{"id":3207,"date":"2019-06-27T14:45:10","date_gmt":"2019-06-27T14:45:10","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/journal-index\/volume-copy-copy\/"},"modified":"2026-01-05T18:07:05","modified_gmt":"2026-01-05T18:07:05","slug":"volume","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/journal-index\/volume\/","title":{"rendered":"Journal Index by Volume"},"content":{"rendered":"

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Type<\/b><\/td>\r\nAuthor<\/b><\/td>\r\nTitle<\/b><\/td>\r\nFormats<\/b><\/td>\r\n<\/tr>\r\n
Volume 36 (2023)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nMotazedian, T\u00e1hirih, and Scott Murphy<\/td>\r\nHolst\u2019s\u00a0Planets<\/em>, The Final Frontier:
Interplanetary Voyage as Intrapersonal Escape<\/td>\r\n		HTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Nobile, Drew<\/td>\r\nNarrative Opposition in the Beatles\u2019 Verse\u2013Chorus Songs, 1966\u20131967<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Osborn, Brad<\/td>\r\nFormal Functions and Rotations in Top-40 EDM<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Rabinovitch, Gilad<\/td>\r\nReimagining Faur\u00e9\u2019s Harmony<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Strykowski, Derek R.<\/td>\r\nHearing the Interrogative in the Cadences of Sigismondo d\u2019India: A Quantitative Analysis of the Polyphonic Madrigals<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Analytical Vignettes<\/b><\/td>\r\nAmarosa, Leah<\/td>\r\nUnveiling the Signifiers of Rain in John Adams\u2019s\u00a0China Gates<\/em><\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Boyd, Michael<\/td>\r\nIntegrating Opposites: Iannis Xenakis\u2019s\u00a0Charisma\u00a0<\/em>for Clarinet and Cello<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Gotham, Mark R. H.<\/td>\r\nOld Sources in new Sauces: John Joubert and the Analysis of Ancient Materials in Modern Music<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Hutchinson, Kyle<\/td>\r\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>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Keep, Dave<\/td>\r\nThe Voice of Enigma: Intertextuality in \u201cIm wundersch\u00f6nen Monat Mai\u201d<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Lai, Hei-Yeung (John)<\/td>\r\nCounterpoint and Formative Process in \u2019Are\u2019are Cyclic Panpipe Music<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
MacKay, James S.<\/td>\r\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>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Ng, Samuel<\/td>\r\nThe Trimodular Block and\u00a0L\u2019art de bien chanter<\/em>\u00a0in H\u00e9l\u00e8ne de Montgeroult\u2019s Piano Sonatas, Op. 5<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Patrick, Morgan<\/td>\r\nInto Wondrous Realms with Two Triads: Markedness, Voice Leading, and Functional Multivalence as Correlates of Fantasy Induction in the \u201cFantasy Fifth\u201d Progression<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Pellegrin, Rich<\/td>\r\nSalience, Common Tones, and Middleground Dissonance in the Fourth Chorus of Brad Mehldau\u2019s Improvisation on \u201cAll the Things You Are\u201d<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Segall, Christopher<\/td>\r\nFranz Liszt\u2019s\u00a0Bagatelle ohne Tonart<\/em> (in B Minor)<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Swinkin, Jeffrey<\/td>\r\nCyclic Form in Clara Schumann\u2019s\u00a0Four Fugitive Pieces<\/em>, op. 15<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Zhang, Xieyi (Abby)<\/td>\r\nHope to Grief: An Analysis of Dvo\u0159\u00e1k\u2019s\u00a0Moravian Duets<\/em>, op. 38<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nLopez, Gerardo<\/td>\r\nReview of The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses<\/em>\u00a0by Joseph N. Straus, Oxford University Press, 2022<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Lucas, Olivia R.<\/td>\r\nReview of Musical Agency and the Social Listener<\/em>\u00a0by Cora Palfy, Routledge, 2021<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 35 (2022)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nCubero, Diego<\/td>\r\nBlurred Harmonies in Robert Schumann and Johannes Brahms<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Ferrandino, Matthew<\/td>\r\nMulti-Centric Complexes in Pop-Rock Music<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Maler, Anabel<\/td>\r\nListening to Phrase Structure and Formal Function in Post-Tonal Music<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Wadsworth, Benjamin K., and Simon Needle<\/td>\r\nRhyme, Metrical Tension, and Formal Ambiguity in Kendrick Lamar\u2019s Flow<\/a><\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nMilius, Emily<\/td>\r\nReview of A Blaze of Light in Every Word: Analyzing the Popular Singing Voice<\/em>, by Victoria Malawey, Oxford University Press, 2020<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Hudson, Stephen S.