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I begin with Joseph Dubielâs blurb for Oxfordâs reprints of GMIT and MFAT.1 Dubiel writes that Lewinâs books resulted in a shift in the disciplineâs 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 Lewinâs intellectual probity, his intense concern with every constructionâs 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 Dubielâs idea of a ârenewed encounterâ with Lewinâs 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 âencounteredâ) as much as Lewinâs. 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 of Music Theory – Duke University Press
Published: Jan 1, 2006
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