A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Author | Type | Title | Volume |
Agmon, Eytan | Article | The Descending Fourth and its Symbolic Significance in Don Giovanni | 4.2 |
Agmon, Eytan | Article | A Moment of Suspense in the SecondFinale of Don Giovanni | 16 |
Almén, Byron | Article | Modes of Analysis | 31 |
Alpern, Wayne | Article | Aggregation, Assassination, and an “Act of God”: The Impact of the Murder of Archduke Ferdinand Upon Webern’s Op. 7 No. 3 | 21 |
Anson-Cartwright, Mark | Article | Concepts of Closure in Tonal Music: A Critical Study | 32 |
Antokoletz, Elliott | Analytical Essay | From Bartók to Perle: A New Concept of Tonality and Means of Progressions as Shown in No. 5 of George Perle’s Thirteen Dickinson Songs | 33 |
Arndt, Matthew | Article | Schoenberg on Problems; or, Why the Six-Three Chord is Dissonant | 37–38 |
Arndt, Matthew | Article | Toward a Renovation of Motivic Analysis: Corrupt Organicism in Berg’s Piano Sonata, Op. 1 | 42 |
Auerbach, Brent | Article | Tchaikovsky’s Triumphant Repetitions: Block Composition as a Key to Dynamic Form in the Symphonies Nos. 2 and 3 | 37–38 |
Auner, Joseph | Review | William Thomson, Schoenberg’s Error (Philadelphia: U. Pennsylvania Press, 1991) | 17 |
Baker, Ben | Article | A Cyclic Approach to Harmony in Robert Glasper’s Music | 44 |
Baker, James M. | Report | New England Conference of Music Theorists | 11 |
Baker, Michael | Article | A Case for Interruption at Scale Degree ^3 | 35 |
Bakulina, Ellen | Article | The Loosening of Closure: A Form-Functional Study of Sergei Rachmaninoff’s Solo Songs | 45 |
Beach, David | Analysis | Chopin’s Mazurka, op. 17, no. 4 | 2.3 |
Beardslee, Bethany | Personal Statement | George Perle | 33 |
Belcher, Owen | Article | Caroline Shaw’s Musical Portraits | 45 |
Benjamin, William | Article | Schenker’s Theory and Virgil’s Construction of the World | 24 |
Bernard, Jonathan and William Rothstein | Review | Three Essays from Music Theory: Special Topics, edited by Richmond Browne (New York: Academic Press, 1981) | 8.1 |
Bernstein, David and Christopher Hatch | Review | Aspects of Schenkerian Theory, edited by David Beach (New Haven: Yale U. Press, 1983) | 9 |
Bernstein, Leonard | Personal Statement | George Perle | 33 |
Bernstein, Zachary | Report | Hearing, Studying, and Remembering Milton Babbitt at the CUNY Graduate Center | 37–38 |
Bernstein, Zachary | Article | Is the Twelve-Tone System Inherently Organicist? Some Reflections on Conflicting Perspectives, with Notes on Analysis | 42 |
Berry, David Carson | Article | Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of Irving Berlin | 26 |
Berry, David Carson | Article | Schenkerian Analysis and Anglo-American Music Criticism in the 1930s: A Quest for “Objectivity” and a Path Toward Disciplinary Music Theory | 41 |
Berry, Michael | Essay | Make Sure Your Own Mask Is Secure before Assisting Others: Contingent Faculty as Care Worker | 46 |
Biamonte, Nicole | Review | Jeremy Day-O’Connell, Pentatonicism from the Eighteenth Century to Debussy (Rochester, NY: University of Rochester Press, 2007) | 37–38 |
Birson, Adem Merter | Essay | Stifling Sameness: Hardships of Immigration, Parenthood, and Being Non-White Contingent Faculty | 46 |
Blaustein, Susan | Review | Charles Rosen, Sonata Forms (New York: W. W. Norton, 1980) | 7.2 |
Bolcom, William | Personal Statement | George Perle | 33 |
Bohlen, Donald | Letter | A Letter from the Editor | 1 |
Botstein, Leon | Personal Statement | George Perle | 33 |
Bouliane, Denys | (Re)Transitions | Ligeti’s Six Études pour Piano: The Fine Art of Composing Using Cultural Referents, trans. Anouk Lang: Introduction and English text | 31 |
Boyd, Clifton | Article | Race, Retention, and Identity-Based Service in Music Theory | 46 |
Braunschweig, Karl | Review Essay | Joel Lester, Bach’s Works for Solo Violin: Style, Structure, Performance (New York and Oxford: Oxford U. Press, 1999) and Laurence Dreyfus, Bach and the Patterns of Invention (Cambridge, Mass. and London: Harvard U. Press, 1996) | 26 |
Braunschweig, Karl | Article | Expanded Dissonance in the Music of J. S. Bach | 28 |
Braus, Ira | Article | Poetic-Musical Rhetoric in Brahms’ Auf dem Kirchhof, Op. 105, No. 4 | 13 |
Braverman, Saul | News | Obituary: Justine Shircliff | 5.2 |
Broder, Nathan | Article-Review | Charting Musical Intuition: Lerdahl and Jackendoff’s Cognitive Theory of Tonal Music | 9 |
Broder, Nathan and Arthur Waldeck | Article | Musical Analysis as Expounded by Heinrich Schenker | 10 |
Brooks, Richard | Review | Gerald Warfield, Layer Analysis: A Primer of Elementary Tonal A Structures (New York: David McKay Co., Inc., 1976) | 2.2 |
Brooks, Richard | News | New Books and Periodicals | 3.2 |
Brooks, Richard | News | New Books and Periodicals | 4.2 |
Brower, Candace | Article | Pathway, Blockage, and Containment in Density 21.5 | 22–23 |
Brown, Matthew | Review | Review of John Rothgeb, Beethoven: The Last Piano Sonatas: Edited, with Analytic Commentary, by Heinrich Schenker | 41 |
Brown, William Theophilus | Personal Statement | George Perle | 33 |
