Proseminar
on Musicology I: Systematic Studies
音樂學理
論與方法（一）
Instructor：Yuh-wen Wang
Semester：Fall 2007
Credit：3
※ This
course is divided into two parts. The
first part concerns thesis writing, and
occupies weeks 1-3
and 13-18. It is
taught by Prof. Yang Chien-chang. The second
part concerns
systematic studies in
musicology, music theory and analysis; and occupies weeks 4-12. It is
taught by
Prof. Wang Yuhwen. This syllabus is only for the second part.
Course goals
（1）To orient students
to recent developments and scholarly interests in current music
academia,
especially music theory, analysis and systematic musicology;
（2）To cultivate in
students reading and critique ability of musical academic writings
（3）To cultivate
students’ ability in identifying the implied and hidden
conception and
preconception in the readings
（4）To introduce to
students ways of academic writings
（5）To introduce to
students how to find research topics
Main Reference
Cook, Nicholas. A
Guide to Musical Analysis.
Requirements
For each class
there are assigned readings. Students need to
finish the reading and write a short outline of the essay of
approximately 400
words, no more than one page. This is due at the class. The contents,
main
points, arguments, process of logic in the reading, as well as related
topics
and preconceptions will be discussed in the class.
Evaluation:
Class discussion
30%, weekly summary assignment 30%, final project
40%
Weekly report: as
explained above.
Final report:
write and make an oral presentation of a review of a
book, a chapter from a book or an essay. The essay or book to be
reviewed
should be selected in consultation with the instructor. Students should
show
their independent thinking in this project. Therefore in the written
paper, the
criticism and comment should comprise at least 60%, and the summary
part should
not exceed 40%.
Syllabus
Wk 1 : Introduction
Wk 2 : History of
Musicology (1)
Wk 3 : History of
Musicology (2)
Wk 4 : Schenkerian
theory & analysis
Wk 5 : criticism
toward Schenkerian theory and analysis
Wk 6 : Set theory
and analysis
Wk 7 : criticism
toward set theory and analysis
Wk 8 : Music
Psychology, Perception & Cognition: Implication/Realization
model (Meyer)
Wk 9 : Music
Semiotics/Semiology
Wk 10 : Cultural
Criticism/Critical Musicology, Gender Studies/Music
Feminism
Wk 11 : New
Musicology and Recent development in music theory
Wk 12: Final
Project oral report
Wk 13: Take a leave
Wk 14: 論文基本結構
Wk 15: 論點與論證
Wk 16: 論文計畫寫作 I
Wk 17: 論文計畫寫作 II
Wk 18: 研究計畫檢討報告
Bibliography
◎The scope of
musicology
"Musicology" from
the New Grove's Dictionary of Music
and Musicians, 2nd ed.
Part I (The Nature
of Musicology): 1, 3, 4, 5
(Definitions,
Scope, Historical and systematic musicology, New
trends)
Part II-2:
theoretical and analytical method
Kerman, Joseph.
"American Musicology in the 1990s," Journal
of Musicology 9/2 (1991):
Mugglestone,
Erica. “Guido Adler’s ‘The Scope, Method,
and Aim of
Musicology’ (1885): An English Translation with an
Historico-Analytical
Commentary.” Yearbook for Traditional Music 13
(1981): 1-21.
江玉玲．〈百年來德奧地區「音樂學分類」發展
史概述〉，「二十一世紀的展望∼人文，科技與藝術」研討會，
東
吳大學，2000
Stock, Jonathan.
“New Musicologies, Old Musicologies:
Ethnomusicology and the Study of Western Music,” CurrentMusicology
62
(1998): 40-68.
蔡良玉．〈西方對音樂史學的反思和我們研究中
的幾個問題〉《音樂學文集，1956-1991》，于潤洋編．北京：中央音樂學院報社，1992
楊燕迪．〈實證主義及其衰落－英美二次世界大
戰後的音樂學發展略述〉《中國音樂學》1990/1.
