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David Lewin

January 01, 1970

David Benjamin Lewin (July 2, 1933 – May 5, 2003) was an American music theorist, music critic and composer. Called "the most original and far-ranging theorist of his generation",[1] he did his most influential theoretical work on the development of transformational theory, which involves the application of mathematical group theory to music.

Biography edit

Lewin was born in New York City and studied piano from a young age and was for a time a pupil of Eduard Steuermann. He graduated from Harvard in 1954 with a degree in mathematics. Lewin then studied theory and composition with Roger Sessions, Milton Babbitt, Edward T. Cone, and Earl Kim at Princeton University, earning an M.F.A. in 1958. He returned to Harvard as a Junior Fellow in the Harvard Society of Fellows from 1958 to 1961. After holding teaching positions at the University of California, Berkeley (1961–67), the State University of New York at Stony Brook (1967–79), and Yale University (1979–85), he returned to Harvard as the Walter W. Naumburg Professor of Music in 1985. Lewin was a Guggenheim Foundation Fellowship grantee in 1983–84, served as the president of the Society for Music Theory from 1985 to 1988 and was a member of the American Academy of Arts and Sciences. He received honorary doctoral degrees from the University of Chicago in 1995, from the New England Conservatory of Music in 2000, and posthumously from Université Marc Bloch de Strasbourg, France, in 2006.

Composition edit

While Lewin is primarily known as a theorist, he was also an active composer who wrote works for a wide range of forces, from solo voice to full orchestra. In 1961, he became the first professional musician to compose a computer-generated piece at Bell Laboratories.[1]

Criticism edit

Lewin's theoretical work may best be understood against his background in 1950/60s avant-garde compositional circles on the North American East Coast. Most of those composers, such as Benjamin Boretz, Edward T. Cone, and Milton Babbitt, were also music critics and theorists/analysts. During the late 1970s, Lewin's work in this area became more explicitly concerned with issues in literary theory; he published articles in 19th-Century Music. Studies in Music with Text, published posthumously, demonstrates Lewin's concerns in this area while also synthesizing his critical/theoretical methods.

Theory edit

David Lewin's work in music theory was both influential and eclectic. Broadly, his writings can be divided into three overlapping groups: formal or mathematically based theory, more interpretive writing on the interaction of music and text, and metatheoretical discussions on the methodology and purpose of contemporary music theory.[2]

The first group includes his innovations in transformational theory, as expressed in numerous articles and in his treatise Generalized Musical Intervals and Transformations. In this work, Lewin applied group theory to music, investigating the basic concepts, interval and transposition, and extending them beyond their traditional application to pitch. Based on a powerful metaphor of musical space, this theory can be applied to pitch, rhythm and metre, or even timbre. Moreover, it can be applied to both tonal and atonal repertories.[3]

Lewin's writing on the relationship between text and music in song and opera involves composers from Mozart and Wagner, to Schoenberg and Babbitt. In one interesting example, "Music Analysis as Stage Direction", he discusses how structural aspects of the music can suggest dramatic interpretations.

Important writings for the discipline of music theory include "Behind the Beyond" (1968–69), a response to Edward T. Cone, and "Music Theory, Phenomenology, and Modes of Perception" (1986). Lewin also undertakes considerable methodological and disciplinary reflection in writings that are chiefly oriented around other claims. This aspect of Lewin's intellectual style is evident as early as "A Theory of Segmental Association in Twelve-Tone Music" (1962).

Lewin often makes clear which dense sections can be skipped by readers unfamiliar with mathematics, and connects his abstract theory to practical musical considerations, such as performance and music perception. For example, in Musical Form and Transformation: Four Analytic Essays, Lewin provides ear-training exercises to develop an ability to hear more difficult musical relationships. Posthumously, in 2003, a symposium on David Lewin's theories was conducted at the Mannes Institute for Advanced Studies in Music Theory. Lewin's papers are now held at the Library of Congress.

