Index to Volume 16 (1991)
| ARTICLES | |
| Hedi Siegel | The Making of Theory and Practice: Looking Back at Volumes 1–15, pp. 1–4 |
| Carl Schachter | The Adventures of an F#: Tonal Narration and Exhortation in Donna Anna’s First-Act Recitative and Aria, pp. 5–20 |
| Charles Burkhart | How Rhythm Tells The Story in Là ci darem la mano, pp. 21–38 |
| Eytan Agmon | A Moment of Suspence in the Second Finale of Don Giovanni, pp. 39–50 |
| John L. Snyder | Schenker and the First Movement of Mozart’s Sonata, K. 545: An Uninterrupted Sonata-Form Movement, pp. 51–78 |
| Norman L. Wick | Transformations of Middleground Hypermeasures in Selected Mozart Keyboard Sonatas, pp. 79–102 |
| Walter Everett | Voice Leading, Register, and Self-Discipline in Mozart’s Die Zauberflöte, pp. 103–26 |
| Taylor Greer | Modal Sensibility in Gabriel Fauré’s Harmonic Language, pp. 127–42 |
| Nadine Hubbs | Schenker’s Organicism, pp. 143–62 |
| David P. Goldman | A New Look at Zarlino’s Theory and Its Effect on His Counterpoint Doctrine, pp. 163–78 |
| ARTICLE-REVIEW | |
| Michèle Fromson | Cadential Structure in the Mid-Sixteenth Century: The Analytic Approaches of Bernhard Meier and Karol Berger Compared, pp. 179–214 |
| REVIEW | |
| L. Poundie Burstein | 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. Bpyd, and Scott Harris (Lewiston/Queenston: The Edward Mellon Press, 1988), pp. 215–19 |
Index to Volume 17 (1992)
| ARTICLES | |
| Arnold Schoenberg | Two Fragments (ca. 1945): 1) Tonality, 2) Form, pp. 1–4 |
| Robert D. Morris | Modes of Coherence and Continuity in Schoenberg’s Piano Piece, Op. 23, No. 1, pp. 5–34 |
| Stephen Peles | Continuity, Reference, and Implication: Remarks on Schoenberg’s Proverbial “Difficulty,” pp. 35–58 |
| Godfrey Winham (1934-75) | Schoenberg’s Fourth String Quartet: Vertical Order of the Opening, pp.. 59–66 |
| Elizabeth L. Keathley | Schoenberg’s Op. 16/IV: An Examination of the Sketches, pp. 67–84 |
| Reynold Simpson | New Sketches, Old Fragments, and Schoenberg’s Third String Quartet, pp. 85–102 |
| John R. Covach | Schoenberg and the Occult: Some Reflections on the Musical Idea, pp. 103–18 |
| REVIEWS | |
| Joseph Auner | William Thomson, Schoenberg’s Error (Philadelphia: U. Pennsylvania Press, 1991), pp. 119–30 |
| Luisa Vilar-Payá | Silvina Milstein, Arnold Schoenberg: Notes, Sets, Forms (Cambridge: Cambridge U. Press, 1992), pp. 131–39 |
Index to Volume 18 (1993)
| ARTICLES | |
| Arnold Schoenberg | 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), pp. 1–28 |
| Andrew W. Mead | “The Key to the Treasure…”, pp. 29–56 |
| Michael Friedmann | Schoenberg’s Waltz, Op. 23, No. 5: Multiple Mappings in Form and Row, pp. 57–86 |
| Jennifer Shaw | Rethinking Schoenberg’s Composition of Die Jacobsleiter, pp. 87–108 1993 MTSNYS Young Scholar Award |
| Murray Dineen | From the Gerald Strang Bequest at the Arnold Schoenberg Institute: Documents of a Teaching, pp. 109–26 |
| Howard Cinnamon | Tonal Elements and Unfolding Nontriadic Harmonies in the Second of Schoenberg’s Drei Klavierstücke, Opus 11, pp. 127–70 |
| David Rosen | Reprise as Resolution in Verdi’s Messa da Requiem |
| REVIEW | |
| Timothy L. Jackson | Alexander Ringer, Arnold Schoenberg, the Composer as Jew (Oxford: The Clarendon Press, 1990), pp. 171–8 |
Index to Volume 19 (1994)
| ARTICLES | |
| Robert S. Hatten | Interpreting Expression: the Adagio from the Hammerklavier, pp. 1–18 |
| Richard A. Kaplan | Tonality as Mannerism: Structure and Syntax in Richard Strauss’s Orchestral Song “Frühling,” pp. 19–30 |
| Wayne Petty | Cyclic Integration in Haydn’s E-flat Piano Sonata Hob. XVI:38, pp. 31–56 1994 MTSNYS Young Scholar’s Award |
| Peter N. Schubert | A Multidetermined Moment in Milton Babbitt’s “Three Cultivated Choruses,” pp. 57–82 |
| ANALYSIS SYMPOSIUM | |
| John Roeder | Formal Functions of Hypermeter in the Dies Irae of Verdi’s Messa da Requiem, pp. 83–104 |
| David Rosen | Reprise as Resolution in Verdi’s Messa da Requiem, pp. 105–21 |
| REVIEW-ESSAY | |
| Walter Everett | An Update on the Current State of Scherkerian Research: Volumes Edited by Hedi Siegel and by Allen Cadwallader, pp. 121–52 |