Browne, Richmond | Report | First National Conference on Music Theory (reprint from the American Society of University Composers Newsletter, vol. 9, no. 2) | 2.2 |
Brumbeloe, Joseph | Article | Patterns and Performance Choices in Selected Perpetual-Motion Movements of J. S. Bach | 25 |
Burkhart, Charles | Article | How Rhythm Tells The Story in Là ci darem la mano | 16 |
Burstein, L. Poundie | Article | A New View of Tristan: Tonal Unity in the Prelude and Conclusion to Act | 8.1 |
Burstein, L. Poundie | Response | More on Tristan | 9 |
Burstein, L. Poundie | Review | The Book of The Musical Artwork: An Interpretation of the Musical Theories of Heinrich Schenker by Felix-Eberhard von Cube, trans., with afterword, by David Neumeyer, George R. Boyd, and Scott Harris (Lewiston/Queenston: The Edward Mellon Press, 1988) | 16 |
Burstein, L. Poundie | Article | Devil’s Castles and Schubert’s Strange Tonic Allusion | 27 |
Byros, Vasili | Article | Competing “Windows of Order”: The Dialectics of System-Construction and Withdrawal in Berg’s Sonata for Piano, Op. 1 | 33 |
Carpenter, Patricia | Analysis Symposium | A Problem in Organic Form: Schoenberg’s Tonal Body | 13 |
Carpenter, Patricia | Article | The Piano Music of Arnold Schoenberg | 30 |
Cadwallader, Allan | Article | Motivic Unity and Integration of Structural Levels in Brahm’s B Minor Intermezzo, Op. 119, No. 1 | 8.2 |
Cadwallader, Allan | Analysis Symposium | Echoes and Recollections: Brahms’s Op. 76, No. 6 | 13 |
Capuzzo, Guy | Article | Lewin’s Q Operations in Carter’s Scrivo in Vento | 27 |
Callahan, Michael | Analytical Essay | Mapping Sum-and-Difference Space: Parallels Between Perle and Lewin | 33 |
Carey, Norman | Article | An Improbably Intertwining: An Analysis of Schumann’s Kreisleriana I and II, with Recommendations for Piano Practice | 32 |
Carter, Elliott | Personal Statement | 33 | |
Cherlin, Michael | Article-Review | Why We Got into Analysis and What to Get Out of It | 11 |
Cherlin, Michael | Article | Hauptmann and Schenker: Two Adaptations of Hegelian Dialectic | 13 |
Christensen, Thomas | Article-Review | Pieter C. van den Toorn, The Music of Igor Stravinsky (New Haven: Yale University Press, 1983) | 8.2 |
Cinnamon, Howard | Article | Tonal Elements and Unfolding Nontriadic Harmonies in the Second of Schoenberg’s Drei Klavierstücke, Opus 11 | 18 |
Code, David Løberg | Article | [not equal]: Feminism, Tuning, and Theory Pedagogy | 20 |
Collier, Michael | Article | The Rondo Movements of Beethoven’s Concerto No. 3 in C Minor, Op. 37 and Brahms’s Concerto No. 1 in D Minor, Op. 15: A Comparative Analysis | 3.1 |
Conner, Ted | Article | Cherubino Rediscovered: Text, Music, and Narrative in Mozart’s Trio | 25 |
Cook, Nicholas | Article | Heinrich Schenker, Modernist: Detail, Difference, and Analysis | 24 |
Cory, Eleanor | Review | George Perle: Twelve-Tone Tonality (Berkeley: U. California Press, 1977) | 4.1 |
Cory, Eleanor | Review | Milton Babbitt, Words about Music. Edited Joseph N. Straus and Stephen Demski (Madison: U. Wisconsin Press, 1987) | 12 |
Covach, John R. | Article | Schoenberg and the Occult: Some Reflections on the Musical Idea | 17 |
Covach, John R. | Article | Schoenberg’s (Analytical) Gaze: Musical Time, The Organic Ideal, and Analytical Perspectivism | 42 |
Cross, Charlotte M. | (Re)Transitions | Two Undated Manuscripts from Schoenberg’s Gedanke Project: Commentary, Editorial and Translation Policies, Transcriptions and Translations | 32 |
Cutler, Timothy | Article | From Motive to Structure: Chromatic Cohesiveness in the First Movement of Beethoven’s Violin Concerto, Op. 61 | 39 |
Dale, Frank Knight | Article | Heinrich Schenker and Musical Form (1943) | 10 |
Davidian, Teresa | Article | Intervallic Oricess and Autonomy in the First Movement of Debussy’s Sonata for Cello and Piano | 14-15 |
Demski, Stephen | Article-Review | The Context of Composition: The Reception of Robert Morris’s Theory of Compositional Design | 14-15 |
DeVoto, Mark and George Perle | Analytical Essay | George Perle on the Subtleties of Inversional Complementarily: A Note by Mark DeVoto and George Perle | 33 |
Dibner, Steven | Personal Statement | 33 | |
Dineen, Murray | Report | Symposium on Music Theory in Canada Today | 11 |
Dineen, Murray | Article | From the Gerald Strang Bequest at the Arnold Schoenberg Institute: Documents of a Teaching | 18 |
Dineen, Murray | Article | The Tonal Problem as a Method of Analysis. In memoriam Patricia Carpenter | 30 |
Dodson, Alan | (Re)Transitions | Oswald Jonas: Heinrich Schenker and Great Performers, Translated with an Introduction | 28 |
Dragone, Luann R. | Review | Sightsinging Complete, 5th ed by Bruce Benward and Maureen Carr (Dubuque, Iowa: Wm. C. Brown, 1991); Foundations of Music and Musicianship by David Damschroeder (New York: Schirmer, 1992) | 19 |
Duguay, Michèle | Article | Physical Balance, Gravity, and Tension in Contemporary Piano Works | 44 |
Dutilleux, Henri | Personal Statement | For George Perle | 33 |
Escot, Pozzi | Analysis | Webern’s opus 25, No. 1: Perception of Large-Scale Patterns | 4.1 |
Everett, Walter | Article | Voice Leading, Register, and Self-Discipline in Mozart’s Die Zauberflöte | 16 |
