Intégral Volume Index
- Volume 1 (1987)
- Volume 2 (1988)
- Volume 3 (1989)
- Volume 4 (1990)
- Volume 5 (1991)
- Volume 6 (1992)
- Volume 7 (1993)
- Volume 8 (1994)
- Volume 9 (1995)
- Volume 10 (1996)
- Volume 11 (1997)
- Volume 12 (1998)
- Volume 13 (1999)
- Volume 14/15 (2000/2001)
- Volume 16/17 (2002/2003)
- Volume 18/19 (2004/2005)
- Volume 20 (2006)
- Volume 21 (2007)
- Volume 22 (2008)
- Volume 23 (2009)
Volume 1 (1987)
John Adrian, EditorArticles:
| David Beach | Motivic Repetition in Beethoven's Piano Sonata Op. 110, Part I: The First Movement |
| Edward T. Cone | Brahms: Songs with Words and Songs Without Words |
| Robert W. Wason | Webern's Variations for Piano, Op. 27: Musical Structure and the Performance Score |
| Jay Rahn | Music Theory and Practice: A Behavioral View |
| Abram Loft | The Larger View |
| Alexander Brinkman | Microcomputers and Music, by Gary E. Wittlich, John W. Schaffer, Larry R. Babb |
| Steven Block | Sound Color, by Wayne Slawson |
Volume 2 (1988)
Brian Alegant, EditorArticles:
| Allen Cadwallader | Prolegomena to a General Description of Motivic Relationships in Tonal Music |
| Christopher Lewis | Text, Time, and Tonic: Aspects of Patterning in the Romantic Cycle |
| David Beach | Motivic Repetition in Beethoven's Piano Sonata Op. 110, Part II: The Trio of the Second Movement and the Adagio and Arioso |
| Ed Laufer | On the Fantasy |
| Dan Warburton | A Working Terminology for Minimal Music |
| Bo Alphonce | Generalized Musical Intervals and Transformations, by David Lewin |
| Michael Cherlin | Composition with Pitch-Classes, by Robert D. Morris |
| John Wm. Schaffer | CMAP: Contemporary Music Analysis Package, by Craig Harris and Alexander Brinkman |
Volume 3 (1989)
Brian Alegant, EditorArticles:
| J. Philip Lambert | Ives' "Piano Drum" Chords |
| Robert D. Morris | Some Compositional and Analytical Applications of T-Matrices |
| Robert O. Gjerdingen | Meter as a Mode of Attending: A Network Simulation of Attentional Rhythmicity in Music |
| Andrew Mead | Twelve-Tone Organizational Strategies: An Analytical Sampler |
| Gregory Proctor | A Classic Turn of Phrase: Music and the Psychology of Convention, by Robert O. Gjerdingen |
| Patrick McCreless | Reading Schenker's Kontrapunkt |
| Douglass M. Green | A Practical Approach to Eighteenth-Century Counterpoint, by Robert Gauldin |
Volume 4 (1990)
Gerald Krumbholz and Yayoi Uno, EditorsArticles:
| Warren Darcy | The Ursatz in Wagner: or, Was Wagner a Background Composer After All? |
| Richard A. Kaplan | Transpositionally Invariant Subsets: A New Set-subcomplex Relation |
| Marie Rolf and Elizabeth Marvin | Analytical Issues and Interpretive Decisions in Two Songs by Richard Strauss |
| Mary Wennerstrom | Kostka, Lester, and Straus: Twentieth-Century Materials and Analytical Techniques in Review |
Volume 5 (1991)
Gerald Krumbholz and Nancy Wilson, EditorsArticles:
| Jack Adrian | The Function of the Apparent Tonic at the Beginning of Development Sections |
| Michael Cherlin | Thoughts on Poetry and Music, on Rhythms in Emily Dickenson's "The World Feels Dusty" and Aaron Copland's Setting of It |
| Robert Gauldin | Beethoven's Interrupted Tetrachord and the Seventh Symphony |
| Steven Block | Ear Training for Twentieth-Century Music, by Michael L. Friedmann |
| Matthew Brown | Remaking the Past: Musical Modernism and the Influence of Tonal Tradition, by Joseph N. Straus |
