Publications by William Rothstein

Monographs

The Musical Language of Italian Opera, 1813–1859. New York: Oxford University Press, 2023.

Phrase Rhythm in Tonal Music. New York: Schirmer Books/Macmillan, 1989. Reprint ed., Ann Arbor: Musicalia Press, 2007.

Textbooks

With Charles Burkhart: Anthology for Musical Analysis: The Common-Practice Period. Boston: Cengage Learning, 2015.

With Charles Burkhart: Anthology for Musical Analysis, 7th edition. Boston: Cengage Learning, 2012.

Articles and book chapters

“Meter and Text-Setting in Italian Operas by Mozart and His Contemporaries.” In Analyzing Mozart’s Operas, edited by Lauri Suurpää and Nathan Martin. Analysis in Context: Leuven Studies in Musicology. Leuven: Peeters, forthcoming.

“Schenker and the Fundamental Bass.” In New Horizons in Schenkerian Theory, edited by Allen Cadwallader, Karen Bottge, and Oliver Schwab-Felisch, 1–20. Hildesheim: Olms, 2022.

“‘All That Is Solid Melts into Air’: Schumann’s Overture to Manfred.” In Explorations in Schenkerian Analysis, edited by David Beach and Su Yin Mak, 155–76. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 2016.

“A Footnote to Harold Powers’s ‘La dama velata’ (on Un ballo in maschera, Act II).” Verdi Forum 39–40 (2012–2013, appeared 2015): 14–29.

“A Tribute to Allen Forte.” GAMUT 6, no. 2 (2013, appeared 2014): 297–98.

“Motive, Key, Sonorità, and Tinta in La forza del destino (1862).” Verdi Forum 35–36 (2008–2009, appeared 2013): 15–31.

“Tonal Structures in Bellini.” Journal of Music Theory 56, no. 2 (2012): 225–83.

“Metrical Analysis.” In Beethoven’s Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars, edited by Pieter Bergé, V/1–V/44. Leuven: Peeters, 2012.

“Metrical Theory and Verdi’s Midcentury Operas.” Dutch Journal of Music Theory (Tijdschrift voor Muziektheorie) 16, no. 2 (2011): 93–111. Italian translation (by Catello Gallotti) as “La teoria del metro e le opere di Verdi alla metà del secolo.” Rivista di Analisi e Teoria Musicale 17, nos. 1–2 (2011): 67–100.

“Riding the storm clouds: Tempo, rhythm, and meter in Beethoven’s ‘Tempest’ Sonata.” In Beethoven’s ‘Tempest’ Sonata: Contexts of Analysis and Performance, edited by Pieter Bergé, Jeroen d’Hoe, and William Caplin, 235–71. Analysis in Context: Leuven Studies in Musicology, Vol. 3. Leuven: Peeters, 2009.

“National Metrical Types in Music of the Eighteenth and Early Nineteenth Centuries.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu, 112–59. Cambridge: Cambridge University Press, 2008.

“Common-tone tonality in Italian Romantic opera: An introduction.” Music Theory Online 14, no. 1 (March 2008).

“Ernst Oster (1908–1977).” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung, edited by Martin Eybl and Evelyn Fink-Mennel, 121–35. Wiener Veröffentlichungen zur Musikgeschichte Nr. 6. Vienna: Böhlau, 2006.

“Transformations of Cadential Formulæ in Music by Corelli and His Successors.” In Essays from the Third International Schenker Symposium, edited by Allen Cadwallader, 245–78. Hildesheim: Olms, 2006.

“Circular Motion in Chopin’s Late B-Major Nocturne (op. 62, no. 1).” In Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter, edited by L. Poundie Burstein and David Gagné, 19–32. Stuyvesant, NY: Pendragon Press, 2006.

“Like Falling Off a Log: Rubato in Chopin’s Prelude in A-flat Major (op. 28, no. 17).” Music Theory Online 11, no. 1 (March 2005).

“Playing with Forms: Mozart’s Rondo in D Major, K. 485.” In Engaging Music: Essays in Music Analysis, edited by Deborah Stein, 202–14. New York: Oxford University Press, 2005.

