[Footnotes]

[Footnotes]
1
Brian Eno's Airport Music
Eno
Airport Music
2
William Weber, "Mass Culture and the Reshaping of European Musical Taste, 1770-1870," International Review of the Aesthetics and Sociology of Music VIII (1977), 610.2307/836535
6
pp. 5-21
3
Weber, p. 16
5
Weber, pp. 18-19.
6
Joseph Alsop, entitled The Rare Art Tradition: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared (Princeton, 1982)
Alsop
The Rare Art Tradition: the History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared
1982
E. H. Gombrich, "The Art of Collecting Art," The New York Review of Books XXIX:19 (December 2, 1982), 39-42
Gombrich
19
39
XXIX
The New York Review of Books
1982
7
Brahms is the first great composer of the modernist tradition, serving as a model for later generations of what music is and is for and how composers write music and become established: "'A Place Beside Beethoven': Brahms and Twentieth-Century Classical Music," public lecture, University of Wisconsin-Madison, February 14, 1983
Brahms
A Place Beside Beethoven': Brahms and Twentieth-century Classical Music
1983
8
p. 13
p. 19
11
"National Music (2)," Style and Idea, rev. ed. by Leonard Stein (New York, 1975), p. 174
Stein
National Music (2)
174
Style and Idea
1975
Schoenberg in "Schoenberg the Reactionary," lecture, University of Wisconsin-Madison, September 15, 1982
Schoenberg
Schoenberg the Reactionary
1982
12
A General History of Music From the Earliest Ages to the Present Time (London, 1789).
A General History of Music From the Earliest Ages to the Present Time
1789
13
The Path to the New Music, trans. by Leo Black, ed. by Willi Reich (Bryn Mawr, 1963).
Black
The Path to the New Music
1963
14
"Why Is Schoenberg's Music So Hard to Understand?", trans. by Anton Swarowsky and Joseph H. Lederer, The Music Review XIII (1952), 187-96
Swarowsky
187
XIII
The Music Review
1952
Elliott Schwartz and Barney Childs, eds., Contemporary Com- posers on Contemporary Music (New York, 1967), pp. 59-71
Schwartz
59
Contemporary Composers on Contemporary Music
1967
15
("How One Becomes Lonely," Style and Idea, rev. ed., p. 53)
How One Becomes Lonely
53
Style and Idea
17
Brahms, mentioned above in note 7
21
Howard Mayer Brown discusses in "Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance," Journal of the American Musicological Society XXXV (1982), 810.2307/831286
8
Schubert in "Schubert and Beethoven's Eight-Six Chords," 19th Century Music V (1981), 142-54
Schubert
142
V
19th Century Music
1981
22
Rameau's revival of tragésssdie lyrique
Rameau
Tragédie Lyrique
Berlioz' Les Trovens
Berlioz
Les Trovens
24
Edward T. Cone discusses this consistency in "Stravinsky: The Progress of a Method." Perspectives of New Music 1 (1962), 19-26.10.2307/832176
19
25
Webern's comments about the discovery of natural law in composing music and the work of art as the embodiment of a perfect natural order; The Path to the New Music, p. 11
Webern
11
The Path to the New Music
Joseph Kerman, in "How We Got Into Analysis, and How to Get Out," Critical Inquiry VII (1980), 31810.2307/1343130
318
26
Carol L. Krumhansl, Jamshed Bharucha, and Mary A. Castellano, "Key distance effects on perceived harmonic structure in music," Perception & Psychophysics XXXII (1982), 96-108
Krumhansl
96
XXXII
Perception & Psychophysics
1982
29
Note 1
30
Samuel Lipman has noted that most members of the great older generation of performers of our century are dead or retired, and that younger ones seem more often interchangeable, lacking the distinct personalities of their predecessors; "Summing Up: A Tour d'Horizon," Music After Modernism (New York, 1979), pp. 224-25
Lipman
Summing Up: a Tour D'horizon
224
Music After Modernism
1979
31
Robert L. Marshall's "Bach the Progressive: Observations on his Later Works," Musical Quarterly LXII (1976), 313-5710.2307/741350
313
Schoenberg's article "Brahms the Progressive," Style and Idea, rev. ed., pp. 398-441
Schoenberg
Brahms the Progressive
398
Style and Idea
33
Henry Pleasants, The Agony of Modern Music (London, 1955)
Pleasants
The Agony of Modern Music
1955
34
Alban Berg's radio talk "What Is Atonality?", in Nicolas Slonimsky's Music Since 1900, 4th ed. (New York, 1971), pp. 1311-15
Berg
4
What is Atonality?
1311
Music Since 1900
1971
36
"Rewriting Music History: Second Thoughts on Ives and Varè Musical Newsletter III: 1 (January 1973), 3-12
1
3
III
Musical Newsletter
1973
111:2 (April 1973), 15-23, 28
37
Theodor W. Adorno, Philosophy of Modern Music, trans. by Anne G. Mitchell and Wesley V. Blomster (New York, 1973), p. 182
Adorno
182
Philosophy of Modern Music
1973
38
Berg ("Present-Day Encounters with Berg," pp. 235-41)
Berg
235
Present-day Encounters with Berg
Schoen- berg ("Schoenberg Is Dead," pp. 268-76) in Notes of an Apprenticeship, trans. by Herbert Weinstock (New York, 1968)
Schoenberg
Schoenberg is Dead
268
Notes of an Apprenticeship
1968
39
"Communication," Silence (Middletown, Connecticut, 1961), pp. 44 and 46, and elsewhere.
Communication
44
Silence
1961
40
Memos, ed. by John Kirkpatrick [New York, 1972], p. 64
Kirkpatrick
64
Memos
1972
"as far as I was concerned, these pieces were not presented [at their premiere in 1925] as definitely completed works of art (or attempts at works of art). They were simply studies within the limited means we had with which to study quarter tones." (Memos, p. 111.)
As Far as I Was Concerned, These Pieces Were Not Presented [at Their Premiere in 1925] as Definitely Completed Works of Art (or Attempts At Works of Art). They Were Simply Studies Within the Limited Means We Had with Which to Study Quarter Tones
111
Memos
Memos, pp. 47-50, 67, 90-91
47
Memos
41
Origins: A Short Etymological Dictionary of Modern English, 4th ed. (London, 1966), p. 421.4
421
Origins: a Short Etymological Dictionary of Modern English
1966
42
C. T. Onions, ed., et al., The Shorter Oxford English Dictionary on Historical Principles, 3rd corrected ed. (Oxford, 1980), p. 1375.
Onions
3
1375
The Shorter Oxford English Dictionary on Historical Principles
1980
43
Shorter Oxford English Dictionary, p. 1375.
1375
Shorter Oxford English Dictionary
44
Harold Bloom's The Anxiety of Influence.: A Theory of Poetry (Oxford and New York, 1973)
Bloom
The Anxiety of Influence.: a Theory of Poetry
1973
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