Recent Research in the History of Theory: The Eighteenth and Nineteenth

Centuries

William E. Caplin

Music Theory Spectrum, Vol. 11, No. 1, Special Issue: The Society for Music Theory: The First
Decade. (Spring, 1989), pp. 29-34.

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Recent Research in the History of Theory:
The Eighteenth and Nineteenth Centuries

William E. Caplin

I am very pleased to have been asked to speak on recent re- able both musically and intellectually. Many staunch Schenker-
search in the history of theory of the eighteenth and nineteenth ians have even come to acknowledge that a direct line of devel-
centuries. All of us working in this field are surely proud of the opment stretches from Rameau's theory of the fundamental
record of accomplishment compiled since the founding of our bass to Schenker's own concept of Stufen.
Society. I would like to review some of the major changes and Indeed. identifying "precursors of Schenker" has become
developments that have characterized our endeavors over the almost an obsession during the last ten years or so. We have
past decade. I also want to consider some topics that have been come to learn that many theorists from the eighteenth and
relatively little explored of late and are thus deserving of our nineteenth centuries employed varying degrees of melodic and
further attention. harmonic reduction within their theoretical systems. Robert
I will begin my discussion with the history of harmony, Morgan's ground-breaking article of 1978 sketched the broad
which for most of us, rightly or wrongly, has been the predomi- outlines of this history, and other scholars have filled in many of
nant focus of our investigations. And I can think of no better the details. In particular, Robert Wason has revealed to us a
starting point than the founder of modern harmonic theory, distinct Viennese tradition, which saw Rameau's fundamental
Jean-Philippe Rameau. A glance at the bibliography reveals bass. as refined by Kirnberger, rationalized into a comprehen-
immediately that this great French theorist continues to fasci- sive Stufentheorie. The pivotal figure here. of course. is Simon
nate scholars today. In fact. the past decade has witnessed a Sechter, a theorist little known in North America a decade ago.
dramatic rehabilitation of Rameau's reputation. which had One aspect of Sechter's theory, which emphasizes a more verti-
previously suffered greatly at the hands of Schenker and some cal. harmonic orientation, led to Bruckner's and Schoenberg's
of his followers. For it was not so very long ago that Rameau Harmonielehren; a second. more contrapuntal side of Sechter's
was routinely condemned for having led harmonic theory down approach achieved its ultimate expression with Schenker.
a false and dangerous path. Now that the Schenkerian model Another theorist. long ignored by most historians of theory.
has gained a secure position within the community of theorists. has gained major prominence in the last number of years. I am
the impulse to deprecate Rameau has lessened considerably. speaking of that most eccentric character. Georg Joseph
We are returning to his writings and discovering there a body of (Abbe) Vogler. To be sure. Vogler can easily strike the modern
thought which, despite its manifest contradictions, is remark- readers as something of a crackpot-he was certainly so consid-
30 MUSICTheory Spectrum

