Michael Russ

Algunes reflexions sobre la recerca actual a l 'entom de Robert Gerhard

Book Review: Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. By Michiel Schuijer

Book review : Evan Jones (ed.), Intimate Voices: the Twentieth-Century String Quartet

Review of EVAN JONES (ED.), INTIMATE VOICES: THE TWENTIETH-CENTURY STRING QUARTET (Rochester: Uni... more

Atonality, modality, symmetry and tonal hierarchy in Bartok's improvisation Op. 20 No. 2

Formal Structure in the Finale of Bartok’s Sonata for Two Pianos and Percussion

Some Observations on Form-Building Processes in Twentieth-Century Music: Shaping time in Ian Wilson’s ‘Rich Harbour: Concerto for Organ and Orchestra’

Defining Musical Languages using Tonalities

This website gathers together a series of analyses and commentaries carried out using the Tonalit... more This website gathers together a series of analyses and commentaries carried out using the Tonalities software, and forms part of the Tonalities website at the University of Nottingham. The analyses give new insights into the music of Musorgsky, Bartok and Ravel, while posing challenging problems for the software. Its success in dealing with them is evaluated. The Musorgsky analyses in particular demonstrate how the data sets for each piece/song examined help define subtle changes in musical language.

Composing with Sets: Roberto Gerhard’s Concerto for Piano and String Orchestra

Michael Russ Responds

Music Analysis, 1989

Bartók, Beethoven and the Sonata for Two Pianos and Percussion

Journal of the Royal Musical Association, 2012

The first movement of Bartók's Sonata for Two Pianos and Percussion (1937) has been noted for... more The first movement of Bartók's Sonata for Two Pianos and Percussion (1937) has been noted for its Beethovenian use of sonata form and shares a number of features with the ‘Waldstein’ Sonata. This article examines the relationship between these two composers and these two works, starting with an examination of Bartók's use of sonata form. It attempts to establish whether Bartók borrowed gratefully from his predecessor in an attempt to ‘synthesize’ old and new, folk and art, or whether he misread Beethoven in the anxious process of carving a place for himself in the musical canon.

Analyzing atonal music: Pitch-class set theory and its contexts

Journal of Mathematics and Music, 2011

... Michiel. Analyzing atonal music : pitch-class set theory and its contexts / Michiel Schuijer.... more

Understanding the transition from school to university in music and related subjects

This project stemmed from a need to improve understanding of the transition from school to univer... more This project stemmed from a need to improve understanding of the transition from school to university music and other related subjects. Students now come from a wide range of backgrounds and university staff need to understand these more comprehensively in order to manage transition more effectively. The project examined how curricula can build upon the strengths of students and how to avoid the (negative) view that it is necessary to begin an undergraduate course with essentially remedial work. It has the support of the subject centre for performing arts (PALATINE), the music subject association (NAMHE), and the Society for Music Analysis (SMA).

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Some Observations on Form-Building Processes in Twentieth-Century Music: Shaping time in Ian Wilson's 'Rich Harbour: Concerto for Organ and Orchestra'

Some Observations on Pm, n Relations within Set Classes

Music Analysis, Jan 1, 2007

It is well known (from Riemann, Lewin, Cohn and others) that two voices of a triad (set class 31... more

Functions, scales, abstract systems and contextual hierarchies in the music of Bartok

Music & Letters, Jan 1, 1994

THE SEEMINGLY NEVER-ENDING SUPPLY of divergent analytical texts from fine theoretical minds seeki... more

Musorgsky: Eight Essays and an Epilogue

Music & Letters, Jan 1, 1995

Introduction WHO SPEAKS FOR MUSORGSKY? THE ONLY exception the Russian crown ever made to its nine... more

Transition from School to University

Classroom Music, Jan 1, 2007

Bartók and His World

Music & Letters, Jan 1, 1999

Case study 10: Peer assessment in performance studies

Editorial: An Introduction to Anthony Pople's Tonalities Project

Music Analysis, Jan 1, 2004

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