The Cambridge History of Western Music Theory

The first comprehensive history of Western music theory to be published in the English language.

Author: Thomas Christensen

Publisher:

ISBN: 0521686989

Category: Music

Page: 998

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The first comprehensive history of Western music theory to be published in the English language.
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The Cambridge History of Western Music Theory

The Cambridge History of Western Music Theory is the first comprehensive historyof Western music theory tobe published in the Englishlanguage.

Author: Thomas Christensen

Publisher: Cambridge University Press

ISBN: 9781316025482

Category: Music

Page:

View: 425

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The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.
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The Cambridge History of World Music

Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.

Author: Philip V. Bohlman

Publisher: Cambridge University Press

ISBN: 9781316025666

Category: Music

Page:

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Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.
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The Princeton Companion to Mathematics

Music theory and mathematics. In The Cambridge History of Western Music Theory, edited by T. Christensen, pp. 272–304. Cambridge: Cambridge University Press ...

Author: Timothy Gowers

Publisher: Princeton University Press

ISBN: 1400830397

Category: Mathematics

Page: 1056

View: 324

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This is a one-of-a-kind reference for anyone with a serious interest in mathematics. Edited by Timothy Gowers, a recipient of the Fields Medal, it presents nearly two hundred entries, written especially for this book by some of the world's leading mathematicians, that introduce basic mathematical tools and vocabulary; trace the development of modern mathematics; explain essential terms and concepts; examine core ideas in major areas of mathematics; describe the achievements of scores of famous mathematicians; explore the impact of mathematics on other disciplines such as biology, finance, and music--and much, much more. Unparalleled in its depth of coverage, The Princeton Companion to Mathematics surveys the most active and exciting branches of pure mathematics. Accessible in style, this is an indispensable resource for undergraduate and graduate students in mathematics as well as for researchers and scholars seeking to understand areas outside their specialties. Features nearly 200 entries, organized thematically and written by an international team of distinguished contributors Presents major ideas and branches of pure mathematics in a clear, accessible style Defines and explains important mathematical concepts, methods, theorems, and open problems Introduces the language of mathematics and the goals of mathematical research Covers number theory, algebra, analysis, geometry, logic, probability, and more Traces the history and development of modern mathematics Profiles more than ninety-five mathematicians who influenced those working today Explores the influence of mathematics on other disciplines Includes bibliographies, cross-references, and a comprehensive index Contributors incude: Graham Allan, Noga Alon, George Andrews, Tom Archibald, Sir Michael Atiyah, David Aubin, Joan Bagaria, Keith Ball, June Barrow-Green, Alan Beardon, David D. Ben-Zvi, Vitaly Bergelson, Nicholas Bingham, Béla Bollobás, Henk Bos, Bodil Branner, Martin R. Bridson, John P. Burgess, Kevin Buzzard, Peter J. Cameron, Jean-Luc Chabert, Eugenia Cheng, Clifford C. Cocks, Alain Connes, Leo Corry, Wolfgang Coy, Tony Crilly, Serafina Cuomo, Mihalis Dafermos, Partha Dasgupta, Ingrid Daubechies, Joseph W. Dauben, John W. Dawson Jr., Francois de Gandt, Persi Diaconis, Jordan S. Ellenberg, Lawrence C. Evans, Florence Fasanelli, Anita Burdman Feferman, Solomon Feferman, Charles Fefferman, Della Fenster, José Ferreirós, David Fisher, Terry Gannon, A. Gardiner, Charles C. Gillispie, Oded Goldreich, Catherine Goldstein, Fernando Q. Gouvêa, Timothy Gowers, Andrew Granville, Ivor Grattan-Guinness, Jeremy Gray, Ben Green, Ian Grojnowski, Niccolò Guicciardini, Michael Harris, Ulf Hashagen, Nigel Higson, Andrew Hodges, F. E. A. Johnson, Mark Joshi, Kiran S. Kedlaya, Frank Kelly, Sergiu Klainerman, Jon Kleinberg, Israel Kleiner, Jacek Klinowski, Eberhard Knobloch, János Kollár, T. W. Körner, Michael Krivelevich, Peter D. Lax, Imre Leader, Jean-François Le Gall, W. B. R. Lickorish, Martin W. Liebeck, Jesper Lützen, Des MacHale, Alan L. Mackay, Shahn Majid, Lech Maligranda, David Marker, Jean Mawhin, Barry Mazur, Dusa McDuff, Colin McLarty, Bojan Mohar, Peter M. Neumann, Catherine Nolan, James Norris, Brian Osserman, Richard S. Palais, Marco Panza, Karen Hunger Parshall, Gabriel P. Paternain, Jeanne Peiffer, Carl Pomerance, Helmut Pulte, Bruce Reed, Michael C. Reed, Adrian Rice, Eleanor Robson, Igor Rodnianski, John Roe, Mark Ronan, Edward Sandifer, Tilman Sauer, Norbert Schappacher, Andrzej Schinzel, Erhard Scholz, Reinhard Siegmund-Schultze, Gordon Slade, David J. Spiegelhalter, Jacqueline Stedall, Arild Stubhaug, Madhu Sudan, Terence Tao, Jamie Tappenden, C. H. Taubes, Rüdiger Thiele, Burt Totaro, Lloyd N. Trefethen, Dirk van Dalen, Richard Weber, Dominic Welsh, Avi Wigderson, Herbert Wilf, David Wilkins, B. Yandell, Eric Zaslow, Doron Zeilberger
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The Cambridge History of Twentieth Century Music

