Society for Music Theory
New Research Paradigms
Author(s): John Rahn
Source: Music Theory Spectrum, Vol. 11, No. 1, Special Issue: The Society for Music Theory:
The First Decade (Spring, 1989), pp. 84-94
Published by: University of California Press on behalf of the Society for Music Theory
Stable URL: http://www.jstor.org/stable/745953
Accessed: 25/02/2010 15:03
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=ucal.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
University of California Press and Society for Music Theory are collaborating with JSTOR to digitize, preserve
and extend access to Music Theory Spectrum.
http://www.jstor.org
New
Research
Paradigms
John Rahn
Since ThomasKuhn'sbook TheStructureof ScientificRevolutionshas appeared,the communityof historiansand philosophersof science, and by extension the communitiesof intellectuals in many fields, have been strongly influenced by the
paradigmof paradigm,in the contextof a kindof discontinuous
marchof science. Music theory, as a science of an art, differs
fundamentallyfrom the sciences Kuhn refers to. "Taken as a
group or in groups," Kuhn says, "practitionersof the developed sciences are ...
fundamentally puzzle-solvers."' While
we music theoristsdo value puzzle-solvingabilityin our "normal science," we equally value superiormusicality,the ability
to communicatepersuasiveaesthetic insights. In a naturalscience such as physics,whose subjectmatteritself is not a human
art or its products, aesthetic considerationsdo come into play
when one theory is, as a theory, judged more beautifulor elegant than another.While musictheory sharesthis kind of criterion for judging theories, its subject matter is itself aesthetic.
As I have arguedelsewhere, the musictheoristshouldgive primary attention not to the beauty of the theory, nor to the
beauty of the model of music within the theory, but to the
beautyof the music as modeled in the theory.2
That our subject is aesthetic does not make us any less sus1ThomasKuhn, TheStructureof ScientificRevolutions(Chicago:University of ChicagoPress, 1962;2d ed., 1970), 205.
2Seebibliographicentriesfor John Rahn ("Some ComputationalModels"
and "Theoriesfor Some Ars Antiqua Motets").
ceptible to attractive new paradigms which might combine
beauty of theory, model, and music as modeled. The word
"theory"derivesfromthe Greek verb "theoreo,"whichmeans
"to see," a connection with perception that is emphasizedby
Kuhn. When a new exemplaris so persuasivethat it remakes
our musical world, so that we see things differently, a major
"paradigmshift"is said to have occurred.
Among the historicallyrecent candidates for such major
revolutionsin music theory there are, of course, two on which
we can all agree:the theoriesof HeinrichSchenker,and the rebirthin the 1950s of the intimateand significantconnectionof
music theory with mathematics, a renaissancedue largely to
Milton Babbitt. In each case, the new paradigmwas resisted
initiallyby normal music theory, but subsequentlyconverted
the communityso as to legitimize, withinthe scope of the new
paradigm,the kind of esoteric, productive,puzzle-solvingactivity characteristicof normal science. Minor revolutions are
also possible within a subdiscipline,so that there is a spectrum
alongthe revolutionarydimension.Some new ideashave richer
consequences,and more radicallyrefigureour world, thanothers.
I need not remindyou how Schenker'stheories have differentiated into subspecieswith the introductionof new subparadigmaticworks within his tradition or reacting to it, such as
those of Komar, Westergaard, Boretz, Yeston, Narmour,
Rahn, Benjamin, Lerdahland Jackendoff,Forte and Gilbert,
Keiler, Deliege, and others; nor how serial theory and pitch-
New ResearchParadigms 85
class theory in the Babbittianand the Fortean traditionshave
prospered.David Lewin'srecent book GeneralizedMusicalIntervalsand Transformationsis a candidatefor a new paradigm
within the Babbittian tradition, emphasizing applicationsof
group theory and networks and focusing a number of earlier
works by Lewin and an internationalrange of other authors.3
The emphasis on networks and graphs, in particular,is both
new and of great promise.
What new major paradigmsmay be currently emerging?
They might emerge from the interactionof music theory with
other disciplines.Bo Alphonce has surveyedcomputerapplications to music theory in this forum, and Mary Louise Serafine
and Wayne Slawson have discussedlinguistics,acoustics, psychoacoustics, and psychology. Linguisticshas had a powerful
influencein the past, and cognitive psychologyseems likely to
concern music theory (and vice versa) in the future, especially
as regardsthe issue of the scientificationof the study of music.
But before looking at a selection of the remainingrelevantdisciplines, such as philosophy of science, formalmethods, social
philosophy, ethnomusicology, semiology, literary criticism,
phenomenology, and hermeneutics, we really should treat a
new paradigmgenerated from withinmusic theory, one which
has evoked both the widespread support and the widespread
resistancetypical of a new major paradigm,one which is perceived by establishedtheory as a threatnot only to the content
of music theory but to its very mode of discourse. This is the
Boretz/Randall/Barkinparadigm.
The exemplarsof this paradigmare the installmentsof J. K.
Randall's"ComposeYourself,"4as well as his "a Soundscroll"
- and "how music goes," and his "
- -"; also, BenjaminBoretz's "WhatLingersOn (,When the Song
is Ended)," "Language, as a Music," and "If I am a musical
thinker";and various pieces by Elaine Barkin. Each of these
3See also the reviews of Lewin by Rahn and Dan Vuza.