Bent, Margaret.
"Fact and Value in Contemporary
Scholarship," Musical Times Feb. 1986 (127): 85-89.
Cross, Jonathan.
“Editorial,” Music Analysis 22/i-ii
(2003).
◎Schenkerian theory
and analysis
Cook, Nicholas. A
Guide to Musical Analysis, ch. 2.
"Musicology" from
the New Grove's Dictionary of Music
and Musicians, 2nd ed.
II-2: Theoretical
and Analytical Method
Bent, Ian. Analysis.
Dunsby, Jonathan
and
Schenker, Heinrich.〈自由作曲〉(Der
Freie Satz); vol. 1 & 2.陳世賓譯。北京：人民音樂出版社，1997.
----------. Five
Graphic Music Analysis.
----------. The
Masterwork in Music: A Yearbook. Vol. 1.
Trans. by William Drabkin.
Jonas, Oswald. Introduction
to the Theory of Heinrich Schenker (first
published in 1934).
Forte, Allen and
Steven E. Gilbert. Introduction to Schenkerian
Analysis.
Forte, Allen.
“Schenker’s Conception of Musical
Structure”
于蘇賢，《申克音樂分析理論概要》人民音樂出
版社。
----------.〈體系概述〉，《中央音樂學院學報》1987/2.
◎COMMENTARIES:
Cook, Nicholas. A
Guide to Musical Analysis, pp. 54-66.
----------. "Music
Theory and 'Good Comparison': A Viennese
Perspective," Journal of Music Theory 33/1 (1989):
117-43.
----------. "The
Perception of Large-scale Tonal
Closure," Music Perception 5 (1987): 197-205.
Dunsby and
Whittall. Music Analysis in Theory and Practice.
Snarrenberg,
Robert. "Competing Myths: the American
Abandonment of Schenker's Organism," in Theory, Analysis and
Meaning in
Music, ed. Anthony Pople.
----------. Schenker's
Interpretive Practice.
Kramer, Lawrence.
"Haydn's Chaos, Schenker's Order; or,
Hermeneutics and Musical Analysis: Can They Mix?" 19th-C
Music 15/1
(1992).
Narmour, Eugene. Beyond
Schenkerism. U of
----------. "Some
major Theoretical Problems Concerning the
Concept of Hierarchy in the Analysis of Tonal Music,"Music
Perception 1/2
(1983-84): 176-91
Van den Toorn,
Pieter C. Music, Politics and the Academy. (Berkeley:
UC Press, 1995), pp. 16-19 & footnote 10. Burnham, Scott.
"Counterpoint: the Criticism of Analysis and the Analysis of
Criticism," 19th-C Music 15/1 (1992)
Yeston, M. Readings
in Schenkerian Analysis and Other
Approaches, esp. p. 183, Ex. 13 (Schachter's analysis of
Schubert's Moment
Musical op. 94/1, mentioned in Cook p. 54)
Rothstein,
William. “The American Canization of Heinrich
Schenker,” In Theory Only 9/1 (1986):
5-17. Reprinted in Hedi Siegel,
ed. Schenker Studies (Cambridge University Press,
1990): 193-203.
◎Set theory and
analysis
Cook, 124-51.
Dunsby and
Whittall, 131-85.
Forte, Allen. The
Structure of Atonal Music.
----------.
"Pitch-Class Set Analysis Today," Music
Analysis 4/1-2 (1985): 29-58.
羅忠鎔，《無調性音樂結構》，未出版。
劉彥玲，《Allen Forte音類集理論的發展》，台大音樂所碩士論文，2001。
◎COMMENTARIES:
Taruskin, Richard.
Review of Allen Forte's Harmonic
Organization of The Rite of Spring,Current Musicology 11
(1980): 114-29.
----------.
"Letter to the Editor," Music Analysis 5/2-3
(1986): 313-20.
Forte, Allen.
