| Author |
Type |
Title |
Volume |
Formats |
Renwick, William | Article | “A Subject of Four Notes”: William Crotch’s Experiment in Motivic Saturation | 0.10, 1994 | HTML
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ASCII | Reddick, Carissa | Article | Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century | 16.2, 2010 | HTML
PDF | Rodgers, Stephen | Composition | Not So Far Away | 18.3, 2012 | HTML | Reef, John S. | Article | A “Proto-Theme” in Some of J. S. Bach’s Fugal Works | 26.4, 2020 | HTML
PDF | Rings, Steven | Article | A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 | 19.4, 2013 | HTML
PDF | Reed, Jacob and Matthew Bain | Article | A Tetrahelix Animates Bach: Revisualization of David Lewin’s Analysis of the Opening of the F# Minor Fugue from WTC I | 13.4, 2007 | HTML
PDF | Roeder, John | Article | A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen” | 15.1, 2009 | HTML
PDF | Reed, S. Alexander | Article | An Idiom of Melodic-Harmonic Divorce: Sub-Circle Motion in Popular Music | 28.2, 2022 | HTML
PDF | Rusch, René | Article | Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80 | 19.1, 2013 | HTML
PDF | Rockwell, Joti | Article | Birdcage Flights: A Perspective on Inter-Cardinality Voice Leading | 15.5, 2009 | HTML
PDF | Rusch, René, Keith Salley and Chris Stover | Article | Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins | 22.3, 2016 | HTML
PDF | Robison, Brian | Commentary | Category Structures and Fuzzy Sets (response to Lawrence Zbikowski) (MTO 1.4) | 1.5, 1995 | HTML
PDF
ASCII | Ravenscroft, Brenda | Article | Chair’s Introduction to “Form as Process: Celebrating the Work of Janet Schmalfeldt” | 16.2, 2010 | HTML
PDF | Rothstein, William | Article | Common-tone Tonality in Italian Romantic Opera: An Introduction | 14.1, 2008 | HTML
PDF | Rahn, Jay | Review | Conference Report: Symposium on Neo-Riemannian Theory, State University of New York at Buffalo, July 20-21, 2001 | 7.5, 2001 | HTML
PDF | Roeder, John | Article | Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1–32 | 15.1, 2009 | HTML
PDF | Rusch, René | Article | 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, 2013 | HTML
PDF | Rothfarb, Lee | Article | Early History | 20.1, 2014 | HTML
PDF | Richards, Mark | Article | Film Music Themes: Analysis and Corpus Study | 22.1, 2016 | HTML
PDF | Rahn, Jay | Article | From Similarity to Distance; From Simplicity to Complexity; From Pitches to Intervals; From Description to Causal Explanation | 0.9, 1994 | HTML
PDF
ASCII | Rodgers, Stephen, Henry Martin and Keith Waters | Article | Guest Editors’ Introduction: “The More Questions, The Better” | 18.3, 2012 | HTML
PDF | Remeš, Derek | Article | Harmonizing Chorales Systematically: A Translation of G. H. Stölzel’s Kurzer und gründlicher Unterricht (Brief and Thorough Instruction), ms. c.1719–1749 | 26.3, 2020 | HTML
PDF | Robb, Hamish J. | Article | Imagined, Supplemental Sound in Nineteenth-Century Piano Music: Towards a Fuller Understanding of Musical Embodiment | 21.3, 2015 | HTML
PDF | Rehding, Alexander | Article | Instruments of Music Theory | 22.4, 2016 | HTML
PDF | Reenan, Sam | Article | Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet | 28.1, 2022 | HTML
PDF | Roeder, John | Article | Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999) | 26.3, 2020 | HTML
PDF | Roeder, John | Article | Introduction | 15.1, 2009 | HTML
PDF | Rothstein, William | Article | Like Falling off a Log: Rubato in Chopin’s Prelude in A-flat Major, Op. 28 No. 17 | 11.1, 2005 | HTML/Frames