<\/td>\r\nReview of Making Sense of Recordings: How Cognitive Processing of Recorded Sound Works<\/em>, by Mads Walther-Hansen, Oxford University Press, 2020<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 34 (2020)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nJakubowski, Joseph R.<\/td>\r\nEmbodied Form in Grisey\u2019s Prologue<\/i>: Variation, Opposition, Tension<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Komaniecki, Robert<\/td>\r\nVocal Pitch in Rap Flow<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nDunsby, Jonathan<\/a><\/td>\r\nReview of Performing Knowledge: Twentieth-Century Music in Analysis and Performance<\/em>, by Daphne Leong, Oxford University Press, 2019<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Hynes-Tawa, Liam<\/td>\r\nReview of Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century<\/em>, by Megan Kaes Long, Oxford University Press, 2020<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Suurp\u00e4\u00e4, Lauri<\/td>\r\nReview of Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice<\/em>, by Eric Wenn, Lowman & Rittlefield, 2019<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 33 (2019)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nSwinkin, Jeffrey<\/td>\r\nAnalytic Context and Aesthetic Properties: Listening to Recordings of Beethoven\u2019s Largo Appassionato from Op. 2, No. 2<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Adams, Kyle<\/td>\r\nMusical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Morgan, Alexander<\/td>\r\nRenaissance Ternary Suspensions in Theory and Practice<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Symposium on Open-Access Publication<\/b><\/td>\r\nIverson, Jennifer<\/td>\r\nOpen Access Meets Critical Disability Studies<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Rao, Nancy Yunhwa<\/td>\r\nOn Division of Intellectual Labor<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Lochhead, Judy<\/td>\r\nColoring the Future: Visualizing Music in the Digital Era<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Marvin, William M.<\/a><\/td>\r\nOnline Publication: Reflections on the Recent Past, Possibilities for the Near Future<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nIto, John Paul<\/td>\r\nReview of Brahms and the Shaping of Time<\/em>, ed. Scott Murphy, University of Rochester Press, 2018<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
V\u00e1gnerov\u00e1, Lucie<\/td>\r\nReview of Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde<\/em>, by Jennifer Iverson, Oxford University Press, 2018<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 32 (2018)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nPau, Andrew<\/td>\r\nThe Harmonic Theories of Jean-Adam Serre<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Bakulina, Ellen<\/td>\r\nProto-Harmony and the Problem of Tonal Centricity in Rachmaninoff’s All-Night Vigil <\/i><\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Goldenberg, Yosef<\/td>\r\nWhen and How are Modulations Diatonic?<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nLumsden, Rachel<\/a><\/td>\r\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>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Stoecker, Philip<\/td>\r\nReview of Edward Venn, Thomas Ad\u00e8s<\/em>: Asyla, Routledge, 2017<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Orosz, Jeremy<\/td>\r\nReview of John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction<\/em>, Cambridge University Press, 2016<\/td>\r\nHTML<\/a>
PDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 31 (2017)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Article<\/b><\/td>\r\nTemperley, David<\/td>\r\nThe Six-Four as Tonic Harmony, Tonal Emissary, and Structural Cue<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Symposium on Music of the Long Eighteenth Century<\/b><\/td>\r\n\u00a0<\/td>\r\nEditors’ Foreword: Symposium on Music of the Long Eighteenth Century<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Wintle, Christopher<\/td>\r\nCorelli\u2019s Tonal Models: The Trio Sonata Op. 3, No. 1<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Wintle, Christopher<\/td>\r\nCorelli\u2019s Rhythmic Models: Dance Movements in the Seventeenth and Eighteenth Centuries<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Byros, Vasili<\/a><\/td>\r\nMozart\u2019s Vintage Corelli: The Microstory of a Fonte-Romanesca<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nGollin, Edward<\/td>\r\nMusic and Text: A Review Essay on David Lewin\u2019s\u00a0Morgengru\u00df: <\/i>\u00a0Text, Context, Commentary<\/em>, edited by David Bard-Schwarz and Richard Cohn<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Hunt, Graham G.