{"id":2636,"date":"2019-06-21T20:49:05","date_gmt":"2019-06-21T20:49:05","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/?page_id=2636"},"modified":"2023-06-01T13:03:25","modified_gmt":"2023-06-01T13:03:25","slug":"author","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/journal-index\/author\/","title":{"rendered":"Journal Index by Author"},"content":{"rendered":"\n\n\n\n
A<\/a><\/td>\nB<\/a><\/td>\nC<\/a><\/td>\nD<\/a><\/td>\nE<\/a><\/td>\nF<\/a><\/td>\nG<\/a><\/td>\nH<\/a><\/td>\nI<\/a><\/td>\nJ<\/a><\/td>\nK<\/a><\/td>\nL<\/a><\/td>\nM<\/a><\/td>\nN<\/a><\/td>\nO<\/a><\/td>\nP<\/a><\/td>\nQ<\/a><\/td>\nR<\/a><\/td>\nS<\/a><\/td>\nT<\/a><\/td>\nU<\/a><\/td>\nV<\/a><\/td>\nW<\/a><\/td>\nX<\/a><\/td>\nY<\/a><\/td>\nZ<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Author<\/b><\/td>\nTitle<\/b><\/td>\nDate<\/b><\/td>\nVol.<\/b><\/td>\nFormats<\/b><\/td>\n<\/tr>\n
A<\/td>\n<\/tr>\n
Adams, Kyle<\/td>\nMusical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Adrian, Jack<\/td>\nThe Function of the Apparent Tonic at the Beginning of Development Sections<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Agawu, Kofi<\/td>\nEmbracing the Non-West<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Agawu, Kofi<\/td>\nReview of Death in <\/em>Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle<\/em>, by Lauri Suurp\u00e4\u00e4, 2014<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Alegant, Brian<\/td>\nInside the Cadenza of Schoenberg’s Piano Concerto<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Alegant, Brian<\/td>\nReconsidering Debussy’s Bruy\u00e8res<\/em><\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Alphonce, Bo<\/td>\nReview of Generalized Musical Intervals and Transformations<\/em>, by David Lewin, 1987<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Alphonce, Bo<\/td>\nReview of Musical Form and Transformation: 4 Analytic Essays<\/em>, by David Lewin, 1994<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Amarosa, Leah<\/td>\nUnveiling the Signifiers of Rain in John Adams\u2019s China Gates<\/i><\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Anson-Cartwright, Mark<\/td>\nHaydn’s Homage to Mozart: Echoes of “Voi che spate” in Opus 64, No. 3<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Argentino, Joe<\/td>\nSerialism and Neo-Riemannian Theory: Transformations and Hexatonic Cycles in Schoenberg’s “Modern Psalm,” Op. 50c<\/td>\n2012<\/td>\n26<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Au, Hiu-Wah<\/a><\/td>\nThe Prolongation Function of Secondary-Key Variations in Brahms’s Variations for Four Hands on a Theme of Robert Schumann<\/em>, Op. 23<\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Auerbach, Brent<\/td>\nTechniques for the Functional Classification of Two-Chord Sequences<\/td>\n2013<\/td>\n27<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
B<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
BaileyShea, Matthew<\/td>\nWagner’s Loosely Knit Sentences and the Drama of Musical Form<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Bakulina, Ellen<\/td>\nProto-Harmony and the Problem of Tonal Centricity in Rachmaninoff’s All-Night Vigil<\/em><\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Barry, Christopher M.<\/td>\nBeing, Becoming, and Death in Twelve-Tone Music: “Wie bin ich froh!” as Epitaph<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Beach, David<\/td>\nMotivic Repetition in Beethoven’s Piano Sonata Op. 110, Part I: The First Movement<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Beach, David<\/td>\nMotivic Repetition in Beethoven’s Piano Sonata Op. 110, Part II: The Trio of the Second Movement and the Adagio and Arioso<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Beach, David<\/td>\nThe Initial Movements of Mozart’s Piano Sonatas K.280 and K.332: Some Striking Similarities<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Beach, David<\/td>\nReflections on Int\u00e9gral<\/em>: Its Inception and Early years<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Berry, David Carson<\/td>\nDynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Berry, David Carson<\/td>\nReview of Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form<\/em>, by David Beach, 2012<\/td>\n2012<\/td>\n26<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Biamonte, Nicole<\/td>\nVariations on a Scheme: Bach’s “Crucifixus” and Chopin’s and Scriabin’s E-minor Preludes<\/td>\n2012<\/td>\n26<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Black, Brian<\/td>\nThe Functions of Harmonic Motives in Schubert’s Sonata Forms<\/td>\n2009<\/td>\n23<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Block, Steven<\/td>\nReview of Sound Color<\/em>, by Wayne Slawson, 1985<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Block, Steven<\/td>\nReview of Ear Training for Twentieth-Century Music<\/em>, by Michael L. Friedmann, 1991<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Boretz, Benjamin<\/td>\nThinking About Theory, Theories, and “the Musical” in Music<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Boss, Jack<\/td>\nThe “Musical Idea” and Global Coherence in Schoenberg’s Atonal and Serial