Edward T. Cone - Articles & Reviews

Articles & Reviews

1940-49

• "Roger Sessions' String Quartet." Modern Music 18, no. 3 (1941): 159-63.
• "The Creative Artist in the University." American Scholar 16, no. 2 (1947): 192-200.
• Review of Paul Bowles: Six Preludes for Piano. Notes. 4. 4 (1947).
• Review of Paul Creston: Review of Five Two-Part Inventions for the Piano. Notes. 4. 2 (1947): 191-192.
• Review of David Diamond: Review of Sonatina for Piano. Notes. 4. 4 (1947).

1950-59

• Review of Carlos Riesco: Canzona E Rondo, for Violin and Piano. Notes. 11. 1 (1953): 155.
• Review of Tibor Serly: Sonata in Modus Lascivus, for Solo Violin. Notes. 11. 1 (1953): 155.
• Review of Berlioz: Romeo and Juliet, Complete Orchestral Score. (N. Y. Philharmonic-Symphony Orch., Mitropoulos) The Musical Quarterly. 39. 3 (1953): 475-478.
• Review of Berlioz: The Trojans in Carthage. (Ensemble Vocal de Paris, André Jouve, Hermann Scherchen, Orchestre de la Société des Concerts du Conservatoire) The Musical Quarterly. 39. 1 (1953): 138-141.
• "The Old Man's Toys: Verdi's Last Operas." Perspectives USA 6 (1954): 114-33. Reprinted in Cone, Music: A View from Delft, 159-75.
• "Words into Music: The Composer's Approach to the Text." In Sound and Poetry, edited by Northrop Frye, 3-15. English Institute Essays, 1956; New York, 1957. Reprinted in Cone, Music: A View from Delft, 115-23.
• Review of Robert Ward: Symphony No. Three; Stein: Three Hassidic Dances. (Cincinnati Symphony Orchestra, Thor Johnson, Robert Ward, and Stein) The Musical Quarterly. 42. 3 (1956): 423-425.
• Review of Roger Sessions: Second String Quartet; Colin McPhee: Concerto for Piano with Wind Octette Accompaniment. (New Music Quartet, Grant Johannesen, Carlos Surinach) The Musical Quarterly. 43. 1 (1957): 140-142.
• Review of Berlioz: L'Enfance Du Christ. (Boston Symphony Orchestra, Charles Munch, Cesare Valletti, Florence Kopleff, Gérard Souzay, Giorgio Tozzi, New England Conservatory Chorus, Lorna Cooke de Varon) The Musical Quarterly. 44. 2 (1958): 259-261.
• "Musical Theory as a Humanistic Discipline." Juilliard Review 5, no. 2 (1957–58): 3-12. Reprinted in Cone, Music: A View from Delft, 29-37.

1960-69

• "Analysis Today." The Musical Quarterly 46, no. 2 (1960): 172-88. Reprinted in Problems of Modern Music, edited by Paul Henry Lang, 34-40. New York, 1960. Also reprinted in Cone, Music: A View from Delft, 39-54.
• "Music: A View from Delft." The Musical Quarterly 47, no. 4 (1961): 439-53. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 57-71. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 13- 27.
• "The Not-So-Happy Medium." The American Scholar 30, no. 2 (1961): 254-67. Reprinted in Essays Today, vol. 5, edited by Richard Ludwig, 87- 96. New York, 1962.
• "Stravinsky: The Progress of a Method." Perspectives of New Music 1, no. 1 (1962): 18-26. Reprinted in Perspectives on Schoenberg and Stravinsky, edited by Benjamin Boretz and Edward T. Cone, 155-64. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 293-301.
• "The Uses of Convention: Stravinsky and His Models." The Musical Quarterly 48, no. 3 (1962): 287-99. Reprinted in Stravinsky: A New Appraisal of His Work, edited by Paul Henry Lang, 21- 33. New York, 1963. Also reprinted in Cone, Music: A View from Delft, 281-92.
• "From Sensuous Image to Musical Form." American Scholar 33, no. 3 (1964): 448- 62.
• "A Budding Grove." Perspectives of New Music 3, no. 2 (1965): 38-46.
• "On the Structure of 'Ich folge dir.'" College Music Symposium 5 (1965): 77-85.
• "Toward the Understanding of Musical Literature." Perspectives of New Music 4, no. 1 (1965): 141-51.
• "Conversations with Roger Sessions." Perspectives of New Music 4, no. 2 (1966): 29-46. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 90-107. New York, 1971.
• "The Power of The Power of Sound." Introductory essay in Edmund Gurney, The Power of Sound, i-xvi. New York, 1966.
• "Beyond Analysis." Perspectives of New Music 6, no. 1 (1967): 33-51. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 72-90. New York, 1972. Also reprinted in Music: A View from Delft, 55-75.
• "Webern's Apprenticeship." The Musical Quarterly 53, no. 1 (1967): 39-52. Reprinted in Music: A View from Delft, 267-80.
• "What is a Composition?" Current Musicology 5 (1967): 101-7.
• Review of Eric Walter White: Stravinsky - The Composer and His Works. Perspectives of New Music. 5. 2 (1967): 155-161.
• Review of Josef Rufer: Arnold Schönberg: Sämtliche Werke. Abteilung I, Reihe A, Band 1, Lieder Mit Klavierbegleitung. The Musical Quarterly. 53. 3 (1967): 416-420.
• "Conversation with Aaron Copland." Perspectives of New Music 6, no. 2 (1968): 57-72. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 131-46. New York, 1971.
• "Beethoven New-Born." American Scholar 38, no. 3 (1969); 389-400.
• Review of Donald N. Ferguson: The Why of Music. Notes. 26. 2 (1969): 258-260.

