Music Theory Online Volume 17, Number 2

Volume 17 Number 2, July 2011

Editor’s Message

Articles

Embodying Music: Principles of the Mimetic Hypothesis	17.2.1
Arnie Cox (Oberlin Conservatory of Music)

A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City	17.2.2
David J. Heetderks (University of Michigan)

Creating Space: Perception and Structure in Charles Ives’s Collages	17.2.3
Jennifer Iverson (University of Iowa)

Music, Memory and Memes in the Light of Calvinian Neuroscience	17.2.4
Steven Jan (University of Huddersfield)

Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano	17.2.5
Stanley V. Kleppinger (University of Nebraska-Lincoln)

Essays

Essays in honor of Milton Babbitt (1916–2011)

Subjectivity and Structure in Milton Babbitt’s Philomel	17.2.6
Emily J. Adamowicz (University of Western Ontario)

Duplicated Subdivisions in Babbitt’s It Takes Twelve to Tango	17.2.7
Zachary Bernstein (The Graduate Center, City University of New York)

Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths	17.2.8
Daphne Leong (University of Colorado-Boulder)

What Do I Hear Now, Groupwise?	17.2.9
Ciro Scotto (University of South Florida)

How Register Tells the Story in Scriabin’s Op. 22, No. 2	17.2.10
Martin Kutnowski (St. Thomas University)

Reviews

Review of Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music (Oxford University Press, 2009)	17.2.11
Jeremy Grall (University of Alabama at Birmingham)

Review of Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010)	17.2.12
Justin London (Carleton College)

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Updated November 25 2017

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