Index to Volume 25 (2000)
| ARTICLES | |
| Joseph Brumbeloe | Patterns and Performance Choices in Selected Perpetual-Motion Movements of J. S. Bach, pp. 1–26 |
| Ted Conner | Cherubino Rediscovered: Text, Music, and Narrative in Mozart’s Trio, pp. 27–64 |
| Stephen Slottow | Fifths and Semitones: A Ruggles Compositional Model and Its Unfoldings, pp. 65–86 2000 MTSNYS Emerging Scholar Award |
| Donald G. Traut | Revisiting Stravinsky’s Concerto, pp. 65–86 |
| REVIEW–ESSAY | |
| Chandler Carter | The Case for Stravinskian Modernism: Jonathan Cross. The Stravinsky Legacy (Cambridge: Cambridge University Press, 1998), pp. 105–25 |
Index to Volume 26 (2001)
| ARTICLES | |
| Carl Schachter | Elephants, Crocodiles, and Beethoven: Schenker’s Politics and the Pedagogy of Schenkerian Analysis, pp. 1–20 |
| David Carson Berry | Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of Irving Berlin, pp. 21–86 |
| Eric Wen | Stripped of the G String: Bach’s Air from the Suite No. 3 in D, pp. 87–98 |
| Don Traut | Displacement and its Role in Schenkerian Theory, pp. 99–116 2001 MTSNYS Emerging Scholar Award |
| REVIEW–ESSAY | |
| Karl Braunschweig | 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), pp. 117–40 |
| REVIEW | |
| John Rothgeb | Robert Snarrenberg, Schenker’s Interpretive Practice (Cambridge and New York: Cambridge U. Press, 1997), pp. 141–51 |
Index to Volume 27 (2002)
| ARTICLES | |
| Adam Ricci | A Classification Scheme for Harmonic Sequences, pp. 1–36 2002 MTSNYS Emerging Scholar Award |
| George Fisher and Judy Lochhead | Analyzing from the Body, pp. 37–68 |
| Poundie Burstein | Devil’s Castles and Schubert’s Strange Tonic Allusions, pp. 69–84 |
| Guy Capuzzo | Lewin’s Q Operations in Carter’s Scrivo in Vento, pp. 85–98 |
| REVIEWS | |
| Andrew Mead | Jonathan W. Bernard, ed. Elliott Carter: Collected Essays and Lectures 1937–1995 (Rochester: U. Rochester Press, 1997), pp. 99–114 |
| Joseph Kraus | 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), pp. 115–22 |
| John Ferri | Carl Schachter and Hedi Siegel, ed. Schenker Studies 2 (Cambridge: Cambridge U. Press, 1999), pp. 123–32 |
Index to Volume 28 (2003)
| ARTICLES | |
| Matthew Santa | Nonatonic Systems and the Parsimonious Interpretation of Dominant–Tonic Progressions, pp. 1–28 |
| Mark Sallman | Motives and the Motivic Paths of Anton Webern’s Six Bagatelles for String Quartet, Op. 9, pp. 29–52 |
| Jeannie Guerrero | Multidimensional Counterpoint and Social Subversion in Luigi Nono’s Choral Works, pp. 53–78 2003 M.T.S.N.Y.S Emerging Scholar Award |
| Karl Braunschweig | Expanded Dissonance in the Music of J. S. Bach, pp. 79–114 |
| John Rothgeb | A Sentence Omitted from the English Translation of Schenker’s Harmonielehre, pp. 115–122 |
| (RE)TRANSITIONS | |
| Oswald Jonas | Heinrich Schenker and Great Performers Translated with an Introduction by Alan Dodson, pp. 123–36 |
| BOOK REVIEW | |
| Edward Latham | Philip Rupprecht, Britten’s Musical Language (Cambridge: Cambridge U. Press), pp. 137–46 |
Wayne Petty, Reviews Editor
| ARTICLES | |
| Eric McKee | Extended Anacruses in Mozart’s Instrumental Music, pp. 1–38 |
| James S. MacKay | Musical Proportion and Formal Function in Classical Sonata Form: Three Case Studies From Late Haydn and Early Beethoven, pp. 39–68 |
| Ryan McClelland | Brahms’s Capriccio in C Major, Op. 76, No. 8: Ambiguity, Conflict, Musical Meaning, and Performance, pp. 69–94 |
| Yosef Goldenberg | “Negative Texture” and the Prolongation of Seventh Chords, pp. 95–124 |
| Ken Stephenson | “A Hit by Varèse”: Idiomatic Syntax in the PC Counterpoint of Three Songs by Chicago, pp. 125–34 |
