Heinrich Schenker as an Interpreter of Beethoven\u27s Piano Sonatas

There was a time when it seemed necessary for admirers of the work of Heinrich Schenker to remind the musical community periodically that it had grown out of a lifetime of practical musical experience—that is, that Der freie Satz did not represent a self-contained system of theoretical speculation. Schenker himself tried repeatedly throughout his career to impress this point upon his readers. In recent years, fortunately, this reminder—which had threatened to become merely ritualistic—has become somewhat less necessary. The change in Schenker\u27s reputation may, it seems, be dated precisely to 1975, when Dover Publications issued an inexpensive reprint of his landmark edition of the Beethoven piano sonatas. Since that time, increasing numbers of musicians have come to realize that Schenker was one of the founders of modern editorial practice. Those who have looked further have discovered, in addition, that he was an accomplished composer, a prolific critic, and an active performer (as a pianist and a vocal accompanist). That he was also the most influential theorist of this century is by now generally conceded, if not generally celebrated

Metrical Theory and Verdi\u27s Midcentury Operas

Both historical and recent theories of meter have tended to assume that meter is a single phenomenon, definable in a single (though perhaps complex) way. Most U.S. theories of meter have been based on a limited repertoire: instrumental music by German composers. Examination of Verdi\u27s mid-century operas, from Macbeth through La traviata (1846–53), suggests that different theoretical approaches may be appropriate for different repertoires. National traditions of composition, depending often on national poetic traditions, may require different ways of hearing and counting, and thus different ways of modeling meter. The metrical theories of Fred Lerdahl and Ray Jackendoff, David Temperley, and Christopher Hasty are found to have a German bias. Adjustments in theoretical assumptions, expressed as preference rules, are suggested to deal with Italian music of the mid-19th century and earlier

Like Falling off a Log: Rubato in Chopin\u27s Prelude in Ab Major (op. 28, no. 17)

Rubato is widely regarded as a purely intuitive art. While it may be true that most performers rely solely on intuition for their rubato, a conscious approach may also be helpful. For the teacher of “analysis for performers,” a conscious approach is essential if rubato is to be discussed at all. Rubato is a difficult subject to theorize. The late David Epstein made an admirable attempt in his book Shaping Time, using recordings by performers he admired to construct quantitative models. My approach here will be qualitative rather than quantitative, and introspective rather than empirical. Unlike Epstein, I will make no attempt to construct a general theory. Musicians in different times and places—even composers of the same generation, such as Chopin and Liszt—had distinctly different conceptions of rubato. One is probably justified, therefore, in approaching the idea of a general theory with caution

The Tristan Chord in Historical Context: A Response to John Rothgeb

John Rothgeb’s analysis of the “Tristan chord” engages a large intertextual network, stretching back to the Baroque and centering on recitative. Examples of a specific figure of recitative, usually associated with the asking of a question, are presented and analyzed. Examples include passages in Wagner\u27s operas before Tristan

The Annual Cycle of SST in the Eastern Tropical Pacific, Diagnosed in an Ocean GCM

The annual onset of the east Pacific cold tongue is diagnosed in an ocean GCM simulation of the tropical Pacific. The model uses a mixed-layer scheme that explicitly simulates the processes of vertical exchange of heat and momentum with the deeper layers of the ocean; comparison with observations of temperature and currents shows that many important aspects of the model fields are realistic. As previous studies have found, the heat balance in the eastern tropical Pacific is notoriously complicated, and virtually every term in the balance plays a significant role at one time or another. However, despite many complications, the three-dimensional ocean advection terms in the cold tongue region tend to cancel each other in the annual cycle and, to first order, the variation of SST can be described as simply following the variation of net solar radiation at the sea surface (sun minus clouds). The cancellation is primarily between cooling due to equatorial upwelling and warming due to tropical instability waves, both of which are strongest in the second half of the year (when the winds are stronger). Even near the equator, where the ocean advection is relatively intense, the terms associated with cloudiness variations are among the largest contributions to the SST balance. The annual cycle of cloudiness transforms the semiannual solar cycle at the top of the atmosphere into a largely 1 cycle yr−1 variation of insolation at the sea surface. However, the annual cycle of cloudiness appears closely tied to SST in coupled feedbacks (positive for low stratus decks and negative for deep cumulus convection), so the annual cycle of SST cannot be fully diagnosed in an ocean-only modeling context as in the present study. Zonal advection was found to be a relatively small influence on annual equatorial cold tongue variations; in particular, there was little direct (oceanic) connection between the Peru coastal upwelling and equatorial annual cycles. Meridional advection driven by cross-equatorial winds has been conjectured as a key factor leading to the onset of the cold tongue. The results suggest that the SST changes due to this mechanism are modest, and if meridional advection is in fact a major influence, then it must be through interaction with another process (such as a coupled feedback with stratus cloudiness). At present, it is not possible to evaluate this feedback quantitatively

Numerical investigations of seasonal and interannual variability of North Pacific Subtropical Mode Water and its implications for Pacific climate variability

Author Posting. © American Meteorological Society, 2011. This article is posted here by permission of American Meteorological Society for personal use, not for redistribution. The definitive version was published in Journal of Climate 24 (2011): 2648–2665, doi:10.1175/2010JCLI3435.1.North Pacific Subtropical Mode Water (NPSTMW) is an essential feature of the North Pacific subtropical gyre imparting significant influence on regional SST evolution on seasonal and longer time scales and, as such, is an important component of basin-scale North Pacific climate variability. This study examines the seasonal-to-interannual variability of NPSTMW, the physical processes responsible for this variability, and the connections between NPSTMW and basin-scale climate signals using an eddy-permitting 1979–2006 ocean simulation made available by the Estimating the Circulation and Climate of the Ocean, Phase II (ECCO2). The monthly mean seasonal cycle of NPSTMW in the simulation exhibits three distinct phases: (i) formation during November–March, (ii) isolation during March–June, and (iii) dissipation during June–November—each corresponding to significant changes in upper-ocean structure. An interannual signal is also evident in NPSTMW volume and other characteristic properties with volume minima occurring in 1979, 1988, and 1999. This volume variability is correlated with the Pacific decadal oscillation (PDO) with zero time lag. Further analyses demonstrate the connection of NPSTMW to the basin-scale ocean circulation. With this, modulations of upper-ocean structure driven by the varying strength and position of the westerlies as well as the regional air–sea heat flux pattern are seen to contribute to the variability of NPSTMW volume on interannual time scales.Support for this research was provided by the Partnership for Advancing Interdisciplinary Modeling (PARADIGM), a National Ocean Partnership Program and by a NASA Modeling, Analysis, and the Prediction (MAP) project called Estimating the Circulation and Climate of the Ocean, Phase II (ECCO2)