txtCommentary1=Another writer, Susan McClary, is best known for her applications of feminist theory to {\uldb classical}{\v 131766} and popular music. In \'93A Musical Dialectic from the {\uldb Enlightenment}{\v 153548}: Mozart\'92s {\uldb Piano Concerto}{\v 114864} in G {\uldb Major}{\v 86320}, {\uldb K.}{\v 137211} 453, {\uldb Movement}{\v 151907} 2\'94 {\i (Cultural Critique 4} [1986], pp. 129-170), McClary interprets the slow movement as a struggle between the \'93individual
txtHeading=Mozart's Music
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txtCommentary2=\par\par\par\par\par\par\par voice\'94 and a \'93repressive social order.\'94 McClary\'92s and Allenbrook\'92s works address central issues about Mozart\'92s music that traditional analysis too easily\par sidesteps.{\fs24\uldb \'80}{\v next}