4See entries for J. K. Randall ("Compose Yourself," "Act II Scene 1,"
"LanguageLab," "Revelstoke," and "Lovejoy").
primaryauthorshas a flavorof his or her own, and a secondary
literaturehas been generated.5There are affinitieswith the verbal productions of other composers, such as Stefan Wolpe,
John Cage, and Kenneth Gaburo.6
In a previous essay called "Aspects of Musical Explanation," I discussedthe earliermiddle-periodRandalland Boretz
in the context of a model of musicalexplanationin four quasidimensions: analog/digital, in-time/time-out, top-down/
bottom-up, and theory of experience/theoryof piece. At that
time the Boretz/Randallparadigmwas characterizablein these
terms as tending to the analog (in Nelson Goodman's sense),
the in-time, the bottom-up, and the theory-of-experienceextremaas explanationof music. So as not to recapitulatethatdiscussion, let me here concentrateon a work subsequentto that
essay, Boretz's "Language,as a Music,"as an exampleof a theoreticalratherthan analyticalwork of this sort.
"Language,as a Music" is a sextuptichof sections entitled
Thesis, Argument, Spec Sheet, Red Hook, Ivy, and Epilogue.
Each section is in a different mode of discourse:Thesis is an
expository poem, Argument is a reference to a score, Spec
Sheet is expositoryprose in a Joyceanmanner,Red Hook is in
archaicNew York City street talk, Ivy is in a style that you
would recognize, and Epilogue returnsto a more concentrated
versionof the poetic style of the Thesis.
Anyone who has labored to polish an articleto a high gloss
will realizethat here is the logical extensionof that concern,the
articleas work of art in itself. Boretz wishes to heal the potentially demusicalizingbreach between style of discourse about
music, and music as a style of discourse.As he explainsin Ivy,
I have been thinkingthat ... while we may not speak as we perceive,
we willsoonenoughbe perceivingas we havespoken.Fortherheto5See entries for Marion Guck, Allen Hibbard, Sarah Johnson, and
ThomasLarson.
6Seeentries for Stefan Wolpe, Austin Clarkson,John Cage, and Kenneth
Gaburo.
86
MusicTheorySpectrum
ricof discourseis coerciveon oursenses,asis anymodeof description
or thought: descriptiontransformsthe described. . . . And if we so
influencethe perceptionsandawarenessof othersby howwe speak
descriptively,
by the sameroutewe mustbe even moreprofoundly
influencingour own.7
By this argument,there is no "neutral"mode of discourse.
All discourse is "committed"to forming the world that it is
about, so that it behooves the musician to make discourse
about music like music, at least in the essential qualityor rich
particularity,and perhaps in all five of Nelson Goodman's
"symptomsof the aesthetic,"as enumeratedin Waysof Worldmaking:semanticdensity, syntacticaldensity, relativerepleteness, exemplification,and multipleand complexreference.
Boretz'sposition is consonantwith positionsin a numberof
other fields: in philosophy of science, the impossibilityof devoiding theory from observation, exemplifiedvariouslyin the
demiseof Carnapian"protocolsentences," and (for physics)in
the Heisenberg Uncertainty Principle;in history of science,
Kuhn'sthesis of the influenceof theory on perception, and his
construalof a disciplineas a "languagecommunity";in Quine's
philosophy,the problemof radicaltranslation;in ethnomusicology, Seeger's sensitive treatmentof the issue; in hermeneutics, Gadamer'swhole bent rather to constructa style of discourse than a set of rules; in phenomenology, the intentional
union of noema and noesis. If discourse about music be art,
then musictheoristsmustbe artists.It is here thatnormalscientific discourse,which carriesits own clear-cutstandardsof acceptability,and within which any sufficientlyassiduouspractitioner may make an incremental contribution, exerts its
attractionsto the contrary.It will be interestingto see how the
Boretz/Randall/Barkinparadigmsurvivesits birthtrauma,and
where it will, after runningundergroundhere and there, pop
up and bloom.
Most recently,both Boretz and Randallhave moved on to a
concernwith the social and culturalenvironmentfor art. Ran7BenjaminBoretz, "Language,as a Music," 174.
dall's"Are You Serious?"exploresthe ticklishissues of popular culture, art, sincerity, and micro-societal support structures; Boretz, in a series of two articles, explores the relation
between artand audience.8Boretz andRandallare not alone in
these concerns, joining a number of authors in what will, I
think, be an increasinglysignificantarea. Doug Collinshas reviewed contemporaryFrenchsocial philosophizingabout music in the article"RitualSacrificeand the PoliticalEconomy of
Music";other articlesinclude Boulez and Foucault on "ContemporaryMusic and the Public";Eric Gans on "Art and Entertainment";MalcolmGoldsteinon "The Politicsof Improvisation"; George Rochberg on "Can the Arts Survive
Modernism?"and JonathanKrameron "CanModernismSurvive George Rochberg?";my own critique of ethnomusicology, proposalfor the constructionof an anthropologyof music
as an extension of music theory, and exhortationto ethnomusicologiststo study the contemporaryWesternart music tradition in relationto its society with a view to some culturalengineering; and Fred Maus's article entitled "Recent Ideas and
Activities of James K. Randall and Benjamin Boretz: A New
SocialRole for Music,"whichsets this recentculturalhistoryin
the contextof earlierphilosopherssuchas Tolstoy, Dewey, and
Collingwood.Of course Adorno is eminent here; though he is
translatedlittle and poorly, in general, there is at least a Germaneditionof his collectedworks. CliffordGeertz'srecentand
influentialanthropologicalworksInterpretation
of Culturesand
Local Knowledge,Foucault'scollection of essays in social philosophy Power/Knowledge,and Stuart Schneiderman'sLacanian study of the death of an intellectualhero are generalstudies whichthe music theoristmay find of particularinterest.