Publications edit

  • "Re Intervallic Relations Between Two Collections of Notes." Journal of Music Theory 3/2 (1959): 298–301.
  • "The Intervallic Content of a Collection of Notes, Intervallic Relations between a Collection of Notes and its Complement: an Application to Schoenberg's Hexachordal Pieces." Journal of Music Theory 4/1 (1960): 98–101.
  • "A Metrical Problem in Webern's Op. 27." Journal of Music Theory 6/1 (1962): 125–132.
  • "A Theory of Segmental Association in Twelve-Tone Music." Perspectives of New Music 1/1 (Fall 1962): 89–116.
  • "Berkeley. Arnold Elston Quartet. Seymour Shifrin Quartet No. 2." Review in Perspectives of New Music 2/2 (Fall–Winter 1964): 169–175.
  • "Communication on the Invertibility of the Hexachord." Perspectives of New Music 4/1 (Fall–Winter 1965): 182–186.
  • "Is it Music?" Proceedings, First Annual Conference of the American Society of University Composers (1966): 50–53, on computer music.
  • "Congruence-Invariant Measures in Uniform Spaces." Transactions of the American Mathematical Society 124/3 (1966): 50–53.
  • "On Certain Techniques of Re-Ordering in Serial Music." Journal of Music Theory 10/2 (1966): 276–287.
  • "A Study of Hexachord Levels in Schoenberg's Violin Fantasy." Perspectives of New Music 6/1 (Fall–Winter 1967): 18–32.
  • "Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene I." Perspectives of New Music 6/1 (Fall–Winter1967): 18–32; reprinted in The Garland Library of the History of Western Music, ed. E. Rosand, 12 (New York, 1965): 327–343.
  • "Inversional Balance as an Organizing Force in Schoenberg's Music and Thought." Perspectives of New Music: 6/2 (Spring–Summer 1968): 1–21.
  • "Some Applications of Communication Theory to the Study of Twelve-Tone Music." Journal of Music Theory, 12 (1968): 50–84.
  • "Some Musical Jokes in Mozart's Le Nozze di Figaro." In Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, 443–447; reprinted in "Figaro's Mistakes". Current Musicology, no. 57 (1995), 45–60; reprinted in Studies in Music with Text,[full citation needed]. Oxford and New York: Oxford University Press, 2006.
  • "Behind the Beyond: A Response to Edward T. Cone". Perspectives of New Music 7/2 (Spring–Summer 1969), 59–69.
  • "Toward the Analysis of a Schoenberg Song—Op. 15 No. 1", Perspectives of New Music 12/1–2 (Fall–Winter 1973/Spring–Summer 1974), 43–86.
  • "On Partial Ordering", Perspectives of New Music 14/2–15/1 (Spring–Summer/Fall–Winter 1976), 252–257.
  • "On the Interval Content of Invertible Hexachords", Journal of Music Theory 20/2 (1976), 185–188.
  • "A Label-Free Development for 12-PC Systems", Journal of Music Theory 21/1 (1977), 29–48.
  • "Some Notes on Schoenberg's Op. 11", In Theory Only 3/1 (1977), 3–7.
  • "Forte's Interval Vector, My Interval Function, and Regener's Common-Note Function", Journal of Music Theory, 21 (1977), 194–237.
  • "A Communication on Some Combinational Problems". Perspectives of New Music 16/2 (Spring–Summer 1978), 251–254.
  • "Two Interesting Passages in Rameau's Traité de l'harmonie". In Theory Only 4/3 (1978), 3-11.
  • "A Response to a Response On PCSet Relatedness". Perspectives of New Music 18/1-2 (Fall–Winter 1979/Spring–Summer 1980), 498–502.
  • "On Generalized Intervals and Transformations". Journal of Music Theory 24/2 (1980), 243–251.
  • "Some New Constructs Involving Abstract PCSets, and Probabilistic Applications". Perspectives of New Music 18/1–2 (Fall–Winter 1979/Spring–Summer 1980), 433–444.
  • "Some Investigations into Foreground Rhythmic and Metric Patterning". In Music Theory: Special Topics, edited by Richmond Browne, 101–137. New York: Academic Press, 1981.
  • "On Harmony and Meter in Brahms's Op. 76 No. 8". 19th-Century Music 4/3 (1981), 261–265.
  • "A Way into Schoenberg's Opus 15, Number 7". In Theory Only 6/1 (1981) 3–24.
  • "Comment: "On Joel Lester, 'Simultaneity Structures and Harmonic Functions in Tonal Music', In Theory Only 5/5: 3–28, and Marion Guck, 'Musical images as Musical Thoughts: The Contribution of Metaphor to Analysis', In Theory Only 5/5: 29–42". In Theory Only 5/8 (1981) 12–14.
  • "Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Hauptstimme". In Theory Only, 6/4 (1982), 12–36.
  • "A Formal Theory of Generalized Tonal Functions". Journal of Music Theory 26 (1982), 23–60.
