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The Criticism of Analysis and the Analysis of Criticism
8 references·3 citing·40 second hop
The Criticism of Analysis and the Analysis of Criticism (1992)The Criticism of Analysis and the Analysi…Music as Cultural Practice, 1800-1900 (1993)Music as Cultural Practice, 1…Music and the Historical Imagination (1993)Music and the Historical Imag…Playing with Signs (1991)Playing with SignsMusic as Cultural Practice, 1800-1900. (1991)Music as Cultural Practice, 1…Style and music: theory, history, and ideology (1990)Style and music: theory, hist…Gradus ad Parnassum: Beethoven, Schubert, and the Romance of Counterpoint (1987)Gradus ad Parnassum: Beethove…On Some Properties of Schenker's Pitch Derivations (1983)On Some Properties of Schenke…Behind the Beyond: A Response to Edward T. Cone (1969)Behind the Beyond: A Response…Connecting Analysis and Performance: A Case Study for Developing an Effective Approach (2013)Connecting Analysis and Perfo…Postmodernism and the Critique of Musical Analysis (2001)Postmodernism and the Critiqu…The Finale of Mahler's Seventh Symphony: A Deconstructive Reading (1995)The Finale of Mahler's Sevent…Source Readings in Music History (1950)Allgemeine Geschichte der Musik (1967): Free Composition (Der Freie Satz): Vol. III of New Musical Theories and Fantasies . Heinrich Schenker, Ernst Oster. (1981)STRICT AND FREE REVERSED: THE LAW OF COUNTERPOINT IN KOCH’S MUSIKALISCHES LEXIKON AND MOZART’S ZAUBERFLÖTE (2006)Studying with Sechter: Newly Recovered Reminiscences about Schubert by his Forgotten Friend, the Composer Joseph Lanz (2007)Musical Causality and Schubert’s Piano Sonata in A Major, D 959, First Movement (2016)Schenker's Conception of Musical Structure (1959)Becoming Heinrich Schenker: music theory and ideology (2015)Schoenberg's Chordal Experimentalism Revealed through Representational Hierarchy Association (RHA), Contour Motives, and Binary State Switching (2015)When All You Have is a Hammer: Surface/Depth as Good Comparison (2021)How We Got into Analysis, and How to Get out (1980)The Living Work: Organicism and Musical Analysis (1980)Gustav Mahler: the symphonies (1994)Temporal Fusion and Climax in the Symphonies of Mahler (1996)Of Ways of Telling, Intertextuality, and Historical Evidence in Berlioz's "Roméo et Juliette" (2000)Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80 (2013)The Differend: Phrases in Dispute (1983)The Postmodern Condition: A Report on Knowledge (1984)Postmodernism, or, The cultural logic of late capitalism (1991)Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work (2007)Princeton Theory's Problematics (2013)Valuing the Surplus: Perspectives on Julian Horton's Article ‘On the Musicological Necessity of Music Analysis’, Musical Quarterly, 3/i–ii, pp. 62–104.Contributors: Kofi Agawu, Gurminder K. Bhogal, Esther Cavett, Jonathan Dunsby, Julian Horton, Alexandra Monchick, Ian Pace, Henry Stobart and Simon Zagorski‐Thomas, compiled and edited by Esther Cavett (2023)The Imaginary Museum of Musical Works (1994)Musical Form and Style in Murriny Patha Djanba Songs at Wadeye (Northern Territory, Australia) (2011)Schema Theory as a Construction Grammar (2015)The Sensuality of Timbre: Responses to Mahler and Modernity at the "Fin de siècle" (1995)When Opera Meets Film (2010)Music and Ethical Responsibility (2014)On the pleasures of the mind. (1999)Toward an Ethnomusicology of the Early Music Movement: Thoughts on Bridging Disciplines and Musical Worlds (2001)Schumann's Music and E. T. A. Hoffmann's Fiction (2016)History, Criticism, and Beethoven's Ninth Symphony (1980)The Web of Culture: A Context for Musicology (1984)Specters of Sex. Tracing the Tools and Techniques of Contemporary Music Analysis (2020)The Farewell Story of Mahler's Ninth Symphony (1996)Making Light Haydn, Musical Camp, and the Long Shadow of German Idealism (2018)Music, Text, and Culture in Ancient Greece (2018)A Cognitive Theory of Musical Meaning (2000)Theorizing Musical Meaning (2001)The Classical Cadence: Conceptions and Misconceptions (2004)
this work references cited by second hop

References

  • 1990Style and music: theory, history, and ideology488 cited
  • 1991Playing with Signs386 cited
  • 1993Music as Cultural Practice, 1800-1900110 cited
  • 1993Music and the Historical Imagination72 cited
  • 1969Behind the Beyond: A Response to Edward T. Cone68 cited
  • 1991Music as Cultural Practice, 1800-1900.66 cited
  • 1987Gradus ad Parnassum: Beethoven, Schubert, and the Romance of Counterpoint36 cited
  • 1983On Some Properties of Schenker's Pitch Derivations29 cited

Cited by

  • 1995The Finale of Mahler's Seventh Symphony: A Deconstructive Reading12 cited
  • 2001Postmodernism and the Critique of Musical Analysis11 cited
  • 2013Connecting Analysis and Performance: A Case Study for Developing an Effective Approach4 cited

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