| REVIEW | |
| Luanne R. Dragone | Sightsinging Complete by Bruce Benward and Maureen Carr; Foundations of Music and Musicianship by David Damschroeder, pp. 153–7 |
Index to Volume 20 (1995)
| ARTICLES | |
| David Løberg Code | ¦ [not equal]: Feminism, Tuning, and Theory Pedagogy, pp. 1–12 |
| Edward Gollin | Transformational Techniques in Bartók’s Etude Op. 18, No. 2, pp. 13–30 |
| Dora A. Haninen | The Variety of Order Relations in Webern’s Music: Studies of Passages from the Quartet Op. 22 and the Variations Op. 30, pp. 31–56 |
| Tiina Koivisto | Musical Continuities in Schoenberg’s Variations for Orchestra Op. 30, pp. 57–90 |
| Elizabeth West Marvin and Robert W. Wason | On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue, pp. 91–124 |
| Cynthia Pace | Accent on Form-Against-Form: Ruth Crawford’s Piano Study in Mixed Accents, pp. 125–48 |
| Naphtali Wagner | No Crossing Branches? The Overlapping Technique in Schenkerian Analysis, pp. 149–76 |
| REVIEW-ESSAY | |
| Richard Kurth | Schoenberg’s Notes on “Coherence”: Theory or Prolegomena to the Twelve-Tone Method?, pp. 177–92 |
| REVIEW | |
| Dave Headlam | David Epstein, Shaping Time: Music, The Brain, and Performance (New York: Schirmer Books, 1995), pp. 193–204 |
Index to Volume 21 (1996)
| ARTICLES | |
| Wayne Alpern | Aggregation, Assassination, and an “Act of God”: The Impact of the Murder of Archduke Ferdinand Upon Webern’s Op. 7 No. 3, pp. 1–28 1995 MTSNYS Young Scholar Award |
| Robert Gauldin | The Composition of Late Renaissance Stretto Canons, pp. 29–54 |
| Peter Kaminsky | How to Do Things With Words and Music: Towards an Analysis of Selected Ensembles in Mozart’s Don Giovann, pp. 55–78 |
| Richard Kurth | Dis-Regarding Schoenberg’s Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twleve-Tone Music, pp. 79–122 |
| Steven Laitz | The Submediant Complex: Its Musical and Poetic Roles in Schubert’s Songs, pp. 123–66 |
| Steven Nuss | Western Instruments, Japanese Music: Issues of Texture and Harmony in Minoru Miki’s Jo no kyoku, pp. 167–88 |
| REVIEW | |
| Neil Minturn | Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, edited by Elizabeth West Marvin and Richard Hermann (Rochester, N. Y.: U. Rochester Press, 1995), pp. 189–214 |
Index to Volumes 22–23 (1997–98)
| ARTICLES | |
| Lawrence M. Zbikowski | Des Herzraums Abschied: Mark Johnson’s Theory of Embodied Knowledge and Music Theory, pp. 1–16 |
| Janna K. Saslaw | Life Forces: Conceptual Structures in Schenker’s Free Composition and Schoenberg’s The Musical Idea, pp. 17–34 |
| Candace Brower | Pathway, Blockage, and Containment in Density 21.5, pp. 35–54 |
| Steve Larson | Musical Forces and Melodic Patterns, pp. 55–72 |
| Andrew Mead | Shedding Scales: Understanding Intervals in Different Musical Contexts, pp. 73–94 |
| Mark L. Johnson | Embodied Musical Meaning, pp. 95–102 |
| Matthew Santa | Chordal Tone Centers in Stravinsky’s Neoclassic Music, pp. 103–22 1998 MTSNYS Young Scholar Award winner |
| REVIEW-ESSAY | |
| Dora A. Hanninen | Andrew Mead, An Introduction to the Music of Milton Babbitt (Princeton: Princeton University Press, 1994), pp. 123–46 |
| REVIEW | |
| Daniel Harrison | 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), pp. 147–62 |
Index to Volume 24 (1999)
| ARTICLES | |
| Eric McKee | Alternative Meanings in the First Movement of Beethoven’s String Quartet in E-flat Major, Op. 127: Emergence and Growth from Stagnation and Decline, pp. 1–28 |
| Lauri Suurpää | Programmatic Aspects of the Second Sonata of Haydn’s Seven Last Words, pp. 29–56 |
| Daphne Leong | Metric Conflict in the First Movement of Bartók’s Sonata for Two Pianos and Percussion. pp. 57–90 1999 MTSNYS Emerging Scholar Award |
| Nicholas Cook | Henrich Schenker, Modernist: Detail, Difference, and Analysis, pp. 91–106 |
| William Benjamin | Schenker’s Theory and Virgil’s Construction of the World, pp. 107–16 |
| William Pastille | Music and Life: Some Lessons, pp. 117–20 |
| REVIEW | |
| Gerald A. Krumbholz | 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), pp. 121–36 |