[Footnotes]

[Footnotes]
1
Susan McClary, "Music and Postmodernism," unpublished typescript (1988), p. 16
Rose Rosengard Subotnik, Deconstructive Variations: Music and Reason in Western Society (Minneapolis, Minn., 1996), p. xxv
Subotnik
xxv
Deconstructive Variations: Music and Reason in Western Society
1996
2
Pieter C. van den Toorn, Music, Politics, and the Acad- emy (Berkeley and Los Angeles, 1995), p. 152
Toorn
152
Music, Politics, and the Academy
1995
3
Ursula K. Le Guin, "Reciprocity of Prose and Poetry," in her Dancing at the Edge of the World: Thoughts on Words, Women, Places (New York, 1989), p. 110.
Guin
Reciprocity of Prose and Poetry
110
her Dancing at the Edge of the World: Thoughts on Words, Women, Places
1989
4
Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis, Minn., 1991).
McClary
Feminine Endings: Music, Gender, and Sexuality
1991
5
0n the problem of symbolic construction and representa- tion as reduction, see MPA, pp. 39, 42, 61, 93, and 151
MPA, p. 62
n. 5
6
Burnham, "Theorists and 'The Mu- sic Itself'," Music Theory Online 2.2 [1996], 14
Burnham
14
2.2
Music Theory Online
1996
Peter Brooks, "Aesthetics and Ideology: What Happened to Po- etics?" Critical Inquiry 20 [1994], 515)10.2307/1343867
515
7
MPA, p. 19 (n. 14)
McClary, Femi- nine Endings
McClary
Feminine Endings
Lawrence Kramer, Music as Cultural Prac- tice, 1800-1900 (Berkeley and Los Angeles, 1990)
Kramer
Music as Cultural Practice, 1800-1900
1990
Leo Treitler, Music and the Historical Imagination (Cambridge, Mass., 1989)
Treitler
Music and the Historical Imagination
1989
Ruth A. Solie ("What Do Feminists Want? A Reply to Pieter van den Toorn," Journal of Musi- cology 9 [1991], 399-410)10.2307/763868
399
van den Toorn ("Politics, Feminism, and Con- temporary Music Theory," Journal of Musicology 9 [1991], 275-99)10.2307/763704
275
"Feminism, Politics and the Ninth," with ampli- fications on pp. 18-22 and 36-37
18
Feminism, Politics and the Ninth
8
Burnham, Guck, Brown, and Dubiel appear in Music Theory Online 2.2 (1996)
Burnham
2.2
Music Theory Online
1996
Burnham, "Theorists and 'The Music Itself"
Burnham
Theorists and 'The Music Itself
Marion Guck, "Music Loving, Or the Relationship with the Piece"
Guck
Music Loving, Or the Relationship with the Piece
Joseph Dubiel, "On Get- ting Deconstructed"
Dubiel
On Getting Deconstructed
Matthew Brown, "Adrift on Neurath's Boat."
Brown
Adrift on Neurath's Boat
Kofi Agawu's "Analyzing Music under the New Musicological Regime" appears in Music Theory Online 2.4 (May 1996)
Agawu
May
2.4
Music Theory Online
1996
Tomlinson, "Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer,"
Tomlinson
Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer
Kramer, "Music Criticism and the Postmodern Turn: In Contrary Motion with Gary Tomlinson," Current Musicology 53 (1993), 18-24, and 25-35
Kramer
18
53
Current Musicology
1993
Tomlinson, pp. 36-40
36
van den Toorn's later charge that the "new humanists" have failed to become familiar with, say, the mechanics of key relations (pp. 78- 79)
Toorn
78
new humanists
Schenkerian analysis (p. 89)
pitch-class set analysis (p. 227)
9
Deconstructive Variations, p. xxx
xxx
Deconstructive Variations
10
MPA, pp. 19-20, 40-41, 52 (n. 15), 53
"aesthetic" in relation to "the interpreter"), pp. 58, 96 (n. 46), and 227
mto-talk, 13 March 1996
13 March
mto-talk
1996
McCreless, "Introduction," Music Theory Online 2.2(1996)
McCreless
2.2
Music Theory Online
1996
11
Beethoven's Ninth Symphony (pp. 116- 19)
"The two worlds relate, in other words, yet are sepa- rate, and in a way that need not be hierarchical" (p. 124)
124
The two worlds relate, in other words, yet are separate, and in a way that need not be hierarchical
Andantino of Stravinsky's Pulcinella (pp. 163-65)
Stravinsky
163
Pulcinella
Octet, II (p. 172)
"A belief in 'irreduc- ible essences,' in the possibility of creation, need not over- rule a belief in context, in the workings of history, cul- ture, and society" (pp. 93-94, n. 45)
93
A belief in 'irreducible essences,' in the possibility of creation, need not overrule a belief in context, in the workings of history, culture, and society
similar qualifications on pp. 65, 66-67
attunement and separa- tion, pp. 92 (n. 42) and 152
12
Postino (The Postman) Ryder Film Series (Bloomington, Ind., 1995)
Postino (The Postman)
1995
A lonely young man on a quiet ruggedly beautiful island off the coast of Italy in 1953
13
Carolyn Abbate, Unsung Voices: Opera and Musical Nar- rative in the Nineteenth Century (Princeton, N.J., 1991), p. 29.