| (RE)TRANSITIONS | |
| Carl Friedrich Weitzmann | The Augmented Triad (1853), trans. Janna Saslaw Introduction, pp. 133–37 Dual language edition, pp. 138–228 |
| REVIEWS | |
| Carl Wiens | Joseph N. Straus, Stravinsky’s Late Music (Cambridge: Cambridge University Press, 2001), pp. 229 –40 |
| REVIEW SYMPOSIUM | |
| Robert Pascall, Phyllis Weliver, and Patrick McCreless | Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003), pp. 241–66 |
Index to Volume 30 (2005)
Wayne Petty, Reviews Editor
| ARTICLES | |
| Janna K. Saslaw and James P. Walsh | Patricia Carpenter: A Commemoration, pp. 1–4 |
| Patricia Carpenter | The Piano Music of Arnold Schoenberg, pp. 5–34 |
| Schoenberg’s Tonal Body, pp. 35–68 | |
| Murray Dineen | The Tonal Problem as a Method of Analysis. In memoriam Patricia Carpenter, pp. 69–96 |
| Tonal Problem, Carpenter Narrative, and Carpenter motive in Schubert’s Impromptu, op. 90, no. 3. In memoriam Patricia Carpenter, pp. 97–120 | |
| Eric McKee | On the Death of Mahler: Schoenberg’s op. 19, no. 6, pp. 121–52 |
| Laurel Parsons | Time Management with “Twelve-Tone Lizzie”: Dramatic Functions of Meter in a Scene from Elisabeth Lutyens’s Music Drama The Numbered, pp. 153–84 |
Index to Volume 31 (2006)
Joseph Kraus, Reviews Editor
| ARTICLES | |
| Byron Almén | Modes of Analysis, pp. 1–38 |
| José António Martins | Stravinsky’s Discontinuities, Harmonic Practice, and the Guidonian Space in the “Hymne” from Serenade in A, pp. 39–64 2004 Patricia Carpenter Emerging Scholar Award |
| Samuel Ng | The Hemiolic Cycle and Metric Dissonance in the First Movement of Brahms’s Cello Sonata in F Major, Op. 99, pp. 65–96 2005 Patricia Carpenter Emerging Scholar Award |
| Jonathan R. Pieslak | Conflicting Analytical Approaches to Late Nineteenth- and Early Twentieth-Century Tonal Music: An Archaeological Examination, pp. 97–132 |
| Deborah Rifkin | Making it Modern: Chromaticism and Phrase Structure in Twentieth-Century Tonal Music, pp. 133–58 |
| (RE)TRANSITIONS | |
| Denys Bouliane | Ligeti’s Six Études pour Piano: The Fine Art of Composing Using Cultural Referents, trans. Anouk Lang Introduction, pp. 159–62 English text, pp. 163–208 |
| REVIEWS | |
| Ryan McClelland | Peter Smith, Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet (Bloomington: Indiana U. Press, 2005), pp. 209–224 |
| Elizabeth West Marvin | Deborah Stein, ed., Engaging Music: Essays in Music Analysis, (New York: Oxford U. Press), pp. 225–238 |
Index to Volume 32 (2007)
Joseph Kraus, Reviews Editor
| ARTICLES | |
| Mark Anson-Cartwright | Concepts of Closure in Tonal Music: A Critical Study, pp. 1–17 |
| Norman Carey | An Improbably Intertwining: An Analysis of Schumann’s Kreisleriana I and II, with Recommendations for Piano Practice, pp. 19–50 |
| Gretchen C. Foley | Sum Squares and Pentagrams: Two New Tools for Perlean Analysis, pp. 51–68 |
| Frank Samarotto | Determinism, Prediction, and Inevitability in Brahms’s Rhapsody in E-flat, op. 119, no. 4, pp. 69–99 |
| John Turci-Escobar | Softening the Edges: Cadential Attentuation in Gesualdo’s Six Books of Madrigals, pp. 101–35 |
| Jeffrey Kresky | Some Unusual Tonic Six-Fours, pp. 137–51 |
| (RE)TRANSITIONS | |
| Charlotte M. Cross | Two Undated Manuscripts from Schoenberg’s Gedanke Project Commentary, pp. 153–77 Editorial and Translation Policies, pp. 179–81 Transcriptions and Translations, pp. 182–201 |
| REVIEWS | |
| David Gagné | David Beach, Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study, (Rochester, NY: U. Rochester Press), pp. 203–12 |
| Graham G. Hunt | James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, (New York: Oxford U. Press), pp. 213–38 |