"Making Stravinsky Soup and Other
Epistemusicological Pursuits: A Hymenopteran Response," Music
Analysis 5/2-3
(1986): 321-37.
Walsh, Stephen.
"Music Analysis: Hearing is Believing?" Music
Perception 2/2: 237-44.
Haimo, Ethan.
"Atonality, Analysis, and the Intentional
Fallacy," Music Theory
Spectrum 18/2 (1996):
167-99.
Assumptions behind
analysis and theory
--formalism, organicism, unity, coherence, hierarchical theory, etc.
----------. "How
we got into Analysis, and How to Get
Out," Critical Inquiry 7 (1980): 311-31.
----------.
"Analysis, Theory, and New Music," in Contemplating
Music
Stock, Jonathan.
“New Musicologies, Old Musicologies:
Ethnomusicology and the Study of Western Music,” Current
Musicology 62
(1998): 40-68.
Morgan, Robert P.
“The Concept of Unity and Musical Analysis,” Music
Analysis 22/1-2 (2003): 7-50.
Cross, Jonathan.
“Editorial,” Music Analysis 22/1-2
(2003):
1-5.
Cherlin, Michael.
"Why We Got into Analysis and What to Get
out of it," Theory and Practice 11 (1986?) (review
of
Cook, ch. 6 ("What
does Musical Analysis Tell Us?")
Meyer, Leonard.
"On the Nature and Limits of Critical
Analysis," Explaining Music, pp. 3-25
----------.
"Hierarchic Structures," Explaining Music:
80-105
Cone, "Analysis
Today," in Music: A View from
----------.
"Beyond Analysis," in Music: A View from
Lewin, David.
"Behind the Beyond: A Response to Edward T.
Cone," Perspectives of New Music 7/2 (1969): 59-72.
Boretz, Benjamin.
"Meta-Variations: Studies in the
Foundations of Musical Thought,” Ph.D. dissertation,
Walsh, Stephen.
"Musical Analysis: Hearing is
Believing?" Music Perception 2/2 (1984): 237-44 (?)
Narmour, Eugene.
"Some major Theoretical Problems Concerning
the Concept of Hierarchy in the Analysis of Tonal Music," Music
Perception 1/2 (1983-84): 129-99.
Swain, Joseph.
"The Need for Limits in Hierarchical Theories
of Music," Music Perception 4 (1986): 121-48
Kingsbury, Henry.
"Sociological Factors in Musicological
Poetics" Ethnomusicology 35/2 (1991): 195-219.
[Remarks on Guck,
Snarrenberg, etc.]
Street, Alan. "
Solie, Ruth A.
"The Living Work: Organicism and Musical
Analysis," 19th Century Music (1980): 147-56.
McCreless,
Patrick. "Rethinking Contemporary Music Theory,"
in Keeping Score: Music, Disciplinarity, Culture.
David schwarz, Anahid
Kassabian and Lawrence Siegel, eds.
Strauss, Joseph. Remaking
the Past: Musical Modernism and the
Influence of the Tonal Tradition.
Meyer, Leonard B. Style
and Music: Theory, History, and
Ideology.
----------. "A
Universe of Universals," Journal of
Musicology 16/1 (1998): 3-25.
T. W. Adorno, "On
the Problem of Musical Analysis,"
trans. by Max Paddison. Music Analysis 1/2 (1982):
169-87.
This article is
reviewed in Music Theory Spectrum 6 (1984):
97-98.
Journal of Music
Theory 33/1 (1989) contains a series
of articles on the scientific model: Matthew Brown and Douglas J.
Dempster,
"The Scientific Image of Music Theory," pp. 65-106
Benjamin A.
Boretz, "The Logic of What?" pp. 107-116
Nicholas Cook,
"Music Theory and 'Good Comparison': A
Viennese Perspective," pp. 117-42
John Rahn, "Notes
on Methodology in Music Theory," pp.
143-54
Richard Taruskin,
"Reply to Brown and Dempster," pp.