ered by many o f his contemporaries. But thanks to the efforts ety. Perhaps the relative neglect by theorists o f issues o f form in
o f Floyd Grave, as well as those o f Jane Stevens and Robert general helps to explain this phenomenon. And we can only
Wason, Vogler can now be regarded as an important innovator hope that the renewed attention to the theory o f form evident
in harmonic and formal theory. Among the "firsts" that we in a number o f papers at our meeting this year will stimulate our
must credit to him are the use o f roman numerals to identify historical interest in this important topic.
harmonies, the description o f a conventional chromatic voice- As regards the theory o f rhythm and meter, the situation is
exchange pattern (now called the "omnibus progression"). and only slightly better. Despite the fact that new approaches to the
the association o f melodic character change to the "second sub- temporal organization o f music continue to appear on a regular
ject'' within a sonata-form exposition. basis, only a few o f us have explored the ways in which earlier
Though Vogler worked briefly in Vienna and came to have theorists dealt with the many perplexities o f musical rhythm.
some influence on later Viennese theorists, he is more appro- As for the other traditional branches o f music theory-
priately seen as standing at the head o f a specifically German counterpoint, melody, and orchestration-their histories have
harmonic tradition, one that includes the writings o f Gottfried been virtually ignored in recent years.
Weber, Moritz Hauptmann, Hermann Helmholtz, and Hugo 1 want to move away now from my survey o f specialized
Riemann. Long the primary domain o f musicologists in Ger- studies, which focus on the history o f individual theorists or
many. research into this tradition has in recent years witnessed theoretical issues. and consider what has been done, and what
steady growth on this side o f the Atlantic. In particular, the ide- remains to be done, in the area o f research tools: that is. the
alist theories o f Hauptmann and Riemann have attracted con- making o f bibliographies. translations. and general histories.
siderable attention-due. no doubt, to the appeal o f Haupt- On the bibliographic front, the most exciting news concerns a
mann's highly systematic approach and to the alternative major project now in preparation by David Damschroder and
harmonic viewpoints offered by Riemann's Funktionstheorie. David Russell Williams. When completed. their extensive list-
Let me turn now from the history o f harmony to another ing and cross-listing o f primary and secondary sources should
topic that has received extensive treatment within the last dec- considerably aid our research in and teaching o f the history o f
ade. The theory o f form, especially as it concerns the sonata theory from Zarlino to Schenker.
and the concerto, has been investigated by quite a number o f With respect to English translations o f theoretical treatises,
historians who, dissatisfied with modern analytical approaches. the last decade has seen an ever-increasing standard o f excel-
have turned to earlier sources on which to base "historical anal- lence. The translations o f Kirnberger and Koch, produced un-
yses." One theorist in particular-Heinrich Christoph Koch- der the aegis o f the Yale Translation Series, are particularly
has emerged as the central focus o f interest. Among the many worthy o f mention. Nonetheless, major works by Rameau.
fine studies listed in the bibliography devoted to Koch's catego- Sechter. Vogler, and Riepel. to name but a few. remain un-
ries o f form, I would draw your attention especially to the ar- translated into English; and for many o f the writings o f such
ticle by Elaine Sisman. which won the prestigious Einstein prominent theorists as W e b e r . Marx. Hauptmann, and
Award given by the American Musicological Society. Riemann we must make do with the outmoded translations is-
Now, it is somewhat discomfiting to observe that the history sued during the nineteenth century.
o f form has been pursued almost entirely by historical musicol- Perhaps the most neglected area remains that o f general his-
ogists. with little work being done by members o f our own Soci- tories. It is unfortunately the case that most o f us continue to
 Recent Research in the History of Theory: Eighteenth and Nineteenth Centuries 31

rely on Shirlaw and Riemann for our basic introduction and general field of music theory evolves, as new sets of problems
overall view of the history of theory. To be sure, these works and solutions arise, our conception of the history of theory will
were most admirable in their day; but they are inaccurate on change accordingly; we will turn back to familiar theorists and
many points and in any case are now hopelessly out of date. reread them from newly gained perspectives. At the same time,
The situation is beginning to be redressed by the impressive se- our study of earlier theorists will have the potential itself to in-
ries Geschichte der Musiktheorie, whose volumes by Carl spire novel modes of theoretical thought. As I talk and corres-
Dahlhaus are devoted to the eighteenth and nineteenth centu- pond with members of our Society and learn of the important
ries. Nevertheless, Dahlhaus's approach is rather idiosyncratic projects in the making, I am confident that the achievements of
and does not entirely meet the needs of those seeking a more the last decade will be surpassed in the coming years, and that if
straightforward, factual narrative. we gather again and celebrate the twentieth anniversary of
Clearly, then, there is much work to be done. Moreover, SMT we will do so with an increased knowledge and under-
new areas of investigation that we cannot even imagine at the standing of the history of our discipline.
moment will surely present themselves in the future. For as the

