Piano Part II: A Schenkerian Analysis of Suite No. 1 for Unaccompanied Cello by J. S. Bach." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279403848.

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33

Radonjic, Vladimir. "Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7462.

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In this thesis several aspects of the theory of integrated analysis of musical works of Lev Abramovich Mazel' (1907-) are presented and explicated. These aspects are dimensions of thematic structures, dynamics, timbre and texture, and melody. Mazel' segments his theory into different elements of music, presenting conceptions of each element in light of his integrated analytical method. The examination of these aspects affords a good cross-section of the entire theory of integrated analysis. The aspect of dimensions of thematic structures, in some ways the most original, reflects the structural

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34

Davenport, Jennifer Tish. "Crisis and Catharsis: Linear Analysis and the Interpretation of Herbert Howells' "Requiem" and "Hymnus Paradisi"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248387/.

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Hymnus Paradisi (1938), a large-scale choral and orchestral work, is well-known as an elegiac masterpiece written by Herbert Howells in response to the sudden loss of his young son in 1935. The composition of this work, as noted by the composer himself and those close to him, successfully served as a means of working through his grief during the difficult years that followed Michael's death. In this dissertation, I provide linear analyses for Howells' Hymnus Paradisi as well as its predecessor, Howells' Requiem (1932), which was adapted and greatly expanded in the creation of Hymnus Paradisi.

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35

Huang, Hsun-Pin. "Theory and Practice in the Traditional Chinese Music: Observations and Analysis." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279161/.

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Chinese music has one of the longest histories of development of all music cultures of the world. A system of music (theory) was formulated, in its unique way, but is differed fundamentally from its occidental counterpart. The discussion of this thesis focuses on the following two aspects: (1) the observations on those musical and non-musical factors, which had conditioned the course of development of Chinese music and (2) the analysis of selected examples to summarize the tonal structures and modal patterns, particularly, on the modal and modulatory analysis. A comparison of similarities and

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36

Custer, Matthew Park. "Isomorphic aspects of conceptual metaphor in music analysis." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4602.

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Metaphor is an important tool for describing musical structure and interpretation. Recent research suggests that metaphor goes beyond a linguistic device; we use conceptual metaphor frameworks and cross-domain mapping based upon our embodied experiences to understand our world around us. I review the linguistic origins of metaphor theory and show how the purview of metaphor theory has recently extended into cognitive domains through a case study, primarily using the work of metaphor scholar Zoltán Kövecses. I then review how two prominent music theorists--Michael Spitzer and Lawrence Zbikows

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37

Hoegberg, Elisabeth Honn. "From theory to practice : composition and analysis in Marin Mersenne's Harmonie universelle /." Electronic version Electronic version, 2005. http://proquest.umi.com/pqdweb?did=885688441&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Indiana University, 2005.<br>Computer printout. Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0404. Chair: Frank Samarotto. Includes bibliographical references (leaves 407-419), abstract, and vita.

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38

Walls, Levi. "Composing-Out Notre-Dame: How Louise Bertin Expresses the Hugolian Themes of Fate and Decay in La Esmeralda." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248448/.

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From 1831 to 1836, Victor Hugo and Louise Bertin collaborated on an opera titled La Esmeralda. For Hugo, it would be the only opera libretto he would ever write, a mere footnote to his collection of widely admired novels, plays, and poetry; for Bertin, however, it would become her most important work, yet seemingly destined to fade into obscurity like so many great pieces of art. Using Schenkerian analysis, this thesis uncovers the tonal and voice-leading structure of the first act of La Esmeralda. A study of this nature, which operates from the premise that forms as large and complex as opera

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39

Armendarez, Christina Marie. "The influence of Fredrik Melius Christiansen on six Minnesota conductor-composers." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/armendarez%5Fchristina%5Fmarie/index.htm.

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40

Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.

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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love

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41

LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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<p>This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scr

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42

Anderson, Andrew E. (Andrew Edwin). "A Phenomenology of Music Analysis." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277913/.

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Many of the early writings and lectures of the German phenomenological philosopher Martin Heidegger involve investigations into the question of Being. An important part of these investigations is his examination of how we go about the everyday business of existing--doing our jobs, dealing with things in our environment, working through problems, thinking, talking--and what our ways of operating in these everyday activities tell us about our Being in general. Musicians have their own everyday musical tasks, two of the most prominent of which are composing and performing. Composers and performer

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43

Burke, Andrew Emmet. "An economic analysis of enterprise in the music industry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260123.

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44

Rush, Matthew E. "An Analysis and Performance Guide for Anna Thorvaldsdottir's Aura for Three or Four Percussionists." Thesis, The University of Nebraska - Lincoln, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10846156.

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<p> This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to <i>aura</i> (2011) for three percussionists and <i>AURA</i> (2015) for four percussionists by Icelandic composer Anna Thorvaldsdóttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition’s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ens

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45

Mitchell, David J. "A Performance Guide and Analysis of Compositional Techniques in Selected Percussion Music of Dave Maric." Thesis, The University of North Carolina at Greensboro, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10639934.

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<p> The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, <i> Trilogy</i> (2000), <i>Sense & Innocence</i> (2002/2014), and <i>Thrice Into Flames</i> (2017). The present study examines Maric’s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic

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46

Williams, Laura M. "Libby Larsen's Seven Ghosts: A Stylistic and Gestural Analysis." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1335442135.

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47

COUCH, III LEON WHELAND. "THE ORGAN WORKS OF DIETRICH BUXTEHUDE (1637-1707) AND MUSICAL-RHETORICAL ANALYSIS AND THEORY." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1028220263.

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48

Li, Zhi. "How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach's Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752403/.

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Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the la

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49

Acevedo, Stefanie. "Segmentational Approaches of Atonal Music: A Study Based on a General Theory of Segmentation for Music Analysis." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282247910.

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50

Street, David Alan. "Allegories of listening : poststructuralist readings in the theory and analysis of music." Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489256.

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Abstract:

The seven pieces of published work gathered together here aim collectively to re-evaluate some of the established concepts and techniques operative within the domains of music theory and analysis. This process of reassessment is conducted in the broad interests of developing an interpretative orientation more responsive to the interdisciplinary consequences of contemporary critical thought.

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