1. There is a discrepancy here between Dubiel's NECMT
paper, and that paper as published in MTO 6.3. In [Dubiel
12] we read "The received view isn't even antithetical to these
experiences . . . ," whereas in the corresponding location in the NECMT
paper he writes: "The received theory isn't antithetical to these
experiences. . . . " I would not mention this rather trivial discrepancy
were it not that Prof. Dubiel so vehemently denies having used the expression
"received theory," asserting that ". . . what I call the
'received view' in my talk . . . is the *only* thing I ever call
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2. The first definition of "received" given
by the Oxford English Dictionary is: "Generally adopted, accepted,
approved as true or good." I believe that Prof. Dubiel uses the term in a
mildly sardonic way, but I could be wrong.
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3. Allen Forte, "Banquet address: SMT, Rochester, 1987," Music Theory Spectrum 11/1 (Spring 1989): 95-99.
4. The Oxford English Dictionary, 2nd ed. Oxford: Clarendon Press, 1991. Vol. 2, p. 838.
6. Joelle Welling and Cynthia I. Gonzales, "The Music Theory Job Market from 1985-86 through 1997-98," College Music Symposium 39 (1999), 119-21.
7. Welling and Gonzales, "The Music Theory Job Market," 111.
8. On the Market: Surviving the Academic Job Search, ed. Christina Boufis and Victoria C. Olsen (New York: Riverhead Books, 1997) documents the grim condition of the academic job market in general through recent Ph.D. recipients' personal accounts.
9. Allen Forte, "Banquet Address: SMT, Rochester, 1987," Music Theory Spectrum 11.1 (1989): 98.
10. Cary Nelson and Stephen Watt, Academic Keywords: A Devil's Dictionary for Higher Education (New York: Routledge, 1999), 292.
11. John Covach and Graeme Boone, eds. Understanding Rock: Essays in Musical Analysis (New York and Oxford: Oxford University Press, 1997).
12. Knud Jeppesen, The Style of Palestrina and the Dissonance, with an introduction by Edward J. Dent; trans. by Margaret W. Hamerik (Oxford: Oxford University Press, 1927).
13. Knud Jeppesen, Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, trans., with an introduction, by Glen Haydon (New York: Prentice-Hall, 1939).
14. Heinrich Schenker, Counterpoint, trans. John Rothgeb and Jurgen Thym, ed. by John Rothgeb (New York: Schirmer Books, 1987).
15. Michael Musgrave, A Brahms Reader (New Haven: Yale University Press, 2000), 80.
16. Joseph Kerman, "A Profile for American Musicology," Journal of the American Musicology Society 18 (Spring, 1965): 61-69. Delivered at a plenary session of the 30th annual meeting of the AMS, Washington, D.C., Dec. 27, 1964. I was there and remember the furor that ensued.
End of Footnotes