155-64
Pieter C. van den
Toorn, "What Price Analysis?" pp.
165-90
Fink, Robert.
“Going Flat: Post-Hierarchical Music Theory and the
Musical Analytical Formalism,” Rethinking Music,
pp. 102-37.
Williams,
Alastair. “Musicology and Postmodernism,” Music
Analysis 19/3 (2000): 385-407.
Korsyn, Kevin.
“ Beyond Privileged Contexts: Intertextuality,
Influence, and Dialogue,” Rethinking Music
◎Cultural Criticism
Kramer, Lawrence. Music
as Cultural Practice 1800-1900,
"Impossible
Objects: Apparitions, Reclining Nudes, and
Chopin's prelude in A Minor," pp. 72-101
"As If a Voice
Were in Them": Music, Narrative, and
Deconstruction,* pp. 176-214.
----------.
“Carnaval, Cross-Dressing, and the Woman in the
Mirror,” in Ruth A. Solie, ed. Musicology and
Difference:Gender and
Sexuality in Music Scholarship (Berkeley: University of
California Press,
1993); pp. 305-25.
----------. Classical
Music and Postmodern Knowledge.
"The Lied as
Cultural Practice: Tutelage, Gender, and Desire
in Mendelssohn’s Goethe Songs," pp. 143-73.
"Cultural Politics
and Musical Form: The Case of Charles
Ives," pp. 174-200.
----------. After
the Lovedeath: Sexual violence and the Making
of Culture.
Subotnik, Rose
Rosengard. Developing Variations: Style and
Ideology in Western Music.
"Romantic Music as
Post-Kantian Critique," pp. 112-40.
----------. Deconstructive
Variations: Music and Reason in
Western Society.
Tomlingson, Gary. Music
in the Renaissance Magic.
"Archeology and
Music: Apropos of Monterverdi's Musical
Magic," pp. 229-46.
Steinberg, Michael
P. Listening to Reason: Culture,
Subjectivity, and Nineteenth-Century Music. Princeton:
Horner, Bruce.
“On the Study of Music as a Material Social
Practice,”
Journal of Musicology 16/2 (1998): 159-99.
Shepherd, John
& Peter Wicke. Music and Cultural Theory.
Johnson, Julian. Who
Needs Classical Music? Cultural Choice and
Musical Value.
Born, Georgina
& David Hesmondhalgh; eds. Western Music and
Its Others: Difference, Representation, and Appropriation in Music.
Bellman, John, ed.
The Exotic in Western Music.
◎Feminism/Gender
Studies
"Musicology" from
the New Grove's Dictionary of Music
and Musicians, 2nd ed.
II-11: Gender and
Sexual Studies
McClary, Susan. Feminine
Endings: Music, Gender, and Sexuality.
Minneapolis, 1991. （中譯本：《陰性終止：音樂學的女性主義批
評》，張馨濤譯。台北：商周出版，2003）
----------. "The
Politics of Silence and Sound,"
Afterword to Jacques Attali, Noise: the Political Economy of
Music,
trans
Brian Massumi.
----------.
“Narrative Agendas in ‘Absolute’ Music:
Identity and
Difference in Brahms’s Third Symphony,” in Ruth A.
Solie, ed. Musicology and
Difference: Gender and Sexuality in Music Scholarship (Berkeley:
University
of California Press, 1993); pp. 326-44.
Shepherd, John.
"Music and Male Hegemony," Music and
Society, Richard Leppert and Susan McClary, ed. 1987; pp.
151-72.
----------.
“Difference and Power in Music,” in Ruth A. Solie
ed.,
Musicology and Difference: Gender and Sexuality in Music
Scholarship (Berkeley:
University of California Press, 1993); pp. 46-65.
Rycenga, Jennifer.
“Sisterhood: A Loving Lesbian Ear Listens to Progressive
Heterosexual Women’s Rock Music,” in Keeping
Score: Music, Disciplinarity,
Culture. Ed. by David Schwarz, Anahid Kassabian, and
Citron, Marcia J. Gender
and the Musical Canon
Solie, Ruth A.
