Of Telescopes and Lenses, Blindness and Insight

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Notes

¹ Richard Cohn, ‘As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert’, 19th-Century Music, 22 (1998–9), 213–32.

² Scott Burnham, Beethoven Hero (Princeton, NJ, 1995).

³ For the notion of ‘promissory note’, a salient or troublesome pitch introduced early on in a piece, which gradually looms in significance, see Edward T. Cone, ‘Schubert's Promissory Note: An Exercise in Musical Hermeneutics’, Schubert: Critical and Analytical Studies, ed. Walter Frisch (Lincoln, NE, and London, 1986), 13–30.

⁴ David Kopp, Chromatic Transformations in Nineteenth-Century Music (Cambridge, 2002).

⁵ William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York, 1998); James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York, 2006).

⁶ Janet Schmalfeldt, Berg's ‘Wozzeck': Harmonic Language and Dramatic Design (New Haven, CT, 1983).

⁷ Janet Schmalfeldt, ‘Form as the Process of Becoming: The Beethoven–Hegelian Tradition and the “Tempest” Sonata’, Beethoven Forum, 4 (1995), 37–71.

⁸ ‘Spitzer emerges as Dahlhaus's clearest successor within the pantheon of Beethoven-Hegelians’ (Schmalfeldt, In the Process of Becoming, 279).

⁹ ‘Loose organization is characterized by harmonic-tonal instability, evasion or omission of cadence, diversity of melodic-motivic material, inefficiency or ambiguity of functional expression, and asymmetrical phrase groupings (arising through extensions, expansions, compressions, and interpolations)’ (Caplin, Classical Form, 17).

¹⁰ See David Lewin, ‘Music Theory, Phenomenology, and Modes of Perception’, Music Perception, 3 (1986), 327–92. Lewin's essay was part of his even larger study of Morgengruss, which forms the basis of a forthcoming book: David Lewin's Morgengruss: Text, Context, and Commentary, ed. David Schwartz and Richard Cohn.

¹¹ Marianne Kielian-Gilbert, ‘Interpreting Schenkerian Prolongation’, Music Analysis, 22 (2003), 54–104 (p. 83).

¹² Steven Laitz, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening (2nd edn, New York, 2008), 477.