Volume Index    [Author Index]

Current Issue (Volume 30, Number 3, September 2024)

Article: Christa Cole (Oberlin College & Conservatory) Hands, Fingers, Strings, and Bows: Performance Technique and Analysis in J.S. Bach’s Largo for Solo Violin

Article: Joan Huguet (Knox College) Post-Recapitulatory Organization in Beethoven’s Early Sonata-Rondo Finales

Article: Rebecca Long (University of Louisville) Mid-Exposition Modal Contrast and Francesco Galeazzi’s “Characteristic Passage”

Article: Nathaniel Mitchell (Wesleyan University) On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”

Article: Rachel Short (Shenandoah University) Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free

Article: Sean R. Smither (The Juilliard School, The New School) Referents in the Palimpsests of Jazz: Disentangling Theme from Improvisation in Recordings of Standard Jazz Tunes

Article: Bjørnar Utne-Reitan (Mälardalen University) Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy


Volume 30, Number 2, June 2024

  • Article: Matthew L. C. Boyle (Bloomington, IN) and Paul Sherrill (University of Utah) A Thread of Recitative Ruffs: Schemas and Schenker’s Analysis of “Erbarm es, Gott”
  • Article: James Donaldson (University of Oxford) Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès
  • Article: David Geary (Wake Forest University) Formal Functions of Drum Patterns in Post-Millennial Pop Songs, 2012–2021
  • Article: Jacob Gran (Louisiana Tech University) A General Method For Composing a Canon Against a Cantus Firmus Using Sergei Taneev’s Double-Shifting Counterpoint
  • Article: Christoph Neidhöfer (McGill University) Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni
  • Article: Eron Smith (Oberlin College & Conservatory) Prosodic Dissonance
  • Article: Simon Tönies (Justus-Liebig-Universität Gießen) Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe

Volume 30, Number 1, March 2024

  • Article: Genevieve Robyn Arkle (University of Bristol) The Turn in the Finale of Mahler’s Ninth Symphony as Allusion to Wagner’s Parsifal
  • Article: Trevor de Clercq (Middle Tennessee State University) Some Proposed Enhancements to the Operationalization of Prominence: Commentary on Michèle Duguay’s “Analyzing Vocal Placement in Recorded Virtual Space”
  • Article: Michèle Duguay (Harvard University) Response to Trevor de Clercq’s “Some Proposed Enhancements to the Operationalization of Prominence: Commentary on Michèle Duguay’s ‘Analyzing Vocal Placement in Recorded Virtual Space’”
  • Article: Rajan Lal (University of Cambridge) Harmonic “Quality” and Set-Class Structure: Schoenberg’s Opus 19, No. 2 Reconsidered
  • Article: Nathan L. Lam (Eastman School of Music) Pentatonic Xuangong 旋宮 Transformations in Chinese Music
  • Article: Paul V. Miller and Christopher Cox (Duquesne University) Music from Plant Biosignals: A Conceptual and Analytical Orientation
  • Article: Gilad Rabinovitch (Queens College, CUNY) and Aaron Carter-Enyi (Morehouse College) Melodic Organization and Sequential Ordering of Galant Schemata: Implications for Eighteenth-Century European Musicianship
  • Article: Nicholas Shea and Lindsey Reymore (Arizona State University) Diversity in Music Corpus Studies
  • Review: Cristina González Rojo (Columbia University) Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021)
  • Essay: Dylan Principi (Wesleyan University) Rethinking Topic Theory: An Essay on the Recent History of a Music Theory

Volume 29, Number 4, December 2023

  • Article: Karl Braunschweig (Wayne State University) Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice
  • Article: Lori Burns (University of Ottawa) Female Subjectivities in the Words, Music, and Images of Progressive Metal: The Case of Tatiana Shmayluk (Jinjer)
  • Article: Tim Daly (University of New England, Australia) Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses
  • Article: Philippa Ovenden (University of Toronto) Out of the Blue: Preparing Proportions in the Old Hall Manuscript
  • Article: Thomas William Posen (The College of Idaho) Windows into Beethoven’s Lessons in Bonn: Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776/1778)
  • Article: Robert Hasegawa (McGill University) Introduction: Sciarrino’s Novel Forms
  • Article: Christian Utz (University of Music and Performing Arts Graz) Reimagining Formal Functions in Post-Tonal Music: Temporality in the Semanticized Form of Salvatore Sciarrino
  • Article: Mingyue Li (University of Oxford) Reimagining Organicism: An Ecological Aesthetics of Music and Self-Organizing Structures in the Works of Salvatore Sciarrino
  • Article: Antares Boyle (Portland State University) Gestural Temporality in Sciarrino’s Recitativo oscuro
  • Review: Clifton Boyd (New York University) and Jade Conlee (Yale University) Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)
  • Essay: Gavin S. K. Lee (Soochow University) Global Philosophy of Music: Ji Kang versus Hanslick

Volume 29, Number 3, September 2023

  • Article: Karen M. Cook (University of Hartford) 8-Bit Affordances: Jun Chikuma’s Soundtrack to Faxanadu
  • Article: Christopher Goddard (Gainesville, FL) “Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha
  • Article: David Hier (Oklahoma State University) Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1
  • Article: James B. Morford (University of Washington) and Aaron M. David (Covina, CA) Metric Modes and Fluid Meter in Mande Drumming Music
  • Article: Nancy Murphy (University of Michigan) Buffy Sainte-Marie’s Self-Expressive Voice
  • Article: Cecilia Oinas (Sibelius Academy) Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho
  • Article: Anna Yu Wang (Princeton University) Philosophizing Time in Sinitic Opera
  • Article: Matthew Zeller (Musical Instrument Museum) Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”
  • Review: Jeffrey Scott Yunek (Kennesaw State University) Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)

Volume 29, Number 2, June 2023

  • Article: Eytan Agmon (Bar-Ilan University) “Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail
  • Article: Owen Belcher (University of Missouri–Kansas City) and Catrina Kim (University of Massachusetts Amherst) Public Music Theory’s Neoliberal Learning Outcomes
  • Article: Henry Martin (Rutgers University) On the Tonic Added-Sixth Chord in Jazz
  • Article: Jeremy Tatar (McGill University) Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”
  • Report: Jade Conlee (Yale University) Conference Report: “Ruptures and Convergences: Music Studies and the Anthropocene”

Volume 29, Number 1, March 2023

  • Article: Brian Edward Jarvis (The University of Texas at El Paso) Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony in Barton Fink
  • Article: Megan Lavengood (George Mason University) and Evan Williams (Digital Science) The Common Cold: Using Computational Musicology to Define the Winter Topic in Video Game Music
  • Article: Floris Schuiling (Utrecht University) Talking Scores and the Dismediation of Music Notation
  • Article: James Sullivan (Michigan State University) Extending the Parallel Multiple-Analysis Processor: Perceived Meter in Post-Tonal Music
  • Article: Xieyi (Abby) Zhang (Georgia State University) Between Half and Perfect Cadences: The Modulating Antecedent in Dvořák’s Parallel Periods
  • Review: David Heetderks (University of North Texas) Review of David Temperley, The Musical Language of Rock (Oxford University Press: 2018)
  • Review: John Link (William Paterson University) Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)

Volume 28, Number 4, December 2022

  • Article: Michèle Duguay (Indiana University) Analyzing Vocal Placement in Recorded Virtual Space
  • Article: David Geary (Wake Forest University) Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach
  • Article: Elizabeth Hellmuth Margulis and Natalie Miller (Princeton University) Intersubjectivity and Shared Dynamic Structure in Narrative Imaginings to Music
  • Article: Michael Masci (SUNY Geneseo) Reconstructing the Paris Conservatory’s Cours d’Harmonie 1812–1844: Discipline, Sources, Theory, and Method
  • Article: Samuel Ng (University of Cincinnati) Musical Eschatology in Contemporary Christian Worship Songs
  • Article: Drew Nobile (University of Oregon) Alanis Morissette’s Voices
  • Article: Peter Schubert (McGill University) Willaert’s Elusive Counterpoint Explained
  • Article: Joseph N. Straus (Graduate Center, CUNY) The Melodic Organization of The Rite of Spring
  • Review: Noah Kahrs (Eastman School of Music) Review of Amy Cimini, Wild Sound: Maryanne Amacher and the Tenses of Audible Life (Oxford University Press, 2022)
  • Review: David Temperley (Eastman School of Music) Review of Matthew Santa, Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Music (Routledge, 2020)

Volume 28, Number 3, September 2022

  • Article: Vilde Aaslid (University of Rhode Island) Sociable Musicopoetics in Vijay Iyer and Mike Ladd’s In What Language
  • Article: Jack Boss (University of Oregon) George Walker’s Piano Music: Traditional Forms in Tonal, Serial and Atonal Styles
  • Article: Samuel Gardner (Oberlin College) and Nicholas J. Shea (Arizona State University) Gestural Perspectives on Popular-Music Performance
  • Article: Andrew Goldman (Indiana University) Returning to the Continuum: On the Value of Typological Distinctions in the Analysis of Improvisation
  • Article: Megan Kaes Long (Oberlin College) Reassessing the Plagal Cadence in Byrd and Morley
  • Article: Stephen McAdams (McGill University) and Meghan Goodchild (Queen's University) A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception
  • Article: Mark Micchelli (University of Pittsburgh) Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music
  • Article: Drew F. Nobile (University of Oregon) Teleology in Verse–Prechorus–Chorus Form, 1965–2020
  • Article: William O’Hara (Gettysburg College) The Techne of YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers

Volume 28, Number 2, June 2022

  • Article: Andrew Aziz (San Diego State University) Billy Joel’s Enharmonic Duplicity
  • Article: José L. Besada (Complutense University of Madrid) Xenakis’ Sieve Theory: A Remnant of Serial Music?
  • Article: David Hier (University of Texas at Austin) Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel
  • Article: Kyle Hutchinson and Matthew Poon (University of Toronto) Cadential Melodies: Form-Functional Taxonomy and the Role of the Upper Voice
  • Article: Ji Yeon Lee (University of Houston) Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre
  • Article: S. Alexander Reed (Ithaca College) An Idiom of Melodic-Harmonic Divorce: Sub-Circle Motion in Popular Music
  • Article: Kristal Spreadborough (University of Melbourne) Emotional Tones and Emotional Texts: A New Approach to Analyzing the Voice in Popular Vocal Song
  • Article: Alex Stephenson (University of California San Diego) The Poetics and Politics of Ambiguity: Overtone Structures and Equal Temperament in Works by Julian Anderson and Rand Steiger
  • Article: Cara Stroud (Michigan State University) Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015
  • Article: Zachary Wallmark (University of Oregon) Analyzing Vocables in Rap: A Case Study of Megan Thee Stallion
  • Review: David Keep (Hope College) Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)
  • Essay: Robin Attas (University of Manitoba) The Many Paths of Decolonization: Exploring Colonizing and Decolonizing Analyses of a Tribe Called Red’s “How I Feel”

Volume 28, Number 1, March 2022

  • Article: Bruno Alcalde (University of South Carolina) Mixture Strategies: An Analytical Framework for Musical Hybridity
  • Article: Zachary Cairns (University of Missouri - St. Louis) Switching the Backbeat: The Quick Flip and Polymetric Pogo in 1980s-era Rock Music
  • Article: Calder Hannan (Columbia University) Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”
  • Article: Justin London (Carleton College) A Bevy of Biases: How Music Theory’s Methodological Problems Hinder Diversity, Equity, and Inclusion
  • Article: Alexander Martin (Stetson University) Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder
  • Article: Scott Murphy (University of Kansas) Three Audiovisual Correspondences in the Main Title for Vertigo
  • Article: Jay Rahn (York University) Was Mesopotamian Tuning Diatonic? A Parsimonious Answer
  • Article: Sam Reenan (Miami University) Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet
  • Article: Matthew Zeller (McGill University) Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10
  • Review: Alyssa Barna (University of Minnesota) Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)
  • Report: Ben Duinker (University of Toronto) Conference report: “Dialogues: Analysis and Performance”

Volume 27, Number 4, December 2021

  • Article: David S. Carter (Loyola Marymount University) Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971
  • Article: Aaron Carter-Ényì (Morehouse College) and Gilad Rabinovitch (Florida State University) Onset and Contiguity: Melodic Feature Reduction and Pattern Discovery
  • Article: Diego Cubero (University of North Texas) Romantic Periods
  • Article: Trevor de Clercq (Middle Tennessee State University) The Logic of Six-Based Minor for Harmonic Analyses of Popular Music
  • Article: Ben Duinker (University of Toronto) Rebonds: Structural Affordances, Negotiation, and Creation
  • Article: Jocelyn Ho (University of California, Los Angeles) Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II
  • Article: Ana Llorens (Universidad Complutense de Madrid) Brahmsian Articulation: Ambiguous and Unfixed Structures in Op. 38
  • Article: Olivia R. Lucas (Louisiana State University) Performing Analysis, Performing Metal: Meshuggah, Edvard Hansson, and the Analytical Light Show
  • Article: Peter Schubert (McGill University) Sometimes the Music Wins: Text and Music in a Willaert Madrigal
  • Review: Gregory Barnett (Rice University) Review of Megan Kaes Long, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century (Oxford University Press, 2020)
  • Review: Peter Smucker (Stetson University) Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020)

Volume 27, Number 3, September 2021

  • Article: Matt Chiu (Eastman School of Music) Macroharmonic Progressions through the Discrete Fourier Transform: An Analysis from Maurice Duruflé’s Requiem
  • Article: Caitlin G. Martinkus (Virginia Tech) Schubert’s Large-Scale Sentences: Exploring the Function of Repetition in Schubert’s First-Movement Sonata Forms
  • Article: Loretta Terrigno (The Juilliard School) Emergent Modality: Minor-to-Major Progressions as “Tragic-to-Transcendent” Narratives in Brahms’s Solo Songs
  • Article: Benjamin R. Levy (University of California Santa Barbara) and Laura Emmery (Emory University) Archival Research in Music: New Materials, Methods, and Arguments
  • Article: Richard Beaudoin (Dartmouth College) The Pen as Camera: Finnissy and Overexposure
  • Article: Jeffrey Perry (Louisiana State University) Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches
  • Article: Benjamin R. Levy (University of California Santa Barbara) Material Connections: Bruce Goff, Music, and Modernism Across the Arts
  • Article: Kevin C. Karnes (Emory University) Disco Culture and the Ritual Journey in the Soviet 1980s
  • Article: Patricia Hall (University of Michigan) Giving Voice to a Foxtrot from Auschwitz-Birkenau
  • Article: Landon Morrison (Harvard University) Encoding Post-Spectral Sound: Kaija Saariaho’s Early Electronic Music at IRCAM, 1982–87
  • Article: Laura Emmery (Emory University) Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2
  • Review: Jonathan De Souza (Western University) Review of John Paul Ito, Focal Impulse Theory: Musical Expression, Meter, and the Body (Indiana University Press, 2020)

Volume 27, Number 2, June 2021

  • Article: Gary S. Karpinski (The University of Massachusetts Amherst) A Cognitive Basis for Choosing a Solmization System
  • Article: Timothy Chenette (Utah State University) What Are the Truly Aural Skills?
  • Article: Sarah Gates (Northwestern University) Developing Musical Imagery: Contributions from Pedagogy and Cognitive Science
  • Article: Elizabeth West Marvin (Eastman School of Music) Rethinking Aural Skills Instruction through Cognitive Research: A Response
  • Article: Scott C. Schumann (Central Michigan University) Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan
  • Article: Antares Boyle (Portland State University) Flexible Ostinati, Groove, and Formal Process in Craig Taborn’s Avenging Angel
  • Article: Jeremy W. Smith (University of Louisville) The Functions of Continuous Processes in Contemporary Electronic Dance Music
  • Article: Abigail Shupe (Colorado State University) War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”
  • Article: James Donaldson (McGill University) Melody on the Threshold in Spectral Music
  • Article: Joshua W. Hahn (Richmond, VA) Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music
  • Article: Mariusz Kozak (Columbia University) Anne Teresa De Keersmaeker’s Violin Phase and the Experience of Time, or Why Does Process Music Work?
  • Review: Michèle Duguay (The Graduate Center, City University of New York) Review of Malawey, Victoria, A Blaze of Light in Every Word: Analyzing the Popular Singing Voice (Oxford University Press, 2020)
  • Review: Stephen M. Kovaciny (Madison, WI) Music Theory’s Visceral Turn: A Review of Roger Matthew Grant, Peculiar Attunements: How Affect Theory Turned Musical (New York: Fordham University Press, 2020)

