Volume 3 (2017)
Parenthetic Aside in a 1789 Analysis of Mozart’s K. 284
L. Poundie Burstein with Quynh Nguyen (Hunter College and the Graduate Center, CUNY)
Volume 3.1 (Feburary 2017)
In a 1789 treatise, the Darmstadt musician J.G. Portmann presents what amounts to a multi-level harmonic analysis of Mozart’s Sonata for Piano in D, K. 284, I. Portmann’s interpretation of the movement’s exposition is in line with concepts expressed by other eighteenth-century theorists, but suggestively differs from standard modern conceptions of the form, especially in its understanding of what nowadays is labeled as the secondary theme.
Schoenberg’s ‘Advice for Beginners in Composition with Twelve Tones’
J. Daniel Jenkins (University of South Carolina)
Volume 3.2 (June 2017)
In 1951, Schoenberg received a letter from composer Humphrey Searle asking Schoenberg to record a lecture for the BBC radio program “Music Magazine.” Schoenberg immediately proposed a subject, “Advice for Beginners in Composition with Twelve-Tones,” and requested to use television rather than radio because his musical examples “were perhaps less easily to realize by the ear than by the eye.” Although Schoenberg wrote a script, he died before he could record it. Only recently has this fascinating document been published, providing keen insights into Schoenberg’s compositional process, and posing interesting questions about the reception of twelve-tone composition after his death.
Music, Poetry, and Performance in a Song by Maria Schneider
Stephen Rodgers (University of Oregon)
Volume 3.3 (December 2017)
In this video I explore the way song composers respond not just to the meanings of words but also to their sounds. Using a song from Maria Schneider’s 2013 song cycle Winter Morning Walks as a case study, I consider how a particular performance of a song and a particular performance of a poem can heighten our awareness of the connections between music and the materiality of poetry.