<\/td>\r\nReview of\u00a0Formal Functions in Perspective<\/em>, edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 30 (2016)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nAlegant, Brian<\/td>\r\nReconsidering Debussy\u2019s Bruy\u00e8res<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Sallmen, Mark<\/td>\r\nTransposition Networks and Network Chains in Schoenberg\u2019s\u00a0Sechs kleine Klavierst\u00fccke<\/em>, Op. 19<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Rogers, Nancy<\/td>\r\nHearing an Old Story in a New Way: An Analysis of Loewe\u2019s\u00a0Erlk\u00f6nig<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Buchler, Michael<\/td>\r\nAre There Any Bad (or Good) Transformational Analyses?<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Mak, Su Yin<\/td>\r\nString Theory: An Ethnographic Study of a Professional Quartet in Hong Kong<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Jones, Evan<\/a><\/td>\r\nDynamics and Dissonance: The Implied Harmonic Theory of J.J. Quantz<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Bribitzer-Stull, Matthew<\/td>\r\nDie Geheimnisse der Form bei Richard Wagner<\/em>: Structure and Drama as Elements of Wagnerian Form<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Jenkins, J. Daniel<\/td>\r\n\u201cIm Zusammenhang des Zw\u00f6lftonwegs sprechen\u201d: Reconsidering Pitch-class Sets in Schoenberg\u2019s Atonal Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Franck, Peter<\/td>\r\nStructural Framing and its Interaction with Linkage Technique<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Koslovsky, John and Matthew Brown<\/td>\r\nThe Contrapuntal Legacy of the French\u00a0fin-de-si\u00e8cle<\/i>: A Look at Dukas\u2019s Piano Sonata in E-flat<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 28\/29 (2014-15)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nDunsby, Jonathan<\/td>\r\nGrim Reapings Theorizing Undertheory<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Monahan, Seth<\/td>\r\nNegative Catharsis as Rotational Telos in Mahler\u2019s First\u00a0Kindertotenlied<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Pedneault-Deslauriers, Julie<\/td>\r\n‘Denk an meinen Hund’: Applied Subdominants and Motivic Treatment in Schoenberg\u2019s \u201cWarnung,\u201d Op. 3, No. 3<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Barry, Christopher M.<\/td>\r\nBeing, Becoming, and Death in Twelve-Tone Music: \u201cWie bin ich froh!\u201d as Epitaph<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Lavacek, Justin<\/td>\r\nContrapuntal Ingenuity in the Motets of Machaut<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Decker, Gregory J.<\/a><\/td>\r\nStrategies for Opposition, Ambiguity, and \u201cAmarilli\u201d in the\u00a0Seconda Pratica<\/em> Italian Madrigal<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nAgawu, Kofi<\/td>\r\nDeath in <\/em>Winterreise: Musico-Poetic Associations in Schubert\u2019s Song Cycle<\/em>, by Lauri Suurp\u00e4\u00e4<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Marvin, William M.<\/td>\r\nWagner\u2019s Parsifal<\/em>,\u00a0by William Kinderman<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 27 (2013)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBoss, Jack<\/td>\r\nPresentation of \u201cMusical Idea\u201d through Tetrachord Exchanges and Rhythmic\/Metric Correspondences in the Intermezzo and Gavotte of Schoenberg\u2019s Suite for Piano, Op. 25<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reale, Haley Beverburg<\/a><\/td>\r\nDissolving Monotonality: Expressive Modulation in Two Works by C.P.E. Bach<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Auerbach, Brent<\/td>\r\nTechniques for the Functional Classification of Two-Chord Sequences<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Heetderks, David<\/td>\r\nSemitonal Succession-Classes in Prokofiev\u2019s Music and Their Influence on Diatonic Voice-leading Backgrounds in the Op. 94 Scherzo<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 26 (2012)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nFranck, Peter<\/td>\r\nCanon and Its Effect on Tight-Knit Organization within Classical Themes<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Biamonte, Nicole<\/td>\r\nVariations on a Scheme: Bach\u2019s ‘Crucifixus’ and Chopin\u2019s and Scriabin\u2019s E-minor Preludes<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Murphy, Scott<\/a><\/td>\r\nSeptimal Time in an Early Finale of Haydn<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Argentino, Joe<\/td>\r\nSerialism and Neo-Riemannian Theory: Transformations and Hexatonic Cycles in Schoenberg\u2019s Modern Psalm<\/i>, Op. 50c<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nBerry, David Carson<\/td>\r\nAdvanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form<\/em>, by