Project MUSE®: Indiana Theory Review - Latest Articles
https://muse.jhu.edu/journal/726
Project MUSE®: Latest articles in Indiana Theory Review.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 31 (2013) through current issueLatest Articles: Indiana Theory ReviewTWOProject MUSE®Indiana Theory Review2474-77770271-8022Latest articles in Indiana Theory Review. Feed provided by Project MUSE®Letter from the Editors
https://muse.jhu.edu/article/986588
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Greetings from the editorial team of the Indiana Theory Review!We here at ITR are delighted to present Volume 41. This issue also brings a few changes to our team of co-editors. While we are sad to see them go, we would like to extend our sincere thanks to Samantha Carlock, Mítia D’Acol, Joseph Grunkemeyer, and Mingfei Li for their dedicated service to ITR—they will be greatly missed. At the same time, we are delighted to welcome Kaitlyn Canneto and Allyson Starr to the team, and to celebrate the return of Drake Eshleman, Alex Shannon, and Lizhou Wang. Following this issue, Alex Shannon will be stepping down from his role of co-editor of Indiana Theory Review. From the bottom of our hearts here at ITR, thank you to
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallLetter from the Editors2026-03-27text/htmlen-USLetter from the Editors2026-03-272026TWOProject MUSE®41702026-05-12T00:00:00-05:002026-03-27Colloquy in Honor of Julian Hook
https://muse.jhu.edu/article/986589
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It is a pleasure to write in honor of Dr. Julian Hook, Professor of Music at Indiana University (IU). I have known Dr. Hook—Jay, as he would later insist I call him—since 2005, when I auditioned for the doctoral program at IU, just two years after he joined the faculty. I was nervous to meet him, worried he might detect my spotty understanding of his “Uniform Triadic Transformations” article. I was immediately disarmed, however, by his quirky sense of humor—he made a joke about our shared birthdate. (He’s an Aquarius, in case you’re wondering.)I served as an Associate Instructor (AI) under his supervision in Fall 2006, took a seminar he taught in Spring 2007, and completed my dissertation under his guidance in
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallColloquy in Honor of Julian Hook2026-03-27text/htmlen-USColloquy in Honor of Julian Hook2026-03-272026TWOProject MUSE®436242026-05-12T00:00:00-05:002026-03-27Colloquy in Honor of Marianne Kielian-Gilbert
https://muse.jhu.edu/article/986590
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I will never forget attending the plenary session of the Society for Music Theory, “Towards a Feminist Music Theory,” featuring (in this order) Suzanne Cusick, Marion Guck, Marianne Kielian-Gilbert, and Susan McClary, held in Kansas City in 1992.1 These four papers presented ideas that were bold and thought-provoking for scholars interested in exploring gender and sexuality in music. Tensions surfaced during the question period when the relevance of gendered musical subjectivity was challenged, but the excitement that I and others felt was not to be curbed by any negative voices in the room. Notably, such topics were controversial at the time, and regrettably—under the current political circumstances—they remain
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallColloquy in Honor of Marianne Kielian-Gilbert2026-03-27text/htmlen-USColloquy in Honor of Marianne Kielian-Gilbert2026-03-272026TWOProject MUSE®398392026-05-12T00:00:00-05:002026-03-27Colloquy in Honor of Andrew Mead
https://muse.jhu.edu/article/986591
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One of the earliest conversations that I had with Andy was about “home.” I had just arrived in Ann Arbor for my interview at the University of Michigan and, as a member of the search committee, Andy had been enlisted as my driver for the duration of my stay. Perhaps to put me at ease for the day to come, he struck up a conversation about the meaning of “home” as we drove from downtown Ann Arbor to the School of Music, Theatre, and Dance (or, “the SMTD”). He explained that, for him, “home” was firmly wedded to the picturesque New England coastline where he spent every summer and to the familiar coastal topography of the region. I knew it well, having spent summer vacations in Maine as a child. I could understand
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallColloquy in Honor of Andrew Mead2026-03-27text/htmlen-USColloquy in Honor of Andrew Mead2026-03-272026TWOProject MUSE®351992026-05-12T00:00:00-05:002026-03-27Analytical Essay: The A-major Fugue, BWV 888, from Book II of The Well-Tempered Clavier, by J. S. Bach
https://muse.jhu.edu/article/986592
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This essay discusses the energetic shaping of the subject of Bach’s Fugue in A Major from The Well-Tempered Clavier, Book II, and traces the enlargement of that shaping into a series of energetic curves that covers the entire piece. The analysis refers to concepts developed by Ernst Kurth in his 1917 treatise Grundlagen des linearen Kontrapunkts and combines them with a Schenkerian methodology; it also outlines a perspective on agency appropriate to this music.As I continue to engage with the music of Bach as an analyst, listener, and keyboardist, I find myself increasingly struck by the energetic qualities of the “motions” it incarnates—to the dynamic transmutations of strings of notes into grand sweeps through
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallAnalytical Essay: The A-major Fugue, BWV 888, from Book II of The Well-Tempered Clavier, by J. S. Bach2026-03-27text/htmlen-USAnalytical Essay: The A-major Fugue, BWV 888, from Book II of The Well-Tempered Clavier, by J. S. Bach2026-03-272026TWOProject MUSE®1045282026-05-12T00:00:00-05:002026-03-27Embodying Sexual Abuse in Voice: Babbitt’s Philomel
https://muse.jhu.edu/article/986593
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[Content warning: sexual abuse, rape, physical abuse, homicide, and homicidal ideation]The stories of sexual abuse are frequently hidden and disbelieved. Healing for most victims is possible only when they learn how to confront their experience and speak about it. This issue of silence and shame around sexual abuse is embodied and embedded in several musical works. This project explores how traumatic reenactment—which can manifest as silence and shame—and the healing process and recovery, are portrayed in Babbitt’s Philomel. The progression of the narrative reflects a process of healing. Philomel begins in the throes of traumatic reenactment; she has lost her voice, as it was stolen from her by her rapist, both
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallEmbodying Sexual Abuse in Voice: Babbitt’s Philomel2026-03-27text/htmlen-USEmbodying Sexual Abuse in Voice: Babbitt’s Philomel2026-03-272026TWOProject MUSE®1033792026-05-12T00:00:00-05:002026-03-27Review of Queer Ear: Remaking Music Theory, ed. Gavin S. K. Lee
https://muse.jhu.edu/article/986594
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The task of creating a dedicated space for queer theory and research within music theory has been a long and arduous one. While the Society for Music Theory (SMT) acknowledged this need as early as 1998 with the establishment of the Queer Resource Group, a body tasked with advancing queer music theory and supporting queer scholars, progress has been slow.1 Despite this initiative beginning nearly three decades ago, queer scholarship in music theory remains scarce. This shortage is not a result of minimal effort; rather, it reflects the discipline’s historical tendency to avoid engaging with social and cultural contexts, often prioritizing structural analyses of music.Historically, the field of music theory has
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/726/image/coversmallReview of Queer Ear: Remaking Music Theory, ed. Gavin S. K. Lee2026-03-27text/htmlen-USReview of Queer Ear: Remaking Music Theory, ed. Gavin S. K. Lee2026-03-272026TWOProject MUSE®512462026-05-12T00:00:00-05:002026-03-27