Index to Volume 35 (2010)
Joseph Kraus, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEWS | |
| 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 |
| CONTRIBUTORS | p. 207 |
Index to Volume 36 (2011)
Joseph Kraus, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEW | |
| Paul Moravitz Sherrill | Robert O. Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007), pp. 225–35 |
| CONTRIBUTORS | p. 237 |
Index to Volume 37/38 (2012–13)
José-Antonio Oliveiria-Martins, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEWS | |
| 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 |
| CONFERENCE REPORTS | |
| 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 |
| CONTRIBUTORS | p. 307 |
Index to Volume 39 (2014)
José-Antonio Oliveiria-Martins, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEW | |
| Daniel Shanahan | Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012), pp. 129–36 |
| CONTRIBUTORS | p. 137 |
Index to Volume 40 (2015)
Orit Hilewicz, Associate Editor
José-Antonio Oliveiria-Martins, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEW | |
| Austin Gross | Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014), pp. 205–19 |
| CONTRIBUTORS | p. 221 |
Index to Volume 41 (2016)
William Marvin, Reviews Editor
| ARTICLES | |
| 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 |
| REVIEW | |
| 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 |
| CONTRIBUTORS | p. 229 |
Index to Volume 42 (2017)
William Marvin, Reviews Editor
| ARTICLES | |
| Michael Weinstein-Reiman | “Inside” Voices and Coupling Dynamics: An Analysis of Clara Wieck-Schumann’s Notturno from Soirées Musicales, Op. 6 No. 2, pp. 1–28 |
| Derek Remeš | J.S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source, pp. 29-54 2017 Patricia Carpenter Emerging Scholar Award |
| Zachary Bernstein | Is the Twelve-Tone System Inherently Organicist? Some Reflections on Conflicting Perspectives, with Notes on Analysis, pp. 55-80 |
| Brian Moseley | Sense, Structure, and Webern’s Mysterious Modernism, pp. 81-100 |
| Matthew Arndt | Toward a Renovation of Motivic Analysis: Corrupt Organicism in Berg’s Piano Sonata, Op. 1, pp. 101-40 |
| John Covach | Schoenberg’s (Analytical) Gaze: Musical Time, The Organic Ideal, and Analytical Perspectivism, pp. 141-60 |
| Bryan Parkhurst | Formal Arguments and Symbolic Gestures: Thoughts on Langer and Adorno, with a Postscript on Marxism, pp. 161-98 |
| REVIEW | |
| Joseph Kraus | Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory (Oxford, 2016), pp. 199–214 |
| Gregory Ristow | Diane Urista, The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach (Oxford, 2016), pp. 215–28 |
| CONTRIBUTORS | p. 229 |
Index to Volume 43 (2018)
William Marvin, Reviews Editor
| ARTICLES | |
| Caleb Mutch | The Formal Function of Fortspinnung, pp. 1-32 |
| Jeffrey Swinkin | “Breakout” Themes in Classical Sonata Forms, pp. 33-76 |
| Thomas Jul Kirkegaard-Larsen | Transformational Attitudes in Scandinavian Function Theories, pp. 77-110 2018 Patricia Carpenter Emerging Scholar Award |
| Áine Heneghan | Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy, pp. 111-30 |
| REVIEW | |
| Hali Fieldman | Rachel Lumsden and Jeffrey Swinkin, eds. The Norton Guide to Teaching Music Theory (New York: W.W. Norton, 2018), pp. 131–64 |
| CONTRIBUTORS | p. 165 |
Index to Volume 44 (2019)
Megan L. Lavengood, Reviews Editor
| ARTICLES | |
| Michèle Duguay | Physical Balance, Gravity, and Tension in Contemporary Piano Works, pp. 1–38 2019 Patricia Carpenter Emerging Scholar Award |
| Ben Baker | A Cyclic Approach to Harmony in Robert Glasper’s Music, pp. 39–82 2019 Patricia Carpenter Emerging Scholar Award |
| Sean R. Smither | Flexible Conceptual Maps: A Schema-Based Approach to the Analysis of Jazz Tunes, pp. 83–118 |
| Jason W. Solomon | Theorizing and Analyzing Spatial Gesture: A Case Study of Beethoven’s String Quartet no. 14 in C# Minor, op. 131, pp. 119–64 |
| Scott Murphy | S as a Latter-Day H: Mortally Liminal SLIDEs in Recent Popular Film and Television, pp. 165–94 |
| REVIEW | |
| Catrin Watts | Frank Lehman, Hollywood Harmony: Musical Wonder and the Sound of Cinema (New York: Oxford University Press, 2018), pp. 195–204 |
| CONTRIBUTORS | p. 205 |