1970-79

• "Schubert's Beethoven." The Musical Quarterly 56, No.4 (1970): 779-93.
• Review of Reinhold Brinkmann: Arnold Schönberg: Drei Klavierstücke Op. 11. Studien Zur Frühen Atonalität Bei Schönberg." Notes. 27. 2 (1970): 267-268.
• "Radical Traditionalism." Listener 2229 (1971); 849.
• "Inside the Saint's Head; The Music of Berlioz." Musical Newsletter 1, no. 3 (July 1971); 3-12; 1, no. 4 (October 1971); 16-20; 2, no. 1 (January 1972); 19-22. Reprinted in Music: A View from Delft, 217-48.
• "In Honor of Roger Sessions." Perspectives of New Music 10, no. 2 (1972); 130-41.
• "Editorial Responsibility and Schoenberg's Troublesome 'Misprints.'" Perspectives of New Music 11, no. 1 (1972); 65- 75.
• Review of Roger Sessions: Review of Questions About Music. Perspectives of New Music. 10. 2 (1972): 164-170.
• "The Miss Etta Cones, the Steins, and M'sieu Matisse." The American Scholar 42, no. 3 (1973); 441- 60.
• "Bach's Unfinished Fugue in C minor." In Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, edited by Robert L. Marshall, 149-55. London, 1974.
• "Sound and Syntax: An Introduction to Schoenberg's Harmony." Perspectives of New Music 13, no. 1 (1974): 21-40. Reprinted in Music: A View from Delft, 249-66.
• Review of Leonard B. Meyer: Explaining Music: Essays and Explorations." Journal of the American Musicological Society. 27. 2 (1974): 335-338.
• "In Defense of Song: The Contribution of Roger Sessions." Critical Inquiry 2, No.1 (1975): 93-112. Reprinted in Music: A View from Delft, 303-22.
• "Sessions' Concertino." Tempo 115 (1975): 2-10.
• "Yet Once More, 0 Ye Laurels." Perspectives of New Music 14, no. 2; 15, no. 1 (1976): 294-306.
• "Beatrice et Benedict." Boston Symphony Program (October 1977): 9-15.
• "Beethoven's Experiments in Composition: The Late Bagatelles." In Beethoven Studies, vol. 2, edited by Alan Tyson, 84-105. London, 1977. Reprinted in Music: A View from Delft, 179-200.
• "One Hundred Metronomes." The American Scholar 46, no. 4 (1977): 443-59.
• "Three Ways of Reading a Detective Story-Or a Brahms Intermezzo." Georgia Review 31, no. 3 (1977): 554-74. Reprinted in Cone, Music: A View from Delft, 77- 93.
• Review of Hector Berlioz: Review of New Edition of the Complete Works, 9: Grande Messe Des Morts. Notes. 36. 2 (1979): 464-465.