BIBLIOGRAPHY

I. GENERAL 11. HARMONIC THEORY

Dahlhaus, Carl. Die Musiktheorie i m 18. und 19. Jahrhun- A . Rameau

dert. Erster Teil: Grundziige einer Systematik. Ge- Bernard, Jonathan W. "The Principle and the Elements:
schichte der Musiktheorie, vol. 10. Darmstadt: Wissen- Rameau's Controversy with D7Alembert."Journal of
schaftliche Buchgesellschaft, 1984. Review by Peter Music Theory 24 (1980):37-62.
Cahn, Musiktheorie 1 (1986):102-103. Review by Ru- Christensen, Thomas. "Rameau's L'Art de la basse fonda-
dolf Flotzinger, Musikforschung 39 (1986):180-181. mentale." Music Theory Spectrum 9 (1987):18-41.
Damschroder, David A . , and Williams, David Russell. Grant, Cecil Powell. "The Real Relationship between
The History of Music Theory from Zarlino to Schenker: Kirnberger's and Rameau's Concept of the Fundamen-
A Bibliography and Guide. Stuyvesant, N.Y.: Pen- tal Bass." Journal of Music Theory 21 (1977):324-338.
dragon Press. forthcoming. Keiler, Allan R. "Music as Metalanguage: Rameau's Fun-
Lindley, Mark. "Preface to a Graduate Course in the His- damental Bass." In Music Theory: Special Topics,
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(1982):83-102. Press, 1981), 83-100.
Lewin, David. "Two Interesting Passages in Rameau's
Trait&de l'harmonie. " In Theory Only 413 (1978):3-11.
32 Music Theory Spectrum

Miller, Leta E. "Rameau and the Royal Society of Lon- Enharmonic Cb /B ." Nineteenth-Century Music 7
don: New Letters and Documents." Music and Letters (1984):336-349. On Riemann.
66 (1985):19-33. McCreless, Patrick. "Ernst Kurth and the Analysis of the
Schneider, Herbert. "Rameaus musiktheoretisches Ver- Chromatic Music of the Late Nineteenth Century."
machtnis." Musiktheorie 1 (1986):153-161. Music Theory Spectrum 5 (1983):56-75.
See also Verba under I1 F. (Modulation Theory). McCune. Mark. "Moritz Hauptmann: Ein Haupt-Mann in
Nineteenth-Century Music Theory." Indiana Theory
B. The Viennese Tradition
Review 712 (1986):1-28.
Caplin, William Earl. "Harmony and Meter in the The- Mickelsen, William C . Hugo Riemann's Theory of Har-
ories of Simon Sechter," Music Theory Spectrum 2 m o n y and History of Music Theory, Book III, by Hugo
(1980):74-89. Riemann. [Geschichte der Musiktheorie i m I X . - X I X .
Carpenter, Patricia. "Grundgestalt as Tonal Function." Jahrhundert.] Translated by William C . Mickelsen.
Music Theory Spectrum 5 (1983):lS-38. Lincoln: University of Nebraska Press, 1977. Review
Dunsby, Jonathan. "Schoenberg on Cadence." Journal of by Lewis Rowell, J o u r n a l of Music T h e o r j 22
the Arnold Schoenberg Institute 4 (1980):41-49. (1978):316-319. Review by Ruth Solie, Nineteenth-
Phipps, Graham H . "A Response to Schenker's Analysis Century Music 2 (1978):178-185.
of Chopin's Etude, Op. 10, No. 12. Using Schoenberg's Sheldon, David A . "The Ninth Chord in German The-
Grundgestalt Concept." Musical Q u a r t e r l j 69 ory." Journal of Music Theory 26 (1982):61-100.
(1983):543-569. . "Verwechselung, Vorausnehmung, and Verzo-
Wason, Robert W. Viennese Harmonic Theory from A l - g e r u n g : Important Mattheson Contributions to
brechtsberger to Schenker and Schoenberg. Ann Arbor: Eighteenth-Century Music Theory." In New Mattheson
UMI Research Press, 1985. Review by William Caplin, Studies, edited by George J . Buelow and Hans Joachim
Music Theory Spectrum 8 (1986):140-143. Marx (Cambridge: Cambridge University Press. 1983).
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Schenker). Wuensch, Gerhard. "Hugo Riemann's Musical Theory."
C. The German Tradition Studies in Music [University of Western Ontario] 2
(1977):108-124.
Caplin, William. "Moritz Hauptmann and the Theory of
See also Christensen. Grave. and Morgan under I1 E . (Pre-
Suspensions." Journal of Music Theory 28 (1984):251-
cursors of Schenker), and Werts under I1 F. (Modula-
265.
tion Theory).
Jorgenson, Dale A . Moritz Hauptmann of Leipzig. Lewis-
ton. N.Y.: Edwin Mellen Press, 1986.
Lester, Joel. "The Recognition of Major and Minor Keys D . The French Tradition
in German Theory: 1680-1730." Journal of Music The- Blum, Stephen. "Rousseau's Concept of Sisteme musical
ory 22 (1978):65-103. and the Comparative Study of Tonalities in Nineteenth-
Lewin. David. "Amfortas's Prayer to Titurel and the Role Century France." Journal of the American Musicologi-
of D in Parsifal: The Tonal Spaces of the Drama and the cal Society 38 (1985):349-361.
 Recent Research in the History of Theory: Eighteenth and Nineteenth Centuries 33