Volume 27, Number 1, March 2021

  • Article: Richard Beaudoin (Dartmouth College) Gould’s Creaking Chair, Schoenberg’s Metric Clarity
  • Article: Jennifer P. Beavers (University of Texas at San Antonio) Ravel’s Sound: Timbre and Orchestration in His Late Works
  • Article: Jose M. Garza Jr. (Texas State University) Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music
  • Article: Orit Hilewicz (Eastman School of Music) Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis of Begleitungsmusik zu einer Lichtspielscene (1929–1930)
  • Article: Stephen S. Hudson (University of Richmond) Compound AABA Form and Style Distinction in Heavy Metal
  • Article: Edwin K. C. Li (Harvard University) Cantopop and Speech-Melody Complex
  • Article: Anabel Maler and Robert Komaniecki (University of Iowa) Rhythmic Techniques in Deaf Hip Hop
  • Article: Keith Salley (Shenandoah University) Late Night Thoughts on Listening to Schoenberg’s Klavierstück, op. 33a
  • Review: Antares Boyle (Portland State University) and Rebecca Leydon (Oberlin College and Conservatory) Review of The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings (Oxford University Press, 2019)
  • Review: Orit Hilewicz (Eastman School of Music) Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019)

Volume 26, Number 4, December 2020

  • Article: Jonathan De Souza (Western University) Instrumental Transformations in Heinrich Biber’s Mystery Sonatas
  • Article: Karen Desmond (Brandeis University) and Emily Hopkins (McGill University) Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350
  • Article: Kyle Fyr (Mahidol University) Mapping Ravel’s “La vallée des cloches”
  • Article: Toru Momii (Columbia University) A Transformational Approach to Gesture in Shō Performance
  • Article: Joon Park (University of Arkansas) Analyzing Schoenberg’s War Compositions as Satire and Sincerity: A Comparative Analysis of Ode to Napoleon Buonaparte and A Survivor from Warsaw
  • Article: Stephanie Probst (University of Cologne) Pen, Paper, Steel: Visualizing Bach’s Polyphony at the Bauhaus
  • Article: John S. Reef (Nazareth College) A “Proto-Theme” in Some of J. S. Bach’s Fugal Works
  • Article: Nicholas Stoia (Duke University) Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll
  • Article: Christian Utz and Thomas Glaser (University of Music and Performing Arts Graz) Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists
  • Review: Robin Attas (Queen's University) Review of Dylan Robinson, Hungry Listening: Resonant Theory for Indigenous Sound Studies (University of Minnesota Press, 2020)
  • Review: Leah Frederick (Oberlin College and Conservatory) Review of Jason Yust, Organized Time: Rhythm, Tonality, and Form (Oxford University Press, 2018)
  • Review: Marc Hannaford (University of Michigan) Review of Leslie A. Tilley, Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond (The University of Chicago Press, 2019)

Volume 26, Number 3, September 2020

  • Article: Drake Andersen (Vassar College) (Per)forming Open Form: A Case Study with Earle Brown’s Novara
  • Article: Yosef Goldenberg (Jerusalem Academy of Music and Dance) Continuous Question-Answer Pairs
  • Article: Megan L. Lavengood (George Mason University) The Cultural Significance of Timbre Analysis: A Case Study in 1980s Pop Music, Texture, and Narrative
  • Article: Rachel Lumsden (Florida State University) Music Theory for the “Weaker Sex”: Oliveria Prescott’s Columns for The Girl’s Own Paper
  • Article: Sarah Marlowe (Eastman School of Music) Resolving Tensions between Outer Form and Inner Form in Fugue: A Comparative Analysis of J. S. Bach’s Fugue in D minor (WTC I)
  • Article: Brian A. Miller (Yale University) “All of the Rules of Jazz”: Stylistic Models and Algorithmic Creativity in Human-Computer Improvisation
  • Article: Derek Remeš (Lucerne University of Applied Sciences and Arts) Harmonizing Chorales Systematically: A Translation of G. H. Stölzel’s Kurzer und gründlicher Unterricht (Brief and Thorough Instruction), ms. c.1719–1749
  • Article: Stephen Rodgers and Tyler Osborne (University of Oregon) Prolongational Closure in the Lieder of Fanny Hensel
  • Article: Jennifer Bain (Dalhousie University) Introduction: The Music of Chen Yi
  • Article: Chen Yi (University of Missouri-Kansas City) Compositional Process and Technique in Happy Rain on a Spring Night (2004)
  • Article: Nancy Yunhwa Rao (Rutgers, the State University of New Jersey) The Concept of Shi: Chinese Aesthetics and Happy Rain on a Spring Night (2004)
  • Article: John Roeder (University of British Columbia) Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999)
  • Article: Marianne Kielian-Gilbert (Indiana University) Experiencing Chen Yi’s Music: Local and Cosmopolitan Reciprocities in Ning for Pipa, Violin and Cello (2002)
  • Review: Ben Baker (Eastman School of Music) Review of Keith Waters, Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea (Oxford University Press, 2019)
  • Review: Matthew Mendez (Yale University) Review of Jennifer Iverson, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde (Oxford University Press, 2019)

Volume 26, Number 2, June 2020

  • Article: Kyle Adams (Indiana University) Harmonic, Syntactic, and Motivic Parameters of Phrase in Hip-Hop
  • Article: Gurminder K. Bhogal (Wellesley College) Orchestral Tissue, Subordinate Arabesques, and Turning Inward in Maurice Ravel’s Boléro
  • Article: Ragnhild Brøvig-Hanssen and Bjørnar E. Sandvik (University of Oslo) Dynamic Range Processing and Its Influence on Perceived Timing in Electronic Dance Music
  • Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Music Theory and the White Racial Frame
  • Article: Jonathan Guez (The College of Wooster) Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert
  • Article: Kyle Hutchinson (University of Toronto) Retrospective Time and the Subdominant Past: Tonal Hermeneutics in Contemporary Broadway Megamusicals
  • Article: Noah Kahrs (Eastman School of Music) Consonance, Dissonance, and Formal Proportions in Two Works by Sofia Gubaidulina
  • Article: Ji Yeon Lee (University of Houston) Climax Building in Verismo Opera: Archetype and Variants
  • Article: Joshua Banks Mailman (Columbia University) Portmantonality and Babbitt’s Poetics of Double Entendre
  • Article: Judith Ofcarcik (Fort Hays State University) Multi-Strand Musical Narratives: An Introduction
  • Article: Gilad Rabinovitch (Florida State University) Reimagining Historical Improvisation: An Analysis of Robert Levin’s Fantasy on Themes by W. A. Mozart, October 29, 2012
  • Article: Brent Yorgason and Jeff Lyon (Brigham Young University) Fanfare as Fulcrum: A Pivotal Event in Max Steiner’s Theme for Warner Brothers

Volume 26, Number 1, March 2020

  • Article: Oliver Chandler (Anglia Ruskin University) “Octatonic” Voice Leading and Diatonic Function in the Allegro molto from Elgar’s String Quartet in E minor, op. 83
  • Article: Martin Clayton (Durham University) Theory and Practice of Long-form Non-isochronous Meters: The Case of the North Indian rūpak tāl
  • Article: David Heetderks (University of North Texas) What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period
  • Article: Cora S. Palfy (Elon University) Formal Reminiscence Space and Memory in Sufjan Stevens’s Storytelling
  • Article: Derek Remeš (Lucerne University of Applied Sciences and Arts) Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade
  • Review: Dmitri Tymoczko (Princeton University) Review-Essay on Fred Lerdahl’s Composition and Cognition (University of California Press, 2019)
  • Report: Fred Everett Maus (University of Virginia) LGBTQ+ Lives in Professional Music Theory

Volume 25, Number 4, December 2019

  • Article: Jennifer P. Beavers (The University of Texas at San Antonio) Beyond Mere Novelty: Timbre as Primary Structural Marker in Ravel’s Piano Concerto in G Major
  • Article: Barbara Bleij (Conservatorium van Amsterdam) Three Multifaceted Compositions by Wayne Shorter: “E.S.P.,” “Infant Eyes,” and “Virgo”
  • Article: Ben Duinker (McGill University) Plateau Loops and Hybrid Tonics in Recent Pop Music
  • Article: Philip Ewell (Hunter College and CUNY Graduate Center) On the Russian Concept of Lād, 1830–1945
  • Article: Patrice Nicolas (Université de Moncton) Challenging Some Misconceptions about the Règle de l’octave
  • Review: Judy Lochhead (Stony Brook University) Review-Essay on Suzannah Clark and Alexander Rehding, eds., Music in Time: Phenomenology, Perception, Performance (Harvard University Press, 2016)
  • Report: Timothy Koozin (University of Houston) Conference Report: “Come Together: Fifty Years of Abbey Road”

Volume 25, Number 3, September 2019

  • Article: Andrew Conklin (University of the Pacific) Writing Wrong Notes: Chromatic Clashes in the Music of Tune-Yards
  • Article: Elizabeth Medina-Gray (Ithaca College) Analyzing Modular Smoothness in Video Game Music
  • Article: Garrett Michaelsen (University of Massachusetts Lowell) Making “Anti-Music”: Divergent Interactional Strategies in the Miles Davis Quintet’s The Complete Live at the Plugged Nickel 1965
  • Review: John Turci-Escobar (The University of Texas at Austin) Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016)
  • Essay: Nathan John Martin (University of Michigan) History for Theorists

Volume 25, Number 2, July 2019

  • Article: Sean Atkinson (Texas Christian University) Soaring Through the Sky: Topics and Tropes in Video Game Music
  • Article: Chelsea Burns (University of Texas at Austin) “Together Again,” but We Keep On Crying: Buck Owens, Tom Brumley, and the Pedal Steel Guitar, 1964
  • Article: Richard Plotkin (University at Buffalo) Chord Proximity, Parsimony, and Analysis with Filtered Point-Symmetry
  • Article: Sean R. Smither (Rutgers University) Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz
  • Article: David Temperley (Eastman School of Music) Uniform Information Density in Music
  • Article: John W. Turner (High Point University) Performing Cultural Hybridity in Isang Yun’s Glissées pour violoncelle seul (1970)
  • Review: Cara Stroud (Michigan State University) Review of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018)

Volume 25, Number 1, May 2019

  • Article: Valentina Bertolani (University of Calgary) Improvisatory Exercises as Analytical Tool: The Group Dynamics of the Gruppo di Improvvisazione Nuova Consonanza
  • Article: Andrew J. Chung (Yale University) What is Musical Meaning? Theorizing Music as Performative Utterance
  • Article: John Link (William Paterson University) Harmony in Elliott Carter’s Late Music
  • Article: C. Catherine Losada (University of Cincinnati) Middleground Structure in the Cadenza to Boulez’s Éclat
  • Article: David M. Pearson (Lehman College) Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music
  • Article: Laurence Sinclair Willis (McGill University) Comprehensibility and Ben Johnston’s String Quartet No. 9
  • Essay: Philip A. Ewell (Hunter College and CUNY Graduate Center) Introduction to the Symposium on Kendrick Lamar’s To Pimp a Butterfly
  • Essay: Robin Attas (Queen’s University) Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s To Pimp A Butterfly
  • Essay: Noriko Manabe (Temple University) We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem
  • Essay: Mitchell M. Ohriner (University of Denver) Lyric, Rhythm, and Non-alignment in the Second Verse of Kendrick Lamar’s “Momma”
  • Essay: John J Mattessich (Indiana University) This Flow Ain’t Free: Generative Elements in Kendrick Lamar’s To Pimp a Butterfly
  • Essay: James Bungert (Rocky Mountain College) “I got a bone to pick”: Formal Ambivalence and Double Consciousness in Kendrick Lamar’s “King Kunta”

Volume 24, Number 4, December 2018

  • Article: Clément Canonne (Centre National de la Recherche Scientifique) Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work
  • Article: Denis B. Collins (The University of Queensland) Horizontal-Shifting Counterpoint and Parallel-Section Constructions in Contrapuncti 8 and 11 from J. S. Bach’s Art of Fugue
  • Article: Edward Klorman (McGill University) Koch, Carpani, and Momigny: Theorists of Agency in the Classical String Quartet?
  • Article: Crystal A. Peebles (Ithaca College) Editorial Markings as Analysis in Bach’s Partita No. 1 for Solo Violin, “Corrente”
  • Article: Paul Sherrill (University of Utah) Susanna’s “Deh vieni”
  • Article: Caitlyn Trevor and David Huron (The Ohio State University) Animated Performance: ‘Better’ Music Means Larger Motions
  • Article: Allison Wente (Elon University) Queue the Roll: Taylorized Labor Practices and Music of the Machine Age
  • Review: Aleksandra Drozzina (Louisiana State University) Review of Gavin Dixon, ed., Schnittke Studies (Routledge, 2017)
  • Essay: Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) European Perspectives on Recent Tonal Theories, their Models, and Analytical Tools
  • Essay: Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) Conditional Asymmetry and Spontaneous Asymmetry of Harmonic Progressions: The Changing Status of the Directional Tendency of Root Progressions in Madrigal Cycles from Verdelot to Monteverdi (c. 1530–1638)
  • Essay: Karst de Jong (Royal Conservatoire Den Haag and Escola Superior de Música de Catalunya) and Thomas Noll (Escola Superior de Música de Catalunya) Fundamental Bass and Real Bass in Dialogue: Tonal Aspects of the Structural Modes
  • Essay: Nicolas Meeùs (Institut de Recherche en Musicologie) Harmonic Vectors and the Constraints of Tonality
  • Essay: Ariane Jeßulat (Universität der Künste Berlin) Parsimonious Voice Leading and the Stimmführungsmodelle
  • Essay: Hugues Seress (Institut de Recherche en Musicologie) Polarization, Modal Orientation, and Voice Leading: Interaction between Hierarchical Levels of Tonal Structure in Dohnányi’s op. 26
  • Essay: Jan Philipp Sprick (Hochschule für Musik und Theater Hamburg) Sequences: Between Affirmation and Destruction of Tonality
  • Essay: Michael Polth (Institut für Musikforschung Mannheim) The Individual Tone and Musical Context in Albert Simon’s Tonfeldtheorie

Volume 24, Number 3, September 2018

  • Article: Joshua D. Albrecht (The University of Mary Hardin-Baylor) Expressive Meaning and the Empirical Analysis of Musical Gesture: The Progressive Exposure Method and the Second Movement of Beethoven’s Pathétique Sonata
  • Article: Brian C. Black (The University of Lethbridge) Schubert’s Development of Harmonic Motives in his Early String Quartets
  • Article: Orit Hilewicz (Eastman School of Music) Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee
  • Article: Olivia R. Lucas (Victoria University of Wellington) “So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen
  • Article: Jason D. K. Noble (McGill University) What Can the Temporal Structure of Auditory Perception Tell Us about Musical “Timelessness”?
  • Review: Craig Comen (University of Virginia) Review of Daniel Chua, Beethoven & Freedom (Oxford University Press, 2017), and Naomi Waltham-Smith, Music and Belonging Between Revolution and Restoration (Oxford University Press, 2017)
  • Review: Benjamin K. Wadsworth (Kennesaw State University) Review of David Damschroder, Tonal Analysis: A Schenkerian Perspective (W.W. Norton, 2017)
  • Essay: Eugene Montague (The George Washington University) Introduction: Agency and Musical Performance
  • Essay: Tami Gadir (University of Oslo) Understanding Agency from the Decks to the Dance Floor
  • Essay: Rolfe Inge Godøy (University of Oslo) Motor Constraints Shaping Musical Experience
  • Essay: Roger C. Graybill (New England Conservatory) Facilitative Agency in Performance
  • Essay: Edward Klorman (McGill University) Performers as Creative Agents; or, Musicians Just Want To Have Fun
  • Essay: Lawrence M. Zbikowski (University of Chicago) Performing Agency: A Response
  • Report: Daphne Leong (University of Colorado Boulder) SMT’s Interest Groups: A Synopsis
  • Report: Grant Sawatzky (University of British Columbia) Fifth Conference on Analytical Approaches to World Music, and Eighth Folk Music International Workshop

