Contents of Previous Issues:
Select a volume below to view its contents. Volumes in boldface have texts available.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26
Volume 26 (Spring–Fall 2005): Double issue on text-music relationships
Bella Brover-Lubovsky, Le diable boiteux, omnipresent Meyer, and “Intermediate Tonic” in the Eighteenth-Century Symphony
Robert S. Hatten, Teaching “Music and the Poetic Text”
Natasha Loges, Singing Lieder with a Foreign Accent: Brahms’s Slavic Songs
Jeff Perry, Schubert’s “Aus Goethe’s Faust,” D. 126: The Scena as Fragment
David Smyth, Of Riddles and Rhetoric: The Finale of Beethoven’s Last Quartet
Lora Gingerich Dobos, Review of David Lewin, Studies in Music with Text
[Back]
Volume 25 (Spring–Fall 2004): Double issue
Byron Almén, Narrative and Topic
John Latartara, Multidimensional Musical Space in Hildegard’s “O rubor sanguinis”: Tetrachord, Language, Sound, and Meaning
Paul Lombardi, A Symmetrical Property of Rotational Arrays in Stravinsky’s Late Music
Irna Priore, Further Considerations of the Continuous 
with an Introduction and Explanation of Schenker’s Five Interruption Models
Lewis Rowell, Time in the Romantic Philosophies of Music
Jeffrey Swinkin, Reference and Schenkerian Structure: Toward a Theory of Variation
Ethan Lechner, Review of Marc Perlman, Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory
[Back]
Volume 24 (Spring–Fall 2003): Double issue on theory and performance
M. Rusty Jones, Modulation by Key Class
Edward D. Latham: It Ain’t Necessarily So: Sporting Life’s Triumph in Gershwin’s Porgy and Bess
Bethany Lowe, On the Relationship between Analysis and Performance: The Mediatory Role of the Interpretation
Ryan McClelland, Performance and Analysis Studies: An Overview and Bibliography
Edward Pearsall, The Structure of Conflict: Dialectics and the Play of Personae in Chopin’s Op. 27, No. 2
J. W. Turner, Essential Concepts for Schenkerian Performance
Robert S. Hatten, Integrative Approaches to Beethoven and Musical Meaning: Review of William Kinderman, Beethoven and Scott Burnham, Beethoven Hero
[Back]
Volume 23 (Spring–Fall 2002): Double issue
Cheryl Christensen, Melodic Motive and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67
Philip Ewell, Scriabin’s Seventh Piano Sonata: Three Analytical Approaches
Gretchen C. Foley, Arrays and K-Nets: Transformational Relationships within Perle’s Twelve-Tone Tonality
James S. MacKay, Toward a Theory of Formal Function for Renaissance Music
Ramon Satyendra, Relational Systems in the Study of Networks and Generalized Intervals
Boaz Tarsi, Lower Extension of the Minor Scale in Ashkenazi Prayer Music
Art Samplaski, Review of Fred Lerdahl, Tonal Pitch Space
[Back]
Volume 22, Number 2 (Fall 2001)
Chun-Fang Bettina Hahn, Poe, Lacan, and Schoenberg: The “Purloined” Center
Drew Massey, Unifying Characteristics in Classic Ragtime
Kip Wile, Recurrence, Level Organization and Collection Interaction in Three Piano Preludes by Debussy
Nancy Rogers, Review of Gary S. Karpinski, Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians
Volume 22, Number 1 (Spring 2001): Special issue on post-1960 art music
Robert Adlington, Counting Time, Countering Time: Louis Andriessen’s De Tijd
Amy Bauer, “Composing the Sound Itself”: Secondary Parameters and Structure in the Music of Ligeti
Stanley V. Kleppinger, Metrical Issues in John Adams’s Short Ride in a Fast Machine
Brenda Ravenscroft, Finding the Time for Words: Elliott Carter’s Solutions to the Challenges of Text-Setting
[Back]
Volume 21 (Spring–Fall 2000): Double issue on popular music
David Carson Berry, The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen
Pandel Collaros, The Music of the Beatles in Undergraduate Theory Instruction
Brandon Derfler, U Totem’s “One Nail Draws Another” as Art Music
William Echard, Gesture and Posture: One Useful Distinction in the Embodied Semiotic Analysis of Popular Music
Adam Ricci, A “Hard Habit to Break”: The Integration of Harmonic Cycles and Large-Scale Structure in Two Songs by Chicago
Marianne Tatom, Mining for “Goldheart”: A Sketch Study in Popular Music
Philip Chang and Don Traut: Review of Walter Everett, ed., Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays
Nadine Hubbs, Review of Kai Fikentscher, “You Better Work!”: Underground Dance Music in New York City
Tim Hughes, Review of John Covach and Graham Boone, eds., Understanding Rock: Essays in Musical Analysis
Felicia M. Miyakawa, Review of Adam Krims, Rap Music and the Poetics of Identity
Steve Swayne, Sondheim: An American Composer Only a British Musicologist Can Love?
