| Author |
Type |
Title |
Volume |
Formats |
Hahn, Joshua W. | Article | Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music | 27.2, 2021 | HTML
PDF | Haimo, Ethan T. | Commentary | Linear Analysis—A Cure for Pitch-Class Set Analysis?: A Reply (MTO 3.2) | 3.3, 1997 | HTML
ASCII | Hakanson, Michelle E. | Review | Review of Carol J. Oja, Making Music Modern: New York in the 1920s (Oxford University Press, 2000) | 10.1, 2004 | HTML
PDF | Hall, Patricia | Article | Giving Voice to a Foxtrot from Auschwitz-Birkenau | 27.3, 2021 | HTML
PDF | Hanenberg, Scott J. | Article | Rock Modulation and Narrative | 22.2, 2016 | HTML
PDF | Hannaford, Marc | Review | Review of Leslie A. Tilley, Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond (The University of Chicago Press, 2019) | 26.4, 2020 | HTML
PDF | Hannaford, Marc E. | Article | Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers | 23.2, 2017 | HTML
PDF | Hannan, Calder | Article | Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent” | 28.1, 2022 | HTML
PDF | Hanninen, Dora A. | Article | Asking Questions / Making Music: Listening, Analysis, and Cage | 20.2, 2014 | HTML
PDF | Harley, James | Commentary | Commentary on Stephen Smoliar (MTO 0.6) | 0.7, 1994 | HTML
PDF
ASCII | Harrison, Daniel | Article | Tolling Time | 6.4, 2000 | HTML/Frames
HTML
PDF
ASCII | Harrison, Daniel | Review | Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge University Press, 2003) | 11.2, 2005 | HTML/Frames
HTML
PDF | Hasegawa, Robert | Article | Introduction: Sciarrino’s Novel Forms | 29.4, 2023 | HTML
PDF | Haskins, Rob | Review | Review of David Nicholls ed., The Cambridge Companion to John Cage (Cambridge University Press, 2002) | 10.2, 2004 | HTML
PDF | Hatten, Robert S. | Article | Introduction (to the Special Issue on Performance and Analysis) | 11.1, 2005 | HTML
PDF | Hatten, Robert S. | Review | Review of Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002) | 11.1, 2005 | HTML/Frames
HTML
PDF | Hatten, Robert S. | Composition | Wordless Carol | 18.3, 2012 | HTML | Hatten, Robert S. | Article | Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model | 18.3, 2012 | HTML
PDF | Hatten, Robert S. | Article | Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze | 20.4, 2014 | HTML
PDF | Hatten, Robert S. | Review | Review of Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford University Press, 2014). | 21.2, 2015 | HTML | Headlam, Dave | Article | Multimedia for Music Study on the Web: Director from Macromedia | 3.5, 1997 | HTML/Frames
HTML
PDF
ASCII | Headlam, Dave | Review | Review of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011) | 18.2, 2012 | HTML
PDF | Headlam, Dave | Review | Review of Bryan R. Simms, ed., Pro Mundo, Pro Domo: The Writings of Alban Berg (Oxford, 2014) | 20.4, 2014 | HTML
PDF | Heetderks, David | Review | Review of S. Alexander Reed, Assimilate: A Critical History of Industrial Music (Oxford University Press, 2013) | 20.2, 2014 | HTML
PDF | Heetderks, David | Article | What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period | 26.1, 2020 | HTML
PDF | Heetderks, David | Review | Review of David Temperley, The Musical Language of Rock (Oxford University Press: 2018) | 29.1, 2023 | HTML
PDF | Heetderks, David J. | Article | A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City | 17.2, 2011 | HTML
PDF | Heetderks, David J. | Article | Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock | 21.2, 2015 | HTML
PDF | Heidemann, Kate | Article | A System for Describing Vocal Timbre in Popular Song | 22.1, 2016 | HTML
PDF | Heinonen, Yrjo | Review | Review of Walter Everett, The Beatles as Musicians: Revolver Through the Anthology (Oxford University Press, 1999) | 6.2, 2000 | HTML
PDF
ASCII | Hepokoski, James | Article | Formal Process, Sonata Theory, and the First Movement of Beethoven’s “Tempest” Sonata | 16.2, 2010 | HTML
PDF | Hermann, Richard | Commentary | Towards a New Analytic Method for Post-Tonal Music: Response to Demske (MTO 1.2) | 1.3, 1995 | HTML
PDF
