Julian Horton
Biographic Data
| ID | 3593847 |
|---|---|
| NAME | Julian Horton |
| GIVEN NAMES | Julian |
| FAMILY NAME | Horton |
| SIGNATURE | HORTON J |
| AFFILIATIONS | Cambridge University Press |
| ORCID | 0000-0001-9391-7077 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Fantasies of the Dialectical Imagination
This article responds to the various criticisms raised against my work on the nature and function of music analysis by James Davis in his article ‘Against the New Musical Idealism: Or, Listening for What May Be Otherwise’, Music Analysis , 45/i (2026). I contest Davis's creation of a school of thought – the ‘New Musical Idealists’ – to which I apparently belong and identify his persistent tendency to misread the ways in which I mobilise various p…
Beethoven's Error? The Modulating Ritornello and the Type 5 Sonata in the Post-Classical Piano Concerto
In his analysis of the first movement of Beethoven's Piano Concerto No. 3, Op. 37, Donald Francis Tovey dismissed Beethoven's decision to modulate for the second theme in the movement's opening tutti as an 'error' that gives the impression of a symphonic exposition rather than a concerto ritornello and thereby undermines the work's generic identity. For Tovey, Beethoven and practitioners falling under his influence misunderstood a fundamental for…
On the Musicological Necessity of Musical Analysis
Assessing musical analysis's prospects in 2004, Kofi Agawu struck a tone of cautious optimism.1 Noting that the new musicology's critical "bid for power" had subsided into an uneasy truce, Agawu diagnosed "a sharply delineated pluralism," in which the increasingly aged new musicology coexisted with a theoretical renaissance he called the "New American Music Theory," a diverse movement encompassing neo-Riemannian theory, the new Formenlehre, a rej…
Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporaryFormenlehre. Counterpointing Timothy Jackson's reading of the movement as a 'tragic' reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form-functional characteristi…
Stasis and Continuity in S chubert's String Quintet
Schoenberg and the'Moment ofGermanMusic
Bruckner's symphonies
Few works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. Julian Horton seeks new ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and receptio…
Recent Developments in Bruckner Scholarship
1University College Dublin
Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporaryFormenlehre. Counterpointing Timothy Jackson's reading of the movement as a 'tragic' reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form-functional characteristi…
Schoenberg and the'Moment ofGermanMusic
Beethoven's Error? The Modulating Ritornello and the Type 5 Sonata in the Post-Classical Piano Concerto
In his analysis of the first movement of Beethoven's Piano Concerto No. 3, Op. 37, Donald Francis Tovey dismissed Beethoven's decision to modulate for the second theme in the movement's opening tutti as an 'error' that gives the impression of a symphonic exposition rather than a concerto ritornello and thereby undermines the work's generic identity. For Tovey, Beethoven and practitioners falling under his influence misunderstood a fundamental for…
On the Musicological Necessity of Musical Analysis
Assessing musical analysis's prospects in 2004, Kofi Agawu struck a tone of cautious optimism.1 Noting that the new musicology's critical "bid for power" had subsided into an uneasy truce, Agawu diagnosed "a sharply delineated pluralism," in which the increasingly aged new musicology coexisted with a theoretical renaissance he called the "New American Music Theory," a diverse movement encompassing neo-Riemannian theory, the new Formenlehre, a rej…
Stasis and Continuity in S chubert's String Quintet
Recent Developments in Bruckner Scholarship
1University College Dublin
Bruckner's symphonies
Few works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. Julian Horton seeks new ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and receptio…
Recent Developments in Bruckner Scholarship
1University College Dublin
Schoenberg and the'Moment ofGermanMusic
Stasis and Continuity in S chubert's String Quintet
Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporaryFormenlehre. Counterpointing Timothy Jackson's reading of the movement as a 'tragic' reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form-functional characteristi…
On the Musicological Necessity of Musical Analysis
Assessing musical analysis's prospects in 2004, Kofi Agawu struck a tone of cautious optimism.1 Noting that the new musicology's critical "bid for power" had subsided into an uneasy truce, Agawu diagnosed "a sharply delineated pluralism," in which the increasingly aged new musicology coexisted with a theoretical renaissance he called the "New American Music Theory," a diverse movement encompassing neo-Riemannian theory, the new Formenlehre, a rej…
Beethoven's Error? The Modulating Ritornello and the Type 5 Sonata in the Post-Classical Piano Concerto
In his analysis of the first movement of Beethoven's Piano Concerto No. 3, Op. 37, Donald Francis Tovey dismissed Beethoven's decision to modulate for the second theme in the movement's opening tutti as an 'error' that gives the impression of a symphonic exposition rather than a concerto ritornello and thereby undermines the work's generic identity. For Tovey, Beethoven and practitioners falling under his influence misunderstood a fundamental for…
Fantasies of the Dialectical Imagination
This article responds to the various criticisms raised against my work on the nature and function of music analysis by James Davis in his article ‘Against the New Musical Idealism: Or, Listening for What May Be Otherwise’, Music Analysis , 45/i (2026). I contest Davis's creation of a school of thought – the ‘New Musical Idealists’ – to which I apparently belong and identify his persistent tendency to misread the ways in which I mobilise various p…
Musicology and Musical Analysis (7 works) · Art (5 works) · Literature (4 works) · Neuroscience and Music Perception (4 works) · Philosophy (4 works) · Political science (4 works) · Law (3 works) · Music History and Culture (3 works) · Musical (3 works) · Philosophy (3 works)