Volume 24, Number 2, June 2018

  • Article: Joseph R. Jakubowski (Washington University in St. Louis) Spectral Meter: Dramatizing Entrainment and Communicating Form in Gérard Grisey’s Vortex Temporum I (1994–96)
  • Article: Kendra Preston Leonard (Humble, TX) Musical Mimesis in Orphans of the Storm
  • Article: Henry Martin (Rutgers University-Newark) Four Studies of Charlie Parker's Compositional Processes
  • Article: Christopher Wm. White (University of Massachusetts, Amherst) Feedback and Feedforward Models of Musical Key
  • Article: Inessa Bazayev (Louisiana State University) Introduction: Prokofiev at 125
  • Article: Inessa Bazayev (Louisiana State University) An Octatonic History of Prokofiev’s Compositional Oeuvre
  • Article: Deborah Rifkin (Ithaca College) Visualizing Peter: The First Animated Adaptations of Prokofiev’s Peter and the Wolf
  • Article: Christopher Segall (University of Cincinnati) Prokofiev’s Symphony no. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords
  • Review: Nancy Murphy (University of Houston) Review of The Cambridge Companion to the Singer-Songwriter, ed. Katherine Williams and Justin A. Williams (Cambridge University Press, 2016)

Volume 24, Number 1, March 2018

  • Article: Inessa Bazayev (Louisiana State University) Scriabin’s Atonal Problem
  • Article: Christine Boone (University of North Carolina Asheville) Gendered Power Relationships in Mashups
  • Article: Nathan Pell (The Graduate Center, City University of New York) Key Profiles in Bruckner’s Symphonic Expositions: “Ein Potpourri von Exaltationen”?
  • Article: Peter N. Schubert (McGill University) Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet
  • Article: Gretchen Horlacher (Indiana University) Stepping Out: Hearing Balanchine
  • Article: Steven Rings (University of Chicago) Music’s Stubborn Enchantments (and Music Theory’s)
  • Article: Michael Tenzer (University of British Columbia) Chasing the Phantom: Features of a Supracultural New Music
  • Review: Michael Baker (University of Kentucky) Review of Eric Wen, Structurally Sound: Seven Musical Masterworks Deconstructed (Dover Publications, 2017)
  • Review: Trevor de Clercq (Middle Tennessee State University) Review of Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (University of Michigan Press, 2017)
  • Review: Don Traut (University of Arizona) Review of Severine Neff, Maureen Carr, and Gretchen Horlacher, eds., with John Reef, The Rite of Spring at 100 (Indiana University Press, 2017)

Volume 23, Number 4, December 2017

  • Article: Drake Andersen (The Graduate Center, CUNY) “What can they have to do with one another?”: Approaches to Analysis and Performance in John Cage’s Four2
  • Article: Ellen Bakulina (University of North Texas) Canons as Hypermetrical Transitions in Mozart
  • Article: Ben Duinker (McGill University) and Hubert Léveillé Gauvin (The Ohio State University) Changing Content in Flagship Music Theory Journals, 1979–2014
  • Article: Dorottya Fabian (University of New South Wales Australia) Analyzing Difference in Recordings of Bach’s Violin Solos with a Lead from Gilles Deleuze
  • Article: Matthew E. Ferrandino (University of Kansas) Voice Leading and Text-Music Relations in David Bowie’s Early Songs
  • Article: David L. Forrest (Texas Tech University) PL Voice Leading and the Uncanny in Pop Music
  • Article: Thomas Johnson (The Graduate Center, CUNY) Tonality as Topic: Opening A World of Analysis for Early Twentieth-Century Modernist Music
  • Article: Robert Komaniecki (Indiana University) Analyzing Collaborative Flow in Rap Music
  • Article: Robert L. Wells (University of Mary Washington) A Generalized Intervallic Approach to Metric Conflict in Liszt
  • Review: Wesley J. Bradford (University of Louisiana at Lafayette) Review of Yayoi Uno Everett, Reconfiguring Myth and Narrative in Contemporary Opera
  • Review: Laura Emmery (Emory University) Review of Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 (Oxford University Press, 2016)
  • Review: Christoph Neidhöfer (McGill University) Review of Theodor W. Adorno, Kranichsteiner Vorlesungen, edited by Klaus Reichert and Michael Schwarz (Suhrkamp, 2014)
  • Review: Gilad Rabinovitch (Georgia State University) Review of Massimiliano Guido, ed., Studies in Historical Improvisation from Cantare super Librum to Partimenti (Ashgate, 2017)

Volume 23, Number 3, September 2017

  • Article: Damian J. Blättler (Rice University) A Voicing-Based Model for Additive Harmony
  • Article: James Bungert (Rocky Mountain College) A Tale of Three Schenkers: Analysis, Piano Pedagogy, and Performance of the Chopin Berceuse op. 57
  • Article: David Clarke (University of Newcastle upon Tyne) North Indian Classical Music and Lerdahl and Jackendoff’s Generative Theory – a Mutual Regard
  • Article: Trevor de Clercq (Middle Tennessee State University) Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991
  • Article: Michael J. Puri (University of Virginia) Ravel’s Valses nobles et sentimentales and its Models
  • Article: Mark Richards (Florida State University) Tonal Ambiguity in Popular Music’s Axis Progressions
  • Review: Jonathan Guez (The College of Wooster) Review of Lorraine Byrne Bodley and Julian Horton, eds. Rethinking Schubert (Oxford University Press, 2016)
  • Review: Brian D. Hoffman (Cincinnati, OH) Review of John Franceschina, Music Theory through Musical Theatre (Oxford University Press, 2015)
  • Review: Samantha M. Inman (Stephen F. Austin State University) Review of Justin Merritt and David Castro, Comprehensive Aural Skills: A Flexible Approach to Rhythm, Melody, and Harmony (Routledge, 2016) and Diane J. Urista, The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach (Oxford, 2016)
  • Review: Jonathan T. King (University of North Carolina - Asheville) Review of Diane Pecknold and Kristine M. McCusker, eds., Country Boys and Redneck Women: New Essays in Gender and Country Music (University Press of Mississippi, 2016)
  • Review: Daphne Leong (University of Colorado Boulder) Review of Jeffrey Swinkin, Performative Analysis: Reimagining Music Theory for Performance (University of Rochester Press, 2016)
  • Review: Jason Yust (Boston University) Review of Emmanuel Amiot, Music through Fourier Space: Discrete Fourier Transform in Music Theory (Springer, 2016)
  • Report: Jeffrey Perry (Louisiana State University) Conference Report: EuroMAC 9

Volume 23, Number 2, June 2017

  • Article: Matthew L. Boyle (Indiana University) Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics: Context, Translation, Commentary
  • Article: Mark Spicer (City University of New York) Fragile, Emergent, and Absent Tonics in Pop and Rock Songs
  • Article: Anna Zayaruznaya (Yale University) Intelligibility Redux: Motets and the Modern Medieval Sound
  • Article: Vivian Luong (University of Michigan) Rethinking Music Loving
  • Article: Marc Lafrance (Concordia University) and Lori Burns (University of Ottowa) Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna
  • Article: Maeve Sterbenz (Columbia University) Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video
  • Article: Marc E. Hannaford (Columbia University) Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers
  • Article: Rachel L. Lumsden (Florida State University) “You Too Can Compose”: Ruth Crawford’s Mentoring of Vivian Fine
  • Review: Brett Clement (Ball State University) Review of Brad Osborn, Everything in its Right Place: Analyzing Radiohead (Oxford University Press, 2016)
  • Review: Roger Graybill (New England Conservatory) Review of Edward Klorman, Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge University Press, 2016)
  • Report: Nicole Biamonte (McGill University) Conference Report: “A Summit of Creativity: A Celebration of the Fiftieth Anniversary of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band”
  • Report: Gregory R. McCandless (Appalachian State University) Conference Report: “Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century”

Volume 23, Number 1, March 2017

  • Article: Robert C. Cook (University of Iowa) Nature’s Voice in Crumb’s An Idyll for the Misbegotten
  • Article: Diego Cubero (University of North Texas) Inwardness and Inner Melodies in Brahms’s Piano Works
  • Article: Michael McClimon (Furman University) Transformations in Tonal Jazz: ii–V Space
  • Article: James K. Palmer (University of British Columbia) Humorous Script Oppositions in Classical Instrumental Music
  • Article: Julie Pedneault-Deslauriers (University of Ottawa) The French Path: Early Major-Minor Theory from Jean Rousseau to Saint-Lambert
  • Article: Chris Stover (The New School) Time, Territorialization, and Improvisational Spaces
  • Article: David Temperley (Eastman School of Music) and Iris Ren (Utrecht University) Mediant Mixture and “Blue Notes” in Rock: An Exploratory Study
  • Review: Stephen Blum (CUNY Graduate Center) Review of Kofi Agawu, The African Imagination in Music (Oxford University Press, 2016)
  • Review: Daniel Villegas Vélez (Rutgers University) Review of Lawrence Kramer, The Thought of Music (University of California Press, 2016)

Volume 22, Number 4, December 2016

  • Article: Garreth P. Broesche (University of Houston) Glenn Gould, Spliced: Investigating the Filmmaking Analogy
  • Article: Andrew J. Goldman (Columbia University) Improvisation as a Way of Knowing
  • Article: Mark R. H. Gotham (University of Cambridge) and Iain A. D. Gunn (Bangor University) Pitch Properties of the Pedal Harp, with an Interactive Guide
  • Article: Alexander Rehding (Harvard University) Instruments of Music Theory
  • Article: Margaret E. Thomas (Connecticut College) Text and Temporality: Toward an Understanding of Rhythmic Irregularities in the Music of Tom Waits
  • Review: Rowland Moseley (New York, NY) Review of Roger Mathew Grant, Beating Time & Measuring Music in the Early Modern Era (Oxford University Press, 2014)
  • Review: Boyd Pomeroy (University of Arizona) Review of Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, eds. Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (University of Rochester Press, 2015)
  • Review: Chris Stover (The New School) Review of Judy Lochhead, Reconceiving Structure in Contemporary Music (Routledge, 2015)

Volume 22, Number 3, September 2016

  • Article: Kyle Adams (Indiana University) Playing with Beats and Playing with Cats: Meow the Jewels, Remixes, and Reinterpretations
  • Article: Janet Bourne (Bates College) Perceiving Irony in Music: The Problem in Beethoven’s String Quartets
  • Article: Trevor de Clercq (Middle Tennessee State University) Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music
  • Article: Peter Kaminsky (University of Connecticut–Storrs) Listening to Performers’ Writings and Recordings: An Analysis of Debussy’s “Colloque sentimental”
  • Article: Lasse Laursen (The Royal Academy of Music, Aarhus) Orchestration Strategies in Simon Steen-Andersen’s Double Up
  • Article: Scott Murphy (University of Kansas) Cohn’s Platonic Model and the Regular Irregularities of Recent Popular Multimedia
  • Article: Benjamin Givan (Skidmore College) Rethinking Interaction in Jazz Improvisation
  • Article: Paul Steinbeck (Washington University in St. Louis) Talking Back: Performer-Audience Interaction in Roscoe Mitchell’s “Nonaah”
  • Article: René Rusch (University of Michigan) and Keith Salley (Shenandoah University) Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins
  • Review: Mary I. Arlin (Ithaca College) Review of L. Poundie Burstein and Joseph N. Straus, Concise Introduction to Tonal Harmony (W. W. Norton, 2016)
  • Review: Denise Von Glahn (Florida State University) Review of Matthew McDonald, Breaking Time’s Arrow: Experiment and Expression in the Music of Charles Ives (Indiana University Press, 2014)

Volume 22, Number 2, June 2016

  • Article: Richard Cohn (Yale University) A Platonic Model of Funky Rhythms
  • Article: Scott J. Hanenberg (University of Toronto) Rock Modulation and Narrative
  • Article: Samuel Reenan (Eastman School of Music) and Richard Bass (University of Connecticut) Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music
  • Review: Justin Lavacek (University of North Texas) Review of Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge University Press, 2015)
  • Review: Megan Kaes Long (Oberlin College Conservatory of Music) Review of Ruth I. DeFord, Tactus, Mensuration, and Rhythm in Renaissance Music (Cambridge University Press, 2015)
  • Review: L. Poundie Burstein (Hunter College and the Graduate Center of the City University of New York) Review of Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory, ed. Joseph N. Straus (Oxford University Press, 2016)
  • Review: David Temperley (Eastman School of Music) Review of Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory, ed. Joseph N. Straus (Oxford University Press, 2016)
  • Essay: Daniel Barolsky (Beloit College) and Edward Klorman (Queens College and Graduate Center, CUNY; and The Juilliard School) Performance and Analysis Today: New Horizons
  • Essay: Benjamin Binder (Duquesne University) Art and Science, Beauty and Truth, Performance and Analysis?
  • Essay: Daphne Leong (University of Colorado Boulder) Analysis and Performance, or wissen, können, kennen
  • Essay: Peter Martens (Texas Tech University) Ways of Knowing the Body, Bodily Ways of Knowing
  • Essay: Fabio Morabito (King’s College London) The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis?
  • Essay: John Rink (University of Cambridge) Response  
  • Essay: Janet Schmalfeldt (Tufts University) Response  

Volume 22, Number 1, March 2016

  • Article: Aaron Carter-Ényì (Ohio State University) Contour Recursion and Auto-Segmentation
  • Article: Kate Heidemann (Colby College) A System for Describing Vocal Timbre in Popular Song
  • Article: Mark Richards (Florida State University) Film Music Themes: Analysis and Corpus Study
  • Commentary: Jennifer Sterling Snodgrass (Appalachian State University) Integration, Diversity, and Creativity: Reflections on the “Manifesto” from the College Music Society
  • Review: Robin Attas (Elon University) Review of Ron Moy, Authorship Roles in Popular Music: Issues and Debates (Routledge, 2015)
  • Review: Trevor de Clercq (Middle Tennessee State University) Review of Ralf von Appen, André Doehring, Dietrich Helms, and Allan Moore, eds. Song Interpretation in 21st-Century Pop Music (Ashgate, 2015)
  • Review: Patrick McCreless (Yale University) Review of Thomas Christensen, The Work of Music Theory (Ashgate, 2014)

Volume 21, Number 4, December 2015

  • Article: Andrew I. Aziz (Florida State University) The Evolution of Chopin’s Sonata Forms: Excavating the Second Theme Group
  • Article: Laurel Parsons (North Vancouver, BC) Dyslexia and Post-Secondary Aural Skills Instruction
  • Article: Keith Salley (Shenandoah Conservatory) On Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg
  • Article: Michael Schachter (University of Michigan) Structural Levels in South Indian Music
  • Article: Jason Yust (Boston University) Voice-Leading Transformation and Generative Theories of Tonal Structure
  • Review: Joe Argentino (Memorial University of Newfoundland) Review of Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge University Press, 2014)
  • Review: William M. Marvin (Eastman School of Music) Review of Markus Neuwirth and Pieter Bergé, eds., What Is A Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire (Leuven University Press, 2015)
  • Review: Jan Miyake (Oberlin College and Conservatory) Review of Ian Bent, David Bretherton, and William Drabkin, eds. Heinrich Schenker: Selected Correspondence (Boydell Press, 2014)
  • Review: JW Turner (High Point University) Review of Markand Thakar, Looking for the “Harp” Quartet: An Investigation into Musical Beauty (University of Rochester Press, 2011)
  • Report: Joseph Kraus (Florida State University) Report on the Second Congress of the Russian Society for the Theory of Music

Volume 21, Number 3, September 2015

  • Article: Emmanuel Amiot (Perpignan University) and Gilles Baroin (Université de Toulouse, France) Old and New Isometries between Pc sets in the Planet-4D Model
  • Article: Jack F. Boss (University of Oregon) “Away with Motivic Working?” Not So Fast: Motivic Processes in Schoenberg’s op. 11, no. 3
  • Article: Vasili Byros (Northwestern University) Prelude on a Partimento: Invention in the Compositional Pedagogy of the German States in the Time of J. S. Bach
  • Article: Michael Callahan (Michigan State University) Teaching and Learning Undergraduate Music Theory at the Keyboard: Challenges, Solutions, and Impacts
  • Article: Lydia Goehr (Columbia University) Does it Matter Where We Begin? Or, On the Art of Preparation and Preluding
  • Article: Alan Howard (University of Cambridge) Compositional Strategies in Purcell’s Second Three-Part Fantazia
  • Article: Mariusz Kozak (Columbia University) Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models
  • Article: Stefan Caris Love (University of Massachusetts Amherst) Historical Hypermetrical Hearing: Cycles and Schemas in the String-Quartet Minuet
  • Article: Andrew Pau (Oberlin Conservatory of Music) “Sous le rythme de la chanson”: Rhythm, Text, and Diegetic Performance in Nineteenth-Century French Opera
  • Article: Gilad Rabinovitch (Georgia State University) and Johnandrew Slominski (Eastman School of Music) Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation
  • Article: Hamish J. Robb (Victoria University of Wellington) Imagined, Supplemental Sound in Nineteenth-Century Piano Music: Towards a Fuller Understanding of Musical Embodiment
  • Review: Timothy K. Chenette (Utah State University) Review of Ronald Woodley (director), Johannes Tinctoris: Complete Theoretical Works (http://earlymusictheory.org/Tinctoris/)
  • Review: Akane Mori (University of Hartford) Review of Maureen Carr, After the Rite: Stravinsky’s Path to Neoclassicism (1914–25) (Oxford, 2014)
  • Review: Daphne Tan (Indiana University) Review of Eric Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (Oxford University Press, 2005; paperback, 2011)

Volume 21, Number 2, June 2015

  • Article: Richard Burke (submitted by L. Poundie Burstein) (Hunter College and the Graduate Center, CUNY) “That Awkward Scale”: Verdi, Puccini, and the Scala enigmatica
  • Article: Gilad Cohen (Ramapo College of New Jersey) Expansive Form in Pink Floyd’s “Dogs”
  • Article: Robert Gjerdingen and Janet Bourne (Northwestern University) Schema Theory as a Construction Grammar
  • Article: Mark Gotham (University of Cambridge) Meter Metrics: Characterizing Relationships Among (Mixed) Metrical Structures
  • Article: David J. Heetderks (Oberlin Conservatory) Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock
  • Article: Wing Lau (University of Oregon) Composing Declamation: Notated Meter Changes in Brahms’s Lieder
  • Article: Timothy R. Mastic (University of Oregon) Normative Wit: Haydn’s Recomposed Recapitulations
  • Review: Daniel K. L. Chua (University of Hong Kong) Review of Mark Evan Bonds, Absolute Music: The History of an Idea (Oxford, 2014)
  • Review: John Covach (University of Rochester) Review of Robert Freeman, The Crisis of Classical Music in America: Lessons from the Life in the Education of Musicians (Rowman & Littlefield, 2014)
  • Review: Robert S. Hatten (University of Texas at Austin) Review of Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford University Press, 2014).