"What do Feminists Want? A Reply to Pieter van
den Toorn," Journal of Musicology 9/4 (1991)
----------.
"Sophie Drinker's History," Disciplining
Music: Musicology and its Canons, Katherine Bergeron and
Philop V. Bohlman,
ed.
----------, ed. Musicology
and Difference: Gender and Sexuality
in Music Scholarship.
Van den Toorn,
Pieter C. Music, Politics and the Academy. (Berkeley:
UC Press, 1995),
Kramer, Lawrence.
"The Lied as Cultural Practice: Tutelage,
Gender, and Desire in Mendelssohn’s Goethe Songs," in Classical
Music
and Postmodern Knowledge, pp. 143-73.
----------. After
the Lovedeath: Sexual violence and the Making
of Culture.
Irigaray, Luce. "Cosi
Fan Tutte," in her This
Sex Which is Not One, Catherine Porter with Carolyn Burke,
trans. (
Wallace, Robin.
“Myth, Gender and Musical Meaning: The Magic
Flute, Beethoven, and 19th-century Sonata Form Revisited,” Journal
of
Musicological Research 19 (1999): 1-25.
◎Music
Semiotics/Semiology
Cook, 151-82.
Dunsby and
Whittall, Part IV (pp. 209-32)
Nattiez, Jean
Jacques. "
----------. Music
and Discourse: Toward a Semiology of Music.
Translation and abridgment of Musicologie generale et
semiologie (
----------. "Simha
Arom and the Return of Analysis to
Ethnomusicology," Music Analysis 12/2 (1993):
241-65.
Cook, Nicholas.
“Theorizing Musical Meaning,” Music
Theory
Spectrum 23/2 (2001): 170-95.
Blacking, John.
“The Problem of ‘Ethnic’ Perceptions in
the
Semiotics of Music,” in The Sign in Music and
Literature, ed. Wendy
Steiner.
Keiler, Allan.
“Two Views of Musical Semiotics,” in The
Sign in
Music and Literature; pp. 138-68.
Rouwet, Nicholas.
“Methods of Analysis in Musicology,” Music
Analysis 6/1-2 (1987): 11-36.
Dunsby, Jonathan.
"Music and Semiotics: The Nattiez
Phase," The Musical Quarterly 69 (1983), pp. 27-43.
Agawu, Kofi. Playing
with Signs: A Semiotic Interpretation of
Classic Music.
----------.
"Analyzing Music Under the New Musicological
Regime," MTO 96.5.1.
Hatten, Robert.
"Nattiez's Semiology of Music: Flaws in the
New Science" (Review Article of Natteiz's Fondements d'une
semiologie
de la musique), Semiotica 31/1-2 (1980):
139-55.
----------.
"Review of Agawu's Playing with Signs and
Nattiez's Music and Discourse ," Music
Theory Spectrum 14/1
(1992): 88-98.
----------. Musical
Meaning in Beethoven: Markedness,
Correlation, and Interpretation.
Monelle, Raymond. Linguistics
and Semiotics in Music.
Samuels, Robert. Mahler's
Sixth Symphony : a study in musical
semiotics.
Steiner, Wendy. The
Sign in Music and Literature.
Tarasti, Eero. Myth
and Music : a Semiotic Approach to the
Aesthetics of Myth in music, especially that of Wagner, Sibelius and
Stravinsky.
----------. A
theory of musical semiotics.
Tarasti, Eero,
Paul Forsell, Richard Littlefield, eds. Musical
Semiotics in Growth.
Turino, Thomas.
“Signs of Imagination, Identity, and Experience: A
Peircian Semiotic Theory for Music,” Ethnomusicology
43/2 (1999):
221-55.
◎Implication/Realization
Model
Cook, pp. 70-89.
Meyer, Leonard B.
