- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article explores the concept of musical middles, which exhibit some rare properties. These properties are discussed in detail, starting with the fact that some musical middles are found near the beginning of a song or composition. Musical middles are also located in funeral marches, can be slow, and can play the kind of variability that imitates human behavior. The article also studies the work of Charles Altieri, who addressed some issues of literary middles, and reveals that middles are used to place fragments, making them both hidden and obvious.
Michael Beckerman is Professor of Music at New York University.
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