Groth, Renate. Die franzosische Kompositionslehre des Budday, Wolfgang. Grundlagen musikalischer Formen der
19. Jahrhunderts. Wiesbaden: Franz Steiner, 1983. Re- Wiener Klassik. A n Hand der zeitgenossischen Theorie
view by Robert W. Wason, Journal of Music Theory 30 von Joseph Riepel und Heinrich Christoph Koch darge-
(1986) :295-304. Review by Herbert Schneider, Mu- stellt an Menuetten und Sonatensatzen. Kassel: Baren-
siktheorie 1 (1986): 104-106. reiter, 1983. Review by Ulrich Mazurowicz, Musikfor-
schung 39 (1986):621.
E . Precursors of Schenker Dahlhaus, Carl. "Der rhetorische Formbegriff H . Chr.
Christensen, T o m . "The Schichtenlehre of Hugo Kochs und die Theorie der Sonatenform." Archiv fur
Riemann." In Theory Only 614 (1982):37-44. Musikwissenschaft 35 (1978):155-177.
Grave, Floyd K. "Abbe Vogler's Theory of Reduction." Davis, Shelley. "H. C. Koch, The Classic Concerto, and
Current Musicology 29 (1980):41-69. the Sonata-Form Retransition." Journal of Musicology
Morgan, Robert P. "Schenker and the Theoretical Tradi- 2 (1983):45-61.
tion: The Concept of Musical Reduction." College Mu- Sisman, Elaine R . "Small and Expanded Forms: Koch's
sic Symposium 1811 (1978):72-96. Model and Haydn's Music." Musical Quarterly 68
Wason, Robert. "Schenker's Notion of Scale Step in His- (1982):444-475.
torical Perspective: Non-Essential Harmonies in Vien- Wagner, Giinther. "Anmerkungen zur Formtheorie
nese Fundamental Bass Theory." Journal of Music Heinrich Christoph Kochs." Archiv fur Musikwissen-
Theory 27 (1983) :49-73. schaft41 (1984):86-112.
See also Lewin under I1 A. (Rameau), and Caplin and Wa-
son under I1 B. (The Viennese Tradition).
F. Modulation Theory B. Other
Levenson, Irene Montefiore. "Smooth Moves: Schubert Balthazar, Scott L. "Intellectual History and Concepts of
and Theories of Modulation in the Nineteenth Cen- the Concerto: Some Parallels from 1750 to 1850." Jour-
tury." In Theory Only 715-6 (1984):35-53. nal of the American Musicological Society 36 (1983):39-
Verba, E . Cynthia. "Rameau's Views on Modulation and 72.
Their Background in French Theory." Journal of the Bent, Ian. "Analytical Thinking in the First Half of the
American Musicological Society 31 (1978):467-479. Nineteenth Century." In Modern Musical Scholarship,
Werts, Daniel. "The Musical Circle of Johannes Matthe- edited by Edward Olleson (Stocksfield, U.K.: Oriel
son." Theoria 1 (1985):97-131. Press, 1980), 151-166.
Dahlhaus, Carl. "Aesthetische Pramissen der 'Sonaten-
form' bei Adolf Bernhard Marx." Archiv fiir Musikwk-
111. THEORIES O F FORM senschaft 41 (1984):73-85.
Ratner, Leonard. Classic Music: Expression, Form, and
A. Koch Style. New York: Schirmer Books, 1980. Review by
Baker, Nancy Kovaleff. "Heinrich Koch's Description of Jane Stevens, Journal of Music Theory 27 (1983):121-
the Symphony." Studi musicali 9 (1980):303-316. 127.
34 Music Theory Spectrum

