| Author |
Title |
Date |
Vol. |
Formats |
| A |
| Adams, Kyle |
Musical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies |
2019 |
33 |
HTML
PDF |
| Adrian, Jack |
The Function of the Apparent Tonic at the Beginning of Development Sections |
1991 |
5 |
PDF |
| Agawu, Kofi |
Embracing the Non-West |
2000-01 |
14/15 |
PDF |
| Agawu, Kofi |
Review of Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle, by Lauri Suurpää, 2014 |
2014-15 |
28/29 |
PDF |
| Alegant, Brian |
Inside the Cadenza of Schoenberg’s Piano Concerto |
2002-03 |
16/17 |
PDF |
| Alegant, Brian |
Reconsidering Debussy’s Bruyères |
2016 |
30 |
PDF |
| Alphonce, Bo |
Review of Generalized Musical Intervals and Transformations, by David Lewin, 1987 |
1988 |
2 |
PDF |
| Alphonce, Bo |
Review of Musical Form and Transformation: 4 Analytic Essays, by David Lewin, 1994 |
1994 |
8 |
PDF |
| Amarosa, Leah |
Unveiling the Signifiers of Rain in John Adams’s China Gates |
2023 |
36 |
HTML
PDF |
| Anson-Cartwright, Mark |
Haydn’s Homage to Mozart: Echoes of “Voi che spate” in Opus 64, No. 3 |
2000-01 |
14/15 |
PDF |
| Argentino, Joe |
Serialism and Neo-Riemannian Theory: Transformations and Hexatonic Cycles in Schoenberg’s “Modern Psalm,” Op. 50c |
2012 |
26 |
PDF |
| Au, Hiu-Wah |
The Prolongation Function of Secondary-Key Variations in Brahms’s Variations for Four Hands on a Theme of Robert Schumann, Op. 23 |
2011 |
25 |
PDF |
| Auerbach, Brent |
Techniques for the Functional Classification of Two-Chord Sequences |
2013 |
27 |
PDF |
| B |
Back to top |
| BaileyShea, Matthew |
Wagner’s Loosely Knit Sentences and the Drama of Musical Form |
2002-03 |
16/17 |
PDF |
| Bakulina, Ellen |
Proto-Harmony and the Problem of Tonal Centricity in Rachmaninoff’s All-Night Vigil |
2018 |
32 |
HTML
PDF |
| Barry, Christopher M. |
Being, Becoming, and Death in Twelve-Tone Music: “Wie bin ich froh!” as Epitaph |
2014-15 |
28/29 |
PDF |
| Beach, David |
Motivic Repetition in Beethoven’s Piano Sonata Op. 110, Part I: The First Movement |
1987 |
1 |
PDF |
| Beach, David |
Motivic Repetition in Beethoven’s Piano Sonata Op. 110, Part II: The Trio of the Second Movement and the Adagio and Arioso |
1988 |
2 |
PDF |
| Beach, David |
The Initial Movements of Mozart’s Piano Sonatas K.280 and K.332: Some Striking Similarities |
1994 |
8 |
PDF |
| Beach, David |
Reflections on Intégral: Its Inception and Early years |
1997 |
11 |
PDF |
| Berry, David Carson |
Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin |
1999 |
13 |
PDF |
| Berry, David Carson |
Review of Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form, by David Beach, 2012 |
2012 |
26 |
PDF |
| Biamonte, Nicole |
Variations on a Scheme: Bach’s “Crucifixus” and Chopin’s and Scriabin’s E-minor Preludes |
2012 |
26 |
PDF |
| Black, Brian |
The Functions of Harmonic Motives in Schubert’s Sonata Forms |
2009 |
23 |
PDF |
| Block, Steven |
Review of Sound Color, by Wayne Slawson, 1985 |
1987 |
1 |
PDF |
| Block, Steven |
Review of Ear Training for Twentieth-Century Music, by Michael L. Friedmann, 1991 |
1991 |
5 |
PDF |
| Boretz, Benjamin |
Thinking About Theory, Theories, and “the Musical” in Music |
2000-01 |
14/15 |
PDF |
| Boss, Jack |
The “Musical Idea” and Global Coherence in Schoenberg’s Atonal and Serial Music |
2000-01 |
14/15 |
PDF |
| Boss, Jack |
Presentation of “Musical Idea” through Tetrachord Exchanges and Rhythmic/Metric Correspondences in the Intermezzo and Gavotte of Schoenberg’s Suite for Piano, Op. 25 |
2013 |
27 |
PDF |
| Boyd, Michael |
Integrating Opposites: Iannis Xenakis’s Charisma for Clarinet and Cello |
2023 |
36 |
HTML
PDF |
| Braunschweig, Karl |
Rhetorical Types of Phrase Expansion in the Music of J.S. Bach |
2004-05 |
18/19 |
PDF |
| Bribitzer-Stull, Matthew |
Die Geheimnisse der Form bei Richard Wagner: Structure and Drama as Elements of Wagnerian Form |
2016 |
30 |
PDF |
| Bribitzer-Stull, Matthew, and Robert Gauldin |