  • "An Example of Serial Technique in Early Webern". Theory and Practice 7/1 (1982) 40–43.
  • "On Extended Z-triples", Theory and Practice. 7/1 (1982) 38–39.
  • "Auf dem Flusse: Image and Background in a Schubert Song", 19th-Century Music 6 (1982–3), 47–59; revised as Auf dem Flusse ... Schubert: Critical and Analytical Studies, edited by W. Frisch, 126–152. Lincoln: University of Nebraska Press, 1986.
  • "Transformational Techniques in Atonal and Other Music Theories", Perspectives of New Music 21 (Fall–Winter 1982/Spring–Summer 1983), 312–371.
  • "Brahms, His Past, and Modes of Music Theory", Brahms Studies: Washington DC 1983, 13–27.
  • "An Interesting Global Rule for Species Counterpoint". In Theory Only 6/8 (1983), 19–44.
  • "Amfortas's Prayer to Titurel and the role of D in Parsifal: the Tonal Spaces of the Drama and the Enharmonic C♭/B", 19th-Century Music 7 (1983–84), 336–349.
  • "Studying with Roger", Perspectives of New Music 23/2 (1982–83), 152–154.
  • "On Formal Intervals between Time-Spans". Music Perception 1/4 (1984), 414–423
  • "On Ellwood Derr's 'Deeper Examination of Mozart's 1-2-4-3 Theme.'" In Theory Only 8/6 (1985), 3.
  • Generalized Musical Intervals and Transformations. New Haven, CT, and London: Yale University Press, 1987. Reprinted, Oxford and New York: Oxford University Press, 2007.
  • "On the 'ninth-chord in fourth inversion' from Verklärte Nacht", Journal of the Arnold Schoenberg Institute, 10/1 (1987) 45–64.
  • "Concerning the inspired revelation of F. J. Fétis", Theoria 2 (1987) 1–12.
  • "Some Instances of Parallel Voice-Leading in Debussy", 19th-Century Music 11 (1987–88), 59–72.
  • "Klumpenhouwer Networks and Some Isographies That Involve Them", Music Theory Spectrum 12 (1990), 83–120.
  • "Musical Analysis as Stage Direction", Music and Text: Critical Inquiries, ed. S. P. Scher (Cambridge, 1992), 163–176.
  • "Women's Voices and the Fundamental Bass", Journal of Musicology 10 (1992), 464–482.
  • "Some Notes on Analyzing Wagner: The Ring and Parsifal", 19th-Century Music 16 (1992–93), 49–58.
  • "A Metrical Problem in Webern's Op. 27", Music Analysis 12 (1993), 343–354.
  • Musical Form and Transformation: Four Analytic Essays New Haven, Connecticut, and London: Yale University Press, 1993; reprinted, Oxford and New York: Oxford University Press, 2007.
  • "A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg's Opus 11 No.2", Journal of Music Theory 38 (1994), 79–101.
  • "Comment on John Roeder's article", Music Theory Online 0/6 (1994).
  • "Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio", Music Theory Spectrum 17 (1995), 81–118.
  • "Cohn Functions", Journal of Music Theory 40 (1996), 181–216.
  • "Some Notes on Pierrot Lunaire". In Music Theory in Concept and Practice, ed. J. M. Baker, David W. Beach, and Jonathan W. Bernard. University of Rochester Press 1997, 433–457.
  • "Conditions Under Which, in a Commutative GIS, Two 3-Element Sets Can Span the Same Assortment of GIS-Intervals; Notes on the Non-Commutative GIS in This Connection", Integral 11 (1997) 37–66
  • "The D major Fugue Subject from WTCII: Spatial Saturation?", Music Theory Online 4/4 (1998).
  • "Some Notes on the Opening of the F♯ Fugue from WTCI", Journal of Music Theory, 42/2 (1998), 235–239.
  • "Some Ideas about Voice-Leading Between PCSETS", Journal of Music Theory, 42/1 (1998), 15–72.
  • "All Possible GZ-Related 4-Element Pairs of Sets, in All Possible Commutative Groups, Found and Categorized", Integral 14–15 (2000–2001) 77–120.
  • "Special Cases of the Interval Function Between Pitch-Class Sets X and Y", Journal of Music Theory, 42/2 (2001), 1–29.
  • "Thoughts on Klumpenhouwer Networks and Perle-Lansky Cycles", Music Theory Spectrum, 45/1 (2002), 196–230.
  • "The Form of Rhythm, the Rhythm of Form." In The Philosophical Horizon of Composition in the Twentieth Century, ed. Gianmario Borio. Venice: Fondazione Ugo e Olga Levi, 2003.
  • "Some Compositional Uses of Projected Geometry", Perspectives of New Music, 42/2 (Summer 2004), 12–65.
  • "Some Theoretical Thoughts about Aspects of Harmony in Mahler's Symphonies." In Music and the Aesthetics of Modernity: Essays, ed. Karol Berger, and Anthony Newcomb. Cambridge: Harvard University Press, 2005.
  • "Studies in Music and Text". New York: Oxford University Press, 2006.