Stevens, Jane R . "Georg Joseph Vogler and the 'Second in der Musik (1771-1779). Review by William Caplin,
Theme' in Sonata Form: Some Eighteenth-Century Journal of Music Theory 28 (1984):124-128. Review by
Perceptions of Musical Contrast." Journal of Musicol- Raymond Haggh, Music Theory Spectrum 6
ogy 2 (1983):278-304. (1984):lOO-103.
Koch, Heinrich Christoph. Introductory Essay on Compo-
IV. THEORIES O F RHYTHM sition: The Mechanical Rules of Melody, Sections 3 and
4. Translated by Nancy Kovaleff Baker. New Haven
Caplin, William E . "Hugo Riemann's Theory of 'Dynamic and London: Yale University Press, 1983. Partial trans-
Shading': A Theory of Musical Meter?" Theoria 1 lation of Versuch einer Anleitung zur Composition
(1985):1-24. (1782, 1787, 1793). Review by Elaine R. Sisman, Jour-
. "Tonal Function and Metrical Accent: A Histori- nal of Music Theory 29 (1985):341-347. Review by
cal Perspective." Music Theory Spectrum 5 (1983):l- Nola Reed Knouse, Music Theory Spectrum 8
14. (1986): 143-148.
Dahlhaus, Carl. "Studien zur Geschichte der Rhythmus- Lester, Joel. "The Fux-Mattheson Correspondence: An
theorie." In Jahrbuch des Staatlichen Instituts fur Mu- Annotated Translation." Current Musicology 24
sikforschung (Berlin: Verlag Merseburger, 1979-80), (1977):37-62.
133-153. McCune, Mark. "Hugo Riemann's Ueber Tonalitat: A
Grave, Floyd K. "Metrical Displacement and the Com- Translation." Theoria 1 (1985): 132-150.
pound Measure in Eighteenth-Century Theory and Nelson, Richard B., and Boomgaarden, Donald R . "Kirn-
Practice. " Theoria 1 (1985):25-60. berger's Thoughts on the Different Methods of Teaching
See also Caplin under I1 B. (The Viennese Tradition) and Composition as Preparationfor Understanding Fugue."
under I1 C. (The German Tradition), and Ratner under Journal of Music Theory 30 (1986):71-94. Translation
I11 B. (Other). of Gedanken uber die verschiedenen Lehrarten in der
Komposition, als Vorbereitung zur Fugenkenntniss
V. TRANSLATIONS (1782).
Schoenberg, Arnold. Theory of Harmony. Translated by
Beach, David W., and Thym, Jurgen. "The True Princi- Roy E . Carter. Berkeley and Los Angeles: University
ples for the Practice of Harmony by Johann Philipp of California Press, 1978. Translation of Harmonielehre
Kirnberger: A Translation." Journal of Music Theory (1922 edition). Review by Robert W. Wason, Journal
23 (1979):163-226. Translation of Die wahren Grund- of Music Theory 25 (1981):307-316. Review by Derrick
satze zum Gebrauch der Harmonie (1773). Puffett, Music and Letters 60 (1979):220-222. Review
Kirnberger, Johann Philipp. The Art of Strict Musical by Claudio Spies, Journal of the Arnold Schoenberg In-
Composition. Translated by David Beach and Jurgen stitute 3 (1979):178-186. Commentary by Bryan R .
Thym. New Haven and London: Yale University Press, Simms, Music Theory Spectrum 4 (1982): 155-162.
1982. Partial translation of Die Kunst des reinen Satzes See also Mickelson under I1 C. (The German Tradition).
http://www.jstor.org

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You have printed the following article:

Recent Research in the History of Theory: The Eighteenth and Nineteenth Centuries
William E. Caplin
Music Theory Spectrum, Vol. 11, No. 1, Special Issue: The Society for Music Theory: The First
Decade. (Spring, 1989), pp. 29-34.
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Bibliography: II. Harmonic Theory: A. Rameau

The Principle and the Elements: Rameau's "Controversy with d'Alembert"

