Volume 25 Number 1, May 2019

Copyright © 2019 Society for Music Theory


Editor’s Message

Articles

Improvisatory Exercises as Analytical Tool: The Group Dynamics of the Gruppo di Improvvisazione Nuova Consonanza
25.1.1
        Valentina Bertolani (University of Calgary)
What is Musical Meaning? Theorizing Music as Performative Utterance
25.1.2
        Andrew J. Chung (Yale University)
Harmony in Elliott Carter’s Late Music
25.1.3
        John Link (William Paterson University)
Middleground Structure in the Cadenza to Boulez’s Éclat
25.1.4
        C. Catherine Losada (University of Cincinnati)
Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music
25.1.5
        David M. Pearson (Lehman College)
Comprehensibility and Ben Johnston’s String Quartet No. 9
25.1.6
        Laurence Sinclair Willis (McGill University)

Essays

Introduction to the Symposium on Kendrick Lamar’s To Pimp a Butterfly
25.1.7
        Philip A. Ewell (Hunter College and CUNY Graduate Center)
Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s To Pimp A Butterfly
25.1.8
        Robin Attas (Queen’s University)
We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem
25.1.9
        Noriko Manabe (Temple University)
Lyric, rhythm, and non-alignment in the second verse of Kendrick Lamar’s “Momma”
25.1.10
        Mitchell M. Ohriner (University of Denver)
This Flow Ain’t Free: Generative Elements in Kendrick Lamar’s To Pimp a Butterfly
25.1.11
        John J Mattessich (Indiana University)
“I got a bone to pick”: Formal Ambivalence and Double Consciousness in Kendrick Lamar’s “King Kunta”
25.1.12
        James Bungert (Rocky Mountain College)




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Updated April 24 2019