Author Index    [Volume Index]


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Author Type Title  Volume  Formats
Haimo, Ethan T.CommentaryLinear Analysis—A Cure for Pitch-Class Set Analysis?: A Reply (MTO 3.2)3.3, 1997HTML
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Hakanson, Michelle E.ReviewReview of Carol J. Oja, Making Music Modern: New York in the 1920s (Oxford University Press, 2000)10.1, 2004HTML
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Hanenberg, Scott J.ArticleRock Modulation and Narrative22.2, 2016HTML
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Hanninen, Dora A.ArticleAsking Questions / Making Music: Listening, Analysis, and Cage20.2, 2014HTML
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Harley, JamesCommentaryCommentary on Stephen Smoliar (MTO 0.6)0.7, 1994HTML
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Harrison, DanielArticleTolling Time6.4, 2000HTML/Frames
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Harrison, DanielReviewReview of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge University Press, 2003) 11.2, 2005HTML/Frames
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Haskins, RobReviewReview of David Nicholls ed., The Cambridge Companion to John Cage (Cambridge University Press, 2002)10.2, 2004HTML
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Hatten, Robert S.ArticleIntroduction (to the Special Issue on Performance and Analysis)11.1, 2005HTML
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Hatten, Robert S.ReviewReview of Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002)11.1, 2005HTML/Frames
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Hatten, Robert S.CompositionWordless Carol18.3, 2012HTML
Hatten, Robert S.ArticleMusical Forces and Agential Energies: An Expansion of Steve Larson’s Model18.3, 2012HTML
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Hatten, Robert S.ArticlePerforming Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze20.4, 2014HTML
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Hatten, Robert S.ReviewReview of Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford University Press, 2014).21.2, 2015HTML
Headlam, DaveArticleMultimedia for Music Study on the Web: Director from Macromedia3.5, 1997HTML/Frames
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Headlam, DaveReviewReview of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011)18.2, 2012HTML
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Headlam, DaveReviewReview of Bryan R. Simms, ed., Pro Mundo, Pro Domo: The Writings of Alban Berg (Oxford, 2014)20.4, 2014HTML
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Heetderks, DavidReviewReview of S. Alexander Reed, Assimilate: A Critical History of Industrial Music (Oxford University Press, 2013)20.2, 2014HTML
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Heetderks, David J. ArticleA Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City17.2, 2011HTML
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Heetderks, David J.ArticleHipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock21.2, 2015HTML
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Heidemann, KateArticleA System for Describing Vocal Timbre in Popular Song22.1, 2016HTML
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Heinonen, YrjoReviewReview of Walter Everett, The Beatles as Musicians: Revolver Through the Anthology (Oxford University Press, 1999)6.2, 2000HTML
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Hepokoski, JamesArticleFormal Process, Sonata Theory, and the First Movement of Beethoven’s “Tempest” Sonata16.2, 2010HTML
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Hermann, RichardCommentaryTowards a New Analytic Method for Post-Tonal Music: Response to Demske (MTO 1.2)1.3, 1995HTML
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Hermann, RichardInternational ReportReflexive Postmodern Anthropology Meets Musical “Modernism”: Georgina Born’s Rationalizing Culture. A Review of IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.3.5, 1997HTML/Frames
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Hesselink, Nathan D.ArticleRadiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation19.1, 2013HTML
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Heyer, David J.ArticleApplying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach18.3, 2012HTML
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Hippel, Paul T. von and Bret AardenCommentaryRules for Chord Doubling (and Spacing): A Reply To Wibberley10.3, 2004HTML
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Hisama, Ellie M.ArticleLife Outside the Canon? A Walk on the Wild Side6.3, 2000HTML/Frames
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Hoag, Melissa E. ArticleBrahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick” (op. 57, no. 4)17.1, 2011HTML
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Hoeckner, BertholdArticlePoet’s Love and Composer’s Love7.5, 2000HTML/Frames
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Hofmann-Engl, LudgerReviewReview of W.B. Hewlett and E. Selfridge-Field eds., Melodic Similarity: Concepts, Procedures, and Applications (MIT Press, 1999).5.4, 1999HTML
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Holm-Hudson, KevinArticleYour Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of “Superstar”8.4, 2002HTML/Frames
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Honing, HenkjanCommentarySome Comments on the Relation Between Music and Motion9.1, 2003HTML/Frames
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Honisch, Stefan SunandanEssay“Re-narrating” Disability through Musical Performance15.3, 2009HTML
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Hood, AlisonArticleAmbiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 2218.3, 2012HTML
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Hook, JulianArticleWhy Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory13.4, 2007HTML
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Hook, JulianReviewReview of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)17.3, 2011HTML
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Hook, JulianArticleHow to Perform Impossible Rhythms17.4, 2011HTML
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Hope, HenryReviewReview of Virtual Library of Musicology (ViFaMusik), (http://www.vifamusik.de)20.3, 2014HTML
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Horlacher, Gretchen G.ArticleBartók’s “Change of Time”: Coming Unfixed7.1, 2001HTML/Frames
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Horn, Katelyn and David HuronArticleOn the Changing Use of the Major and Minor Modes 1750–190021.1, 2015HTML
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Hough, Matthew T.ArticleElements of Style in Three Demo Recordings by Stevie Nicks21.1, 2015HTML
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Howard, AlanArticleCompositional Strategies in Purcell’s Second Three-Part Fantazia21.3, 2015HTML
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Huron, DavidArticleWhat is a Musical Feature? Forte’s Analysis of Brahms’s Opus 51, No. 1, Revisited7.4, 2001HTML/Frames
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Hussey, WilliamArticleTriadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich9.1, 2003HTML
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