Written by experts in the field, this book surveys how the Western tradition was affected by the development of jazz, popular music, and world music and links the history of music with that of its social contexts.

Author: John Butt

Publisher: Cambridge University Press

ISBN: 0521662567

Category: Music

Page: 818

View: 663

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"Music" referred only to the artistic, classical tradition of Western Europe and North America at the beginning of the twentieth century. However, several different traditions emerged by the end of the century. Written by experts in the field, this book surveys how the Western tradition was affected by the development of jazz, popular music, and world music and links the history of music with that of its social contexts.
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The Cambridge History of Medieval Music

8–10; cited in Calvin Bower, “The Transmission of Ancient Music Theory into the Middle Ages,” in The Cambridge History of Western Music Theory, ed.

Author: Mark Everist

Publisher: Cambridge University Press

ISBN: 9781108577076

Category: Music

Page:

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Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.
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The Cambridge History of Seventeenth Century Music

The Cambridge History of Western Music Theory . Cambridge , 2002 Coelho , V. A. ( ed . ) , Music and Science in the Age of Galileo .

Author: Lecturer in Music Royal Holloway and Bedford New College Tim Carter

Publisher: Cambridge University Press

ISBN: 0521792738

Category: Music

Page: 591

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A comprehensive study of European musical culture in the seventeenth century.
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The Cambridge History of Fifteenth Century Music

... “Counterpoint Pedagogy in the Renaissance,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen, Cambridge, 2002, 503–33 Schubert, ...

Author: Anna Maria Busse Berger

Publisher: Cambridge University Press

ISBN: 9781316298299

Category: Music

Page:

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Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.
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The Renaissance Reform of Medieval Music Theory

Christensen, T., ed., The Cambridge History of Western Music Theory. Cambridge University Press, 2002. Clercx, S., “Johannes Ciconia théoreticien.

Author: Stefano Mengozzi

Publisher: Cambridge University Press

ISBN: 9780521884150

Category: Music

Page: 286

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A detailed study of the sight-singing method introduced by the 11th-century monk Guido of Arezzo, in its intellectual context.
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The Cambridge History of Sixteenth Century Music

TH E C AM BR I DG E H IST O RY OF M U SI C The Cambridge History of Music ... by David Nicholls The Cambridge History of Western Music Theory Edited by ...

Author: Iain Fenlon

Publisher: Cambridge University Press

ISBN: 9781108671279

Category: Music

Page:

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Part of the seminal Cambridge History of Music series, this volume departs from standard histories of early modern Western music in two important ways. First, it considers music as something primarily experienced by people in their daily lives, whether as musicians or listeners, and as something that happened in particular locations, and different intellectual and ideological contexts, rather than as a story of genres, individual counties, and composers and their works. Second, by constraining discussion within the limits of a 100-year timespan, the music culture of the sixteenth century is freed from its conventional (and tenuous) absorption within the abstraction of 'the Renaissance', and is understood in terms of recent developments in the broader narrative of this turbulent period of European history. Both an original take on a well-known period in early music and a key work of reference for scholars, this volume makes an important contribution to the history of music.
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The Oxford Handbook of Neo Riemannian Music Theories

In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 726–752. Cambridge: Cambridge University Press, 2002. Imig, Renate.

Author: Edward Gollin

Publisher: OUP USA

ISBN: 9780195321333

Category: Music

Page: 648

View: 611

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In recent years neo-Riemannian theory has established itself as the leading approach of our time, and has proven particularly adept at explaining features of chromatic music. The Oxford Handbook of Neo-Riemannian Music Theories assembles an international group of leading music theory scholars in an exploration of the music-analytical, theoretical, and historical aspects of this new field.
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Teaching Performance A Philosophy of Piano Pedagogy

In The Cambridge history of western music theory, ed. Thomas Christensen, 880–906. Cambridge: Cambridge University Press. Cadwallader, Allen, and David ...