David Beach<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 25 (2011)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nAu, Hiu-Wah<\/td>\r\nThe Prolongation Function of Secondary-Key Variations in Brahms\u2019s Variations for Four Hands on a Theme of Robert Schumann<\/em>, Op. 23<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Laroche, Guillaume<\/td>\r\nStriking Similarities: Toward a Quantitative Measure of Melodic Copyright Infringement<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Smyth, David H. and Don Traut<\/a><\/td>\r\nStravinsky\u2019s Sketches for the Great Chorale<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Vande Moortele, Steven<\/td>\r\nSentences, Sentence Chains, and Sentence Replication: Intra- and Interthematic Formal Functions in Liszt\u2019s Weimar Symphonic Poems<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nKlumpenhouwer, Henry<\/td>\r\nHistory and Structure in Richard Cohn’s Audacious Euphony<\/i><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 24 (2010)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Dedications<\/td>\r\n<\/tr>\r\n
Marvin, Elizabeth West<\/td>\r\nRobert Wason: A Tribute and Dedication<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Brown, Matthew<\/td>\r\n2B or not 2B<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\n<\/tr>\r\n
Brown, Matthew<\/td>\r\nC. P. E. Bach, Schenker, Improvisation, and Composition<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Callahan, Michael<\/td>\r\nImprovising Motives: Applications of Michael Wiedeburg\u2019s Pedagogy of Modular Diminutions<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Koslovsky, John<\/td>\r\nTracing the Improvisatory Impulse in Early Schenkerian Theory<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Terefenko, Dariusz<\/a><\/td>\r\nKeith Jarrett\u2019s Art of Solo Introduction: \u201cStella by Starlight\u201d \u2013 A Case Study<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
McGowan, James<\/td>\r\nRiemann\u2019s Functional Framework for Extended Jazz Harmony<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Waters, Keith<\/td>\r\n\u201cGiant Steps\u201d and the ic4 Legacy<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 23 (2009)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBlack, Brian<\/td>\r\nThe Functions of Harmonic Motives in Schubert\u2019s Sonata Forms<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Hunt, Graham<\/td>\r\nThe Three-Key Trimodular Block and its Classical Precedents: Sonata Expositions of Schubert and Brahms<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Ng, Samuel<\/a><\/td>\r\nReinterpreting Metrical Reinterpretation<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Suurp\u00e4\u00e4, Lauri<\/td>\r\nInterrelations between Expression and Structure in the First Movements of Joseph Haydn\u2019s Piano Sonatas Hob. XVI\/44 and Hob. XVI\/20<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nCarey, Christian<\/td>\r\nArnold Whittall and the Perils of Transcontinental Serialism<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 22 (2008)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nDuerksen, Marva<\/td>\r\nSchenker\u2019s Organicism Revisited<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gollin, Edward<\/td>\r\nOn Bart\u00f3k\u2019s Comparative Musicology as a Resource for Bart\u00f3kian Analysis<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Pearce, Trevor<\/a><\/td>\r\nTonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Samarotto, Frank<\/td>\r\nFludities of Phrase and Form in the \u201cIntermezzo\u201d of Brahms\u2019s First Symphony<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nSamuels, Robert<\/td>\r\nEntendez-vous la musique? Review of Peter Dayan:\u00a0Music Writing Literature, from Sand via Debussy to Derrida.<\/em>\u00a0Aldershot: Ashgate, 2006.<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 21 (2007)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBribitzer-Stull, Matthew and Robert Gauldin<\/td>\r\nHearing Wagner in\u00a0Till Eulenspiegel:<\/em> Strauss\u2019s Merry Pranks Reconsidered<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Callender, Clifton<\/td>\r\nInteractions of the Lamento Motif and Jazz Harmonies in Gy\u00f6rgi Ligeti\u2019s\u00a0Arc-en-ciel<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Capuzzo, Guy<\/a><\/td>\r\nRegistral Constraints on All-Interval Rows in Elliott Carter\u2019s\u00a0Changes<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Smith, Peter H.