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Brian Moseley

Music theorist at the University at Buffalo.

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Concentrating primarily on the most important strands of rhythmic and metric theory and analysis, this week also focuses on the music of Haydn and Mozart—-with a brief foray into Robert Schumann’s instrumental music. These two strands find their source in Lerdahl and Jackendoff’s A Generative Theory of Tonal Music and William Rothstein’s Phrase Rhythm in Tonal Music.

Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music. (Cambridge, MA: MIT Press, 1983), 12–35, 68–96, 347-48

William Rothstein, Phrase Rhythm in Tonal Music (New York: Schirmer, 1989), 3–15, 43–93.

Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (New York: Oxford University Press, 1999), 22–61.

Danuta Mirka, Metric Manipulations in Haydn and Mozart. (New York, NY: Oxford University Press, 2009), 1-30; 254-74.