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Ancient Seismites
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Basement Tectonics 8
The 8th International Conference on Basement Tectonics was held in Butte, Montana, August 8-12,1988. Historically, basement tectonics conferences have focused on such topics as reactivation of faults, the influence of basement faults on metallogeny and hyrocarbon accumulation, and the use of geophysical and remote sensing techniques to interpret subsurface and surface geology. The 8th Conference diverged from past conferences in that a unifying theme was selected. Because ancient major terrane or cratonic boundaries are often postulated to be fault zones which are subsequently reactivated, the conference was organized to examine all aspects of ancient continental margins and terrane boundari...
Brahms Beyond Mastery
In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from differ...
Scientific Bulletin
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Lives of the Sonnet, 1787-1895
Tracing the development of the sonnet during intense moments of change and stability, continuity and conflict, from the early Romantic period to the end of the nineteenth century, Marianne Van Remoortel pays particular attention to the role of the popular press. As she highlights the intricately related issues of genre and gender, Van Remoortel offers readers innovative readings of sonnet sequences by Elizabeth Barrett Browning, George Meredith, Dante Gabriel Rossetti and Augusta Webster.
Music, Politics, and the Academy
Advocates of "new musicology" claim that technical methods of music analysis are conservative, elitist, positivist, and emotionally arid. Pieter C. van den Toorn challenges those claims, asking why cultural, sociopolitical, or gender-studies approaches to music should be deemed more democratic or expressive of music's content or impact. Why should music analysis be thought incapable of serving larger aesthetic ends? Van den Toorn confronts Susan McClary, Leo Treitler, and Joseph Kerman in particular, arguing that hands-on music analysis can penetrate the complexity of music and speak to our experience of it. He criticizes new musicologists for retreating from issues of musical immediacy by focusing on cultural issues. In later chapters van den Toorn defends Schenkerian methods and demonstrates the usefulness of technical analysis in the appreciation of Beethoven, Debussy, Schoenberg, and Stravinsky.