Abbate
29
Unsung Voices: Opera and Musical Narrative in the Nineteenth Century
1991
14
Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (Princeton, N.J., 1992), esp. chap. 2
Flinn
Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music
1992
"The Man Behind the Muse: Music and The Lost Maternal Object."
The Man Behind the Muse: Music and The Lost Maternal Object
15
Abbate, Unsung Voices: Opera and Musical Narra- tive in the Nineteenth Century, p. 13
Abbate
13
Unsung Voices: Opera and Musical Narrative in the Nineteenth Century
16
Terry Eagleton, The Ideology of the Aesthetic (Oxford, 1990), p. 9.
Eagleton
9
The Ideology of the Aesthetic
1990
17
Van den Toorn, review of Models of Musical Analysis: Early Twentieth-Century Music, ed. Jonathan Dunsby, Music Analysis 14 (1995), 345 (340-52)10.2307/854018
345
"A Response to Richard Taruskin's 'A Myth of the Twentieth Century'," Music Theory Online 1.5 (Sep- tember 1995)
September
1.5
Music Theory Online
1995
"What's in a Motive? Schoenberg and Schenker Reconsidered," Journal of Musicology 14 (1996), 370-9910.2307/764062
370
18
Van den Toorn, review of Dunsby, Models of Musical Analysis, p. 342.
van den Toorn
342
Models of Musical Analysis
19
MPA, pp. 7, 141, and 169
20
Van den Toorn, review of Dunsby, Models of Musical Analysis, p. 342.
Van den Toorn
342
Models of Musical Analysis
21
Eagleton, The Ideology of the Aesthetic, p. 411.
Eagleton
411
The Ideology of the Aesthetic
22
Fred Maus, "Hanslick's Animism," Journal of Musicology 10 (1992), 273-9210.2307/763652
273
23
"Contextual refers to the single instance and corresponds to 'specific' or 'individual"' (p. 15)
15
Contextual refers to the single instance and corresponds to 'specific' or 'individual
van den Toorn, MPA, pp. 15 (n. 9) and 155
15
"Ambiguity in Tonal Music: A Preliminary Study," in Theory, Analysis, and Meaning in Music, ed. Anthony Pople [Cambridge, 1994], p. 86
Ambiguity in Tonal Music: A Preliminary Study
86
Theory, Analysis, and Meaning in Music
1994
Ciro Scotto, Can Non-Tonal Systems Support Music as Richly as the Tonal System? (DMA diss., University of Washing- ton, 1995), esp. pp. 2-14
24
Hayden White, "New Historicism: A Comment," in The New Historicism, ed. H. Aram Veeser (New York, 1989), pp. 300, 301
White
New Historicism: A Comment
300
The New Historicism
1989
26
Subotnik, Deconstructive Variations, pp. 94ff., 102-03 (esp. 114), 114, 89, 114-15, 113-14.
Subotnik
94
Deconstructive Variations
27
Ibid., p. xxx
xxx
MPA, p. 114
28
MPA: "And such a reality (the concrete reality of the whole)-what may be sensed as truly identi- fying-can never be reduced to abstracted parts, but in- volves a transcending sense of the whole that overwhelms all parts in one way or another" (p. 100
p. 115
29
Burnham, "Theorists and 'The Music Itself'," 18
Burnham
18
Theorists and 'The Music Itself'
30
Joseph Dubiel, "On Getting Deconstructed," 13.