Hearing Wagner in Till Eulenspiegel: Strauss’s Merry Pranks Reconsidered |
2007 |
27 |
PDF |
| Brinkman, Alexander R. |
Review of Microcomputers and Music, by Gary E. Wittlich, John W. Schaffer, and Larry R. Babb, 1986 |
1987 |
1 |
PDF |
| Brown, Matthew |
Review of Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition, by Joseph N. Straus, 1990 |
1991 |
5 |
PDF |
| Brown, Matthew |
Rothstein’s Paradox and Neumeyer’s Fallacies |
1998 |
12 |
PDF |
| Brown, Matthew |
Music Theory, Music Cognition, and “The Case of Iguanodon’s Thumb” |
2000-01 |
14/15 |
PDF |
| Brown, Matthew |
Composing with Prototypes: Charting Debussy’s L’Isle joyeuse |
2004-05 |
18/19 |
PDF |
| Brown, Matthew |
C. P. E. Bach, Schenker, Improvisation, and Composition |
2010 |
24 |
PDF |
| Brown, Matthew, and Douglas Dempster |
Review of Style and Music: Theory, History, and Ideology, by Leonard B. Meyer, 1989 |
1992 |
6 |
PDF |
| Brown, Matthew, and John Koslovsky |
The Contrapuntal Legacy of the French fin-de-siècle: A Look at Dukas’s Piano Sonata in E-flat |
2016 |
30 |
PDF |
| Brown, Stephen C. |
Tracing the Origins of Shostakovich’s Musical Motto |
2006 |
20 |
PDF |
| Buchler, Michael |
Are There Any Bad (or Good) Transformational Analyses? |
2016 |
30 |
PDF |
| Butler, David |
Review of Shaping Time: Music, the Brain, and Performance, by David Epstein, 1995 |
1996 |
10 |
PDF |
| Byros, Vasili |
Mozart’s Vintage Corelli: The Microstory of a Fonte-Romanesca |
2017 |
31 |
PDF |
| C |
Back to top |
| Cadwallader, Allen |
Prolegomena to a General Description of Motivic Relationships in Tonal Music |
1988 |
2 |
PDF |
| Callahan, Michael |
Improvising Motives: Applications of Michael Wiedeburg’s Pedagogy of Modular Diminutions |
2010 |
24 |
PDF |
| Callender, Clifton |
Interactions of the Lamento Motif and Jazz Harmonies in Györgi Ligeti’s Arc-en-ciel |
2007 |
21 |
PDF |
| Capuzzo, Guy |
Review of The Music of Elliott Carter, Second Edition, by David Schiff, 1998 |
1999 |
13 |
PDF |
| Carey, Christian |
Arnold Whittall and the Perils of Transcontinental Serialism (Review Article of Serialism, by Arnold Whittall, 2008) |
2009 |
23 |
PDF |
| Carey, Norman |
Review of 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, 2002 |
2004-05 |
18/19 |
PDF |
| Carson, Sean H. |
The Trace, Its Relation to Contour Theory, and an Application to Carter’s String Quartet No. 2 |
2004-05 |
18/19 |
PDF |
| Cherlin, Michael |
Review of Composition with Pitch-Classes, by Robert D. Morris, 1987 |
1988 |
2 |
PDF |
| Cherlin, Michael |
Thoughts on Poetry and Music, on Rhythms in Emily Dickinson’s “The World Feels Dusty” and Aaron Copland’s Setting of It |
1991 |
5 |
PDF |
| Cherlin, Michael |
Three Challenges for Music Theory in Our Time |
2000-01 |
14/15 |
PDF |
| Christensen, Thomas |
Music Theory and the Mainstream |
2000-01 |
14/15 |
PDF |
| Cinnamon, Howard |
New Observations on Voice Leading, Hemiola, and their Roles in Tonal and Rhythmic Structures in Chopin’s Preludes in B Minor, Op. 28 No. 6 |
1992 |
6 |
PDF |
| Clampitt, David |
Ramsey Theory, Unary Transformations, and Webern’s Op. 5, No. 4 |
1999 |
13 |
PDF |
| Cohn, Richard A. |
Metric and Hypermetric Dissonance in the Menuetto of Mozart’s Symphony in G Minor, K. 550 |
1992 |
6 |
PDF |
| Cone, Edward T. |
Brahms: Songs with Words and Songs Without Words |
1987 |
1 |
PDF |
| Cook, Nicholas |
Revisiting the Future |
2000-01 |
14/15 |
PDF |
| Cook, Scott Alexander, and John Roeder |
Triadic Transformations and Parsimonious Voice Leading in the Music of Gavin Bryars |
2006 |
20 |
PDF |
| Cross, Ian |
Music(s), Science(s), and Post-Positivist Pluralities |
2000-01 |
14/15 |
PDF |
| Cubero, Diego |
Blurred Harmonies in Robert Schumann and Johannes Brahms |
2022 |
35 |
HTML
PDF |
| D |
Back to top |
| Darcy, Warren |
A Wagnerian Ursatz; or, Was Wagner a Background Composer After All? |
1990 |
4 |
PDF |
| Decker, Gregory J. |