Reviews of Stephen Banfield, Sondheim’s Broadway Musicals; Sandor Goodhart, ed., Reading Stephen Sondheim: A Collection of Critical Essays; Joanne Gordon, Art Isn’t Easy: The Achievement of Stephen Sondheim; Gordon, ed., Stephen Sondheim: A Casebook; Martin Gottfried, Sondheim; Meryle Secrest, Stephen Sondheim: A Life; Craig Zadan, Sondheim & Co.
[Back]
Volume 20, Number 2 (Fall 1999): Special issue of reviews and translations of recently published work
Andrew Davis, Review-article on Carl Schachter, Unfoldings: Essays in Schenkerian Theory and Analysis
Marta Grabocz, “Paul Ricoeur’s Theories of Narrative and Their Relevance for Musical Narrativity,” translated by Ryan McClelland
Severine Neff, Review of William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
Michael Oravitz, Review-article on James R. Briscoe, ed., Debussy in Performance
Volume 20, Number 1 (Spring 1999)
Amy Carr-Richardson, Rotational Symmetry as a Metaphor for the Scherzo of Beethoven’s Opus 131
Steven A. Harper, Emerging Tonality in Webern’s Piece for Violin and Piano, Op. 7, No. 1
Michael Klein, Texture, Register, and their Formal Roles in the Music of Witold Lutoslawski
Martin Scherzinger, Line, Rhythm, and a Motivic Detail in Mozart’s Piano Sonata in F Major (K. 280), Adagio
[Back]
Volume 19 (Spring–Fall 1998): Double issue on film music
Alfred W. Cochran, The Functional Music of Gail Kubik: Catalyst for the Concert Hall Text
Helen Cox and David Neumeyer, The Musical Function of Sound in Three Films by Alfred Hitchcock Text
Annette Davidson, Playing in The Garden: Sound, Performance, and Images of Persecution Text
Edward Latham, Physical Motifs and concentric Amplification in Godard/Lully’s Armide Text
David Neumeyer, Tonal Design and Narrative in Film Music: Bernard Herrmann’s A Portrait of Hitch and The Trouble with Harry Text
Ronald Rodman, There’s No Place like Home: Tonal Design and Closure in The Wizard of Oz Text
Volume 18, Number 2 (Fall 1997)
Ted Buehrer, Prolongational Structure in Bartók’s Pitch-Centric Music: A Preliminary Study Text Supplement
Lynden De Young, Stretto by Direct and Contrary Motion in Three Fugues by J.S. Bach Text
Jeffrey Perry, Beethoven and the Romantic Unique Subject: The Dialectic of Affect and Form in the “Marcia funebre sulla morte d’un eroe,” op. 26, III Text
Stephen Rodgers, “This Body That Beats”: Roland Barthes and Robert Schumann’s Kreisleriana Text
Yayoi Uno Everett, Review of Zohar Eitan, Highpoints: A Study of Melodic Peaks Text
Volume 18, Number 1 (Spring 1997)
Eric A. Butcher, Quantitative Parameters of Spatial Dynamics in Musical Space Text
John K. Novak, Barthes’s Narrative Codes as a Technique for the Analysis of Programmatic Music: An Analysis of Janacek’s The Fiddlers Child Text
Christopher K. Thompson, Re-forming Brahms: Sonata Form and the Horn Trio, Op. 40 Text
Vincent Benitez, Review of Joachim Burmeister, Musica Poetica, trans. Benito V. Rivera Text
Steven Slawek, Review of Lewis Rowell, Music and Musical Thought in Early India Text
Paul F. Zweifel, To the Editor [A resonse to Artie Samplaski’s comments in Vol. 17, No. 1] Text
[Back]
Volume 17, Number 2 (Fall 1996): Special issue on musical time
A Discussion with David Epstein Text
Jonathan D. Kramer, Postmodern Concepts of Musical Time Text
Lewis Rowell, The Study of Time in Music: A Quarter-Century Perspective Text
Vincent Benitez, Review of Olivier Messiaen: Music and Color: Conversations with Claude Samuel, trans. E. Thomas Glasow Text
Gary Wittlich, Review of David Epstein, Shaping Time: Music, the Brain, and Performance Text
Ira Braus, To the Editor [A response to Daniel Harrison’s article, “Supplement to the Theory of Augmented-Sixth Chords,” in Music Theory Spectrum 17, no. 2] Text
Floyd Grave, To the Editor [A response to Ira Braus’ article in Vol. 17, No. 1] Text
Volume 17, Number 1 (Spring 1996)
Byron Almén, Prophets of the Decline: The Worldviews of Heinrich Schenker and Oswald Spengler Text
Ira Braus, Dancing to Haydn’s Fiddle: A Reply to Floyd Grave’s “Metrical Dissonance in Haydn” Text