Music<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Boss, Jack<\/td>\nPresentation of “Musical Idea” through Tetrachord Exchanges and Rhythmic\/Metric Correspondences in the Intermezzo and Gavotte of Schoenberg’s Suite for Piano, Op. 25<\/td>\n2013<\/td>\n27<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Boyd, Michael<\/td>\nIntegrating Opposites: Iannis Xenakis\u2019s Charisma<\/i> for Clarinet and Cello<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Braunschweig, Karl<\/td>\nRhetorical Types of Phrase Expansion in the Music of J.S. Bach<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Bribitzer-Stull, Matthew<\/td>\nDie Geheimnisse der Form bei Richard Wagner<\/em>: Structure and Drama as Elements of Wagnerian Form<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Bribitzer-Stull, Matthew, and Robert Gauldin<\/td>\nHearing Wagner in Till Eulenspiegel<\/em>: Strauss’s Merry Pranks Reconsidered<\/td>\n2007<\/td>\n27<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brinkman, Alexander R.<\/td>\nReview of Microcomputers and Music<\/em>, by Gary E. Wittlich, John W. Schaffer, and Larry R. Babb, 1986<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew<\/td>\nReview of Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition<\/em>, by Joseph N. Straus, 1990<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew<\/td>\nRothstein’s Paradox and Neumeyer’s Fallacies<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew<\/td>\nMusic Theory, Music Cognition, and “The Case of Iguanodon’s<\/em> Thumb”<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew<\/td>\nComposing with Prototypes: Charting Debussy’s L’Isle joyeuse<\/em><\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew<\/td>\nC. P. E. Bach, Schenker, Improvisation, and Composition<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew, and Douglas Dempster<\/td>\nReview of Style and Music: Theory, History, and Ideology<\/em>, by Leonard B. Meyer, 1989<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Matthew, and John Koslovsky<\/td>\nThe Contrapuntal Legacy of the French fin-de-si\u00e8cle<\/em>: A Look at Dukas’s Piano Sonata in E-flat<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Brown, Stephen C.<\/td>\nTracing the Origins of Shostakovich’s Musical Motto<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Buchler, Michael<\/td>\nAre There Any Bad (or Good) Transformational Analyses?<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Butler, David<\/a><\/td>\nReview of Shaping Time: Music, the Brain, and Performance<\/em>, by David Epstein, 1995<\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Byros, Vasili<\/td>\nMozart’s Vintage Corelli: The Microstory of a Fonte-Romanesca<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
C<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Cadwallader, Allen<\/td>\nProlegomena to a General Description of Motivic Relationships in Tonal Music<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Callahan, Michael<\/td>\nImprovising Motives: Applications of Michael Wiedeburg’s Pedagogy of Modular Diminutions<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Callender, Clifton<\/td>\nInteractions of the Lamento Motif and Jazz Harmonies in Gy\u00f6rgi Ligeti’s Arc-en-ciel<\/em><\/td>\n2007<\/td>\n21<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Capuzzo, Guy<\/td>\nReview of The Music of Elliott Carter<\/em>, Second Edition, by David Schiff, 1998<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Carey, Christian<\/td>\nArnold Whittall and the Perils of Transcontinental Serialism (Review Article of Serialism<\/em>, by Arnold Whittall, 2008)<\/td>\n2009<\/td>\n23<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Carey, Norman<\/td>\nReview of Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century<\/em>, edited by Andreas Giger and Thomas J. Mathiesen, 2002<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Carson, Sean H.<\/td>\nThe Trace, Its Relation to Contour Theory, and an Application to Carter’s String Quartet No. 2<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cherlin, Michael<\/td>\nReview of Composition with Pitch-Classes<\/em>, by Robert D. Morris, 1987<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cherlin, Michael<\/td>\nThoughts on Poetry and Music, on Rhythms in Emily Dickinson’s “The World Feels Dusty” and Aaron Copland’s Setting of It<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cherlin, Michael<\/td>\nThree Challenges for Music Theory in Our Time<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Christensen, Thomas<\/td>\nMusic Theory and the Mainstream<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cinnamon, Howard<\/td>\nNew Observations on Voice Leading, Hemiola, and their Roles in Tonal and Rhythmic Structures in Chopin’s Preludes in B Minor, Op. 28 No. 6<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Clampitt, David<\/td>\nRamsey Theory, Unary Transformations, and Webern’s Op. 5, No. 4<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cohn, Richard A.<\/td>\nMetric and Hypermetric Dissonance in the Menuetto<\/em> of Mozart’s Symphony in G Minor, K. 550<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cone, Edward T.<\/td>\nBrahms: Songs with Words and Songs Without Words<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cook, Nicholas<\/a><\/td>\nRevisiting the Future<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cook, Scott Alexander, and John Roeder<\/td>\nTriadic Transformations and Parsimonious Voice Leading in the Music of Gavin Bryars<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cross, Ian<\/td>\nMusic(s), Science(s), and Post-Positivist Pluralities<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Cubero, Diego<\/td>\nBlurred Harmonies in Robert Schumann and Johannes Brahms<\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