Volume 21, Number 1, March 2015

  • Article: Brett G. Clement (Ball State University) Scale Systems and Large-Scale Form in the Music of Yes
  • Article: Philip Duker (University of Delaware) and Anna Gawboy (Ohio State University) Hacking the Music Theory Classroom: Standards-Based Grading, Just-in-Time Teaching, and the Inverted Class
  • Article: David B. Easley (Oklahoma City University) Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83)
  • Article: Katelyn Horn and David Huron (Ohio State University) On the Changing Use of the Major and Minor Modes 1750–1900
  • Article: Matthew T. Hough (Wagner College) Elements of Style in Three Demo Recordings by Stevie Nicks
  • Article: Bruce W. Quaglia (University of Utah) Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum
  • Article: Jessica E. Stankis (Allan Hancock College) Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme
  • Review: Hali A. Fieldman (University of Missouri-Kansas City) Review of Evan Jones, Matthew Shaftel, and Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2014)
  • Review: Landon Morrison (McGill University) Review of Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice (Oxford, 2014)
  • Review: Keith Salley (Shenandoah Conservatory) Review of Joe Mulholland and Tom Hojnacki, The Berklee Book of Jazz Harmony (Berklee Press, 2013) and Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014)

Volume 20, Number 4, December 2014

  • Article: Matthew L. BaileyShea (Eastman School of Music) From Me To You: Dynamic Discourse in Popular Music
  • Article: Blair Johnston (Indiana University) Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works
  • Article: Beate Kutschke (University of Leipzig) Music and Other Sign Systems
  • Article: Victoria Malawey (Macalester College) Strophic Modification in Songs by Amy Beach
  • Article: Robert S. Hatten (University of Texas at Austin) Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze
  • Article: David Kopp (Boston University) On Performing Chopin’s Barcarolle
  • Article: Harald Krebs (University of Victoria) Treading Robert Schumann’s New Path: Understanding Declamation in the Late Lieder through Analysis and Recomposition
  • Review: Joshua Albrecht (University of Mary Hardin-Baylor) Review of Elizabeth Margulis, On Repeat: How Music Plays the Mind (Oxford, 2013)
  • Review: Dave Headlam (Eastman School of Music) Review of Bryan R. Simms, ed., Pro Mundo, Pro Domo: The Writings of Alban Berg (Oxford, 2014)
  • Review: Joseph Kraus (Florida State University) Review of David Beach, Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form (Routledge, 2012), and accompanying Teacher’s Manual (PDF format)

Volume 20, Number 3, September 2014

  • Article: Mattias Lundberg (Uppsala University) “To Let it Be Without Pretense”: Canon, Fugue, and Imitation in Progressive Rock 1968–1979
  • Article: Adriana Ponce (Illinois Wesleyan University) Form, Diversity, and Lack of Fulfillment in the First Movement of Schumann’s Fantasie op. 17
  • Article: Jordan B. L. Smith (Queen Mary University of London) and Isaac Schankler (University of Southern California) Listening as a Creative Act: Meaningful Differences in Structural Annotations of Improvised Performances
  • Review: Henry Hope (Madgalen College) Review of Virtual Library of Musicology (ViFaMusik), (http://www.vifamusik.de)
  • Review: René Rusch (McGill University) Review of Lauri Suurpää, Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle (Indiana University Press, 2014)
  • Review: Anna Stephan-Robinson (West Liberty University) Review of Leigh Van Handel, Music Theory Skill Builder (Oxford University Press, 2013)
  • Review: Lauri Suurpää (Sibelius Academy) Review of Heather Platt and Peter H. Smith, eds., Expressive Intersections in Brahms: Essays in Analysis and Meaning (Indiana University Press, 2012)
  • Essay: Inessa Bazayev (Louisiana State University) and Ellon D. Carpenter (Arizona State University) Introduction: Russian Theoretical Thought Rediscovered and Reevaluated
  • Essay: Ellen Bakulina (City University of New York) The Concept of Mutability in Russian Theory
  • Essay: Inessa Bazayev (Louisiana State University) The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory
  • Essay: Zachary A. Cairns (University of Missouri - St. Louis) A Glimpse at Iuriĭ Kholopov’s Garmonicheskiĭ analiz
  • Essay: Philip A. Ewell (Hunter College) The Parameter Complex in the Music of Sofia Gubaidulina
  • Essay: Christopher Segall (University of Cincinnati) Sergei Taneev’s Vertical-Shifting Counterpoint: An Introduction
  • Essay: Daniil Zavlunov (Stetson University) The “tselostnyĭ analiz” (holistic analysis) of Zuckerman and Mazel

Volume 20, Number 2, June 2014

  • Article: Nicole Biamonte (McGill University) Formal Functions of Metric Dissonance in Rock Music
  • Article: Bryan Christian (Duke University) Combination-Tone Class Sets and Redefining the Role of les Couleurs in Claude Vivier’s Bouchara
  • Article: Massimiliano Guido and Peter Schubert (McGill University) Unpacking the Box in Frescobaldi’s Ricercari of 1615
  • Article: Dora A. Hanninen (University of Maryland) Asking Questions / Making Music: Listening, Analysis, and Cage
  • Article: Joseph N. Straus (Graduate Center, City University of New York) Total Voice Leading
  • Article: Michael K. Trinastic (Durham, NC) Dissonant Harmony and “Seed-Tones”: Organicism in the Piano Music of Dane Rudhyar
  • Article: Jonathan Wild (McGill University) Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory
  • Review: David Heetderks (Oberlin Conservatory) Review of S. Alexander Reed, Assimilate: A Critical History of Industrial Music (Oxford University Press, 2013)
  • Report: Edward Klorman (Queens College, CUNY) “Musical Form: Mapping the Territories”: A Conference Report

Volume 20, Number 1, March 2014

  • Article: Rainer Polak (Cologne University of Music and Dance) and Justin London (Carleton College) Timing and Meter in Mande Drumming from Mali
  • Article: Robert Willey (Ball State University) Introduction to the MTO Nancarrow Symposium
  • Article: Helena Bugallo (Basel, Switzerland) Harmonic and Non-Harmonic Temporal Structures in Nancarrow’s Study No. 47 for Player Piano
  • Article: Clifton Callender (Florida State University) Performing the Irrational: Paul Usher’s Arrangement of Nancarrow’s Study No. 33, Canon 2: \(\sqrt{2}\)
  • Article: Dominic Murcott (Trinity Laban Conservatoire of Music and Dance) Tomorrow’s Music On Yesterday’s Machines: In Search of an ‘Authentic’ Nancarrow Performance
  • Article: Julie A. Nemire (Western Michigan University) Convergence Points in Conlon Nancarrow’s Tempo Canons
  • Article: Margaret E. Thomas (Connecticut College) Conlon Nancarrow, “Hot” Jazz, and the Principle of Collective Improvisation
  • Article: Robert Willey (Ball State University) The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers
  • Article: Kyle Gann (Bard College) Outside the Feedback Loop: A Nancarrow Keynote Address
  • Article: Lee Rothfarb (University of California, Santa Barbara) Early History
  • Article: Eric J. Isaacson (Indiana University) MTO at the Leading Edge
  • Article: Timothy Koozin (University of Houston) Evolving Content and Design
  • Article: Matthew Shaftel (Florida State University) Demographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory
  • Article: Kris P. Shaffer (University of Colorado-Boulder) A Proposal for Open Peer Review
  • Review: Andrew Aziz (Brown University) Review of William Caplin, Analyzing Classical Form: An Approach for the Classroom (Oxford University Press, 2013)
  • Review: Stephen C. Brown (Northern Arizona University) Review of Paolo Susanni and Elliott Antokoletz, Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles (Routledge, 2012)
  • Review: Robert Willey (Ball State University) Review of Jürgen Hocker; Steven Lindberg trans., Encounters With Conlon Nancarrow (Lexington Books, 2012)

Volume 19, Number 4, December 2013

  • Article: Gregory J. Decker (Bowling Green State University) Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’s Rodelinda
  • Article: Frank Lehman (Tufts University) Hollywood Cadences: Music and the Structure of Cinematic Expectation
  • Article: Steven Rings (University of Chicago) A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009
  • Article: René Rusch (McGill University) Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”: The Role of Jazz Improvisation in the Transformation of an Intertext
  • Review: Zachary Bernstein (City University of New York, Graduate Center) Review of Dora Hanninen, A Theory of Music Analysis: On Segmentation and Associative Organization (University of Rochester Press, 2012)
  • Review: Christopher Endrinal (Florida Gulf Coast University) Review of Allan Moore, Song Means: Analyzing and Interpreting Recorded Popular Song (Ashgate, 2012)
  • Review: Mary Wennerstrom (Indiana University) Review of Matthew Bribitzer-Stull, Anthology for Analysis and Performance (Oxford University Press, 2014)
  • Report: Philip A. Ewell (Hunter College and CUNY Graduate Center) Conference Report: Inaugural Meeting of the Russian Society for Music Theory (OTM)

Volume 19, Number 3, September 2013

  • Article: Christine Boone (Indiana State University) Mashing: Toward a Typology of Recycled Music
  • Article: Michael R. Callahan (Michigan State University) Sentential Lyric-Types in the Great American Songbook
  • Article: Murray Dineen (University of Ottawa) Species Counterpoint with a Moveable Tenor (SCAMET): Comparing Species Counterpoint and Polyphonic Music Without a Cantus Firmus
  • Article: Cristle Collins Judd (Bowdoin College) “To Discourse Learnedly” and “Compose Beautifully”: Thoughts on Gioseffo Zarlino, Theory, and Practice
  • Article: Drew F. Nobile (The University of Chicago) Interval Permutations
  • Article: Bryan J. Parkhurst (University of Michigan) Fraught with Ought: An Outline of an Expressivist Meta‐Theory
  • Review: Matt BaileyShea (University of Rochester) Review of Michael L. Klein and Nicholas Reyland, eds., Music and Narrative since 1900 (Indiana University Press, 2013) and Peter Kivy, Antithetical Arts: On the Ancient Quarrel between Literature and Music (Clarendon Press, 2009)
  • Review: Christopher Brody (Indiana University) Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012)
  • Review: Suzannah Clark (Harvard University) Review of Susan Wollenberg, Schubert’s Fingerprints: Studies in the Instrumental Works (Ashgate, 2011)
  • Review: Dmitri Tymoczko (Princeton University) Review of Michael Cuthbert, Music21: a Toolkit for Computer-aided Musicology (http://web.mit.edu/music21/)
  • Essay: John Covach (University of Rochester) To MOOC or Not To MOOC?

Volume 19, Number 2, June 2013

  • Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) “On the System of Stravinsky’s Harmony” by Yuri Kholopov: Translation and Commentary
  • Article: Gregory R. McCandless (Full Sail University) Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater
  • Review: Mark Gotham (University of Cambridge) Review of Godfried Toussaint, The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? (CRC Press, 2013)
  • Review: J. Daniel Jenkins (University of South Carolina) Review of Guy Capuzzo, Elliott Carter’s What Next?: Communication, Cooperation, and Separation (University of Rochester Press, 2012)
  • Review: Rebecca Leydon (Oberlin Conservatory) Review of Matthew Brown, Debussy Redux: The Impact of his Music on Popular Culture (Indiana University Press, 2012)
  • Essay: August Sheehy (University of Chicago) and Paul Steinbeck (Washington University in St. Louis) Introduction: Theorizing Improvisation (Musically)
  • Essay: Julie E. Cumming (McGill University) Renaissance Improvisation and Musicology
  • Essay: Roger Moseley (Cornell University) Entextualization and the Improvised Past
  • Essay: Bruno Nettl (University of Illinois at Urbana‐Champaign) Contemplating the Concept of Improvisation and Its History in Scholarship
  • Essay: Laudan Nooshin (City University London) Beyond the Radif: New Forms of Improvisational Practice in Iranian Music
  • Essay: August Sheehy (University of Chicago) Improvisation, Analysis, and Listening Otherwise
  • Essay: Paul Steinbeck (Washington University in St. Louis) Improvisational Fictions
  • Essay: George E. Lewis (Columbia University) Critical Responses to “Theorizing Improvisation (Musically)”
  • Report: Daniel Barolsky (Beloit College) Conference Report: “Performance Studies Network Second International Conference”
  • Report: John Koslovsky (Conservatorium van Amsterdam / Utrecht University) Conference Report: “Fifth International Schenker Symposium”

Volume 19, Number 1, March 2013

  • Article: Joe R. Argentino (McMaster University) Tripartite Structures in Schoenberg’s A Survivor from Warsaw
  • Article: Jessie Fillerup (University of Richmond) Eternity in Each Moment: Temporal Strategies in Ravel’s “Le Gibet”
  • Article: Nathan D. Hesselink (University of British Columbia) Radiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation
  • Article: Anabel Maler (University of Chicago) Songs for Hands: Analyzing Interactions of Sign Language and Music
  • Article: René Rusch (McGill University) Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80
  • Article: Peter Schubert and Marcelle Lessoil-Daelman (McGill University) What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance
  • Review: Arnie Cox (Oberlin Conservatory of Music) Review of Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Indiana University Press, 2012)
  • Review: August Sheehy (University of Chicago) Review of Elliott Antokoletz and Marianne Wheeldon eds., Rethinking Debussy (Oxford University Press, 2011)
  • Review: Alan Theisen (Mars Hill College) Review of Brian Alegant, The Twelve-Tone Music of Luigi Dallapiccola (University of Rochester Press, 2010)