Edward Pearsall, Multiple Hierarchies: Another Perspective on Prolongation Text
Student Forum: Gender Issues in Music Theory
Lyn Burkett, Feminist Music Scholarship: An Informal Guide to “Getting It” Text
Barbara A. White, Difference or Silence?: Women Composers between Scylla and Charybdis Text
Robert Hatten, Review of John Rink, ed., The Practice of Performance: Studies in Musical Interpretation Text
Artie Samplaski, To the Editor [A response to Paul F. Zweifel’s article in Vol. 15, No. 2] Text
[Back]
Volume 16 (Spring–Fall 1995): Double issue on the history of music theory
Ian Bent, Plato—Beethoven: A Hermeneutics for Nineteenth-Century Music? Text
Thomas Christensen, The Music Theory of Georg Friedrich Lingke Text Supplement
Denis Collins, The Martini-Redi Polemic on the Solution of a Canon by Giovanni Animuccia Text
Ralph Lorenz, Canon as a Pedagogical Tool: Applications from Sixteenth-Century Wittenberg Text
[William Pastille] The God of Abraham, Aquinas, and Schenker: Art as Faith in an Age of Unbelief Text
Benito V. Rivera, Theory Ruled by Practice: Zarlino’s Reversal of the Classical System of Proportions Text
Lee Rothfarb, Music Analysis, Cultural Morality, and Sociology in the Writings of August Halm Text
Richard Münnich, On the Evolution of Riemannian Harmonic Theory and its Relation to Oettingen and Stumpf, translated by Robert Wason, et al., published in 1909 as “Von Entwicklung der Riemannschen Harmonielehre und ihrem Verhältnis zu Oettingen und Stumpf” Text
Thomas Mathiesen, Review of Thomas Christensen, Rameau and Musical Thought in the Enlightenment Text
Peter Slemon, Review of Franchino Gaffurio, The Theory of Music, trans. Walter Kurt Kreyszig Text
[Back]
Volume 15, Number 2 (Fall 1994)
Andrew Anderson, Why is Schoenberg’s Seventeenth Chapter So Hard to Digest? Text
Thomas DeLio, Language and Form in an Early Atonal Composition: Schoenberg’s Op. 19, No. 2 Text
Jessica H. Howard, Participatory Discrepancies, Live from Lincoln Center: Towards a Terminology for Looking at Music in Performance Text
Norman L. Wick, Shifted Downbeats in Classic and Romantic Music Text
Paul F. Zweifel, Just Tuning and the Unavoidable Discrepancies Text
James Buhler, Review of Lawrence Kramer, Music as Cultural Practice: 1800–1900 Text
Gordon D. McQuere, Review of Joel Lester, Compositional Theory in the Eighteenth Century Text
Clair L. Sellars, Review of Rita Aiello, ed., Musical Perceptions Text
Micheál Houlahan and Philip Tacka, To the Editor [A response to Steve Larson’s article in Vol. 14, No. 2] Text
Volume 15, Number 1 (Spring 1994): Special issue on Schenkerian analysis
Howard Cinnamon, E Major Tonality as Dominant or Mediant in Chopin’s Op. 10/1: Schenker’s Graphs from Free Composition Reconsidered Text
David Gagné, The Place of Schenkerian Analysis in Undergraduate and Graduate Curricula Text
Steve Larson, Another Look at Schenker’s Counterpoint Text
Kip Montgomery, Schenker and Schoenberg on Harmonic Tonality Text
Heather Platt, Dramatic Turning Points in Brahms Lieder Text
Ronald Rodman, Retrospection and Reduction: Modal Middlegrounds and Foreground Elaborations in Telemann’s Zwanzig kleine Fugen Text
James Buhler, Review of Theodor Adorno, Mahler: A Musical Physiognomy; Alban Berg: Master of the Smallest Link; and Quasi una Fantasia Text
Tom McCanna, To the Editor [A response to John C. Nelson's article in Vol. 13, No. 2]; John C. Nelson: Response to Tom McCanna Text
Mary Wennerstrom, To the Editor [A response to David Butler and Mark Lochstampfor's article in Vol. 14, No. 2] Text
[Back]
Volume 14, Number 2 (Fall 1993): Special issue on the pedagogy of music theory
David Butler and Mark Lochstampfor, Bridges Unbuilt: Aural Training and Cognitive Science Text
Michael Cherlin, On Adapting Theoretical Models from the Work of David Lewin Text
Robert Gauldin, Fux to Bach: Bridging the Gap Text
Steve Larson, The Value of Cognitive Models in Evaluating Solfege Systems Text