D<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Darcy, Warren<\/td>\nA Wagnerian Ursatz<\/em>; or, Was Wagner a Background Composer After All?<\/td>\n1990<\/td>\n4<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Decker, Gregory J.<\/td>\nStrategies for Opposition, Ambiguity, and “Amarilli” in the Seconda Pratica<\/em> Italian Madrigal<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Dempster, Douglas, and Matthew Brown<\/td>\nReview of Style and Music: Theory, History, and Ideology<\/em>, by Leonard B. Meyer, 1989<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Dobos, Lora Gingerich<\/td>\nTransformations of BACH in Webern’s Op. 16 No. 4<\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Doerksen, John F.<\/td>\nComparing Collections of Set-Classes: Indexes in Forte’s Genera Theory<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Duerksen, Marva<\/a><\/a><\/td>\nSchenker’s Organicism Revisited<\/td>\n2008<\/td>\n22<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Dunsby, Jonathan<\/td>\nGrim Reapings Theorizing Untheory<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Dunsby, Jonathan<\/td>\nReview of Performing Knowledge: Twentieth-Century Music in Analysis and Performance<\/em>, by Daphne Leong, Oxford University Press, 2019<\/td>\n2020<\/td>\n34<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
F<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Ferrandino, Matthew<\/td>\nMulti-Centric Complexes in Pop-Rock Music<\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Folio, Cynthia<\/td>\nAnalysis and Performance: A Study in Contrasts<\/em><\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Forte, Allen<\/a><\/td>\nMusic Theory: Today and Tomorrow<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Franck, Peter<\/td>\nCanon and Its Effect on Tight-Knit Organization within Classical Themes<\/td>\n2012<\/td>\n26<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Franck, Peter<\/td>\nStructural Framing and Its Interaction with Linkage Technique<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
G<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Gagn\u00e9, David<\/td>\nReview of Unfoldings<\/em>, by Carl Schachter, 1999<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Galand, Joel<\/td>\nFormenlehre<\/em> Revived (Review-Essay on William Caplin’s Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven<\/em>, 1998)<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Galand, Joel<\/td>\nReview of Analysis Through Composition: Principles of the Classical Style<\/em>, by Nicholas Cook, 1996<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gauldin, Robert<\/td>\nBeethoven’s Interrupted Tetrachord and the Seventh Symphony<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gauldin, Robert<\/td>\nReview of Analyzing Fugue: A Schenkerian Approach<\/em>, by William Renwick, 1995<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gauldin, Robert<\/td>\nNew Twists for Old Endings: Cadenza and Apotheosis in the Romantic Piano Concerto<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gauldin, Robert, and Matthew Bribitzer-Stull<\/td>\nHearing Wagner in Till Eulenspiegel<\/em>: Strauss’s Merry Pranks Reconsidered<\/td>\n2007<\/td>\n21<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gillespie, Jeffrey L.<\/td>\nMotivic Transformations and Networks in Schoenberg’s “Nacht” from Pierrot Lunaire<\/em><\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gjerdingen, Robert O.<\/td>\nMeter as a Mode of Attending: A Network Simulation of Attentional Rhythmicity in Music<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gjerdingen, Robert O.<\/td>\nReview of Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents<\/em>, by Daniel Harrison, 1994<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Goldenberg, Yosef<\/td>\nWhen and How are Modulations Diatonic?<\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Gollin, Edward T.<\/td>\nSum Unusual Transformations in Bart\u00f3k’s “Minor Seconds, Major Sevenths”<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gollin, Edward<\/td>\nOn Bart\u00f3k’s Comparative Musicology as a Resource for Bart\u00f3kian Analysis<\/td>\n2008<\/td>\n22<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gollin, Edward<\/td>\nMusic and Text: A Review Essay on David Lewin’s <\/em>Morgengru\u00df: Text, Context, Commentary<\/em>, edited by David Bard-Schwarz and Richard Cohn, 2015<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Gotham, Mark<\/td>\nOld Sources in new Sauces: John Joubert and the Analysis of Ancient Materials in Modern Music<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Grab\u00f3cz, M\u00e1rta<\/td>\nA. J. Gremias’s Narrative Grammar and the Analysis of Sonata Form<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Grab\u00f3cz, M\u00e1rta<\/a><\/td>\nStylistic Evolution in Mozart’s Symphonic Slow Movements: The Discursive-Passionate Schema (In English Translation)<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Green, Douglass M.<\/td>\nReview of A Practical Approach to Eighteenth-Century Counterpoint<\/em>, by Robert Gauldin, 1988<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
