Volume Index    [Author Index]


Current Issue (Volume 20, Number 1, March 2014)

Article: Rainer Polak (Cologne University of Music and Dance) and Justin London (Carleton College) Timing and Meter in Mande Drumming from Mali

Article: Robert Willey (Ball State University) Introduction to the MTO Nancarrow Symposium

Article: Helena Bugallo (Basel, Switzerland) Harmonic and Non-Harmonic Temporal Structures in Nancarrow’s Study No. 47 for Player Piano

Article: Clifton Callender (Florida State University) Performing the Irrational: Paul Usher’s Arrangement of Nancarrow’s Study No. 33, Canon 2: \(\sqrt{2}\)

Article: Dominic Murcott (Trinity Laban Conservatoire of Music and Dance) Tomorrow’s Music On Yesterday’s Machines: In Search of an ‘Authentic’ Nancarrow Performance

Article: Julie A. Nemire (Western Michigan University) Convergence Points in Conlon Nancarrow’s Tempo Canons

Article: Margaret E. Thomas (Connecticut College) Conlon Nancarrow, “Hot” Jazz, and the Principle of Collective Improvisation

Article: Robert Willey (Ball State University) The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers

Article: Kyle Gann (Bard College) Outside the Feedback Loop: A Nancarrow Keynote Address

Article: Lee Rothfarb (University of California, Santa Barbara) Early History

Article: Eric J. Isaacson (Indiana University) MTO at the Leading Edge

Article: Timothy Koozin (University of Houston) Evolving Content and Design

Article: Matthew Shaftel (Florida State University) Demographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory

Article: Kris P. Shaffer (University of Colorado-Boulder) A Proposal for Open Peer Review

Review: Andrew Aziz (Brown University) Review of William Caplin, Analyzing Classical Form: An Approach for the Classroom (Oxford University Press, 2013)

Review: Stephen C. Brown (Northern Arizona University) Review of Paolo Susanni and Elliott Antokoletz, Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles. Studies in Music Theory (Routledge, 2012)

Review: Robert Willey (Ball State University) Review of Jürgen Hocker, Encounters With Conlon Nancarrow, translated by Steven Lindberg (Lexington Books, 2012)

Volume 19, Number 4, December 2013

  • Article: Gregory J. Decker (Bowling Green State University) Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’s Rodelinda
  • Article: Frank Lehman (Tufts University) Hollywood Cadences: Music and the Structure of Cinematic Expectation
  • Article: Steven Rings (University of Chicago) A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009
  • Article: René Rusch (McGill University) Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”: The Role of Jazz Improvisation in the Transformation of an Intertext
  • Review: Zachary Bernstein (City University of New York, Graduate Center) Review of Dora Hanninen, A Theory of Music Analysis: On Segmentation and Associative Organization. Eastman Studies in Music (University of Rochester Press, 2012)
  • Review: Christopher Endrinal (Florida Gulf Coast University) Review of Allan Moore, Song Means: Analyzing and Interpreting Recorded Popular Song (Ashgate, 2012)
  • Review: Mary Wennerstrom (Indiana University) Review of Matthew Bribitzer-Stull, Anthology for Analysis and Performance (Oxford University Press, 2014)
  • Report: Philip A. Ewell (Hunter College and CUNY Graduate Center) Conference Report: Inaugural Meeting of the Russian Society for Music Theory (OTM)

Volume 19, Number 3, September 2013

  • Article: Christine Boone (Indiana State University) Mashing: Toward a Typology of Recycled Music
  • Article: Michael R. Callahan (Michigan State University) Sentential Lyric-Types in the Great American Songbook
  • Article: Murray Dineen (University of Ottawa) Species Counterpoint with a Moveable Tenor (SCAMET): Comparing Species Counterpoint and Polyphonic Music Without a Cantus Firmus
  • Article: Cristle Collins Judd (Bowdoin College) “To Discourse Learnedly” and “Compose Beautifully”: Thoughts on Gioseffo Zarlino, Theory, and Practice
  • Article: Drew F. Nobile (The University of Chicago) Interval Permutations
  • Article: Bryan J. Parkhurst (University of Michigan) Fraught with Ought: An Outline of an Expressivist Meta‐Theory
  • Review: Matt BaileyShea (University of Rochester) Review of Michael L. Klein and Nicholas Reyland, eds., Music and Narrative since 1900 (Indiana University Press, 2013) and Peter Kivy, Antithetical Arts: On the Ancient Quarrel between Literature and Music (Clarendon Press, 2009)
  • Review: Christopher Brody (Indiana University) Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012)
  • Review: Suzannah Clark (Harvard University) Review of Susan Wollenberg, Schubert’s Fingerprints: Studies in the Instrumental Works (Ashgate, 2011)
  • Review: Dmitri Tymoczko (Princeton University) Review of Michael Cuthbert, Music21: a Toolkit for Computer-aided Musicology
  • Essay: John Covach (University of Rochester) To MOOC or Not To MOOC?

Volume 19, Number 2, June 2013

  • Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) “On the System of Stravinsky’s Harmony” by Yuri Kholopov: Translation and Commentary
  • Article: Gregory R. McCandless (Full Sail University) Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater
  • Review: Mark Gotham (University of Cambridge) Review of Godfried Toussaint, The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? (CRC Press, 2013)
  • Review: J. Daniel Jenkins (University of South Carolina) Review of Guy Capuzzo, Elliott Carter’s What Next?: Communication, Cooperation, and Separation (University of Rochester Press, 2012)
  • Review: Rebecca Leydon (Oberlin Conservatory) Review of Matthew Brown, Debussy Redux: The Impact of his Music on Popular Culture (Indiana University Press, 2012)
  • Essay: August Sheehy (University of Chicago) and Paul Steinbeck (Washington University in St. Louis) Introduction: Theorizing Improvisation (Musically)
  • Essay: Julie E. Cumming (McGill University) Renaissance Improvisation and Musicology
  • Essay: Roger Moseley (Cornell University) Entextualization and the Improvised Past
  • Essay: Bruno Nettl (University of Illinois at Urbana‐Champaign) Contemplating the Concept of Improvisation and Its History in Scholarship
  • Essay: Laudan Nooshin (City University London) Beyond the Radif: New Forms of Improvisational Practice in Iranian Music
  • Essay: August Sheehy (University of Chicago) Improvisation, Analysis, and Listening Otherwise
  • Essay: Paul Steinbeck (Washington University in St. Louis) Improvisational Fictions
  • Essay: George E. Lewis (Columbia University) Critical Responses to “Theorizing Improvisation (Musically)”
  • Report: Daniel Barolsky (Beloit College) Conference Report: “Performance Studies Network Second International Conference”
  • Report: John Koslovsky (Conservatorium van Amsterdam / Utrecht University) Conference Report: “Fifth International Schenker Symposium”

Volume 19, Number 1, March 2013

  • Article: Joe R. Argentino (McMaster University) Tripartite Structures in Schoenberg’s A Survivor from Warsaw
  • Article: Jessie Fillerup (University of Richmond) Eternity in Each Moment: Temporal Strategies in Ravel’s “Le Gibet”
  • Article: Nathan D. Hesselink (University of British Columbia) Radiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation
  • Article: Anabel Maler (University of Chicago) Songs for Hands: Analyzing Interactions of Sign Language and Music
  • Article: René Rusch (McGill University) Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80
  • Article: Peter Schubert and Marcelle Lessoil-Daelman (McGill University) What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance
  • Review: Arnie Cox (Oberlin Conservatory of Music) Review of Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012)
  • Review: August Sheehy (University of Chicago) Review of Elliott Antokoletz and Marianne Wheeldon, eds., Rethinking Debussy (New York: Oxford University Press, 2011)
  • Review: Alan Theisen (Mars Hill College) Review of Brian Alegant, The Twelve-Tone Music of Luigi Dallapiccola, Eastman Studies in Music, vol. 76 (Rochester, NY: University of Rochester Press, 2010)

Volume 18, Number 4, December 2012

  • Article: Timothy K. Chenette (University of Massachusetts Amherst) Hearing Counterpoint Within Chromaticism: Analyzing Harmonic Relationships in Lassus’s Prophetiae Sibyllarum
  • Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Rethinking Octatonicism: Views from Stravinsky’s Homeland
  • Article: Yosef Goldenberg (The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance) The Interruption-Fill and Corollary Procedures
  • Article: Eugene Montague (The George Washington University) Instrumental Gesture in Chopin’s Étude in A-Flat Major, Op. 25, No. 1
  • Article: Rob Schultz (University of Massachusetts Amherst) Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith
  • Article: Joseph N. Straus (Graduate Center, City University of New York) Three Stravinsky Analyses: Petrushka, Scene 1 (to Rehearsal No. 8); The Rake’s Progress, Act III, Scene 3 (“In a foolish dream”); Requiem Canticles, “Exaudi”
  • Article: Benjamin K. Wadsworth (Kennesaw State University) Directional Tonality in Schumann’s Early Works
  • Review: Chelsea Burns (University of Chicago) Review of Michael Tenzer and John Roeder, eds., Analytical and Cross-Cultural Studies in World Music (Oxford University Press, 2011)
  • Review: Jonathan Kochavi (Swarthmore College) Review of Edward Gollin and Alexander Rehding, eds., The Oxford Handbook of Neo-Riemannian Theories (Oxford University Press, 2011)
  • Review: David Thurmaier (Florida Gulf Coast University) Review of Vincent P. Benitez, The Words and Music of Paul McCartney: The Solo Years (Praeger, 2010); Ian Inglis, The Words and Music of George Harrison (Praeger, 2010); and Ben Urish and Ken Bielen, The Words and Music of John Lennon (Praeger, 2007)