Jonathan W. Bernard; Jean-Philippe Rameau
Journal of Music Theory, Vol. 24, No. 1. (Spring, 1980), pp. 37-62.
Stable URL:
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Rameau's "L'Art de la Basse Fondamentale"

Thomas Christensen
Music Theory Spectrum, Vol. 9. (Spring, 1987), pp. 18-41.
Stable URL:
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The Real Relationship between Kirnberger's and Rameau's "Concept of the Fundamental
Bass"
Cecil Powell Grant; Kirnberger; Jean-Philippe Rameau
Journal of Music Theory, Vol. 21, No. 2. (Autumn, 1977), pp. 324-338.
Stable URL:
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Bibliography: II. Harmonic Theory: B. The Viennese Tradition

http://www.jstor.org

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- Page 2 of 8 -

Harmony and Meter in the Theories of Simon Sechter

William Earl Caplin
Music Theory Spectrum, Vol. 2. (Spring, 1980), pp. 74-89.
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"Grundgestalt" as Tonal Function

Patricia Carpenter
Music Theory Spectrum, Vol. 5. (Spring, 1983), pp. 15-38.
Stable URL:
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A Response to Schenker's Analysis of Chopin's Etude, Opus 10, No. 12, Using Schoenberg's
"Grundgestalt" Concept
Graham H. Phipps
The Musical Quarterly, Vol. 69, No. 4. (Autumn, 1983), pp. 543-569.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg by Robert W.
Wason
William Caplin
Music Theory Spectrum, Vol. 8. (Spring, 1986), pp. 140-143.
Stable URL:
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Bibliography: II. Harmonic Theory: C. The German Tradition

Moritz Hauptmann and the Theory of Suspensions

William Caplin
Journal of Music Theory, Vol. 28, No. 2. (Autumn, 1984), pp. 251-269.
Stable URL:
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The Recognition of Major and Minor Keys in German Theory: 1680-1730

Joel Lester
Journal of Music Theory, Vol. 22, No. 1. (Spring, 1978), pp. 65-103.
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Amfortas's Prayer to Titurel and the Role of D in "Parsifal": The Tonal Spaces of the Drama
and the Enharmonic C#/B
David Lewin
19th-Century Music, Vol. 7, No. 3, Essays for Joseph Kerman. (Apr. 3, 1984), pp. 336-349.
Stable URL:
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Ernst Kurth and the Analysis of the Chromatic Music of the Late Nineteenth Century
Patrick McCreless
Music Theory Spectrum, Vol. 5. (Spring, 1983), pp. 56-75.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Hugo Riemann's Theory of Harmony by William C. Mickelsen
History of Music Theory, Book III by Hugo Riemann; William C. Mickelsen
Lewis Rowell
Journal of Music Theory, Vol. 22, No. 2. (Autumn, 1978), pp. 316-319.
Stable URL:
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The Ninth Chord in German Theory

David A. Sheldon
Journal of Music Theory, Vol. 26, No. 1. (Spring, 1982), pp. 61-100.
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Bibliography: II. Harmonic Theory: D. The French Tradition

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- Page 4 of 8 -

Rousseau's Concept of "Sistême musical" and the Comparative Study of Tonalities in

Nineteenth-Century France
Stephen Blum
Journal of the American Musicological Society, Vol. 38, No. 2. (Summer, 1985), pp. 349-361.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Die französische Kompositionslehre des 19. Jahrhunderts by Renate Groth
Robert W. Wason
Journal of Music Theory, Vol. 30, No. 2. (Autumn, 1986), pp. 295-304.
Stable URL:
http://links.jstor.org/sici?sici=0022-2909%28198623%2930%3A2%3C295%3ADFKD1J%3E2.0.CO%3B2-8

Bibliography: II. Harmonic Theory: E. Precursors of Schenker

Schenker's "Notion of Scale-Step in Historical Perspective: Non-Essential Harmonies in

Viennese Fundamental Bass Theory"
Robert Wason; Schenker
Journal of Music Theory, Vol. 27, No. 1. (Spring, 1983), pp. 49-73.
Stable URL:
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Bibliography: II. Harmonic Theory: F. Modulation Theory