<\/td>\r\nNew Perspectives on Brahms\u2019s Linkage Technique<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nHook, Julian<\/td>\r\nDavid Lewin and the Complexity of the Beautiful<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 20 (2006)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nMcClelland, Ryan<\/td>\r\nMetric Dissonance in Brahms’s Piano Trio in C Minor, Op. 101<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Roeder, John and Scott Alexander Cook<\/td>\r\nTriadic Transformation and Parsimonious Voice Leading in Some Interesting Passages by Gavin Bryars<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Brown, Stephen C.<\/a><\/td>\r\nTracing the Origins of Shostakovich\u2019s Musical Motto<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Grab\u00f3cz, M\u00e1rta<\/td>\r\nStylistic Evolution in Mozart\u2019s Symphonic Slow Movements: The Discursive-Passionate Schema (A Narrative Approach)<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nMarvin, William<\/td>\r\nHeinrich Schenker: A Guide to Research<\/i>, by Benjamin McKay Ayotte, and\u00a0A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices<\/i>, by David Carson Berry<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 18\/19 (2004-05)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBraunschweig, Karl<\/td>\r\nRhetorical Types of Phrase Expansion in the Music of J.S. Bach<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Brown, Matthew<\/td>\r\nComposing with Prototypes: Charting Debussy\u2019s\u00a0L\u2019Isle joyeuse<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Carson, Sean H.<\/td>\r\nThe Trace, Its Relation to Contour Theory, and an Application to Carter\u2019s String Quartet No. 2<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gauldin, Robert<\/td>\r\nNew Twists for Old Endings: Cadenza and Apotheosis in the Romantic Piano Concerto<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Morris, Robert D.<\/td>\r\nAspects of Post-Tonal Canon Systems<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Peck, Robert W.<\/a><\/td>\r\nAspects of Recursion in M-Inclusive Networks<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review Article<\/b><\/td>\r\nScotto, Ciro<\/td>\r\nMusic Theory at the Turn of the Millennium and The Open Space Magazine<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nCarey, Norman<\/td>\r\nMusic 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<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 16\/17 (2002-03)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBaileyShea, Matthew<\/td>\r\nWagner\u2019s Loosely Knit Sentences and the Drama of Musical Form<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Turner, Mitchell<\/td>\r\nInterval-Class Exchanges in a Two-Dimensional Pitch-Class Space<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Alegant, Brian<\/td>\r\nInside the Cadenza of Schoenberg\u2019s Piano Concerto<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Slottow, Stephen<\/td>\r\nCarl Ruggles\u2019s Cadential Complex<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Sallmen, Mark<\/td>\r\nComposition with a Single Row Form? Webern\u2019s “Schatzerl klein,” Op. 18, No. 1<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Leong, Daphne<\/a><\/td>\r\nKaleidoscopic Symmetries: Time and Pitch Relations in Conlon Nancarrow\u2019s\u00a0Tango?<\/i><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Forum <\/b><\/td>\r\n<\/tr>\r\n
Mailman, Joshua<\/td>\r\nReview Forum: Analysing Musical Multimedia<\/i>, by Nicholas Cook<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Lipscomb, Scott D.<\/td>\r\nModelling Multimedia Cognition: A Review of Nicholas Cook’s Analysing Musical Multimedia<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Leong,Daphne<\/td>\r\nFantasia’s Rite of Spring<\/i> as Multimedia: A Critique of Nicholas Cook’s Analysis<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Zbikowski, Lawrence M.<\/td>\r\nMusic Theory, Multimedia, and the Construction of Meaning<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nPeck, Robert W.<\/td>\r\nClass Notes for Advanced Atonal Theory<\/em>, by Robert D. Morris, 2001<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Morris, Robert D.<\/td>\r\nReply to Robert W. Peck<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 14\/15 (2000-01)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Forum<\/b><\/td>\r\nVarious Authors<\/td>\r\nMusic Theory at the Turn of the Millennium<\/td>\r\nIntroduction PDF<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nAnson-Cartwright, Mark<\/td>\r\nHaydn\u2019s Hidden Homage to Mozart: Echoes of \u201cVoi che sapete\u201d in Opus 64, No. 3<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Boss, Jack<\/td>\r\nThe \u201cMusical Idea\u201d and Global Coherence in Schoenberg\u2019s Atonal and Serial Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Horlacher, Gretchen<\/td>\r\nMultiple Meters and Metrical Processes in the Music of Steve Reich<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Lewin, David<\/td>\r\nAll Possible GZ-Related 4-Element Pairs of Sets, in All Possible Commutative Groups, Found