H<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Harrison, Daniel<\/td>\nReview of Playing with Signs: A Semiotic Interpretation of Classical Music<\/em>, by V. Kofi Agawu, 1991<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Harrison, Daniel<\/td>\nA Story, An Apologia, and A Survey<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hatten, Robert S.<\/td>\nSchubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959<\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hatten, Robert S.<\/td>\nA New Frontier for Music Theorists<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Heetderks, David<\/td>\nSemitonal Succession-Classes in Prokofiev’s Music and Their Influence on Diatonic Voice-leading Backgrounds in the Op. 94 Scherzo<\/td>\n2013<\/td>\n27<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hook, Julian<\/td>\nDavid Lewin and the Complexity of the Beautiful (Review Article of Generalized Musical Intervals and Transformations<\/em> and Musical Form and Transformation: 4 Analytic Essays<\/em>, by David Lewin, reprinted 2007)<\/td>\n2007<\/td>\n21<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hook, Julian L., and David Neumeyer<\/td>\nReview of Analysis of Tonal Music: A Schenkerian Approach<\/em>, by Allen Cadwallaer and David Gagn\u00e9, 1998<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Horlacher, Gretchen<\/td>\nReview of Meter as Rhythm<\/em>, by Christopher Hasty, 1997<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Horlacher, Gretchen<\/td>\nMultiple Meters and Metrical Processes in the Music of Steve Reich<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hubbs, Nadine<\/td>\nReview of A Guide to Schenkerian Analysis<\/em>, by David Neumeyer and Susan Tepping, 1992<\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hudson, Stephen S.<\/td>\nReview of Making Sense of Recordings: How Cognitive Processing of Recorded Sound Works<\/em>, by Mads Walther-Hansen, Oxford University Press, 2020<\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Hunt, Graham<\/td>\nThe Three-Key Trimodular Block and its Classical Precedents: Sonata Expositions of Schubert and Brahms<\/td>\n2009<\/td>\n23<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hunt, Graham G.<\/a><\/a><\/td>\nReview of Formal Functions in Perspective<\/em>, edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, 2015<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hutchinson, Kyle<\/td>\nPendular Thirds and Pentatonic Parallelisms: Intersecting Black Vernacular and neo-Romantic Idioms in the Second Movement of Florence Price\u2019s Piano Sonata in E minor<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Hyde, Martha<\/td>\nReview of The Music of Ruth Crawford Seeger<\/em>, by Joseph Straus, 1995<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Hynes-Tawa, Liam<\/td>\nReview of Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century<\/em>, by Megan Kaes Long, Oxford University Press, 2020<\/td>\n2020<\/td>\n34<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
I<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Ito, John Paul<\/td>\nReview of Brahms and the Shaping of Time<\/em>, ed. Scott Murphy, University of Rochester Press, 2018<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Iverson, Jennifer<\/td>\nOpen Access Meets Critical Disability Studies<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
J<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Jenkins, J. Daniel<\/td>\n“Im Zusammenhang des Zw\u00f6lftonwegs sprechen”: Reconsidering Pitch-class Sets in Schoenberg’s Atonal Music<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Jakubowski, Joseph R.<\/td>\nEmbodied Form in Grisey\u2019s Prologue: Variation, Opposition, Tension<\/td>\n2020<\/td>\n34<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Jones, Evan<\/a><\/td>\nDynamics and Dissonance: The Implied Harmonic Theory of J.J. Quantz<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Judd, Cristle Collins<\/td>\nThe Dialogue of Past and Present: Approaches to Historical Music Theory<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