Strategies for Opposition, Ambiguity, and “Amarilli” in the Seconda Pratica Italian Madrigal |
2014-15 |
28/29 |
PDF |
| Dempster, Douglas, and Matthew Brown |
Review of Style and Music: Theory, History, and Ideology, by Leonard B. Meyer, 1989 |
1992 |
6 |
PDF |
| Dobos, Lora Gingerich |
Transformations of BACH in Webern’s Op. 16 No. 4 |
1996 |
10 |
PDF |
| Doerksen, John F. |
Comparing Collections of Set-Classes: Indexes in Forte’s Genera Theory |
1999 |
13 |
PDF |
| Duerksen, Marva |
Schenker’s Organicism Revisited |
2008 |
22 |
PDF |
| Dunsby, Jonathan |
Grim Reapings Theorizing Untheory |
2014-15 |
28/29 |
PDF |
| Dunsby, Jonathan |
Review of Performing Knowledge: Twentieth-Century Music in Analysis and Performance, by Daphne Leong, Oxford University Press, 2019 |
2020 |
34 |
HTML
PDF |
| F |
Back to top |
| Ferrandino, Matthew |
Multi-Centric Complexes in Pop-Rock Music |
2022 |
35 |
HTML
PDF |
| Folio, Cynthia |
Analysis and Performance: A Study in Contrasts |
1993 |
7 |
PDF |
| Forte, Allen |
Music Theory: Today and Tomorrow |
2000-01 |
14/15 |
PDF |
| Franck, Peter |
Canon and Its Effect on Tight-Knit Organization within Classical Themes |
2012 |
26 |
PDF |
| Franck, Peter |
Structural Framing and Its Interaction with Linkage Technique |
2016 |
30 |
PDF |
| G |
Back to top |
| Gagné, David |
Review of Unfoldings, by Carl Schachter, 1999 |
1999 |
13 |
PDF |
| Galand, Joel |
Formenlehre Revived (Review-Essay on William Caplin’s Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, 1998) |
1999 |
13 |
PDF |
| Galand, Joel |
Review of Analysis Through Composition: Principles of the Classical Style, by Nicholas Cook, 1996 |
2000-01 |
14/15 |
PDF |
| Gauldin, Robert |
Beethoven’s Interrupted Tetrachord and the Seventh Symphony |
1991 |
5 |
PDF |
| Gauldin, Robert |
Review of Analyzing Fugue: A Schenkerian Approach, by William Renwick, 1995 |
1995 |
9 |
PDF |
| Gauldin, Robert |
New Twists for Old Endings: Cadenza and Apotheosis in the Romantic Piano Concerto |
2004-05 |
18/19 |
PDF |
| Gauldin, Robert, and Matthew Bribitzer-Stull |
Hearing Wagner in Till Eulenspiegel: Strauss’s Merry Pranks Reconsidered |
2007 |
21 |
PDF |
| Gillespie, Jeffrey L. |
Motivic Transformations and Networks in Schoenberg’s “Nacht” from Pierrot Lunaire |
1992 |
6 |
PDF |
| Gjerdingen, Robert O. |
Meter as a Mode of Attending: A Network Simulation of Attentional Rhythmicity in Music |
1989 |
3 |
PDF |
| Gjerdingen, Robert O. |
Review of Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents, by Daniel Harrison, 1994 |
1995 |
9 |
PDF |
| Goldenberg, Yosef |
When and How are Modulations Diatonic? |
2018 |
32 |
HTML
PDF |
| Gollin, Edward T. |
Sum Unusual Transformations in Bartók’s “Minor Seconds, Major Sevenths” |
1998 |
12 |
PDF |
| Gollin, Edward |
On Bartók’s Comparative Musicology as a Resource for Bartókian Analysis |
2008 |
22 |
PDF |
| Gollin, Edward |
Music and Text: A Review Essay on David Lewin’s Morgengruß: Text, Context, Commentary, edited by David Bard-Schwarz and Richard Cohn, 2015 |
2017 |
31 |
PDF |
| Gotham, Mark |
Old Sources in new Sauces: John Joubert and the Analysis of Ancient Materials in Modern Music |
2023 |
36 |
HTML
PDF |
| Grabócz, Márta |
A. J. Gremias’s Narrative Grammar and the Analysis of Sonata Form |
1998 |
12 |
PDF |
| Grabócz, Márta |
Stylistic Evolution in Mozart’s Symphonic Slow Movements: The Discursive-Passionate Schema (In English Translation) |
2006 |
20 |
PDF |
| Green, Douglass M. |
Review of A Practical Approach to Eighteenth-Century Counterpoint, by Robert Gauldin, 1988 |
1989 |
3 |
PDF |
| H |
Back to top |
| Harrison, Daniel |
Review of Playing with Signs: A Semiotic Interpretation of Classical Music, by V. Kofi Agawu, 1991 |
1992 |
6 |
PDF |
| Harrison, Daniel |
A Story, An Apologia, and A Survey |
2000-01 |
14/15 |
PDF |
| Hatten, Robert S. |
Schubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959 |
1993 |
7 |
PDF |
| Hatten, Robert S. |