See also edit

References edit

  1. ^ a b Cohn 2001.
  2. ^ E.g. Lewin 1986 and Lewin 1991.
  3. ^ Rings 2011, p. 2.

Sources

  • Cohn, Richard (2001). "Lewin, David". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. ISBN 9780195170672.
  • Lewin, David (1986). "Music Theory, Phenomenology, and Modes of Perception". Music Perception. 3: 327–392. doi:10.2307/40285344. JSTOR 40285344.
  • Lewin, David (1991). "Some Problems and Resources of Music Theory". Journal of Music Theory Pedagogy. 5 (2): 111–132.
  • Rings, Steven (2011). Tonality and Transformation. New York: Oxford University Press.

Further reading edit

  • Bard-Schwartz, David, and Richard Cohn (eds.). 2015. David Lewin's "Morgengruß": Text, Context, Commentary. Oxford and New York: Oxford University Press. ISBN 978-0-19-984478-4.
  • Cohn, Richard. "David Lewin", Grove Music Online, edited by Laura Macy (Accessed March 6, 2006).
  • Gewertz, Ken. 15 May 2003. "Composer, Music Theorist, David Lewin Dies at 69". The Harvard Gazette.
  • Klumpenhouwer, Henry. 2006. "In Order to Stay Asleep as Observers: The Nature and Origins of Anti-Cartesianism in Lewin's Generalized Musical Intervals and Transformations". Music Theory Spectrum 28, no. 2:277–289
  • Nolan, Catherine. 2002. "Music Theory and Mathematics". In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 272–304. Cambridge: Cambridge University Press.
  • Quinn, Ian. 2004. A Unified Theory of Chord Qualities in Equal Temperament. Ph. D. diss. Rochester: Eastman School of Music, University of Rochester.
  • Rothstein, Edward. 28 June 2003. "A Seeker of Music's Poetry in the Mathematical Realm," The New York Times.
  • Satyendra, Ramon. 2004. "An Informal Introduction to Some Formal Concepts from Lewin's Transformational Theory." Journal of Music Theory 48, no. 1:99–141

