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Publisher: Cambridge University Press
Languages: English
Types: Article
Subjects: ML
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    • 244 Reviews
    • 1 See Douglas Johnson, 'Beethoven Scholars and Beethoven's Sketches', 19th-Century Music 2/1 (1978-9), 3-17, and responses in the same volume, 270-79.
    • 2 See Dai Griffiths, Review of A. C. Schreffler, Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl (1994), Music Analysis 16/1 (1997), 144-54.
    • 3 For an excellent summary of sketch study issues, together with an outline of Kerman's broader vision for their use see Joseph Kerman, 'Viewpoint: Sketch Studies', 19th-Century Music 6/2 (1982), 174-80.
    • 4 Alain Frogley, Vaughan Williams's Ninth Symphony (Oxford: Oxford University Press, 2002), 2. However, Frogley resists hermeneutic endeavour for the most part until the final chapter of his book.
    • 9 Elliott Carter, in Jonathan Bernard, 'An Interview with Elliott Carter', Perspectives of New Music 28/2 (1990), 205.
    • 10 This was edited and published by Nicholas Hopkins and John F. Link in 2002; Elliott Carter, Harmony Book (New York: Carl Fischer, 2002).
    • 11 See, for example, Martin Scherzinger, 'Remarks on a Sketch of Gy├Ârgy Ligeti: a Case of African Pianism', Mitteilungen der Paul Sacher Stiftung 20 (2007), 32-7.
    • 12 See Richard Taruskin, 'Russian Folk Melodies in The Rite of Spring', Journal of the American Musicological Society 33/3 (1980), 501-43, especially 512. Taruskin drew directly on Lawrence Morton's sketch study, 'Footnotes to Stravinsky Studies: Le Sacre du Printemps', Tempo 128 (1979), 9-16, which presented the first evidence of Stravinsky's use of folk sources in The Rite. See also David J. Code, 'The Synthesis of Rhythms: Form, Ideology and the Augurs of Spring', Journal of Musicology 24/1 (2007), 112-66.
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