Sam Reenan https://validator.w3.org/feed/docs/rss2.html Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music Blog Front Page Chamber Music Ecosystems: Revisiting Organi(ci)sm through Contemporary Music Hiawatha Reconsidered: Race, Spectatorship, and Symphonic Form Queering Mahler’s Orchestration Schönberg’s Reorchestrations as Public/Anti-Public Musicology Autobiography, Grief, and Mortality in Mahler’s Symphonic “Farewell Finales” Listening to form in/through contemporary musics Contact Blending Genres, Mixing Forms: Ellington’s Symphonism in <em>Black, Brown, and Beige</em> Research About Resonances of Messiaen in Dutilleux’s Protospectral Music Sam Reenan Symphonic Spectacles Protected: <em>Eine Alpensinfonie</em>—Tone Poem, Symphony, or Music-Drama? Generic Hybridity in Gustav Mahler’s Late Symphonies Form: Deconstructing Hierarchy and Standard The Connective Role of the Parentheses in Dutilleux’s <em>Ainsi la Nuit</em> The Transgressive Modernism of Berg’s String Quartet—as Told by Adorno Graduate Instructor Peer Observation in Music Theory Pedagogy Jingle Function in Contemporary Commercial Advertisement The “Rondo” and the “Burleske” in Mahler’s Rondo-Burleske Dissertation The Hybrid Forms of Mahler’s Late Symphonies Memory in Music Analysis: Referential Appeals to Proustian Memory in Dutilleux’s Ainsi la Nuit