Craig Cummings, Review of Paul Wilson, The Music of Béla Bartók Text
Volume 14, Number 1 (Spring 1993): Special issue on analysis
George Fisher and Judy Lochhead, Analysis, Hearing, and Performance Text
Timothy R. McKinney, Pitch Structures in Hugo Wolf’s Augmented-Triad Series Text
Nachum Schoffman, Persistent Notes and Proximity Harmonization Text
Ralph Lorenz, Review of Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians Text
[Back]
Volume 13, Number 2 (Fall 1992): Special issue on opera
John C. Nelson, Tonal and Structural Design in the Finales of the Savoy Operas, with Some Suggestions as to Derivation Text
Reynold Simpson, Moses und Aron and the Nineteenth-Century Tradition of Operatic Innovation Text
Lloyd Whitesell, Doubt and Failure in Britten’s The Turn of the Screw Text
Anne Sivuoja-Gunaratnam, Nature versus Culture in Einojuhani Rautavaara’s Thomas Text
David Schwartz, Postmodernism, the Subject, and the Real in John Adams’s Nixon in China Text
Raymond Foster, Review of Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model Text
Volume 13, Number 1 (Spring 1992)
Richard Cohn, Schenker’s Theory, Schenkerian Theory: Pure Unity or Constructive Conflict? Text
Gordon D. McQuere, Analyzing Musorgsky’s “Gnome” Text
John C. Nelson, Progressive Tonality in the Finale of the Piano Quintet, Op. 44, of Robert Schumann Text
Harrison James Wignall, Rameau’s Treatment of Suspensions Text
Kip Wile, Communication and Interaction in Stravinsky’s Scherzo fantastique (1907-1908) Text
Eric J. Isaacson, Review of Alexander R. Brinkman, Pascal Programming for Music Research Text
J. Kent Williams, Review of Carol L. Krumhansl, Cognitive Foundations of Musical Pitch Text
[Back]
Volume 12 (Spring–Fall 1991): Double issue on narrative theory
Fred Everett Maus, Music as Narrative Text
Patrick McCreless, The Hermeneutic Sentence and Other Literary Models for Tonal Closure Text
Robert Hatten, On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven Text
Eero Tarasti, Beethoven’s Waldstein and the Generative Course Text
Lawrence Kramer, Musical Narratology: A Theoretical Outline Text
Claus Clüver, Musical Train Rides in the Classroom Text
Jeff Gillespie, Review of Harvey Stokes, A Selected Annotated Bibliography of Italian Serial Composers Text
Rebecaa Jemian, Review of Wallace Berry, Musical Structure and Performance Text
Jonathan Sturm, Review of William B. Grim and Michael B. Harper, eds., Yearbook of Interdisciplinary Studies in the Fine Arts, vol. 1 Text
Greg Wilson, Review of William Rothstein, Phrase Rhythm in Tonal Music Text
[Back]
Volume 11 (Spring–Fall 1990): Double issue on film music
David Neumeyer, Film Music Analysis and Pedagogy Text
Kathryn Kalianak, Music to My Ears: Teaching the Soundtrack Text
William Penn, Music and Image: A Pedagogical Approach Text
Alfred Cochran, The Spear of Cephalus: Observations on Film Music Analysis Text
Thomas Mathiesen, Silent Film Music and the Theatre Organ Text
John Covach, The Rutles and the Use of Specific Models in Musical Satire Text
George Burt, East of Eden: Climactic Scene Text
Richard Littlefield, Review of Claudia Gorbman, Unheard Melodies: Narrative Film Music Text
Ronald Rodman, Review of Clifford McCarty, ed., Film Music I Text
[Back]
Volume 10 (Spring–Fall 1989): Double issue
Julie Schnepel, Ellen Taaffe Zwillich’s Symphony No. 1: Developing Variation in the 1980s Text
Eric Lai, Transformational Structures in Webern’s Opus 5, No. 3 Text
Wayne Huck, An Exploration of Linear Algebraic Models of Musical Spaces Text
Various authors, The Future of Theory Text
Rebecca Jemian, Introduction
V. Kofi Agawu
Elaine Barkin
Nicholas Cook
David Cope
Diana Deutsch, Music Theory and Experimental Science
David Epstein, A View Toward the Music-Theoretic Future
William L. Fowler, 21st-Century Music Theory Study
Robert Gjerdingen
Robert Hatten, The Future of Music Theory: Achieving the Scope of a Humanistic Discipline
Jonathan D. Kramer, The Future of Music Theory: Predictions and Hopes
Steve Larson, Questions
Fred Lerdahl, Whither Music Theory?