Dubiel
13
On Getting Deconstructed
31
"Van den Toorn finds such sexual-political constructions offensive and criticizes McClary's reference to them as reflective of the "stridency of the ideology" (p. 37)
Van den Toorn
37
stridency of the ideology
"part of the dark conspiracy of men in their relations with women" (p. 40)
40
part of the dark conspiracy of men in their relations with women
32
Brian Hyer, "'Sighing Branches': Prosopopoeia in Rameau's Pigmalion," Music Analysis 13 (1994), 4110.2307/854279
41
p. 41
33
Subotnik, Deconstructive Variations, pp. 168-69.
Subotnik
168
Deconstructive Variations
34
David Lewin, "Music Theory, Phenomenology, and Modes of Perception," Music Perception 3 (1986), 357.
Lewin
357
3
Music Perception
1986
36
MPA, p. 11
"entice" (pp. 34, 42)
34
entice
"perverse, futile, and symp- tomatic of impotence" (p. 62)
62
perverse, futile, and symptomatic of impotence
"that attracted freely and spontaneously" (p. 92)
92
that attracted freely and spontaneously
"lure of motive" (p. 114)
114
lure of motive
"the beholder, he or she who listens, perceives, ap- prehends" (p. 229)
229
the beholder, he or she who listens, perceives, apprehends
37
MPA, pp. 63-64
38
MPA, p. 147
40
Richard Littlefield, "The Silence of the Frames," Music Theory Online 2.1 (January 1996), esp. 3, 10, 11, and 13
Littlefield
January
2.1
Music Theory Online
1996
41
Eagleton, The Ideology of the Aesthetic, p. 413
Eagleton
413
The Ideology of the Aesthetic
42
Rodolphe Gasché, The Tain of the Mirror: Derrida and the Philoso- phy of Reflection (Cambridge, Mass., 1986), esp. part I
Gasché
The Tain of the Mirror: Derrida and the Philosophy of Reflection
1986
"Toward the Limits of Reflection."
Toward the Limits of Reflection
43
"Have we, in these days of the 'personal stereo,' finally reached the point where music's only purpose is the lone listener's solitary pleasures?" (p. 401)
401
Have we, in these days of the 'personal stereo,' finally reached the point where music's only purpose is the lone listener's solitary pleasures
44
Geoffrey Payzant, Glenn Gould: Music and Mind (rev. edn. Toronto, 1992; 1st edn. 1978), pp. 65 and 64
Payzant
1
65
Glenn Gould: Music and Mind
1992
45
Leonard B. Meyer shifted his original emphasis on expec- tation in Emotion and Meaning in Music (Chicago, 1956)
Meyer
Emotion and Meaning in Music
1956
Explaining Music (Berkeley and Los Angeles, 1973)
Explaining Music
1973
Deconstructive Variations, pp. 232-33, n. 45
232
Deconstructive Variations
46
Paysant, Glenn Gould, app. 3, "Ecstasy and Authentic- ity," p. 156.
Paysant
Glenn Gould
156
Ecstasy and Authenticity
47
Glenn Gould, interview by Bernard Asbell, "Glenn Gould," Horizon 4 (1962), 90
Gould
90
4
Horizon
1962
Paysant, Glenn Gould, p. 125
Paysant
125
Glenn Gould
48
Glenn Gould, "The Grass is always Greener in the Out- takes," High Fidelity Magazine 25 (1975), 55
Gould
55
25
High Fidelity Magazine
1975
Paysant, Glenn Gould, p. 126
Paysant
126
Glenn Gould
49
Glenn Gould, "An Epistle to the Parisians: Music and Technology, Part I," Piano Quarterly 23 (1974-75), 17
Gould
17
23
Piano Quarterly
1974
Paysant, Glenn Gould, p. 122
Paysant
122
Glenn Gould
50
Kramer, Classical Music and Postmodern Knowledge (Berkeley and Los Angeles, 1995), p. 16
Kramer
16
Classical Music and Postmodern Knowledge
1995
51
Ibid., pp. 18, 232, 14-15, 17, 99, 232, 16, 235-36
18
Suzanne Cusick, "Feminist Theory, Music Theory and the Mind/ Body Problem," Perspectives of New Music 32 (1994), 8-2710.2307/833149
8
James Buhler, Informal Music Analy- sis: A Critique of Formalism, Semiology, and Narratology as Discourses on Music (Ph.D. diss., University of Penn- sylvania, 1996), esp. "Quasi una Fantasia: Toward an In- formal Analysis of Music," pp. 127-62
Buhler
127
Informal Music Analysis: A Critique of Formalism, Semiology, and Narratology as Discourses on Music
1996
52
Naomi Schor, Reading in Detail: Aesthetics and the Femi- nine (New York, 1987), pp. 20, 22, 17, 19, 140.
