Table of Contents

Introduction Christopher Hatch and David W. Bernstein 1 Music Theory and Its Histories Thomas Christensen 2 The Earliest Phases of Measured Polyphony Ernest H. Sanders 3 Modal Strategies in Okeghem's Missa Cuiusvis Toni Leeman L. Perkins 4 Finding the Soggetto in Willaert's Free Imitative Counterpoint: A Step in Modal Analysis Benito V. Rivera 5 Mode and Counterpoint Peter N. Schubert 6 The Cavalier Ercole Bottrigari and His Brickbats: Prolegomena to the Defense of Don Nicola Vicentino against Messer Gandolfo Sigonio Maria Rika Maniates 7 Theory as Polemic: Mutio Effrem's Censure . . . sopra il sesto libro de madrigali de Marco da Galiano Edmond Strainchamps 8 The Place of Aesthetics in Theoretical Treatises on Music Edward A. Lippman 9 Chromaticism in Classical Music James M. Baker 10 Momigny's Type de la Musique and a Treatise in the Making Ian Bent 11 Normality and Disruption in Beethoven's Bagatelle Op. 119, No. 8 Christopher Hatch 12 Coda as Culmination: The First Movement of the "Eroica" Symphony Robert P. Morgan 13 Symmetry and Symmetrical Inversion in Turn-of-the-Century Theory and Practice David W. Bernstein 14 Schoenberg and Goethe: Organicism and Analysis Severine Neff 15 The Contrapuntal Combination: Schoenberg's Old Hat P. Murray Dineen 16 The "New Education" and Music Theory, 1900-1925 Lee A. Rothfarb 17 Harmony as a Determinant of Structure in Webern's Variations for Orchestra Graham H. Phipps 18 "The Fantasy Can Be Critically Examined": Composition and Theory in the Thought of Stefan Wolpe Austin Clarkson 19 The Traditions Revisited: Stravinsky's Requiem Canticles as Russian Music Richard Taruskin

About the Author

David Berstein is an associate professor of music and dean of Fine Arts at Mills College. Before his retirement in 1992. Christopher Hatch taught music for almost 40 years at Columbia University.