Fred Everett Mauss
Eugene Narmour
Jeff Pressing, Music Theory and Its Future
Jay Rahn, Music Theory Enters the 20th Century
John Rahn
Michael R. Rogers, The Future of Music Theory
Arnold Whittall
Vernon Kliewer, Review of David Sheldon, Marpurg’s Thoroughbass and Composition Handbook: A Narrative Translation and Critical Study Text
Ronald Rodman, Review of Stefan Kostka, Materials and Techniques of Twentieth-Century Music and Joel Lester, Analytical Approaches to Twentieth-Century Music Text
Ronald Rodman, Abstracts of Papers Read at the 1990 GTA Symposium, Bloomington, Indiana
Ronald Rodman, Index of Volumes 1–10
[Back]
Volume 9, Number 2 (Fall 1988)
Miguel Roig-Francolí, Bass Emancipation in Sixteenth-Century Spanish Instrumental Music: The Libro llamado arte de tañer fantasia by Tomás de Santa Maria
Reed Hoyt, Rhythmic Process in the Scherzo of Beethoven’s Sonata Op. 110: Analysis as a basis for Interpretation and Criticism
William Drabkin, Review of Felix-Eberhard von Cube, The Book of the Musical Artwork, translated by David Neumeyer, George Boyd and Scott Harris
Volume 9, Number 1 (Spring 1988)
Richard Bass, The Second-Theme Problem and Other Issues in Mozart’s Sonata K. 457
George Boyd, The Development of Paraphrase Technique in the Fifteenth Century
Susan Tepping, A Lesson in Analysis: An Account of the Study of Bach’s E Major Invention with Felix-Eberhard von Cube
[Back]
Volume 8, Number 2 (Fall 1987)
James Marra, Webern’s 1904 Lieder: A Study in Late Tonal Practice
George Boyd, Hauptmann’s Commentary on the Art of Fugue: A Translation
Richard Bass, The Opening Section of Mozart’s Fantasy, K. 475: Unity Through Linear-Harmonic Elaboration
Volume 8, Number 1 (Spring 1987)
Harald Krebs, Neighboring Motion in Stravinsky’s Le Sacre du Printemps
Gary Danchenka, Diatonic Pitch-Class Sets in Bartók’s Night Music
Anne Trenkamp, Review of Joan Allen Smith, Schoenberg and his Circle: A Viennese Portrait
[Back]
Volume 7, Number 2 (Fall 1986)
Mark McCune, Mortiz Hauptmann: Ein Haupt-Mann in Nineteenth-Century Harmonic Theory Text
Joe Brumbeloe, Pitch Structures in Webern’s Second Cantata, Opus 31 Text
Andrew Fowler, Franz Liszt’s Petrarch Sonnets: The Persistent Poetic Problem Text
Volume 7, Number 1 (Spring 1986)
Michael Green, Beethoven’s Path toward Large-Scale Rhythmic Development: The Exposition of the First Movement of Opus 18, No.1 Text
Raphael Atlas, Coherence vs. Disunity: The Opening Section of Mozart’s Fantasy, K. 475 Text
David Schwarz, The Ascent and Arpeggiation in “Die Stadt,” “Der Doppelgaenger,” and “Der Atlas” by Franz Schubert Text
David Kowalski, An Annotated Bibliography of Array Studies Text
David Neumeyer, Announcement of a New Music Theory Periodical Text
[Back]
Volume 6, Number 3 (Spring 1983)
Joseph Brumbeloe, Symmetry in Witold Lutoslawski’s Trauermusik
Michael Rogers, Beyond Intervals: The Teaching of Tonal Hearing
Gene Anderson, Pythagoras and the Origin of Music Theory
Paul Laprade, Review of Leland Bland, Sight Singing Through Melodic Analysis
Volume 6, Numbers 1 & 2 (Fall 1982 and Winter 1983): Double issue
Rudy Marcozzi, Deep-Level Structures in J.S. Bach’s D Minor Chaconne
Nicol Viljoen, The Drone Bass and its Implications for the Tonal Voice-Leading Structure in Two Selected Mazurkas by Chopin