| James L. Snell | Pascal Programming for Music Research, by Alexander Brinkman |
Volume 6 (1992)
Dora Hanninen and Mark Sallmen, EditorsArticles:
| Richard Cohn | Metric and Hypermetric Dissonance in the Menuetto of Mozart's Symphony in G Minor, K. 550 |
| Jeffrey L. Gillespie | Motivic Transformations and Networks in Schoenberg's "Nacht" from Pierrot Lunaire |
| Howard Cinnamon | New Observations on Voice Leading, Hemiola, and their Roles in Tonal and Rhythmic Structures in Chopin's Prelude in B Minor, Op. 28 No. 6 |
| Andrew Mead | The Twelve-Note Music of Anton Webern: Old Forms in a New Language, by Kathryn Bailey |
| Daniel Harrison | Playing with Signs: A Semiotic Interpretation of Classic Music, by V. Kofi Agawu |
| Douglas Dempster and Matthew Brown | Style and Music: Theory, History, and Ideology, by Leonard B. Meyer |
Volume 7 (1993)
Nancy Rogers, EditorArticles:
| Cynthia J. Folio | Analysis and Performance: A Study in Contrasts |
| Robert S. Hatten | Schubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959 |
| Kevin Korsyn | Schenker's Organicism Reexamined |
| Heather Platt | Unrequited Love and Unrealized Dominants |
| Roberto A. Saltini | Structural Levels and Choice of Beat-Class Sets in Steve Reich's Phase-Shifting Music |
| Nadine Hubbs | A Guide to Schenkerian Analysis, by David Neumeyer and Susan Tepping |
Volume 8 (1994)
Michael Buchler and Nancy Rogers, EditorsArticles:
| David Beach | The Initial Movements of Mozart's Piano Sonatas K.280 and K.332: Some Striking Similarities |
| Alexandra Pierce | Developing Schenkerian Hearing and Performing |
| William Rothstein | Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades |
| Richard Kurth | An Introduction to the Music of Milton Babbitt, by Andrew Mead |
| Bo Alphonce | Musical Form and Transformation: 4 Analytic Essays, by David Lewin |
| Massimo Ossi | Musical Poetics, by Joachim Burmeister, translated by Benito Rivera |
Volume 9 (1995)
Norman Carey and Su Yin Mak, EditorsArticles:
| Gregory Marion | Inciting Transformational Insights |
| Robert D. Morris | The Structure of First-Species Canon in Modal, Tonal, and Atonal Musics |
| Gordon Sly | The Architecture of Key and Motive in a Schubert Sonata |
| Robert O. Gjerdingen | Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents, by Daniel Harrison |
| Robert Gauldin | Analyzing Fugue: A Schenkerian Approach, by William Renwick |
| Steven Laitz | Poetry into Song: Performance and Analysis of Lieder, by Deborah Stein and Robert Spillman |
Volume 10 (1996)
Evan Jones and Jocelyn Neal, EditorsArticles:
| Lora Gingerich Dobos | Transformations of BACH in Webern's Op. 16 No. 4 |
| Tiina Koivisto | Aspects of Motion in Elliott Carter's Second String Quartet |
| Lauri Suurpaa | Schumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe |
| Yayoi Uno | Tempo-span GIS as a Measure of Continuity in Elliott Carter's Eight Pieces for Four Timpani |
| David Lidov | Musical Semiotics--Science, Letters, or Art? |
| David Butler | Shaping Time: Music, the Brain, and Performance, by David Epstein |
| William Kinderman | Beethoven Hero, by Scott Burnham, and The 'Galitzin' Quartets of Beethoven, by Daniel K.L.Chua |
Volume 11 (1997)
Evan Jones and Jocelyn Neal, EditorsForeword:
| David Beach | Reflections on Intégral: Its Inception and Early Years |