Volume 18, Number 4, December 2012

  • Article: Timothy K. Chenette (University of Massachusetts Amherst) Hearing Counterpoint Within Chromaticism: Analyzing Harmonic Relationships in Lassus’s Prophetiae Sibyllarum
  • Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Rethinking Octatonicism: Views from Stravinsky’s Homeland
  • Article: Yosef Goldenberg (The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance) The Interruption-Fill and Corollary Procedures
  • Article: Eugene Montague (The George Washington University) Instrumental Gesture in Chopin’s Étude in A-Flat Major, Op. 25, No. 1
  • Article: Rob Schultz (University of Massachusetts Amherst) Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith
  • Article: Joseph N. Straus (Graduate Center, City University of New York) Three Stravinsky Analyses: Petrushka, Scene 1 (to Rehearsal No. 8); The Rake’s Progress, Act III, Scene 3 (“In a foolish dream”); Requiem Canticles, “Exaudi”
  • Article: Benjamin K. Wadsworth (Kennesaw State University) Directional Tonality in Schumann’s Early Works
  • Review: Chelsea Burns (University of Chicago) Review of Michael Tenzer and John Roeder, eds., Analytical and Cross-Cultural Studies in World Music (Oxford University Press, 2011)
  • Review: Jonathan Kochavi (Swarthmore College) Review of Edward Gollin and Alexander Rehding eds., The Oxford Handbook of Neo-Riemannian Theories (Oxford University Press, 2011)
  • Review: David Thurmaier (Florida Gulf Coast University) Review of Vincent P. Benitez, The Words and Music of Paul McCartney: The Solo Years (Praeger, 2010); Ian Inglis, The Words and Music of George Harrison (Praeger, 2010); and Ben Urish and Ken Bielen, The Words and Music of John Lennon (Praeger, 2007)

Volume 18, Number 3, September 2012

Festschrift for Steve Larson

  • Article: Stephen Rodgers (University of Oregon) and Henry Martin (Rutgers University) Guest Editors’ Introduction: “The More Questions, The Better”
  • Article: Matthew L. BaileyShea (University of Rochester) Musical Forces and Interpretation: Some Thoughts on a Measure in Mahler
  • Article: Robert S. Hatten (University of Texas at Austin) Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model
  • Article: David J. Heyer (University of Oregon) Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach
  • Article: Stefan C. Love (University of Chicago) “Possible Paths”: Schemata of Phrasing and Melody in Charlie Parker’s Blues
  • Article: Henry Martin (Rutgers University-Newark) Charlie Parker and “Honeysuckle Rose”: Voice Leading, Formula, and Motive
  • Article: Mark McFarland (Georgia State University) Schenker and the Tonal Jazz Repertory: A Response to Martin
  • Article: Alison Hood (National University of Ireland Maynooth) Ambiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 22
  • Article: Gary S. Karpinski (University of Massachusetts Amherst) Ambiguity: Another Listen
  • Article: Keith Waters (University of Colorado Boulder) Other Good Bridges: Continuity and Debussy’s “Reflets dans l’eau”
  • Article: Steve Larson (University of Oregon) Expressive Meaning and Musical Structure, Chapter 1 of Schenkerian Analysis: Pattern, Form, and Expressive Meaning
  • Review: Vasili Byros (Northwestern University) Review of Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice (Oxford University Press, 2012)
  • Review: Kristina Muxfeldt (Indiana University) Review of Suzannah Clark, Analyzing Schubert (Cambridge University Press, 2011)
  • Review: Robert Peck (Louisiana State University) Review of Steven Rings, Tonality and Transformation (Oxford University Press, 2011)
  • Review: Jason Yust (Boston University) Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, 2012)

Volume 18, Number 2, June 2012

  • Article: David K. Blake (SUNY-Stony Brook) Timbre as Differentiation in Indie Music
  • Article: Anna M. Gawboy (Ohio State University) and Justin Townsend (Northeastern University) Scriabin and the Possible
  • Article: Blair Johnston (Indiana University) Between Romanticism and Modernism and Postmodernism: George Crumb’s Black Angels
  • Article: Rebecca Leydon (Oberlin College) Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime
  • Review: Kyle Fyr (University of Northern Colorado) Review of Timothy Johnson, John Adams’s “Nixon in China”: Musical Analysis, Historical and Political Perspectives (Ashgate, 2011)
  • Review: Dave Headlam (Eastman School of Music) Review of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011)
  • Review: Mariusz Kozak (University of Chicago) Review of Evan Jones ed., Intimate Voices: The Twentieth Century String Quartet (Rochester University Press, 2009)
  • Review: Gordon Sly (Michigan State University) Review of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010)
  • Report: Heather Platt (Ball State University) “Brahms in the New Century”: A Conference Report

Volume 18, Number 1, April 2012

Analyzing Performance

  • Article: Nicholas Cook (University of Cambridge) Introduction: Refocusing Theory
  • Article: Daniel Barolsky (Beloit College) and Peter Martens (Texas Tech University) Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I)
  • Article: Alan Dodson (University of British Columbia) Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’s Kreisleriana, Op. 16, No. 2
  • Article: Daniel Leech-Wilkinson (King's College London) Compositions, Scores, Performances, Meanings
  • Article: Peter Martens (Texas Tech University) Tactus in Performance: Constraints and Possibilities
  • Article: Mitchell S. Ohriner (Shenandoah University) Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin’s Mazurkas
  • Article: Michael Schutz and Fiona Manning (McMaster University) Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures
  • Review: Gregory J. Decker (Bowling Green State University) Review of Andrew Davis, “Il Trittico,” “Turandot,” and Puccini’s Late Style (Indiana University Press, 2010)
  • Review: Clare Sher Ling Eng (Belmont University) Review of Peter Kaminsky ed., Unmasking Ravel: New Perspectives on the Music (University of Rochester Press, 2011)
  • Review: Andrew D. Robbie (Harvard University) Review of Brian Hulse and Nick Nesbitt eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Ashgate, 2010)
  • Review: Chris Stover (The New School for Jazz and Contemporary Music) Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 1965–68 (Oxford University Press, 2011)

Volume 17, Number 4, December 2011

  • Article: Julian Hook (Indiana University) How to Perform Impossible Rhythms
  • Article: Mark Sallmen (University of Toronto) Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation
  • Article: David Temperley (Eastman School of Music) Scalar Shift in Popular Music
  • Review: Michael Cherlin (University of Minnesota) Review of Sabine Feisst, Schoenberg’s New World: The American Years (Oxford University Press, 2011)
  • Review: Thomas Christensen (The University of Chicago) Review of Lee Rothfarb, August Halm: A Critical and Creative Life in Music (University of Rochester Press, 2009)
  • Review: Miguel J. Ramirez (Clarksville, TN) Review of Dermot Gault, The New Bruckner: Compositional Development and the Dynamics of Revision (Ashgate, 2011)
  • Review: Andrew Westerhaus (The University of Chicago) Review of Gretchen Horlacher, Building Blocks: Repetition and Continuity in the Music of Stravinsky (Oxford University Press, 2011)
  • Essay: Karen M. Bottge (University of Kentucky) Reading Adorno’s Reading of the Rachmaninov Prelude in C-sharp Minor: Metaphors of Destruction, Gestures of Power

Volume 17, Number 3, October 2011

Spcial Issue: (Per)Form in(g) Rock

  • Article: Nicole Biamonte (McGill University) Introduction
  • Article: Jay Summach (Yale University) The Structure, Function, and Genesis of the Prechorus
  • Article: Christopher Doll (Rutgers, The State University of New Jersey) Rockin’ Out: Expressive Modulation in Verse-Chorus Form
  • Article: Brad Osborn (DePauw University) Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres
  • Article: Timothy Koozin (University of Houston) Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach
  • Article: Christopher Endrinal (University of Massachusetts, Lowell) Burning Bridges: Defining the Interverse in the Music of U2
  • Article: Robin Attas (University of British Columbia) Sarah Setting the Terms: Defining Phrase in Popular Music
  • Article: Drew F. Nobile (CUNY Graduate Center) Form and Voice Leading in Early Beatles Songs
  • Article: Mark Spicer (Hunter College and the Graduate Center, CUNY) (Per)Form in(g) Rock: A Response
  • Review: Julian Hook (Indiana University) Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)
  • Review: Harald Krebs (University of Victoria) Review of Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (Oxford University Press, 2009)
  • Review: Seth Monahan (Eastman School of Music) Review of Janet Schmalfeldt: In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford University Press, 2011)
  • Review: Samuel Ng (College-Conservatory of Music, University of Cincinnati) Review of Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative (Ashgate, 2010)

Volume 17, Number 2, July 2011

  • Article: Arnie Cox (Oberlin Conservatory of Music) Embodying Music: Principles of the Mimetic Hypothesis
  • Article: David J. Heetderks (University of Michigan) A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City
  • Article: Jennifer Iverson (University of Iowa) Creating Space: Perception and Structure in Charles Ives’s Collages
  • Article: Steven Jan (University of Huddersfield) Music, Memory and Memes in the Light of Calvinian Neuroscience
  • Article: Stanley V. Kleppinger (University of Nebraska-Lincoln) Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
  • Review: Jeremy Grall (University of Alabama at Birmingham) Review of Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music (Oxford University Press, 2009)
  • Review: Justin London (Carleton College) Review of Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010)
  • Essay: Emily J. Adamowicz (University of Western Ontario) Subjectivity and Structure in Milton Babbitt’s Philomel
  • Essay: Zachary Bernstein (The Graduate Center, City University of New York) Duplicated Subdivisions in Babbitt’s It Takes Twelve to Tango
  • Essay: Daphne Leong (University of Colorado-Boulder) Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths
  • Essay: Ciro Scotto (University of South Florida) What Do I Hear Now, Groupwise?
  • Essay: Martin Kutnowski (St. Thomas University) How Register Tells the Story in Scriabin’s Op. 22, No. 2

Volume 17, Number 1, April 2011

  • Article: Sean Atkinson (University of Texas at Arlington) Canons, Augmentations, and Their Meaning in Two Works by Steve Reich
  • Article: David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya) Modes, the Height-Width Duality, and Handschin’s Tone Character
  • Article: Stacey Davis (University of Texas at San Antonio) Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bach’s Unaccompanied String Works
  • Article: Melissa E. Hoag (Oakland University) Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick” (op. 57, no. 4)
  • Article: Patrick McCreless (Yale University) Ownership, In Music and Music Theory
  • Article: Robert W. Peck (Louisiana State University) A GAP Tutorial for Transformational Music Theory
  • Article: Stephen Rodgers (University of Oregon) Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel
  • Article: David Temperley (Eastman School of Music) The Cadential IV in Rock
  • Commentary: Michael Fitzpatrick (University of Western Ontario) Models and Music Theory: Reconsidering David Lewin’s Graph of the 3-2 Cohn Cycle
  • Review: Mark Carlson (University of California, Los Angeles) Review of Alexandra Pierce, Deepening Musical Performance through Movement (Indiana University Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Kent D. Cleland and Mary Dobrea-Grindahl, Developing Musicianship Through Aural Skills: A Holistic Approach to Sight-Singing and Ear-Training (Routledge, 2010)

Volume 16, Number 4, December 2010

Rhythm: Africa and Beyond

  • Article: James Burns (Binghamton University) Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora
  • Article: Matthew W. Butterfield (Franklin & Marshall College) Variant Timekeeping Patterns and Their Effects in Jazz Drumming
  • Article: David Locke (Tufts University) Yewevu in the Metric Matrix
  • Article: Rainer Polak (Bayreuth, Germany) Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision in Jembe Music from Mali
  • Article: Martin Scherzinger (New York University) Temporal Geometries of an African Music: A Preliminary Sketch
  • Commentary: Kofi Agawu (Princeton University) Commentary  
  • Commentary: Cynthia Tse Kimberlin (Music Research Institute) Commentary  
  • Commentary: Justin London (Carleton College) Commentary  
  • Commentary: Michael Tenzer (University of British Columbia) Africa Stand Up!—and Be Counted Among Others
  • Commentary: Michael Vercelli (West Virginia University) and Janet Sturman (University of Arizona) Commentary on "Rhythm: Africa and Beyond"
  • Review: Rebecca Jemian (Ithaca College) Review of Harald Krebs and Sharon Krebs, Josephine Lang: Her Life and Songs (Oxford University Press, 2007)
  • Review: Matthew S. Royal (Brock University) Review of Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 1653–1705 (Ashgate Press, 2008)

Volume 16, Number 3, August 2010

  • Article: J. Daniel Jenkins (University of South Carolina) After the Harvest: Carter’s Fifth String Quartet and the Late Late Style
  • Article: Nicholas Stoia (Boston, MA) Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–1945
  • Article: Daniel K. S. Walden (Oberlin College and Conservatory) Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn’s Schilflied and Hindemith’s Ludus Tonalis
  • Article: Keith J. Waters (University of Colorado at Boulder) and J. Kent Williams (University of North Carolina at Greensboro) Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-Dimensional Pitch Spaces; or Jazz Harmony after 1960
  • Review: Stephen Rodgers (University of Oregon) Review of Matthew Santa, Hearing Form: Musical Analysis With and Without the Score (Routledge, 2010)
  • Review: Elise O. Takehana (University of Florida) Review of Nicola Dibben, Björk (Indiana University Press, 2009)

Volume 16, Number 2, May 2010

Form as Process

  • Article: Brenda Ravenscroft (Queen's University) Chair’s Introduction to “Form as Process: Celebrating the Work of Janet Schmalfeldt”
  • Article: Carissa Reddick (University of Northern Colorado) Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century
  • Article: Janet Schmalfeldt (Tufts University) Response to Carissa Reddick
  • Article: Mike Cheng-Yu Lee (Cornell University) A Response to Schmalfeldt’s “Form as Process of Becoming”: Once More on the Performance and Analysis of Schubert’s Sonata in A minor, Op. 42
  • Article: Janet Schmalfeldt (Tufts University) Response to Mike Cheng-Yu Lee
  • Article: William E. Caplin (Schulich School of Music, McGill University) Beethoven’s “Tempest” Exposition: A Response to Janet Schmalfeldt
  • Article: James Hepokoski (Yale University) Formal Process, Sonata Theory, and the First Movement of Beethoven’s “Tempest” Sonata
  • Article: Janet Schmalfeldt (Tufts University) One More Time on Beethoven’s “Tempest,” From Analytic and Performance Perspectives: A Response to William E. Caplin and James Hepokoski
  • Review: David Casacuberta (Universitat Autònoma de Barcelona) Review of David Temperley, Music and Probability (MIT Press, 2007)
  • Review: David Damschroder (University of Minnesota) Review of Pieter Bergé ed., Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance (Peeters, 2009)

Volume 16, Number 1, March 2010

  • Article: Brent Auerbach (University of Massachusetts, Amherst) Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction
  • Article: Jill T. Brasky (University of South Florida) Extraordinary Function and the Half-Diminished Seventh in the Song of the Wood Dove
  • Article: Victoria Malawey (Kenyon College) Harmonic Stasis and Oscillation in Björk’s Medúlla
  • Article: Ed Martin (University of Wisconsin Oshkosh) Harmonic Progression in Magnus Lindberg’s Twine
  • Article: Susan McClary (University of California, Los Angeles) In Praise of Contingency: The Powers and Limits of Theory
  • Commentary: Dmitri Tymoczko (Princeton University) Geometrical Methods in Recent Music Theory
  • Review: Ken Stephenson (University of Oklahoma) Review of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway" (Ashgate, 2008)
  • Essay: Timothy Cutler (Cleveland Institute of Music) Cryptic Audiodiversity and the Dissonant Perfect Unison

Volume 15, Number 5, October 2009

  • Article: Kyle Adams (Indiana University) On the Metrical Techniques of Flow in Rap Music
  • Article: Michael Berry (Texas Tech University) The Importance of Bodily Gesture in Sofia Gubaidulina’s Music for Low Strings
  • Article: Tuire Kuusi (Sibelius Academy) Discrimination and Evaluation of Trichords
  • Article: Joti Rockwell (Pomona College) Birdcage Flights: A Perspective on Inter-Cardinality Voice Leading
  • Review: Daniel Shanahan (Trinity College Dublin) Review of Aniruddh D. Patel, Music, Language, and the Brain (Oxford University Press, 2008)
  • Essay: Donald G. Traut (University of Arizona) Dyadic TC Lattices: Revisiting the TC/IS Relationship

