A thorough examination of Shostakovich's string quartets is long overdue. Although they can justifiably lay claim to being the most significant and frequently performed twentieth-century oeuvre for that ensemble, there has been no systematic English-language study of the entire cycle. Judith Kuhn's book begins such a study, undertaken with the belief that, despite a growing awareness of the universality of Shostakovich's music, much remains to be learned from the historical context and an examination of the music's language. Much of the controversy about Shostakovich's music has been related to questions of meaning. The conflicting interpretations put forth by scholars during the musicological 'Shostakovich wars' have shown the impossibility of fixing a single meaning in the composer's music. Commentators have often heard the quartets as political in nature, although there have been contradictory views as to whether Shostakovich was a loyal communist or a dissident. The works are also often described as vivid narratives, perhaps a confessional autobiography or a chronicle of the composer's times. The cycle has also been heard to examine major philosophical issues posed by the composer's life and times, including war, death, love, the conflict of good and evil, the nature of subjectivity, the power of creativity and the place of the individual - and particularly the artist - in society. Soviet commentaries on the quartets typically describe the works through the lens of Socialist-Realist mythological master narratives. Recent Western commentaries see Shostakovich's quartets as expressions of broader twentieth-century subjectivity, filled with ruptures and uncertainty. What musical features enable these diverse interpretations? Kuhn examines each quartet in turn, looking first at its historical and biographical context, with special attention to the cultural questions being discussed at the time of its writing. She then surveys the work's reception history, and follows with a critical discussion of the quartet's architectural and harmonic features. Using the new tools of Sonata Theory, Kuhn provides a fresh analytical approach to Shostakovich's music, giving valuable and detailed insights into the quartets, showing how the composer's mastery of form has enabled these works to be heard as active participants in the Soviet and Western cultural discourses of their time, while remaining compelling and relevant to twenty-first-century listeners.

For over three decades Michael Nyman's music has succeeded in reaching beyond the small community of contemporary music aficionados to a much wider range of listeners. An important element in unlocking the key to Nyman's success lies in his writings about music, which preoccupied him for over a decade from the late 1960s to the early 1980s. During this time Nyman produced over 100 articles, covering almost every conceivable musical style and genre - from the Early Music revival and the West's interest in 'world' music, or from John Cage and minimalism to rock and pop. Nyman initiated a number of landmark moments in the course of late twentieth-century music along the way: he was one of the first to critique the distinction between the European avant-garde and the American experimental movement; he was the first to coin the term 'minimalism' in relation to the music of (then largely unknown) Steve Reich and Terry Riley, and later Philip Glass; the first to seriously engage with the music of the English experimental tradition and the importance of Cornelius Cardew, and to identify the importance of Art Colleges in nurturing and developing a radical alternative to modernism; and one of the first writers to grasp the significance of post-minimalists such as Brian Eno and Harold Budd, and to realize how these elements could be brought together into a new aesthetic vision for his own creative endeavours, which was formulated during the late 1970s and early 80s. Much of what transformed and defined Nyman's musical character may be found within the pages of this volume of his writings, comprehensively edited and annotated for the first time, and including previously unpublished material from Nyman's second interview with Steve Reich in 1976. There is also much here to engage the minds of those who are interested in pre-twentieth century music, from Early and Baroque music (Handel and Purcell in particular) to innovative features in Haydn, spatial elements in Berlioz, or Bruckner and Mahler's symphonic works.

Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Despite Messiaen's position as one of the greatest technical innovators of the twentieth century, his musical language has not been comprehensively defined and investigated. The composer's 1944 theoretical study, The Technique of My Musical Language, expounds only its initial stages, and while his posthumously published Traite de rythme, de couleur, et d'ornithologie contains detailed explanations of selected techniques, in most cases the reader is left to define these more precisely by observing them in the context of Messiaen's analyses of his own works. Technical processes are nevertheless in many cases the primary components of a work or movement. For instance, personnages dominate 'Joie du sang des etoiles' from the TurangalA (R)la-symphonie, and in certain cases, such as 'L'echange' from the Vingt regards sur l'Enfant-Jesus, the process (asymmetric augmentation) is the only structuring element present. Given this reliance on idiosyncratic techniques, clear comprehension of the music is impossible without a detailed knowledge of Messiaen's methods. Gareth Healey charts their development and interconnections, considers their relationship with formal structures, and applies them in refined and extended form to works for which Messiaen himself left no published analysis.