“Conservatory Schenker vs. University Schenker.” Dutch Journal of Music Theory (Tijdschrift voor Muziektheorie) 7, no. 3 (November 2002): 239–41.

“Chopin and the B-major complex: a study in the psychology of composition.” Ostinato rigore, revue internationale d’études musicales 15 (2000): 149–72.

“The Form of Chopin’s Polonaise-Fantasy.” In Music Theory in Concept and Practice, edited by James Baker, David Beach, and Jonathan Bernard, 337–59. Rochester, NY: University of Rochester Press, 1997.

“The Tristan Chord in Historical Perspective: A Response to John Rothgeb.” Music Theory Online 1, no. 3 (May 1995).

“Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades.” Intégral 8 (1995): 1– 50.

“Analysis and the Act of Performance.” In The Practice of Performance: Studies in Musical Interpretation, edited by John Rink, 217–40. Cambridge: Cambridge University Press, 1995. Spanish translation (by Juan Carlos Lores) as “El análysis y la interpretación musical.” Quodlibet 24 (2002): 22–48.

“Beethoven with and without Kunstgepräng’: Metrical Ambiguity Reconsidered.” In Beethoven Forum, Vol. 4, edited by Christopher Reynolds, 165–93. Lincoln: University of Nebraska Press, 1995.

“On Implied Tones.” Music Analysis 10, no. 3 (1991): 289–328.

“Rhythmic Displacement and Rhythmic Normalization.” In Trends in Schenkerian Research, edited by Allen Cadwallader, 87–113. New York: Schirmer Books, 1990.

“The Americanization of Schenker Pedagogy?” Journal of Music Theory Pedagogy 4, no. 2 (1990): 295–99.

“The Americanization of Heinrich Schenker.” In Schenker Studies, edited by Hedi Siegel, 193–203. Cambridge: Cambridge University Press, 1990. First appeared in In Theory Only 9, no. 1 (1986): 5–17.

“Phrase Rhythm in Chopin’s Nocturnes and Mazurkas.” In Chopin Studies, edited by Jim Samson, 115–41. Cambridge: Cambridge University Press, 1988.

“Heinrich Schenker as an Interpreter of Beethoven's Piano Sonatas.” 19th-Century Music 8, no. 1 (1984): 3–28.

“Linear Structure in the Twelve-Tone System: An Analysis of Donald Martino’s Pianississimo.” Journal of Music Theory 24, no. 2 (1980): 129–65.

Reviews

Review of Beethoven’s Last Piano Sonatas, by Heinrich Schenker, translated and edited by John Rothgeb. Music & Letters 97, no. 4 (November 2016): 661–63.

Review of articles on Schenkerian theory in The New Grove Dictionary of Music and Musicians, 2nd edition. Journal of Music Theory 45, no. 1 (2001): 204–27.

Review of Shaping Time: Music, the Brain, and Performance, by David Epstein. Journal of Music Theory 42, no. 1 (1998): 125–44.

Review of The Tempo Indications of Mozart, by Jean-Pierre Marty. The Musical Times 131 (1990): 141–42.

Review of Beethoven on Beethoven: Playing the Piano Music His Way, by William S. Newman. The Musical Times 130 (1989): 406–7.

Review of Heinrich Schenker, by Hellmut Federhofer. Music Analysis 7 (1988): 232–38.

Review of The Rhythms of Tonal Music, by Joel Lester. In Theory Only 10, no. 5 (1988): 29–39.

Review of Brahms and the Principle of Developing Variation, by Walter Frisch. Journal of Music Theory 30, no. 2 (1986): 284–95.

Review of J. S. Bach's Chromatic Fantasy and Fugue, by Heinrich Schenker, translated and edited by Hedi Siegel. Music Theory Spectrum 7 (1985): 203–207.

Review of Introduction to the Theory of Heinrich Schenker, by Oswald Jonas, translated and edited by John Rothgeb. Journal of Music Theory 27, no. 2 (1983): 273–81.

Review of “Prolongations and Progressions as Musical Syntax,” by Charles J. Smith (in Music Theory: Special Topics, edited by Richmond Browne, 139–74). Theory and Practice 8, no. 1 (1983): 63–69.

Review of Beyond Orpheus, by David Epstein. Theory and Practice 6, no. 2 (1981): 47–53.