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“... are combined with the history of musical forms and with biography. This is not nearly enough for Joseph Kerman, however, who complains in Musicology that the seams in Adler’s musicological patchwork quilt are showing more than ever before. Apart from the alienating fragmentation of the discipline, his main complaint is that musicology has neglected ...”

“... Offering, and the opening fugue of Beethoven’s C sharp minor Quartet, Op. 131. In his preface, Joseph Kerman quotes Charles Rosen: The ‘pure fugue’, the meditative fugue, is basically a keyboard work for Bach … Only the performer at the keyboard is in a position to appreciate the movement of the voices, their blending and their ...”

“... is more than narrowly archival. It is a symbolic monument in a field – sketch-studies – which Joseph Kerman (closely connected with the authors and, like them, a major contributor to the important OUP series, Beethoven Studies, edited by Tyson) believes to be the most fruitful one for current musicology. His spirited, irresistible monograph, simply ...”

“... The mystery grows: what do women find to enjoy in Don Giovanni, ‘Mozart’s unpleasant opera’ (Joseph Kerman)? Presumably they go ‘not for the doctrine, but the music there’. In view of Lipking’s play with the word ‘abandoned’ – it can signify ‘to’ as well as ‘by’ – and his equally ambiguous comment, ‘the woman forgets ...”

“... a brilliant, still flourishing generation of analytically enlightened sketch-scholars (Alan Tyson, Joseph Kerman, Douglas Johnson, Robert Winter, William Kinderman, Barry Cooper) is to such venal misprisions a corrective of which the beleaguered Beethoven may have hardly dared to ...”