Volume 18, Number 3, September 2012

Festschrift for Steve Larson

  • Article: Stephen Rodgers (University of Oregon) and Henry Martin (Rutgers University) Guest Editors’ Introduction: “The More Questions, The Better”
  • Article: Matthew L. BaileyShea (University of Rochester) Musical Forces and Interpretation: Some Thoughts on a Measure in Mahler
  • Article: Robert S. Hatten (University of Texas at Austin) Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model
  • Article: David J. Heyer (University of Oregon) Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach
  • Article: Stefan C. Love (University of Chicago) “Possible Paths”: Schemata of Phrasing and Melody in Charlie Parker’s Blues
  • Article: Henry Martin (Rutgers University-Newark) Charlie Parker and “Honeysuckle Rose”: Voice Leading, Formula, and Motive
  • Article: Mark McFarland (Georgia State University) Schenker and the Tonal Jazz Repertory: A Response to Martin
  • Article: Alison Hood (National University of Ireland Maynooth) Ambiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 22
  • Article: Gary S. Karpinski (University of Massachusetts Amherst) Ambiguity: Another Listen
  • Article: Keith Waters (University of Colorado Boulder) Other Good Bridges: Continuity and Debussy’s “Reflets dans l’eau”
  • Article: Steve Larson (University of Oregon) Expressive Meaning and Musical Structure, Chapter 1 of Schenkerian Analysis: Pattern, Form, and Expressive Meaning
  • Review: Vasili Byros (Northwestern University) Review of Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice (Oxford University Press, 2012)
  • Review: Kristina Muxfeldt (Indiana University) Review of Suzannah Clark, Analyzing Schubert (Cambridge University Press, 2011)
  • Review: Robert Peck (Louisiana State University) Review of Steven Rings, Tonality and Transformation (Oxford University Press, 2011)
  • Review: Jason Yust (Boston University) Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, 2012)

Volume 18, Number 2, June 2012

  • Article: David K. Blake (SUNY-Stony Brook) Timbre as Differentiation in Indie Music
  • Article: Anna M. Gawboy (Ohio State University) and Justin Townsend (Northeastern University) Scriabin and the Possible
  • Article: Blair Johnston (Indiana University) Between Romanticism and Modernism and Postmodernism: George Crumb’s Black Angels
  • Article: Rebecca Leydon (Oberlin College) Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime
  • Review: Kyle Fyr (University of Northern Colorado) Review of Timothy Johnson, John Adams’s “Nixon in China”: Musical Analysis, Historical and Political Perspectives (Ashgate, 2011)
  • Review: Dave Headlam (Eastman School of Music) Review of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011)
  • Review: Mariusz Kozak (University of Chicago) Review of Evan Jones, ed., Intimate Voices: The Twentieth Century String Quartet (Rochester University Press, 2009)
  • Review: Gordon Sly (Michigan State University) Review of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010)
  • Report: Heather Platt (Ball State University) “Brahms in the New Century”: A Conference Report

Volume 18, Number 1, April 2012

Analyzing Performance

  • Article: Nicholas Cook (University of Cambridge) Introduction: Refocusing Theory
  • Article: Daniel Barolsky (Beloit College) and Peter Martens (Texas Tech University) Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I)
  • Article: Alan Dodson (University of British Columbia) Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’s Kreisleriana, Op. 16, No. 2
  • Article: Daniel Leech-Wilkinson (King's College London) Compositions, Scores, Performances, Meanings
  • Article: Peter Martens (Texas Tech University) Tactus in Performance: Constraints and Possibilities
  • Article: Mitchell S. Ohriner (Shenandoah University) Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin’s Mazurkas
  • Article: Michael Schutz and Fiona Manning (McMaster University) Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures
  • Review: Gregory J. Decker (Bowling Green State University) Review of Andrew Davis, “Il Trittico,” “Turandot,” and Puccini’s Late Style (Indiana University Press, 2010)
  • Review: Clare Sher Ling Eng (Belmont University) Review of Peter Kaminsky, ed., Unmasking Ravel: New Perspectives on the Music (University of Rochester Press, 2011)
  • Review: Andrew D. Robbie (Harvard University) Review of Brian Hulse and Nick Nesbitt, eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Ashgate, 2010)
  • Review: Chris Stover (The New School for Jazz and Contemporary Music) Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 1965–68 (Oxford University Press, 2011)

Volume 17, Number 4, December 2011

  • Article: Julian Hook (Indiana University) How to Perform Impossible Rhythms
  • Article: Mark Sallmen (University of Toronto) Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation
  • Article: David Temperley (Eastman School of Music) Scalar Shift in Popular Music
  • Review: Michael Cherlin (University of Minnesota) Review of Sabine Feisst, Schoenberg’s New World: The American Years (Oxford University Press, 2011)
  • Review: Thomas Christensen (The University of Chicago) Review of Lee Rothfarb, August Halm: A Critical and Creative Life in Music (University of Rochester Press, 2009)
  • Review: Miguel J. Ramirez (Clarksville, TN) Review of Dermot Gault, The New Bruckner: Compositional Development and the Dynamics of Revision (Surrey, England: Ashgate, 2011)
  • Review: Andrew Westerhaus (The University of Chicago) Review of Gretchen Horlacher, Building Blocks: Repetition and Continuity in the Music of Stravinsky (New York: Oxford University Press, 2011)
  • Essay: Karen M. Bottge (University of Kentucky) Reading Adorno’s Reading of the Rachmaninov Prelude in C-sharp Minor: Metaphors of Destruction, Gestures of Power

Volume 17, Number 3, October 2011

Spcial Issue: (Per)Form in(g) Rock

  • Article: Nicole Biamonte (McGill University) Introduction
  • Article: Jay Summach (Yale University) The Structure, Function, and Genesis of the Prechorus
  • Article: Christopher Doll (Rutgers, The State University of New Jersey) Rockin’ Out: Expressive Modulation in Verse-Chorus Form
  • Article: Brad Osborn (DePauw University) Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres
  • Article: Timothy Koozin (University of Houston) Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach
  • Article: Christopher Endrinal (University of Massachusetts, Lowell) Burning Bridges: Defining the Interverse in the Music of U2
  • Article: Robin Attas (University of British Columbia) Sarah Setting the Terms: Defining Phrase in Popular Music
  • Article: Drew F. Nobile (CUNY Graduate Center) Form and Voice Leading in Early Beatles Songs
  • Article: Mark Spicer (Hunter College and the Graduate Center, CUNY) (Per)Form in(g) Rock: A Response
  • Review: Julian Hook (Indiana University) Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)
  • Review: Harald Krebs (University of Victoria) Review of Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (New York: Oxford University Press, 2009)
  • Review: Seth Monahan (Eastman School of Music) Review of Janet Schmalfeldt: In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford: Oxford University Press, 2011)
  • Review: Samuel Ng (College-Conservatory of Music, University of Cincinnati) Review of Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative (Surrey, England: Ashgate, 2010)

Volume 17, Number 2, July 2011

  • Article: Arnie Cox (Oberlin Conservatory of Music) Embodying Music: Principles of the Mimetic Hypothesis
  • Article: David J. Heetderks (University of Michigan) A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City
  • Article: Jennifer Iverson (University of Iowa) Creating Space: Perception and Structure in Charles Ives’s Collages
  • Article: Steven Jan (University of Huddersfield) Music, Memory and Memes in the Light of Calvinian Neuroscience
  • Article: Stanley V. Kleppinger (University of Nebraska-Lincoln) Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
  • Review: Jeremy Grall (University of Alabama at Birmingham) Review of Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music (Oxford University Press, 2009)
  • Review: Justin London (Carleton College) Review of Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010)
  • Essay: Emily J. Adamowicz (University of Western Ontario) Subjectivity and Structure in Milton Babbitt’s Philomel
  • Essay: Zachary Bernstein (The Graduate Center, City University of New York) Duplicated Subdivisions in Babbitt’s It Takes Twelve to Tango
  • Essay: Daphne Leong (University of Colorado-Boulder) Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths
  • Essay: Ciro Scotto (University of South Florida) What Do I Hear Now, Groupwise?
  • Essay: Martin Kutnowski (St. Thomas University) How Register Tells the Story in Scriabin’s Op. 22, No. 2