A New Frontier for Music Theorists |
2000-01 |
14/15 |
PDF |
| Heetderks, David |
Semitonal Succession-Classes in Prokofiev’s Music and Their Influence on Diatonic Voice-leading Backgrounds in the Op. 94 Scherzo |
2013 |
27 |
PDF |
| Hook, Julian |
David Lewin and the Complexity of the Beautiful (Review Article of Generalized Musical Intervals and Transformations and Musical Form and Transformation: 4 Analytic Essays, by David Lewin, reprinted 2007) |
2007 |
21 |
PDF |
| Hook, Julian L., and David Neumeyer |
Review of Analysis of Tonal Music: A Schenkerian Approach, by Allen Cadwallaer and David Gagné, 1998 |
1997 |
11 |
PDF |
| Horlacher, Gretchen |
Review of Meter as Rhythm, by Christopher Hasty, 1997 |
1997 |
11 |
PDF |
| Horlacher, Gretchen |
Multiple Meters and Metrical Processes in the Music of Steve Reich |
2000-01 |
14/15 |
PDF |
| Hubbs, Nadine |
Review of A Guide to Schenkerian Analysis, by David Neumeyer and Susan Tepping, 1992 |
1993 |
7 |
PDF |
| Hudson, Stephen S. |
Review of Making Sense of Recordings: How Cognitive Processing of Recorded Sound Works, by Mads Walther-Hansen, Oxford University Press, 2020 |
2022 |
35 |
HTML
PDF |
| Hunt, Graham |
The Three-Key Trimodular Block and its Classical Precedents: Sonata Expositions of Schubert and Brahms |
2009 |
23 |
PDF |
| Hunt, Graham G. |
Review of Formal Functions in Perspective, edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, 2015 |
2017 |
31 |
PDF |
| Hutchinson, Kyle |
Pendular Thirds and Pentatonic Parallelisms: Intersecting Black Vernacular and neo-Romantic Idioms in the Second Movement of Florence Price’s Piano Sonata in E minor |
2023 |
36 |
HTML
PDF |
| Hyde, Martha |
Review of The Music of Ruth Crawford Seeger, by Joseph Straus, 1995 |
1998 |
12 |
PDF |
| Hynes-Tawa, Liam |
Review of Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century, by Megan Kaes Long, Oxford University Press, 2020 |
2020 |
34 |
HTML
PDF |
| I |
Back to top |
| Ito, John Paul |
Review of Brahms and the Shaping of Time, ed. Scott Murphy, University of Rochester Press, 2018 |
2019 |
33 |
HTML
PDF |
| Iverson, Jennifer |
Open Access Meets Critical Disability Studies |
2019 |
33 |
HTML
PDF |
| J |
Back to top |
| Jenkins, J. Daniel |
“Im Zusammenhang des Zwölftonwegs sprechen”: Reconsidering Pitch-class Sets in Schoenberg’s Atonal Music |
2016 |
30 |
PDF |
| Jakubowski, Joseph R. |
Embodied Form in Grisey’s Prologue: Variation, Opposition, Tension |
2020 |
34 |
HTML
PDF |
| Jones, Evan |
Dynamics and Dissonance: The Implied Harmonic Theory of J.J. Quantz |
2016 |
30 |
PDF |
| Judd, Cristle Collins |
The Dialogue of Past and Present: Approaches to Historical Music Theory |
2000-01 |
14/15 |
PDF |
| K |
Back to top |
| Kaplan, Richard A. |
Transpositionally Invariant Subsets: A New Set-subcomplex Relation |
1990 |
4 |
PDF |
| Keep, Dave |
The Voice of Enigma: Intertextuality in “Im wunderschönen Monat Mai” |
2023 |
36 |
HTML
PDF |
| Kinderman, William |
Review of The “Galitzin” Quartets of Beethoven, by Daniel K. L. Chua, 1995 |
1996 |
10 |
PDF |
| Klumpenhouwer, Henry |
The Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks |
1998 |
12 |
PDF |
| Klumpenhouwer, Henry |
History and Structure in Richard Cohn’s Audacious Euphony |
2011 |
25 |
PDF |
| Koivisto, Tiina |
Aspects of Motion in Elliott Carter’s Second String Quartet |
1996 |
10 |
PDF |
| Komaniecki, Robert |
Vocal Pitch in Rap Flow |
2020 |
34 |
HTML
PDF |
| Korsyn, Kevin |
Schenker’s Organicism Reexamined |
1993 |
7 |
PDF |
| Koslovsky, John |
Tracing the Improvisatory Impulse in Early Schenkerian Theory |
2010 |
24 |
PDF |
| Koslovsky, John, and Matthew Brown |
The Contrapuntal Legacy of the French fin-de-siècle: A Look at Dukas’s Piano Sonata in E-flat |
2016 |
30 |
PDF |
| Krebs, Harald |
Review of A Reader’s Guide to the Chopin Preludes, by Jeffrey Kresky, 1994 |
1997 |
11 |
PDF |
| Kurth, Richard |
Review of An Introduction to the Music of Milton Babbitt, by Andrew Mead, 1994 |