and Categorized<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Thomas, Margaret<\/a><\/td>\r\nNancarrow\u2019s \u201cTemporal Dissonance\u201d: Issues of Temporal Proportions, Metric Synchrony, and Rhythmic Strategies<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Wheeldon, Marianne<\/td>\r\nInterpreting \u201cstrong moments\u201d in Debussy\u2019s \u201cLa terrasse des audiences du clair de lune\u201d<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nGaland, Joel<\/td>\r\nAnalysis Through Composition: Principles of the Classical Style<\/em>, by Nicholas Cook<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 13 (1999)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBerry, David Carson<\/td>\r\nDynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Clampitt, David<\/td>\r\nRamsey Theory, Unary Transformations, and Webern\u2019s Op. 5, No. 4<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Doerksen, John F.<\/td>\r\nComparing Collections of Set-Classes: Indexes in Forte\u2019s Genera Theory<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Smyth, David<\/td>\r\nBeethoven\u2019s Last Bagatelle<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review Essay<\/b><\/td>\r\nGaland, Joel<\/a><\/td>\r\nFormenlehre Revisited (Review-Essay on William Caplin\u2019s\u00a0Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven<\/em>)<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nCapuzzo, Guy<\/td>\r\nThe Music of Elliott Carter<\/em>, Second Edition, by David Schiff<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gagn\u00e9, David<\/td>\r\nUnfoldings<\/em>, by Carl Schachter<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 12 (1998)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Article<\/b><\/td>\r\nGrab\u00f3cz, M\u00e1rta<\/td>\r\nA. J. Greimas\u2019s Narrative Grammar and the Analysis of Sonata Form<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Klumpenhouwer Network Symposium<\/b><\/td>\r\nGollin, Edward<\/td>\r\nSome Unusual Transformations in Bart\u00f3k\u2019s \u201cMinor Seconds, Major Sevenths\u201d<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
O’Donnell, Shaugn<\/td>\r\nKlumpenhouwer Networks, Isography, and the Molecular Metaphor<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Klumpenhouwer, Henry<\/td>\r\nThe Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nBrown, Matthew<\/a><\/td>\r\nRothstein\u2019s Paradox and Neumeyer\u2019s Fallacies<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Neumeyer, David<\/td>\r\nResponse to Matthew Brown<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Hyde, Martha<\/td>\r\nThe Music of Ruth Crawford Seeger<\/em>, by Joseph Straus, 1995<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 11 (1997)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Foreword<\/b><\/td>\r\nBeach, David<\/td>\r\nReflections on\u00a0Int\u00e9gral<\/em>: Its Inception and Early Years<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nLefkowitz, David<\/td>\r\nPerspectives on Order, Disorder, Combinatoriality, and Tonality in Schoenberg\u2019s Opus 33a and 33b Piano Pieces<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Lewin, David<\/td>\r\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>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Straus, Joseph<\/td>\r\nA Strategy of Large-Scale Organization in Stravinsky\u2019s Late Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Tymoczko, Dmitri<\/td>\r\nThe Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nHorlacher, Gretchen<\/a><\/td>\r\nMeter as Rhythm<\/em>, by Christopher Hasty<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Krebs, Harald<\/td>\r\nA Reader\u2019s Guide to the Chopin Preludes, <\/em>by Jeffrey Kresky<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Neumeyer, David and Julian L. Hook<\/td>\r\nAnalysis of Tonal Music: A Schenkerian Approach<\/em>, by Allen Cadwallader and David Gagn\u00e9<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 10 (1996)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nDobos, Lora Gingerich<\/td>\r\nTransformations of BACH in Webern\u2019s Op. 16 No. 4<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Koivisto, Tiina<\/td>\r\nAspects of Motion in Elliott Carter\u2019s Second String Quartet<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Uno, Yayoi<\/td>\r\nThe Tempo-span GIS as a Measure of Continuity in Elliott Carter\u2019s Eight Pieces for Four Timpani<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Suurp\u00e4\u00e4, Lauri<\/td>\r\nSchumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review Article<\/b><\/td>\r\nLidov, David<\/a><\/td>\r\nMusical Semiotics\u2014Science, Letters, or Art?