1980-89

• "Aunt Claribel's 'Blue Nude' Wasn't Easy to Like." Art News 79, no. 7 (1980): 162-63.
• "Berlioz's Divine Comedy: The Grande messe des morts." 19th-Century Music 4, no. 1 (1980): 3-16. Reprinted in Cone, Music: A View from Delft, 139-57.
• "The Authority of Music Criticism." Journal of the American Musicological Society 34, no. 1 (1981): 1-18. Reprinted in Cone, Music: A View from Delft, 95-112.
• "On the Road to Otello: Tonality and Structure in Simon Bocanegra." Studi Verdiana 1 (1982): 72-98.
• "Roger Sessions: Symphony No.6." San Francisco Symphony Stagebill (May 1982): v-ix.
• "Schubert's Promissory Note: An Exercise in Musical Hermeneutics." 19thCentury Music 5, no. 3 (1982): 233- 41. Revised version reprinted in Schubert: Critical and Analytical Studies, edited by Walter Frisch, 13-30. Lincoln, 1986.
• "The Years at Princeton." The Piano Quarterly 119 (Robert Casadesus issue, 1982): 27-29.
• "A Cadenza for Op. 15." In Beethoven Essays: Studies in Honor of Elliot Forbes, edited by Lewis Lockwood and Phyllis Benjamin, 99-107. Cambridge, 1984.
• "Schubert's Unfinished Business." 19th-Century Music 7, no. 3 (1984): 222- 32. Reprinted in Cone, Music: A View from Delft, 201- 16.
• "Musical Form and Musical Performance Reconsidered." Music Theory Spectrum 7 (1985): 149-58.
• "A Tribute to Roger Sessions." Kent Quarterly 5, no. 2 (1986): 29-31.
• "Twelfth Night." Musiktheorie 1 (1986): 41-59. Reprinted in original English version in Journal of Musicological Research 7, nos. 2-3 (1987): 131-56.
• "Brahms: Songs with Words and Songs without Words." Integral 1 (1987): 31-56.
• "Dashes of Insight: Blackmur as Music Critic." In The Legacy of R. P. Blackmur, edited by Edward T. Cone, Joseph Frank, and Edmund Keeley, 10-12. New York: Ecco Press, 1987.
• "Music and Form." In What Is Music? An Introduction to the Philosophy of Music, edited by Philip Alperson, 131-46. University Park: Pennsylvania State University Press, 1994 (1987).
• "On Derivation: Syntax and Rhetoric." Music Analysis 6, no. 3 (1987): 237- 56.
• "The World of Opera and Its Inhabitants." In Cone, Music: A View from Delft, 125- 38.
• "Responses" (to "The Composer's Voice: Elaborations and Departures"). College Music Symposium 29 (1989): 75-80.

1990-99

• "Harmonic Congruence in Brahms." In Brahms Studies, edited by George S. Bozarth, 165-88. Oxford, 1990.
• "Poet's Love or Composer's Love?" In Music and Text, edited by S. P. Scher, 177- 92. Cambridge, 1992.
• "Ambiguity and Reinterpretation in Chopin." In Chopin Studies 2, edited by John Rink and Jim Samson, 140- 60. Cambridge, 1994.
• "Thinking (about) Music." Proceedings of the American Philosophical Society, 138, no. 4 (1994): 469-75.
• "Edward T. Cone Makes a Plea for Good Citizenship." Musical Times 135, no. 12 (December 1994): 734-38.
• Review of Nicholas Cook: Music, Imagination, and Culture." Music Theory Spectrum. 16. 1 (1994): 134-138.
• "The Pianist as Critic." In The Practice of Performance: Studies in Musical Interpretation, edited by John Rink, 241-53. Cambridge, 1995.
• "Attacking a Brahms Puzzle." Musical Times 136, no. 2 (February 1995): 72- 77.
• "Adding Up Beauty and Truth" (Article Review of Edward Rothstein: Emblems of Mind: The Inner Life of Music and Mathematics). Yale Review 83, no. 4 (October 1995): 121- 34.
• "'Am Meer' Reconsidered: Strophic, Binary, Ternary." In Schubert Studies 5, edited by Brian Newbould, 112- 26. Aldershot, 1998.

2000-09

• "Repetition and Correspondence in Schwanengesang." In Companion to Schubert's Schwanengesang, edited by Martin Chusid, 53- 89. New Haven, 2000.