| Author |
Type |
Title |
Volume |
Formats |
Salley, Keith | Review | 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, 2015 | HTML
PDF | Salley, Keith | Article | On Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg | 21.4, 2015 | HTML
PDF | Salley, Keith | Article | Late Night Thoughts on Listening to Schoenberg’s Klavierstück, op. 33a | 27.1, 2021 | HTML
PDF | Sallmen, Mark | Article | Listening to the Music Itself: Breaking Through the Shell of Elliott Carter’s “In Genesis” | 13.3, 2007 | HTML
PDF | Sallmen, Mark | Article | Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation | 17.4, 2011 | HTML
PDF | Samarotto, Frank | Review | “The Body that Beats”: Review of Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (Oxford University Press, 1999) | 6.4, 2000 | HTML/Frames
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ASCII | Samarotto, Frank | Article | Sublimating Sharp : An Exercise in Schenkerian Energetics | 10.3, 2004 | HTML/Frames
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PDF | Samarotto, Frank | Article | “Plays of Opposing Motion”: Contra-Structural Melodic Impulses in Voice-leading Analysis | 15.2, 2009 | HTML
PDF | Samplaski, Art | Article | Interval-Classes and Psychological Space | 10.2, 2004 | HTML/Frames
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PDF | Samplaski, Art | Article | Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling | 11.2, 2005 | HTML/Frames
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PDF | Saslaw, Janna | Essay | “Teaching Blind”: Methods for Teaching Music Theory to Visually Impaired Students | 15.3, 2009 | HTML
PDF | Sauer, Amanda Stringer | Article | Cognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 101 | 13.2, 2007 | HTML
PDF | Sawatzky, Grant | Report | Fifth Conference on Analytical Approaches to World Music, and Eighth Folk Music International Workshop | 24.3, 2018 | HTML
PDF | Sayrs, Elizabeth | Article | Narrative, Metaphor, and Conceptual Blending in “The Hanging Tree” | 9.1, 2003 | HTML
PDF | Schachter, Michael | Article | Structural Levels in South Indian Music | 21.4, 2015 | HTML
PDF | Schaffer, John Wm. | Review | Review of Peter Castine’s Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music (Peter Lang, 1994) | 2.6, 1996 | HTML
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ASCII | Schaffer, John Wm. | Review | Review of Eleanor Selfridge-Field, Beyond MIDI: The Handbook of Musical Codes (MIT Press, 1997) | 5.4, 1999 | HTML
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ASCII | Scherzinger, Martin | Article | Temporal Geometries of an African Music: A Preliminary Sketch | 16.4, 2010 | HTML
PDF | Schmalfeldt, Janet | Article | On Keeping the Score | 4.2, 1998 | HTML/Frames
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ASCII | Schmalfeldt, Janet | Article | Keynote Address, Twenty-Sixth Annual SMT Conference: “Coming Home” | 10.1, 2004 | HTML/Frames
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PDF | Schmalfeldt, Janet | Article | Response (to the Special Issue on Performance and Analysis) | 11.1, 2005 | HTML
PDF | Schmalfeldt, Janet | Article | One More Time on Beethoven’s “Tempest,” From Analytic and Performance Perspectives: A Response to William E. Caplin and James Hepokoski | 16.2, 2010 | HTML
PDF | Schmalfeldt, Janet | Article | Response to Carissa Reddick | 16.2, 2010 | HTML
PDF | Schmalfeldt, Janet | Article | Response to Mike Cheng-Yu Lee | 16.2, 2010 | HTML
PDF | Schmalfeldt, Janet | Essay | Response | 22.2, 2016 | HTML
PDF | Scholtz, Kenneth P. | Article | Algorithms for Mapping Diatonic Keyboard Tunings and Temperaments | 4.4, 1998 | HTML/Frames
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ASCII | Schubert, Peter | Review | Review of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge University Press, 2002) | 12.1, 2006 | HTML
PDF | Schubert, Peter and Marcelle Lessoil-Daelman | Article | What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance | 19.1, 2013 | HTML
PDF | Schubert, Peter | Article | Sometimes the Music Wins: Text and Music in a Willaert Madrigal | 27.4, 2021 | HTML
PDF | Schubert, Peter | Article | Willaert’s Elusive Counterpoint Explained | 28.4, 2022 | HTML
PDF | Schubert, Peter N. | Review | Review of Joachim Burmeister; Benito V. Rivera trans., Musical Poetics (Yale University Press, 1993) | 1.5, 1995 | HTML
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ASCII | Schubert, Peter N. | Article | Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet | 24.1, 2018 | HTML
PDF | Schuiling, Floris | Article | Talking Scores and the Dismediation of Music Notation | 29.1, 2023 | HTML