<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nButler, David<\/td>\r\nShaping Time: Music, the Brain, and Performance<\/em>, by David Epstein, 1995<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Kinderman, William<\/td>\r\nThe “Galitzin” Quartets of Beethoven, <\/em>by Daniel K. L. Chua, 1995<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 9 (1995)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nMarion, Gregory J.<\/td>\r\nInciting Transformational Insights<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Morris, Robert D.<\/td>\r\nThe Structure of First-Species Canon in Modal, Tonal and Atonal Musics<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Sly, Gordon<\/td>\r\nThe Architecture of Key and Motive in a Schubert Sonata<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nGjerdingen, Robert O.<\/a><\/td>\r\nHarmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents<\/em>, by Daniel Harrison<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gauldin, Robert<\/td>\r\nAnalyzing Fugue: A Schenkerian Approach<\/em>, by William Renwick<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Laitz, Steven<\/td>\r\nPoetry into Song: Performance and Analysis of Lieder<\/em>, by Deborah Stein and Robert Spillman<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 8 (1994)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nRothstein, William<\/td>\r\nAmbiguity in the Themes of Chopin\u2019s First, Second, and Fourth Ballades<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Pierce, Alexandra<\/td>\r\nDeveloping Schenkerian Hearing and Performing<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Beach, David<\/td>\r\nThe Initial Movements of Mozart\u2019s Piano Sonatas K. 280 and K.332: Some Striking Similarities<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nKurth, Richard<\/a><\/td>\r\nAn Introduction to the Music of Milton Babbitt<\/em>, by Andrew Mead, 1994<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Alphonce, Bo<\/td>\r\nMusical Form and Transformation: 4 Analytic Essays<\/em>, by David Lewin, 1994<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Ossi, Massimo<\/td>\r\nMusical Poetics<\/em>, by Joachim Burmeister, translated by Benito Rivera, 1993<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 7 (1993)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nFolio, Cynthia J.<\/td>\r\nAnalysis and Performance: A Study in\u00a0Contrasts<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Hatten, Robert S.<\/td>\r\nSchubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Korsyn, Kevin<\/td>\r\nSchenker\u2019s Organicism Reexamined<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Platt, Heather<\/a><\/td>\r\nUnrequited Love and Unrealized Dominants<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Saltini, Roberto Antonio<\/td>\r\nStructural Levels and Choice of Beat-Class Sets in Steve Reich\u2019s Phase-Shifting Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nHubbs, Nadine<\/td>\r\nA Guide to Schenkerian Analysis<\/em>, by David Neumeyer and Susan Tepping<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 6 (1992)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nCohn, Richard<\/td>\r\nMetric and Hypermetric Dissonance in the\u00a0Menuetto<\/em>\u00a0of Mozart\u2019s Symphony in G Minor, K. 550<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gillespie, Jeffrey L.<\/td>\r\nMotivic Transformations and Networks in Schoenberg\u2019s \u201cNacht\u201d from\u00a0Pierrot Lunaire<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Cinnamon, Howard<\/td>\r\nNew Observations on Voice Leading, Hemiola, and their Roles in Tonal and Rhythmic Structures in Chopin\u2019s Prelude in B Minor, Op. 28 No. 6<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nMead, Andrew<\/a><\/td>\r\nThe Twelve-Note Music of Anton Webern: Old Forms in a New Language<\/em>, by Kathryn Bailey<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Harrison, Daniel<\/td>\r\nPlaying with Signs: A Semiotic Interpretation of Classic Music<\/em>, by V. Kofi Agawu<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Dempster, Douglas and Matthew Brown<\/td>\r\nStyle and Music: Theory, History, and Ideology<\/em>, by Leonard B. Meyer<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 5 (1991)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nAdrian, Jack<\/td>\r\nThe Function of the Apparent Tonic at the Beginning of Development Sections<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Cherlin, Michael<\/td>\r\nThoughts on Poetry and Music, on Rhythms in Emily Dickenson\u2019s \u201cThe World Feels Dusty\u201d and Aaron Copland\u2019s Setting of It<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gauldin, Robert<\/td>\r\nBeethoven\u2019s Interrupted Tetrachord and the Seventh Symphony<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nBlock, Steven<\/a><\/td>\r\nEar Training for Twentieth-Century Music<\/em>, by Michael L. Friedmann<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Brown, Matthew<\/td>\r\nRemaking the Past: Musical Modernism and the Influence of the Tonal Tradition<\/em>, by Joseph N. Straus<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Snell, James L.