interaction of music and text, and metatheoretical discussions on the methodology and purpose of contemporary music theory. The first group includes his innovations in transformational theory, as expressed in numerous articles and in his treatise Generalized Musical Intervals and Transformations. In this work, Lewin applied group theory to music, investigating the basic concepts, interval and transposition, and extending them beyond their traditional application to pitch. Based on a powerful metaphor of musical space, this theory can be applied to pitch, rhythm and metre, or even timbre. Moreover, it can be applied to both tonal and atonal repertories. Lewin's writing on the relationship between text and music in song and opera involves composers from Mozart and Wagner, to Schoenberg and Babbitt. In one interesting example, "Music Analysis as Stage Direction", he discusses how structural aspects of the music can suggest dramatic interpretations. Important writings for the discipline of music theory include "Behind the Beyond" (1968–69), a response to Edward T. Cone, and "Music Theory, Phenomenology, and Modes of Perception" (1986). Lewin also undertakes considerable methodological and disciplinary reflection in writings that are chiefly oriented around other claims. This aspect of Lewin's intellectual style is evident as early as "A Theory of Segmental Association in Twelve-Tone Music" (1962). Lewin often makes clear which dense sections can be skipped by readers unfamiliar with mathematics, and connects his abstract theory to practical musical considerations, such as performance and music perception. For example, in Musical Form and Transformation: Four Analytic Essays, Lewin provides ear-training exercises to develop an ability to hear more difficult musical relationships. Posthumously, in 2003, a symposium on David Lewin's theories was conducted at the Mannes Institute for Advanced Studies in Music Theory. Lewin's papers are now held at the Library of Congress. Publications "Re Intervallic Relations Between Two Collections of Notes." Journal of Music Theory 3/2 (1959): 298–301. "The Intervallic Content of a Collection of Notes, Intervallic Relations between a Collection of Notes and its Complement: an Application to Schoenberg's Hexachordal Pieces." Journal of Music Theory 4/1 (1960): 98–101. "A Metrical Problem in Webern's Op. 27." Journal of Music Theory 6/1 (1962): 125–132. "A Theory of Segmental Association in Twelve-Tone Music." Perspectives of New Music 1/1 (Fall 1962): 89–116. "Berkeley. Arnold Elston Quartet. Seymour Shifrin Quartet No. 2." Review in Perspectives of New Music 2/2 (Fall–Winter 1964): 169–175. "Communication on the Invertibility of the Hexachord." Perspectives of New Music 4/1 (Fall–Winter