Everett, Walter | Review-Essay | An Update on the Current State of Schenkerian Research: Volumes Edited by Hedi Siegel and by Allen Cadwallader | 19 |
Ewell, Philip | Review | Michiel Schuijer, Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (U. Rochester Press, 2008) | 37–38 |
Ferri, John | Review | Carl Schachter and Hedi Siegel, ed. Schenker Studies 2 (Cambridge: Cambridge U. Press, 1999) | 27 |
Fieldman, Hali | Review | Rachel Lumsden and Jeffrey Swinkin, eds. The Norton Guide to Teaching Music Theory (New York: W.W. Norton, 2018) | 43 |
Fisher, George | Review | Michael L. Friedmann, Ear Training for Twentieth-Century Music (New Haven: Yale University Press, 1990 | 14–15 |
Fisher, George | Article | Devil’s Castles and Schubert’s Strange Tonic Allusions | 27 |
Foley, Gretchen | Article | Sum Squares and Pentagrams: Two New Tools for Perlean Analysis | 32 |
Foley, Gretchen and Susan Levine | Analytical Essay | Choreographing Perle: An Inter-Disciplinary interpretation of Perle’s String Quartet No. 5 | 33 |
Franck, Peter | Article | Reaching Over and Its Interaction with Invertible counterpoint at the Tenth | 36 |
Friedmann, Michael | Article | Schoenberg’s Waltz, Op. 23, No. 5: Multiple Mappings in Form and Row | 18 |
Fromon, Michèle | Article-Review | Cadential Structure in the Mid-Sixteenth Century: The Analytic Approaches of Bernhard Meier and Karol Berger Compared | 16 |
Gable, David | Review | John Rahn, Basic Atonal Theory (New York: Longman, 1980) | 6.1 |
Gagné, David | Review | David Beach, Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study, (Rochester, NY: U. Rochester Press,2005) | 32 |
Garrison, Rodney | Article | Unrolling Schenker’s Ideas of Musical “Unfolding” | 37–38 |
Gauldin, Robert | Article | A Pedagogical Introduction to Set Theory | 3.2 |
Gauldin, Robert | Article | The Composition of Late Renaissance Stretto Canons | 21 |
Gauldin, Robert | Article | “Quaerendo Invenietis”: Patrick Gowers’s Sherlockian Puzzle | 39 |
Givan, Benjamin | Article | Swing Improvisation: A Schenkerian Perspective | 35 |
Goldenberg, Yosef | Article | “Negative Texture” and the Prolongation of Seventh Chords | 29 |
Goldman, David P. | Article | A New Look at Zarlino’s Theory and Its Effect on His Counterpoint Doctrine | 16 |
Gollin, Edward | Article | Transformational Techniques in Bartók’s Etude Op. 18, No. 2, pp. 13–30 | 20 |
Grave, Floyd K. | Review | R. Larry Todd, Mendelssohn’s Musical Education: A Study and Edition of his Exercises in Composition (Cambridge: Cambridge U. Press, 1983) | 8.2 |
Graybill, Roger | Article | Intervallic Transformation and Closure in the Music of Stravinsky | 14-15 |
Greer, Taylor | Article-Review | Music Theory: Anatomy of a Discipline. Nicholas Cook, A Guide to Musical Analysis (New York: George Braziller. 1987); Jonathan Dunsby and Arnold Whittall, Music Analysis in Theory and Practice New Haven: Yale U. Press, 1988); Ian Bent, Analysis (New York: W. W. Norton & Co., 1987) | 1 3 |
Greer, Taylor | Article | Modal Sensibility in Gabriel Fauré’s Harmonic Language | 16 |
Grissom-Broughton, Paula | Essay | (Re)Visioning Race and Gender in Music Theory and Composition: The Role of Music Educators | 46 |
Grosman, Alan | Article | Canonic Patterns: Reframing the Puzzle | 34 |
Gross, Austin | Review | Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014) | 40 |
Guerrero, Jeannie | Article | Multidimensional Counterpoint and Social Subversion in Luigi Nono’s Choral Works | 28 |
Gustin, Daniel R. | Personal Statement | 33 | |
Hall, Patricia | Analytical Essay | Berg’s Büchner Text and the Genesis of Form | 33 |
Hall, Patricia | Essay | Navigating Academia, Single Parenthood, and First-Gen Experiences | 46 |
Hannaford, Marc E. | Article | Fugitive Music Theory and George Russell’s Theory of Tonal Gravity | 46 |
Hanninen, Dora A. | Article | The Variety of Order Relations in Webern’s Music: Studies of Passages from the Quartet Op. 22 and the Variations Op. 30 | 20 |
Hanninen, Dora A. | Review-Essay | Andrew Mead, An Introduction to the Music of Milton Babbitt (Princeton: Princeton University Press, 1994) | 22-23 |
Hanson, John R. | News | A Letter from the President | 1 |
Hanson, John R. | Article | Ear Training: A Method for Obtaining Specific Information from Contextual Dictation | 2.2 |
Hanson, John R. | Aural Perception | Questionnaire: Sight-Singing Procedures | 3.1 |
Hanson, John R. | Article | Pedagogy of Sixteenth-Century Counterpoint: Selected Examples with Commentary | 4.1 |
Hanson, John R. | Review | Edward Aldwell and Carl Schachter, Harmony and Voice Leading, Workbook, Volume 1(New York” Harcourt Brace Jovanovich, 1978) | 5.2 |
Hanson, John R. | Article | The Chorale Prelude: Logic Pedagogic? | 6.1 |
Hanson, John R. | Article | Enumeration of Dissonance in the Five-Voice Masses of Palestrina | 9 |
Harcus, Aaron | Review | Mariusz Kozak, Enacting Musical Time: The Bodily Experience of New Music (New York: Oxford University Press, 2020) | 45 |
Hardman, Kristi | Essay | Review of Hungry Listening: Resonant Theory for Indigenous Sound Studies, by Dylan Robinson | 46 |