Virginia Palmer, The Application of the Sonata Principle to Structure in La Clemenza di Scipione by J.C. Bach
Herbert Riggins, Change of Register in Schenker’s Later Theoretical Works
Susan Tepping, An Interview with Felix-Eberhard von Cube
David Neumeyer and Rudy Marcozzi, An Index to Schenkerian Analyses of Beethoven Piano Sonatas and Symphonies
[Back]
Volume 5, Number 3 (Spring 1982)
Richard Devore, Two Unusual Examples of Nineteenth-Century American Harmonic Theory
Alex Lubet, Vestiges of Tonality in a Work of Arnold Schoenberg
Reed Hoyt, Harmonic Process, Melodic Process, and Interpretive Aspects of Chopin’s Prelude in G Minor
Sarah Lewis and Rudy Marcozzi, Annotated Bibliography: Theses and Dissertations at Indiana University (1981–82)
Volume 5, Number 2 (Winter 1982)
John Maxwell, Symmetrical Partitioning of the Row in Schoenberg’s Wind Quintet, Op. 26
Michael Burdick, Phrase Painting and Goal Orientation in Two Late Gesualdo Madrigals
Gary Danchenka, A New Way of Measuring Musical Affect
Terence Maher, Decomposition: Musical Occampanymnets to Stravinsky’s Poetics of Music
Volume 5, Number 1 (Fall 1981)
Edward McIrvine, Form and Tonality in J.S. Bach’s Settings of “Jesu, der du meine Seele”
V. Kofi Agawu, Pitch Organizational Procedures in Mussorgsky’s Nursery
Michael Rogers, On the Teaching of Theory Teaching: A Selected Bibliography of Music Theory Pedagogy
[Back]
Volume 4, Number 3 (1981)
George Peter Tingley, Metric Modulation and Elliott Carter’s First String Quartet Text
Glenn Gass, Elliott Carter’s Second String Quartet: Aspects of Time and Rhythm Text
Jennifer Thomas, The Use of Color in Three Chamber Works of the Twentieth Century Text
Rose Marie Flatt, Analytical Approaches to Chromaticism in Amy Beach’s Piano Quintet in F♯ Minor Text
Robert Campbelle and Susan Tepping, Annotated Bibliography: Theses and Dissertations at Indiana University (1976–1980)
Volume 4, Number 2 (1981)
Roger Foltz, Sightsinging in Relation to the Total Theory Program Text
James Woodward, Understanding Bartók’s Bagatelle, Op. 6, No. 9 Text
John Maxwell, The Finale of Mozart’s Oboe Quartet, K. 370: A Reductive Analysis Text
Susan Tepping, Form in the Finale of Haydn’s String Quartet, Op. 64, No. 5 Text
David Neumeyer, The Two Versions of J.S. Bach’s A-minor Invention, BWV 784 Text
Volume 4, Number 1 (1980)
Thomas DeLio, Spatial Design in Elliott Carter’s Canon for 3 Text
Anne Trenkamp, Considerations Preliminary to the Formation of a Textural Vocabulary Text
Stephen Dombeck, A Study of Harmonic Interrelationships and Sonority Types in Carl Ruggles’s Angels Text
John Snyder, Harmonic Dualism and the Origin of the Minor Triad Text
Susan Tepping, A Review of Allen Forte, The Harmonic Organization of The Rite of Spring Text
[Back]
Volume 3, Number 3 (1980)
Raymond, Joely, The Leitmotiv and Musical-Dramatic Structure in Tristan’s Third Narration of the “Delirium”
Judy Lochhead, Some Musical Applications of Phenomenology
Robert Hatten, An Approach to Ambiguity in Beethoven’s String Quartet Op. 59, No. 3
Kevin Purrone, The Septuor à Cordes of Darius Milhaud
Volume 3, Number 2 (1980)
Kate Covington, Visual Perception vs. Aural Perception: A Look at Mode de valeurs et d’intensites
E. Michael Harrington, Density in Musical Context