"Meaning in Music and Information
Theory," in Music, the Arts, and Ideas: Patterns and
Predictions
in Twentieth-Century Culture (
----------. Explaining
Music: Essays and Explorations (
"Implication in
Tonal Melody: Definitions and
Methodology," pp. 109-31. (ch. 6)
"Melodic
Structures," pp. 131-74.
"A Summary
Example," pp. 242-68.
Narmour, Eugene. The
Analysis and Cognition of Basic Melodic
Structures: the Implication-Realization Model. (
----------. Analysis
and Cognition of Melodic Complexity: the
Implication-Realization Model. (
◎Music Psychology,
Perception & Cognition
"Musicology" from
the New Grove's Dictionary of Music
and Musicians, 2nd ed.
II-10: Psychology,
Hearing
Cook, A
Guide to Musical Analysis
Cone, "
Lewin, David.
"Music Theory, Phenomenology, and Modes of
Perception," Music Perception 3/4 (1986)
Lerdahl, Fred
& Ray Jackendorff. A Generative Theory of
Tonal Music.
Rosner,
Seashore, Carl E. Psychology
of Music (1938).
Meyer, Leonard. Emotion
and Meaning in Music.
Deutch, Diana, ed.
The Psychology of Music, 2nd ed.
Deutch, Diana.
“The Processing of Pitch Combinations,” in Diana
Deutch ed. The Psychology of Music, 2nd ed., pp.
349-411.
Dowling, W. Jay.
“The Development of Music Perception and
Cognition,” in Diana Deutch ed. The Psychology of
Music, 2nd ed. pp.
603-25.
Carterette, Edward
C. & Roger A. Kendall. “Comparative Music
Perception and Cognition,” in Diana Deutch ed. The
Psychology of Music,
2nd ed., pp. 725-91.
Sloboda, John A. The
Musical Mind: the Cognitive Psychology of
Music.
Butler, David. The
Musician’s Guide to Perception and Cognition.
Balkwill,
Laura-Lee & William Forde Thompson. “A
Cross-Cultural Investigation of the Perception of Emotion in Music:
Psychophysical and Cultural Cues,” Music Perception
17/1 (1999): 43-64.
Schwarz, David. Listening
Subjects: Music, Psychoanalysis,
Culture.
Hargreaves, David
J. & Adrian C. North, eds. The Social
Psychology of Music
◎Modes of Listening
and Perception
Cook, Nicholas. Music,
Imagination & Culture.
Levinson, Jerold. Music
in the Moment.
Stockfelt, Ola.
"Adequate Modes of Listening," trans. by
Anahid Kassabian and Leo G. Svendsen;in Keeping Score: Music,
Disciplinarity, Culture. David schwarz, Anahid Kassabian
& Lawrence
Siegel, eds.
DeBellis, Mark. Music
and Conceptualization.
◎Musical Narrativity
Guck, Marion A.
"Musical Images as Musical Thoughts: The
Contribution of Metaphor to Analysis," In Theory Only 5
(1979-81):
23-46.
----------.
"Analytical Fictions" Music Theory
Spectrum 16/2 (1994): 211-89.
----------.
"Rehabilitating the Incorrigible." In Theory,
Analysis and Meaning, Anthony Pople, ed.
----------. "Music
Loving, Or the Relationship with the
Piece," MTO 96.2.2.
Maus, Fred
Everett. "Music as Drama," Music Theory
Spectrum 10 (1988): 56-73.
Abbate, Carolyn. Unsung
Voices: Opera and Musical Narrative in
the Nineteenth Century.
Klein, Michael.
“Chopin’s Fourth Ballade as Musical
Narrative,” Music
Theory Spectrum 26/1 (2004)
◎Other Analytical
Approaches
Tovey, Donald
Francis. (see Cook, Dunsby & Whittall)
Lerdahl, Fred and
Ray Jackendoff. A Generative Theory of Music
Patricia Carpenter
"Grundgestalt as Tonal Function," Music
Theory Spectrum 5 (1983):
Cogan, Robert. New
Images of Musical Sound.
