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  • I wrestled with Nicolas's question (is tonality merely centricity?) in my 2011 Theory and Practice article:  The tangled connotations of the terms pitch centricity and tonality are especially problematic when used to place a composition in music-hi…
  • Just to tack onto Ed's citation of Steve Larson: Larson actually published his own performance of his sketches of a Hanging Gardens song on a cassette that accompanied PNM in 1987. I believe his wife sang the (reductions of) the vocal line using sol…
  • http://quod.lib.umich.edu/g/genpub/0641601.0006.003/5?page=root;rgn=full+text;size=100;view=image [Edit: Whoops--I see now that Hans beat me to the punch!]
  • Carla: John Spilker has written (and presented at an SMT conference, I believe) about the "origins" of dissonant counterpoint pedagogy in Henry Cowell's teachings. See "The Origins of 'Dissonant Counterpoint': Henry Cowell's Unpublished Notebook" in…
  • I've resisted participating in this discussion because it's clear that there's much frustration with this process among those contributing, and I have trepidation that my own thoughts will be dismissed because 1) I did get a paper accepted to this y…
  • Rick: I think I understand your question better. To answer it, then, in a "more provocative way," I guess I'm echoing John's post: I think he and I both anticipate the question by refusing to set up a simple strong-vs-weak dichotomy in the first pla…
  • Rick: I don't immediately think of any textbooks that theorize the distinctions you're describing (any more than Betsy and Jane's does so, at least). But, unless I'm completely misunderstanding your question, certainly GTTM offers a framework for do…
  • Reinbert de Leeuw composed a terrifyingly interesting "arrangement" of Schubert and Schumann lieder, called Im Wunderschönen Monat Mai, for an augmented Pierrot ensemble (including Sprechstimme). It includes several songs from Winterreise; here's a …
  • "Am Feierabend" from Schöne Mullerin. The final variations of endless theme-and-variations works for and by Herbert L. Clarke and other turn-of-century cornetists and bandsmen (e.g., his own and Arban's variations on "The Carnival of Venice"). The a…
  • Mozart's G minor quintet, K. 516, I: mm. 25–26 (immediately following a PAC in the home key).