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John Covach deposited Review of Allen Forte, The American Popular Ballad of the Golden Era, 1924-1950, College Music Symposium 36 (1996): 168-72. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoReview of Forte’s book devoted to the analysis of Tin Pan Alley popular music.
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John Covach deposited Triple review of Edward Macan, Rockin’ the Classics: Progressive Rock and the Counterculture; Paul Stump, The Music’s All That Matters: A History of Progressive Rock; and Bill Martin, Listening to the Future: The Time of Progressive Rock, 1968-78, MLA Notes (September 1998). in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoReview of three books devoted to progressive rock snd its history.
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John Covach deposited Review of Robert Freeman, The Crisis of Classical Music: Lessons from a Life in the Education of Musicians, Music Theory Online 21/2 (June 2015). in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoReviews Freeman/s book with special attention paid to the development of music school curricula.
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John Covach deposited Review of Alastair Borthwick, Music Theory and Analysis: The Limitations of Logic, MLA Notes (June 1996): 1192-94. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoReview of Borthwick’s book, which approaches music theory from a point of view informed by philosophy.
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Sam Reenan deposited Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThe expression P3,0 refers to one class of parsimonious voice-leading transformations between seventh chords introduced in a 1998 article by Jack Douthett and Peter Steinbach as Pm,n (Journal of Music Theory 42 (2): 241–63). In addition to tones that may be held in common, the subscripts indicate the number of voices that move by half step (m) o…[Read more]
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John Covach deposited “The Zwölftonspiel of Josef Matthias Hauer,” Journal of Music Theory 36.1 (1992): 149-84. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article provides a detailed examination of Hauer’s late 12-tone compositions, identifying the practices and procedures employed across a body of more than 100 pieces.
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John Covach deposited “Schoenberg and the Occult: Some Reflections on the Musical Idea,” Theory and Practice 17 (1992): 103-18. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article explores the influence of sources outside the institutional framework of organized religion (“occult” sources) on Schoenberg’s aesthetic thinking and writing, especially with regard to the musical idea..
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John Covach deposited “The Quest of the Absolute: Schoenberg, Hauer, and the Twelve-Tone Idea,” in Jon Michael Spencer, ed., Theomusicology, special issue of Black Sacred Music: A Journal of Theomusicology 8/1 (Duke University Press, 1994): 158-77. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article examines the spiritual dimension of early twelve-tone theoretical writing, with a focus on the writing and music of Arnold Schoenberg and Josef Matthias Hauer.
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John Covach deposited “Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg’s Music,” in Encryted Messages in Alban Berg’s Music, ed. Siglind Bruhn (Garland Publishing, 1998), 5-29. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article explores the influence of mysticism in early 20th-century Vienna on the palindromic designs that can found n Berg’s music.
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John Covach deposited “The Sources of Schoenberg’s ‘Aesthetic Theology,’” 19th-Century Music 19/3 (1996): 252-62. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article explores the sources of what Dahlhaus calls Schoenberg’s “aesthetic theology” in the philosophical, literary, and mystical writings of late 19th- and early 20th-century Europe.
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John Covach deposited “Schoenberg’s ‘Poetics of Music’ and the Twelve-Tone Idea,” in Schoenberg and Words, ed. R. Berman and C. Cross (Garland Publishing, 2000), 309-46. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis chapter examines Schoenberg’s theoretical ideas on musical structure with particular emphasis on his Variations for Orchestra, op 31.
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John Covach deposited “Twelve-Tone Theory,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen, (Cambridge University Press, 2002), 603-627. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis chapter traces the development of the twelve-tone idea in twentieth-century music theory.
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John Covach deposited “Schoenberg’s (Analytical) Gaze: Musical Time, The Organic Ideal, and Analytical Perspectivism,” Theory and Practice 42 (2017): 141-59. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article explores Schoenberg’s engagement with organicism, casting it as an aesthetic ideal.
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John Covach deposited “Josef Matthias Hauer,” in Music of the Twentieth Century Avant-Garde, ed. Larry Sitsky (Greenwood Publishing, 2003), 197-202. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis chapter provides a biographical sketch of Hauer’s life and music.
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John Covach deposited “The Americanization of Arnold Schoenberg? Theory, Analysis, and Reception,” Zeitschrift der Gesellschaft für Musiktheorie 15/2 (2018): 155-75. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 2 months agoThis article traces the reception of Schoenberg’s theoretical ideas in the English-language music theory community.
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