epetition and novelty are essential components of tonal music. Previous research suggests that the degree of repetitiveness of a line can determine its relative melodicity within a musical texture. Concordantly, musical accompaniments tend to be highly repetitive, probably facilitating listeners’ tendency to focus on and follow the melodic lines they support. With the aim of contributing to the unexplored area of the relationship between repetition and attention in polyphonic music listening, this paper presents an empirical investigation of the way listeners attend to exact and immediate reiterations of musical fragments in two-part contrapuntal textures. Participants heard original excerpts composed of a repetitive and a nonrepetitive part, continuously rating the relative prominence of the two voices. The results indicate that the line that consists of immediate and exact repetitions of a short musical fragment tends to perceptually decrease in salience for the listener. This suggests that musical repetition plays a significant role in dynamically shaping listeners’ perceptions of musical texture by affecting the relative perceived importance of simultaneous parts

What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions, each of which is accompanied by a narrative that describes the transcriber’s aims, approach, and rationale for certain notational choices. In the last section of our paper, we compare select passages from our transcriptions of Rollins’s solo as a means to substantiate our conclusion, that (1) jazz transcriptions simultaneously serve descriptive and prescriptive purposes; (2) transcriptions reflect the strategic needs of the analyst and intended audience; (3) transcriptions are interpretive acts that contain the traces of one’s individualized experience of acoustical objects; (4) when transcriptions of the same performance are read side by side, they coalesce into a plural analysis, highlighting the complexity of the performance.

Current analytical studies on Schubert’s tonality have tended to favour either Schenkerian theory or, more recently, neo-Riemannian theory to explain the composer’s signature harmonic progressions. What remains unclear with respect to these two prevailing analytical purviews is the extent to which one may relate to the other.This article offers a new way of understanding how Schenkerian and neo-Riemannian views of Schubert’s late tonal practices may be complementary, using Tovey’s concept of key-relations from his article ‘Tonality in Schubert’ of 1928. It suggests that Tovey’s key-relations can function as a bridge between these two theories because they approximate parsimonious voice-leading operations while preserving chord function within a tonal hierarchy. In forming an intermediate pathway between Schenkerian diatony and neo-Riemannian theory’s parsimonious voice-leading operations, Tovey’s key-relations highlight the important contributions that Schenkerian theory and neo-Riemannian theory offer to our understanding of Schubert’s tonality.

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When Schubert’s instrumental pieces seem to directly quote or allude to Beethoven’s works, some music scholars have interpreted these forms of appropriation either as musical homage or as evidence that Schubert modeled several of his works on Beethoven’s. Other scholars have encouraged us to rethink these perspectives, suggesting instead that the same forms of appropriation can be read as active responses or antipodes to Beethoven’s music.This paper reconsiders the topic of influence in Schubert’s music from a post-structuralist position, drawing from Jacques Derrida’s writings on grafting—the act of placing separate texts side by side to produce a new structure. Using the first movement from Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80 as examples, my paper seeks to rethink the categories of homage and critique by considering the following two ideas: (1) if “[t]o write means to graft” (Derrida [1972] 1982, 355), each composition contains a heterogeneity of texts, challenging the possibility of an original text; (2) matters concerning appropriation do not lie solely within either musical text, but rather between them, inviting us to reconsider how constructions of history and criteria for originality can affect our understanding of appropriation and our music-analytical readings of Schubert’s works.