Society for Music Theory

Volume 17 Number 1, April 2011

Copyright © 2011 Society for Music Theory

Editor’s Message

Articles

Canons, Augmentations, and Their Meaning in Two Works by Steve Reich
17.1.1
        Sean Atkinson (University of Texas at Arlington)
Modes, the Height-Width Duality, and Handschinís Tone Character
17.1.2
        David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya)
Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bachís Unaccompanied String Works
17.1.3
        Stacey Davis (University of Texas at San Antonio)
Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick”
(op. 57, no. 4)

17.1.4
        Melissa E. Hoag (Oakland University)
Ownership, In Music and Music Theory
17.1.5
        Patrick McCreless (Yale University)
A GAP Tutorial for Transformational Music Theory
17.1.6
        Robert W. Peck (Louisiana State University)
Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel
17.1.7
        Stephen Rodgers (University of Oregon)
The Cadential IV in Rock
17.1.8
        David Temperley (Eastman School of Music)

Commentary

Models and Music Theory: Reconsidering David Lewinís Graph of the 3-2 Cohn Cycle
17.1.9
        Michael Fitzpatrick (University of Western Ontario)

Reviews

Review of Alexandra Pierce, Deepening Musical Performance through Movement (Indiana University Press, 2007)
17.1.10
        Mark Carlson (University of California, Los Angeles)
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)
17.1.11
        Patrick Tuck (University of the Cumberlands)



MTO Personnel for the Current Volume

Prepared by Brent Yorgason, Managing Editor
Updated April 21 2011

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