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Although the topoi and elements of what has been described as the “Venerable Style” (V.S.) are found in many places in Mozart’s solo keyboard sonatas, the obsessive juxtaposition of these elements aga...
Michael Spitzer’s Music as Philosophy: Adorno and Beethoven’s Late Style (Indiana University Press, 2006, ISBN 0-253-34724-6) pursues multiple lines of scholarly enquiry. As a musicological study, the...
This is one of the most unusual books on music that I have encountered in a long time. Its design is eye-catching and it is packed with flights of fancy, such as a subordinate long-title in impecc...
Excerpt but meagre results. But such instances are the exception, not the rule. The lyric artist who is gifted merely with a beautiful voice, over which he has acquired but imperfect control, is at ...
The first goal of this paper is to introduce musicologists and music theorists to the benefits offered by state-of-the-art pattern recognition techniques. The second goal is to provide them with a...
As Billie Holiday described her unique brand of vocal expression, she claimed that she wanted the "style" of Louis Armstrong and the "feeling" of Bessie Smith. These aesthetic and expressive goals can...
In his so-called "sonoristic" period of the early 1960s--represented by pieces such as Threnody, Fluorescences, Polymorphia, and others--Penderecki employed a compositional system whose axiomatic conc...

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