The understanding of music involves the mastery of its various layers of meaning. Sometimes this meaning can be acquired through human insight; at other times, it can be learned. The central concern of Musical Knowledge is the tension between intuitive and analytical ways of making sense of the world. Keith Swanwick examines this relationship on three levels: in considering music as a way of knowing; as the apparent predicament between qualitative and quantitative research paradigms; and as a tension in education. Keith Swanwick guides his reader from a theoretical exploration of musical knowledge, through an examination of ways of researching the musical experience to a concluding section which will be of direct practical help to teachers. He suggests ways in which music education can be a vital transaction, giving examples across a range of music teaching, including school classroom and instrumental studios. The book will be of interest to anyone who makes or responds to music.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Ten years after the Human Genome Project's completion the life sciences stand in a moment of uncertainty, transition, and contestation. The postgenomic era has seen rapid shifts in research methodology, funding, scientific labor, and disciplinary structures. Postgenomics is transforming our understanding of disease and health, our environment, and the categories of race, class, and gender. At the same time, the gene retains its centrality and power in biological and popular discourse. The contributors to Postgenomics analyze these ruptures and continuities and place them in historical, social, and political context. Postgenomics, they argue, forces a rethinking of the genome itself, and opens new territory for conversations between the social sciences, humanities, and life sciences. Contributors. Russ Altman, Rachel A. Ankeny, Catherine Bliss, John Dupre, Michael Fortun, Evelyn Fox Keller, Sabina Leonelli, Adrian Mackenzie, Margot Moinester, Aaron Panofsky, Sarah S. Richardson, Sara Shostak, Hallam Stevens

The flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Part, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.

Leonard Bernstein was the quintessential American musician. Through his careers as conductor, pianist, teacher and television personality he became known across the US and the world, his flamboyance and theatricality making him a favourite with audiences, if not with critics. However, he is perhaps best remembered as a composer, particularly of the musical West Side Story, and for songs such as 'America', 'Tonight' and 'Somewhere'. Dr Helen Smith takes an in-depth look at all eight of Bernstein's musical theatre works, from the early On the Town written by the 26-year-old composer at the start of his career, to his second and last opera A Quiet Place in 1983; in between these two pieces he composed music for Trouble in Tahiti, Wonderful Town, Candide, West Side Story, Mass and 1600 Pennsylvania Avenue. These works are analysed and considered against a background of musical and social context, as well as looking at Bernstein's other orchestral, choral and chamber works. One important aspect examined is Bernstein's use of motifs in his theatre compositions, which takes them out of the realms of Broadway and into the sphere of symphonic writing. Smith provides an indispensable overview of the musical theatre works of an eclectic composer, and shows what it is that constitutes the Bernstein 'sound'.

This is a self-contained monograph on human voice. It systematically expounds a theory of voice production initiated by Leonhard Euler, through an analysis of large amount of human voice data, especially simultaneously acquired voice signals and electroglottograph signals, as well as temporal variations of pressures directly below and above the vocal folds. Its contents include the physics and physiology of human voice production, parametrical representations of voice signals, and technology applications. Background knowledge on general acoustics and mathematical tools pertinent to quantitative descriptions of human voice are explained in detail.Readers of this monograph include researchers, practitioners and students in the fields of physiology and medicine, acoustics, computer science, telecommunication, acoustic phonetics, and vocal music.

Music and Social Dynamics in Nigeria explores the diverse ways in which music reflects, and is shaped by, historical and social dynamics of life in Nigeria. Contributors to this volume include some of the leading scholars of Nigerian music, such as Joshua Uzoigwe, Laz Ekwueme, Tunji Vidal, Richard C. Okafor, A. K. Achinivu, Ademola Adegbite, Femi Faseun, and Christian Onyeji. Focusing on ancient and new musical traditions, including modern African art music, and drawing on the methods of ethnography and music analysis, the various chapters of the book discuss the role of music in community life, enculturation and education, political institutions, historical processes, belief systems, and social hierarchies. Conceived primarily for students and scholars of African music, this book will also be of immense value to the general reader.

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 5 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

