Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory and how they affect our understanding of music.

Essays in honour of Margaret Bent.The chapters of this book probe the varied functions of citation and allusion in medieval and renaissance musical culture. At its most fundamental level musical culture relied on shared models for musical practice, used by singers and composers as they learned their craft. Several contributors to this volume investigate general models, which often drew on earlier musical works, internalized in the process of composers' own training as singers. In written theoretical musical pedagogy, conversely, citation of authority is deliberate and intentional. The...

Investigating the reception of Schubert's most daring harmonies, this book uses Schubert's harmonic practice to critique canonical music theories.