Supplemental Materials for Vol. 28/1–2
Recorded examples to accompany Robert S. Hatten, “Performance and Analysis—or Synthesis: Theorizing Gesture, Topics, and Tropes in Chopin’s F-Minor Ballade”
Welcome!
From the Editor:
We are pleased to announce the publication this new issue of Indiana Theory Review, which contains three articles and one review, all of which deal in some way with becoming. Arnie Cox’s essay discusses how we might come to understand the nature of our subjectivity (or subjectivities) when we listen to music, while the other two articles in this issue use the word in a more technical fashion. Tomoko Deguichi shows how the process of becoming reveals a uniquely Japanese aspect in the music of Toru Takemitsu, while Mark Richards uses a similar idea to negotaiate a difficult form in a Beethoven string quartet. Finally, Roger Graybill’s review demonstrates how Steve Larson’s work becomes clear in his final book, Musical Forces: Motion, Metaphor, and Meaning in Music.
The publication of a journal like Indiana Theory Review would not be possible without the help of our volunteer staff or the members of our editorial board. I would particularly like to give thanks to outgoing editor William Guerin for his general guidance, and to Mark Chilla for his work on maintaining the high quality of the visual appearance of this journal.
—Michael McClimon
Bloomington, Indiana
| Indiana Theory Review, Volume 30, No. 1 | |
|---|---|
(Oberlin Conservatory of Music) | Tripartite Subjectivity in Music Listening |
(Winthrop University) | Procedures of Becoming in Toru Takemitsu’s Piano Distance |
(University of Lethbridge) | Transforming Form: The Process of Becoming in the Scherzo of Beethoven’s String Quartet, Op. 59, No. 1 |
(New England Conservatory) | Review of Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music |