It strikesme that musictheoristsare of all scholarsmost passionatelyinvolved with the values of contemporaryart music,
and might take a more active role in the future survivaland
propagationof those values. Since their survivaldoes not entirely depend on intramusicalconsiderations,it could be help8Boretz,"Interface,Part 1" and "Interface,Part2."
New ResearchParadigms 87
ful to open ourselves to a dialogue on the relationof this music
to the relevantextramusicalfactors.
The European tradition of semiology differs from the
American tradition of semiotics in deriving its impetus less
from the works of American logicians Morrisand Peirce, and
more from the Coursde linguistiquegeneraleof Saussure.For
Saussure, semiology was "a science which studies the life of
signs at the heart of the life of society." This has imbuedmuch
subsequentsemiology with a social-philosophicalor anthropological flavor, which in turn has made it particularlyattractive
to ethnomusicologists.The major work applyingthis perspective to musicology in a systematic fashion has been JeanJacquesNattiez's Fondementsd'unesemiologiede la musique.
If Fondements has been vigorously rejected by many
anglophonemusic theorists-see, for example, the references
in articlesby JonathanBernard (who is critical)and Jonathan
Dunsby (who is friendly)-it has neverthelessbeen widely admired by and influential on other communities of musical
scholars. How can we account for this? First, Nattiez writes
well, so that those who read him in Frenchare impressed.Second, he has tackleda large andvital subject, and his discussions
of the historyof semiology and the adaptationsnecessarywhen
applying semiological models from other fields to music are
among the most persuasiveparts of Fondements,if not always
as coherent as one would wish-compare Nattiez's confusing
discussionof the Peirciantriangleof sign, object, and interpretant, which is importantto Nattiez's work, with Peirce's own
straightforwardexposition.9At any rate, Nattiez reaps the rewardsof dealing with an intellectuallyimportant,and fashionable, philosophical movement, a kind of endeavor which
Americanmusicalscholarstend to avoid.
On the other hand, just as many Americanscholarsare not
well versed in continental philosophy and "musicology"(as
they call music scholarshipover there), Nattiez is not a native
9Jean-JacquesNattiez, Fondementsd'une semiologie de la musique, 5657; CharlesPeirce, ThePhilosophicalWritingsof Peirce, 98-99.
speaker within the language community of American music
theory. The long bibliographyin Fondementscontainsone reference each to Babbittand Forte;token referencesto Schenker
andBoretz appearfor the firsttime in the recent book Musicologie generaleet semiologie, describedby the author as a completely rewrittenversion of Fondements,which still omits any
reference to other importanttheorists, such as David Lewin.
Since Nattiez has not assimilatedour local canons and paradigms, Fondements often seems naive, beside the point, or
wrong to us, though it is only fair to note that Musicologie
generale et semiologie tries to address some of these weaknesses. But much of our technologyis bound up with analyses,
and his analyses seem from this standpoint almost preindustrial.10However, the weaknesses of one application of
semiologyto musicshouldnot blindus eitherto the strengthsof
that applicationor to the meritsof semiology in general, when
appliedso as to take advantageof relevantAmericantheoretical work.
A second volume of Musicologie generale et semiologie is
projected, which will focus on musical analyses and may address the above concerns more explicitly. Although the first
volume of Musicologie generale et semiologie contains much
more discussionrelated to American theory than did Fondements, its judgmentsare strange, treatingundergraduatetextbooks as though they were research and de-emphasizingthe
periodical literature. In a discussion of "Meta-Variations,"
Nattiez's referenceshappen to be restrictedto the firstthirdof
its firstchapter, in a readingthat has a poor perspectiveon the
work as a whole. Nattiez seems in 1987still entirelyunawareof
Boretz's later work, which bears a relation to "MetaVariations"similarto the relation of Wittgenstein'sInvestigationsto his Tractatus.On the same page, Nattiez placesBabbitt
in "l'6colede Yale."1'
Despite such symptoms of continuing intercognitivemalI?Seeentry for JonathanBernard.
Nattiez, Musicologiegeneraleet semiologie, 208.
