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To McClary, Genesis II not only exposes the destructive potential of this teleological norm, which she associates with the rule of sexuality by the phallus, but also suggests how the dominance of this rule within works and across history has resulted in the exclusion of other kinds of musical eroticism, including those more representative of the experiences of women. Yet as critics quoted, paraphrased, questioned, and appraised McClary's claims in their debate over how best to understand the cultural icon that is Beethoven's Ninth-and as more recent scholars have looked back on an iconic moment in the history of the discipline to reflect on the force of McClary's criticism-these writers seem on the whole to have overlooked (or at least underestimated) one key source, witness to both McClary's initial argument and the polemics that ensued. First Appearances In the Composers Forum version of \"Getting Down Off the Beanstalk,\" McClary highlights two sections of Beethoven's symphony as evoking sexual violence: After proposing this way of hearing the Ninth, McClary introduces Rich's poem, reprinting it in its entirety and describing it only as a \"remarkably similar reading\" to her own: A man in terror of impotence or infertility, not knowing the difference a man trying to tell something howling from the climacteric music of the entirely isolated soul yelling at Joy from the tunnel of the ego music without the ghost of another person in it, music trying to tell something the man does not want out, would keep if he could gagged and bound and flogged with chords of Joy where everything is silence and the beating of a bloody fist upon a splintered table (Rich 1973, 43) There are similarities between the two readings, certainly, but there are also differences.

This text offers a discussion and reappraisal of the historical impact of the Prussian historical school in general and of historicism in particular, epitomised in the works of Leopold von Ranke and Johann Gustav Droysen, on the historiography of music, as diagnosed by Carl Dahlhaus and Leo Treitler in Foundations of Music History and Music and Historical Imagination, with special focus on the distinction between historicism and Treitler’s “neopositivism”, its role and those of narrativity, aesthetics, and the work concept in music historiography.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? InMozart's Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

Alban Berg and His World is a collection of essays and source material that repositions Berg as the pivotal figure of Viennese musical modernism. His allegiance to the austere rigor of Arnold Schoenberg's musical revolution was balanced by a lifelong devotion to the warm sensuousness of Viennese musical tradition and a love of lyric utterance, the emotional intensity of opera, and the expressive nuance of late-Romantic tonal practice.

Summarizes some aspects of four well-known essays in the filed of music analysis and music criticism--two by Anthony Newcomb, one each by Edward T. Cone and Leo Treitler--and examines the consequences these essays might have for the philosophy of music.

Bosi considers recent research about modality and polyphony especially concerning the music of 15th century composer Guillaume Dufay or Josquin des Prez or 14th century Guillaume de Machaut and suggests what is difficult in understanding such modern studies about polyphony and modality. Those researchers (and their research) he investigates include Leo Treitler, Bernhard Meier, Harold Powers, Cristle Collins Judd, Leeman L. Perkins, Graeme M. Boone, Sarah Fuller, Christian Berger and Daniel Leech-Wilkinson.

With voice and pen: Coming to know medieval song and how it was made by Leo Treitler is reviewed.

A collection of essays by Treitler, arguably the most influential North American musicologist of the late 20th century on the Middle Ages, is reviewed (Oxford University Press, 2003).

Reviews a collection (W. W. Norton, 1998, 1552p, $75.00) of source documents on music from throughout history. Reports the work is both a revision of and tribute to Oliver Strunk's 1950 volume of the same title.

Treitler's tome on the oral and written transmission of chant is reviewed (Oxford U Press, 2003).