External links edit

January 01, 1970
david, lewin, david, benjamin, lewin, july, 1933, 2003, american, music, theorist, music, critic, composer, called, most, original, ranging, theorist, generation, most, influential, theoretical, work, development, transformational, theory, which, involves, app. David Benjamin Lewin July 2 1933 May 5 2003 was an American music theorist music critic and composer Called the most original and far ranging theorist of his generation 1 he did his most influential theoretical work on the development of transformational theory which involves the application of mathematical group theory to music Contents 1 Biography 2 Composition 3 Criticism 4 Theory 5 Publications 6 See also 7 References 8 Further reading 9 External linksBiography editLewin was born in New York City and studied piano from a young age and was for a time a pupil of Eduard Steuermann He graduated from Harvard in 1954 with a degree in mathematics Lewin then studied theory and composition with Roger Sessions Milton Babbitt Edward T Cone and Earl Kim at Princeton University earning an M F A in 1958 He returned to Harvard as a Junior Fellow in the Harvard Society of Fellows from 1958 to 1961 After holding teaching positions at the University of California Berkeley 1961 67 the State University of New York at Stony Brook 1967 79 and Yale University 1979 85 he returned to Harvard as the Walter W Naumburg Professor of Music in 1985 Lewin was a Guggenheim Foundation Fellowship grantee in 1983 84 served as the president of the Society for Music Theory from 1985 to 1988 and was a member of the American Academy of Arts and Sciences He received honorary doctoral degrees from the University of Chicago in 1995 from the New England Conservatory of Music in 2000 and posthumously from Universite Marc Bloch de Strasbourg France in 2006 Composition editWhile Lewin is primarily known as a theorist he was also an active composer who wrote works for a wide range of forces from solo voice to full orchestra In 1961 he became the first professional musician to compose a computer generated piece at Bell Laboratories 1 Criticism editLewin s theoretical work may best be understood against his background in 1950 60s avant garde compositional circles on the North American East Coast Most of those composers such as Benjamin Boretz Edward T Cone and Milton Babbitt were also music critics and theorists analysts During the late 1970s Lewin s work in this area became more explicitly concerned with issues in literary theory he published articles in 19th Century Music Studies in Music with Text published posthumously demonstrates Lewin s concerns in this area while also synthesizing his critical theoretical methods Theory editDavid Lewin s work in music theory was both influential and eclectic Broadly his writings can be divided into three overlapping groups formal or mathematically based theory more interpretive writing on the interaction of music and text and metatheoretical discussions on the methodology and purpose of contemporary music theory 2 The first group includes his innovations in transformational theory as expressed in numerous articles and in his treatise Generalized Musical Intervals and Transformations In this work Lewin applied group theory to music investigating the basic concepts interval and transposition and extending them beyond their traditional application to pitch Based on a powerful metaphor of musical space this theory can be applied to pitch rhythm and metre or even timbre Moreover it can be applied to both tonal and atonal repertories 3 Lewin s writing on the relationship between text and music in song and opera involves composers from Mozart and Wagner to Schoenberg and Babbitt In