1994 |
8 |
PDF |
| L |
Back to top |
| Lai, Hei-Yeung (John) |
Counterpoint and Formative Process in ’Are’are Cyclic Panpipe Music |
2023 |
36 |
HTML
PDF |
| Laitz, Steven |
Review of Poetry into Song: Performance and Analysis of Lieder, by Deborah Stein and Robert Spillman, 1996 |
1995 |
9 |
PDF |
| Lambert, J. Philip |
Ives’s “Piano Drum” Chords |
1989 |
3 |
PDF |
| Laroche, Guillaume |
Striking Similarities: Toward a Quantitative Measure of Melodic Copyright Infringement |
2011 |
25 |
PDF |
| Laufer, Ed |
On the Fantasy |
1988 |
2 |
PDF |
| Lavacek, Justin |
Contrapuntal Ingenuity in the Motets of Machaut |
2014-15 |
28/29 |
PDF |
| Lefkowitz, David |
Perspectives on Order, Disorder, Combinatoriality, and Tonality in Schoenberg’s Opus 33a and 33b Piano Pieces |
1997 |
11 |
PDF |
| Leong, Daphne |
Kaleidoscopic Symmetries: Time and Pitch Relations in Conlon Nancarrow’s Tango? |
2002-03 |
16/17 |
PDF |
| Leong, Daphne |
Fantasia’s Rite of Spring as Multimedia: A Critique of Nicholas Cook’s Analysis |
2002-03 |
16/17 |
PDF |
| Lewin, David |
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 |
1997 |
11 |
PDF |
| Lewin, David |
All Possible GZ-Related 4-Element Pairs of Sets, in All Possible Commutative Groups, Found and Categorized |
2000-01 |
14/15 |
PDF |
| Lewis, Christopher |
Text, Time, and Tonic: Aspects of Patterning in the Romantic Cycle |
1988 |
2 |
PDF |
| Lidov, David |
Musical Semiotics—Science, Letters, or Art? |
1996 |
10 |
PDF |
| Lipscomb, Scott D. |
Modeling Multimedia Cognition: A Review of Nicholas Cook’s Analysing Musical Multimedia |
2002-03 |
16/17 |
PDF |
| Lochhead, Judy |
Music Theory as Knowledge Building |
2000-01 |
14/15 |
PDF |
| Lochhead, Judy |
Coloring the Future: Visualizing Music in the Digital Era |
2019 |
33 |
HTML
PDF |
| Loft, Abram |
The Larger View |
1987 |
1 |
PDF |
| Lopez, Gerardo |
Review of The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses, by Joseph N. Straus, 2022 |
2023 |
36 |
HTML
PDF |
| Lucas, Olivia |
Review of Musical Agency and the Social Listener, by Cora Palfy, 2021 |
2023 |
36 |
HTML
PDF |
| Lumsden, Rachel |
Review of Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers: Concert Music 1960-2000, Oxford University Press, 2006 |
2018 |
32 |
HTML
PDF |
| M |
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| MacKay, James S. |
“Unloosing the Gordian Knot”: Sonata Theory, Form-Functional Analysis, and Becoming in Joseph Haydn’s String Quartet, op. 64, no. 2, I |
2023 |
36 |
HTML
PDF |
| Mak, Su Yin |
String Theory: An Ethnographic Study of a Professional Quartet in Hong Kong |
2016 |
30 |
PDF |
| Maler, Anabel |
Listening to Phrase Structure and Formal Function in Post-Tonal Music |
2022 |
35 |
HTML
PDF |
| Marion, Gregory J. |
Inciting Transformational Insights |
1995 |
9 |
PDF |
| Marvin, Elizabeth West |
Robert Wason: A Tribute and Dedication |
2010 |
24 |
PDF |
| Marvin, Elizabeth West, and Marie Rolf |
Analytical Issues and Interpretive Decisions in Two Songs by Richard Strauss |
1990 |
4 |
PDF |
| Marvin, William M. |
Review of A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices, by David Carson Berry, 2004, and Heinrich Schenker: A Guide to Research, by Benjamin McKay Ayotte, 2004 |
2006 |
20 |
PDF |
| Marvin, William M. |
Review of Wagner’s Parsifal: Studies in Musical Genesis, Structure, and Interpretation, by William Kinderman, 2013 |
2014-15 |
28/29 |
PDF |
| Marvin, William M. |
Online Publication: Reflections on the Recent Past, Possibilities for the Near Future |
2019 |
33 |
PDF |
| McClelland, Ryan |
Metric Dissonance in Brahms’s Piano Trio in C Minor, Op. 101 |
2006 |
20 |
PDF |
| McCreless, Patrick |
Reading Schenker’s Kontrapunkt |
1989 |
3 |
PDF |
| McGowan, James |
Riemann’s Functional Framework for Extended Jazz Harmony |
2010 |
24 |
PDF |
| Mead, Andrew |
Twelve-Tone Organizational Strategies: An Analytical Sampler |
1989 |
3 |
