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