Volume 15, Numbers 3 and 4, August 2009

  • Review: Eleanor Aversa (University of Pennsylvania) Review of David Huron, Sweet Anticipation (MIT Press Books, 2006): Implications for Composers
  • Essay: Joseph Straus (Graduate Center, CUNY) Introduction  
  • Essay: Paul Attinello (Newcastle University) Time, Work, and Chronic Illness
  • Essay: Samantha Bassler (Open University, UK) “But You Don’t Look Sick”: A Survey of Scholars with Chronic, Invisible Illnesses and their Advice on How to Live and Work in Academia
  • Essay: James Deaville (Carleton University) More Than the Blues: Clinical Depression, Invisible Disabilities and Academe
  • Essay: Timothy L. Jackson (University of North Texas) Escaping from a Black Hole: Facing Depression in Academia
  • Essay: Allen Gimbel (Lawrence University) Scholarship and Quadriplegia
  • Essay: Stefan Sunandan Honisch (University of British Columbia) “Re-narrating” Disability through Musical Performance
  • Essay: Jeff Gillespie (Butler University) Our Common Uniqueness
  • Essay: Ciro Scotto (Eastman School of Music) The Symbiosis of Disability
  • Essay: Jon Kochavi (Swarthmore College) How Do You Hear That? Autism, Blindness, and Teaching Music Theory
  • Essay: Shersten Johnson (University of St. Thomas) Notational Systems and Conceptualizing Music: A Case Study of Print and Braille Notation
  • Essay: Stephanie Jensen-Moulton (Brooklyn College) Music Fundamentals: Three Classes with Daniel Trush
  • Essay: David Pacun (Ithaca College) Reflections on and Some Recommendations for Visually Impaired Students
  • Essay: Janna Saslaw (Loyola University) “Teaching Blind”: Methods for Teaching Music Theory to Visually Impaired Students
  • Essay: Rebecca Morris (Unversity of Southern California) Universal Design and Adaptive Equipment: Ideas and Solutions for Music Schools

Volume 15, Number 2, June 2009

  • Article: Emmanuel Amiot (CPGE, Perpignan) Discrete Fourier Transform and Bach’s Good Temperament
  • Article: Stephen C. Brown (Northern Arizona University) Axis Tonality and Submediant in the Music of Shostakovich
  • Article: Joseph C. Kraus (Florida State University) Coaching Mozart’s String Quintet in E-flat major: Finding the Rhythmic Shape
  • Article: Frank Samarotto (Indiana University) “Plays of Opposing Motion”: Contra-Structural Melodic Impulses in Voice-leading Analysis
  • Commentary: Justin A. Williams (University of Nottingham) Beats and Flows: A Response to Kyle Adams, “Aspects of the Music/Text Relationship in Rap”
  • Commentary: Kyle Adams (Indiana University) “People’s Instinctive Assumptions and the Paths of Narrative”: A Response to Justin Williams
  • Review: Mark McFarland (Georgia State University) Review of Jeremy Day-O'Connell, Pentatonicism from the Eighteenth Century to Debussy (University of Rochester Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis (W.W. Norton, 2005)

Volume 15, Number 1, March 2009

Special Issue: Animating the “Inside”

  • Article: John Roeder (University of British Columbia) Introduction  
  • Article: Robin Attas (University of British Columbia) Metaphors in Motion: Agents and Representation in Transformational Analysis
  • Article: John Roeder (University of British Columbia) Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1–32
  • Article: Stephanie Lind (Queen's University) An Interactive Trichord Space Based on Measures 18–23 of Clermont Pépin’s Toccate no. 3
  • Article: Mustafa Bor (University of Alberta) Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6
  • Article: Stephanie Lind (Queen's University) and John Roeder (University of British Columbia) Transformational Distance and Form in Berg’s “Schlafend trägt man mich”
  • Article: Scott Alexander Cook (University of British Columbia) Moving Through Triadic Space: An Examination of Bryars’s Seemingly Haphazard Chord Progressions
  • Article: John Roeder (University of British Columbia) A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”
  • Review: Jack Boss (University of Oregon) Review of Michael Cherlin, Schoenberg’s Musical Imagination (Cambridge University Press, 2007)
  • Review: Don Traut (University of Arizona) Review of Henry Martin, Counterpoint: A Species Approach Based on Schenker’s “Counterpoint” (The Scarecrow Press, 2005)

Volume 14, Number 4, December 2008

  • Article: Lori Burns (University of Ottawa) and Marc Lafrance (Concordia University) Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Björk
  • Article: Nicolas Donin (IRCAM) and Jonathan Goldman (University of Victoria) Charting the Score in a Multimedia Context: the Case of Paradigmatic Analysis
  • Review: Bruce Quaglia (University of Utah) Review of Ethan Haimo, Schoenberg’s Transformation of Musical Language (Cambridge University Press, 2006)
  • Review: Elizabeth Lena Smith (Illinois State University) Review of Edward D. Latham, Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas (University of North Texas Press, 2008)

Volume 14, Number 3, September 2008

  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Maximally Alpha-Like Operations
  • Article: Vasileios Kallis (University of Nicosia, Cyprus) Principles of Pitch Organization in Scriabin’s Early Post-tonal Period: The Piano Miniatures
  • Commentary: Henry Martin (Rutgers University-Newark) and Cynthia Folio (Temple University) Report on the 2008 Mannes Institute for Advanced Studies in Music Theory: Jazz Meets Pop
  • Review: Brad Osborn (University of Washington) Review of Andrew Dell’ Antonio, ed., Beyond Structural Listening?: Postmodern Modes of Hearing (University of California Press, 2004)

Volume 14, Number 2, June 2008

  • Article: Nicholas Baragwanath (Royal Northern College of Music) Analytical Approaches to Melody in Selected Arias by Puccini
  • Article: Nicole Biamonte (University of Iowa) Augmented-Sixth Chords vs. Tritone Substitutes
  • Article: Kyle Adams (Indiana University) Aspects of the Music/Text Relationship in Rap
  • Commentary: Olli Väisälä (Sibelius Academy) Rhetoric and Justification in Analysis: A Commentary on Eric Wen’s Commentary
  • Review: David Nicholls (University of Southampton) Review of Pwll ap Siôn, The Music of Michael Nyman: Texts, Contexts and Intertexts (Ashgate, 2007)

Volume 14, Number 1, March 2008

  • Article: Golan Gur (Ludwig Maximilian University and Humboldt University) Body, Forces, and Paths: Metaphor and Embodiment in Jean-Philippe Rameau’s Conceptualization of Tonal Space
  • Article: Felix F. Diergarten (Musikhochschule Freiburg) “At times even Homer nods off”: Heinrich Christoph Koch’s Polemic against Joseph Haydn
  • Article: William Rothstein (Queens College and CUNY Graduate Center) Common-tone Tonality in Italian Romantic Opera: An Introduction
  • Commentary: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks One More Time: A Response to Eight Responses
  • Commentary: Roger Mathew Grant (University of Pennsylvania) Hysteria at the Musical Surface
  • Commentary: Eric Wen (Curtis Institute of Music) Commentary on Samuel Ng’s review of Peter H. Smith’s Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet
  • Review: David B. Easley (Florida State University) Review of Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music (Harvard University Press, 2003)
  • Review: David Nicholls (University of Southampton) Review of Ray Allen and Ellie M. Hisama eds., Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American Music (University of Rochester Press, 2007)
  • Review: Jonathan Pieslak (The City College of New York) Review of Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (Oxford University Press, 2003)

Volume 13, Number 4, December 2007

  • Article: Julian Hook (Indiana University) Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Francesco’s Dream: Musical Logic in Landini’s Three-Voice Ballate
  • Article: Peter A. Martens (Texas Tech University) Glenn Gould’s “Constant Rhythmic Reference Point”:
    Communicating Pulse in Bach’s Goldberg Variations, 1955 and 1981
  • Article: Jacob Reed and Matthew Bain (Ohio State University) A Tetrahelix Animates Bach: Revisualization of David Lewin’s Analysis of the Opening of the F# Minor Fugue from WTC I
  • Article: Matt L. BaileyShea (Eastman School of Music) Filleted Mignon: A New Recipe for Analysis and Recomposition
  • Article: Deborah Mawer (Lancaster University) Exploring Complementation in Bartók’s Third Quartet
  • Review: Samuel Ng (Louisiana State University) Review of Peter H. Smith, Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet (Indiana University Press, 2005)

Volume 13, Number 3, September 2007

  • Article: Fernando Benadon (American University) A Circular Plot for Rhythm Visualization and Analysis
  • Article: Scott Murphy (University of Kansas) Considering Network Recursion and Bartók’s “Fourths”
  • Article: Adam Ricci (University of North Carolina at Greensboro) The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3
  • Article: Mark Sallmen (University of Toronto) Listening to the Music Itself: Breaking Through the Shell of Elliott Carter’s “In Genesis”
  • Commentary: Matthew W. Butterfield (Franklin & Marshall College) Response to Fernando Benadon
  • Commentary: Gretchen Foley (University of Nebraska-Lincoln) The Efficacy of K-Nets in Perlean Theory
  • Commentary: Henry Klumpenhouwer (University of Alberta) Reconsidering Klumpenhouwer Networks: a Response
  • Commentary: Catherine Losada (University of Cincinnati College-Conservatory of Music) K-nets and Hierarchical Structural Recursion: Further Considerations
  • Commentary: Catherine Nolan (University of Western Ontario) Thoughts on Klumpenhouwer Networks and Mathematical Models: The Synergy of Sets and Graphs
  • Commentary: Shaugn O’Donnell (The City College and Graduate Center, CUNY) Embracing Relational Abundance
  • Commentary: Philip Stoecker (Oberlin College Conservatory) Without a Safety (k)-Net
  • Commentary: Dmitri Tymoczko (Princeton University) Recasting K-nets
  • Review: Jeff Perry (Louisiana State University) Review of Anthony K. Brandt, Sound Reasoning: A New Way to Listen (http://www.soundreasoning.org)

Volume 13, Number 2, June 2007

  • Article: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks
  • Article: Amanda Stringer Sauer (Florida State University) Cognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 101
  • Commentary: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) and Matthias Pasdzierny (Universität der Künste Berlin) Sprechstimme Reconsidered Once Again: ‘... though Mrs. Stiedry is never in pitch’
  • Review: Gabe Fankhauser and Jennifer Sterling Snodgrass (Appalachian State University) Review of Ralph Turek, Theory for Today's Musician (McGraw-Hill, 2007)
  • Review: Bruce Quaglia (University of Utah) Reviews of Neil Lerner and Joseph Straus eds., Sounding Off: Theorizing Disability in Music (Routledge, 2006) and Joseph Straus, “Normalizing the Abnormal: Disability in Music and Music Theory,” Journal of the American Musicological Society (59/1), 113-184

Volume 13, Number 1, March 2007

  • Article: Gregory J. Marion (University of Saskatchewan) Debussy and Recollection: trois aperçu
  • Article: Christoph Neidhöfer (McGill University) Bruno Maderna’s Serial Arrays
  • Article: Diane Urista (Oberlin College) Chopin’s Prelude in C Major Revisited: Integrating Sound and Symbol
  • Commentary: Jeff Perry (Louisiana State University) Music Theory as Conversation
  • Commentary: Fernando Benadon (American University) Commentary on Matthew W. Butterfield’s “The Power of Anacrusis”
  • Commentary: Daniel G Barolsky (Lawrence University) The Performer as Analyst
  • Review: Kimberly A. Francis (University of North Carolina at Chapel Hill) Review of Maureen Carr, Multiple Masks: Neoclassicism in Stravinsky’s Works on Greek Subjects (University of Nebraska Press, 2002)

Volume 12, Number 4, December 2006

  • Article: David Neumeyer (University of Texas at Austin) The Contredanse, Classical Finales, and Caplin’s Formal Functions
  • Article: Matthew W. Butterfield (Franklin & Marshall College) The Power of Anacrusis: Engendered Feeling in Groove-Based Musics
  • Article: Adrian P. Childs (University of Georgia) Structural and Transformational Properties of All-Interval Tetrachords

Volume 12, Number 3, October 2006

  • Article: Ross W. Duffin (Case Western University) Just Intonation in Renaissance Theory and Practice
  • Article: James William Sobaskie (Hofstra University) Contextual Drama in Bach
  • Commentary: Maureen A. Carr (The Pennsylvania State University) “Who’s on First?”: Response to David H. Smyth’s review of Stravinsky’s Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)
  • Review: Tim S. Pack (University of Oregon) Review of Michael Praetorius; Jeffery T. Kite-Powell trans. and ed., Syntagma musicum III (Oxford University Press, 2004)
  • Review: Melissa Ursula Dawn Goldsmith (Nicholls State University) Review of Tim J. Anderson, Making Easy Listening: Material Culture and Postwar American Recording (University of Minnesota Press, 2006)

Volume 12, Number 2, May 2006

  • Article: Yosef Goldenberg (Hebrew University of Jerusalem) A Musical Gesture of Growing Obstinacy
  • Article: Scott Murphy (University of Kansas) The Major Tritone Progression in Recent Hollywood Science Fiction Films
  • Article: Ronald Woodley (University of Central England, Birmingham Conservatoire) Sharp Practice in the Later Middle Ages: Exploring the Chromatic Semitone and its Implications
  • Review: David H. Smyth (Louisiana State University) Review of Maureen A. Carr ed., Stravinsky's Histoire du soldat: A Facsimile of the Sketches (A-R Editions, 2005)

Volume 12, Number 1, February 2006

  • Article: Eliot Ghofur Woodruff (University of Canterbury) Metrical Phase Shifts in Stravinsky’s The Rite of Spring
  • Article: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Serial Intervention in Nono’s Il canto sospeso
  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Pat Martino’s The Nature of the Guitar: An Intersection of Jazz Theory and Neo-Riemannian Theory
  • Review: Peter Schubert (McGill University) Review of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge University Press, 2002)

Volume 11, Number 4, October 2005

  • Article: Dmitri Tymoczko (Princeton University) Voice Leadings as Generalized Key Signatures
  • Article: Luis-Manuel Garcia (University of Chicago) On and On: Repetition as Process and Pleasure in Electronic Dance Music
  • Article: Allan F. Moore (University of Surrey) The Persona-Environment Relation in Recorded Song
  • Review: Mark Spicer (City University of New York) Review of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul (Oxford University Press, 2001)

Volume 11, Number 3, September 2005

  • Article: Thomas M. Fiore (University of Chicago) and Ramon Satyendra (University of Michigan) Generalized Contextual Groups
  • Article: Lori Burns (University of Ottawa) Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong
  • Article: Daphne Leong and David Korevaar (University of Colorado at Boulder) The Performer’s Voice: Performance and Analysis in Ravel’s Concerto pour la main gauche

Volume 11, Number 2, June 2005

  • Article: Art Samplaski, Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling
  • Article: Stefan Eckert (Northwestern University) “So, you want to write a Minuet?”—Historical Perspectives in Teaching Theory
  • Review: Daniel Harrison (Yale University) Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge University Press, 2003)
  • Review: Burdette Green (Ohio State University) Review of Rebecca Herissone, Music Theory in Seventeenth-Century England (Oxford University Press, 2000)

Volume 11, Number 1, March 2005

Special Issue on Performance and Analysis: Views from Theory, Musicology, and Performance

  • Article: Robert S. Hatten (Indiana University) Introduction (to the Special Issue on Performance and Analysis)
  • Article: Nicholas Cook (University of London) Prompting Performance: Text, Script, and Meaning in Bryn Harrison’s être-temps
  • Article: William Rothstein (CUNY Graduate Center) Like Falling off a Log: Rubato in Chopin’s Prelude in A-flat Major, Op. 28 No. 17
  • Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Virtuosity in Babbitt’s Lonely Flute
  • Article: Elizabeth McNutt (University of Colorado at Boulder) A Postscript on Process
  • Article: Janet Schmalfeldt (Tufts University) Response (to the Special Issue on Performance and Analysis)
  • Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Response to Janet Schmalfeldt’s Response
  • Review: Robert S. Hatten (Indiana University) Review of Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002)
  • Review: Peter Kaminsky (University of Connecticut) Review of Yrjö Heinonen et al., Beatlestudies 3: Proceedings of the BEATLES 2000 Conference (University of Jyväskylä Press, 2001)

Volume 10, Number 4, December 2004

  • Article: Robert Gauldin (Eastman School of Music) Keynote Address, Twenty-seventh Annual SMT Conference in Seattle, WA, “Tragic Love and Musical Memory”
  • Article: Walter T. Everett (University of Michigan) Making Sense of Rock’s Tonal Systems
  • Article: Yayoi Uno Everett (Emory University) Parody with an Ironic Edge: Dramatic Works by Kurt Weill, Peter Maxwell Davies, and Louis Andriessen
  • Commentary: Eric L. Wen (Curtis Institute of Music) More on Sharp 4̂ to Natural 4̂: Further thoughts on Frank Samarotto’s article “Sublimating Sharp 4̂: An Exercise in Schenkerian Energetics”
  • Review: Nicola Dibben (University of Sheffield) Review of Lawrence M. Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Oxford University Press, 2002)
  • Review: John L. Snyder (University of Houston) Review of Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge University Press, 2002)

