There is a lot of somewhat dense theory in this chapter - more, you may like to know, than there is in many of the other chapters.  It is always in service of the broader idea of explaining the intense subjectivity in which Schubert's music traffics.  Do the best with it that you can - I will be happy to explain most of the more basic ideas in the text in reference to the excerpted Impromptu, and the Moment Musical.  We shall look briefly at the quartet excerpts that Taruskin supplies, and then, particularly later in the week when we get to Susan McClary's article, we'll look at the Unfinished Symphony.  Please remember that I want to begin our discussions next week with the Taruskin reading.  In sum, know that with Schubert, old chords are given new functions, that modulation becomes more interesting given that the chords involved are used in new ways, and that the resources of the system of European harmony are expanded.

John Blacking's thinking, at such a moment of musico-cultural transformation, might have some bearing upon our thinking about radical procedures.  Musical behavior is changing - why?    Since music is part of culture, can the changes that we see in Schubert's compositional process speak at all to changes in culture?  How might we know this? 

- Etan
Last modified: Monday, December 19, 2011, 9:18 AM