Volume 17, Number 1, April 2011

  • Article: Sean Atkinson (University of Texas at Arlington) Canons, Augmentations, and Their Meaning in Two Works by Steve Reich
  • Article: David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya) Modes, the Height-Width Duality, and Handschin’s Tone Character
  • Article: Stacey Davis (University of Texas at San Antonio) Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bach’s Unaccompanied String Works
  • Article: Melissa E. Hoag (Oakland University) Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick”
    (op. 57, no. 4)
  • Article: Patrick McCreless (Yale University) Ownership, In Music and Music Theory
  • Article: Robert W. Peck (Louisiana State University) A GAP Tutorial for Transformational Music Theory
  • Article: Stephen Rodgers (University of Oregon) Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel
  • Article: David Temperley (Eastman School of Music) The Cadential IV in Rock
  • Commentary: Michael Fitzpatrick (University of Western Ontario) Models and Music Theory: Reconsidering David Lewin’s Graph of the 3-2 Cohn Cycle
  • Review: Mark Carlson (University of California, Los Angeles) Review of Alexandra Pierce, Deepening Musical Performance through Movement (Indiana University Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Kent D. Cleland and Mary Dobrea-Grindahl, Developing Musicianship Through Aural Skills: A Holistic Approach to Sight-Singing and Ear-Training (New York: W.W. Routledge, 2010)

Volume 16, Number 4, December 2010

Rhythm: Africa and Beyond

  • Article: James Burns (Binghamton University) Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora
  • Article: Matthew W. Butterfield (Franklin & Marshall College) Variant Timekeeping Patterns and Their Effects in Jazz Drumming
  • Article: David Locke (Tufts University) Yewevu in the Metric Matrix
  • Article: Rainer Polak (Bayreuth, Germany) Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision in Jembe Music from Mali
  • Article: Martin Scherzinger (New York University) Temporal Geometries of an African Music: A Preliminary Sketch
  • Commentary: Kofi Agawu (Princeton University) Commentary
  • Commentary: Cynthia Tse Kimberlin (Music Research Institute) Commentary
  • Commentary: Justin London (Carleton College) Commentary
  • Commentary: Michael Tenzer (University of British Columbia) Africa Stand Up!—and Be Counted Among Others
  • Commentary: Michael Vercelli (West Virginia University) and Janet Sturman (University of Arizona) Commentary on "Rhythm: Africa and Beyond"
  • Review: Rebecca Jemian (Ithaca College) Review of Josephine Lang: Her Life and Songs, by Harald Krebs and Sharon Krebs (Oxford University Press, 2007)
  • Review: Matthew S. Royal (Brock University) Review of Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 1653–1705 (Aldershot and Burlington: Ashgate Press, 2008)

Volume 16, Number 3, August 2010

  • Article: J. Daniel Jenkins (University of South Carolina) After the Harvest: Carter’s Fifth String Quartet and the Late Late Style
  • Article: Nicholas Stoia (Boston, MA) Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–1945
  • Article: Daniel K. S. Walden (Oberlin College and Conservatory) Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn’s Schilflied and Hindemith’s Ludus Tonalis
  • Article: Keith J. Waters (University of Colorado at Boulder) and J. Kent Williams (University of North Carolina at Greensboro) Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-Dimensional Pitch Spaces; or Jazz Harmony after 1960
  • Review: Stephen Rodgers (University of Oregon) Review of Matthew Santa, Hearing Form: Musical Analysis With and Without the Score (New York: Routledge, 2010)
  • Review: Elise O. Takehana (University of Florida) Review of Nicola Dibben, Björk (Bloomington: Indiana University Press, 2009)

Volume 16, Number 2, May 2010

Form as Process

  • Article: Brenda Ravenscroft (Queen's University) Form as Process: Celebrating the Work of Janet Schmalfeldt (Chair’s Introduction)
  • Article: Carissa Reddick (University of Northern Colorado) Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century
  • Article: Janet Schmalfeldt (Tufts University) Response to Carissa Reddick
  • Article: Mike Cheng-Yu Lee (Cornell University) A Response to Schmalfeldt’s “Form as Process of Becoming”: Once More on the Performance and Analysis of Schubert’s Sonata in A minor, Op. 42
  • Article: Janet Schmalfeldt (Tufts University) Response to Mike Cheng-Yu Lee
  • Article: William E. Caplin (Schulich School of Music, McGill University) Beethoven’s “Tempest” Exposition: A Response to Janet Schmalfeldt
  • Article: James Hepokoski (Yale University) Formal Process, Sonata Theory, and the First Movement of Beethoven’s “Tempest” Sonata
  • Article: Janet Schmalfeldt (Tufts University) One More Time on Beethoven’s “Tempest,” From Analytic and Performance Perspectives: A Response to William E. Caplin and James Hepokoski
  • Review: David Casacuberta (Universitat Autònoma de Barcelona) Review of David Temperley, Music and Probability (Cambridge: MIT Press, 2007)
  • Review: David Damschroder (University of Minnesota) Review of Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Pieter Bergè (Leuven, Belgium: Peeters, 2009)

Volume 16, Number 1, March 2010

  • Article: Brent Auerbach (University of Massachusetts, Amherst) Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction
  • Article: Jill T. Brasky (University of South Florida) Extraordinary Function and the Half-Diminished Seventh in the Song of the Wood Dove
  • Article: Victoria Malawey (Kenyon College) Harmonic Stasis and Oscillation in Björk’s Medúlla
  • Article: Ed Martin (University of Wisconsin Oshkosh) Harmonic Progression in Magnus Lindberg’s Twine
  • Article: Susan McClary (University of California, Los Angeles) In Praise of Contingency: The Powers and Limits of Theory
  • Commentary: Dmitri Tymoczko (Princeton University) Geometrical Methods in Recent Music Theory
  • Review: Ken Stephenson (University of Oklahoma) Review of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway"
    (Aldershot and Burlington: Ashgate, 2008)
  • Essay: Timothy Cutler (Cleveland Institute of Music) Cryptic Audiodiversity and the Dissonant Perfect Unison

Volume 15, Number 5, October 2009

  • Article: Kyle Adams (Indiana University) On the Metrical Techniques of Flow in Rap Music
  • Article: Michael Berry (Texas Tech University) The Importance of Bodily Gesture in Sofia Gubaidulina’s Music for Low Strings
  • Article: Tuire Kuusi (Sibelius Academy) Discrimination and Evaluation of Trichords
  • Article: Joti Rockwell (Pomona College) Birdcage Flights: A Perspective on Inter-Cardinality Voice Leading
  • Review: Daniel Shanahan (Trinity College Dublin) Review of Aniruddh D. Patel, Music, Language, and the Brain (New York and Oxford: Oxford University Press, 2008)
  • Essay: Donald G. Traut (University of Arizona) Dyadic TC Lattices: Revisiting the TC/IS Relationship

Volume 15, Numbers 3 and 4, August 2009

  • Review: Eleanor Aversa (University of Pennsylvania) Review of David Huron, Sweet Anticipation: Implications for Composers
  • Essay: Joseph Straus (Graduate Center, CUNY) Introduction
  • Essay: Paul Attinello (Newcastle University) Time, Work, and Chronic Illness
  • Essay: Samantha Bassler (Open University, UK) “But You Don’t Look Sick”: A Survey of Scholars with Chronic, Invisible Illnesses and their Advice on How to Live and Work in Academia
  • Essay: James Deaville (Carleton University) More Than the Blues: Clinical Depression, Invisible Disabilities and Academe
  • Essay: Timothy L. Jackson (University of North Texas) Escaping from a Black Hole: Facing Depression in Academia
  • Essay: Allen Gimbel (Lawrence University) Scholarship and Quadriplegia
  • Essay: Stefan Sunandan Honisch (University of British Columbia) “Re-narrating” Disability through Musical Performance
  • Essay: Jeff Gillespie (Butler University) Our Common Uniqueness
  • Essay: Ciro Scotto (Eastman School of Music) The Symbiosis of Disability
  • Essay: Jon Kochavi (Swarthmore College) How Do You Hear That? Autism, Blindness, and Teaching Music Theory
  • Essay: Shersten Johnson (University of St. Thomas) Notational Systems and Conceptualizing Music: A Case Study of Print and Braille Notation
  • Essay: Stephanie Jensen-Moulton (Brooklyn College) Music Fundamentals: Three Classes with Daniel Trush
  • Essay: David Pacun (Ithaca College) Reflections on and Some Recommendations for Visually Impaired Students
  • Essay: Janna Saslaw (Loyola University) “Teaching Blind”: Methods for Teaching Music Theory to Visually Impaired Students
  • Essay: Rebecca Morris (Unversity of Southern California) Universal Design and Adaptive Equipment: Ideas and Solutions for Music Schools

Volume 15, Number 2, June 2009

  • Article: Emmanuel Amiot (CPGE, Perpignan) Discrete Fourier Transform and Bach’s Good Temperament
  • Article: Stephen C. Brown (Northern Arizona University) Axis Tonality and Submediant in the Music of Shostakovich
  • Article: Joseph C. Kraus (Florida State University) Coaching Mozart’s String Quintet in E-Flat Major: Finding the Rhythmic Shape
  • Article: Frank Samarotto (Indiana University) “Plays of Opposing Motion”: Contra-Structural Melodic Impulses in Voice-leading Analysis
  • Commentary: Justin A. Williams (University of Nottingham) Beats and Flows: A Response to Kyle Adams, “Aspects of the Music/Text Relationship in Rap”
  • Commentary: Kyle Adams (Indiana University) “People’s Instinctive Assumptions and the Paths of Narrative”: A Response to Justin Williams
  • Review: Mark McFarland (Georgia State University) Review of Jeremy Day-O'Connell, Pentatonicism from the Eighteenth Century to Debussy (Rochester: University of Rochester Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis (New York: W.W. Norton, 2005)

Volume 15, Number 1, March 2009

Special Issue: Animating the “Inside”