Daniel Kramlich, A Consideration of Two Views on the Nature of Music
James Underwood, Time and Activity in Webern’s Opus 10: A Composer’s Viewpoint
Allen Winold, Musical Bongards
Robert Campbelle and Sharon Boylan, Annotated Biboliography: Theses and Dissertations at Indiana University (1977–1979)
Volume 3, Number 1 (1979)
Robert Hatten, Beyond Schenkerism: The Argument and the Alternative
David Schrader, Francisco Correa de Arauxo’s Facultad Organica
Gene Anderson, La Gamme du Si: A Chapter in the History of Solmisation
Robert Campbelle and Laura Snyder, Annotated Bibliography: Theses and Dissertations at Indiana University (1969)
[Back]
Volume 2, Number 3 (1979)
Joseph Kraus and Laura Mattern Snyder, Annotated Bibliography: Theses and Dissertations from Indiana University (Part I: 1975–76, Part II: 1971)
Todd Tucker, Jackson Pollock and John Cage
Allen Winold, Competence and Performance in Language and Music
Margery Enix, A Reassessment of Elektra by Strauss
Mary Wennerstrom, Theory Texts 1978–1979: A Survey
Laura Snyder, An Annotated Bibliography: Theses and Dissertations from Indiana University (1979)
Volume 2, Number 2 (1979)
David Neumeyer, Liszt’s Sonetto 104 del Petrarca: The Romantic Spirit and Voiceleading
Robert Rollin, The Genesis of the Technique of Canonic Sound Mass in Ligeti’s Lontano
James Skoog, Pedagogy: Two Riddles
Volume 2, Number 1 (1978)
Robert Hatten, Towards a Unified Theory: The Music of Machaut
Richard Delone, Machaut and the Ballade Style
Kate Covington, A Theory of Dissonance in the Fourteenth Century
Sister Laurette Bellamy, Some Comments on the Lais of Guillaume de Machaut
James Skoog, Review of George Perle, Twelve-Tone Tonality
Joseph Kraus and Laura Mattern Snyder, An Annotated Bibliography: Theses and Dissertations from Indiana University (1972)
[Back]
Volume 1, Number 3 (1978)
Robert Gauldin, A Labyrinth of Fifths: The Last Movement of Beethoven’s Eighth Symphony
Ann Gebhur, Structure and Coherence in “The Diary” From Dominick Argento’s Cycle, From The Diary of Virginia Woolf
Robert Hatten, A Critical Re-examination of Schenker’s Thought
J. Kent Williams, Rhythmic Structure in Selected Works of Binchois and Dufay
David Canfield, David Canfield Interviews John Eaton on His New Opera Danton and Robespierre
Volume 1, Number 2 (1977)
James Skoog, Response to a Critique [of Randall Dipert’s review in Vol. 1, No. 1]
Robert Hatten, Commentary
Gary Wittlich, New Computer Tools for Music Research
Margery Enix, Formal Expansion Through Fusion of Major and Minor: A Study of Tonal Structure in Tristan und Isolde, Act I
John Snyder, Evolution and Notation of Glissando in String Music
Randall Dipert Randall and Roy Whelden, Set-Theoretical Music Analysis II
Laura Mattern, An Anotated Bibliography of Theses and Dissertations from Indiana University (1973–1974)
Volume 1, Number 1 (1977)
Randall Dipert: Allen Forte’s The Structure of Atonal Music, Critique of Part I
Mary Wennerstrom: Pitch Relationships in Berg’s Songs, Op. 2
Michael Burdick: Some Nineteenth-Century Precedents of the Stufe Concept
Laura Mattern: An Annotated Bibliography of Theses and Dissertations from Indiana University (1975–76)
Robert Hatten: Review of Charles Rosen, The Classical Style
Roger Knox: Review of Joan Peyser, Boulez
Robert Hatten: An Evening with Lukas Foss
[Back]