Harrison, Daniel | Review | First Thoughts about the Second Practice.The Second Practice of Nineteenth-Century Tonality, Edited by William Kinderman and Harald Krebs (Lincoln: University of Nebraska Press, 1996) | 22-23 |
Hartley, Walter S. | Review | A Reply to a Review of Layer Analysis | 2.3 |
Hartt, Jared | Article | Tonal and Structural Implications of Isorhythmic Design in Guillaume de Machaut’s Tenors | 35 |
Hatch, Christopher and David Bernstein | Review | Aspects of Schenkerian Theory edited by David Beach (New Haven: Yale U. Press, 1983) | 9 |
Hatch, Christopher | Review | Richard Wagner, Prelude and Transfiguration from Tristan and Isolde (Norton Critical Score), edited by Robert Bailey | 11 |
Hatten, Robert S. | Article | Interpreting Expression: the Adagio from the Hammerklavier | 19 |
Hays, William L. | Analysis Symposium | On Voice-Leading and Syntax in the “Cadenza Finala” from Stravinsky’s Sérénade en la | 12 |
Hayes, Eileen M. | Foreword | “Where There Is Institutional Will, There Is A Way”: Diversity and Faculty of Color in Music | 46 |
Heetderks, David | Article | From uncanny to marvelous: Poulenc’s hexatonic pole | 40 |
Headlam, David | Review | David Epstein, Shaping Time: Music, The Brain, and Performance (New York: Schirmer Books, 1995) | 20 |
Headlam, David | Introduction | 33 | |
Heneghan, Áine | Article | Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy | 43 |
Hermann, Richard | Analysis Symposium | Thoughts on Voice-Leading and Set Theory in “Neo-Tonal” Works: the “Hymne” from Stravinsky’s Sérénade en la | 12 |
Hisama, Ellie M. and Rachel Lumsden | Guest Editors’ Note | Diversifying Music Theory: From Theory to Practice | 46 |
Holland, Mark | Article | Schubert’s Moment Musical in F Minor, Op, 94, No. 3: An Analysis | 7.2 |
Hooper, Jason | Article | Heinrich Schenker’s Early Conception of Form | 36 |
Hough, Philip | Article | The Tonal Structure of Bartók’s Autumn Tears, Opus 16, No. 1 | 3.2 |
Hubbs, Nadien | Article | Schenker’s Organicism | 16 |
Huget, Joan | Article | Schenkerian Interruption and Beethoven’s Sonata-Rondo Form | 40 |
Hunt, Graham G. | Review | James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata,(New York: Oxford U. Press, 2006) | 32 |
Hutchinson, Kyle | Article | Chasing a Chimera: Challenging the Myths of Augmented-Sixth Chords | 45 |
Hutchinson, Kyle | Article | From a Certain Point of View: Learning to Hear Consonance as Dissonance in Late Nineteenth-Century Tonality | 45 |
Inman, Samantha | Article | The Inner and Outer Form of Haydn’s Monothematic Sonatas | 41 |
Jackson, Timothy L. | Article | Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception | 14-15 |
Jackson, Timothy L. | Review | Alexander Ringer, Arnold Schoenberg, the Composer as Jew (Oxford: The Clarendon Press, 1990) | 18 |
Jakubowski, Joseph R. | Review | Daphne Leong, Performing Knowledge: Twentieth-Century Music in Analysis and Performance (New York: Oxford University Press, 2019) | 45 |
Jarman, Douglas | Personal Statement | 33 | |
Jenkins, J. Daniel | Article | Schoenberg’s Concept of ruhende Bewegung | 34 |
Johnson, Mark L. | Article | Embodied Musical Meaning | 22-23 |
Jonas, Oswald | (Re)Transitions | Heinrich Schenker and Great Performers. Translated with an Introduction by Alan Dodson | 28 |
Julien, Patricia | Article | “Sakeena’s Vision”: The Trifocal Organization of Harmonic Relations in One of Wayne Shorter’s Early Composition | 34 |
Kaminsky, Peter | Article | How to Do Things With Words and Music: Towards an Analysis of Selected Ensembles in Mozart’s Don Giovanni | 21 |
Kaplan, Richard A. | Article | Tonality as Mannerism: Structure and Syntax in Richard Strauss’s Orchestral Song “Frühling” | 19 |
Kamien, Roger | Article | The Menuetto from Mozart’s Eine Kleine Nachtmusik, K. 525: An Analytical Study | 7.1 |
Karchin, Louis | Article | Pitch Centricity as an Organizing Principle in Speculum Speculi of Charles Wuorinen | 14–15 |
Katz, Adele | Article | Heinrich
Schenker’s Method of Analysis (1935) |
10 |
Keathley, Elizabeth L. | Article | Schoenberg’s Op. 16/IV: An Examination of the Sketches | 17 |
Kielian-Gilbert, Marianne | Analysis Symposium | Patterns of Repetition in the “Hymne” of Stravinsky’s Sérénade en la: The Rhythmic Modeling of Musical Ideas | 12 |
Kim, Catrina | Article | Issues in Teaching Music Theory Ethically: Reframing University Directives of Antiracist and Decolonized Curricula | 46 |
Kirkegaard-Larsen, Thomas Jul | Article | Transformational Attitudes in Scandinavian Function Theories | 43 |
Kleppinger, Stanley V. | Article | Reconsidering Pitch Centricity | 36 |
Koivisto, Tiina | Article | Musical Continuities in Schoenberg’s Variations for Orchestra Op. 30, | 20 |
Koivisto, Tiina | Article | Multilayered Rhythms, Meter, and notated Meter: Temporal Processes in Elliott Carter’s Second String Quartet | 34 |
Koslovsky, John | Article | Tonal Prolongations in Bartók’s Hungarian Folktunes for Violin and Piano | 37–38 |
Kosovsky, Robert | Article | Ernst Oster, On the Meaning of the Long Appoggiatura, translation | 7.1 |
Kraus, Joseph | Review | Charles Fisk, Returning Cycles: Contexts for the Interpretation of Schubert’s Impromptus and Last Sonatas (Berkeley, Los Angeles and London: U. of California Press, 2001) | 27 |