  • Article: John Roeder (University of British Columbia) Introduction
  • Article: Robin Attas (University of British Columbia) Metaphors in Motion: Agents and Representation in Transformational Analysis
  • Article: John Roeder (University of British Columbia) Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1–32
  • Article: Stephanie Lind (Queen's University) An Interactive Trichord Space Based on Measures 18–23 of Clermont Pépin’s Toccate no. 3
  • Article: Mustafa Bor (University of Alberta) Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6
  • Article: Stephanie Lind (Queen's University) and John Roeder (University of British Columbia) Transformational Distance and Form in Berg’s “Schlafend trägt man mich”
  • Article: Scott Alexander Cook (University of British Columbia) Moving Through Triadic Space: An Examination of Bryars’s Seemingly Haphazard Chord Progressions
  • Article: John Roeder (University of British Columbia) A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”
  • Review: Jack Boss (University of Oregon) Review of Michael Cherlin, Schoenberg’s Musical Imagination (Cambridge: Cambridge University Press, 2007)
  • Review: Don Traut (University of Arizona) Review of Henry Martin, Counterpoint: A Species Approach Based on Schenker’s “Counterpoint” (Lanham, MD: The Scarecrow Press, Inc., 2005)

Volume 14, Number 4, December 2008

  • Article: Lori Burns (University of Ottawa) and Marc Lafrance (Concordia University) Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Björk
  • Article: Nicolas Donin (IRCAM) and Jonathan Goldman (University of Victoria) Charting the Score in a Multimedia Context: the Case of Paradigmatic Analysis
  • Review: Bruce Quaglia (University of Utah) Review of Ethan Haimo, Schoenberg’s Transformation of Musical Language (New York: Cambridge University Press, 2006)
  • Review: Elizabeth Lena Smith (Illinois State University) Review of Edward D. Latham, Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas (Denton: University of North Texas Press, 2008)

Volume 14, Number 3, September 2008

  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Maximally Alpha-Like Operations
  • Article: Vasileios Kallis (University of Nicosia, Cyprus) Principles of Pitch Organization in Scriabin’s Early Post-tonal Period: The Piano Miniatures
  • Commentary: Henry Martin (Rutgers University-Newark) and Cynthia Folio (Temple University) Report on the 2008 Mannes Institute for Advanced Studies in Music Theory: Jazz Meets Pop
  • Review: Brad Osborn (University of Washington) Review of Andrew Dell’ Antonio, ed., Beyond Structural Listening?: Postmodern Modes of Hearing (Berkeley: University of California Press, 2004)

Volume 14, Number 2, June 2008

  • Article: Nicholas Baragwanath (Royal Northern College of Music) Analytical Approaches to Melody in Selected Arias by Puccini
  • Article: Nicole Biamonte (University of Iowa) Augmented-Sixth Chords vs. Tritone Substitutes
  • Article: Kyle Adams (Indiana University) Aspects of the Music/Text Relationship in Rap
  • Commentary: Olli Väisälä (Sibelius Academy) Rhetoric and Justification in Analysis: A Commentary on Eric Wen’s Commentary
  • Review: David Nicholls (University of Southampton) Review of Pwll ap Siôn, The Music of Michael Nyman: Texts, Contexts and Intertexts (Aldershot, UK: Ashgate, 2007)

Volume 14, Number 1, March 2008

  • Article: Golan Gur (Ludwig Maximilian University and Humboldt University) Body, Forces, and Paths: Metaphor and Embodiment in Jean-Philippe Rameau’s Conceptualization of Tonal Space
  • Article: Felix F. Diergarten (Musikhochschule Freiburg) “At times even Homer nods off”: Heinrich Christoph Koch’s Polemic against Joseph Haydn
  • Article: William Rothstein (Queens College and CUNY Graduate Center) Common-tone Tonality in Italian Romantic Opera: An Introduction
  • Commentary: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks One More Time: A Response to Eight Responses
  • Commentary: Roger Mathew Grant (University of Pennsylvania) Hysteria at the Musical Surface
  • Commentary: Eric Wen (Curtis Institute of Music) Commentary on Samuel Ng’s review of Peter H. Smith’s Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet
  • Review: David B. Easley (Florida State University) Review of Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge and London: Harvard University Press, 2003)
  • Review: David Nicholls (University of Southampton) Review of Ray Allen and Ellie M. Hisama, eds., Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American Music (Rochester: University of Rochester Press, 2007)
  • Review: Jonathan Pieslak (The City College of New York) Review of Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003)

Volume 13, Number 4, December 2007

  • Article: Julian Hook (Indiana University) Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Francesco's Dream: Musical Logic in Landini's Three-Voice Ballate
  • Article: Peter A. Martens (Texas Tech University) Glenn Gould's "Constant Rhythmic Reference Point":
    Communicating Pulse in Bach's Goldberg Variations, 1955 and 1981
  • Article: Jacob Reed and Matthew Bain (Ohio State University) A Tetrahelix Animates Bach: Revisualization of David Lewin's Analysis of the Opening of the F# Minor Fugue from WTC I
  • Article: Matt L. BaileyShea (Eastman School of Music) Filleted Mignon: A New Recipe for Analysis and Recomposition
  • Article: Deborah Mawer (Lancaster University) Exploring Complementation in Bartók's Third Quartet
  • Review: Samuel Ng (Louisiana State University) Review of Peter H. Smith, Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet (Bloomington: Indiana University Press, 2005)

Volume 13, Number 3, September 2007

  • Article: Fernando Benadon (American University) A Circular Plot for Rhythm Visualization and Analysis
  • Article: Scott Murphy (University of Kansas) Considering Network Recursion and Bartók’s “Fourths”
  • Article: Adam Ricci (University of North Carolina at Greensboro) The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3
  • Article: Mark Sallmen (University of Toronto) Listening to the Music Itself: Breaking Through the Shell of Elliott Carter’s “In Genesis”
  • Commentary: Matthew W. Butterfield (Franklin & Marshall College) Response to Fernando Benadon
  • Commentary: Gretchen Foley (University of Nebraska-Lincoln) The Efficacy of K-Nets in Perlean Theory
  • Commentary: Henry Klumpenhouwer (University of Alberta) Reconsidering Klumpenhouwer Networks: a Response
  • Commentary: Catherine Losada (University of Cincinnati College-Conservatory of Music) K-nets and Hierarchical Structural Recursion: Further Considerations
  • Commentary: Catherine Nolan (University of Western Ontario) Thoughts on Klumpenhouwer Networks and Mathematical Models: The Synergy of Sets and Graphs
  • Commentary: Shaugn O'Donnell (The City College and Graduate Center, CUNY) Embracing Relational Abundance
  • Commentary: Philip Stoecker (Oberlin College Conservatory) Without a Safety (k)-Net
  • Commentary: Dmitri Tymoczko (Princeton University) Recasting K-nets
  • Review: Jeff Perry (Louisiana State University) Review of Anthony K. Brandt, Sound Reasoning: A New Way to Listen

Volume 13, Number 2, June 2007

  • Article: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks
  • Article: Amanda Stringer Sauer (Florida State University) Cognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 101
  • Commentary: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) and Matthias Pasdzierny (Universität der Künste Berlin) Sprechstimme Reconsidered Once Again: '... though Mrs. Stiedry is never in pitch'
  • Review: Gabe Fankhauser and Jennifer Sterling Snodgrass (Appalachian State University) Review of Ralph Turek, Theory for Today's Musician (New York: McGraw-Hill, 2007)
  • Review: Bruce Quaglia (University of Utah) Reviews of Neil Lerner and Joseph Straus, editors, Sounding Off: Theorizing Disability in Music (New York: Routledge, 2006) and Joseph Straus, “Normalizing the Abnormal: Disability in Music and Music Theory” in Journal of the American Musicological Society 59, no. 1 (2006)

Volume 13, Number 1, March 2007

  • Article: Gregory J. Marion (University of Saskatchewan) Debussy and Recollection: trois aperçu
  • Article: Christoph Neidhöfer (McGill University) Bruno Maderna's Serial Arrays
  • Article: Diane Urista (Oberlin College) Chopin’s Prelude in C Major Revisited: Integrating Sound and Symbol
  • Commentary: Jeff Perry (Louisiana State University) Music Theory as Conversation
  • Commentary: Fernando Benadon (American University) Commentary on Matthew W. Butterfield's "The Power of Anacrusis"
  • Commentary: Daniel G Barolsky (Lawrence University) The Performer as Analyst
  • Review: Kimberly A. Francis (University of North Carolina at Chapel Hill) Review of Maureen Carr, Multiple Masks: Neoclassicism in Stravinsky’s Works on Greek Subjects (Lincoln: University of Nebraska Press, 2002)

Volume 12, Number 4, December 2006

  • Article: David Neumeyer (University of Texas at Austin) The Contredanse, Classical Finales, and Caplin’s Formal Functions
  • Article: Matthew W. Butterfield (Franklin & Marshall College) The Power of Anacrusis: Engendered Feeling in Groove-Based Musics
  • Article: Adrian P. Childs (University of Georgia) Structural and Transformational Properties of All-Interval Tetrachords