one interesting example Music Analysis as Stage Direction he discusses how structural aspects of the music can suggest dramatic interpretations Important writings for the discipline of music theory include Behind the Beyond 1968 69 a response to Edward T Cone and Music Theory Phenomenology and Modes of Perception 1986 Lewin also undertakes considerable methodological and disciplinary reflection in writings that are chiefly oriented around other claims This aspect of Lewin s intellectual style is evident as early as A Theory of Segmental Association in Twelve Tone Music 1962 Lewin often makes clear which dense sections can be skipped by readers unfamiliar with mathematics and connects his abstract theory to practical musical considerations such as performance and music perception For example in Musical Form and Transformation Four Analytic Essays Lewin provides ear training exercises to develop an ability to hear more difficult musical relationships Posthumously in 2003 a symposium on David Lewin s theories was conducted at the Mannes Institute for Advanced Studies in Music Theory Lewin s papers are now held at the Library of Congress Publications edit Re Intervallic Relations Between Two Collections of Notes Journal of Music Theory 3 2 1959 298 301 The Intervallic Content of a Collection of Notes Intervallic Relations between a Collection of Notes and its Complement an Application to Schoenberg s Hexachordal Pieces Journal of Music Theory 4 1 1960 98 101 A Metrical Problem in Webern s Op 27 Journal of Music Theory 6 1 1962 125 132 A Theory of Segmental Association in Twelve Tone Music Perspectives of New Music 1 1 Fall 1962 89 116 Berkeley Arnold Elston Quartet Seymour Shifrin Quartet No 2 Review in Perspectives of New Music 2 2 Fall Winter 1964 169 175 Communication on the Invertibility of the Hexachord Perspectives of New Music 4 1 Fall Winter 1965 182 186 Is it Music Proceedings First Annual Conference of the American Society of University Composers 1966 50 53 on computer music Congruence Invariant Measures in Uniform Spaces Transactions of the American Mathematical Society 124 3 1966 50 53 On Certain Techniques of Re Ordering in Serial Music Journal of Music Theory 10 2 1966 276 287 A Study of Hexachord Levels in Schoenberg s Violin Fantasy Perspectives of New Music 6 1 Fall Winter 1967 18 32 Moses und Aron Some General Remarks and Analytic Notes for Act I Scene I Perspectives of New Music 6 1 Fall Winter1967 18 32 reprinted in The Garland Library of the History of Western Music ed E Rosand 12 New York 1965 327 343 Inversional Balance as an Organizing Force in Schoenberg s Music and Thought Perspectives of New Music 6 2 Spring Summer 1968 1 21 Some Applications of Communication Theory to the Study of Twelve Tone Music Journal of Music Theory 12 1968 50 84 Some Musical Jokes in Mozart s Le Nozze di Figaro In Studies in Music History Essays for Oliver Strunk edited by Harold Powers 443 447 reprinted in Figaro s Mistakes Current Musicology no 57 1995 45 60 reprinted in Studies in Music with Text full citation needed Oxford and New York Oxford University Press 2006 Behind the Beyond A Response to Edward T Cone Perspectives of New Music 7 2 Spring Summer 1969 59 69 Toward the Analysis of a Schoenberg Song Op 15 No 1 Perspectives of New Music 12 1 2 Fall Winter 1973 Spring Summer 1974 43 86 On Partial Ordering Perspectives of New Music 14 2 15 1 Spring Summer Fall Winter 1976 252 257 On the Interval Content of Invertible Hexachords Journal of Music Theory 20 2 1976 185 188 A Label Free Development for 12 PC Systems Journal of Music Theory 21 1 1977 29 48 Some Notes on Schoenberg s Op 11 In Theory Only 3 1 1977 3 7 Forte s Interval Vector My Interval Function and