K<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Kaplan, Richard A.<\/td>\nTranspositionally Invariant Subsets: A New Set-subcomplex Relation<\/td>\n1990<\/td>\n4<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Keep, Dave<\/td>\nThe Voice of Enigma: Intertextuality in \u201cIm wundersch\u00f6nen Monat Mai\u201d<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Kinderman, William<\/td>\nReview of The “Galitzin” Quartets of Beethoven<\/em>, by Daniel K. L. Chua, 1995<\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Klumpenhouwer, Henry<\/td>\nThe Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Klumpenhouwer, Henry<\/td>\nHistory and Structure in Richard Cohn’s Audacious Euphony<\/em><\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Koivisto, Tiina<\/td>\nAspects of Motion in Elliott Carter’s Second String Quartet<\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Komaniecki, Robert<\/td>\nVocal Pitch in Rap Flow<\/td>\n2020<\/td>\n34<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Korsyn, Kevin<\/td>\nSchenker’s Organicism Reexamined<\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Koslovsky, John<\/td>\nTracing the Improvisatory Impulse in Early Schenkerian Theory<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Koslovsky, John, and Matthew Brown<\/td>\nThe Contrapuntal Legacy of the French fin-de-si\u00e8cle<\/em>: A Look at Dukas’s Piano Sonata in E-flat<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Krebs, Harald<\/a><\/td>\nReview of A Reader’s Guide to the Chopin Preludes<\/em>, by Jeffrey Kresky, 1994<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Kurth, Richard<\/td>\nReview of An Introduction to the Music of Milton Babbitt<\/em>, by Andrew Mead, 1994<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
L<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Lai, Hei-Yeung (John)<\/td>\nCounterpoint and Formative Process in \u2019Are\u2019are Cyclic Panpipe Music<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Laitz, Steven<\/td>\nReview of Poetry into Song: Performance and Analysis of Lieder<\/em>, by Deborah Stein and Robert Spillman, 1996<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lambert, J. Philip<\/td>\nIves’s “Piano Drum” Chords<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Laroche, Guillaume<\/td>\nStriking Similarities: Toward a Quantitative Measure of Melodic Copyright Infringement<\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Laufer, Ed<\/td>\nOn the Fantasy<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lavacek, Justin<\/td>\nContrapuntal Ingenuity in the Motets of Machaut<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lefkowitz, David<\/td>\nPerspectives on Order, Disorder, Combinatoriality, and Tonality in Schoenberg’s Opus 33a and 33b Piano Pieces<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Leong, Daphne<\/td>\nKaleidoscopic Symmetries: Time and Pitch Relations in Conlon Nancarrow’s Tango?<\/em><\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Leong, Daphne<\/td>\nFantasia’s Rite of Spring<\/em> as Multimedia: A Critique of Nicholas Cook’s Analysis<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lewin, David<\/td>\nConditions 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<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lewin, David<\/td>\nAll Possible GZ-Related 4-Element Pairs of Sets, in All Possible Commutative Groups, Found and Categorized<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lewis, Christopher<\/td>\nText, Time, and Tonic: Aspects of Patterning in the Romantic Cycle<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lidov, David<\/td>\nMusical Semiotics\u2014Science, Letters, or Art?<\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lipscomb, Scott D.<\/td>\nModeling Multimedia Cognition: A Review of Nicholas Cook’s Analysing Musical Multimedia<\/em><\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lochhead, Judy<\/td>\nMusic Theory as Knowledge Building<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lochhead, Judy<\/td>\nColoring the Future: Visualizing Music in the Digital Era<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Loft, Abram<\/a><\/td>\nThe Larger View<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Lopez, Gerardo<\/td>\nReview of The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses<\/i>, by Joseph N. Straus, 2022<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Lucas, Olivia<\/td>\nReview of Musical Agency and the Social Listener<\/i>, by Cora Palfy, 2021<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Lumsden, Rachel<\/td>\nReview of Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers: Concert Music 1960-2000<\/em>, Oxford University Press, 2006<\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
M<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
MacKay, James S.<\/td>\n\u201cUnloosing the Gordian Knot\u201d: Sonata Theory, Form-Functional Analysis, and Becoming in Joseph Haydn\u2019s String Quartet, op. 64, no. 2, I<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Mak, Su Yin<\/td>\nString Theory: An Ethnographic Study of a Professional Quartet in Hong Kong<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Maler, Anabel<\/td>\nListening to Phrase Structure and Formal Function in Post-Tonal Music<\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Marion, Gregory J.<\/td>\nInciting Transformational Insights<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Marvin, Elizabeth West<\/td>\nRobert Wason: A Tribute and Dedication<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Marvin, Elizabeth West, and Marie Rolf<\/td>\nAnalytical Issues and Interpretive Decisions in Two Songs by Richard Strauss<\/td>\n1990<\/td>\n4<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Marvin, William M.