Index to Volume 5 (1980)
No. 1
Index to Volume 6 (1981)
No. 1
Index to Volume 7 (1982)
No. 1
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NEWS, ANNOUNCEMENTS, REPORTS |
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ARTICLES |
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Roger Kamien |
The Menuetto from Mozart’s Eine Kleine Nachtmusik, K. 525: An Analytical Study, pp. 3–19 |
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Ernst Oster (trans. Robert Kosovsky) |
On the Meaning of the Long Appoggiatura, pp. 20–37 |
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COMMUNICATIONS |
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David Lewin |
On Extended Z-Triples, pp. 38–9 |
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David Lewin |
An Example of Serial Technique in Early Webern, pp. 40–3 |
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INDEX |
Theory and Practice, Volumes 1–6 (1975–1981), pp. 44–50 |
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NEWS, ANNOUNCEMENTS, REPORTS |
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Program |
Twelfth Annual Meeting of MTSNYS |
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ARTICLES |
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Mark Holland |
Schubert’s Moment Musical in F Minor, Op, 94, No. 3: An Analysis, pp. 5–32 |
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David Stern |
A Quotation from Josquin in Schenker’s Free Composition, pp. 33–40 |
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ARTICLE-REVIEW |
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Susan Blaustein |
Charles Rosen. Sonata Forms, pp. 41–60 |
Index to Volume 8 (1983)
No. 1
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NEWS, ANNOUNCEMENTS, REPORTS |
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ARTICLES |
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Heinrich Schenker (trans. John Rothgeb and Hedi Siegel) |
The Opening of Beethoven Sonata, Op. 111: A Letter, pp. 3–14 |
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L. Poundie Burstein |
A New View of Tristan: Tonal Unity in the Prelude and Conclusion to Act I, pp. 15–42 |
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REVIEW |
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Jonathan Bernard and William Rothstein |
Three Essays from Music Theory: Special Topics, edited by Richmond Browne, pp. 43–69 |
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MTSNYS MEMBERSHIP LIST, 1983 |
pp. 70–7 |
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NEWS, ANNOUNCEMENTS, REPORTS |
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Program |
Thirteenth Annual Meeting of MTSNYS |
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ARTICLE |
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Allen Cadwallader |
Motivic Unity and Integration of Structural Levels in Brahm’s B Minor Intermezzo, Op. 119, No. 1, pp. 5–24 |
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ARTICLE-REVIEW |
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Thomas Christensen |
Pieter C. van den Toorn. The Music of Igor Stravinsky, pp. 25–48 |
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REVIEW |
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Floyd K. Grave |
R. Larry Todd. Mendelssohn’s Musical Education: A Study and Edition of his Exercises in Composition, pp. 49–52 |
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RESPONSES |
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Arthur Maisel |
Tristan: A Different Perspective, pp. 53–61 |
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Bruce McKinney |
The Case Against Tonal Unity in Tristan, pp. 62–7 |
Index to Volume 9 (1984)
| NEWS, ANNOUNCEMENTS, REPORTS | |
| Program | Fourteenth Annual Meeting of MTSNYS, pp. 3–4 |
| Larry Laskowitz | Report: Schenker Symposium, pp. 5–6 |
| ARTICLES | |
| Severine Neff | Aspects of Grundgestalt in Schoenberg’s First String Quartet, op. 7, pp. 7–56 |
| John R. Hanson | Enumeration of Dissonance in the Five-Voice Masses of Palestrina, pp. 57–70 |
| John Rothgeb | Translating Texts on Music Theory: Heinrich Schenker’s Kontrapunkt, pp. 71–6 |
| ARTICLE-REVIEW | |
| Martin Brody | Charting Musical Intuition: Lerdahl and Jackendoff’s Cognitive Theory of Tonal Music, pp. 77–118 |
| REVIEW | |
| Christopher Hatch and David Bernstein | Aspects of Schenkerian Theory edited by David Beach (New Haven: Yale U. Press, 1983), pp. 119–124 |
| RESPONSE | |
| L. Poundie Burstein | More on Tristan, pp. 125–8 |
| MTSNYS MEMBERSHIP LIST | pp. 129–37 |
Index to Volume 10 (1985)
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SCHENKERIAN THEORY IN AMERICA
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| Channan Willner | Forward, pp. 3–5 |