88
MusicTheorySpectrum
aise, I remainoptimisticabout the possibilityof a fruitfuldialogue between Nattiez and American music theory. Nattiez
himself maintainsa cordial, open-minded, nonpolemicalattitude towardthose who disagreewith him; if we can manage a
similarattitude,we can perhapslearnfromone another.These
aretwo musicologicalcultures,his andours. As CliffordGeertz
remarksand exhorts, "We need, in the end, somethingrather
more than local knowledge. We need a way of turningits varieties into commentariesone upon the other, the one lighting
whatthe other darkens."12
In a book called L'aventuresemiologique, Roland Barthes
describesthree stages in his development:first, the impact of
Saussure,which led to Mythologies,describedby Nattiez as a
kindof socialhermeneutic;second, systematicworkon the science of semiology, as in Elementsde semiologie;and third, the
abandonmentof structuralmodels in favorof a playfulpractice
on infinitely differentiatedtext, epitomized in S/Z.13Patrick
McCrelesshas recentlytaken up S/Z explicitlyin the context of
music theory. Barthes has a kind of offhand brilliance,and a
preoccupationwith aesthetic matters-all of his work is motivated by pleasure, he avers. The doctrine of infinitetext is of
particularinterest to us: as Iannis Xenakis remarks,"Musicis
like a highly complex rock with ridges and designs engraved
withinand without, that can be interpretedin a thousandways
withouta singleone being the best or the most true."14And the
Barthesianvaluing of the "writerly"(as againstthe mere consumerismof the "readerly")chimeswith David Lewin'srecent
call for a more lively and poietic role for the music theorist:
"... since 'music'is somethingyou do, and not just something
you perceive (or understand),a theory of music cannot be developed fully from a theory of perception .... "15
Deconstructionismhas also fallen into an interestingdialec'Clifford Geertz, Interpretationof Cultures,233.
13RolandBarthes, L'Aventuresgmiologique,9-14.
'4IannisXenakis, "Xenakison Xenakis," 32.
'5DavidLewin, "MusicTheory, Phenomenology,"377.
tic with Americanphilosophyoutside of its own Americantradition, as between JacquesDerridaand RichardRorty. Robert
Snarrenberghas recentlymade a differancea la Derridain music theory. Fred Maus'spaper on "Musicas Narrative"points
up some other intersectionswith literarycriticism.It would be
interestingif furtherstudiesalongthese lines were to revivenotions of characterthat have been sleeping, hedged with thorn,
since Florestanflourished,or at least, Tovey. The concernsof
some theorists with metaphor, derivingproximatelyfrom the
Boretz/Randall/Barkinparadigm, might also gain impetus
from cross-fertilization,not only with Baroque and Classical
music-theoreticaldoctrines, but also with technical works on
metaphorsuch as Paul Ricoeur's,which explicatesin historical
context, takingits departurefrom a close readingof Aristotle,
the creativeand ubiquitousnatureof metaphor.16Whatthis all
means is that attentionto the currentlively theoreticalactivity
in literarycriticism,which is after all, like musictheory, about
an art, may help to crystallizea paradigmin musictheorywhich
will be a useful counterweightto the non-aestheticallyoriented
influencesof other disciplinessuch as psychologyor even semiology.
Phenomenologystartedas a twist on a Cartesianepistemological program for grounding judgment and knowledge.17
ThomasCliftonhas made currenta sense in which a "phenomenological"musicaldescriptionis an "intuitive"one, wherethe
word "intuitive"takes on a sense relatedto but also foreign to
the foundationalwork of Husserl, as noted by TaylorGreer.18
Clifton's"intuitive"analyses,whichhave theirown virtues,are
close to Elaine Barkin'sin spirit, though couched in more orthodox language.In a sense, Cliftonis to phenomenologywhat
16Seeentries for Guck ("MusicalImages as MusicalThoughts"),Anthony
Newcomb, and Paul Ricoeur (The Rule of Metaphor).
17Seeentries for FranzBrentano and EdmundHusserl (CartesianMeditations).
18Seeentries for Thomas Clifton ("Some Comparisons,"Musicas Heard)
and TaylorGreer.
New ResearchParadigms 89
Nattiez is to semiology. Cliftonhas been untilrecentlyvirtually
the only American music theorist to have steeped himself in
various phenomenological language-games and to have
brought a perspective seriously derived from these to music
theory. Shorn of polemics, it is a potentiallyfruitfultradition,
and it is a pity that Thomas Clifton'sdeath deprivedthe musictheoreticalcommunityof his developing presence.19(Clifton's
earlierarticleon Goethe's theory of plantsis an originalcontributionwhich also deserves more attention.)
More recently, David Lewin has taken up the phenomenologicaltorch, as in his importantand substantialarticlein Music
Perceptionhe valiantlyattemptsto marrymusic theory to phenomenology and psychology, or at least induce the three to cohabit. Furtherattemptsin this vein, whichwould be phenomenologically sensitive while not disdaining music theory's
advances in formal methods, may effect a quiet revolution in
the orientationof normalmusictheory.
Richard Rorty, in his influentialbook Philosophy and the
Mirrorof Nature,proposes, in the traditionof Wittgensteinand
Quine, a new paradigmfor philosophy, one that moves the enterprise from epistemology to hermeneutics. According to
Rorty, epistemology attemptsto constructa universalfoundation for rationaldiscourse,on the assumptionthat all contributions to such discourse will be "commensurable";hermeneutics acceptsthe alien qualityof another'sutterance,but tries to
make sense of it.