Volume 10, Number 3, September 2004

  • Article: Frank Samarotto (Indiana University) Sublimating Sharp 4̂: An Exercise in Schenkerian Energetics
  • Article: Nick Collins (University of Cambridge) An Algorithm for the Direct Generation of Set Class Representatives in Any Pitch Class Space
  • Article: Clinton Callender (Florida State University) Continuous Transformations
  • Commentary: Roger Wibberley (Goldsmiths University of London) Models for Chord Doubling (and Spacing): Which Ones Don’t We Need?
  • Commentary: Paul T. von Hippel and Bret Aarden (Ohio State University) Rules for Chord Doubling (and Spacing): A Reply To Wibberley
  • Review: Damian Espinosa (University of Chicago) Review of Annette Richards, The Free Fantasia and the Musical Picturesque: New Perspectives in Music History and Criticism (Cambridge University Press, 2001)
  • Review: Edward D. Latham (Temple University) Binary Oppositions in Arnold Whittall, Exploring Twentieth-Century Music: Tradition and Innovation (Cambridge University Press, 2003) and Their Implications for Analysis

Volume 10, Number 2, June 2004

  • Article: Bret Aarden and Paul T. von Hippel (Ohio State University) Rules for Chord Doubling (and Spacing): Which Ones Do We Need?
  • Article: Lori Burns (University of Ottawa) and Alyssa Woods (University of Michigan) Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem
  • Article: Art Samplaski, Interval-Classes and Psychological Space
  • Review: Kenneth Gloag (Cardiff University) Review of David Clarke, The Music and Thought of Michael Tippett: Modern Times and Metaphysics (Cambridge University Press, 2001)
  • Review: Rob Haskins (University of New Hampshire) Review of David Nicholls ed., The Cambridge Companion to John Cage (Cambridge University Press, 2002)

Volume 10, Number 1, January 2004

  • Article: Janet Schmalfeldt (Tufts University) Keynote Address, Twenty-Sixth Annual SMT Conference: “Coming Home”
  • Article: Roger Wibberley (Goldsmiths University of London) Quid non ebrietas dissignat? Willaert’s didactic demonstration of Syntonic tuning
  • Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: A Sixteenth-Century Composer’s Soundscape
  • Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: Creating a Model for Accurate Electronic Playback
  • Review: Richard Bass (University of Connecticut) Review of David Kopp, Chromatic Transformations in Nineteenth-Century Music (Cambridge University Press, 2002)
  • Review: Michelle E. Hakanson (University of Oregon) Review of Carol J. Oja, Making Music Modern: New York in the 1920s (Oxford University Press, 2000)

Volume 9, Number 4, October 2003

  • Article: Richard Cohn (University of Chicago) A Tetrahedral Graph of Tetrachordal Voice-Leading Space
  • Article: Nancy Rogers and Michael Buchler (Florida State University) Square Dance Moves and Twelve-Tone Operators: Isomorphisms and New Transformational Models

Volume 9, Number 3, August 2003

  • Article: Robert W. Peck (Louisiana State University) Klein-Bottle Tonnetze
  • Article: Diane J. Urista (Oberlin College) Beyond Words: The Moving Body as a Tool for Musical Understanding
  • Article: Tuire Kuusi (Sibelius Academy) The Role of Set-Class Identity in the Estimation of Chords
  • Review: Robert W. Peck (Louisiana State University) Review of the 2003 American Mathematical Society Spring Southeastern Section Conference, Special Session on Mathematical Techniques in Musical Analysis

Volume 9, Number 2, July 2003

  • Article: Peter Silberman (University of Rochester) Post-Tonal Improvisation in the Aural Skills Classroom
  • Article: Alfred Cramer (Pomona College) The Harmonic Function of the Altered Octave in Early Atonal Music of Schoenberg and Webern: Demonstration Using Auditory Streaming
  • Review: Judy Lochhead (SUNY at Stony Brook) Review of Ellie M. Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge University Press, 2001)

Volume 9, Number 1, March 2003

Special Issue: The SMT Twenty-Fifth Anniversary Banquet Lectures

  • Article: Elizabeth Sayrs (University of Saskatchewan) Narrative, Metaphor, and Conceptual Blending in “The Hanging Tree”
  • Article: William Hussey (Roosevelt University) Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich
  • Article: Allen Forte (Yale University) The Founding of the Society for Music Theory
  • Article: Richmond Browne (Branford, CT) The Deep Background of our Society
  • Article: Mary Wennerstrom (Indiana University) SMT at 25: A View from the Balance Sheet
  • Commentary: Henkjan Honing (University of Amsterdam) Some Comments on the Relation Between Music and Motion
  • Review: Jeffrey Perry (Louisiana State University) Review of M. J. Grant, Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe (Cambridge University Press, 2001)

Volume 8, Number 4, December 2002

  • Article: Rebecca Leydon (Oberlin College) Towards a Typology of Minimalist Tropes
  • Article: Kevin Holm-Hudson (University of Kentucky) Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of “Superstar”
  • Review: Olli Väisälä (Sibelius Academy) Review of Timothy L. Jackson and Veijo Murtomäki eds. Sibelius Studies (Cambridge University Press, 2001)

Volume 8, Number 3, October 2002

  • Article: Murray Dineen (University of Ottawa) Figured Bass and Modulation: The Wiener-Tonschule of Joseph Preindl
  • Article: Ciro G. Scotto (Eastman School of Music) Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb
  • Review: Guy Capuzzo (Texas Tech University) Review of Robert D. Morris, Class Notes for Advanced Atonal Music Theory (Frog Peak Music, 2001)

Volume 8, Number 2, August 2002

  • Article: Vincent P. Benitez (Bowling Green State University) Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera, Saint François d’Assise
  • Commentary: Robert Cantrick (Buffalo State College, SUNY) Commentary on Nicholas Cook, “Theorizing Musical Meaning,” Music Theory Spectrum 23/2 (2001)
  • Commentary: Nicholas Cook (University of Southampton) Reply to Robert Cantrick
  • Review: Harald Krebs (University of Victoria) Review of David Ferris, Schumann’s Eichendorff Liederkreis and the Genre of the Romantic Cycle (Oxford University Press, 2000)

Volume 8, Number 1, February 2002

  • Article: Alan Dodson (University of Western Ontario) Performance and Hypermetric Transformation: An Extension of the Lerdahl-Jackendoff Theory
  • Review: Bruce Quaglia (University of Utah) Review of Bryan Simms, The Atonal Music of Arnold Schoenberg 1908-1923 (Oxford, 2000)

Volume 7, Number 6, December 2001

  • Article: Mark J. Butler (Indiana University) Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music
  • Review: Walter T. Everett (University of Michigan) Review of Richard Middleton ed., Reading Pop: Approaches to Textual Analysis in Popular Music (Oxford University Press, 2000)

Volume 7, Number 5, October 2001

  • Article: Berthold Hoeckner (University of Chicago) Poet’s Love and Composer’s Love
  • Review: John Novak (Northern Illinois University) Review of Amanda Bayley ed., The Cambridge Companion to Bartök (Cambridge University Press, 2001)
  • Review: Jay Rahn (York University) Conference Report: Symposium on Neo-Riemannian Theory, State University of New York at Buffalo, July 20-21, 2001

Volume 7, Number 4, July 2001

  • Article: David Huron (Ohio State University) What is a Musical Feature? Forte’s Analysis of Brahms’s Opus 51, No. 1, Revisited
  • Review: Jonathan Walker (Cambridge University) Review of Adam Krims, Rap Music and the Poetics of Identity (Cambridge University Press, 2000)

Volume 7, Number 3, May 2001

  • Article: Robert A. Wannamaker (York University) Structure and Perception in Herma by Iannis Xenakis

Volume 7, Number 2, April 2001

  • Article: Nicholas Cook (University of Southampton) Between Process and Product: Music and/as Performance

Volume 7, Number 1, January 2001

  • Article: Gretchen G. Horlacher (Indiana University) Bartók’s “Change of Time”: Coming Unfixed
  • Article: John Roeder (University of British Columbia) Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök’s “With Drums and Pipes”

Volume 6, Number 5, November 2000

  • Article: Jeffrey Perry (Louisiana State University) Music, Evolution and the Ladder of Progress
  • Review: David Carson Berry (Yale University) Review of Philip Furia, Irving Berlin: A Life In Song (Schirmer Books, 1998)

Volume 6, Number 4, October 2000

  • Article: Daniel Harrison (University of Rochester) Tolling Time
  • Review: Frank Samarotto (University of Cincinnati) “The Body that Beats”: Review of Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (Oxford University Press, 1999)

Volume 6, Number 3, August 2000

Special Issue: Plenary Session from the 2000 Meeting of the New England Conference of Music Theorists

  • Article: Joseph Dubiel (Columbia University) Analysis, Description, and What Really Happens
  • Article: Ellie M. Hisama (Brooklyn College and the Graduate Center, CUNY) Life Outside the Canon? A Walk on the Wild Side
  • Article: Peter M. Kaminsky (University of Connecticut) Revenge of the Boomers: Notes on the Analysis of Rock Music
  • Article: Gary S. Karpinski (University of Massachusetts, Amherst) Lessons from the Past: Music Theory Pedagogy and the Future
  • Article: Patrick McCreless (Yale University) Music Theory and Historical Awareness
  • Article: Allen Forte (Yale University) Responses to Plenary Session Papers, NECMT 2000
  • Review: Susan Mina Agrawal (Northwestern University) Review of John Irving, Mozart: The “Haydn” Quartets
  • Report: Cheong Wai-Ling (The Chinese University of Hong Kong) Identity and Influence: New Music Research at Wuhan Music Conservatory

Volume 6, Number 2, May 2000

  • Article: Michael Tenzer (University of British Columbia) Theory and Analysis of Melody in Balinese Gamelan
  • Commentary: Raymond Monelle (University of Edinburgh) Martinez’s Concept of “Intrinsic Semiosis” (Commentary on Martinez, MTO 6.1)
  • Review: Yrjo Heinonen, Review of Walter Everett, The Beatles as Musicians: Revolver Through the Anthology (Oxford University Press, 1999)

Volume 6, Number 1, January 2000

Special Issue: Plenary Session at the Society for Music Theory's 22nd meeting in Atlanta (November 13, 1999)

  • Article: Nicolas Meeus (University of Paris Sorbonne) Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
  • Article: Willie Anku (University of Ghana) Circles and Time: A Theory of Structural Organization of Rhythm in African Music
  • Article: José Luis Martinez (Pontifícia Universidade Católica de São Paulo) Semiotics and the Art Music of India
  • Article: Danuta Mirka (Music Academy, Poland) Texture in Penderecki’s Sonoristic Style
  • Article: Kofi Agawu (Princeton University) Response to 1999 SMT International Plenary Session
  • Review: J. Daniel Jenkins (University of Louisville) Review of David Schiff, The Music of Elliott Carter, 2nd ed. (Cornell University Press, 1998)
  • Review: Jeffrey Perry (Louisiana State University) Review of Allen Forte, The Atonal Music of Anton Webern (Yale University Press, 1999)
  • Review: Robert Rawlins (Rowan University) Review of Mark Levine, The Jazz Theory Book (Sher Music, 1995)
  • Review: Roger Vetter (Grinnell College) Review of Michelle Kisliuk, Seize the Dance: BaAka Musical Life and the Ethnography of Performance (Oxford University Press, 1998)
  • Report: Tamara W. Roemjantsew (Utrecht School of the Arts) Report on Two Conferences in the Netherlands

Volume 5, Number 4, September 1999

  • Review: David A. Damschroder (University of Minnesota) Review of Carl Schachter, ed., Unfoldings: Essays in Schenkerian Theory and Analysis (Oxford University Press, 1999)
  • Review: Ludger Hofmann-Engl (Keele University) Review of W.B. Hewlett and E. Selfridge-Field eds., Melodic Similarity: Concepts, Procedures, and Applications (MIT Press, 1999).
  • Review: David Perrott (Northwestern University) Review of Laurent Fichet, Les theories scientifiques de la musique (Librairie philosophique J. Vrin, 1996)
  • Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Eleanor Selfridge-Field, Beyond MIDI: The Handbook of Musical Codes (MIT Press, 1997)
  • Report: Tess James (University of East London) Review of Zbigniew Preisner, Requiem for My Friend

Volume 5, Number 3, May 1999

  • Article: Timothy Koozin (University of Houston) On Metaphor, Technology, and Schenkerian Analysis
  • Review: James Buhler (Carleton College) Review of Roger Scruton, The Aesthetics of Music (Clarendon Press, 1997)
  • Review: David Temperley (Ohio State University) Review of Joseph Swain, Musical Languages (W.W. Norton & Company, 1997)
  • Report: Tore Eriksson (University of Lund) Four Swedish Dissertations in Music Theory

Volume 5, Number 2, March 1999

  • Article: Stephen Soderberg (Library of Congress) White Note Fantasy, Part II: A Few Hypertonal Variations
  • Review: Diane Luchese (Ohio State University) Review of Anthony Pople, Messiaen: Quatuor pour la fin du Temps (Cambridge University Press, 1998)
  • Review: Peter J. Raschke (Northwestern University) Review of Music-Theory Web Sites for the Beginner

Volume 5, Number 1, January 1999

  • Article: Jack F. Boss (University of Oregon) “Schenkerian-Schoenbergian Analysis” and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1
  • Essay: Tess James (University of East London) Hans Rott (1858–1884)—The Missing Link Between Bruckner and Mahler
  • Report: Panos Vlagopoulos (Ionion State University) Report on the First Symposium On Computer and Music in Corfu, Greece (23–25 October 1998)

Volume 4, Number 6, November 1998

  • Article: Jay Rahn (York University) Practical Aspects of Marchetto’s Tuning
  • Review: Floyd Grave (Rutgers University) Review of William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press, 1998)

Volume 4, Number 5, September 1998

  • Article: Roger Wibberley (Goldsmiths University of London) J. S. Bach’s Prelude and Fugue in E Flat (BWV 522,1/2): An Inspiration of the Heart?
  • Report: Tess James (University of East London) Celibidache and Bruckner

Volume 4, Number 4, July 1998

  • Article: Kenneth P. Scholtz, Algorithms for Mapping Diatonic Keyboard Tunings and Temperaments
  • Article: David B. Lewin (Harvard University) The D major Fugue Subject from WTC II: Spatial Saturation?
  • Review: John Roeder (University of British Columbia) Review of Christopher F. Hasty, Meter as Rhythm (Oxford University Press, 1997)

Volume 4, Number 3, May 1998

  • Article: Stephen Soderberg (Library of Congress) White Note Fantasy
  • Review: Stefano Mengozzi (University of Chicago) Review of Lionel Pike, Hexachords in Late-Renaissance Music (Ashgate, 1998)
  • Report: Panos Vlagopoulos (Ionion State University) Music Theory In Greece

Volume 4, Number 2, March 1998

Special Issue: Plenary Session, "Music Theory: Practices and Prospects." November 1, 1998

  • Article: Joseph N. Straus (The Graduate Center, CUNY) SMT 1997 Plenary Session: Introductory Remarks
  • Article: Robert D. Morris (Eastman School of Music) Introduction to Panorama of Music Theory, 1987–97
  • Article: Patrick McCreless (University of Texas at Austin) Music Theory as Community: A Perspective from the Late ’90’s
  • Article: Judith I. Lochhead (SUNY at Stony Brook) Retooling the Technique
  • Article: Richard Cohn (University of Chicago) Music Theory’s New Pedagogability
  • Article: Joel Lester (Mannes College of Music) How Theorists Relate To Musicians
  • Article: Janet Schmalfeldt (Tufts University) On Keeping the Score
  • Review: Wayne Alpern (City University of New York) Review Article, “Will the Real Anton Webern Please Stand Up?”: Anne C. Shreffler, Webern and the Lyric Impulse (Oxford University Press, 1994)

Volume 4, Number 1, January 1998

  • Article: Lawrence Zbikowski (University of Chicago) Metaphor and Music Theory: Reflections from Cognitive Science
  • Review: Benedict Weisser (Oberlin College) Review of David Cope, Techniques of the Contemporary Composer (Schirmer Books, 1997)
  • Report: Per F. Broman (University of Gothenburg) Report from the “Skagerack Network” Analysis Workshop at Lyseby Conference Center in Oslo, Norway, November 20–23, 1997

Volume 3, Number 5, September 1997

  • Article: Ann K. McNamee (Swarthmore College) Publishing and Pedagogy Using Multimedia on the World-Wide Web
  • Article: Dave Headlam (Eastman School of Music) Multimedia for Music Study on the Web: Director from Macromedia
  • Article: Alexander Brinkman and Elizabeth West Marvin (Eastman School of Music) Using the Tools to Teach the Tools: Teaching Multimedia Programming in Music Curricula
  • Report: Richard Hermann (University of New Mexico) Reflexive Postmodern Anthropology Meets Musical “Modernism”: Georgina Born’s Rationalizing Culture. A Review of IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.