| David Lefkowitz | Perspectives on Order, Disorder, Combinatoriality, and Tonality in Schoenberg's Opus 33a and 33b Piano Pieces |
| David Lewin | Conditions Under Which, in a Commutative GIS, Two 3-Element Sets Can Span the Same Assortment of GIS-Intervals; Notes on the Non-Commutative GIS in this Connection |
| Joseph Straus | A Strategy of Large-Scale Organization in Stravinsky's Late Music |
| Dmitri Tymoczko | The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz |
| Gretchen Horlacher | Meter as Rhythm, by Christopher Hasty |
| Harald Krebs | A Reader's Guide to the Chopin Preludes, by Jeffrey Kresky |
| David Neumeyer | Analysis of Tonal Music: A Schenkerian Approach, by Allen Cadwallader and David Gagné |
Volume 12 (1998)
Matthew Bribitzer-Stull and Eugenij Kosiakin, EditorsArticles:
| Márta Grabócz | The Application of A. J. Greimas's Structural Semantics to the Analysis of Sonata Form |
| Edward Gollin | Some Unusual Transformations in Bartók's "Minor Seconds, Major Sevenths" |
| Henry Klumpenhouwer | The Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks |
| Shaugn O'Donnell | Klumpenhouwer Networks, Isography, and the Molecular Metaphor |
| Matthew Brown | Rothstein's Paradox and Neumeyer's Fallacies |
| David Neumeyer | Response to Matthew Brown |
| Martha Hyde | The Music of Ruth Crawford Seeger, by Joseph Straus |
Volume 13 (1999)
Scott Murphy and Don Traut, EditorsArticles:
| David Carson Berry | Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin |
| David Clampitt | Ramsey Theory, Unary Transformations, and Webern's Op. 5, No. 4 |
| John F. Doerksen | Comparing Collections of Set-Classes: Indexes in Forte's Genera Theory |
| David Smyth | Beethoven's Last Bagatelle |
| Joel Galand | Formenlehre Revisited (Review-Essay on William Caplin's Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven) |
| Guy Capuzzo | The Music of Elliott Carter, Second Edition by David Schiff |
| David Gagné | Unfoldings, by Carl Schachter |
Volume 14/15 (2000/2001)
Philip Chang and Panayotis Mavromatis, EditorsForum:
| Music Theory at the Turn of the Millennium |
| Mark Anson-Cartwright | Haydn's Homage to Mozart: Echoes of "Voi che sapete" in Opus 64, No. 3 |
| Jack Boss | The "Musical Idea" and Global Coherence in Schoenberg's Atonal and Serial Music |
| Gretchen Horlacher | Multiple Meters and Metrical Processes in the Music of Steve Reich |
| David Lewin | All Possible GZ-Related 4-Element Pairs of Sets, in All Possible Commutative Groups, Found and Categorized |
| Margaret Thomas | Nancarrow's "Temporal Dissonance": Issues of Temporal Proportions, Metric Synchrony, and Rhythmic Strategies |
| Marianne Wheeldon | Interpreting "Strong Moments" in Debussy's "La terrasse des audiences du clair de lune" |
| Joel Galand | Analysis Through Composition: Principles of the Classical Style, by Nicholas Cook |
Volume 16/17 (2002/2003)
Philip Chang and J. Daniel Jenkins, EditorsArticles:
| Matthew BaileyShea | Wagner's Loosely Knit Sentences and the Drama of Musical Form |
| Mitchell Turner | Interval-Class Exchanges in a Two-Dimensional Pitch-Class Space |
| Brian Alegant | Inside the Cadenza of Schoenberg's Piano Concerto |
| Stephen Slottow | Carl Ruggles's Cadential Complex |
| Mark Sallmen | Composition with a Single Row Form? Webern's 'Schatzerl klein,' Op. 18, No. 1 |
| Daphne Leong | Kaleidoscopic Symmetries: Time and Pitch Relations in Conlon Nancarrow's Tango? |