Episteme is the product of normal discourse-the sort of
statementwhich can be agreed to be true by all participants
whom the other participantscount as "rational."The product of abnormaldiscoursecan be anythingfrom nonsense to
intellectualrevolution, and there is no disciplinewhich describesit, any more than there is a disciplinedevoted to the
study of the unpredictable,or of "creativity."But herme19Seeentry for Clifton ("An Application").
neuticsis the study of an abnormaldiscoursefrom the point
of view of some normal discourse-the attempt to make
some sense of what is going on at a stage when we are still
too unsure about it to describe it, and thereby to begin an
epistemologicalaccountof it. The fact that hermeneuticsinevitablytakes some norm for grantedmakes it, so far forth,
"Whiggish."But insofar as it proceeds nonreductivelyand
in the hope of pickingup a new angle on things, it can transcend its own Whiggishness.20
I am tempted to construe the new emphasis on
hermeneutics-Rorty in philosophy,Geertz in anthropologyas a closet rediscoveryof the values of an old-fashionedclassical education. In a classicaleducation, the student is led to respect the holistic, alien qualityof anotherculture,the meaning
of whichbecomes availableto him throughhis constructingfor
himself the semantic/syntacticweb of the languageof that culture, mediated as text. Earlier we have instanced several discourses all to some degree incommensurable with one
another-normal Americanmusictheory, the Boretz/Randall/
Barkin paradigm, Nattiez, Barthes, and phenomenology, to
which may certainly be added others such as the world of
Heidegger. And we have tried to approacheach discourse in
the hermeneutical spirit, to get the hang of it, allowing ourselves to enter its Schwartzchildradius,as it were, and escaping
each holisticsphere, each singularity,only througha sort of extroversionthrough the dimension of our particularWhiggishness. Each piece of music is, arguably,at least as singular, as
incommensurablewith other pieces, and as holistic, as is Classical culture, or as are any of these discourses. But it would be
hard to argue againstvaluing theoretical approachesto music
that preserve some sort of reverence for the individualityof
each piece, of each discoursewithinmusicitself.
20RichardRorty, Philosophy and the Mirrorof Nature,320-321.
90
MusicTheorySpectrum
BIBLIOGRAPHY
A "{bib}"in an entry indicates that the item itself contains a
usefulbibliography.Multipleentriesby the same authorare
listed in chronologicalorderof publication.
ACM ComputingSurveys 17/2 (1985). Special Issue on ComputerMusic.
Adorno, Theodore. Gesammelte Schriften. Frankfurt am
Main:SuhrkampVerlag, 1984.
Barkin, Elaine. "Notes in Progress."Journalof Music Theory
22 (1978):291-311.
- . "play it AS it lays." Perspectivesof New Music 17/2
(1979):17-24.
. "A Dedication, Five ADmusementS, & A Digression." Perspectivesof New Music 18/1-2 (1979-80):407421.
. "Earl Kim: Earthlight."Perspectivesof New Music
19/1-2 (1980-81):269-277.
. "Schoenberg's Op. 19, No. 2. In Theory Only 6/1
(1981):40.
. "InYour Own Verse: a.k.a. An Alice is Lost." In Theory Only 6/4 (1982):3-8.
Baroni, Mario, and Callegari,Laura, eds. Musical Grammars
and ComputerAnalysis: Atti del Convegno (Modena, 4-6
Ottobre 1982). Florence:Leo S. Olschki, 1984.
Barthes, Roland. S/Z. Translated by Richard Miller. New
York: Hill and Wang, 1974.
. L'Aventuresemiologique. Paris: Editions du Seuil,
1985.
Becker, Judith, and Becker, Alton. "A Grammarof the Musical Genre Srepegan."Journalof Music Theory23 (1979):144.
Benjamin,WilliamE. "Ideasof Orderin MotivicMusic."Music TheorySpectrum1 (1979):23-34.
Bernard,JonathanW. "On Density21.5: A Response to Nattiez." {bib}MusicAnalysis 5 (1986):207-231.
Boretz, Benjamin. "Meta-Variations:Studies in the Foundations of MusicalThought."{bib}Ph.D. dissertation,Princeton University, 1970. A revised and slightly abridgedversion is publishedseriallyin Perspectivesof New Music8-11:
(Fall-Winter 1969):1-74; (Spring-Summer1970):49-111;
(Fall-Winter 1970):23-42; (Spring-Summer/Fall-Winter
1971):232-270; (Fall-Winter1972):146-223; and (SpringSummer1973):156-203.
. "WhatLingersOn (, When the Song is Ended)." Perspectivesof New Music 16/1 (1977):102-109.
. "Language, as a Music." Perspectivesof New Music
17/2(1979):131-195.
. "If I am a musicalthinker."Perspectivesof New Music
20/1-2 (1981-82):464-517.
. "Interface,Part I: Commentary:The BarrytownOrchestraon Hunger Day, November 15, 1984." Perspectives
of New Music23/2 (1985):90-95.
. "Interface, Part II: Thoughts in Reply to Boulez/
Foucault: ContemporaryMusic and the Public." Perspectivesof New Music25/1-2 (1987):608-611.
Boroda, Moisei. "Haufigkeitsstrukturen musikalischer
Texte." In Glottometrika3 (1980), edited by WolfhartMatthaus. Vol. 5 of QuantitativeLinguistics.Bochum: StudienverlagDr. N. Brockmeyer.
Brentano, Franz. The Trueand the Evident.Translatedby Roderick M. Chisholm, Ilse Politzer, and Kurt R. Fischer.