<\/td>\r\nPascal Programming for Music Research<\/em>, by Alexander R. Brinkman<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 4 (1990)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nDarcy, Warren<\/td>\r\nA Wagnerian Ursatz<\/em>; or, Was Wagner a Background Composer After All?<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Kaplan, Richard A.<\/a><\/td>\r\nTranspositionally Invariant Subsets: A New Set-subcomplex Relation<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Rolf, Marie and\u00a0 Elizabeth West Marvin<\/td>\r\nAnalytical Issues and Interpretive Decisions in Two Songs by Richard Strauss<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Review<\/b><\/td>\r\nWennerstrom, Mary H.<\/td>\r\nKostka, Lester, and Straus: Twentieth-Century Materials and Analytical Techniques in Review<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 3 (1989)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nLambert, J. Philip<\/td>\r\nIves\u2019s \u201cPiano Drum\u201d Chords<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Morris, Robert D.<\/td>\r\nSome Compositional and Analytical Applications of T-Matrices<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Gjerdingen, Robert O.<\/td>\r\nMeter as a Mode of Attending: A Network Simulation of Attentional Rhythmicity in Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Mead, Andrew<\/td>\r\nTwelve-Tone Organizational Strategies: An Analytical Sampler<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nProctor, Gregory<\/a><\/td>\r\nA Classic Turn of Phrase: Music and the Psychology of Convention<\/em>, by Robert O. Gjerdingen<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
McCreless, Patrick<\/td>\r\nReading Schenker\u2019s\u00a0Kontrapunkt<\/em><\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Green, Douglass M.<\/td>\r\nA Practical Approach to Eighteenth-Century Counterpoint<\/em>, by Robert Gauldin<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 2 (1988)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nCadwallader, Allen<\/td>\r\nProlegomena to a General Description of Motivic Relationships in Tonal Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Lewis, Christopher<\/td>\r\nText, Time, and Tonic: Aspects of Patterning in the Romantic Cycle<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Beach, David<\/td>\r\nMotivic Repetition in Beethoven’s Piano Sonata Op. 110, Part II: The Trio of the Second Movement and the Adagio-Arioso<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Laufer, Edward<\/td>\r\nOn the Fantasy<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Warburton, Dan<\/td>\r\nA Working Terminology for Minimal Music<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nAlphonce, Bo<\/a><\/td>\r\nGeneralized Musical Intervals and Transformations<\/em>, by David Lewin, 1987<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Cherlin, Michael<\/td>\r\nComposition with Pitch-Classes<\/em>, by Robert D. Morris, 1987<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Schaffer, John Wm.<\/td>\r\nCMAP: Contemporary Music Analysis Package<\/em>, by Craig Harris and Alexander Brinkman, 1988<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Volume 1 (1987)<\/a><\/td>\r\nBack to top<\/a><\/td>\r\n<\/tr>\r\n
Articles<\/b><\/td>\r\nBeach, David<\/td>\r\nMotivic Repetition in Beethoven’s Piano Sonata Op. 110, Part I: The First Movement<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Cone, Edward T.<\/td>\r\nBrahms: Songs With Words and Songs Without Words<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Wason, Robert W.<\/td>\r\nWebern’s Variations for Piano<\/em>, Op. 27: Musical Structure and the Performance Score<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Rahn, Jay<\/td>\r\nMusic Theory and Practice: A Behavioral View<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Loft, Abram<\/td>\r\nThe Larger View<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Reviews<\/b><\/td>\r\nBrinkman, Alexander R.<\/td>\r\nMicrocomputers and Music<\/em>, by Gary E. Wittlich, John W. Schaffer, and Larry R. Babb, 1986<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n
Block, Steven<\/td>\r\nSound Color<\/em>, by Wayne Slawson, 1985<\/td>\r\nPDF<\/a><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

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1 2 3 4 5 6 7 8 9 10 11 12 13 14\/15 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, T\u00e1hirih, and Scott Murphy Holst\u2019s\u00a0Planets, The Final Frontier:Interplanetary Voyage as Intrapersonal … <\/p>\n

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