Posted on 22 October 2009; last updated 25 May 2010.

To help me keep track of the readings posted on the Hearing Schubert D779n13 blog, I am maintaining this page as a list organized by source or by some other grouping. Links go to entries in the blog.

Readings cited from or directly based on published sources.

1. Lerdahl and Jackendoff, time span reduction. Additional graphics for TSR and PR: blog post.
2. Schachter, durational reduction, cited in this post. See critical comment in this post.
3. Caplin's formal functions. blog post.
4. Hook's signature transformations (citation). blog post.
5.-6. Lochhead's "reversal" of structure and ornament; and A/C# as double tonic complex (here, after Krebs). blog post.
7. "Music-literal" shapes (after Guck) and body-image schemata (after Saslaw). blog post. And blog post 2.
8. Jackson's synchronic/diachronic discontinuities. blog post.
9. Schenkerian hermeneutics using proto-background ^3-^5 (after Samarotto, in part). blog post.
10. Dialectic of continuity/discontinuity (after Kielian-Gilbert). blog post.
11.-13. Three readings focused on meter and rhythm (after London, Hasty, and adding context to a comment by Schachter). London. Hasty. to Schachter on 6/4.
14. Parody (after Wheeldon). blog post.
15. Imaginary continuo (after Rothstein). blog post.
16. Hexatonic cycles (after Cohn). blog post.
17. Nonlinear form (after Jonathan Kramer). blog post.
18.-19. Two network readings (after Cohn and Dempster). first post. second post.
20. Chordal middleground (after Douglass Green). blog post. See also the subsequent post.
21-22. Multiple harmonic tendencies (after Charles J. Smith, in part). blog post. version 2.
23. ^6 strives against ^5 (after Victor Zuckerkandl). blog post.
24. Implication-realization reading (after Leonard B. Meyer). blog post.
25. Deep metric reading (after Wallace Berry). blog post 1. blog post 2. blog post 3.
26. Transgressive linear motion (after Robert Fink). blog post.

27.-32. Six additional readings from my review-article in Music Analysis: listed in the blog post.
33.-36. Four readings based on Littlefield and Neumeyer, "Rewriting Schenker": priority to melodic shape and multiple structures, to structural frame, to metric placement, or to registral shape. blog post.

37. Compression of D779n13 to a stereotypical 16-bar waltz. blog post.
38. D779n13 with a new second strain (from D769): blog post.
39. D779n13 as a trio to no. 12. blog post.
40. D779n13 as a number within D. 365. blog post. See also the subsequent blog post.
41. D779n13 as a number in Schumann's Papillons: blog post.
42. D779n13 as a waltz-song. blog post.
43. D779n13 as a polka. blog post.
44. D779n13 with a newly composed trio based on George Root's The Battle Cry of Freedom and including a Schenkerian analysis of the background/first middleground. blog post.
45. D779n13 in Liszt, Soirées de Vienne, no. 6. Includes a Schenkerian reading of the early middleground. blog post.
46. D779n13 inserted into Prokofiev's Schubert-Waltz Suite. blog post.
47. D779n13 substitutes for a number in Ravel, Valses nobles et sentimentales. blog post.
48.-49. D779n13 rewritten as a Ländler and as a deutscher blog post; blog post .
50. Suite combining A-major dances from D365 with D779n13 to emphasize Laendler traIts (after Matthew Bailey-Shea): blog post ..
51.-53. Suites combining A-major dances from D783 with D779n13 to emphasize deutscher Tanz traIts (after Matthew Bailey-Shea): blog post . Variant emphasizing mediant key relations: in the same post. Another variant: blog post .

54. Proto-background ^1-^1. blog post.
55. Proto-background ^3-^3. blog post.
56. Proto-background ^5-^5. blog post.
57. Proto-background ^1-^3. blog post.
58. Proto-background ^1-^5. blog post.
59. Proto-background ^1-^8. blog post.
60. Proto-background ^3-^5. blog post.
61. Proto-background ^3-^8. blog post.
62. Proto-background ^5-^8. blog post.
63. Prefix to the end: reconception of the readings from ^1-^8 and from ^3-^8. blog post.

64. Improvisation narrative (D779n13 and D365n6). blog post 1. blog post 2. blog post 3.
65. Robert Schumann's story/review of D365 and D783 and the substitution of D779n13 for D783n7: blog post.
66. Narrative reading after Edward T. Cone. blog post.
67. D779n13 as a portrait of two dancers. blog post. Also see hemiola and the valse à trois temps.
68. Schubert's "Riemannian Hand." blog post. Also: additions to the post.
69. High art/low art historical narratives (contra Meyer). post on the cadential 6/4.
70. Parallel sixths in the right hand, in improvisation. Fauxbourdon post.
71. D779n13 replaces D946n2 in a feature film. Glory post.

72. Parallel fifths. blog post.
73. D779n13 as fourth-species counterpoint exercise. blog post.
74. Progression from ^3-^5 to ^1-^3. In this blog post.
75.-76. Schenkerian readings from ^3 by Schachter (based on no. 2 above) and by myself. In this blog post.
77. Schenkerian reading of the group D779n12-14, with no. 13 as a trio. blog post.
78. Schenkerian reading from ^3 with neighbor note ^2 (not interruption): In this blog post.
79.-81. Schenkerian readings from ^5: two complete lines with different placements, and one incomplete line. blog post.
82.-84. Schenkerian readings from ^8: three alternatives. blog post.
85.-86. Schenkerian readings with the space ^5-^8: two alternatives. blog post.
87. The Urlinie ^5-^8 as Urlinie manquée. blog post.
88. Comparison of readings of Bach, Cello Suite in G Major, Prelude, and D779n13: blog post.
89. The androgynous ^5-^6: historical-statistical contexts for the F#5 in D779n13. post 1. post 2. post 3. post 4. post 5.
90. Mediant relations in the Atzenbrugg Deutsche : historical-statistical contexts for the direct harmonic move from A to C# major in D779n13. post 1. post 2. post 3. See also the discussion of the Schnadahüpfl segments in rural dancing and their relation to contrasting middles in Schubert's dances: Post on D734.

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