Volume 12, Number 3, October 2006

  • Article: Ross W. Duffin (Case Western University) Just Intonation in Renaissance Theory and Practice
  • Article: James William Sobaskie (Hofstra University) Contextual Drama in Bach
  • Commentary: Maureen A. Carr (The Pennsylvania State University) "Who's on First?": Response to David H. Smyth's review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)
  • Review: Tim S. Pack (University of Oregon) Review of Syntagma musicum III, by Michael Praetorius, translated and edited by Jeffery T. Kite-Powell (New York and Oxford: Oxford University Press, 2004)
  • Review: Melissa Ursula Dawn Goldsmith (Nicholls State University) Review of Tim J. Anderson, Making Easy Listening: Material Culture and Postwar American Recording, Commerce and Mass Culture Series (Minneapolis and London: University of Minnesota Press, 2006)

Volume 12, Number 2, May 2006

  • Article: Yosef Goldenberg (Hebrew University of Jerusalem) A Musical Gesture of Growing Obstinacy
  • Article: Scott Murphy (University of Kansas) The Major Tritone Progression in Recent Hollywood Science Fiction Films
  • Article: Ronald Woodley (University of Central England, Birmingham Conservatoire) Sharp Practice in the Later Middle Ages: Exploring the Chromatic Semitone and its Implications
  • Review: David H. Smyth (Louisiana State University) Review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)

Volume 12, Number 1, February 2006

  • Article: Eliot Ghofur Woodruff (University of Canterbury) Metrical Phase Shifts in Stravinsky's The Rite of Spring
  • Article: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Serial Intervention in Nono's Il canto sospeso
  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Pat Martino's The Nature of the Guitar: An Intersection of Jazz Theory and Neo-Riemannian Theory
  • Review: Peter Schubert (McGill University) Review of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge: Cambridge University Press, 2002)

Volume 11, Number 4, October 2005

  • Article: Luis-Manuel Garcia (University of Chicago) On and On: Repetition as Process and Pleasure in Electronic Dance Music
  • Article: Allan F. Moore (University of Surrey) The Persona-Environment Relation in Recorded Song
  • Article: Dmitri Tymoczko (Princeton University) Voice Leadings as Generalized Key Signatures
  • Review: Mark Spicer (City University of New York) Review of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul
    (New York and Oxford: Oxford University Press, 2001)

Volume 11, Number 3, September 2005

  • Article: Lori Burns (University of Ottawa) Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong
  • Article: Thomas M. Fiore (University of Chicago) and Ramon Satyendra (University of Michigan) Generalized Contextual Groups
  • Article: Daphne Leong and David Korevaar (University of Colorado at Boulder) The Performer's Voice: Performance and Analysis in Ravel's Concerto pour la main gauche

Volume 11, Number 2, June 2005

  • Article: Stefan Eckert (Northwestern University) "So, you want to write a Minuet?" -- Historical Perspectives in Teaching Theory
  • Article: Art Samplaski, Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling
  • Review: Burdette Green (Ohio State University) Review of Rebecca Herissone, Music Theory in Seventeenth-Century England (Oxford: Oxford University Press, 2000)
  • Review: Daniel Harrison (Yale University) Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge: Cambridge University Press, 2003)

Volume 11, Number 1, March 2005

Special Issue on Performance and Analysis: Views from Theory, Musicology, and Performance

  • Article: Robert S. Hatten (Indiana University) Introduction (to the Special Issue on Performance and Analysis)
  • Article: Nicholas Cook (University of London) Prompting Performance: Text, Script, and Meaning in Bryn Harrison's être-temps
  • Article: William Rothstein (CUNY Graduate Center) Like Falling off a Log: Rubato in Chopin’s Prelude in A-flat Major, Op. 28 No. 17
  • Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Virtuosity in Babbitt’s Lonely Flute
  • Article: Elizabeth McNutt (University of Colorado at Boulder) A Postscript on Process
  • Article: Janet Schmalfeldt (Tufts University) Response (to the Special Issue on Performance and Analysis)
  • Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Response to Janet Schmalfeldt's Response
  • Review: Robert S. Hatten (Indiana University) Review of Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002)
  • Review: Peter Kaminsky (University of Connecticut) Review of Beatlestudies 3: Proceedings of the BEATLES 2000 Conference (Jyväskylä, Finland: University of Jyväskylä Press, 2001)

Volume 10, Number 4, December 2004

  • Article: Walter T. Everett (University of Michigan) Making Sense of Rock's Tonal Systems
  • Article: Yayoi Uno Everett (Emory University) Parody with an Ironic Edge: Dramatic Works by Kurt Weill, Peter Maxwell Davies, and Louis Andriessen
  • Article: Robert Gauldin (Eastman School of Music) Tragic Love and Musical Memory
  • Commentary: Eric L. Wen (Curtis Institute of Music) More on Sharp ^4 to Natural ^4: Further thoughts on Frank Samarotto's article "Sublimating Sharp ^4: An Exercise in Schenkerian Energetics"
  • Review: Nicola Dibben (University of Sheffield) Review of Lawrence M. Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis (New York: Oxford University Press, 2002)
  • Review: John L. Snyder (University of Houston) Review of Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge: Cambridge University Press, 2002)

Volume 10, Number 3, September 2004

  • Article: Clinton Callender (Florida State University) Continuous Transformations
  • Article: Nick Collins (University of Cambridge) An Algorithm for the Direct Generation of Set Class Representatives in Any Pitch Class Space
  • Article: Frank Samarotto (Indiana University) Sublimating Sharp ^4: An Exercise in Schenkerian Energetics
  • Commentary: Bret Aarden and Paul T. von Hippel (Ohio State University) Rules for Chord Doubling (and Spacing): A Reply To Wibberley
  • Commentary: Roger Wibberley (Goldsmiths University of London) Models for Chord Doubling (and Spacing): Which Ones Don't We Need?
  • Review: Damian Espinosa (University of Chicago) Review of Annette Richards, The Free Fantasia and the Musical Picturesque. New Perspectives in Music History and Criticism
  • Review: Edward D. Latham (Temple University) Binary Oppositions in Arnold Whittall's Exploring Twentieth-Century Music: Tradition and Innovation (Cambridge University Press, 2003) and Their Implications for Analysis

Volume 10, Number 2, June 2004

  • Article: Bret Aarden and Paul T. von Hippel (Ohio State University) Rules for Chord Doubling (and Spacing): Which Ones Do We Need?
  • Article: Lori Burns (University of Ottawa) and Alyssa Woods (University of Michigan) Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem
  • Article: Art Samplaski, Interval-Classes and Psychological Space
  • Review: Kenneth Gloag (Cardiff University) Review of David Clarke, The Music and Thought of Michael Tippett: Modern Times and Metaphysics (Cambridge: Cambridge University Press, 2001)
  • Review: Rob Haskins (University of New Hampshire) Review of The Cambridge Companion to John Cage, ed. David Nicholls (Cambridge: Cambridge University Press, 2002)

Volume 10, Number 1, January 2004

  • Article: Janet Schmalfeldt (Tufts University) Coming Home
  • Article: Roger Wibberley (Goldsmiths University of London) Quid non ebrietas dissignat? Willaert's didactic demonstration of Syntonic tuning
  • Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: A Sixteenth-Century Composer's Soundscape
  • Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: Creating a Model for Accurate Electronic Playback
  • Review: Richard Bass (University of Connecticut) Review of David Kopp, Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002
  • Review: Michelle E. Hakanson (University of Oregon) Review of Carol J. Oja, Making Music Modern: New York in the 1920s. New York: Oxford University Press, 2000

Volume 9, Number 4, October 2003

  • Article: Richard Cohn (University of Chicago) A Tetrahedral Graph of Tetrachordal Voice-Leading Space
  • Article: Nancy Rogers and Michael Buchler (Florida State University) Square Dance Moves and Twelve-Tone Operators: Isomorphisms and New Transformational Models

Volume 9, Number 3, August 2003

  • Article: Tuire Kuusi (Sibelius Academy) The Role of Set-Class Identity in the Estimation of Chords
  • Article: Robert W. Peck (Louisiana State University) Klein-Bottle Tonnetze
  • Article: Diane J. Urista (Oberlin College) Beyond Words: The Moving Body as a Tool for Musical Understanding
  • Review: Robert W. Peck (Louisiana State University) A Review of the 2003 American Mathematical Society Spring Southeastern Section Conference, Special Session on Mathematical Techniques in Musical Analysis

Volume 9, Number 2, July 2003

  • Article: Alfred Cramer (Pomona College) The Harmonic Function of the Altered Octave in Early Atonal Music of Schoenberg and Webern: Demonstration Using Auditory Streaming
  • Article: Peter Silberman (University of Rochester) Post-Tonal Improvisation in the Aural Skills Classroom
  • Review: Judy Lochhead (SUNY at Stony Brook) Review of Ellie M. Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon

Volume 9, Number 1, March 2003

Special Issue: The SMT Twenty-Fifth Anniversary Banquet Lectures

  • Article: Richmond Browne, The Deep Background of our Society
  • Article: Allen Forte (Yale University) The Founding of the Society for Music Theory
  • Article: William Hussey, Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich
  • Article: Elizabeth Sayrs (University of Saskatchewan) Narrative, Metaphor, and Conceptual Blending in "The Hanging Tree"
  • Article: Mary Wennerstrom (Indiana University) SMT at 25: A View from the Balance Sheet
  • Commentary: Henkjan Honing (University of Amsterdam) Some Comments on the Relation Between Music and Motion
  • Review: Jeffrey Perry (Louisiana State University) Review of M. J. Grant, Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe

Volume 8, Number 4, December 2002

  • Article: Kevin Holm-Hudson (University of Kentucky) Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of "Superstar"
  • Article: Rebecca Leydon (Oberlin College) Towards a Typology of Minimalist Tropes
  • Review: Olli Väisälä (Sibelius Academy) Review of Timothy L. Jackson and Veijo Murtomäki, eds. Sibelius Studies (Cambridge: Cambridge University Press, 2001)

Volume 8, Number 3, October 2002

  • Article: Murray Dineen (University of Ottawa) Figured Bass and Modulation: The Wiener-Tonschule of Joseph Preindl
  • Article: Ciro G. Scotto (Eastman School of Music) Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb
  • Review: Guy Capuzzo (Texas Tech University) Review of Robert D. Morris, Class Notes for Advanced Atonal Music Theory (Lebanon, N.H.: Frog Peak Music, 2001)

Volume 8, Number 2, August 2002

  • Article: Vincent P. Benitez (Bowling Green State University) Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera, Saint François d’Assise
  • Commentary: Robert Cantrick (Buffalo State College, SUNY) Commentary on Nicholas Cook, "Theorizing Musical Meaning," Music Theory Spectrum 23/2 (2001)
  • Commentary: Nicholas Cook (University of Southampton) Reply to Cantrick
  • Review: Harald Krebs (University of Victoria) Review of David Ferris, Schumann's Eichendorff Liederkreis and the Genre of the Romantic Cycle. New York: Oxford University Press, 2000.

Volume 8, Number 1, February 2002

  • Article: Alan Dodson (University of Western Ontario) Performance and Hypermetric Transformation: An Extension of the Lerdahl-Jackendoff Theory
  • Review: Bruce Quaglia (University of Utah) Review of Bryan Simms, The Atonal Music of Arnold Schoenberg 1908-1923 (New York: Oxford, 2000)

Volume 7, Number 6, December 2001

  • Article: Mark J. Butler (Indiana University) Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music
  • Review: Walter T. Everett (University of Michigan) Review of Richard Middleton, ed., Reading Pop: Approaches to Textual Analysis in Popular Music

Volume 7, Number 5, October 2001

  • Article: Berthold Hoeckner (University of Chicago) Poet's Love and Composer's Love
  • Review: John Novak (Northern Illinois University) Review of Amanda Bayley, ed., The Cambridge Companion to Bartók
  • Review: Jay Rahn (York University) Conference Report: Symposium on Neo-Riemannian Theory, State University of New York at Buffalo, July 20-21, 2001

Volume 7, Number 4, July 2001

  • Article: David Huron (Ohio State University) What is a Musical Feature? Forte's Analysis of Brahms's Opus 51, No. 1, Revisited
  • Review: Jonathan Walker (Cambridge University) Review of Adam Krims, Rap Music and the Poetics of Identity, Cambridge University Press, 2000

Volume 7, Number 3, May 2001

  • Article: Robert A. Wannamaker (York University) Structure and Perception in Herma by Iannis Xenakis

Volume 7, Number 2, April 2001

  • Article: Nicholas Cook (University of Southampton) Between Process and Product: Music and/as Performance

Volume 7, Number 1, January 2001

  • Article: Gretchen G. Horlacher (Indiana University) Bartók's "Change of Time": Coming Unfixed
  • Article: John Roeder (University of British Columbia) Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartók's "With Drums and Pipes"

Volume 6, Number 5, November 2000

  • Article: Jeffrey Perry (Louisiana State University) The Ladder of Evolution and Musical Progress
  • Review: David Carson Berry (Yale University) Review of Philip Furia, Irving Berlin: A Life In Song. New York: Schirmer Books, 1998.

Volume 6, Number 4, October 2000

  • Article: Daniel Harrison (University of Rochester) Tolling Time
  • Review: Frank Samarotto (University of Cincinnati) "The Body that Beats": Review of Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999.

Volume 6, Number 3, August 2000

Special Issue: Plenary Session from the 2000 Meeting of the New England Conference of Music Theorists

  • Article: Joseph Dubiel (Columbia University) Analysis, Description, and What Really Happens
  • Article: Allen Forte (Yale University) Responses to Plenary Session Papers, NECMT 2000
  • Article: Ellie M. Hisama (Brooklyn College and the Graduate Center, CUNY) Life Outside the Canon? A Walk on the Wild Side
  • Article: Peter M. Kaminsky (University of Connecticut) Revenge of the Boomers: Notes on the Analysis of Rock Music
  • Article: Gary S. Karpinski (University of Massachusetts, Amherst) Lessons from the Past: Music Theory Pedagogy and the Future
  • Article: Patrick McCreless (Yale University) Music Theory and Historical Awareness

Volume 6, Number 2, May 2000

  • Article: Michael Tenzer (University of British Columbia) Theory and Analysis of Melody in Balinese Gamelan
  • Commentary: Raymond Monelle (University of Edinburgh) Martinez's Concept of "Intrinsic Semiosis" (Commentary on Martinez, MTO 6.1)
  • Review: Yrjo Heinonen, Review of Walter Everett, The Beatles as Musicians: Revolver Through the Anthology. New York: Oxford University Press, 1999

Volume 6, Number 1, January 2000

Special Issue: Plenary Session at the Society for Music Theory's 22nd meeting in Atlanta (November 13, 1999)

  • Article: Kofi Agawu (Princeton University) Response to 1999 SMT International Plenary Session
  • Article: Willie Anku (University of Ghana) Circles and Time: A Theory of Structural Organization of Rhythm in African Music
  • Article: José Luis Martinez (Pontifícia Universidade Católica de São Paulo) Semiotics and the Art Music of India
  • Article: Nicolas Meeus (University of Paris Sorbonne) Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
  • Article: Danuta Mirka (Music Academy, Poland) The Structural Role of Timbre and Texture in the Music of Penderecki
  • Review: J. Daniel Jenkins (University of Louisville) Review of David Schiff, The Music of Elliott Carter. 2nd ed. Ithaca: Cornell University Press, 1998.
  • Review: Jeffrey Perry (Louisiana State University) Review of Allen Forte, The Atonal Music of Anton Webern. New Haven: Yale University Press, 1999.
  • Review: Robert Rawlins (Rowan University) Review of Mark Levine, The Jazz Theory Book. Petaluma, Calif.: Sher Music, 1995.
  • Review: Roger Vetter (Grinnell College) Review of Michelle Kisliuk, Seize the Dance: BaAka Musical Life and the Ethnography of Performance. New York: Oxford University Press, 1998.
  • Report: Tamara W. Roemjantsew (Utrecht School of the Arts) Report on Two Conferences in the Netherlands

Volume 5, Number 4, September 1999

  • Review: David A. Damschroder (University of Minnesota) Review of Joseph N. Straus, ed, Unfoldings: Essays in Schenkerian Theory and Analysis (Oxford: Oxford University Press, 1999)
  • Review: Ludger Hofmann-Engl (Keele University) Review of W.B. Hewlett & E. Selfridge-Field, eds., Melodic Similarity: Concepts, Procedures, and Applications (Cambridge, Massachusetts: MIT Press, 1999).
  • Review: David Perrott (Northwestern University) Review of Laurent Fichet, Les theories scientifiques de la musique (Paris: Librairie philosophique J. Vrin, 1996).
  • Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Eleanor Selfridge-Field, Beyond MIDI: the Handbook of Musical Codes (Cambridge, Mass.: MIT Press, 1997).
  • Report: Tess James (University of East London) Review of Zbigniew Preisner, Requiem for My Friend

Volume 5, Number 3, May 1999

  • Article: Timothy Koozin (University of Houston) On Metaphor, Technology, and Schenkerian Analysis
  • Review: James Buhler (Carleton College) Review of Roger Scruton, The Aesthetics of Music
  • Review: David Temperley (Ohio State University) Review of Joseph Swain, Musical Languages
  • Report: Tore Eriksson (University of Lund) Four Swedish Dissertations in Music Theory

Volume 5, Number 2, March 1999

  • Article: Stephen Soderberg (Library of Congress) White Note Fantasy, Part II: A Few Hypertonal Variations
  • Review: Diane Luchese (Ohio State University) Review of Anthony Pople, Messiaen: Quatuor pour la fin du Temps
  • Review: Peter J. Raschke (Northwestern University) Review of Music-Theory Web Sites for the Beginner

Volume 5, Number 1, January 1999

  • Article: Jack F. Boss (University of Oregon) "Schenkerian-Schoenbergian Analysis" and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1
  • Report: Tess James (University of East London) Hans Rott (1858-1884) -- the missing link between Bruckner and Mahler
  • Report: Panos Vlagopoulos (Ionion State University) Report on the First Symposium On Computer and Music in Corfu, Greece (23-25 October 1998)

Volume 4, Number 6, November 1998

  • Article: Jay Rahn (York University) Practical Aspects of Marchetto's Tuning
  • Review: Floyd Grave (Rutgers University) Review of William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York and Oxford: Oxford University Press, 1998)

