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Music exists in time. All musicians know this fundamental truth-but
what does it actually mean? Thirteen scholars probe the temporality
of music from a great variety of perspectives, in response to
challenges that Christopher F. Hasty, Walter Naumburg Professor of
Music at Harvard University, laid out in his groundbreaking Meter
as Rhythm. The essays included here bridge the conventional divides
between theory, history, ethnomusicology, aesthetics, performance
practice, cognitive psychology, and dance studies. In these
investigations, music emerges as an art form that has an important
lesson to teach. Not only can music be understood as sounds shaped
in time but-more radically-as time shaped in sounds.
Essays - collected in honour of Margaret Bent - examining how
medieval and Renaissance composers responded to the tradition in
which they worked through a process of citation of and commentary
on earlier authors. Essays in honour of Margaret Bent. The chapters
of this book probe the varied functions of citation and allusion in
medieval and renaissance musical culture. At its most fundamental
level musical culture relied on shared models for musical practice,
used by singers and composers as they learned their craft. Several
contributors to this volume investigate general models, which often
drew on earlier musical works, internalized in the process of
composers' own training as singers. In written theoretical musical
pedagogy, conversely, citation of authority is deliberate and
intentional. The adaptation of accepted wisdom in theoretical
treatises was the means by which newer authors stamped their own
authority. Further kinds of citation occur in specific musical
texts, either within the words set to music or in the music itself.
The diverse functions of citation and allusion for the creator,
reader, scribe, performer and listener are here given due
consideration. In doing so, this volume is a fitting tribute to
Margaret Bent, whose pedagogy, publications, and presence are
honoured in this Festschrift. Contributors: SUSAN RANKIN, GILLES
RICO, CHRISTIAN THOMAS LEITMEIR, BARBARA HAGGH, LEOFRANC
HOLFORD-STREVENS, ANDREW WATHEY, KEVIN BROWNLEE, ALICE V. CLARK,
LAWRENCE M. EARP, VIRGINIA NEWES, JOHN MILSOM, DAVID HOWLETT,
REINHARD STROHM, THEODOR DUMITRESCU, CRISTLE COLLINS JUDD, BONNIE
J. BLACKBURN
When Schubert's contemporary reviewers first heard his modulations,
they famously claimed that they were excessive, odd and unplanned.
This book argues that these claims have haunted the analysis of
Schubert's harmony ever since, outlining why Schubert's music
occupies a curiously marginal position in the history of music
theory. Analyzing Schubert traces how critics, analysts and
historians from the early nineteenth century to the present day
have preserved cherished narratives of wandering, alienation,
memory and trance by emphasizing the mystical rather than the
logical quality of the composer's harmony. This study proposes a
new method for analyzing the harmony of Schubert's works. Rather
than pursuing an approach that casts Schubert's famous harmonic
moves as digressions from the norms of canonical theoretical
paradigms, Suzannah Clark explores how the harmonic fingerprints in
Schubert's songs and instrumental sonata forms challenge pedigreed
habits of thought about what constitutes a theory of tonal and
formal order.
The latest edition of ISO 9001, published in 2015, is changing the
way organisations are run worldwide. No longer is it sufficient
simply to check on an organisation's quality management system: the
revision demands that auditors assess the leadership and management
of the quality system. This brings the standard alongside the
widely proven system and process approach to continuing quality
transformation that lies at the heart of the very best global
companies. Over a million registered organisations around the world
need to engage with the revised requirements. If you work for one
of them the changes may be significant. In Implementing ISO
9001:2015 business transformation experts Jan Gillett, Paul Simpson
and Susannah Clarke take managers step-by-step through the process
needed for successful transition, improving results and
facilitating a smooth audit. By applying the principles and
methodologies, and using the book's templates and questions with
their teams and suppliers, managers will transform the performance
of their organisations. The tangible benefits will pay for the
transition many times over. Implementing ISO 9001:2015 is a
comprehensive guide to making the necessary transition to the new
standard. The changes can also be used to stimulate transformation
in organisations and their wider environments, coordinating
processes to achieve both customer satisfaction and reduced
operating costs. Follow this blueprint and certification comes as a
free bonus!
Music theory of almost all ages has relied on nature in its
attempts to explain music. The understanding of what 'nature' is,
however, is subject to cultural and historical differences. In
exploring ways in which music theory has represented and employed
natural order since the scientific revolution, this volume asks
some fundamental questions not only about nature in music theory,
but also the nature of music theory. In an array of different
approaches, ranging from physical acoustics to theology and
Lacanian psychoanalysis, these essays examine how the multifarious
conceptions of nature, located variously between scientific reason
and divine power, are brought to bear on music theory. They probe
the changing representations and functions of nature in the service
of music theory and highlight the ever-changing configurations of
nature and music, as mediated by the music-theoretical discourse.
When Schubert's contemporary reviewers first heard his modulations,
they famously claimed that they were excessive, odd and unplanned.
This book argues that these claims have haunted the analysis of
Schubert's harmony ever since, outlining why Schubert's music
occupies a curiously marginal position in the history of music
theory. Analyzing Schubert traces how critics, analysts and
historians from the early nineteenth century to the present day
have preserved cherished narratives of wandering, alienation,
memory and trance by emphasizing the mystical rather than the
logical quality of the composer's harmony. This study proposes a
new method for analyzing the harmony of Schubert's works. Rather
than pursuing an approach that casts Schubert's famous harmonic
moves as digressions from the norms of canonical theoretical
paradigms, Suzannah Clark explores how the harmonic fingerprints in
Schubert's songs and instrumental sonata forms challenge pedigreed
habits of thought about what constitutes a theory of tonal and
formal order.
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