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Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic Essays; Studies in Music with Text

Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic... I begin with Joseph Dubiel’s blurb for Oxford’s reprints of GMIT and MFAT.1 Dubiel writes that Lewin’s books resulted in a shift in the discipline’s conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin’s intellectual probity, his intense concern with every construction’s relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. I would like to take Dubiel’s idea of a “renewed encounter” with Lewin’s writing as the guiding image for this essay. The locution may at first seem surprising since there is hardly any body of recent music theory that has been read and reread (i.e., repeatedly “encountered”) as much as Lewin’s. And yet the idea is apt. Lewin is that rare thinker who can be at once familiar and ever new, able to surprise and astonish even in the passages one has read most often. 1 The three volumes are hereafter referred to as GMIT (Generalized http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic Essays; Studies in Music with Text

Journal of Music Theory , Volume 50 (1) – Jan 1, 2006

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Publisher
Duke University Press
Copyright
Copyright 2006 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2008-010
Publisher site
See Article on Publisher Site

Abstract

I begin with Joseph Dubiel’s blurb for Oxford’s reprints of GMIT and MFAT.1 Dubiel writes that Lewin’s books resulted in a shift in the discipline’s conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin’s intellectual probity, his intense concern with every construction’s relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. I would like to take Dubiel’s idea of a “renewed encounter” with Lewin’s writing as the guiding image for this essay. The locution may at first seem surprising since there is hardly any body of recent music theory that has been read and reread (i.e., repeatedly “encountered”) as much as Lewin’s. And yet the idea is apt. Lewin is that rare thinker who can be at once familiar and ever new, able to surprise and astonish even in the passages one has read most often. 1 The three volumes are hereafter referred to as GMIT (Generalized

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2006

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