Author: Jeffrey Swinkin

Publisher: Springer

ISBN: 9783319125145

Category: Education

Page: 229

View: 418

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How can the studio teacher teach a lesson so as to instill refined artistic sensibilities, ones often thought to elude language? How can the applied lesson be a form of aesthetic education? How can teaching performance be an artistic endeavor in its own right? These are some of the questions Teaching Performance attempts to answer, drawing on the author's several decades of experience as a studio teacher and music scholar. The architects of absolute music (Hanslick, Schopenhauer, and others) held that it is precisely because instrumental music lacks language and thus any overt connection to the non-musical world that it is able to expose essential elements of that world. More particularly, for these philosophers, it is the density of musical structure—the intricate interplay among purely musical elements—that allows music to capture the essences behind appearances. By analogy, the author contends that the more structurally intricate and aesthetically nuanced a pedagogical system is, the greater its ability to illuminate music and facilitate musical skills. The author terms this phenomenon relational autonomy. Eight chapters unfold a piano-pedagogical system pivoting on the principle of relational autonomy. In grounding piano pedagogy in the aesthetics of absolute music, each domain works on the other. On the one hand, Romantic aesthetics affords pedagogy a source of artistic value in its own right. On the other hand, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and showing the dichotomy of absolute/utilitarian to be specious.
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The Cambridge History of Musical Performance

The Cambridge History of Western Music Theory, p. 196. 32 'omne tulit punctum qui miscuit utile dulci' is line 343 of the Epistula ad Pisones ('Ars ...

Author: Colin Lawson

Publisher: Cambridge University Press

ISBN: 9781316184424

Category: Music

Page:

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The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
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The Performance of 16th Century Music

In The Cambridge History of Western Music Theory, edited by Thomas Christensen, Chapter 11, pp. 307–363. Cambridge: Cambridge University Press, 2002.

Author: Anne Smith

Publisher: OUP USA

ISBN: 9780199742622

Category: Music

Page: 244

View: 346

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Modern musical training tends to focus primarily on performance practices of the Classical and Romantic periods, and most performers come to the music of the Renaissance with well-honed but anachronistic ideas and concepts. As a result, elemental differences between 16th-century repertoire and that of later epochs tend to be overlooked-yet it is just these differences which can make a performance truly stunning. The Performance of 16th-Century Music offers a remedy for the performer, presenting the information and guidance that will enable them to better understand the music and advance their technical and expressive abilities. Drawing from nearly 40 years of performing, teaching, and studying this repertoire and its theoretical sources, renowned early music specialist Anne Smith outlines several major areas of technical knowledge and skill needed to perform the music of this period. She takes the reader through part-books and choirbooks; solmization; rhythmic inequality; and elements of structure in relation to rhetoric of the time; while familiarizing them with contemporary criteria and standards of excellence for performance. Through The Performance of 16th-Century Music, today's musicians will gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest and glorious potential.
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The Work of Music Theory

'Music Theory in Clio's Mirror'(Chapter 2) is extracted from the introduction I wrote for the Cambridge History of Western Music Theory, ...

Author: Thomas Christensen

Publisher: Routledge

ISBN: 9781351539401

Category: Music

Page: 404

View: 463

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This collection brings together an anthology of articles by Thomas Christensen, one of the leading historians of music theory active today. Published over the span of the past 25 years, the selected articles provide a historical conspectus about a range of vital topics in the history of music theory, focusing in particular upon writings from the seventeenth and eighteenth centuries. Christensen examines a variety of theorists and their arguments within the intellectual and musical contexts of their time, in the process highlighting the diverse and idiosyncratic nature of the discipline of music theory itself. In the first section of the book Christensen offers general reflections on the meaning and interpretation of historical music theories, with especial attention paid to their value for music theorists today. The second section of the book contains a number of articles that consider the catalytic role of the thorough bass in the development of harmonic theory during the seventeenth and eighteenth centuries. In the final two sections of the anthology, focus turns to the writings of several individual music theorists, including Marin Mersenne, Seth Calvisius, Johann Mattheson, Johann Nicolaus Bach, Denis Diderot and Johann Nichelmann. The volume includes essays from hard-to-find publications as well as newly-translated material and the articles are prefaced by a new, wide-ranging autobiographical essay by the author that offers a broad re-assessment of his historical project. This book is essential reading for music theorists and seventeenth- and eighteenth-century musicologists.
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Improvisation and Inventio in the Performance of Medieval Music

Early Music America Magazine 17, no. 2 (Summer 2011): 32–35 and 58–59. Christensen, Thomas, ed. The Cambridge History of Western Music Theory.

