Volumes 25-34 (2000-2009)

Theory and Practice
Index to Volume 25 (2000)
Mark Anson-Cartwright, Editor

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
Chandler Carter The Case for Stravinskian Modernism: Jonathan Cross. The Stravinsky Legacy (Cambridge: Cambridge University Press, 1998), pp. 105–25

Theory and Practice
Index to Volume 26 (2001)
Mark Anson-Cartwright, Editor

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
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
 John Rothgeb Robert Snarrenberg, Schenker’s Interpretive Practice (Cambridge and New York: Cambridge U. Press, 1997), pp. 141–51

Theory and Practice
Index to Volume 27 (2002)
Mark Anson-Cartright, Editor

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
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

Theory and Practice
Index to Volume 28 (2003)
David Carson Berry, Editor

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
Oswald Jonas Heinrich Schenker and Great Performers
Translated with an Introduction by Alan Dodson, pp. 123–36
Edward Latham Philip Rupprecht, Britten’s Musical Language (Cambridge: Cambridge U. Press), pp. 137–46

Theory and Practice Index to Volume 29 (2004)
David Carson Berry, Editor
Wayne Petty, Reviews Editor

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
Carl Friedrich Weitzmann The Augmented Triad (1853), trans. Janna Saslaw
Introduction, pp. 133–37
Dual language edition, pp. 138–228
Carl Wiens Joseph N. Straus, Stravinsky’s Late Music (Cambridge: Cambridge University Press, 2001), pp. 229 –40
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

Theory and Practice
Index to Volume 30 (2005)
Philip Stoecker, Editor
Wayne Petty, Reviews Editor

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

Theory and Practice
Index to Volume 31 (2006)
Philip Stoecker, Editor
Joseph Kraus, Reviews Editor

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
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
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

Theory and Practice
Index to Volume 32 (2007)
Philip Stoecker, Editor
Joseph Kraus, Reviews Editor

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
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
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

Theory and Practice
Index to Volume 33 (2008)
Dave Headlam, Philip Stoecker, Editors
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

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
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
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
George Perle Improvisation, pp. 359–362
Contributors pp. 363–64

Theory and Practice
Index to Volume 34 (2009)
Jonathan Dunsby, Philip Stoecker, Editors
Joseph Kraus, Reviews Editor

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
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