PDF |
| Mead, Andrew |
Review of The Twelve-Note Music of Anton Webern: Old Forms in a New Language, by Kathryn Bailey, 1991 |
1992 |
6 |
PDF |
| Mead, Andrew |
The “Sweet Spot”: What Composing Has Taught Me about Teaching Theory |
2000-01 |
14/15 |
PDF |
| Milius, Emily |
Review of A Blaze of Light in Every Word: Analyzing the Popular Singing Voice, by Victoria Malawey, Oxford University Press, 2020 |
2022 |
35 |
HTML
PDF |
| Monahan, Seth |
Negative Catharsis as Rotational Telos in Mahler’s First Kindertotenlied |
2014-15 |
28/29 |
PDF |
| Morgan, Alexander |
Renaissance Ternary Suspensions in Theory and Practice |
2019 |
33 |
HTML
PDF |
| Morris, Robert D. |
Some Compositional and Analytical Applications of T-Matrices |
1989 |
3 |
PDF |
| Morris, Robert D. |
The Structure of First-Species Canon in Modal, Tonal and Atonal Musics |
1995 |
9 |
PDF |
| Morris, Robert D. |
Autocommentary: Thoughts on Music Theory at the Millenium |
2000-01 |
14/15 |
PDF |
| Morris, Robert D. |
Reply to Robert W. Peck |
2002-03 |
16/17 |
PDF |
| Morris, Robert D. |
Aspects of Post-Tonal Canon Systems |
2004-05 |
18/19 |
PDF |
| Motazedian, Táhirih and Scott Murphy |
Holst’s Planets, The Final Frontier: Interplanetary Voyage as Intrapersonal Escape |
2023 |
36 |
HTML
PDF |
| Murphy, Scott |
Septimal Time in an Early Finale of Haydn |
2012 |
26 |
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| Murphy, Scott and Táhirih Motazedian |
Holst’s Planets, The Final Frontier: Interplanetary Voyage as Intrapersonal Escape |
2023 |
36 |
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| N |
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| Neumeyer, David, and Julian L. Hook |
Review of Aspects of Tonal Music: A Schenkerian Approach, by Allen Cadwallader and David Gagné, 1998 |
1997 |
1997 |
PDF |
| Neumeyer, David |
Response to Matthew Brown |
1998 |
12 |
PDF |
| Ng, Samuel |
Reinterpreting Metrical Reinterpretation |
2009 |
23 |
PDF |
| Ng, Samuel |
The Trimodular Block and L’art de bien chanter in Hélène de Montgeroult’s Piano Sonatas, Op. 5 |
2023 |
36 |
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| O |
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| Nobile, Drew |
Narrative Opposition in the Beatles’ Verse–Chorus Songs, 1966–1967 |
2023 |
36 |
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| O’Donnell, Shaugn |
Klumpenhouwer Newtorks, Isography, and the Molecular Metaphor |
1998 |
12 |
PDF |
| Orosz, Jeremy |
Review of John MacAuslan, Schumann’s Music and E. T. A. Hoffman’s Fiction, Cambridge University Press, 2016 |
2018 |
32 |
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| Osborn, Brad |
Formal Functions and Rotations in Top-40 EDM |
2023 |
36 |
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| Ossi, Massimo |
Review of Musical Poetics, by Joachim Burmeister, translated by Benito Rivera, 1993 |
1994 |
8 |
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| P |
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| Patrick, Morgan |
Into Wondrous Realms with Two Triads: Markedness, Voice Leading, and Functional Multivalence as Correlates of Fantasy Induction in the “Fantasy Fifth” Progression |
2023 |
36 |
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| Pau, Andrew |
The Harmonic Theories of Jean-Adam Serre |
2018 |
32 |
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| Pearce, Trevor |
Tonal Functions as Active Synthesis: Hugo Riemann, German Psychologym, and Kantian Epistemology |
2008 |
22 |
PDF |
| Peck, Robert W. |
Review of Class Notes for Advanced Atonal Theory, by Robert D. Morris, 2001 |
2002-03 |
16/17 |
PDF |
| Peck, Robert W. |
Aspects of Recursion in M-Inclusive Networks |
2004-05 |
18/19 |
PDF |
| Pedneault-Deslauriers, Julie |
‘Denk an meinen Hund’: Applied Subdominants and Motivic Treatment in Schoenberg’s “Warnung,” Op. 3, No. 3 |
2014-15 |
28/29 |
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| Pierce, Alexandra |