Index to Volume 33 (2008)
Joseph Kraus, Reviews Editor
Several examples in this issue were printed at the wrong
resolution. For better resolution of the examples, please go to http://theory.esm.rochester.edu/perle
| ARTICLES | |
| Dave Headlam | Introduction, pp. 1–47 |
| Personal Statements | |
| Paul Lansky | Lessons with George Perle, pp. 49–52 |
| Douglas Jarman | pp. 53–54 |
| Elliott Antokoletz | George Perle: Man, Composer, and Theorist, pp. 55–63 |
| Steven L. Rosenhaus | An Introduction to George Perle, pp. 65–71 |
| Q & A: Violin Concerto by Steven L. Rosenhaus; Interview by Dave Headlam, pp. 73–80 | |
| Elliott Carter | p. 81 |
| Leonard Bernstein | p. 83 |
| William Bolcolm | p. 85 |
| Henri Dutilleux | For George Perle, pp. 88–89 |
| Patricia Spencer | pp. 91–92 |
| Steve Dibner | pp. 93–94 |
| William Theophilus Brown | p. 95 |
| Daniel Gustin | p. 97 |
| Bethany Beardslee | p. 99 |
| Leon Botstein | On George Perle, pp. 101–02 |
| David Pitt | pp. 103–06 |
| Edward Smaldone and Bruce Saylor | George Perle: The Man and the Musician, p. 107 |
| DEDICATED COMPOSITIONS | |
| Charles E. Porter | Happy Birthday to George Perle on his 90th, pp. 111–12 |
| Steven L. Rosenhaus | Etude for George Perle, pp. 113–14 |
| Bruce Saylor | Bells: In Honor of George Perle, pp. 115–17 |
| ANALYTICAL ESSAYS | |
| Elliott Antokoletz | 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, pp. 121–37 |
| Charles E. Porter | Interval Cycles and Unisons in George Perle’s Sonata a Quattro, pp. 139–52 |
| Mark DeVoto and George Perle | George Perle on the Subtleties of Inversional Complementarily: A Note by Mark DeVoto and George Perle, pp. 153–57 |
| Philip Stoecker | “Composing with Symmetries”: Perle’s First Bagatelle for Solo Piano, pp. 159–70 |
| Gretchen C. Foley and Susan Levine | Choreographing Perle: An Inter-Disciplinary interpretation of Perle’s String Quartet No. 5, pp. 171–80 |
| Michael Callahan | Mapping Sum-and-Difference Space: Parallels Between Perle and Lewin, pp. 181–217 |
| David Schober | Practical Methods for Identifying Perle Arrays, pp. 219–32 |
| Christopher Winders | Toward a Structural Ordering Within George Perle’s Twelve-Tone Tonality, pp. 233–47 |
| Patricia Hall | Berg’s Büchner Text and the Genesis of Form, pp. 249–71 |
| Vasili Byros | Competing “Windows of Order”: The Dialectics of System-Construction and Withdrawal in Berg’s Sonata for Piano, Op. 1, pp. 273–328 2006 Patricia Carpenter Emerging Scholar Award |
| Benjamin Wadsworth | A Model of Dialectical Process in Berg’s Opus 1 Piano Sonata, pp. 329–56 |
| FINALE | |
| George Perle | Improvisation, pp. 359–362 |
| Contributors | pp. 363–64 |
Index to Volume 34 (2009)
Joseph Kraus, Reviews Editor
| ARTICLES | |
| Alan Gosman | Canonic Patterns: Reframing the Puzzle, pp. 1–29 |
| Jan Miyake | Readdressing Haydn’s Formal Models: Common Paths Through Expositions, pp. 31–46 |
| Peter H. Smith | Harmonies Heard from Afar: Tonal Pairing, Formal Design, and Cyclical Integration in Schumann’s A-minor Violin Sonata, op. 105, pp. 47–80 |
| J. Daniel Jenkins | Schoenberg’s Concept of ruhende Bewegung, pp. 87–105 2007 Patricia Carpenter Emerging Scholar Award |
| Patricia Julien | “Sakeena’s Vision”: The Trifocal Organization of Harmonic Relations in One of Wayne Shorter’s Early Compositions, pp. 107–47 |
| Tiina Koivisto | Multilayered Rhythms, Meter, and notated Meter: Temporal Processes in Elliott Carter’s Second String Quartet, pp. 141–71 |
| REVIEW | |
| Daniel Shanahan | 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), pp. 173–87 |
| CONTRIBUTORS | p. 189 |