Kraus, Joseph | Review | Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory (Oxford, 2016) | 42 |
Kresky, Jeffrey | Article | Some Unusual Tonic Six-Fours | 32 |
Krumbholz, Gerald A. | Review | A. B. Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method. Edited and translated by Scott Burnham (Cambridge: Cambridge University Press, 1997) | 24 |
Kurth, Richard | Review-Essay | Schoenberg’s Notes on “Coherence”: Theory or Prolegomena to the Twelve-Tone Method? | 20 |
Kurth, Richard | Article | Dis-Regarding Schoenberg’s Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twelve-Tone Music | 21 |
Laitz, Steven | Article | The Submediant Complex: Its Musical and Poetic Roles in Schubert’s Songs | 21 |
Lambert, J. Philip | Review | Joel Lester, Analytical Approaches to Twentieth-Century Music (New York: W. W. Norton & Co., 1989 | 14-15 |
Lang, Anouk | (Re)Transitions | Ligeti’s Six Études pour Piano: The Fine Art of Composing Using Cultural Referents, trans. Anouk Lang. Introduction, English translation. | 31 |
Lansky, Paul | Personal Statement | Lessons with George Perle | 33 |
Larson, Steve | Article | Musical Forces and Melodic Patterns | 22-23 |
Laskowski, Larry | Article | Context and Voice Leading: Influences on Thematic and Tonal Structure | 4.1 |
Laskowski, Larry | Response | Symmetrical Design and Its Relationship to Voice Leading | 5.1 |
Leong, Daphne | Article | Metric Conflict in the First Movement of Bartók’s Sonata for Two Pianos and Percussion | 24 |
Leong, Daphne | Article | Generalizing Syncopation: Contour, Duration, and Weight | 36 |
Levin, Susan and Gretchen Foley | Article | Choreographing Perle: An Inter-Disciplinary interpretation of Perle’s String Quartet No. 5 | 33 |
Lewin, David | Communication | On Extended Z-Triples | 7.1 |
Lewin, David | Communication | An Example of Serial Technique in Early Webern | 7.1 |
Lewin, Harold F. | Article | Some Basic Concepts for Determining the Combinational Properties of Twelve-Tone Set Segments, Part I | 3.1 |
Lewin, Harold F. | Article | Schoenberg’s Pierrot Lunaire: The Rhythmic Relation between Sprechstimme and Instrumental Writing in “Eine blasse Wäscherin,” | 5.1 |
Lewin, Harold F. | Analysis | A Graphic Analysis of Béla Bartók’s “Major Seconds Broken and Together,” Mikrokosmos, Vol. V, No. 132 | 6.2 |
Lochhead, Judy | Article | Musical Reference: A Source of Meaning in the First Movement of the “Eroica” | 5.2 |
Lochhead, Judy | Article | Phenomenological Approaches to the Analysis of Music | 11 |
Lochhead, Judy | Article | The Metaphor of Musical Motion: Is There An Alternative | 14–15 |
Lochhead, Judy and George Fisher | Article | Analyzing from the Body | 27 |
Lofthouse, Charity | Article | Dialogues and Dialectics: Rotation and Sonata Form in Shostakovich’s Symphonies | 41 |
Luong, Vivian and Taylor Myers | Article | Reframing Musical Genius: Toward a Queer, Intersectional Approach | 46 |
MacKay, James S | Article | Musical Proportion and Formal Function in Classical Sonata Form: Three Case Studies From Late Haydn and Early Beethoven | 29 |
Maisel, Arthur | Article | The Fourth of July by Charles Ives: Mixed Harmonic Criteria in a Twentieth-Century Classic | 6.1 |
Maisel, Arthur | Response | Tristan: A Different Perspective | 8.2 |
Maisel, Arthur and Hedi Siegel | Article | Heinrich Schenker: Graphic Analysis of Brahm’s Auf dem Kirchhofe, Op. 105, No. 4 | 13 |
Su Yin Mak | Article | Felix Salzer’s “Sonata Form in Franz Schubert” (1928): An English Translation and Edition with Critical Commentary | 40 |
Marlowe, Sarah | Article | Tonal Answers and Their Role Within Fugal Expositions: Two Revised Paradigms | 39 |
Marvin, Elizabeth West and Robert Wason | Article | On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue | 20 |
Marvin, Elizabeth West | Review | Deborah Stein, ed., Engaging Music: Essays in Music Analysis, (New York: Oxford U. Press, 2005) | 31 |
Marvin, William | Report | The Fifth International Schenker Symposium, March 15–17, 2013 | 37–38 |
Martin, Henry | Article | Expanding Jazz Tonality: John Coltrane’s Compositions | 37–38 |
Martin, Louis | Response | Solmization: Getting the Facts Straight | 3.2 |
Martin, Nathan John | Review | Pieter Bergé, ed., Beethoven’s “Tempest” Sonata: Perspectives of Analysis and Performance, Leuven Studies in Musicology, vol. 2 (Leuven: Peeters, 2009) | 35 |
Martins, José António | Article | Stravinsky’s Discontinuities, Harmonic Practice, and the Guidonian Space in the “Hymne” from Serenade in A | 31 |
Maxile Jr., Horace J. | Essay | Ponderings and Perspectives (Around and About the Field) | 46 |
McConville, Brendan | Article | A”Simple Composition” of Charles Wuorinen: Isomorphism, Self-Similarity, and Nesting in Cello Variations | 36 |
McKee, Eric | Article | Alternative Meanings in the First Movement of Beethoven’s String Quartet in E-flat Major, Op. 127: Emergence and Growth from Stagnation and Decline | 24 |
McKee, Eric | Article | Extended Anacruses in Mozart’s Instrumental Music | 29 |
McKee, Eric | Article | On the Death of Mahler: Schoenberg’s op. 19, no. 6 | 30 |