ASCII | Hermann, Richard | International Report | Reflexive Postmodern Anthropology Meets Musical “Modernism”: Georgina Born’s Rationalizing Culture. A Review of IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. | 3.5, 1997 | HTML/Frames
HTML
PDF
ASCII | Hesselink, Nathan D. | Article | Radiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation | 19.1, 2013 | HTML
PDF | Heyer, David J. | Article | Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach | 18.3, 2012 | HTML
PDF | Hier, David | Article | Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel | 28.2, 2022 | HTML
PDF | Hier, David | Article | Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1 | 29.3, 2023 | HTML
PDF | Hilewicz, Orit | Article | Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee | 24.3, 2018 | HTML
PDF | Hilewicz, Orit | Review | Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019) | 27.1, 2021 | HTML
PDF | Hilewicz, Orit | Article | Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis of Begleitungsmusik zu einer Lichtspielscene (1929–1930) | 27.1, 2021 | HTML
PDF | Hippel, Paul T. von and Bret Aarden | Commentary | Rules for Chord Doubling (and Spacing): A Reply To Wibberley | 10.3, 2004 | HTML
PDF | Hisama, Ellie M. | Article | Life Outside the Canon? A Walk on the Wild Side | 6.3, 2000 | HTML/Frames
HTML
PDF
ASCII | Ho, Jocelyn | Article | Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II | 27.4, 2021 | HTML
PDF | Hoag, Melissa E. | Article | Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick” (op. 57, no. 4) | 17.1, 2011 | HTML
PDF | Hoeckner, Berthold | Article | Poet’s Love and Composer’s Love | 7.5, 2000 | HTML/Frames
HTML
PDF | Hoffman, Brian D. | Review | Review of John Franceschina, Music Theory through Musical Theatre (Oxford University Press, 2015) | 23.3, 2017 | HTML
PDF | Hofmann-Engl, Ludger | Review | Review of W.B. Hewlett and E. Selfridge-Field eds., Melodic Similarity: Concepts, Procedures, and Applications (MIT Press, 1999). | 5.4, 1999 | HTML
PDF
ASCII | Holm-Hudson, Kevin | Article | Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of “Superstar” | 8.4, 2002 | HTML/Frames
HTML
PDF | Honing, Henkjan | Commentary | Some Comments on the Relation Between Music and Motion | 9.1, 2003 | HTML/Frames
HTML
PDF | Honisch, Stefan Sunandan | Essay | “Re-narrating” Disability through Musical Performance | 15.3, 2009 | HTML
PDF | Hood, Alison | Article | Ambiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 22 | 18.3, 2012 | HTML
PDF | Hook, Julian | Article | Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory | 13.4, 2007 | HTML
PDF | Hook, Julian | Review | Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011) | 17.3, 2011 | HTML
PDF | Hook, Julian | Article | How to Perform Impossible Rhythms | 17.4, 2011 | HTML
PDF | Hope, Henry | Review | Review of Virtual Library of Musicology (ViFaMusik), (http://www.vifamusik.de) | 20.3, 2014 | HTML
PDF | Horlacher, Gretchen | Article | Stepping Out: Hearing Balanchine | 24.1, 2018 | HTML
PDF | Horlacher, Gretchen G. | Article | Bartók’s “Change of Time”: Coming Unfixed | 7.1, 2001 | HTML/Frames
HTML
PDF | Horn, Katelyn and David Huron | Article | On the Changing Use of the Major and Minor Modes 1750–1900 | 21.1, 2015 | HTML
PDF | Hough, Matthew T. | Article | Elements of Style in Three Demo Recordings by Stevie Nicks | 21.1, 2015 | HTML
PDF | Howard, Alan | Article | Compositional Strategies in Purcell’s Second Three-Part Fantazia | 21.3, 2015 | HTML
PDF | Hudson, Stephen S. | Article | Compound AABA Form and Style Distinction in Heavy Metal | 27.1, 2021 | HTML
PDF | Huron, David | Article | What is a Musical Feature? Forte’s Analysis of Brahms’s Opus 51, No. 1, Revisited | 7.4, 2001 | HTML/Frames
HTML
PDF | Hussey, William | Article | Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich | 9.1, 2003 | HTML
PDF | Hutchinson, Kyle | Article | Retrospective Time and the Subdominant Past: Tonal Hermeneutics in Contemporary Broadway Megamusicals | 26.2, 2020 | HTML
PDF | Hutchinson, Kyle and Matthew Poon | Article | Cadential Melodies: Form-Functional Taxonomy and the Role of the Upper Voice | 28.2, 2022 | HTML
PDF |
