Index to Volume 5 (1980)
No. 1
Index to Volume 6 (1981)
No. 1
Index to Volume 7 (1982)
No. 1
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 |
Ernst Oster (trans. Robert Kosovsky) |
On the Meaning of the Long Appoggiatura, pp. 20–37 |
COMMUNICATIONS |
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David Lewin |
On Extended Z-Triples, pp. 38–9 |
David Lewin |
An Example of Serial Technique in Early Webern, pp. 40–3 |
INDEX |
Theory and Practice, Volumes 1–6 (1975–1981), pp. 44–50 |
NEWS, ANNOUNCEMENTS, REPORTS |
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Program |
Twelfth Annual Meeting of MTSNYS |
ARTICLES |
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Mark Holland |
Schubert’s Moment Musical in F Minor, Op, 94, No. 3: An Analysis, pp. 5–32 |
David Stern |
A Quotation from Josquin in Schenker’s Free Composition, pp. 33–40 |
ARTICLE-REVIEW |
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Susan Blaustein |
Charles Rosen. Sonata Forms, pp. 41–60 |
Index to Volume 8 (1983)
No. 1
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 |
L. Poundie Burstein |
A New View of Tristan: Tonal Unity in the Prelude and Conclusion to Act I, pp. 15–42 |
REVIEW |
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Jonathan Bernard and William Rothstein |
Three Essays from Music Theory: Special Topics, edited by Richmond Browne, pp. 43–69 |
MTSNYS MEMBERSHIP LIST, 1983 |
pp. 70–7 |
NEWS, ANNOUNCEMENTS, REPORTS |
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Program |
Thirteenth Annual Meeting of MTSNYS |
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 |
ARTICLE-REVIEW |
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Thomas Christensen |
Pieter C. van den Toorn. The Music of Igor Stravinsky, pp. 25–48 |
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 |
RESPONSES |
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Arthur Maisel |
Tristan: A Different Perspective, pp. 53–61 |
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)
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 |