1. Unquestionably, a review is not a place for exegesis on this topic. For a compact and accurate technical introduction to Schoenberg's and Webern's serial technique, see Straus (1990a) for elementary and Morris (1987) for more advanced technical information.

2. See Rothstein (1981, 1989, 1990), Schachter (1976, 1980, 1987), and Yeston (1976) for information on the rhythmic complexity of 18th and 19th century European art music, and see Apel (1942) for information on rhythmic complexity in Medieval and Renaissance music of the West.

3. Certainly,the same questions can be directed at this reviewer. My musical backgrounds include all forms of modernist, experimentalist, and postmodern figures as Born defines. My values and prejudices are simply for the music of this century--whether considered popular or not.

BIBLIOGRAPHY

Apel, Willi. 1942. The Notation of Polyphonic Music, 900-1600. Cambridge, Massachusetts: The Mediaeval Academy of America.

Barrett, Stanley R. 1984. The Rebirth of Anthropological Theory. Toronto: University of Toronto Press.

Bonds, Mark Evans. 1991. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, Massachusetts: Harvard University Press.

Boulez, Pierre. 1968. Notes of an Apprenticeship, trans. Herbert Weinstock. New York: Knopf.

Christensen, Thomas. 1993. Rameau and Musical Thought in the Enlightenment. Cambridge: University of Cambridge Press.

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Hermann, Richard. 1994. "A General Measurement for Similarity Relations.," Ph.D. diss.: University of Rochester.

_______. 1995. "Theories of Chordal Shape, Aspects of Linguistics, and their Roles in Structuring Berio's Sequenza IV for Piano," in Concert Music, Rock, and Jazz. Elizabeth West Marvin and Richard Hermann, ed. Rochester, New York: University of Rochester Press.

Kramer, Jonathan D. 1995. "Beyond Unity: Toward an Understanding of Musical Postmodernism" in Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies. Elizabeth West Marvin and Richard Hermann, eds. Rochester, New York: University of Rochester Press.

_______. 1988. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: G. Schirmer.

Morris, Robert D. 1987. Composition with Pitch-Classes. New Haven: Yale University Press.

Partch, Harry. 1974. Genesis of a Music: an Account of a Creative work, Its Roots and Its Fulfillments. New York: Da Capo Press.

Rothstein, William. 1990. "Rhythmic Displacement and Rhythmic Normalization" in Trends in Schenkerian Research, ed. Allen Cadwallader. New York: G. Schirmer.

_______. 1989. Phrase Rhythm in Tonal Music. New York: G. Schirmer.

_______. 1981. "Rhythm and The Theory of Structural Levels." Ph.D. diss.: Yale University, 1981.

Runes, Dagobert D., ed. 1960. Dictionary of Philosophy, 15th ed. New York: Philosophical Library.

Schachter, Carl. 1987. "Rhythm and Linear Analysis: Aspects of Meter," Music Forum, vol. 6, part 1.

_______. 1980. "Rhythm and Linear Analysis: Durational Reduction." Music Forum, vol. 5.

_______. 1976. "Rhythm and Linear Analysis: A Preliminary Study." Music Forum, vol. 4.

Straus, Joseph N. 1990a. Introduction to Post-Tonal Theory. Englewood Cliffs, New Jersey: Prentice-Hall.

_______. 1990b. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cambridge, Massachusetts: Harvard University Press.

Yeston, Maury. 1976. The Stratification of Musical Rhythm. New Haven, Connecticut: Yale University Press.

End of Footnotes