Developing Schenkerian Hearing and Performing |
1994 |
8 |
PDF |
| Platt, Heather |
Unrequited Love and Unrealized Dominants |
1993 |
7 |
PDF |
| Proctor, Gregory |
Review of A Classical Turn of Phrase: Music and the Psychology of Convention, by Robert O. Gjerdingen, 1988 |
1989 |
3 |
PDF |
| R |
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| Rabinovitch, Gilad |
Reimagining Fauré’s Harmony |
2023 |
36 |
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| Rahn, Jay |
Music Theory and Practice: A Behavioral View |
1987 |
1 |
PDF |
| Rao, Nancy Yunhwa |
On Division of Intellectual Labor |
2019 |
33 |
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| Reale, Haley Beverburg |
Dissolving Monotonality: Expressive Modulation in Two Works by C.P.E. Bach |
2013 |
27 |
PDF |
| Roeder, John, and Scott Alexander Cook |
Triadic Transformations and Parsimonious Voice Leading in the Music of Gavin Bryars |
2006 |
20 |
PDF |
| Rogers, Nancy |
Hearing an Old Story in a New Way: An Analysis of Loewe’s Erlkönig |
2016 |
30 |
PDF |
| Rolf, Marie, and Elizabeth West Marvin |
Analytical and Interpretive Decisions in Two Songs by Richard Strauss |
1990 |
4 |
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| Rothstein, William |
Ambiguity in the Themes of Chopin’s First, Second, and Fourth Ballades |
1994 |
8 |
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| S |
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| Sallmen, Mark |
Composition with a Single Row Form? Webern’s ‘Schatzerl klein,’ Op. 18, No. 1 |
2002-03 |
16-17 |
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| Sallmen, Mark |
Transposition Networks and Network Chains in Schoenberg’s Sechs kleine Klavierstücke, Op. 19 |
2016 |
30 |
PDF |
| Saltini, Roberto Antonio |
Structural Levels and Choice of Beat-Class Sets in Steve Reich’s Phase-Shifting Music |
1993 |
7 |
PDF |
| Samarotto, Frank |
Fluidities of Phrase and Form in the “Intermezzo” of Brahms’s First Symphony |
2008 |
22 |
PDF |
| Samuels, Robert |
Entendez-vous la musique? Review of Music Writing Literature, from Sand via Debussy to Derrida, by Peter Dayan, 2006 |
2008 |
22 |
PDF |
| Schaffer, John Wm. |
Review of CMAP: Contemporary Music Analysis Package, by Craig Harris and Alexander Brinkman, 1988 |
1988 |
2 |
PDF |
| Scotto, Ciro |
Music Theory at the Turn of the Millennium and The Open Space Magazine |
2004-05 |
18/19 |
PDF |
| Segall, Christopher |
Franz Liszt’s Bagatelle ohne Tonart (in B Minor) |
2023 |
36 |
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| Slottow, Stephen |
Carl Ruggles’s Cadential Complex |
2002-03 |
16/17 |
PDF |
| Sly, Gordon |
The Architecture of Key and Motive in a Schubert Sonata |
1995 |
9 |
PDF |
| Smith, Peter H. |
New Perspectives on Brahms’s Linkage Technique |
2007 |
21 |
PDF |
| Smyth, David |
Beethoven’s Last Bagatelle |
1999 |
13 |
PDF |
| Smyth, David H., and Donald Traut |
Stravinsky’s Sketches for the “Great Chorale” |
2011 |
25 |
PDF |
| Snell, James L. |
Review of Pascal Programming for Music Research, by Alexander R. Brinkman, 1990 |
1991 |
5 |
PDF |
| Stoecker, Philip |
Review of Edward Venn,Thomas Adès: Asyla, Routledge, 2017 |
2018 |
32 |
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| Straus, Joseph |
A Strategy of Large-Scale Organization in Stravinsky’s Late Music |
1997 |
11 |
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| Strykowski, Derek R. |
Hearing the Interrogative in the Cadences of Sigismondo d’India: A Quantitative Analysis of the Polyphonic Madrigals |
2023 |
36 |
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| Suurpää, Lauri |
Schumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe |
1996 |
10 |
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| Suurpää, Lauri |
Interrelations between Expression and Structure in the First Movements of Joseph Haydn’s Piano Sonatas Hob. XVI/44 and XVI/20 |
2009 |
23 |