London: Routledge and Kegan Paul, 1966.
Browne, Richmond, ed. Music Theory:Special Topics. New
York: Academic Press, 1981.
Burrows,David. "On HearingThings:Music, The World, and
Ourselves."MusicalQuarterly66 (1980):180-191.
New ResearchParadigms 91
Cage, John. Silence. Middletown:Wesleyan UniversityPress,
1973.
Cage, John et al. Theguestsgo in to supper. Oakland:Burning
Books, 1986.
Chomsky, Noam. SyntacticStructures.The Hague: Mouton,
1971.
Clarkson,Austin. "Lectureon Dada by StefanWolpe." Musical Quarterly72 (1986):202-215.
Clifton, Thomas. "An Application of Goethe's Concept of
Steigerungto the Morphology of Diminution."Journal of
Music Theory14 (1970):165-190.
. "Musicand the A Priori."Journalof Music Theory17
(1973):66-85.
. "Some ComparisonsBetween Intuitive and Scientific
Descriptions of Music." Journal of Music Theory 19
(1975):66-110.
. Music as Heard:A Studyin Applied Phenomenology.
{bib}New Haven and London: Yale UniversityPress, 1983.
Review by Charles J. Smith, Music Theory Spectrum 7
(1985):207-213. Review by James Tenney, Journalof Music Theory29 (1985):197-213.
Collins, Douglas. "Ritual Sacrificeand the PoliticalEconomy
of Music." Perspectivesof New Music24/1 (1985):14-23.
Cone, Edward T. "Musical Form and Musical Performance
Reconsidered."Music TheorySpectrum7 (1985):149-158.
Deliege, Celestin. Les fondementsde la musiquetonale. Paris:
Editions Jean-ClaudeLattes, 1984.
Dufrenne, Mikel. The Phenomenology of Aesthetic Experience. Translatedby Edward Casey. Evanston: Northwestern UniversityPress, 1972.
Duisberg, Robert. "On the Role of Affect in ArtificialIntelligence and Music."Perspectivesof New Music23/1 (1984):635.
Dunsby, Jonathan."Musicand Semiotics:The Nattiez Phase."
MusicalQuarterly69 (1983):27-43.
Dunsby, Jonathan, and Stopford, John. "The Case for a
Schenkerian Semiotic." Music Theory Spectrum 3
(1981):49-53.
Eco, Umberto. A Theoryof Semiotics.{bib}Bloomington:IndianaUniversityPress, 1976.
. Semiotics and the Philosophy of Language.
Bloomington:IndianaUniversityPress, 1984.
Ferrara, Lawrence. "Phenomenology as a Tool for Musical
Analysis." MusicalQuarterly70 (1984):355-373.
Foucault, Michel. PowerlKnowledge. New York: Pantheon
Books, 1972.
Foucault, Michel, and Boulez, Pierre. "ContemporaryMusic
and the Public." Translatedby John Rahn. Perspectivesof
New Music24/1 (1985):6-12.
Fraenkel, Abraham A.; Bar-Hillel, Jehoshua; and Levy,
Azriel. Foundationsof Set Theory.2d rev. ed. {bib}Amsterdam:North-Holland, 1973.
Gaburo, Kenneth et al. "Gaburo."Perspectivesof New Music
18/1-2 (1979-80):7-256.
- . "LA." Perspectivesof New Music 25/1-2 (1987):496510.
Gadamer, Hans-Georg. Truth and Method. New York:
SeaburyPress, 1975.
Gans, Eric. "Art and Entertainment." Perspectivesof New
Music24/1 (1985):24-37.
. The End of Culture:Towarda GenerativeAnthropology. Berkeley and Los Angeles: University of California
Press, 1985.
Geertz, Clifford. Interpretationof Cultures.New York: Basic
Books, 1973.
. Local Knowledge.New York: Basic Books, 1983.
Goldstein, Malcolm. "The Politicsof Improvisation."Perspectivesof New Music 21/1-2 (1982-83):79-91.
Goodman, Nelson. TheStructureof Appearance.Indianapolis:
Bobbs-Merrill,1966.
92
MusicTheorySpectrum
. The Languagesof Art. 2d ed. Indianapolis:Hackett,
1981.
. Waysof Worldmaking.Indianapolis:Hackett, 1978.
. "Twisted Tales; or, Story, Study, and Symphony."
--CriticalInquiry7 (1980):103-119.
Greer, Taylor A. "Listeningas Intuiting:A Critiqueof Clifton's Theoryof IntuitiveDescription."In TheoryOnly7/78 (1984):3-21.
Greimas,AlgirdasJ., and Courtes,Joseph. Semioticsand Language:An AnalyticalDictionary.Translatedby LarryCrist
et al. Bloomington:IndianaUniversityPress, 1982.
Guck, MarionA. "MusicalImages as MusicalThoughts:The
Contributionof Metaphorto Analysis."In TheoryOnly5/5
(1981):29-42.
. "A Flow of Energy:Density21.5." Perspectivesof New
Music23/1 (1984):334-347.
Heidegger, Martin. An Introductionto Metaphysics.Translated by Ralph Manheim. New Haven and London: Yale
UniversityPress, 1959.