Schor
20
Reading in Detail: Aesthetics and the Feminine
1987
53
Ibid., pp. 29 and 147
29
54
Felicia Miller Frank, The Mechanical Song: Women, Voice, and the Artificial in Nineteenth-Century French Narrative (Stanford, 1995), pp. 172, 175
Frank
172
The Mechanical Song: Women, Voice, and the Artificial in Nineteenth-Century French Narrative
1995
55
Ibid., p. 194
194
Of the Sublime: Presence in Ques- tion: Essays by Jean-Francois Lyotard, ed. Philippe Lacoue- Labarthe, trans. Jeffrey S. Librett (Albany, N.Y., 1993), cited in Frank, The Mechanical Song, pp. 173 and 207
173
Of the Sublime: Presence in Question: Essays by Jean-Francois Lyotard
1993
56
Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music
Flinn
Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music
my article "Of Poetics and Poiesis, Pleasure and Poli- tics-Music Theory and Modes of the Feminine," Perspec- tives of New Music 32 (1994), 44-67
44
32
Perspectives of New Music
1994
57
Susan Leigh Foster, Reading Dancing: Bodies and Sub- jects in Contemporary American Dance (Berkeley and Los Angeles, 1986), pp. xiv and xviii
Foster
xiv
Reading Dancing: Bodies and Subjects in Contemporary American Dance
1986
"between the references that the dance makes to the world and to its own organization" (p. xviii)
xviii
between the references that the dance makes to the world and to its own organization
58
Ambassador Theatre, 2 May 1996
59
Raymond Hedin, Married to the Church (Bloomington, 1995), p. 254
Hedin
254
Married to the Church
1995
Tod Gitlin, The Sixties: Years of Hope, Days of Rage (New York, 1987), p. 48
Gitlin
48
The Sixties: Years of Hope, Days of Rage
1987
60
Janet Wolff, "The Ide- ology of Autonomous Art," in Music and Society: The Politics of Composition, Performance and Reception, ed. Richard Leppert and Susan McClary (New York, 1987)
Wolff
The Ideology of Autonomous Art
Music and Society: The Politics of Composition, Performance and Reception
1987
Lydia Goehr, The Imaginary Mu- seum of Musical Works: An Essay in the Philosophy of Music (New York, 1992)
Goehr
The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music
1992
61
Pierre Bourdieu, Outline of a Theory of Practice, trans. Richard Nice (New York, 1977), esp. pp. 78, 72, and 76
Bourdieu
78
Outline of a Theory of Practice, trans. Richard Nice
1977
62
Bourdieu, "The Invention of the Artist's Life," Yale French Studies, no. 7310.2307/2930198
"Everyday Life," pp. 75-103
75
Everyday Life
Erec R. Koch from "L'Invention de la vie d'artiste," Actes de la recherche en sciences sociales, 2 March 1975)
Koch
2 March
Actes de la recherche en sciences sociales
1975
Bourdieu, "Flaubert's Point of View," Critical Inquiry 14 (1988), 539-6210.2307/1343703
539
63
Fred Lerdahl, "Tonal and Narrative Paths in Parsifal," in Musical Transformation and Musical Intuition: Eleven Es- says in Honor of David Lewin, ed. Raphael Atlas and Michael Cherlin (Roxbury, 1994), pp. 121-46
Lerdahl
Tonal and Narrative Paths in Parsifal
121
Musical Transformation and Musical Intuition: Eleven Essays in Honor of David Lewin
1994
David Lewin, "Some Notes on Analyzing Wagner: The Ring and Parsifal," this journal 16 (1992), 49-5810.2307/746619
49
Kramer, Music As Cultural Practice, chap. 1, esp. pp. 10-11
Kramer
10
Music As Cultural Practice
64
Subotnik, Deconstructive Variations, p. 65.
Subotnik
65
Deconstructive Variations
65
my "On Rebecca Clarke's Sonata for Viola and Pi- ano: feminine spaces and metaphors of reading," in Au- dible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley (Zurich, forthcoming).