PDF | Schulenberg, David L. | Commentary | Commentary on Channan Willner: “More on Handel and the Hemiola” (MTO 2.3) | 2.5, 1996 | HTML
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ASCII | Schultz, Rob | Article | Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith | 18.4, 2012 | HTML
PDF | Schumann, Scott C. | Article | Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan | 27.2, 2021 | HTML
PDF | Schutz, Michael and Fiona Manning | Article | Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures | 18.1, 2012 | HTML
PDF | Scotto, Ciro | Essay | The Symbiosis of Disability | 15.3, 2009 | HTML
PDF | Scotto, Ciro | Essay | What Do I Hear Now, Groupwise? | 17.2, 2011 | HTML
PDF | Scotto, Ciro G. | Article | Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb | 8.3, 2002 | HTML/Frames
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PDF | Segall, Christopher | Essay | Sergei Taneev’s Vertical-Shifting Counterpoint: An Introduction | 20.3, 2014 | HTML
PDF | Segall, Christopher | Article | Prokofiev’s Symphony no. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords | 24.2, 2018 | HTML
PDF | Seress, Hugues | Essay | Polarization, Modal Orientation, and Voice Leading: Interaction between Hierarchical Levels of Tonal Structure in Dohnányi’s op. 26 | 24.4, 2018 | HTML
PDF | Shaffer, Kris P. | Article | A Proposal for Open Peer Review | 20.1, 2014 | HTML
PDF | Shaftel, Matthew | Article | Demographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory | 20.1, 2014 | HTML
PDF | Shanahan, Daniel | Review | Review of Aniruddh D. Patel, Music, Language, and the Brain (Oxford University Press, 2008) | 15.5, 2009 | HTML
PDF | Shea, Nicholas, Lindsey Reymore, Christopher Wm. White, Ben Duinker, Leigh VanHandel and Nicole Biamonte | Article | Diversity in Music Corpus Studies | 30.1, 2024 | HTML
PDF | Sheehy, August | Review | Review of Elliott Antokoletz and Marianne Wheeldon eds., Rethinking Debussy (Oxford University Press, 2011) | 19.1, 2013 | HTML
PDF | Sheehy, August | Essay | Improvisation, Analysis, and Listening Otherwise | 19.2, 2013 | HTML
PDF | Sheehy, August and Paul Steinbeck | Essay | Introduction: Theorizing Improvisation (Musically) | 19.2, 2013 | HTML
PDF | Sherrill, Paul | Article | Susanna’s “Deh vieni” | 24.4, 2018 | HTML
PDF | Shupe, Abigail | Article | War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home” | 27.2, 2021 | HTML
PDF | Silberman, Peter | Article | Post-Tonal Improvisation in the Aural Skills Classroom | 9.2, 2003 | HTML/Frames
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PDF | Sly, Gordon | Review | Review of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010) | 18.2, 2012 | HTML
PDF | Smith, Elizabeth Lena | Review | Review of Edward D. Latham, Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas (University of North Texas Press, 2008) | 14.4, 2008 | HTML
PDF | Smith, Eron | Article | Prosodic Dissonance | 30.2, 2024 | HTML
PDF | Smith, Jeremy W. | Article | The Functions of Continuous Processes in Contemporary Electronic Dance Music | 27.2, 2021 | HTML
PDF | Smith, Jordan B. L., Isaac Schankler and Elaine Chew | Article | Listening as a Creative Act: Meaningful Differences in Structural Annotations of Improvised Performances | 20.3, 2014 | HTML
PDF | Smither, Sean R. | Article | Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz | 25.2, 2019 | HTML
PDF | Smoliar, Stephen | Commentary | Commentary on Neumeyer (MTO 0.1) | 0.2, 1993 | HTML
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ASCII | Smoliar, Stephen | Commentary | Commentary on Justin London (MTO 0.2) | 0.3, 1993 | HTML
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ASCII | Smoliar, Stephen | Commentary | Mathematical Logic: Response to Jay Rahn (MTO 0.9, 0.10) | 0.10, 1994 | HTML
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ASCII | Smoliar, Stephen | Commentary | Commentary on Roeder (MTO 0.5) | 0.6, 1994 | HTML
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ASCII | Smoliar, Stephen | Article | Computers Compose Music, But Do We Listen? | 0.6, 1994 | HTML
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ASCII | Smoliar, Stephen | Commentary | Musical Objects: Response to John Covach (MTO 0.11) | 1.1, 1995 | HTML
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ASCII | Smoliar, Stephen | Review | Review of Robert Cogan, New Images of Musical Sound (Harvard University Press, 1984) | 1.3, 1995 | HTML
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ASCII | Smucker, Peter | Review | Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020) | 27.4, 2021 | HTML