. Being and Time. Translatedby John Macquarrieand
EdwardRobinson. New York: Harperand Row, 1962.
. Poetry, Language,and Thought.Translatedby Albert
Hofstadter.New York: Harperand Row, 1971.
Heijenoort, Jean van, ed. From Frege to Goedel: A Source
Book in Mathematical Logic, 1879-1931. Cambridge,
Mass.: HarvardUniversityPress, 1967.
Hempel, Carl.Aspectsof ScientificExplanation,and OtherEssays in the Philosophy of Science. New York: Free Press,
1965.
Hibbard,Allen. "ImprovisatoryWordPiece on a Tape by Ben
Boretz and J. K. Randall." Perspectivesof New Music23/2
(1985):96-100.
Hiller, Lejaren, and Levy, Burt. "General System Theory as
Applied to Music Analysis." In Musical Grammarsand
ComputerAnalysis, 295-316.
Husserl, Edmund. Ideas: General Introductionto Pure Phenomenology. Translatedby W. R. Boyce Gibson. London:
George Allen and Unwin, 1931.
- . CartesianMeditations.Translatedby Dorion Cairns.
The Hague: MartinusNijhoff, 1960.
. The Phenomenologyof InternalTime-Consciousness.
Translated by James S. Churchill. Bloomington: Indiana
UniversityPress, 1964.
Johnson,Sarah."Listeningto TheEskimosof HudsonBay and
Alaska." Perspectivesof New Music 21/1-2 (1982-83):2425.
Kaelin, Eugene. An ExistentialistAesthetic: The Theoriesof
Sartreand Merleau-Ponty.Madison:Universityof Wisconsin Press, 1962.
Kramer,JonathanD. "New Temporalitiesin Music." Critical
Inquiry7 (1981):539-556.
. "CanModernismSurviveGeorge Rochberg?"Critical
Inquiry11 (1984):341-354.
. "Studiesof Time and Music: A Bibliography."{bib}
Music TheorySpectrum7 (1985):72-106.
Kuhn, Thomas. The Structureof ScientificRevolutions. Chicago: Universityof ChicagoPress, 1962.
Kurkela, Kari. Note and Tone. {bib} Helsinki: Musicological
Society of Finland, 1986.
Langer, Susanne K. Philosophy in a New Key. Cambridge,
Mass.: HarvardUniversityPress, 1942.
Larson, Steve. "A Tonal Model of an 'Atonal' Piece: Schoenberg's Op. 15, No. 2." Perspectivesof New Music 25/1-2
(1987):418-433.
Larson, Thomas. "Unansweringthe Question." Perspectives
of New Music20/1-2 (1981-82):363-405.
Laske, Otto. "Towardan ExplicitCognitiveTheoryof Musical
Listening."ComputerMusicJournal4/2 (1980):73-83.
Lerdahl, Fred, and Jackendoff, Ray. A GenerativeTheoryof
Tonal Music. Cambridge,Mass.: MIT Press, 1983. Review
New ResearchParadigms 93
by RichardCohn, In TheoryOnly 8/6 (1985):27-52. Review
by John Peel and Wayne Slawson,Journalof Music Theory
28 (1984):271-294.
Levy, JanetM. "Textureas a Sign in Classicand EarlyRomantic Music."Journalof theAmericanMusicologicalSociety35
(1982):482-531.
Lewin, David. "MusicTheory, Phenomenology,and Modes of
Perception."{bib}MusicPerception3 (1986):327-392.
. Generalized Musical Intervalsand Transformations.
New Haven and London: Yale UniversityPress, 1987. Review by John Rahn, Journalof Music Theory31 (1987):305318.
Maus, Fred Everett. "Music as Narrative."Paper read at the
TenthAnnual Meeting of the Societyfor MusicTheory, November 1987, in Rochester, New York.
- . "Recent Ideas and Activities of James K. Randalland
Benjamin Boretz: A New Social Role for Music." Perspectivesof New Music26/2 (1988):214-222.
McCreless, Patrick. "Roland Barthes's S/Z from a Musical
Point of View." In TheoryOnly 10/7 (1988):1-29.
Merleau-Ponty, Maurice. Phenomenology of Perception.
Translatedby Colin Smith. London: Routledge and Kegan
Paul, 1962.
Micznik,Vera. "Gestureas Sign:A SemioticInterpretationof
Berg's Op. 6, No. 1." In TheoryOnly 9/4 (1986):19-35.
Miller, Izchak. Husserl, Perception,and TemporalAwareness.
{bib}Cambridge,Mass.: MIT Press, 1984.
Narmour, Eugene. "Toward an Analytical Symbology: The
Melodic, Harmonic, and Durational Functionsof Implication and Realization."In MusicalGrammarsand Computer
Analysis, 83-114.
Nattiez, Jean-Jacques.Fondementsd'unesemiologie de la musique. {bib}Paris:Union G6n6raled'Editions, 1975.
. Musicologiegeneraleet semiologie. {bib}Paris:Chris--tian Bourgois, 1987.
Newcomb, Anthony. "Soundand Feeling." CriticalInquiry10
(1984):614-643.
Peirce, Charles. The Philosophical Writingsof Peirce. New
York: Dover, 1955.
Piaget, Jean. Structuralism.Translatedby ChaninahMaschler.
New York: Basic Books, 1970.