Rameau's Views on Modulation and Their Background in French Theory

E. Cynthia Verba
Journal of the American Musicological Society, Vol. 31, No. 3. (Autumn, 1978), pp. 467-479.
Stable URL:
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Bibliography: III. Theories of Form: A. Koch

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H. C. Koch, the Classic Concerto, and the Sonata-Form Retransition

Shelley Davis
The Journal of Musicology, Vol. 2, No. 1. (Winter, 1983), pp. 45-61.
Stable URL:
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Small and Expanded Forms: Koch's Model and Haydn's Music

Elaine R. Sisman
The Musical Quarterly, Vol. 68, No. 4. (Oct., 1982), pp. 444-475.
Stable URL:
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Anmerkungen zur Formtheorie Heinrich Christoph Kochs

Günther Wagner
Archiv für Musikwissenschaft, 41. Jahrg., H. 2. (1984), pp. 86-112.
Stable URL:
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Bibliography: III. Theories of Form: B. Other

Intellectual History and Concepts of the Concerto: Some Parallels from 1750 to 1850
Scott L. Balthazar
Journal of the American Musicological Society, Vol. 36, No. 1. (Spring, 1983), pp. 39-72.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Classic Music: Expression, Form, and Style by Leonard G. Ratner
Jane Stevens
Journal of Music Theory, Vol. 27, No. 1. (Spring, 1983), pp. 121-127.
Stable URL:
http://links.jstor.org/sici?sici=0022-2909%28198321%2927%3A1%3C121%3ACMEFAS%3E2.0.CO%3B2-R
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Georg Joseph Vogler and the "Second Theme" in Sonata Form: Some 18th-Century
Perceptions of Musical Contrast
Jane R. Stevens
The Journal of Musicology, Vol. 2, No. 3. (Summer, 1983), pp. 278-304.
Stable URL:
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Bibliography: IV. Theories Of Rhythm

Tonal Function and Metrical Accent: A Historical Perspective

William Caplin
Music Theory Spectrum, Vol. 5. (Spring, 1983), pp. 1-14.
Stable URL:
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Bibliography: V. Translations

The True Principles for the Practice of Harmony

Johann Philipp Kirnberger; David W. Beach; Jurgen Thym
Journal of Music Theory, Vol. 23, No. 2. (Autumn, 1979), pp. 163-225.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
The Art of Strict Musical Composition by Johann Philipp Kirnberger; David Beach; Jurgen Thym
William Caplin
Journal of Music Theory, Vol. 28, No. 1. (Spring, 1984), pp. 124-128.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
The Art of Strict Musical Composition by Johann Philipp Kirnberger; David W. Beach; Jurgen
Thym
Raymond Haggh
Music Theory Spectrum, Vol. 6. (Spring, 1984), pp. 100-103.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4 (From
Versuch einer Anleitung zur Composition, 1782-1793) by Heinrich Christoph Koch; Nancy
Kovaleff Baker
Elaine R. Sisman
Journal of Music Theory, Vol. 29, No. 2. (Autumn, 1985), pp. 341-347.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Introductory Essay on Composition by Heinrich Christoph Koch; Nancy Kovaleff Baker
Nola Reed Knouse
Music Theory Spectrum, Vol. 8. (Spring, 1986), pp. 143-148.
Stable URL:
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Kirnberger's "Thoughts on the Different Methods of Teaching Composition as Preparation

for Understanding Fugue"
Johann Philipp Kirnberger; Richard B. Nelson; Donald R. Boomgaarden
Journal of Music Theory, Vol. 30, No. 1. (Spring, 1986), pp. 71-94.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Theory of Harmony by Arnold Schoenberg; Roy E. Carter
Robert W. Wason
Journal of Music Theory, Vol. 25, No. 2. (Autumn, 1981), pp. 307-316.
Stable URL:
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Review: [Untitled]
Reviewed Work(s):
Theory of Harmony by Arnold Schoenberg; Roy E. Carter
Bryan R. Simms
Music Theory Spectrum, Vol. 4. (Spring, 1982), pp. 155-162.
Stable URL:
http://links.jstor.org/sici?sici=0195-6167%28198221%294%3C155%3ATOH%3E2.0.CO%3B2-3