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| Suurpää, Lauri |
Review of Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice, by Eric Wenn, Lowman & Rittlefield, 2019 |
2020 |
34 |
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| Swinkin, Jeffrey |
Analytic Context and Aesthetic Properties: Listening to Recordings of Beethoven’s Largo Appassionato from Op. 2, No. 2 |
2019 |
33 |
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| Swinkin, Jeffrey |
Cyclic Form in Clara Schumann’s Four Fugitive Pieces, op. 15 |
2023 |
36 |
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| Temperley, David |
The Six-Four as Tonic Harmony, Tonal Emissary, and Structural Cue |
2017 |
31 |
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| Terefenko, Dariusz |
Keith Jarrett’s Art of Solo Introduction: “Stella By Starlight” — A Case Study |
2010 |
24 |
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| Thomas, Margaret |
Nancarrow’s “Temporal Dissonance”: Issues of Temporal Proportions, Metric Synchrony, and Rhythmic Strategies |
2000-01 |
14/15 |
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| Traut, Donald, and David H. Smyth |
Stravinsky’s Sketches for the “Great Chorale” |
2011 |
25 |
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| Turner, Mitchell |
Interval-Class Exchanges in a Two-Dimensional Pitch-Class Space |
2002-03 |
16/17 |
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| Tymoczko, Dmitri |
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz |
1997 |
11 |
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| Uno, Yayoi |
The Tempo-Span GIS as a Measure of Continuity in Elliott Carter’s Eight Pieces for Four Timpani |
1996 |
10 |
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| Vágnerová, Lucie |
Review of Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, by Jennifer Iverson, Oxford University Press, 2018 |
2019 |
33 |
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| Vande Moortele, Steven |
Sentences, Sentence Chains, and Sentence Replication: Intra- and Interthematic Formal Functions in Liszt’s Weimar Symphonic Poems |
2011 |
25 |
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| Wadsworth, Benjamin K., and Simon Needle |
Rhyme, Metrical Tension, and Formal Ambiguity in Kendrick Lamar’s Flow |
2022 |
35 |
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| Warburton, Dan |
A Working Terminology for Minimal Music |
1988 |
2 |
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| Wason, Robert W. |
Webern’s Variations for Piano, Op. 27: Musical Structure and the Performance Score |
1987 |
1 |
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| Waters, Keith |
“Giant Steps” and the ic4 Legacy |
2010 |
24 |
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| Wennerstrom, Mary H. |
Kostka, Lester, and Straus: Twentieth-Century Materials and Analytical Techniques in Review |
1990 |
4 |
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| Wheeldon, Marianne |
Interpreting “strong moments” in Debussy’s “La terrasse des audiences du clair de lune” |
2000-01 |
14/15 |
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| Wintle, Christopher |
Author’s Introduction to Corelli’s Tonal and Rhythmic Models |
2017 |
31 |
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| Wintle, Christopher |
Corelli’s Rhythmic Models: Dance Movements in the Seventeenth and Eighteenth Centuries |
2017 |
31 |
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| Wintle, Christopher |
Corelli’s Tonal Models: The Trio Sonata Op. 3, No. 1 |
2017 |
31 |
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| Zbikowski, Lawrence M. |
Music Theory, Multimedia, and the Construction of Meaning |
2002-03 |
16/17 |
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| Zhang, Xieyi (Abby) |
Hope to Grief: An Analysis of Dvořák’s Moravian Duets, op. 38 |
2023 |
36 |
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