McKinney, Bruce | Article | Relevance and Species Counterpoint: A Traditionalist Viewpoint | 2.1 |
McKinney, Bruce | Article | Further Reflections on Autumn Tears | 4.1 |
McKinney, Bruce | Response | The Case Against Tonal Unity in Tristan | 8.2 |
McClelland, Ryan | Article | Brahms’s Capriccio in C Major, Op. 76, No. 8: Ambiguity, Conflict, Musical Meaning, and Performance | 29 |
McClelland, Ryan | Review | Peter Smith, Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet (Bloomington: Indiana U. Press, 2005) | 31 |
McCreless, Patrick, Robert Pascall, and Phyllis Weliver | Review | Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003) | 29 |
Mead, Andrew | Article | “The Key to the Treasure…” | 18 |
Mead, Andrew | Article | Shedding Scales: Understanding Intervals in Different Musical Contexts | 22–23 |
Mead, Andrew | Review | Jonathan W. Bernard, ed. Elliott Carter: Collected Essays and Lectures 19371995 (Rochester: U. Rochester Press, 1997) | 27 |
Metz, Paul | Article | The Clock Diagram: An Effective Visual Tool in Set Theory Pedagogy | 14-15 |
Miller, Patrick | Report | Symposium on the Life and Music of Heinrich Schenker | 11 |
Minturn, Neil | Review | Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, edited by Elizabeth West Marvin and Richard Hermann (Rochester, NY: U. Rochester Press, 1995 | 21 |
Mitchell, William J. | Article | Heinrich Schenker’s Approach to Detail (1946) | 10 |
Miyake, Jan | Article | Readdressing Haydn’s Formal Models: Common Paths Through Expositions | 34 |
Morris, Robert D. | Review | Charles Wuorinen: Simple Composition (New York: Schirmer Books, 1979) | 5.1 |
Morris, Robert D. | Article | Modes of Coherence and Continuity in Schoenberg’s Piano Piece, Op. 23, No. 1 | 17 |
Morris, Robert D. | Article | Some Musical Applications of Minimal Graph Cycles | 35 |
Moseley, Brian | Article | Sense, Structure, and Webern’s Mysterious Modernism | 42 |
Multer, Walt | Article | Solmization and Musical Perception | 3.1 |
Murphy, Scott | Article | S as a Latter-Day H: Mortally Liminal SLIDEs in Recent Popular Film and Television | 44 |
Mutch, Caleb | Article | The Formal Function of Fortspinnung | 43 |
Neff, Severine | Article | Aspects of Grundgestalt in Schoenberg’s First String Quartet, op. 7 | 9 |
Ng, Samuel | Article | The Hemiolic Cycle and Metric Dissonance in the First Movement of Brahms’s Cello Sonata in F Major, Op. 99 | 31 |
Nuss, Steven | Article | Western Instruments, Japanese Music: Issues of Texture and Harmony in Minoru Miki’s Jo no kyoku | 21 |
Oster, Ernst | Article | On the Meaning of the Long Appoggiatura, trans. Robert Kosovsky | 7.1 |
Ostrander, Arthur | Review | Charles Walton, Basic Forms in Music (New York: Alfred, 1974) | 1 |
Pace, Cynthia | Article | Accent on Form-Against-Form: Ruth Crawford’s Piano Study in Mixed Accents | 20 |
Parkhurst, Bryan | Article | Formal Arguments and Symbolic Gestures: Thoughts on Langer and Adorno, with a Postscript on Marxism | 42 |
Parsons, Laurel | Article | Time Management with “Twelve-Tone Lizzie”: Dramatic Functions of Meter in a Scene from Elisabeth Lutyens’s Music Drama The Numbered | 30 |
Robert Pascall, Phyllis Weliver, and Patrick McCreless | Review | Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003) | 29 |
Pastille, William | Article | Music and Life: Some Lessons | 24 |
Pau, Andrew | Article | Plagal Systems in the Songs of Fauré and Duparc | 41 |
Payne, Dorothy | Article | Aural Apprehension: Harmony | 2.3 |
Peles, Stephen | Article | Continuity, Reference, and Implication: Remarks on Schoenberg’s Proverbial “Difficulty” | 17 |
Perle, George and Mark DeVoto | Article | George Perle on the Subtleties of Inversional Complementarily: A Note by Mark DeVoto and George Perle | 33 |
Perle, George | Finale | Improvisation | 33 |
Peterson, Keith | Review | Leo Kraft, Gradus: An Integrated Approach to Harmony, Counterpoint, and Analysis (New York: W.W. Norton, 1976) | 2.3 |
Petty, Wayne | Article | Cyclic Integration in Haydn’s E-flat Piano Sonata Hob. XVI:38 | 19 |
Pfau, Marianne Richert | Article | The Potential and the Actual: Process Philosophy and Arnold Schoenberg’s Violin Concerto, Op. 3 | 14–15 |
Pieslak, Jonathan R. | Article | Conflicting Analytical Approaches to Late Nineteenth- and Early Twentieth-Century Tonal Music: An Archaeological Examination | 31 |
Pitt, David | Personal Statement | 33 | |
Plettner, Arthur | Article | Heinrich Schenker’s Contribution to Theory (1936 | 10 |
Porter, Charles | Article | Interval Cycles in Alban Berg’s String Quartet Opus 3 | 14–15 |
Porter, Charles | Article | Interval Cycles and Unisons in George Perle’s Sonata a Quattro | 33 |
Reale, Haley Beverburg | Article | Making the Most of an Enharmonic Seam: Pitch Respellings, Semitone Relationships, and Mode Mixture in Fiona Apple’s “Extraordinary Machine” | 39 |
Reed, Alissandra | Essay | A Guide to Nonviolent Scholarship in Music Theory | 46 |
Remeš, Derek | Article | J.S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source | 42 |
Ricci, Adam | Article | A Classification Scheme for Harmonic Sequences | 27 |
Richards, Mark | Article | Viennese Classicism and the Sentence Idea: Broadening the Sentence Paradigm | 36 |