Volume 4, Number 5, September 1998

  • Article: Roger Wibberley (Goldsmiths University of London) J.S. Bach's Prelude and Fugue in E Flat (BWV 522,1/2): An Inspiration of the Heart?
  • Report: Tess James (University of East London) Celibidache and Bruckner

Volume 4, Number 4, July 1998

  • Article: David B. Lewin (Harvard University) The D major Fugue Subject from WTC II: Spatial Saturation?
  • Article: Kenneth P. Scholtz, Algorithms for Mapping Diatonic Keyboard Tunings and Temperaments
  • Review: John Roeder (University of British Columbia) Review of Christopher F. Hasty, Meter as Rhythm (New York/Oxford: Oxford University Press, 1997)

Volume 4, Number 3, May 1998

  • Article: Stephen Soderberg (Library of Congress) White Note Fantasy
  • Review: Stefano Mengozzi (University of Chicago) Review of Lionel Pike, Hexachords in Late-Renaissance Music (Aldershot: Ashgate, 1998)
  • Report: Panos Vlagopoulos (Ionion State University) Music Theory In Greece

Volume 4, Number 2, March 1998

Special Issue: Plenary Session, "Music Theory: Practices and Prospects." November 1, 1998

  • Article: Richard Cohn (University of Chicago) Music Theory's New Pedagogability
  • Article: Joel Lester (Mannes College of Music) How Theorists Relate To Musicians
  • Article: Judith I. Lochhead (SUNY at Stony Brook) Retooling the Technique
  • Article: Patrick McCreless (University of Texas at Austin) Music Theory as Community: A Perspective from the Late '90's
  • Article: Robert D. Morris (Eastman School of Music) Introduction to Panorama of Music Theory, 1987-97
  • Article: Janet Schmalfeldt (Tufts University) On Keeping the Score
  • Article: Joseph N. Straus (The Graduate Center, CUNY) SMT 1997 Plenary Session: Introductory Remarks
  • Review: Wayne Alpern (City University of New York) "Will the Real Anton Webern Please Stand Up?": Anne C. Shreffler, Webern and the Lyric Impulse (Oxford, Oxford University Press: 1994)

Volume 4, Number 1, January 1998

  • Article: Lawrence Zbikowski (University of Chicago) Metaphor and Music Theory: Reflections from Cognitive Science
  • Review: Benedict Weisser (Oberlin College) Review of David Cope, Techniques of the Contemporary Composer
  • Report: Per F. Broman (University of Gothenburg) Report from the "Skagerack Network" Analysis Workshop at Lyseby Conference Center in Oslo, Norway, November 20-23, 1997

Volume 3, Number 5, September 1997

  • Article: Alexander Brinkman and Elizabeth West Marvin (Eastman School of Music) Using the Tools to Teach the Tools: Teaching Multimedia Programming in Music Curricula
  • Article: Dave Headlam (Eastman School of Music) Multimedia for Music Study on the Web: Director from Macromedia
  • Article: Ann K. McNamee (Swarthmore College) Publishing and Pedagogy Using Multimedia on the World-Wide Web
  • Report: Richard Hermann (University of New Mexico) Reflexive Postmodern Anthropology Meets Musical "Modernism": Georgina Born's Rationalizing Culture. A Review of IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.

Volume 3, Number 4, July 1997

  • Commentary: Rosemary Killam (University of North Texas) Response to Professor Morse's Open Letter (MTO 3.3)
  • Commentary: Justin London (Carleton College) A Different Response to Killam (MTO 3.2, 3.3)
  • Review: Larry Barnes (Transylvania University) Review of J. Kent Williams, Theories and Analyses of Twentieth-Century Music
  • Review: William M. Marvin (Oberlin Conservatory) Review of Daniel Kazez, Rhythm Reading: Elementary Through Advanced Training
  • Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Third Triennial ESCOM Conference in Uppsala, Sweden, 7-12 June, 1997
  • Report: Wai-Ling Cheong (The Chinese University of Hong Kong) Theory Reception in China: Report on Journals of Central Conservatory and Shanghai Conservatory of Music
  • Report: Nicolas Meeus (University of Paris Sorbonne) Music Theory and Analysis in France and Belgium

Volume 3, Number 3, May 1997

  • Article: Stephen A. Taylor (Illinois State University) Chopin, Pygmies, and Tempo Fugue: Ligeti's "Automne a Varsovie"
  • Commentary: Ethan T. Haimo (University of Notre Dame) Linear Analysis--A Cure for Pitch-Class Set Analysis?: A Reply (MTO 3.2)
  • Commentary: Michael William Morse (Trent University) To Rosemary Killam: An Open Letter and Reply (MTO 3.2)
  • Review: Anthony Pople (Lancaster University) Review of David Epstein, Shaping Time: Music, the Brain, and Performance

Volume 3, Number 2, March 1997

  • Article: Rosemary Killam (University of North Texas) Cognitive Dissonance: Should Twentieth-century Women Composers Be Grouped with Focault's Mad Criminals?
  • Review: Edward D. Latham (Yale University) Review of Ethan Haimo's article, "Atonality Analysis, and the Intentional Fallacy," Music Theory Spectrum 18/2 (Fall, 1996)

Volume 3, Number 1, January 1997

  • Article: Eytan Agmon (Bar-Ilan University) The Bridges that Never Were: Schenker on the Contrapuntal Origin of the Triad and Seventh Chord
  • Review: Michael Friedmann (Yale University) Review of Nicolas Marstons' Beethoven's Piano Sonata in E, op. 109
  • Review: Sarah Fuller (SUNY at Stony Brook) Review of Musica Enchiriadis and Scolica Enchiriadis, trans., with an Introduction and Notes, by Raymond Erickson, ed. Claude V. Palisca
  • Report: Andre M. Douw (Amsterdam School of the Arts) and Michiel C. Schuijer (University of Utrecht) Music Theory at the Amsterdam School of Music

Volume 2, Number 7, November 1996

  • Article: Eric J. Isaacson (Indiana University) Issues in the Study of Similarity in Atonal Music
  • Commentary: Roger Wibberley (Goldsmiths University of London) "Mode versus Ficta" in Context (response to Bent, MTO 2.6)
  • Commentary: Channan Willner (The New York Public Library for the Performing Arts) Handel, the Sarabande, and Levels of Genre: A Reply to David Schulenberg (MTO 2.5)
  • Review: Donna Brink Fox (Eastman School of Music) Review of Abeles, Harold; Hoffer, Charles; and Klotman, Robert. Foundations of Music Education, 2nd ed. New York: Schirmer Books
  • Review: Jonathan Wild (McGill University) A Review of the Humdrum Toolkit: UNIX Tools for Musical Research, created by David Huron
  • Report: Gerold W. Gruber (University of Music and Dramatic Arts, Vienna, Austria) Review of the 3rd Congress for Music Theory, Vienna, Austria, May 10-12, 1996

Volume 2, Number 6, September 1996

  • Article: Victor Grauer, Toward a Unified Theory of the Arts
  • Commentary: Margaret Bent (All Souls College) Diatonic ficta Revisited: Josquin's Ave Maria in Context (MTO 2.5)
  • Commentary: Jonathan Walker (Queen's University Belfast) Intonational Injustice: A Defense of Just Intonation in the Performance of Renaissance Polyphony
  • Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Peter Castine's Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music
  • Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Three Seminars on Contemporary Music with Connection to the ISCM World Music Days in Copenhagen, 1996

Volume 2, Number 5, July 1996

  • Article: Roger Wibberley (Goldsmiths University of London) Josquin's Ave Maria: Musica Ficta versus Mode
  • Commentary: David L. Schulenberg (University of North Carolina at Chapel Hill) Commentary on Channan Willner: "More on Handel and the Hemiola" (MTO 2.3)
  • Review: Jane Clendinning (Florida State University) Review/Article of Miguel A. Roig-Francoli's Article "Harmonic and Formal Processes in Ligeti's Net-Structure Compositions," Music Theory Spectrum 17/2 (Fall, 1995), 242-267.
  • Report: Peter Castine (Technical University of Berlin) Review of "The Beginnings of Serial Music," Berlin, Germany, June 20-25, 1996

Volume 2, Number 4, May 1996

  • Article: Kofi Agawu (Yale University) Analyzing Music Under the New Musicological Regime
  • Article: Eytan Agmon (Bar-Ilan University) Beethoven's Op. 81a and the Psychology of Loss
  • Commentary: Josh Mailman, The Aims of Music Theory and Neurath's Boat: A Reply to Jonathan Walker and Matthew Brown (MTO 2.2)
  • Commentary: Jonathan Walker (Queen's University Belfast) The Deconstruction of Musicology: Poison or Cure?
  • Review: Nancy M. Berman (McGill University) Review of Glenn Watkins, Pyramids at the Louvre, Harvard University Press, 1994

Volume 2, Number 3, March 1996

  • Article: Channan Willner (The New York Public Library for the Performing Arts) More on Handel and the Hemiola: Overlapping Hemiolas
  • Commentary: Eytan Agmon (Bar-Ilan University) Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb (MTO 2.1)
  • Review: Douglas Dempster (Eastman School of Music) Review of Peter Kivy's The Fine Art of Repetition
  • Report: Peter Castine (Technical University of Berlin) Review of John Cage Symposium (Berlin, Germany)

