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ROBERT P. MORGAN

ROBERT P. MORGAN ß Blackwell Publishing Ltd. 2005. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK REVIEW SYMPOSIUM inescapable difficulty that no one could do justice to the full range of its contents. I make no claim for the range of knowledge required to comment authoritatively on much of what is contained here. In general, I will refrain from judging entries as individual scholarly accomplishments, but focus rather on how, and how well, they contribute to the overall project. My comments are intended to give a sense of the volume as a whole: what it does and does not contain and what types of choice have been made. Finally, I will also comment on the historiographic aspects of the project. Organisation and Contents Christensen's long introduction, after a consideration of the etymology of the term `theory', offers an encapsulated account of the historical vagaries of its conceptions and reconceptions in relation to music. Christensen also notes the recent, somewhat surprising, establishment of the history of music theory as a central topic of scholarly interest, and acknowledges the influence of Dahlhaus (who probably had more to do with raising interest in the field than anyone else) on his own http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

ROBERT P. MORGAN

MORGAN, ROBERT P.
Music Analysis , Volume 24 (1‐2) – Mar 1, 2005
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Publisher
Wiley
Copyright
Copyright © 2005 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2005.00221.x
Publisher site
See Article on Publisher Site

Abstract

ß Blackwell Publishing Ltd. 2005. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK REVIEW SYMPOSIUM inescapable difficulty that no one could do justice to the full range of its contents. I make no claim for the range of knowledge required to comment authoritatively on much of what is contained here. In general, I will refrain from judging entries as individual scholarly accomplishments, but focus rather on how, and how well, they contribute to the overall project. My comments are intended to give a sense of the volume as a whole: what it does and does not contain and what types of choice have been made. Finally, I will also comment on the historiographic aspects of the project. Organisation and Contents Christensen's long introduction, after a consideration of the etymology of the term `theory', offers an encapsulated account of the historical vagaries of its conceptions and reconceptions in relation to music. Christensen also notes the recent, somewhat surprising, establishment of the history of music theory as a central topic of scholarly interest, and acknowledges the influence of Dahlhaus (who probably had more to do with raising interest in the field than anyone else) on his own

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Music Analysis – Wiley

Published: Mar 1, 2005

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