Regener s Common Note Function Journal of Music Theory 21 1977 194 237 A Communication on Some Combinational Problems Perspectives of New Music 16 2 Spring Summer 1978 251 254 Two Interesting Passages in Rameau s Traite de l harmonie In Theory Only 4 3 1978 3 11 A Response to a Response On PCSet Relatedness Perspectives of New Music 18 1 2 Fall Winter 1979 Spring Summer 1980 498 502 On Generalized Intervals and Transformations Journal of Music Theory 24 2 1980 243 251 Some New Constructs Involving Abstract PCSets and Probabilistic Applications Perspectives of New Music 18 1 2 Fall Winter 1979 Spring Summer 1980 433 444 Some Investigations into Foreground Rhythmic and Metric Patterning In Music Theory Special Topics edited by Richmond Browne 101 137 New York Academic Press 1981 On Harmony and Meter in Brahms s Op 76 No 8 19th Century Music 4 3 1981 261 265 A Way into Schoenberg s Opus 15 Number 7 In Theory Only 6 1 1981 3 24 Comment On Joel Lester Simultaneity Structures and Harmonic Functions in Tonal Music In Theory Only 5 5 3 28 and Marion Guck Musical images as Musical Thoughts The Contribution of Metaphor to Analysis In Theory Only 5 5 29 42 In Theory Only 5 8 1981 12 14 Vocal Meter in Schoenberg s Atonal Music with a Note on a Serial Hauptstimme In Theory Only 6 4 1982 12 36 A Formal Theory of Generalized Tonal Functions Journal of Music Theory 26 1982 23 60 An Example of Serial Technique in Early Webern Theory and Practice 7 1 1982 40 43 On Extended Z triples Theory and Practice 7 1 1982 38 39 Auf dem Flusse Image and Background in a Schubert Song 19th Century Music 6 1982 3 47 59 revised as Auf dem Flusse Schubert Critical and Analytical Studies edited by W Frisch 126 152 Lincoln University of Nebraska Press 1986 Transformational Techniques in Atonal and Other Music Theories Perspectives of New Music 21 Fall Winter 1982 Spring Summer 1983 312 371 Brahms His Past and Modes of Music Theory Brahms Studies Washington DC 1983 13 27 An Interesting Global Rule for Species Counterpoint In Theory Only 6 8 1983 19 44 Amfortas s Prayer to Titurel and the role of D in Parsifal the Tonal Spaces of the Drama and the Enharmonic C B 19th Century Music 7 1983 84 336 349 Studying with Roger Perspectives of New Music 23 2 1982 83 152 154 On Formal Intervals between Time Spans Music Perception 1 4 1984 414 423 On Ellwood Derr s Deeper Examination of Mozart s 1 2 4 3 Theme In Theory Only 8 6 1985 3 Generalized Musical Intervals and Transformations New Haven CT and London Yale University Press 1987 Reprinted Oxford and New York Oxford University Press 2007 On the ninth chord in fourth inversion from Verklarte Nacht Journal of the Arnold Schoenberg Institute 10 1 1987 45 64 Concerning the inspired revelation of F J Fetis Theoria 2 1987 1 12 Some Instances of Parallel Voice Leading in Debussy 19th Century Music 11 1987 88 59 72 Klumpenhouwer Networks and Some Isographies That Involve Them Music Theory Spectrum 12 1990 83 120 Musical Analysis as Stage Direction Music and Text Critical Inquiries ed S P Scher Cambridge 1992 163 176 Women s Voices and the Fundamental Bass Journal of Musicology 10 1992 464 482 Some Notes on Analyzing Wagner The Ring and Parsifal 19th Century Music 16 1992 93 49 58 A Metrical Problem in Webern s Op 27 Music Analysis 12 1993 343 354 Musical Form and Transformation Four Analytic Essays New Haven Connecticut and London Yale University Press 1993 reprinted Oxford and New York Oxford University Press 2007 A Tutorial on Klumpenhouwer Networks Using the Chorale in Schoenberg s Opus 11 No 2 Journal of Music Theory 38 1994 79 101 Comment on John Roeder s article Music Theory Online 0 6 1994 Generalized Interval Systems for Babbitt s Lists and for Schoenberg s String