Author: Angela Mariani

Publisher: Oxford University Press

ISBN: 9780190631192

Category: Music

Page: 208

View: 444

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Improvisation and Inventio in the Performance of Medieval Music: A Practical Approach is an innovative and groundbreaking approach to medieval music as living repertoire. The book provides philosophical frameworks, primary-source analysis, and clear, actionable practices and exercises aimed at recovering the improvisatory and inventive aspects of medieval music for contemporary musicians. Aimed at both instrumentalists and vocalists, the book explores the utilization of musical models, the inventive implications of medieval notation, and the ways in which memory, mode, rhetoric, and primary source paradigms inform the improvisatory process in both monophonic and polyphonic music of the Middle Ages. Angela Mariani, an experienced performer of both medieval music and folk and traditional musics, rediscovers and explicates the processes of imagination, invention, and improvisation which historically energized both medieval music in its own period and in its revival in our own time. Based on decades of research, university teaching, ensemble direction, collaboration, and performance, Mariani's impassioned stance that "the elusive element of inventio, as the medieval rhetoricians would have called it, must always be provided by the performer in the present," emphasizes medieval music performance practice as a dynamic and still-vital tradition. Students, teachers, directors, and those interested in the wealth of expressive beauty found in the music of the middle ages will likewise find value and meaning in her clear and accessible prose, and in the practical processes and exercises that make this book unique within the literature of medieval performance practice.
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Tonal Space in the Music of Antonio Vivaldi

In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 726–52. Cambridge: Cambridge University Press, 2002.

Author: Bella Brover-Lubovsky

Publisher: Indiana University Press

ISBN: 9780253351296

Category: Music

Page: 357

View: 788

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"The book combines theory and practice, discussing the theoretical aspects and practical realization of the arrangement of tonal space in terms of their contemporary reception. Brover-Lubovsky's approach is therefore directed toward a study of the musical repertory mapped onto the canvas of contemporary musical thought, including theory, pedagogy, reception, and aesthetics. Tonal Space in the Music of Antonio Vivaldi is a substantial contribution to a better understanding of Vivaldi's individual style, while illuminating wider processes of stylistic development and of the diffusion of artistic ideas in the eighteenth century."--BOOK JACKET.
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Renaissance Polyphony

Schubert, Peter, 'Counterpoint Pedagogy in the Renaissance', in Cambridge History of Western Music Theory, ed. Christensen, 503–33. A rare recorded instance ...

Author: Fabrice Fitch

Publisher: Cambridge University Press

ISBN: 9781108882668

Category: Music

Page:

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This engaging study introduces Renaissance polyphony to a modern audience. It helps readers of all ages and levels of experience make sense of what they are hearing. How does Renaissance music work? How is a piece typical of its style and type; or, if it is exceptional, what makes it so? The makers of polyphony were keenly aware of the specialized nature of their craft. How is this reflected in the music they wrote, and how were they regarded by their patrons and audiences? Through a combination of detailed, nuanced appreciation of musical style and a lucid overview of current debates, this book offers a glimpse of meanings behind and beyond the notes, be they playful or profound. It will enhance the listening experience of students, performers and music lovers alike.
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The Oxford Handbook of Critical Concepts in Music Theory

Playing with Signs: A Semiotic Interpretation of Classic Music. ... In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 657–694.

Author: Alexander Rehding

Publisher: Oxford University Press

ISBN: 9780190454753

Category: Music

Page: 600

View: 564

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Music Theory has a lot of ground to cover. Especially in introductory classes a whole range of fundamental concepts are introduced at fast pace that can never be explored in depth or detail, as other new topics become more pressing. The short time we spend with them in the classroom belies the complexity (and, in many cases, the contradictions) underlying these concepts. This book takes the time to tarry over these complexities, probe the philosophical assumptions on which these concepts rest, and shine a light on all their iridescent facets. This book presents music-theoretical concepts as a register of key terms progressing outwards from smallest detail to discussions of the music-theoretical project on the largest scale. The approaches individual authors take range from philosophical, historical, or analytical to systematic, cognitive, and critical-theorical-covering the whole diverse spectrum of contemporary music theory. In some cases authors explore concepts that have not yet been widely added to the theorist's toolkit but deserve to be included; in other cases concepts are expanded beyond their core repertory of application. This collection does not shy away from controversy. Taken in their entirety, the essays underline that music theory is on the move, exploring new questions, new repertories, and new approaches. This collection is an invitation to take stock of music theory in the early twenty-first century, to look back and to encourage discussion about its future directions. Its chapters open up a panoramic view of the contemporary music-theoretical landscape with its expanding repertories and changing guiding questions, and offers suggestions as to where music theory is headed in years to come.
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