Rifkin, Deborah | Article | Making it Modern: Chromaticism and Phrase Structure in Twentieth-Century Tonal Music | 31 |
Ristow, Gregory | Review | Diane Urista, The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach (Oxford, 2016) | 42 |
Roeder, John | Analysis Symposium | Formal Functions of Hypermeter in the Dies Irae of Verdi’s Messa da Requiem | 19 |
Rosen, David | Analysis Symposium | Reprise as Resolution in Verdi’s Messa da Requiem | 19 |
Rosenhaus, Stephen L. | Personal Statement | An Introduction to George Perle | 33 |
Rothgeb, John | Review | Eugene Narmour, Beyond Schenkerism. The Need for Alternatives in Music Analysis (Chicago: U. Chicago Press, 1977) | 3.2 |
Rothgeb, John | Article | Chopin’s C-Minor Nocturne, op. 48, No. 1, First Part: Voice Leading and Motivic Content | 5.2 |
Rothgeb, John and Hedi Siegel, trans. | Article | Schenker, The Opening of Beethoven Sonata, Op. 111: A Letter | 8.1 |
Rothgeb, John | Article | Translating Texts on Music Theory: Heinrich Schenker’s Kontrapunkt | 9 |
Rothgeb, John | Review | Robert Snarrenberg, Schenker’s Interpretive Practice (Cambridge and New York: Cambridge U. Press, 1997) | 26 |
Rothgeb, John | Article | A Sentence Omitted from the English Translation of Schenker’s Harmonielehre | 28 |
Rothstein, William | Review | David Epstein, Beyond Orpheus: Studies in Musical Structure (New York: Oxford U. Press, 1987) | 6.2 |
Rothstein, William and Jonathan Bernard | Review | Three Essays from Music Theory: Special Topics, edited by Richmond Browne | 8.1 |
Salzer, Felix | Article | The Significance of the Ornaments in Carl Philipp Emanuel Bach’s Keyboard Works, trans. Mark Stevens | 11 |
Sallman, Mark | Article | Motives and the Motivic Paths of Anton Webern’s Six Bagatelles for String Quartet, Op. 9 | 28 |
Samarotto, Frank | Article | Determinism, Prediction, and Inevitability in Brahms’s Rhapsody in E-flat, op. 119, no. 4 | 32 |
Sánchez-Kisielewska, Olga | Article | Interactions between Topics and Schemata: The Case of the Sacred Romanesca | 41 |
Santa, Matthew | Article | Chordal Tone Centers in Stravinsky’s Neoclassic Music | 22–23 |
Santa, Matthew | Article | Nonatonic Systems and the Parsimonious Interpretation of DominantTonic Progressions | 28 |
Saslaw, Janna K. | Article | Life Forces: Conceptual Structures in Schenker’s Free Composition and Schoenberg’s The Musical Idea | 22–23 |
Saslaw, Janna K. | (Re)Transitions | Carl Friedrich Weitzmann, The Augmented Triad (1853), trans. Janna Saslaw Introduction with Dual language edition | 29 |
Saslaw, Janna K. and James P. Walsh | Article | Patricia Carpenter: A Commemoration | 30 |
Saylor, Bruce | Composition | Bells: In Honor of George Perle | 33 |
Saylor, Bruce and Edward Smaldone | Personal Statement | George Perle: The Man and the Musician | 33 |
Schachter, Carl | Article | The Adventures of an F#: Tonal Narration and Exhortation in Donna Anna’s First-Act Recitative and Aria | 16 |
Schachter, Carl | Article | Elephants, Crocodiles, and Beethoven: Schenker’s Politics and the Pedagogy of Schenkerian Analysis | 26 |
Schenker, Heinrich | Article | The Opening of Beethoven Sonata, Op. 111: A Letter, trans. John Rothgeb and Hedi Siegel | 8.1 |
Schober, David | Analytical Essay | Practical Methods for Identifying Perle Arrays | 33 |
Schoenberg, Arnold | Article | Two Fragments (ca. 1945): 1) Tonality, 2) Form | 17 |
Schoenberg, Arnold | Article | Four Fragments: The Concept of Form (after 1945), Tonality (after 1945), Warum neue Melodien schwer verständlich sind (1913), Der wichtigste Unterschied zwischen der alten Symphonie von Haydn bis Brahms und der neuen von Bruckner an (c. 1930) | 18 |
Schubert, Peter N. | Article | A Multidetermined Moment in Milton Babbitt’s “Three Cultivated Choruses” | 19 |
Segal, Christopher | Article | K-Nets, Inversion, and Gravitational Balance | 35 |
Shanahan, Daniel | Review | David Huron, Sweet Anticipation: Music and the Psychology of Expectation (Cambridge, MA: MIT Press, 2006); David Temperley, Music and Probability (Cambridge, MA: MIT Press, 2007) | 34 |
Shanahan, Daniel | Review | Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012) | 39 |
Shaw, Jennifer | Article | Rethinking Schoenberg’s Composition of Die Jacobsleiter | 18 |
Sherrill, Paul Moravitz | Review | Robert O. Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007 | 36 |
Shircliff, Justin | Article | Preparing the Undergraduate Musician to Teach Music Theory | 4.2 |
Siegel, Hedi and John Rothgeb, trans | Article | Heinrich Schenker, The Opening of Beethoven Sonata, Op. 111: A Letter | 8.1 |
Siegel, Hedi and Arthur Maisel | Article | Heinrich Schenker: Graphic Analysis of Brahm’s Auf dem Kirchhofe, Op. 105, No. 4 | 13 |
Siegel, Hedi | Article | The Making of Theory and Practice: Looking Back at Volumes 1–15 | 16 |
Simpson, Reynold | Article | New Sketches, Old Fragments, and Schoenberg’s Third String Quartet | 17 |
Slottow, Stephen | Article | Fifths and Semitones: A Ruggles Compositional Model and Its Unfolding | 25 |
Smaldone, Edward and Bruce Saylor | Personal Statement | George Perle: The Man and the Musician | 33 |