Volume 3, Number 4, July 1997

  • Commentary: Rosemary Killam (University of North Texas) Response to Professor Morse's Open Letter (MTO 3.3)
  • Commentary: Justin London (Carleton College) A Different Response to Killam (MTO 3.2, 3.3)
  • Review: Larry Barnes (Transylvania University) Review of J. Kent Williams, Theories and Analyses of Twentieth-Century Music (Harcourt Brace and Company, 1997)
  • Review: William M. Marvin (Oberlin Conservatory) Review of Daniel Kazez, Rhythm Reading: Elementary Through Advanced Training (W.W. Norton and Company, 1997)
  • Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Third Triennial ESCOM Conference in Uppsala, Sweden, 7-12 June, 1997
  • Report: Wai-Ling Cheong (The Chinese University of Hong Kong) Theory Reception in China: Report on Journals of Central Conservatory and Shanghai Conservatory of Music
  • Report: Nicolas Meeus (University of Paris Sorbonne) Music Theory and Analysis in France and Belgium

Volume 3, Number 3, May 1997

  • Article: Stephen A. Taylor (Illinois State University) Chopin, Pygmies, and Tempo Fugue: Ligeti's "Automne a Varsovie"
  • Commentary: Ethan T. Haimo (University of Notre Dame) Linear Analysis—A Cure for Pitch-Class Set Analysis?: A Reply (MTO 3.2)
  • Commentary: Michael William Morse (Trent University) To Rosemary Killam: An Open Letter and Reply (MTO 3.2)
  • Review: Anthony Pople (Lancaster University) Review of David Epstein, Shaping Time: Music, the Brain, and Performance (Schirmer Books, 1995)

Volume 3, Number 2, March 1997

  • Article: Rosemary Killam (University of North Texas) Cognitive Dissonance: Should Twentieth-century Women Composers Be Grouped with Focault’s Mad Criminals?
  • Review: Edward D. Latham (Yale University) Review of Ethan Haimo, “Atonality Analysis, and the Intentional Fallacy,” Music Theory Spectrum (18/2), 167-199

Volume 3, Number 1, January 1997

  • Article: Eytan Agmon (Bar-Ilan University) The Bridges that Never Were: Schenker on the Contrapuntal Origin of the Triad and Seventh Chord
  • Review: Michael Friedmann (Yale University) Review of Nicolas Marston, Beethoven’s Piano Sonata in E, op. 109 (Clarendon Press, 1995)
  • Review: Sarah Fuller (SUNY at Stony Brook) Review of Raymond Erickson trans., and Claude V. Palisca ed., Musica Enchiriadis and Scolica Enchiriadis (Yale University Press, 1995)
  • Report: Andre M. Douw (Amsterdam School of the Arts) and Michiel C. Schuijer (University of Utrecht) Music Theory at the Amsterdam School of Music

Volume 2, Number 7, November 1996

  • Article: Eric J. Isaacson (Indiana University) Issues in the Study of Similarity in Atonal Music
  • Commentary: Roger Wibberley (Goldsmiths University of London) “Mode versus Ficta” in Context (response to Bent, MTO 2.6)
  • Commentary: Channan Willner (The New York Public Library for the Performing Arts) Handel, the Sarabande, and Levels of Genre: A Reply to David Schulenberg (MTO 2.5)
  • Review: Donna Brink Fox (Eastman School of Music) Review of Harold Abeles, Charles Hoffer, and Robert Klotman, Foundations of Music Education, 2nd ed. (Schirmer Books, 1995)
  • Review: Jonathan Wild (McGill University) A Review of David Huron, The Humdrum Toolkit: UNIX Tools for Musical Research
  • Report: Gerold W. Gruber (University of Music and Dramatic Arts, Vienna, Austria) Review of the 3rd Congress for Music Theory, Vienna, Austria, May 10-12, 1996

Volume 2, Number 6, September 1996

  • Article: Victor Grauer, Toward a Unified Theory of the Arts
  • Commentary: Margaret Bent (All Souls College) Diatonic ficta Revisited: Josquin’s Ave Maria in Context (MTO 2.5)
  • Commentary: Jonathan Walker (Queen's University Belfast) Intonational Injustice: A Defense of Just Intonation in the Performance of Renaissance Polyphony
  • Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Peter Castine’s Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music (Peter Lang, 1994)
  • Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Three Seminars on Contemporary Music with Connection to the ISCM World Music Days in Copenhagen, 1996

Volume 2, Number 5, July 1996

  • Article: Roger Wibberley (Goldsmiths University of London) Josquin’s Ave Maria: Musica Ficta versus Mode
  • Commentary: David L. Schulenberg (University of North Carolina at Chapel Hill) Commentary on Channan Willner: “More on Handel and the Hemiola” (MTO 2.3)
  • Review: Jane Clendinning (Florida State University) Review of Miguel A. Roig-Francoli, “Harmonic and Formal Processes in Ligeti’s Net-Structure Compositions,” Music Theory Spectrum (17/2), 242–267
  • Report: Peter Castine (Technical University of Berlin) Review of “The Beginnings of Serial Music,” Berlin, Germany, June 20–25, 1996

Volume 2, Number 4, May 1996

  • Article: Kofi Agawu (Yale University) Analyzing Music Under the New Musicological Regime
  • Article: Eytan Agmon (Bar-Ilan University) Beethoven’s Op. 81a and the Psychology of Loss
  • Commentary: Josh Mailman, The Aims of Music Theory and Neurath’s Boat: A Reply to Jonathan Walker and Matthew Brown (MTO 2.2)
  • Commentary: Jonathan Walker (Queen's University Belfast) The Deconstruction of Musicology: Poison or Cure?
  • Review: Nancy M. Berman (McGill University) Review of Glenn Watkins, Pyramids at the Louvre (Harvard University Press, 1994)

Volume 2, Number 3, March 1996

  • Article: Channan Willner (The New York Public Library for the Performing Arts) More on Handel and the Hemiola: Overlapping Hemiolas
  • Commentary: Eytan Agmon (Bar-Ilan University) Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb (MTO 2.1)
  • Review: Douglas Dempster (Eastman School of Music) Review of Peter Kivy, The Fine Art of Repetition (Cambridge University Press, 1993)
  • Report: Peter Castine (Technical University of Berlin) Review of John Cage Symposium (Berlin, Germany)

Volume 2, Number 2, March 1996

  • Article: Matthew Brown (Louisiana State University) “Adrift on Neurath’s Boat”: The Case for a Naturalized Music Theory
  • Article: Scott Burnham (Princeton University) Theorists and “The Music Itself”
  • Article: Joseph Dubiel (Columbia University) On Getting Deconstructed
  • Article: Marion Guck (Washington University) Music Loving, Or the Relationship with the Musical Work
  • Article: Patrick McCreless (University of Texas at Austin) Contemporary Music Theory and the New Musicology: An Introduction

Volume 2, Number 1, January 1996

  • Article: Richard Littlefield (Baylor University) The Silence of the Frames
  • Commentary: John Rothgeb (Binghamton University) Re: Eytan Agmon on Functional Theory
  • Review: Judy Lochhead (SUNY at Stony Brook) Review of Leslie C. Dunn and Nancy A. Jones eds., Embodied Voices: Representing Female Vocality in Western Culture (Cambridge University Press, 1994)
  • Review: Patrick McCreless (University of Texas at Austin) Review of Jean-Jacques Nattiez, Wagner Androgyne: A Study in Interpretation (Princeton University Press, 1993)

Volume 1, Number 6, November 1995

  • Article: William Pastille (St. John’s College) Schenker’s Value-Judgments
  • Review: Matthew S. Royal (University of Western Ontario) Review of Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures (University of Chicago Press, 1990) and The Analysis and Cognition of Melodic Complexity (University of Chicago Press, 1992).

Volume 1, Number 5, September 1995

  • Article: John Covach (University of North Carolina at Chapel Hill) Schoenberg’s Turn to an “Other” World
  • Article: Pieter C. van den Toorn (University of California, Santa Barbara) A Response to Richard Taruskin’s “A Myth of the Twentieth Century”
  • Commentary: Brian Robison (Cornell University) Category Structures and Fuzzy Sets (response to Lawrence Zbikowski) (MTO 1.4)
  • Commentary: Lawrence Zbikowski (University of Chicago) Response to Robison, “Category Structures and Fuzzy Sets” (MTO 1.5)
  • Review: Peter N. Schubert (McGill University) Review of Joachim Burmeister; Benito V. Rivera trans., Musical Poetics (Yale University Press, 1993)

Volume 1, Number 4, July 1995

  • Article: David Loberg Code (Western Michigan University) Listening for Schubert’s “Doppelgängers”
  • Article: Lawrence Zbikowski (University of Chicago) Theories of Categorization and Theories of Music
  • Commentary: Thomas R. Demske (Yale University) Reply to Richard Hermann (MTO 1.3)
  • Review: John Cuciurean (SUNY Buffalo) Review of Mark Lindley’s and Ronald Turner-Smith’s Mathematical Models of Musical Scales: A New Approach (Verlag fuer systematische Musikwissenschaft, 1993)

Volume 1, Number 3, May 1995

  • Article: Timothy Johnson (Mount Holyoke College) The Computer Presentation of Musical Research: A Case Study
  • Article: David Kopp (Brandeis University) On the Function of Function
  • Commentary: Thomas R. Demske (Connecticut College) Response to Parncutt (MTO 1.3)
  • Commentary: Richard Hermann (University of New Mexico) Towards a New Analytic Method for Post-Tonal Music: Response to Demske (MTO 1.2)
  • Commentary: Justin London (Carleton College) Misreading Meyer: A Reply to Cochrane (MTO 1.1)
  • Commentary: Richard Parncutt (Keele University) Response to Demske: Relating Sets
  • Commentary: William Rothstein (Oberlin College) The Tristan Chord in Historical Context: A Response to John Rothgeb (MTO 1.1)
  • Review: Stephen Smoliar (National University of Singapore) Review of Robert Cogan, New Images of Musical Sound (Harvard University Press, 1984)

Volume 1, Number 2, March 1995

  • Article: Thomas R. Demske (Connecticut College) On Considering a Computational Model of Similarity Analysis
  • Commentary: Allen Forte (Yale University) Tristan Redux: Comments on John Rothgeb’s Article on the Tristan Chord in MTO 1.1 (MTO 1.1)

Volume 1, Number 1, January 1995

  • Article: Richard J. Cochrane (University of Wales College of Cardiff) The Phases of Fire
  • Article: John Rothgeb (Binghamton University) The Tristan Chord: Identity and Origin
  • Commentary: Richard J. Cochrane (University of Wales College of Cardiff) The Ideal Four Minutes and Thirty-Three Seconds: Response to John Covach (MTO 0.11)
  • Commentary: John Covach (University of North Texas) Musical Worlds and the Metaphysics of Analysis
  • Commentary: Adam Krims (University of Alberta) On the Fear of Losing Our Tools (A Response to Joseph N. Straus) (MTO 1.1)
  • Commentary: Stephen Smoliar (National University of Singapore) Musical Objects: Response to John Covach (MTO 0.11)
  • Commentary: Joseph N. Straus (The Graduate Center, CUNY) Post-structuralism and Music Theory: A Response to Adam Krims (MTO 0.11)
  • Report: David Clampitt (SUNY Buffalo) Report: An International Symposium of Music and Mathematics (Bucharest, Romania)

Volume 0, Number 11, November 1994

  • Article: John Covach (University of North Texas) Destructuring Cartesian Dualism in Musical Analysis
  • Article: Adam Krims (University of Alberta) Bloom, Post-Structuralism(s), and Music Theory

Volume 0, Number 10, September 1994

  • Article: William Renwick (McMaster University) “A Subject of Four Notes”: William Crotch’s Experiment in Motivic Saturation
  • Article: Brian Robison (Cornell University) Modifying Interval-Class Vectors of Large Collections to Reflect Registral Proximity Among Pitches
  • Commentary: Jay Rahn (York University) Reply to Smoliar’s “Mathematical Logic” (MTO 0.9, 0.10)
  • Commentary: Stephen Smoliar (National University of Singapore) Mathematical Logic: Response to Jay Rahn (MTO 0.9, 0.10)

Volume 0, Number 9, July 1994

  • Article: Henry Klumpenhouwer (University of Alberta) Some Remarks on the Use of Riemann Transformations
  • Article: Jay Rahn (York University) From Similarity to Distance; From Simplicity to Complexity; From Pitches to Intervals; From Description to Causal Explanation

Volume 0, Number 8, May 1994

  • Article: Robert Judd, Composers, Performers and Notation: Solo Music Notations in Europe, 1500-1700
  • Article: Rosemary Killam (University of North Texas) Feminist Theories—Process and Continua

Volume 0, Number 7, March 1994

  • Article: Bo H. Alphonce (McGill University) Dissonance and Schumann’s Reckless Counterpoint
  • Commentary: James Harley (McGill University) Commentary on Stephen Smoliar (MTO 0.6)
  • Commentary: Richard Littlefield (Baylor University) Commentary on John Roeder (MTO 0.5)
  • Report: Reinhard Kopiez (Technische Universitaet Berlin) Report on the Jahrestagung der Deutschen Gesellschaft fuer Musikpsycologie (DGM), Muenster, 10-12 September, 1993, trans. Richard Parncutt

Volume 0, Number 6, January 1994

  • Article: Stephen Smoliar (National University of Singapore) Computers Compose Music, But Do We Listen?
  • Commentary: David B. Lewin (Harvard University) Commentary on Roeder (MTO 0.5)
  • Commentary: John Roeder (University of British Columbia) Response to Commentaries (on his MTO 0.5 article)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Roeder (MTO 0.5)
  • Report: Richard Parncutt (McGill University) Review of the 1993 Conference of the Society for Music Perception and Cognition

Volume 0, Number 5, November 1993

  • Article: John Roeder (University of British Columbia) Toward a Semiotic Evaluation of Music Analyses

Volume 0, Number 4, September 1993

  • Article: Ann K. McNamee (Swarthmore College) Grazyna Bacewicz’s Second Piano Sonata (1953): Octave Expansion and Sonata Form

Volume 0, Number 3, June 1993

  • Article: Mark Lindley and Ronald Turner-Smith, An Algebraic Approach to Mathematical Models of Scales
  • Commentary: Robert Judd, Commentary on Justin London (MTO 0.2)
  • Commentary: Joel Lester (City University of New York) Commentary on Justin London (MTO 0.2)
  • Commentary: Justin London (Carleton College) Commentary on Justin London (MTO 0.2)
  • Commentary: Richard Parncutt (McGill University) Commentary on Justin London (MTO 0.2)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Justin London (MTO 0.2)

Volume 0, Number 2, April 1993

  • Article: Justin London (Carleton College) Loud Rests and Other Strange Metric Phenomena (or, Meter as Heard)
  • Commentary: Robert Judd, Commentary on Neumeyer (MTO 0.1)
  • Commentary: Robert Kosovsky (City University of New York) Commentary on Neumeyer (MTO 0.1)
  • Commentary: David Neumeyer (Indiana University) Commentary on Neumeyer (MTO 0.1)
  • Commentary: Shaugn O'Donnell (Queens College / CUNY) Commentary on Neumeyer (MTO 0.1)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Neumeyer (MTO 0.1)

Volume 0, Number 1, February 1993

  • Article: David Neumeyer (Indiana University) Schoenberg at the Movies: Dodecaphony and Film

Updated 03 July 2013
Brent Yorgason

SMT