| Obituary from New York Times | The Late Heinrich Schenker, p. 7 |
| Arthur Plettner | Heinrich Schenker’s Contribution to Theory (1936), pp. 9–14 |
| Israel Citkowitz | The Role of Heinrich Schenker (1933), pp. 15–22 |
| Frank Knight Dale | Heinrich Schenker and Musical Form (1943), pp. 23–24 |
| Hans Weisse | The Music Teacher’s Dilemma (1935), pp. 25–48 |
| William J. Mitchell | Heinrich Schenker’s Approach to Detail (1946), pp. 49–62 |
| Arthur Waldeck and Nathan Broder | Musical Analysis as Expounded by Heinrich Schenker (1935), pp. 63–74 |
| Adele T. Katz | Heinrich Schenker’s Method of Analysis (1935), pp. 75–95 |
Index to Volume 11 (1986)
| NEWS, ANNOUNCEMENT, REPORTS | |
| Murray Dineen | Symposium on Music Theory in Canada Today, pp. 2–3 |
| James M. Baker | New England Conference of Music Theorists, p. 4 |
| Patrick Miller | Symposium on the Life and Music of Heinrich Schenker, p. 5 |
| Program | The Fifteenth Annual Meeting of MTSNYS, pp. 6–8 |
| Judy Lochhead | Phenomenological Approaches to the Analysis of Music, pp. 9–13 |
| ARTICLES | |
| Felix Salzer (trans. Mark Stevens) | The Significance of the Ornaments in Carl Philipp Emanuel Bach’s Keyboard Works, pp. 15 –42 |
| Esther Cavett-Dunsby | Schenker’s Analysis of the Eroica Finale, pp. 43–52 |
| ARTICLE-REVIEW | |
| Michael Cherlin | Why We Got into Analysis and What to Get Out of It, pp. 53–74 |
| REVIEW | |
| Christopher Hatch | Richard Wagner, Prelude and Transfiguration from Tristan and Isolde (Norton Critical Score), edited by Robert Bailey, pp. 75–86 |
| INDEX | Theory and Practice, Volumes 7–10 (1982-85), pp. 87–92 |
Index to Volume 12 (1987)
| ANALYSIS SYMPOSIUM | |
| Joseph N. Straus | The Problem of Coherence in Stravinsky’s Sérénade en la, pp. 3–10 |
| Marianne Kielian-Gilbert | Patterns of Repetition in the “Hymne” of Stravinsky’s Sérénade en la: The Rhythmic Modeling of Musical Ideas, pp. 11–26 |
| Richard Hermann | Thoughts on Voice-Leading and Set Theory in “Neo-Tonal” Works: the “Hymne” from Stravinsky’s Sérénade en la, pp. 27–54 |
| William L. Hays | On Voice-Leading and Syntax in the “Cadenza Finala” from Stravinsky’s Sérénade en la, pp. 55–66 |
| REVIEW | |
| Eleanor Cory | Milton Babbitt, Words about Music. Edited Joseph N. Straus and Stephen Demski (Madison: U. Wisconsin Press, 1987), pp. 67–73 |
Index to Volume 13 (1988)
| ARTICLES | |
| Hedi Siegel and Arthur Maisel | Heinrich Schenker: Graphic Analysis of Brahm’s Auf dem Kirchhofe, Op. 105, No. 4, pp. 1–14 |
| Ira Braus | Poetic-Musical Rhetoric in Brahm’s Auf dem Kirchhof, Op. 105, No. 4, pp. 15–30 |
| Channan Willner | Chromaticism and the Mediant in Four Late Haydn Works, pp. 79–114 |
| Michael Cherlin | Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics, pp. 115–132 |
| ANALYSIS SYMPOSIUM | BRAHM’S OP. 76, NO. 6 |
| Patricia Carpenter | A Problem in Organic Form: Schoenberg’s Tonal Body, pp. 31–64 |
| Allen Cadwallader | Echoes and Recollections: Brahms’s Op. 76, No. 6, pp. 65–78 |
| ARTICLE-REVIEW | |
| Taylor Greer | Music Theory: Anatomy of a Discipline. Nicholas Cook, A Guide to Musical Analysis (New York: George Braziller. 1987); Jonathan Dunsby and Arnold Whittall, Music Analysis in Theory and Practice New Haven: Yale U. Press, 1988); Ian Bent, Analysis (New York: W. W. Norton & Co.,, 1987, pp. 133–150 |
Index to Volumes 14-15 (1989–1990)
| ARTICLES | |
| Teresa Davidian | Intervallic Oricess and Autonomy in the First Movement of Debussy’s Sonata for Cello and Piano, pp. 1–12 |
| Roger Graybill | Intervallic Transformation and Closure in the Music of Stravinsky, pp. 13–34 |
| Timothy L. Jackson | Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception, pp. 35–58 |
| Louis Karchin | Pitch Centricity as an Organizing Principle in Speculum Speculi of Charles Wuorinen, pp. 59–82 |
| Judy Lochhead | The Metaphor of Musical Motion: Is There An Alternative, pp. 83–104 |
| Paul W. Metz | The Clock Diagram: An Effective Visual Tool in Set Theory Pedagogy, pp. 105–122 |
| Marianne Richert Pfau | The Potential and the Actual: Process Philosophy and Arnold Schoenberg’s Violin Concerto, Op. 36, pp. 123–38 |
| Charles Porter | Interval Cycles in Alban Berg’s String Quartet Opus 3, pp. 139–78 |
| Paul Wilson | Function and Pitch Hierarchy in Movement II of Bartók’s Fifth Quartet, pp. 179–86 |
| ARTICLE-REVIEW | |
| Stephen Dembski | The Context of Composition: The Reception of Robert Morris’s Theory of Compositional Design, pp. 187–202 |
| REVIEWS | |
| George Fisher | Michael L. Friedmann, Ear Training for Twentieth-Century Music (New Haven: Yale University Press, 1990), pp. 203–08 |
| J. Philip Lambert | Joel Lester, Analytical Approaches to Twentieth-Century Music (New York: W. W. Norton & Co., 1989), pp. 209–15 |