Poland, William. "A Theorist'sReview of a Centuryof Musicology." {bib}In TheoryOnly 9/4 (1986):5-17.
Polanyi, Michael. PersonalKnowledge.Chicago:Universityof
ChicagoPress, 1958.
Pope, Stephen Travis. "MusicNotations and the Representation of MusicalStructure."{bib}Perspectivesof New Music
24/2 (1986):156-189.
Popper, KarlR. TheLogic of ScientificDiscovery.3rded. New
York: Harper, 1968.
- . Objective Knowledge. Rev.ed. Oxford: Clarendon
Press, 1979.
Quine, W. V. Word and Object. Cambridge, Mass.: MIT
Press, 1960.
- . OntologicalRelativityand Other Essays. New York:
ColumbiaUniversityPress, 1969.
Rahn, John. "Aspects of MusicalExplanation."{bib}Perspectivesof New Music 17/2 (1979):204-224.
. "Logic, Set Theory, Music Theory." College Music
Symposium19/1 (1979):114-127.
. "On Some ComputationalModels of Music Theory."
{bib}ComputerMusicJournal4/2 (1980):66-72.
-. "EthnomusicologicalApproachesto WesternArt Music: A Native Reflection." The World of Music 29/1
(1987):9-18.
. "Theoriesfor Some Ars AntiquaMotets, with Attend---ant Methodological Considerations." Musikometrika 1
(1988):191-213. Vol. 37 of QuantitativeLinguistics.
Randall, J. K. "Compose Yourself-A Manual for the
Young." Perspectivesof New Music 10/2 (1972):1-12; 11/1
94
MusicTheorySpectrum
(1973):77-91; 12/1-2 (1973-74):231-281.
- . "a Soundscroll." Perspectives of New Music 13/2
(1975):126-149.
"how music goes." Perspectives of New Music
14/2-15/1 (1976):424-517.
--."--
-
.--
" Perspectives of New
Music17/2 (1979):197-203.
. "Are You Serious?"Perspectivesof New Music 23/2
(1985):72-88.
Rice, Timothy. "Toward the Remodeling of Ethnomusicology." {bib}Ethnomusicology31 (1987):469-488.
Ricoeur, Paul. The Rule of Metaphor.Translatedby Robert
Czerny.Toronto:Universityof Toronto Press, 1977.
- . Time and Narrative.Vol. 1. Translatedby Kathleen
McLaughlinand David Pellauer. Chicago: University of
ChicagoPress, 1984.
Roads, Curtis. "An Overview of Music Representations."
{bib}In MusicalGrammarsand ComputerAnalysis, 7-37.
Rochberg, George. "Can the Arts Survive Modernism? (A
Discussion of the Characteristics,History, and Legacy of
Modernism)."CriticalInquiry11 (1984):317-340.
Rorty, Richard.Philosophyand the Mirrorof Nature.Princeton: PrincetonUniversityPress, 1979.
. "Deconstruction and Circumvention."CriticalInquiry11 (1984):1-23.
Ruwet, Nicolas. Langage, Musique, Poesie. Paris: Le Seuil,
1972.
Sartre,Jean-Paul.L'lmaginaire.Paris:Gallimard,1940.
. The Transcendenceof the Ego. Translatedby Forrest
Williams and Robert Kirkpatrick.New York: Noonday
Press, 1957.
Schneiderman,Stuart.Jacques Lacan: The Death of an IntellectualHero. Cambridge,Mass.: HarvardUniversityPress,
1983.
Seeger, Charles. Studies in Musicology, 1935-1975. {bib}
Berkeley and Los Angeles: University of CaliforniaPress,
1977.
Silber, John. "Writing." Perspectivesof New Music 19/1-2
(1980-81):135-183.
Smith, CharlesJ. "Towarda PhenomenalisticAccount of Music's Performances."In TheoryOnly 2/11-12 (1977):17-29.
. "MusicalA Priori's."CollegeMusic Symposium19/1
(1979):103-113.
Snarrenberg,Robert. "ThePlay of Differance:Brahms'sIntermezzo Op. 118, No. 2." In TheoryOnly 10/3(1987):1-25.
Tenney, James, and Polansky, Larry."TemporalGestalt Perception in Music."Journalof Music Theory24 (1980):205241.
Tenney, James. Meta + Hodos and META Meta + Hodos.
Oakland:Frog Peak Music, 1986.
Vuza, Dan Tudor. "Some MathematicalAspects of David Lewin's Book GeneralizedMusicalIntervalsand Transformations." Perspectivesof New Music26/1 (1988):258-287.
Wallace, Robin. "Towarda Reconciliationof Music and Science." Journalof MusicologicalResearch,forthcoming.
Wittgenstein, Ludwig. Philosophical Investigations.3rd ed.
Translatedby G.E.M. Anscombe. London: Blackwell and
Mott, 1958.
Wolpe, Stefan. "Thoughtson Pitch and Some Considerations
Connected With It." Perspectives of New Music 17/2
(1979):28-55.
. " 'Any Bunch of Notes': A Lecture." Perspectivesof
New Music21/1-2 (1982-83):295-310.
Xenakis, lannis. "Xenakis on Xenakis." Perspectivesof New
Music25/1-2 (1987):16-49.
