Wie wissenschaftlich muss Musiktheorie sein?. Chancen und Herausforderungen musikalischer Korpusforschung by Markus Neuwirth, Martin Rohrmeier

Subjects: “…statistical-quantitative methods of music analysis…”
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Defensive Discourse in Writing about Music by Fred Everett Maus

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Kann Musiktheorie ›historisch‹ sein? by Jan Philipp Sprick

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Music Theory: Speculation, Reasoning, Experience. A Perspective from Systematic Musicology by Albrecht Schneider

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Using Linear Mixed-Effects Models to Analyze Historical Trends in Performance Strategies . Commentary on Majid Motavasseli’s Article “Interpretation of Cyclic Form in Bach’s ‘Goldb... by Bruno Gingras

Subjects: “…statistical-quantitative methods of music analysis…”
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Werkbetrachtung und Analyse im Musikunterricht by Johannes M. Walter

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DIE LISZTSCHE IRONIE IN DER SCHILDERUNG DES „MEPHISTOPHELISCHEN“ IM DRITTEN TEIL DER „FAUST-SYMPHONIE“ by Miklós FEKETE

“… The third part (Mephistopheles) of the Faust-Symphony by Liszt brings the transformation and the caricature of the first part (Faust), and hereby the undisguised musical portrayal of the ugliness and the maliciousness, as two of the fundamental ethic and aesthetic (negative) values of the Romanticism. The musical analysis intends to identify and exemplify the most important lisztian procedures, through which the thematic material presented in the musical discourse of the Faust part will be mocked and distorted by the Mephistophelian character. …”
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Delphi in Schwarz und Weiß.. Bilder der Antike in Claude Debussys Klaviermusik by Tihomir Popović

“…The prelude »Danseuse de Delphes« and two movements of the Six épigraphes antiques are especially focused. A musical analysis of these pieces is followed by a discourse analytic contextualization. …”
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Schnittstellen zwischen performance und Analyse von Popmusik. Performative Produktionsprozesse in Pink Floyds Album Wish You Were Here und Jordan Rudessʼ Coverversion von Genesisʼ... by Hubertus Dreyer, Pascal Horn

“…The present article examines possible ‘interfaces’ between the analysis of performance and musical analysis of pop music. On the one hand, by studying production processes in pop music we gain insight into the aesthetical and musical concepts of the artists, which can in turn inform the musical analysis. …”
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DER MUSIKALISCHE SPRACHE DES KOMPONISTEN PIERRE VILLETTE IN DEN „A CAPPELLA MOTETTEN HYMNE A LA VIERGE (OP. 24) UND PANIS ANGELICUS (OP. 80)“ by Miklós FEKETE

“…Secondly, this writing focuses on the choral music of the composer, presenting the result of the analysis of the two chosen a cappella motets mentioned in the title (written by Villette in two different periods of his creation). The musical analysis proposes to identify and exemplify a few procedures, compositional techniques of Villette, which – on the one hand – do define the structure, the melodic and harmonic aspects of the musical discourse, and – on the other hand – aim to express the religious belief of the composer. …”
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A study of two Chinese-style Clarinet Works Colors from China and Hommage to China from the Perspective of Cultural Holism by Congjie Zhao

“…This study selects two representative works - Colors from China and Hommage to China - from a series of recent Chinese-style clarinet works created by Italian composers Michele Mangani and Giuseppe Ricotta, and conducts detailed musical analysis of the two works from the perspective of Cultural Holism in order to present specific examples of innovative uses and combinations of Western and Chinese musical elements, thereby bringing about a clearer and deeper understanding of these works. …”
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Using d2d for Writing XML by Markus Lepper, Baltasar Trancón y Widemann

“…The textual structures of notes and publications in music theory and musical analysis bring challenging requirements: how to include music notation excerpts, graphics, and even combinations thereof into the typeset flow of paragraphs and the workflow, and how to integrate navigable references to these and to single domain entities into running text. …”
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Formfunktionen der Sonatenform. Ein Beitrag zur Sonatentheorie auf der Grundlage einer Kritik an William E. Caplins Verständnis von Formfunktionen by Ulrich Kaiser

“…Applying this critical view to the formal functions ›main theme‹, ›transition‹, ›subordinate theme‹, and ›closing section‹, an alternative concept for the musical analysis of sonata form is developed and illustrated with compositions from the second half of the eighteenth century and the early nineteenth century.…”
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Zygonic Theory: Introduction, Scope, and Prospects by Adam Ockelford

“…Hence the theory is potentially of value not only in theoretical terms (shown here in relation to the first movement of Mozart’s Piano Sonata K. 333), but metatheoretically too, as a tool to interrogate other systems of musical analysis (an example is provided in relation to Allan Forte’s ‘set-theoretical’ method). …”
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The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich by Twila Bakker, Pwyll ap Siôn

“…From this initial overview, the authors propose that one of the dangers intrinsic to sketch study—not saying anything particularly revealing about the musical work—can also be found in musical analysis. To combat this inherent weakness, the article advocates what William Kinderman has described as an “‘integrated approach’ whereby musical analysis takes guidance from sources” (2009, 7). …”
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Vom Satzmodell zum Modell by Ulrich Kaiser

“…Taking the idea of the ›Satzmodell‹ (compositional types and formulas as defined by Carl Dahlhaus) the following article develops a concept of musical models which meets the demands of empirical research in the field of musical analysis. In a first step, the possibilities and limitations of the concept of the ›Satzmodell‹ will be discussed. …”
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Hugo Kauders Skalentheorie in seinem Entwurf einer neuen Melodie- und Harmonielehre (1932), konkretisiert anhand einer Melodieanalyse seiner Kleinen Suite für Bratsche allein (1924... by Clara Maria Bauer

“…In addition to the text-based analysis the article offers a musical analysis of the melodic concepts of the Kleine Suite für Bratsche allein (composed in 1924, published in 1926). …”
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Synchron und diachron. Zum Zusammenhang zwischen Kontrapunkt und Prozessualität in romantischer Formensprache by Ariane Jeßulat

“…‘Organic form’ is implicitly and explicitly used with metaphorical connotations that imply a preselection when applied to musical analysis. This goes hand in hand with a diffuse blending of the aesthetics of production and reception, as well as with an almost matter of course renunciation of contrapuntal techniques, typical of the Classic-Romantic Formenlehre, which could conflict with the illusion of spontaneous inspiration and natural processes. …”
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The Performance of Beethoven’s “Diabelli Variations”. Continuity, Discontinuity, Cyclic Integration, Irony by William Kinderman

“…Numerous performance recommendations emerge from the integrated consideration of historical documents, musical analysis, and aesthetic reflection. Since the subject concerned here is animate rather than inanimate, it is not well grasped from just an objectivist, factual perspective. …”
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Analyse des Werturteils – Analysen, wer urteilt?. ›Qualität‹ und Qualitätsmaßstäbe in der Musikforschung by Nina Noeske

“…Third, it outlines the connection between different standards of quality and musical analysis since the nineteenth century. Fourth, an examination of quality judgements about works by female composers highlights the standards applied. …”
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