A pitch-space reading, several recomposition exercises (including one modeled after Matthew Bailey-Shea's article in Music Theory Online), a dense motivic reading after Daniel Chua, the substitution of D779n13 for another piano piece of Schubert's in a movie scene, a reconsideration of cycles and tonality as Arthur Komar construed them for Dichterliebe, homages to Leonard Meyer and Wallace Berry, and closer consideration of harmonic transformations (after Kopp and Hook).
A couple of these, as marked with links, have been carried out already, others not. Starting tomorrow, I begin what might be called a "retro" series of posts that collectively form a hommage to music theorists/analysts of a previous generation (one perilously close to my own). Komar, Meyer, and Berry will all be included, and the pitch-space reading will invoke Jonathan Bernard's work on Varése along with Lewin's GMIT. (To be fair, Jonathan is actually younger than I am.) A classical pc-set analysis will recall not only Allen Forte but early work of John Clough.
