Society for Music Theory

Volume 21 Number 1, March 2015

Copyright © 2015 Society for Music Theory

Editor’s Message

Articles

Scale Systems and Large-Scale Form in the Music of Yes
21.1.1
        Brett G. Clement (Ball State University)
Hacking the Music Theory Classroom: Standards-Based Grading, Just-in-Time Teaching, and the Inverted Class
21.1.2
        Philip Duker (University of Delaware)
        Anna Gawboy (Ohio State University)
        Bryn Hughes (University of Miami)
        Kris P. Shaffer (University of Colorado-Boulder)
Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83)
21.1.3
        David B. Easley (Oklahoma City University)
On the Changing Use of the Major and Minor Modes 1750–1900
21.1.4
        Katelyn Horn (Ohio State University)
        David Huron (Ohio State University)
Elements of Style in Three Demo Recordings by Stevie Nicks
21.1.5
        Matthew T. Hough (Wagner College)
Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum
21.1.6
        Bruce W. Quaglia (University of Utah)
Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme
21.1.7
        Jessica E. Stankis (Allan Hancock College)

Reviews

Review of Evan Jones, Matthew Shaftel, and Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2014)
21.1.8
        Hali A. Fieldman (University of Missouri-Kansas City)
Review of Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice (Oxford, 2014)
21.1.9
        Landon Morrison (McGill University)
Review of Joe Mulholland and Tom Hojnacki, The Berklee Book of Jazz Harmony (Berklee Press, 2013) and Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014)
21.1.10
        Keith Salley (Shenandoah Conservatory)



MTO Personnel for the Current Volume

Prepared by Brent Yorgason, Managing Editor
Updated March 18 2015