| Scott D. Lipscomb
Daphne Leong Lawrence M. Zbikowski |
Forum: Analysing Musical Multimedia, by Nicholas Cook |
| Robert W. Peck | Class Notes for Advanced Atonal Theory, by Robert D. Morris |
| Robert D. Morris | Reply to Robert W. Peck |
Volume 18/19 (2004/2005)
Peter Franck and J. Daniel Jenkins, EditorsArticles:
| Karl Braunschweig | Rhetorical Types of Phrase Expansion in the Music of J.S. Bach |
| Matthew Brown | Composing with Prototypes: Charting Debussy's L'Isle joyeuse |
| Sean H. Carson | The Trace, Its Relation to Contour Theory, and an Application to Carter's String Quartet No. 2 |
| Robert Gauldin | New Twists for Old Endings: Cadenza and Apotheosis in the Romantic Piano Concerto |
| Robert D. Morris | Aspects of Post-Tonal Canon Systems |
| Robert W. Peck | Aspects of Recursion in M-Inclusive Networks |
| Ciro Scotto | Music Theory at the Turn of the Millennium and The Open Space Magazine |
| Norman Carey | Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century, edited by Andreas Giger and Thomas J. Mathiesen |
Volume 20 (2006)
Peter Franck and John Koslovsky, EditorsArticles:
| Ryan McClelland | Metric Dissonance in Brahms's Piano Trio in C Minor, Op. 101 |
| John Roeder and Scott Alexander Cook | Triadic Transformations and Parsimonius Voice Leading in the Music of Gavin Bryars |
| Stephen C. Brown | Tracing the Origins of Shostakovich's Musical Motto |
| Márta Grabócz | Stylistic Evolution in Mozart's Symphonic Slow Movements: The Discursive-Passionate Schema (In English Translation) |
| William M. Marvin | A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indicies, by David Carson Berry, and Heinrich Schenker: A Guide to Research, by Benjamin McKay Ayotte |
Volume 21 (2007)
John Koslovsky and Jenine Lawson, EditorsArticles:
| Matthew Bribitzer-Stull and Robert Gauldin | Hearing Wagner in Till Eulenspiegel: Strauss's Merry Pranks Reconsidered |
| Clifton Callender | Interactions of the Lamento Motif and Jazz Harmonies in Györgi Ligeti's Arc-en-ciel |
| Guy Capuzzo | Registral Constrains on All-Interval Rows in Elliott Carter's Changes |
| Peter H. Smith | New Perspectives on Brahms's Linkage Technique |
| Julian Hook | David Lewin and the Complexity of the Beautiful |
Volume 22 (2008)
Jenine Lawson and Michael Callahan, EditorsArticles:
| Marva Duerksen | Schenker's Organicism Revisited |
| Edward Gollin | On Bartók's Comparative Musicology as a Resource for Bartókian Analysis |
| Trevor Pearce | Tonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology |
| Frank Samarotto | Fludities of Phrase and Form in the "Intermezzo" of Brahms's First Symphony |
| Robert Samuels | Entendez-vous la musique? Review of Peter Dayan: Music Writing Literature, from Sand via Debussy to Derrida. Aldershot: Ashgate, 2006. |
Volume 23 (2009)
Michael Callahan and Justin Lundberg, EditorsArticles:
| Brian Black | The Functions of Harmonic Motives in Schubert's Sonata Forms |
| Graham Hunt | The Three-Key Trimodular Block and its Classical Precedents: Sonata Expositions of Schubert and Brahms |
| Samuel Ng | Reinterpreting Metrical Reinterpretation |
| Lauri Suurpää | Interrelations between Expression and Structure in the First Movements of Joseph Haydn's Piano Sonatas Hob. XVI/44 and XVI/20 |
| Christian Carey | Arnold Whittall and the Perils of Transcontinental Serialism |