Trio Music Theory Spectrum 17 1995 81 118 Cohn Functions Journal of Music Theory 40 1996 181 216 Some Notes on Pierrot Lunaire In Music Theory in Concept and Practice ed J M Baker David W Beach and Jonathan W Bernard University of Rochester Press 1997 433 457 Conditions Under Which in a Commutative GIS Two 3 Element Sets Can Span the Same Assortment of GIS Intervals Notes on the Non Commutative GIS in This Connection Integral 11 1997 37 66 The D major Fugue Subject from WTCII Spatial Saturation Music Theory Online 4 4 1998 Some Notes on the Opening of the F Fugue from WTCI Journal of Music Theory 42 2 1998 235 239 Some Ideas about Voice Leading Between PCSETS Journal of Music Theory 42 1 1998 15 72 All Possible GZ Related 4 Element Pairs of Sets in All Possible Commutative Groups Found and Categorized Integral 14 15 2000 2001 77 120 Special Cases of the Interval Function Between Pitch Class Sets X and Y Journal of Music Theory 42 2 2001 1 29 Thoughts on Klumpenhouwer Networks and Perle Lansky Cycles Music Theory Spectrum 45 1 2002 196 230 The Form of Rhythm the Rhythm of Form In The Philosophical Horizon of Composition in the Twentieth Century ed Gianmario Borio Venice Fondazione Ugo e Olga Levi 2003 Some Compositional Uses of Projected Geometry Perspectives of New Music 42 2 Summer 2004 12 65 Some Theoretical Thoughts about Aspects of Harmony in Mahler s Symphonies In Music and the Aesthetics of Modernity Essays ed Karol Berger and Anthony Newcomb Cambridge Harvard University Press 2005 Studies in Music and Text New York Oxford University Press 2006 See also editTransformational theoryReferences edit a b Cohn 2001 E g Lewin 1986 and Lewin 1991 Rings 2011 p 2 Sources Cohn Richard 2001 Lewin David In Sadie Stanley Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan ISBN 9780195170672 Lewin David 1986 Music Theory Phenomenology and Modes of Perception Music Perception 3 327 392 doi 10 2307 40285344 JSTOR 40285344 Lewin David 1991 Some Problems and Resources of Music Theory Journal of Music Theory Pedagogy 5 2 111 132 Rings Steven 2011 Tonality and Transformation New York Oxford University Press Further reading editBard Schwartz David and Richard Cohn eds 2015 David Lewin s Morgengruss Text Context Commentary Oxford and New York Oxford University Press ISBN 978 0 19 984478 4 Cohn Richard David Lewin Grove Music Online edited by Laura Macy Accessed March 6 2006 Gewertz Ken 15 May 2003 Composer Music Theorist David Lewin Dies at 69 The Harvard Gazette Klumpenhouwer Henry 2006 In Order to Stay Asleep as Observers The Nature and Origins of Anti Cartesianism in Lewin s Generalized Musical Intervals and Transformations Music Theory Spectrum 28 no 2 277 289 Nolan Catherine 2002 Music Theory and Mathematics In The Cambridge History of Western Music Theory edited by Thomas Christensen 272 304 Cambridge Cambridge University Press Quinn Ian 2004 A Unified Theory of Chord Qualities in Equal Temperament Ph D diss Rochester Eastman School of Music University of Rochester Rothstein Edward 28 June 2003 A Seeker of Music s Poetry in the Mathematical Realm The New York Times Satyendra Ramon 2004 An Informal Introduction to Some Formal Concepts from Lewin s Transformational Theory Journal of Music Theory 48 no 1 99 141External links editObituary and Faculty Memorial permanent dead link The Harvard Gazette David Lewin papers 1945 2011 Music Division Library of Congress Professor David Lewin manuscript scores 1955 1991 at Isham Memorial Library Harvard University Portals nbsp Biography nbsp Classical music Retrieved from https en wikipedia org w index php title David Lewin amp oldid 1170603509, wikipedia, wiki, book, books, library,

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