This article explores Schoenberg’s engagement with organicism, casting it as an aesthetic ideal.

This chapter provides a biographical sketch of Hauer’s life and music.

This article traces the reception of Schoenberg’s theoretical ideas in the English-language music theory community.

This chapter chronicles George Harrison’s songwriting during the Beatles years.

This afterword discusses the Beatles White Album and the essays contained in this volume.

This chapter posits models for musical texture and positional listening and analysis.

This chapter explores the history of the “cover,” distinguishing between covers and versions and focusing on the psychedelic symphonic cover version in the music of Vanilla Fudge and Yes.

This chapter explores the role of popular music in music curricula, considering it in terms of the flattening of the lowbrow/highbrow distinction in American culture and academic culture.

This article considers the historical rise of the high/low brow distinction in American culture since the late 19th century, and posits that the emergence of digital technology and the internet have created something more like a “flat world” in which the low/high distinction is transformed.

This essay considers the role of popular music in college music curricula.

The article discusses the author’s experience teaching MOOCs for Coursera.org.

This article outlines the “hippie aethetic” as a way of unifying rock music from the 1960s and 70s.

An examination of how the music of the Coasters, written by Leiber and Stoller, invert the rhetorical emphasis of the bridge section in AABA form.

An exploration of jazz-rock fusion in the 1970s.

An exploration of how the Beatles’ use of form can be used to indicate the emergence of an “artist” aesthetic in the band’s music in the 1960s.