<\/td>\nReview of A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices<\/em>, by David Carson Berry, 2004, and Heinrich Schenker: A Guide to Research<\/em>, by Benjamin McKay Ayotte, 2004<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Marvin, William M.<\/td>\nReview of Wagner’s<\/em> Parsifal: Studies in Musical Genesis, Structure, and Interpretation<\/em>, by William Kinderman, 2013<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Marvin, William M.<\/td>\nOnline Publication: Reflections on the Recent Past, Possibilities for the Near Future<\/td>\n2019<\/td>\n33<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
McClelland, Ryan<\/td>\nMetric Dissonance in Brahms’s Piano Trio in C Minor, Op. 101<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
McCreless, Patrick<\/td>\nReading Schenker’s Kontrapunkt<\/em><\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
McGowan, James<\/td>\nRiemann’s Functional Framework for Extended Jazz Harmony<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Mead, Andrew<\/td>\nTwelve-Tone Organizational Strategies: An Analytical Sampler<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Mead, Andrew<\/td>\nReview of The Twelve-Note Music of Anton Webern: Old Forms in a New Language<\/em>, by Kathryn Bailey, 1991<\/td>\n1992<\/td>\n6<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Mead, Andrew<\/td>\nThe “Sweet Spot”: What Composing Has Taught Me about Teaching Theory<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Milius, Emily<\/td>\nReview of A Blaze of Light in Every Word: Analyzing the Popular Singing Voice<\/em>, by Victoria Malawey, Oxford University Press, 2020<\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Monahan, Seth<\/td>\nNegative Catharsis as Rotational Telos in Mahler’s First Kindertotenlied<\/em><\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Morgan, Alexander<\/td>\nRenaissance Ternary Suspensions in Theory and Practice<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Morris, Robert D.<\/td>\nSome Compositional and Analytical Applications of T-Matrices<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Morris, Robert D.<\/td>\nThe Structure of First-Species Canon in Modal, Tonal and Atonal Musics<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Morris, Robert D.<\/td>\nAutocommentary: Thoughts on Music Theory at the Millenium<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Morris, Robert D.<\/td>\nReply to Robert W. Peck<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Morris, Robert D.<\/a><\/td>\nAspects of Post-Tonal Canon Systems<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n\n
Motazedian, T\u00e1hirih and Scott Murphy<\/td>\nHolst\u2019s Planets<\/i>, The Final Frontier: Interplanetary Voyage as Intrapersonal Escape<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n\n
Murphy, Scott<\/td>\nSeptimal Time in an Early Finale of Haydn<\/td>\n2012<\/td>\n26<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Murphy, Scott and T\u00e1hirih Motazedian<\/td>\nHolst\u2019s Planets<\/i>, The Final Frontier: Interplanetary Voyage as Intrapersonal Escape<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
N<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Neumeyer, David, and Julian L. Hook<\/td>\nReview of Aspects of Tonal Music: A Schenkerian Approach<\/em>, by Allen Cadwallader and David Gagn\u00e9, 1998<\/td>\n1997<\/td>\n1997<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Neumeyer, David<\/a><\/td>\nResponse to Matthew Brown<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Ng, Samuel<\/td>\nReinterpreting Metrical Reinterpretation<\/td>\n2009<\/td>\n23<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Ng, Samuel<\/td>\nThe Trimodular Block and L\u2019art de bien chanter in H\u00e9l\u00e8ne de Montgeroult\u2019s Piano Sonatas, Op. 5<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
O<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Nobile, Drew<\/td>\nNarrative Opposition in the Beatles\u2019 Verse\u2013Chorus Songs, 1966\u20131967<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
O’Donnell, Shaugn<\/td>\nKlumpenhouwer Newtorks, Isography, and the Molecular Metaphor<\/td>\n1998<\/td>\n12<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Orosz, Jeremy<\/a><\/td>\nReview of John MacAuslan, Schumann’s Music and E. T. A. Hoffman’s Fiction<\/em>, Cambridge University Press, 2016<\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Osborn, Brad<\/td>\nFormal Functions and Rotations in Top-40 EDM<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Ossi, Massimo<\/td>\nReview of Musical Poetics<\/em>, by Joachim Burmeister, translated by Benito Rivera, 1993<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