Smith, Peter H. | Article | Harmonies Heard from Afar: Tonal Pairing, Formal Design, and Cyclical Integration in Schumann’s A-minor Violin Sonata, op. 105 | 34 |
Smither, Sean R. | Article | Flexible Conceptual Maps: A Schema-Based Approach to the Analysis of Jazz Tunes | 44 |
Smyth, David | Article | The Music of Pierrot Lunaire: An Analytic Approach | 5.1 |
Snyder, John L. | Article | Schenker and the First Movement of Mozart’s Sonata, K. 545: An Uninterrupted Sonata-Form Movement | 16 |
Solomon, Jason W. | Article | Theorizing and Analyzing Spatial Gesture: A Case Study of Beethoven’s String Quartet no. 14 in C# Minor, op. 131 | 44 |
Soper, Kate | Article | Orchestration in the Chamber Works of Ruth Crawford Seeger | 35 |
Spencer, Patricia | Personal Statement | 33 | |
Stern, David | Article | Tonal Organization in Modal Polyphony | 6.2 |
Stern, David | Article | A Quotation from Josquin in Schenker’s Free Composition | 7.2 |
Stevens, Mark | Review | Alfred Blatter, Instrumentation/Orchestration (New York: Longman, 1980) | 6.2 |
Stevens, Mark, trans | Article | Felix Salzer, The Significance of the Ornaments in Carl Philipp Emanuel Bach’s Keyboard Works | 11 |
Stevenson, Ken | Article | “A Hit by Varèse”: Idiomatic Syntax in the PC Counterpoint of Three Songs by Chicago | 29 |
Straus, Joseph N. | Analysis Symposium | The Problem of Coherence in Stravinsky’s Sérénade en la | 12 |
Stoecker, Philip | Analytical Essay | “Composing with Symmetries”: Perle’s First Bagatelle for Solo Piano | 33 |
Stoecker, Philip | Review | Miguel A. Roig-Francolí, Understanding Post-Tonal Music and Anthology of Post-Tonal Music (New York: McGraw-Hill Higher Education, 2008) | 35 |
Stoecker, Philip | Review | Review of Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea | 41 |
Surace, Joseph A. | Response | “Transposable Do” for Teaching Aural Recognition of Diatonic Intervals | 3.2 |
Suurpää, Lauri | Article | Programmatic Aspects of the Second Sonata of Haydn’s Seven Last Words | 24 |
Swinkin, Jeffrey | Article | “Breakout” Themes in Classical Sonata Forms | 43 |
Tanenbaum, Faun S. | Article | The Sarabande of J.S. Bach’s Suite No. 2 for Unaccompanied Violoncello, BWV 1008: Analysis and Interpretation | 5.1 |
Taavola, Kristne | Article | Paul Dukas’ “Harmonic Variations” Some Thoughts on the Origin of His Harnonic Language | 40 |
Thym, Jurgen | Article | Text-Music Relationships in Schumann’s “Frühlingsfahrt” | 5.2 |
Traut, Donald G. | Article | Revisiting Stravinsky’s Concerto | 25 |
Traut, Donald G. | Article | Displacement and its Role in Schenkerian Theory | 26 |
Turci-Escobar, John | Article | Softening the Edges: Cadential Attentuation in Gesualdo’s Six Books of Madrigals | 32 |
Vilar-Payá, Luisa | Review | Silvina Milstein, Arnold Schoenberg: Notes, Sets, Forms (Cambridge: Cambridge U. Press, 1992) | 17 |
Wadsworth, Benjamin | Analytical Essay | A Model of Dialectical Process in Berg’s Opus 1 Piano Sonata | 33 |
Wagner, Naphtali | Article | No Crossing Branches? The Overlapping Technique in Schenkerian Analysis | 20 |
Waldeck, Arthur and Nathan Broder | Article | Musical Analysis as Expounded by Heinrich Schenker (1935) | 10 |
Walsh, James P. and Janna Saslaw | Article | Patricia Carpenter: A Commemoration | 30 |
Wason, Robert and Elizabeth West Marvin | Article | On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue | 20 |
Wason, Robert | Article | Tonality and Centricity in Bartók’s Second Bagatelle and “From the Island Bali” | 39 |
Watts, Catrin | Review | Frank Lehman, Hollywood Harmony: Musical Wonder and the Sound of Cinema (New York: Oxford University Press, 2018) | 44 |
Weinstein-Reiman, Michael | Article | “Inside” Voices and Coupling Dynamics: An Analysis of Clara Wieck-Schumann’s Notturno from Soirées Musicales, Op. 6 No. 2 | 42 |
Weisse, Hans | Article | The Music Teacher’s Dilemma (1935) | 10 |
Weitzmann, Carl Friedrich | (Re)Transitions | The Augmented Triad (1853), trans. Janna Saslaw Introduction and Dual language edition | 29 |
Weliver, Phyllis, Robert Pascall, and Patrick McCreless | Review Symposium | Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford U. Press, 2003) | 29 |
Wen, Eric | Article | Stripped of the G String: Bach’s Air from the Suite No. 3 in D | 26 |
Wick, Norman L. | Article | Transformations of Middleground Hypermeasures in Selected Mozart Keyboard Sonatas | 16 |
Wiens, Carl | Review | Joseph N. Straus, Stravinsky’s Late Music (Cambridge: Cambridge U. Press, 2001) | 29 |
Wilcox, Howard and Pozzi Escot | Article | A Musical Set Theory | 4.2 |
Willner, Channan | Article | Chromaticism and the Mediant in Four Late Haydn Works | 13 |
Wilson, Paul | Article | Function and Pitch Hierarchy in Movement II of Bartók’s Fifth Quartet | 14–15 |
Whittall, Arnold | Article | Theory, History, Analysis: Exploring Contemporary Complexity | 37–38 |
Winders. Christopher | Analytical Essay | Toward a Structural Ordering Within George Perle’s Twelve-Tone Tonality | 33 |
Winham, Godfrey | Article | Schoenberg’s Fourth String Quartet: Vertical Order of the Opening | 17 |
Zbikowski, Lawrence M. | Article | Des Herzraums Abschied: Mark Johnson’s Theory of Embodied Knowledge and Music Theory | 22–23 |