PDF | Smyth, David H. | Review | Review of Maureen A. Carr ed., Stravinsky's Histoire du soldat: A Facsimile of the Sketches (A-R Editions, 2005) | 12.2, 2006 | HTML
PDF | Snodgrass, Jennifer Sterling | Commentary | Integration, Diversity, and Creativity: Reflections on the “Manifesto” from the College Music Society | 22.1, 2016 | HTML
PDF | Snyder, John L. | Review | Review of Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge University Press, 2002) | 10.4, 2004 | HTML
PDF | Sobaskie, James William | Article | Contextual Drama in Bach | 12.3, 2006 | HTML/Frames
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PDF | Soderberg, Stephen | Article | White Note Fantasy | 4.3, 1998 | HTML/Frames
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ASCII | Soderberg, Stephen | Article | White Note Fantasy, Part II: A Few Hypertonal Variations | 5.2, 1999 | HTML/Frames
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ASCII | Spicer, Mark | Review | Review of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul (Oxford University Press, 2001) | 11.4, 2005 | HTML/Frames
HTML | Spicer, Mark | Article | (Per)Form in(g) Rock: A Response | 17.3, 2011 | HTML
PDF | Spicer, Mark | Article | Fragile, Emergent, and Absent Tonics in Pop and Rock Songs | 23.2, 2017 | HTML
PDF | Spreadborough, Kristal | Article | Emotional Tones and Emotional Texts: A New Approach to Analyzing the Voice in Popular Vocal Song | 28.2, 2022 | HTML
PDF | Sprick, Jan Philipp | Essay | Sequences: Between Affirmation and Destruction of Tonality | 24.4, 2018 | HTML
PDF | Stankis, Jessica E. | Article | Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme | 21.1, 2015 | HTML
PDF | Steinbeck, Paul | Essay | Improvisational Fictions | 19.2, 2013 | HTML
PDF | Steinbeck, Paul | Article | Talking Back: Performer-Audience Interaction in Roscoe Mitchell’s “Nonaah” | 22.3, 2016 | HTML
PDF | Stephan-Robinson, Anna | Review | Review of Leigh Van Handel, Music Theory Skill Builder (Oxford University Press, 2013) | 20.3, 2014 | HTML
PDF | Stephenson, Alex | Article | The Poetics and Politics of Ambiguity: Overtone Structures and Equal Temperament in Works by Julian Anderson and Rand Steiger | 28.2, 2022 | HTML
PDF | Stephenson, Ken | Review | Review of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway" (Ashgate, 2008) | 16.1, 2010 | HTML
PDF | Sterbenz, Maeve | Article | Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video | 23.2, 2017 | HTML
PDF | Stoecker, Philip | Commentary | Without a Safety (k)-Net | 13.3, 2007 | HTML
PDF | Stoia, Nicholas | Article | Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–1945 | 16.3, 2010 | HTML
PDF | Stoia, Nicholas | Article | Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll | 26.4, 2020 | HTML
PDF | Stover, Chris | Review | Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 1965–68 (Oxford University Press, 2011) | 18.1, 2012 | HTML
PDF | Stover, Chris | Review | Review of Judy Lochhead, Reconceiving Structure in Contemporary Music (Routledge, 2015) | 22.4, 2016 | HTML
PDF | Stover, Chris | Article | Time, Territorialization, and Improvisational Spaces | 23.1, 2017 | HTML
PDF | Straus, Joseph | Essay | Introduction | 15.3, 2009 | HTML
PDF | Straus, Joseph N. | Commentary | Post-structuralism and Music Theory: A Response to Adam Krims (MTO 0.11) | 1.1, 1995 | HTML
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ASCII | Straus, Joseph N. | Article | SMT 1997 Plenary Session: Introductory Remarks | 4.2, 1998 | HTML/Frames
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ASCII | Straus, Joseph N. | Article | Three Stravinsky Analyses: Petrushka, Scene 1 (to Rehearsal No. 8); The Rake’s Progress, Act III, Scene 3 (“In a foolish dream”); Requiem Canticles, “Exaudi” | 18.4, 2012 | HTML
PDF | Straus, Joseph N. | Article | Total Voice Leading | 20.2, 2014 | HTML
PDF | Straus, Joseph N. | Article | The Melodic Organization of The Rite of Spring | 28.4, 2022 | HTML
PDF | Stroud, Cara | Review | Review of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018) | 25.2, 2019 | HTML
PDF | Stroud, Cara | Article | Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015 | 28.2, 2022 | HTML
PDF | Sullivan, James | Article | Extending the Parallel Multiple-Analysis Processor: Perceived Meter in Post-Tonal Music | 29.1, 2023 | HTML
PDF | Summach, Jay | Article | The Structure, Function, and Genesis of the Prechorus | 17.3, 2011 | HTML
PDF | Suurpää, Lauri | Review | Review of Heather Platt and Peter H. Smith, eds., Expressive Intersections in Brahms: Essays in Analysis and Meaning (Indiana University Press, 2012) | 20.3, 2014 | HTML
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