Written by a pupil of Heinrich Schenker, this outstanding work develops and extends Schenker's approach. More than 500 examples of music from the Middle Ages to the 20th century complement the detailed discussions and analyses.

Rose Subotnik criticized 'structural listening' as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume take up her challenge, writing on repertoires ranging from Beethoven to MTV.

A brilliant investigation into musical structure through a systematic exploration of tonality, melody, harmony, texture, and rhythm. Discusses early madrigals and Gregorian chants through Bach, Beethoven, and Brahms to Ravel, Bartok, and Berg."

Since structure-borne sound plays an important role in noise control, material testing and machine diagnosis, the relevant properties of the most important elements of a construction (plates, beams and shells) are investigated. Measurement techniques, equations of motion, formulas for wave speeds, resonance frequencies, impedances, transmission coefficients etc. are given. The different damping mechanisms and the radiation properties are treated. The statistical energy analysis (SEA) is also presented. This new edition has been enlarged to include also waves on orthotropic plates, and the vibration and radiation of cylindrical shells.

Postmodernity's Musical Pasts considers music after 1945 as a representation of concepts such as "historicity" and "temporality". The volume understands postmodernity as a period in which both modernism and postmodernism co-exist. It is attracted to a wider interpretation of "historicity" that focuses on the complex nexus of past-present-future. "Historicity" is understood as leaning closely on "temporality", generally thought of as the linear progression of past, present and future. The volume broadens the absolutist understanding of temporality to include processes which can occur in circular, spiral, transcending and other formations. The book covers an extensive spectrum of topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. Such a wide range of topics from both the centre and the periphery of the musicological canon mirrors the eclectic and diverse nature of the postwar era itself. The first section investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style and idiom, on the other. A second section shows how time and history manifest themselves in art music. A third section takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and temporalities of belonging. TINA FR HAUF is Adjunct Assistant Professor at Columbia University, New York and serves on the faculty of The Graduate Center, CUNY. CONTRIBUTORS: Michael Arnold, Susana Asensio Llamas, Georg Burgstaller, Caitlin Carlos, Daniela Fugellie, Tina Fr hauf, John Koslovsky, Lawrence Kramer, Beate Kutschke, Laurenz L tteken, Max Noubel, Joshua S. Walden