P<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Patrick, Morgan<\/td>\nInto Wondrous Realms with Two Triads: Markedness, Voice Leading, and Functional Multivalence as Correlates of Fantasy Induction in the \u201cFantasy Fifth\u201d Progression<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Pau, Andrew<\/td>\nThe Harmonic Theories of Jean-Adam Serre<\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Pearce, Trevor<\/td>\nTonal Functions as Active Synthesis: Hugo Riemann, German Psychologym, and Kantian Epistemology<\/td>\n2008<\/td>\n22<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Peck, Robert W.<\/td>\nReview of Class Notes for Advanced Atonal Theory<\/em>, by Robert D. Morris, 2001<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Peck, Robert W.<\/td>\nAspects of Recursion in M-Inclusive Networks<\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Pedneault-Deslauriers, Julie<\/td>\n‘Denk an meinen Hund’: Applied Subdominants and Motivic Treatment in Schoenberg’s “Warnung,” Op. 3, No. 3<\/td>\n2014-15<\/td>\n28\/29<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Pierce, Alexandra<\/td>\nDeveloping Schenkerian Hearing and Performing<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Platt, Heather<\/a><\/a><\/td>\nUnrequited Love and Unrealized Dominants<\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Proctor, Gregory<\/td>\nReview of A Classical Turn of Phrase: Music and the Psychology of Convention<\/em>, by Robert O. Gjerdingen, 1988<\/td>\n1989<\/td>\n3<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
R<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Rabinovitch, Gilad<\/td>\nReimagining Faur\u00e9\u2019s Harmony<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Rahn, Jay<\/td>\nMusic Theory and Practice: A Behavioral View<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Rao, Nancy Yunhwa<\/td>\nOn Division of Intellectual Labor<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Reale, Haley Beverburg<\/td>\nDissolving Monotonality: Expressive Modulation in Two Works by C.P.E. Bach<\/td>\n2013<\/td>\n27<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Roeder, John, and Scott Alexander Cook<\/td>\nTriadic Transformations and Parsimonious Voice Leading in the Music of Gavin Bryars<\/td>\n2006<\/td>\n20<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Rogers, Nancy<\/td>\nHearing an Old Story in a New Way: An Analysis of Loewe’s Erlk\u00f6nig<\/em><\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Rolf, Marie, and Elizabeth West Marvin<\/a><\/td>\nAnalytical and Interpretive Decisions in Two Songs by Richard Strauss<\/td>\n1990<\/td>\n4<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Rothstein, William<\/td>\nAmbiguity in the Themes of Chopin’s First, Second, and Fourth Ballades<\/td>\n1994<\/td>\n8<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
S<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Sallmen, Mark<\/td>\nComposition with a Single Row Form? Webern’s ‘Schatzerl klein,’ Op. 18, No. 1<\/td>\n2002-03<\/td>\n16-17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Sallmen, Mark<\/td>\nTransposition Networks and Network Chains in Schoenberg’s Sechs kleine Klavierst\u00fccke<\/em>, Op. 19<\/td>\n2016<\/td>\n30<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Saltini, Roberto Antonio<\/td>\nStructural Levels and Choice of Beat-Class Sets in Steve Reich’s Phase-Shifting Music<\/td>\n1993<\/td>\n7<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Samarotto, Frank<\/td>\nFluidities of Phrase and Form in the “Intermezzo” of Brahms’s First Symphony<\/td>\n2008<\/td>\n22<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Samuels, Robert<\/td>\nEntendez-vous la musique? Review of Music Writing Literature, from Sand via Debussy to Derrida<\/em>, by Peter Dayan, 2006<\/td>\n2008<\/td>\n22<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Schaffer, John Wm.<\/td>\nReview of CMAP: Contemporary Music Analysis Package<\/em>, by Craig Harris and Alexander Brinkman, 1988<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Scotto, Ciro<\/td>\nMusic Theory at the Turn of the Millennium and The Open Space Magazine<\/em><\/td>\n2004-05<\/td>\n18\/19<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Segall, Christopher<\/td>\nFranz Liszt\u2019s Bagatelle ohne Tonart<\/i> (in B Minor)<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Slottow, Stephen<\/td>\nCarl Ruggles’s Cadential Complex<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Sly, Gordon<\/td>\nThe Architecture of Key and Motive in a Schubert Sonata<\/td>\n1995<\/td>\n9<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Smith, Peter H.<\/td>\nNew Perspectives on Brahms’s Linkage Technique<\/td>\n2007<\/td>\n21<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Smyth, David<\/td>\nBeethoven’s Last Bagatelle<\/td>\n1999<\/td>\n13<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Smyth, David H., and Donald Traut<\/td>\nStravinsky’s Sketches for the “Great Chorale”<\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Snell, James L.<\/td>\nReview of Pascal Programming for Music Research<\/em>, by Alexander R. Brinkman, 1990<\/td>\n1991<\/td>\n5<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Stoecker, Philip<\/td>\nReview of Edward Venn,Thomas Ad\u00e8s: Asyla<\/em>, Routledge, 2017<\/td>\n2018<\/td>\n32<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Straus, Joseph<\/td>\nA Strategy of Large-Scale Organization in Stravinsky’s Late Music<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Strykowski, Derek R.