On Rebecca Clarke's Sonata for Viola and Piano: feminine spaces and metaphors of reading
Audible Traces: Gender, Identity, and Music
66
my "Stravinsky's Con- trasts: Contradiction and Discontinuity in His Neoclassic Music," Journal of Musicology 9 (1991), 448-8010.2307/763871
448
Martha M. Hyde's article "Neoclassic and Anachronistic Impulses in Twentieth-Century Music" (Music Theory Spectrum 18 [1996], 200-35)10.2307/746024
200
MPA, pp. 155-56
67
Ethan Haimo, "Problems of Hierarchy in Stravinsky's Octet," in Stravinsky Retrospectives, ed. Ethan Haimo and Paul Johnson (Lincoln, Neb., 1987), pp. 36-54
Haimo
Problems of Hierarchy in Stravinsky's Octet
36
Stravinsky Retrospectives
my "Stravinsky's Contrasts: Contradiction and Discontinuity in His Neoclassic Music"; Joseph N. Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, Mass., 1990), pp. 103-07
Stravinsky's Contrasts: Contradiction and Discontinuity in His Neoclassic Music
103
Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition
1990
Straus and van den Toorn, see MPA, pp. 160-69
68
Joseph N. Straus, The Music of Ruth Crawford Seeger (Cambridge, 1995), p. 223
Straus
223
The Music of Ruth Crawford Seeger
1995
pp. 249-50 (n. 76)
Robert Fink in his paper, "Sex, Violence and the Reception of Beethoven's Ninth," presented at the confer- ence Feminism and Music 3, Riverside, California, June 1995, and as discussed in MPA, pp. 29-38
Fink
Sex, Violence and the Reception of Beethoven's Ninth
29
3
the conference Feminism and Music 3, Riverside, California, June 1995
1995
69
David Lewin, "Women's Voices and the Fundamental Bass," Journal of Musicology 10 (1992), 468 (464-82)10.2307/763645
464
Kramer, Music as Cultural Practice 1800-1900, pp. 147-65
Kramer
147
Music as Cultural Practice 1800-1900
70
"Anatomy of a Hoax," Newsweek, 3 June 1996, p. 37
3 June
37
Newsweek
1996
George Will, Associated Press, 30 May 1996
Will
30 May
Associated Press
1996
72
Eagleton, The Ideology of the Aesthetic, p. 415.
Eagleton
415
The Ideology of the Aesthetic
73
my "Feminist Theory and Music Conference, June 1991: Questions on Ecstasy, Morality, Creativity," Per- spectives of New Music 30 (1992), 241
241
30
Perspectives of New Music
1992
74
Ursula K. Le Guin, "A Non-Euclidean View of Califor- nia," in Dancing at the Edge of the World, pp. 91 and 98
Guin
A Non-Euclidean View of California
91
Dancing at the Edge of the World
75
"Rethinking Contempo- rary Music Theory," in Keeping Score: Music, Dis- ciplinarity, Culture, ed. David Schwarz, Anahid Kassabian, and Lawrence Siegel (Charlottesville, Va., 1997)
Rethinking Contemporary Music Theory
Keeping Score: Music, Disciplinarity, Culture
1997
76
Benjamin A. Boretz, "Relevance. Liberation," Perspec- tives of New Music 27 (1989), 117.10.2307/833261
117
77
"Gender, Feminism, and Aesthetic Educa- tion: Discourses of Inclusion and Empowerment," by Bennett Reimer (Philosophy of Music Education Review 3 [1995], 107-24)
107
3
Philosophy of Music Education Review
1995
Julia Eklund Koza's article, "Aesthetic Music Education Revisited: Discourses of Exclusion and Oppres- sion" (Philosophy of Music Education Review 2 [1994], 75-91)
Koza
75
2
Philosophy of Music Education Review
1994
78
Jann Pasler, "Some Thoughts on Susan McClary's Feminine Endings," Perspectives of New Music 30 (1992), 202-0510.2307/3090634
202
Elaine Barkin, "Rules of One's Own,"
Barkin
Rules of One's Own
Ben- jamin Boretz, "music/consciousness/gender" (includes CD), in Audible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley (Zurich, forthcoming)
Boretz
music/consciousness/gender
Audible Traces: Gender, Identity, and Music
79
my "On Rebecca Clarke's Sonata for Viola and Pi- ano: feminine spaces and metaphors of reading."
On Rebecca Clarke's Sonata for Viola and Piano: feminine spaces and metaphors of reading
80
Daphne Patai and Noretta Koertge, Professing Feminism: Cautionary Tales from the Strange World of Women's Studies (New York, 1994)
Patai
Professing Feminism: Cautionary Tales from the Strange World of Women's Studies
1994
81
Style -and Music: Theory, History, and Ideology (Philadelphia, 1989)
Style -and Music: Theory, History, and Ideology
1989
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