Clifton, Thomas. Music
as Heard, pp. 50-136
Cogan, Robert
& Pozzi Escot. Sonic Design: The Nature of
Sound and Music.
Slawson, Wayne. Sound
Color.
◎Canon Study
Weber, William. The
Rise of Musical Classics in 18th-century
Morgan, Robert.
“Rethinking Musical Culture: Canonic
Reformulations in a Post-Tonal Age,” in Disciplining
Music: Musicology and
Its Canons, eds. K. Bergeron & P. Bohlman, U of
Everist, Mark.
“Reception Theories, Canonic Discourses, and
Musical Value,” in Nicholas Cook & Everist, eds. Rethinking
Music,
pp. 378-402.
Citron, Marcia J. Gender
and the Musical Canon.
Bergeron,
Katherine and Philip V. Bohlman, ed. Disciplining
Music: Musicology and its Canons.
pp. 44-63: Robert
P. Morgan, "Rethinking Musical Culture:
Canonic Reformulations in a Post-Tonal Age."
Dunsby, Jonathan.
"Criteria of Correctness in Music Theory
and Analysis," in Anthony Pople ed., Theory, Analysis and
Meaning in
Music,
Susan McClary,
"Terminal Prestige: The Case of Avant-Garde
Music Composition," in Keeping Score (1997), pp.
54-74.
[canon, pop music]
Meyer, Leonard. Music,
The Arts, and Ideas, ch. 1 & 2.
◎Aesthetics;
Philosophy of Music
"Musicology" from
the New Grove's Dictionary of Music
and Musicians, 2nd ed.
II-8: Aesthetics
and Criticism
Kivy, Peter. Sound
and Sentiment: An Essay on the Musical
Emotions.
----------. Sound
and Semblence: Reflections on Musical
Representation.
----------. Music
Alone: Philosophical Reflections on the
Purely Musical Experience.
Levinson, Jerold. The
Pleasures of Aesthetics: Philosophical
Essays.
----------. Music,
Art, and Metaphysics: Essays in
Philosophical Aesthetics.
----------. Music
in the MomentI. (1997)
Cook, Nicholas. Music,
Imagination and Culture
Roger Scruton, Aesthetics
of Music,
Davies, Stephen. Musical
Meaning and Expression.
Michael Krausz, The
Interpretation of Music: Philosophical
Essays.
Meyer, Leonard B. Emotion
and Meaning in Music.
----------, Music,
The Arts, and Ideas, ch. 1 & 2
----------. The
Quest for Voice: Music, Politics, and the
Limits of Philosophy.
Addis, Laird. Of
Mind and Music.
Johnson, Julian. Who
Needs Classical Music? Cultural Choice and
Musical Value.
◎Pop /Film Music
study
Bernard, Jonathan
W. “The Musical World(s?) of Frank Zappa: Some
Observations of His ‘Crossover’ Pieces,”
in Expresion in Pop-Rock Music: A
Collection of Critical and Analytical Essays. Walter Everett,
ed.
Borders, James.
“Frank Zappa’s ‘The Black
Page’: A case of Musical
‘Conceptual Continuity’,” in Expression
in Pop-Rock Music: A Collection of
Critical and Analytical Essays. Walter Everett, ed.
Brackett, David. Interpreting
Popular Music.
Corbett, John.
“Free, Single, and Disengaged: Listening Pleasure
and the Popular Music Object,” October 54
(1990): 78-101.
Covach, John. "We
Won't Get Fooled Again: Rock Music and
Musical Analysis," in Keeping Score (1997), pp.
75-89.
Covach, John.
“Jazz-Rock? Rock-Jazz? Stylistic Crossover in
Late-1970s American Progressive Rock,” in Expresion
in Pop-Rock Music: A
Collection of Critical and Analytical Essays. Walter Everett,
ed.
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