Volume 2, Number 2, March 1996

  • Article: Matthew Brown (Louisiana State University) Adrift on Neurath's Boat: The Case for a Naturalized Music Theory
  • Article: Scott Burnham (Princeton University) Theorists and "The Music Itself"
  • Article: Joseph Dubiel (Columbia University) On Getting Deconstructed
  • Article: Marion Guck (Washington University) Music Loving, Or the Relationship with the Musical Work
  • Article: Patrick McCreless (University of Texas at Austin) Contemporary Music Theory and the New Musicology: An Introduction

Volume 2, Number 1, January 1996

  • Article: Richard Littlefield (Baylor University) The Silence of the Frames
  • Commentary: John Rothgeb (Binghamton University) Eytan Agmon on Functional Theory
  • Review: Judy Lochhead (SUNY at Stony Brook) Review of Embodied Voices: Representing female vocality in western culture edited by Leslie C. Dunn and Nancy A. Jones. Cambridge University Press, 1994
  • Review: Patrick McCreless (University of Texas at Austin) Review of Jean-Jacques Nattiez, Wagner Androgyne: A Study in Interpretation (Princeton: Princeton University Press, 1993)

Volume 1, Number 6, November 1995

  • Article: William Pastille (St. John's College) Schenker's Value-Judgments
  • Review: Matthew S. Royal (University of Western Ontario) Review of Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures (Chicago: University of Chicago Press, 1990) and The Analysis and Cognition of Melodic Complexity (Chicago: University of Chicago Press, 1992).

Volume 1, Number 5, September 1995

  • Article: John Covach (University of North Carolina at Chapel Hill) Schoenberg's Turn to an "Other" World
  • Article: Pieter C. van den Toorn (University of California, Santa Barbara) A Response to Richard Taruskin's "A Myth of the Twentieth Century"
  • Commentary: Brian Robison (Cornell University) Category Structures and Fuzzy Sets (response to Lawrence Zbikowski) (MTO 1.4)
  • Commentary: Lawrence Zbikowski (University of Chicago) Response to Robison, "Category Structures and Fuzzy Sets" (MTO 1.5)
  • Review: Peter N. Schubert (McGill University) Review of Musical Poetics by Joachim Burmeister. Translated, with Introduction and Notes, by Benito V. Rivera. Edited by Claude V. Palisca (New Haven and London: Yale University Press, 1993).

Volume 1, Number 4, July 1995

  • Article: David Loberg Code (Western Michigan University) Listening for Schubert's 'Doppelgaengers'
  • Article: Lawrence Zbikowski (University of Chicago) Theories of Categorization and Theories of Music
  • Commentary: Thomas R. Demske (Yale University) Response to Richard Hermann (MTO 1.3)
  • Review: John Cuciurean (SUNY Buffalo) Review of Mark Lindley's and Ronald Turner-Smith's Mathematical Models of Musical Scales: A New Approach.

Volume 1, Number 3, May 1995

  • Article: Timothy Johnson (Mount Holyoke College) The Computer Presentation of Musical Research: A Case Study
  • Article: David Kopp (Brandeis University) On the Function of Function
  • Commentary: Thomas R. Demske (Connecticut College) Response to Parncutt (MTO 1.3)
  • Commentary: Richard Hermann (University of New Mexico) Response to Demske (MTO 1.2)
  • Commentary: Justin London (Carleton College) Misreading Meyer: A Reply to Cochrane (MTO 1.1)
  • Commentary: Richard Parncutt (Keele University) Response to Demske (MTO 1.2)
  • Commentary: William Rothstein (Oberlin College) The Tristan Chord in Historical Context: A Response to John Rothgeb (MTO 1.1)
  • Review: Stephen Smoliar (National University of Singapore) Book Review: Robert Cogan, New Images of Musical Sound

Volume 1, Number 2, March 1995

  • Article: Thomas R. Demske (Connecticut College) On Considering a Computational Model of Similarity Analysis
  • Commentary: Allen Forte (Yale University) Tristan Redux: Comments on John Rothgeb's Article on the Tristan Chord in MTO 1.1 (MTO 1.1)

Volume 1, Number 1, January 1995

  • Article: Richard J. Cochrane (University of Wales College of Cardiff) The Phases of Fire
  • Article: John Rothgeb (Binghamton University) The Tristan Chord: Identity and Origin
  • Commentary: Richard J. Cochrane (University of Wales College of Cardiff) The Idea of Four Minutes and Thirty-Three Seconds: Response to John Covach (MTO 0.11)
  • Commentary: John Covach (University of North Texas) Musical Worlds and the Metaphysics of Analysis
  • Commentary: Adam Krims (University of Alberta) On the Fear of Losing Our Tools (A Response to Joseph N. Straus) (MTO 1.1)
  • Commentary: Stephen Smoliar (National University of Singapore) Musical Objects: Response to John Covach (MTO 0.11)
  • Commentary: Joseph N. Straus (The Graduate Center, CUNY) Post-structuralism and Music Theory: A Response to Adam Krims (MTO 0.11)
  • Report: David Clampitt (SUNY Buffalo) Report: An International Symposium of Music and Mathematics (Bucharest, Romania)

Volume 0, Number 11, November 1994

  • Article: John Covach (University of North Texas) Destructuring Cartesian Dualism in Musical Analysis
  • Article: Adam Krims (University of Alberta) Bloom, Post-Structuralism(s), and Music Theory

Volume 0, Number 10, September 1994

  • Article: William Renwick (McMaster University) "A Subject of Four Notes": William Crotch's Experiment in Motivic Saturation
  • Article: Brian Robison (Cornell University) Modifying Interval-Class Vectors of Large Collections to Reflect Registral Proximity Among Pitches
  • Commentary: Jay Rahn (York University) Reply to Smoliar's "Mathematical Logic" (MTO 0.9, 0.10)
  • Commentary: Stephen Smoliar (National University of Singapore) Mathematical Logic: Response to Jay Rahn (MTO 0.9, 0.10)

Volume 0, Number 9, July 1994

  • Article: Henry Klumpenhouwer (University of Alberta) Some Remarks on the Use of Riemann Transformations
  • Article: Jay Rahn (York University) From Similarity to Distance; From Simplicity to Complexity; From Pitches to Intervals; From Description to Causal Explanation

Volume 0, Number 8, May 1994

  • Article: Robert Judd, Composers, Performers and Notation: Solo Music Notations in Europe, 1500-1700
  • Article: Rosemary Killam (University of North Texas) Feminist Theories--Process and Continua

Volume 0, Number 7, March 1994

  • Article: Bo H. Alphonce (McGill University) Dissonance and Schumann's Reckless Counterpoint
  • Commentary: James Harley (McGill University) Commentary on Stephen Smoliar (MTO 0.6)
  • Commentary: Richard Littlefield (Baylor University) Commentary on John Roeder (MTO 0.5)
  • Report: Reinhard Kopiez (Technische Universitaet Berlin) Report on the Jahrestagung der Deutschen Gesellschaft fuer Musikpsycologie (DGM), Muenster, 10-12 September, 1993, trans. Richard Parncutt

Volume 0, Number 6, January 1994

  • Article: Stephen Smoliar (National University of Singapore) Computers Compose Music, But Do We Listen?
  • Commentary: David B. Lewin (Harvard University) Commentary on Roeder (MTO 0.5)
  • Commentary: John Roeder (University of British Columbia) Response to Commentaries (on his MTO 0.5 article)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Roeder (MTO 0.5)
  • Report: Richard Parncutt (McGill University) Review of the 1993 Conference of the Society for Music Perception and Cognition

Volume 0, Number 5, November 1993

  • Article: John Roeder (University of British Columbia) Toward a Semiotic Evaluation of Music Analyses

Volume 0, Number 4, September 1993

  • Article: Ann K. McNamee (Swarthmore College) Grazyna Bacewicz's Second Piano Sonata (1953): Octave Expansion and Sonata Form

Volume 0, Number 3, June 1993

  • Article: Mark Lindley and Ronald Turner-Smith, An Algebraic Approach to Mathematical Models of Scales
  • Commentary: Robert Judd, Commentary on Justin London (MTO 0.2)
  • Commentary: Joel Lester (City University of New York) Commentary on Justin London (MTO 0.2)
  • Commentary: Justin London (Carleton College) Commentary on Justin London (MTO 0.2)
  • Commentary: Richard Parncutt (McGill University) Commentary on Justin London (MTO 0.2)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Justin London (MTO 0.2)

Volume 0, Number 2, April 1993

  • Article: Justin London (Carleton College) Loud Rests and Other Strange Metric Phenomena (or, Meter as Heard)
  • Commentary: Robert Judd, Commentary on Neumeyer (MTO 0.1)
  • Commentary: Robert Kosovsky (City University of New York) Commentary on Neumeyer (MTO 0.1)
  • Commentary: David Neumeyer (Indiana University) Commentary on Neumeyer (MTO 0.1)
  • Commentary: Shaugn O'Donnell (Queens College / CUNY) Commentary on Neumeyer (MTO 0.1)
  • Commentary: Stephen Smoliar (National University of Singapore) Commentary on Neumeyer (MTO 0.1)

Volume 0, Number 1, February 1993

  • Article: David Neumeyer (Indiana University) Schoenberg at the Movies: Dodecaphony and Film

Updated 03 July 2013
Brent Yorgason

SMT