Allen Forte
Biographic Data
| ID | 980684 |
|---|---|
| NAME | Allen Forte |
| GIVEN NAMES | Allen |
| FAMILY NAME | Forte |
| SIGNATURE | FORTE A |
| AFFILIATIONS | Yale University |
| ORCID | 0009-0001-8200-4640 |
| VERIFIED | Yes |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 26 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1962 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Applying regenerative thinking in yachting tourism. Insights from the Northern Adriatic Sea
The ‘turn to the sea’ through yachting tourism recorded during the Covid-19 pandemic prompts the relocation of the sea, including its nature and culture, back at the centre of processes of change in selected coastal resorts. The recent revamp of regenerative thinking in tourism offers a theoretical and practical ground on which to consider the development potential of yachting tourism as agent of societal change and coastal resort evolution. Usin…
Henry F. du Pont and Winterthur
A lban B erg ’ s P iano S onata , O p . 1: A L andmark in E arly T wentieth ‐C entury M usic
Eventually published in 1926, the Piano Sonata, Op. 1, was completed in 1908, the year after Berg terminated his formal studies with Arnold Schoenberg, and first performed in Vienna in 1911. Berg's decision to assign the first opus number in his compositional canon to this piece was highly significant, since it clearly indicated the status that he accorded to such extraordinary music. The Sonata is one of the most expressive instrumental composit…
The Founding of the Society for Music Theory
Olivier Messiaen as Serialist
Thoughts on Musis Analysis
Responses to Plenary Session Papers, NECMT 2000
At the NECMT 2000 meeting five formal papers were presented, covering new approaches to music theory and analysis (Dubiel and McCreless), the advantages of opening new repertoires to study (Hisama), a retrospective and prognostic of music theory pedagogy (Karpinski), and a discussion-demonstration of an analytical approach to rock music (Kaminsky). The responses by the present author address issues and special features he perceived in this array …
Harmonic relations: American popular harmonies (1925–1950) and their European kin
With reference to the repertoire of European avant-garde music that emerged in the early twentieth century and to the American popular music of the “golden” period 1925–1950, the article examines correspondences between specific classes of harmonies, partially interpreted as pitch-class sets, primarily in terms of their total interval content, with attention given to musical contexts of small scale
Grounds for Concern
A Schenkerian Reading of an Excerpt from Tristan und Isolde
The article applies the concepts and techniques of Schenkerian analysis to a relatively long and integral excerpt from Wagner's Tristan und Isolde, the english horn solo from Act III. The result is an analytical sketch that displays “foreground” and “middleground” patterns as they contribute to the total structure, providing continuity and linear contexts for Leitmotifs as well as for micro-motives that appear to characterize the solo melody and …
Round Table: Response and Discussion
Allen Forte to the Editor
On p. 385 of the July-October 1996 issue of Music Analysis, in his review of Theory,Analysis and Meaning in Music, ed. Anthony Pople (Cambridge: Cambridge University Press, 1994), Dai Griffiths raises the issue of'historical perspective' in connection with Robert Snarrenberg's article, 'Competing myths: the American abandonment of Schenker's organicism'. In the course of his discussion, Griffiths refers to Snarrenberg's 'account of Jonas's and Os…
Afterword
The American Popular Ballad of the Golden Era, 1924-1950
Tristan Redux: Comments on John Rothgeb’s Article on the Tristan Chord in MTO 1.1 (MTO 1.1)
A discussion of the 1907 Louis and Thuille reading of the TC precedes a critical analysis of Rothgeb’s interpretation of it, making a case for the validity of its identity as a half-diminished seventh harmony, not only by citing supporting passages in the opera and multiple allusions to and quotations of that sonority by 20th-century composers but also by comparing a linear reading of the opening section of the Prelude based upon the half-diminis…
Debussy and the Octatonic
Musorgsky as Modernist: The Phantasmic Episode in 'Boris Godunov
These exuberant words, inscribed some eighteen months before the composer's death, reveal his deep interest in artistic innovation and offer an appropriate perspective for the analytic study presented here, which, it is hoped, will provide useful material for the further study of Musorgsky's music in general and of Boris Godunov in particular. Had the composer lived longer, I have no doubt that the history of tonality in the late nineteenth centu…
Pitch-Class Set Analysis Today
Introduction to Schenkerian Analysis
Foreground Rhythm in Early Twentieth-Century Music
Aspects of Rhythm in Webern's Atonal Music
Aspects of Rhythm in Webern's Atonal Music Get access Allen Forte Allen Forte Search for other works by this author on: Oxford Academic Google Scholar Music Theory Spectrum, Volume 2, Issue 1, Spring 1980, Pages 90–109, https://doi.org/10.2307/746181 Published: 01 March 1980
"The Harmonic Organization of "The Rite of Spring
The Harmonic Organization of The Rite of Spring
The Structure of Atonal Music
Atonality Analysed
Olivier Messiaen as Serialist
Debussy and the Octatonic
Applying regenerative thinking in yachting tourism. Insights from the Northern Adriatic Sea
