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From ScratchWritings in Music Theory$
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James Tenney, Larry Polansky, and Lauren Pratt

Print publication date: 2015

Print ISBN-13: 9780252038723

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252038723.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 26 September 2021

Review of Music as Heard by Thomas Clifton

Review of Music as Heard by Thomas Clifton

(1985)

Chapter:
(p.309) Chapter 14 Review of Music as Heard by Thomas Clifton
Source:
From Scratch
Author(s):

James Tenney

, Larry Polansky, Lauren Pratt, Robert Wannamaker, Michael Winter
Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252038723.003.0014

In this review of Thomas Clifton's book Music as Heard, James Tenney reflects on Clifton's new approach to music theory intended as a remedy for a problem that he and others had recognized, namely, “the lack of coordination between the activity of analyzing the score and that of analyzing the experience of the music in the score.” According to Tenney, those who believe that there is an unhealthy disparity between the results of current practice in music theory and the actual experience of listening to music will see Music as Heard as an important contribution to the music-theoretical literature. Before proceeding with his review of Clifton's book, Tenney provides some background on the discipline of phenomenology. Despite expressing reservations about the book, Tenney argues that Clifton makes a significant contribution to a new kind of music theory that might be built upon a phenomenological foundation.

Keywords:   music theory, Thomas Clifton, Music as Heard, James Tenney, music, score, listening, phenomenology

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