The Art of Emergency charts the maneuvers of art through conflict zones across the African continent. Advancing diverse models for artistic and humanitarian alliance, the volume urges conscientious deliberation on the role of aesthetics in crisis through intellectual engagement, artistic innovation, and administrative policy. Across Africa, artists increasingly turn to NGO sponsorship in pursuit of greater influence and funding, while simultaneously NGOs-both international and local-commission arts projects to buttress their interventions and achieve greater reach and marketability. The key values of artistic expression thus become "healing" and "sensitization," measured in turn by "impact" and "effectiveness." Such rubrics obscure the aesthetic complexities of the artworks and the power dynamics that inform their production. Clashes arise as foreign NGOs import foreign aesthetic models and preconceptions about their efficacy, alongside foreign interpretations of politics, medicine, psychology, trauma, memorialization, and so on. Meanwhile, each community embraces its own aesthetic precedents, often at odds with the intentions of humanitarian agencies. The arts are a sphere in which different worldviews enter into conflict and conversation. To tackle the consequences of aid agency arts deployment, volume editors Samuel Mark Anderson and Cherie Rivers Ndaliko assemble ten case studies from across the African continent employing multiple media including music, sculpture, photography, drama, storytelling, ritual, and protest marches. Organized under three widespread yet under-analyzed objectives for arts in emergency-demonstration, distribution, and remediation-each case offers a different disciplinary and methodological perspective on a common complication in NGO-sponsored creativity. By shifting the discourse on arts activism away from fixations on message and toward diverse investigations of aesthetics and power negotiations, The Art of Emergency brings into focus the conscious and unconscious configurations of humanitarian activism, the social lives it attempts to engage, and the often-fraught interactions between the two.

Presenting the latest research in the area, this volume explores the fundamental concept of qupai , melodic models upon which most traditional Chinese instrumental music (and some vocal music) is based. The greater part of the traditional instrumental repertoire has emerged from qupai models by way of well-established 'variation' techniques. These melodies and techniques are alive today and still performed in 'silk-bamboo' types of ensemble music, zheng , pipa and other solo traditions, all opera types, narrative songs, and Buddhist and Daoist ritual music. With a view toward explaining qupai as a musical system, contributors explore the concept from multiple directions, notably its historic development, patterns of structural organization, compositional usage in Kunqu classical opera, influence on the growth of traditional ensemble and solo repertoires, and indeed on 19th-century European music as well. Related essays examine the use of shan'ge folksongs as qupai models in one local opera tradition and the controversial relationship between qupai forms and the metrically-organized banqiang forms of organization in Beijing opera. The final three essays are focused upon traditional suite forms in which qupai and non-qupai tunes are mixed, examples drawn from the Minnan nanguan repertoire, Jiangnan 'silk-bamboo' tradition and the ritual music of North China.This is the first Western-language study on the nature and background of the qupai tradition, and the methods by which model melodies have been varied in creation of repertoire. The volume is essential reading for East Asian music specialists and contributes to the fields of ethnomusicology, musicology, music theory, music composition, and Chinese music and performing arts.

Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks. A link to a set of performed examples on the frenchpianomusic.com website allows readers to hear and compare performances and interpretations of the music discussed. The volume will appeal to musicologists and analysts interested in performance, performers, students, and piano teachers.

In Tropical Renditions Christine Bacareza Balance examines how the performance and reception of post-World War II Filipino and Filipino American popular music provide crucial tools for composing Filipino identities, publics, and politics. To understand this dynamic, Balance advocates for a "disobedient listening" that reveals how Filipino musicians challenge dominant racialized U.S. imperialist tropes of Filipinos as primitive, childlike, derivative, and mimetic. Balance disobediently listens to how the Bay Area turntablist DJ group the Invisibl Skratch Piklz bear the burden of racialized performers in the United States and defy conventions on musical ownership; to karaoke as affective labor, aesthetic expression, and pedagogical instrument; to how writer and performer Jessica Hagedorn's collaborative and improvisational authorial voice signals the importance of migration and place; and how Pinoy indie rock scenes challenge the relationship between race and musical genre by tracing the alternative routes that popular music takes. In each instance Filipino musicians, writers, visual artists, and filmmakers work within and against the legacies of the U.S./Philippine imperial encounter, and in so doing, move beyond preoccupations with authenticity and offer new ways to reimagine tropical places.

Written by an active composer, performer and educator, Sonic Art: An Introduction to Electroacoustic Music Composition provides a clear and informative introduction to the compositional techniques behind electroacoustic music. It brings together theory, aesthetics, context and practical applications to allow students to start thinking about sound creatively, and gives them the tools to compose meaningful sonic art works. In addition to explaining the techniques and philosophies of sonic art, the book examines over forty composers and their works, introducing the history and context of notable pieces, and includes chapters on how to present compositions professionally, in performance and online. The book is supported by an online software toolkit which enables readers to start creating their own compositions. Encouraging a 'hands on' approach to working with sound, Sonic Art is the perfect introduction for anyone interested in electroacoustic music and crafting art from sounds.

