Volumes 35-41 (2010-2019)

Theory and Practice
Index to Volume 35 (2010)
Seth Monahan, Matt Baileyshea, Editors
Joseph Kraus, Reviews Editor

Michael Baker A Case for Interruption at Scale Degree ^3, pp. 1–24
Benjamin Givan Swing Improvisation: A Schenkerian Perspective, pp. 25–56
Jared C. Hartt Tonal and Structural Implications of Isorhythmic Design in Guillaume de Machaut’s Tenors, pp. 57–94
Robert Morris Some Musical Applications of Minimal Graph Cycles, pp. 95–117
Christopher Segall K-Nets, Inversion, and Gravitational Balance, pp. 119–45
2009 Patricia Carpenter Emerging Scholar Award
Kate Soper Orchestration in the Chamber Works of Ruth Crawford Seeger, pp. 147–67
2008 Patricia Carpenter Emerging Scholar Award
Nathan John Martin Pieter Bergé, ed., Beethoven’s “Tempest” Sonata: Perspectives of Analysis and Performance, Leuven Studies in Musicology, vol. 2 (Leuven: Peeters, 2009), pp. 169–89
Philip Stoecker Miguel A. Roig-Francolí, Understanding Post-Tonal Music and Anthology of Post-Tonal Music (New York: McGraw-Hill Higher Education, 2008), pp. 191–205

Theory and Practice
Index to Volume 36 (2011)
Seth Monahan, Matt Baileyshea, Editors
Joseph Kraus, Reviews Editor

Peter Franck Reaching Over and Its Interaction with Invertible counterpoint at the Tenth, pp. 1–33
Jason Hooper Heinrich Schenker’s Early Conception of Form, 1895–1914, pp. 35–64
2010 Patricia Carpenter Emerging Scholar Award
Stanley V. Kleppinger Reconsidering Pitch Centricity, pp. 65–109
Daphne Leong Generalizing Syncopation: Contour, Duration, and Weight, pp. 111–50
Brendan McConville A”Simple Composition” of Charles Wuorinen: Isomorphism, Self-Similarity, and Nesting in Cello Variation, pp. 151–77
Mark Richards Viennese Classicism and the Sentence Idea: Broadening the Sentence Paradigm, pp. 179–224
Paul Moravitz Sherrill Robert O. Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007), pp. 225–35

Theory and Practice
Index to Volume 37/38 (2012–13)
Jonathan Dunsby, Matthew Brown, Editors
José-Antonio Oliveiria-Martins, Reviews Editor

Matthew Arndt Schoenberg on Problems; or, Why the Six-Three Chord is Dissonant, pp. 1–62
Brent Auerbach Tchaikovsky’s Triumphant Repetitions: Block Composition as a Key to Dynamic Form in the Symphonies Nos. 2 and 3, pp. 63–109
Rodney Garrison Unrolling Schenker’s Ideas of Musical “Unfolding,” pp. 111–38
2012 Patricia Carpenter Emerging Scholar Award
John Koslovsky Tonal Prolongations in Bartók’s Hungarian Folktunes for Violin and Piano, pp. 139–83
Henry Martin Expanding Jazz Tonality: John Coltrane’s Compositions, pp. 185–219
William Marvin “Und so weiter”: Schenker, Sonata Theory, and the Problem of Recapitulation, pp. 221–40
Arnold Whittall Theory, History, analysis: Exploring Contemporary Complexity, pp. 241–61
Nicole Biamonte Jeremy Day-O’Connell, Pentatonicism from the Eighteenth Century to Debussy (University of Rochester Press, 2007), pp. 263–73
Philip Ewell Michiel Schuijer, Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (University of Rochester Press, 2008), pp. 275–88
Zachary Bernstein Hearing, Studying, and Remembering Milton Babbitt at the CUNY Graduate Center, pp. 289–97
William Marvin The Fifth International Schenker Symposium, March 15–17, 2013, pp. 299–305

Theory and Practice
Index to Volume 39 (2014)
Matthew Brown, Editor
José-Antonio Oliveiria-Martins, Reviews Editor

Timothy Cutler From Motive to Structure: Chromatic Cohesiveness in the First Movement of Beethoven’s Violin Concerto, Op. 61, pp. 1–23
Robert Gauldin “Quaerendo Invenietis”: Patrick Gowers’s Sherlockian Puzzle, pp. 25–45
Sarah Marlowe Tonal Answers and Their Role Within Fugal Expositions: Two Revised Paradigms,” pp. 47–73
2013 Patricia Carpenter Emerging Scholar Award
Haley Beverburg Reale Making the Most of an Enharmonic Seam: Pitch Respellings, Semitone Relationships, and Mode Mixture in Fiona Apple’s “Extraordinary Machine,” pp. 75–108
Robert W. Wason Tonality and Centricity in Bartók’s Second Bagatelle and “From the Island of Bali”, pp. 109–28
Daniel Shanahan Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012), pp. 129–36

Theory and Practice
Index to Volume 40 (2015)
Matthew Brown, Editor
Orit Hilewicz, Associate Editor
José-Antonio Oliveiria-Martins, Reviews Editor

Su Yin Mak Felix Salzer’s “Sonata Form in Franz Schubert” (1928): An English Translation and Edition with Critical Commentary, pp. 1–121
Joan Huget Schenkerian Interruption and Beethoven’s Sonata-Rondo Form, pp. 123–49
2014 Patricia Carpenter Emerging Scholar Award
Kristin Taavola Paul Dukas’ “Rameau Variations” Some Thoughts on the Origin of his Harmonic Language, pp. 151–75
David Heetderks From uncanny to marvelous: Poulenc’s hexatonic pole, pp. 177–204
Austin Gross Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014), pp. 205–19

Theory and Practice
Index to Volume 41 (2016)
Brian Moseley, Sarah Marlowe, Editors
William Marvin, Reviews Editor

Samantha Inman The Inner and Outer Form of Haydn’s Monothematic Sonatas, pp. 1–46
Olga Sánchez-Kisielewska Interactions between Topics and Schemata: The Case of the Sacred Romanesca, pp. 47-80
2015 Patricia Carpenter Emerging Scholar Award
Andrew Pau Plagal Systems in the Songs of Fauré and Duparc, pp. 81-112
Charity Lofthouse Dialogues and Dialects: Rotation and Sonata Form in Shostakovich’s Symphonies, pp. 113-40
David Carson Berry Schenkerian Analysis and Anglo-American Music Criticism in the 1930s: A Quest for “Objectivity” and a Path Toward Disciplinary Music Theory, pp. 141-206
Philip Stoecker Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge, 2014), pp. 207–12
Matthew Brown John Rothgeb, Beethoven: The Last Piano Sonatas: Edited, with Analytic Commentary, by Heinrich Schenker (Oxford, 2015), pp. 213–28