The ‘turn to the sea’ through yachting tourism recorded during the Covid-19 pandemic prompts the relocation of the sea, including its nature and culture, back at the centre of processes of change in selected coastal resorts. The recent revamp of regenerative thinking in tourism offers a theoretical and practical ground on which to consider the development potential of yachting tourism as agent of societal change and coastal resort evolution. Usin…
Pitch-Class Set Analysis Today
Thoughts on Musis Analysis
Musorgsky as Modernist: The Phantasmic Episode in 'Boris Godunov
These exuberant words, inscribed some eighteen months before the composer's death, reveal his deep interest in artistic innovation and offer an appropriate perspective for the analytic study presented here, which, it is hoped, will provide useful material for the further study of Musorgsky's music in general and of Boris Godunov in particular. Had the composer lived longer, I have no doubt that the history of tonality in the late nineteenth centu…
Foreground Rhythm in Early Twentieth-Century Music
Sketches and Skeletons
Atonality Analysed
The Structure of Atonal Music
The Harmonic Organization of The Rite of Spring
Aspects of Rhythm in Webern's Atonal Music
Aspects of Rhythm in Webern's Atonal Music Get access Allen Forte Allen Forte Search for other works by this author on: Oxford Academic Google Scholar Music Theory Spectrum, Volume 2, Issue 1, Spring 1980, Pages 90–109, https://doi.org/10.2307/746181 Published: 01 March 1980
"The Harmonic Organization of "The Rite of Spring
Introduction to Schenkerian Analysis
Foreground Rhythm in Early Twentieth-Century Music
Pitch-Class Set Analysis Today
Musorgsky as Modernist: The Phantasmic Episode in 'Boris Godunov
These exuberant words, inscribed some eighteen months before the composer's death, reveal his deep interest in artistic innovation and offer an appropriate perspective for the analytic study presented here, which, it is hoped, will provide useful material for the further study of Musorgsky's music in general and of Boris Godunov in particular. Had the composer lived longer, I have no doubt that the history of tonality in the late nineteenth centu…
Debussy and the Octatonic
Tristan Redux: Comments on John Rothgeb’s Article on the Tristan Chord in MTO 1.1 (MTO 1.1)
A discussion of the 1907 Louis and Thuille reading of the TC precedes a critical analysis of Rothgeb’s interpretation of it, making a case for the validity of its identity as a half-diminished seventh harmony, not only by citing supporting passages in the opera and multiple allusions to and quotations of that sonority by 20th-century composers but also by comparing a linear reading of the opening section of the Prelude based upon the half-diminis…
A Schenkerian Reading of an Excerpt from Tristan und Isolde
The article applies the concepts and techniques of Schenkerian analysis to a relatively long and integral excerpt from Wagner's Tristan und Isolde, the english horn solo from Act III. The result is an analytical sketch that displays “foreground” and “middleground” patterns as they contribute to the total structure, providing continuity and linear contexts for Leitmotifs as well as for micro-motives that appear to characterize the solo melody and …
Round Table: Response and Discussion
Allen Forte to the Editor
On p. 385 of the July-October 1996 issue of Music Analysis, in his review of Theory,Analysis and Meaning in Music, ed. Anthony Pople (Cambridge: Cambridge University Press, 1994), Dai Griffiths raises the issue of'historical perspective' in connection with Robert Snarrenberg's article, 'Competing myths: the American abandonment of Schenker's organicism'. In the course of his discussion, Griffiths refers to Snarrenberg's 'account of Jonas's and Os…
Afterword
The American Popular Ballad of the Golden Era, 1924-1950
Grounds for Concern
Responses to Plenary Session Papers, NECMT 2000
At the NECMT 2000 meeting five formal papers were presented, covering new approaches to music theory and analysis (Dubiel and McCreless), the advantages of opening new repertoires to study (Hisama), a retrospective and prognostic of music theory pedagogy (Karpinski), and a discussion-demonstration of an analytical approach to rock music (Kaminsky). The responses by the present author address issues and special features he perceived in this array …
Harmonic relations: American popular harmonies (1925–1950) and their European kin
With reference to the repertoire of European avant-garde music that emerged in the early twentieth century and to the American popular music of the “golden” period 1925–1950, the article examines correspondences between specific classes of harmonies, partially interpreted as pitch-class sets, primarily in terms of their total interval content, with attention given to musical contexts of small scale
Olivier Messiaen as Serialist
Thoughts on Musis Analysis
The Founding of the Society for Music Theory
Henry F. du Pont and Winterthur
A lban B erg ’ s P iano S onata , O p . 1: A L andmark in E arly T wentieth ‐C entury M usic
Eventually published in 1926, the Piano Sonata, Op. 1, was completed in 1908, the year after Berg terminated his formal studies with Arnold Schoenberg, and first performed in Vienna in 1911. Berg's decision to assign the first opus number in his compositional canon to this piece was highly significant, since it clearly indicated the status that he accorded to such extraordinary music. The Sonata is one of the most expressive instrumental composit…
Art (21 works) · Musicology and Musical Analysis (14 works) · Computer Science (7 works) · Literature (6 works) · Philosophy (6 works) · Visual arts (6 works) · Diverse Musicological Studies (5 works) · Music History and Culture (5 works) · Aesthetics (4 works) · Art history (4 works)