<\/td>\nHearing the Interrogative in the Cadences of Sigismondo d\u2019India: A Quantitative Analysis of the Polyphonic Madrigals<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Suurp\u00e4\u00e4, Lauri<\/a><\/td>\nSchumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe<\/em><\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Suurp\u00e4\u00e4, Lauri<\/td>\nInterrelations between Expression and Structure in the First Movements of Joseph Haydn’s Piano Sonatas Hob. XVI\/44 and XVI\/20<\/td>\n2009<\/td>\n23<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Suurp\u00e4\u00e4, Lauri<\/a><\/td>\nReview of Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice<\/em>, by Eric Wenn, Lowman & Rittlefield, 2019<\/td>\n2020<\/td>\n34<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Swinkin, Jeffrey<\/a><\/td>\nAnalytic Context and Aesthetic Properties: Listening to Recordings of Beethoven\u2019s Largo Appassionato from Op. 2, No. 2<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
T<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Swinkin, Jeffrey<\/td>\nCyclic Form in Clara Schumann\u2019s Four Fugitive Pieces<\/i>, op. 15<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Temperley, David<\/td>\nThe Six-Four as Tonic Harmony, Tonal Emissary, and Structural Cue<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Terefenko, Dariusz<\/td>\nKeith Jarrett’s Art of Solo Introduction: “Stella By Starlight” \u2014 A Case Study<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Thomas, Margaret<\/td>\nNancarrow’s “Temporal Dissonance”: Issues of Temporal Proportions, Metric Synchrony, and Rhythmic Strategies<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Traut, Donald, and David H. Smyth<\/td>\nStravinsky’s Sketches for the “Great Chorale”<\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Turner, Mitchell<\/a><\/td>\nInterval-Class Exchanges in a Two-Dimensional Pitch-Class Space<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Tymoczko, Dmitri<\/a><\/td>\nThe Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz<\/td>\n1997<\/td>\n11<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
U<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Uno, Yayoi<\/a><\/td>\nThe Tempo-Span GIS as a Measure of Continuity in Elliott Carter’s Eight Pieces for Four Timpani<\/em><\/td>\n1996<\/td>\n10<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
V<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
V\u00e1gnerov\u00e1, Lucie<\/td>\nReview of Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde<\/em>, by Jennifer Iverson, Oxford University Press, 2018<\/td>\n2019<\/td>\n33<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Vande Moortele, Steven<\/td>\nSentences, Sentence Chains, and Sentence Replication: Intra- and Interthematic Formal Functions in Liszt’s Weimar Symphonic Poems<\/td>\n2011<\/td>\n25<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
W<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Wadsworth, Benjamin K., and Simon Needle<\/td>\nRhyme, Metrical Tension, and Formal Ambiguity in Kendrick Lamar\u2019s Flow<\/a><\/td>\n2022<\/td>\n35<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n
Warburton, Dan<\/td>\nA Working Terminology for Minimal Music<\/td>\n1988<\/td>\n2<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wason, Robert W.<\/td>\nWebern’s Variations for Piano<\/em>, Op. 27: Musical Structure and the Performance Score<\/td>\n1987<\/td>\n1<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Waters, Keith<\/td>\n“Giant Steps” and the ic4 Legacy<\/td>\n2010<\/td>\n24<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wennerstrom, Mary H.<\/td>\nKostka, Lester, and Straus: Twentieth-Century Materials and Analytical Techniques in Review<\/td>\n1990<\/td>\n4<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wheeldon, Marianne<\/td>\nInterpreting “strong moments” in Debussy’s “La terrasse des audiences du clair de lune”<\/td>\n2000-01<\/td>\n14\/15<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wintle, Christopher<\/td>\nAuthor’s Introduction to Corelli’s Tonal and Rhythmic Models<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wintle, Christopher<\/a><\/a><\/a><\/td>\nCorelli’s Rhythmic Models: Dance Movements in the Seventeenth and Eighteenth Centuries<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Wintle, Christopher<\/td>\nCorelli’s Tonal Models: The Trio Sonata Op. 3, No. 1<\/td>\n2017<\/td>\n31<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Z<\/td>\nBack to top<\/a><\/td>\n<\/tr>\n
Zbikowski, Lawrence M.<\/td>\nMusic Theory, Multimedia, and the Construction of Meaning<\/td>\n2002-03<\/td>\n16\/17<\/a><\/td>\nPDF<\/a><\/td>\n<\/tr>\n
Zhang, Xieyi (Abby)<\/td>\nHope to Grief: An Analysis of Dvo\u0159\u00e1k\u2019s Moravian Duets<\/i>, op. 38<\/td>\n2023<\/td>\n36<\/a><\/td>\nHTML<\/a>
PDF<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Author Title Date Vol. Formats A Adams, Kyle Musical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies 2019 33 HTMLPDF Adrian, Jack The Function of the … <\/p>\n

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