Society for Music Theory

Volume 19 Number 4, December 2013

Copyright © 2013 Society for Music Theory

Editor’s Message

Articles

Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’s Rodelinda
19.4.1
        Gregory J. Decker (Bowling Green State University)
Hollywood Cadences: Music and the Structure of Cinematic Expectation
19.4.2
        Frank Lehman (Tufts University)
A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009
19.4.3
        Steven Rings (University of Chicago)
Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”: The Role of Jazz Improvisation in the Transformation of an Intertext
19.4.4
        René Rusch (McGill University)

Reviews

Review of Dora Hanninen, A Theory of Music Analysis: On Segmentation and Associative Organization (University of Rochester Press, 2012)
19.4.5
        Zachary Bernstein (City University of New York, Graduate Center)
Review of Allan Moore, Song Means: Analyzing and Interpreting Recorded Popular Song (Ashgate, 2012)
19.4.6
        Christopher Endrinal (Florida Gulf Coast University)
Review of Matthew Bribitzer-Stull, Anthology for Analysis and Performance (Oxford University Press, 2014)
19.4.7
        Mary Wennerstrom (Indiana University)

Conference Report

Conference Report: Inaugural Meeting of the Russian Society for Music Theory (OTM)
19.4.8
        Philip A. Ewell (Hunter College and CUNY Graduate Center)



MTO Personnel for the Current Volume

Prepared by Brent Yorgason, Managing Editor
Updated December 20 2013

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