Bach and Tuning is strictly concerned with the identification of a historically accurate tuning paradigm that applies to the great majority of Johann Sebastian Bach's music. Once Bach has his personal tuning aesthetic acknowledged, a new dimension of meaning is invoked in performance through the intended interplay of diverse musical intervals. This new narrative lays bare Bach's mental calculations regarding his idealized intonation. Bach, the true chromatic composer of the Baroque, was the scion of a great music family. Likewise, Andreas Werckmeister was the bright star in a neighboring musical family, only a generation earlier. Bach and Tuning connects the valuable tuning contribution made by Werckmeister to Bach's musical masterpieces.

As Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irene Deliege, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Celestin Deliege, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, FranAois Nicolas, Marc Jimenez, Anne Boissiere, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad

Christian Wolff is a composer who has followed a distinctive path often at the centre of avant-garde activity working alongside figures such as John Cage, Merce Cunningham, and Cornelius Cardew. In a career spanning sixty years, he has produced a significant and influential body of work that has aimed to address, in a searching and provocative manner, what it means to be an experimental and socially aware artist. This book provides a wide-ranging introduction to a composer often overlooked despite his influence upon many of the major figures in new music since the 1950s from Cage to John Zorn to the new wave of experimentalists across the globe. As the first detailed analysis of the music of this prolific and highly individual composer, Changing the System: The Music of Christian Wolff contains contributions from leading experts in the field of new and experimental music, as well as from performers and composers who have worked with Wolff. The reception of Wolff's music is discussed in relation to the European avant-garde and also within the context of Wolff's association with Cage and Feldman. Music from his earliest compositions of the 1950s, the highly indeterminate scores, the politically-inspired pieces up to the most recent works are discussed in detail, both in relation to their compositional techniques, general aesthetic development, and matters of performance. The particular challenges and aesthetic issues arising from Wolff's idiosyncratic notations and the implications for performers are a central theme. Likewise, the ways in which Wolff's political persuasions - which arguably account for some of the notational methods he chooses - have been worked out through his music, are examined. With a foreword by his close associate Michael Parsons, this is a valuable addition to experimental music literature.

On the fiftieth anniversary of David Bowie's magical album, Aladdin Sane 50 is the ultimate celebration of a musical masterpiece - and the most famous photograph in pop history. This landmark book contains hundreds of photographs, including dozens of David from the Aladdin Sane session that have never been seen until now, fifty years since they were taken. Aladdin Sane 50 also features essays by renowned experts and authors Paul Morley, Charles Shaar Murray, Nicholas Pegg, Kevin Cann, Jerome Soligny and Geoffrey Marsh on Bowie's remarkable album and the story behind the famous cover. In a breathtaking package designed by long-time Bowie collaborators Barnbrook creative studio, Aladdin Sane 50 pays tribute to a seminal album and an iconic image, one that will live forever more in rock 'n' roll history.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

Mathemusical Conversations celebrates the understanding of music through mathematics, and the appreciation of mathematics through music. This volume is a compilation of the invited talks given at the Mathemusical Conversations workshop that took place in Singapore from 13-15 February 2015, organized by Elaine Chew in partnership with Gerard Assayag for the scientific program and with Bernard Lanskey for the artistic program. The contributors are world experts and leading scholars, writing on the intersection of music and mathematics. They also focus on performance and composition, two topics which are foundational both to the understanding of human creativity and to the creation of tomorrow's music technologies. This book is essential reading for researchers in both music and mathematics. It will also appeal more broadly to scholars, students, musicians, and anyone interested in new perspectives on the intimate relationship between these two universal human activities.

Studies of the genesis of musical, literary, and theatrical works. Not only the final outcome but the process of creative endeavor has long attracted attention in various artistic disciplines, but only recently has the potential of such research been seriously explored. The most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches and drafts and preliminary studies, as well as from revised manuscripts and typescripts, corrected proof sheets, and similar primary sources. The term "genetic criticism" or "critique genetique" relates not to the field of genetics, but to the genesis of works of art, as studied in a broad and inclusive context. The essays inthis volume explore aspects of genetic criticism in an interdisciplinary context, emphasizing music, literature, and theater. A common thread pertains to the essential continuity between a work and its genesis. This volume bringstogether essays from leading scholars on subjects ranging from biblical scholarship to Samuel Beckett, and from Beethoven's Eroica Symphony to very recent musical compositions. Contributors: Nicolas Donin, Daniel Ferrer, Alan Gosman, R. B. Graves, Joseph E. Jones, William Kinderman, Jean-Louis Lebrave, Lewis Lockwood, Geert Lernout, Peter McCallum, Armine Kotin Mortimer, and James L. Zychowicz William Kinderman is Professor of Musicology at the University of Illinois at Urbana-Champaign; Joseph E. Jones is visiting Assistant Professor of Musicology at the University of Illinois at Urbana-Champaign.