HTML
PDF
ASCII | Rabinovitch, Gilad and Aaron Carter-Enyi | Article | Melodic Organization and Sequential Ordering of Galant Schemata: Implications for Eighteenth-Century European Musicianship | 30.1, 2024 | HTML
PDF | Robison, Brian | Article | Modifying Interval-Class Vectors of Large Collections to Reflect Registral Proximity Among Pitches | 0.10, 1994 | HTML
PDF
ASCII | Rings, Steven | Article | Music’s Stubborn Enchantments (and Music Theory’s) | 24.1, 2018 | HTML
PDF | Rahn, Jay | Article | Practical Aspects of Marchetto’s Tuning | 4.6, 1998 | HTML/Frames
HTML
PDF
ASCII | Rodgers, Stephen and Tyler Osborne | Article | Prolongational Closure in the Lieder of Fanny Hensel | 26.3, 2020 | HTML
PDF | Roeder, John | Article | Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök’s “With Drums and Pipes” | 7.1, 2001 | HTML
PDF | Rothgeb, John | Commentary | Re: Eytan Agmon on Functional Theory | 2.1, 1996 | HTML
PDF
ASCII | Rabinovitch, Gilad | Article | Reimagining Historical Improvisation: An Analysis of Robert Levin’s Fantasy on Themes by W. A. Mozart, October 29, 2012 | 26.2, 2020 | HTML
PDF | Rahn, Jay | Commentary | Reply to Smoliar’s “Mathematical Logic” (MTO 0.9, 0.10) | 0.10, 1994 | HTML
PDF
ASCII | Roemjantsew, Tamara W. | International Report | Report on Two Conferences in the Netherlands | 6.1, 2000 | HTML
PDF
ASCII | Rink, John | Essay | Response | 22.2, 2016 | HTML
PDF | Roeder, John | Commentary | Response to Commentaries (on his MTO 0.5 article) | 0.6, 1994 | HTML
PDF
ASCII | Royal, Matthew S. | Review | Review of Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 1653–1705 (Ashgate Press, 2008) | 16.4, 2010 | HTML
PDF | Robbie, Andrew D. | Review | Review of Brian Hulse and Nick Nesbitt eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Ashgate, 2010) | 18.1, 2012 | HTML
PDF | Roeder, John | Review | Review of Christopher F. Hasty, Meter as Rhythm (Oxford University Press, 1997) | 4.4, 1998 | HTML
PDF
ASCII | Ramirez, Miguel J. | Review | Review of Dermot Gault, The New Bruckner: Compositional Development and the Dynamics of Revision (Ashgate, 2011) | 17.4, 2011 | HTML
PDF | Royal, Matthew S. | Review | Review of Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures (University of Chicago Press, 1990) and The Analysis and Cognition of Melodic Complexity (University of Chicago Press, 1992). | 1.6, 1995 | HTML
PDF
ASCII | Rusch, René | Review | Review of Lauri Suurpää, Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle (Indiana University Press, 2014) | 20.3, 2014 | HTML
PDF | Rawlins, Robert | Review | Review of Mark Levine, The Jazz Theory Book (Sher Music, 1995) | 6.1, 2000 | HTML
PDF
ASCII | Rabinovitch, Gilad | Review | Review of Massimiliano Guido, ed., Studies in Historical Improvisation from Cantare super Librum to Partimenti (Ashgate, 2017) | 23.4, 2017 | HTML
PDF | Rodgers, Stephen | Review | Review of Matthew Santa, Hearing Form: Musical Analysis With and Without the Score (Routledge, 2010) | 16.3, 2010 | HTML
PDF | Raschke, Peter J. | Review | Review of Music-Theory Web Sites for the Beginner | 5.2, 1999 | HTML
PDF
ASCII | Rojo, Cristina González | Review | Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021) | 30.1, 2024 | HTML
PDF | Remeš, Derek | Article | Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade | 26.1, 2020 | HTML
PDF | Rogers, Nancy and Michael Buchler | Article | Square Dance Moves and Twelve-Tone Operators: Isomorphisms and New Transformational Models | 9.4, 2003 | PDF
PDF/Frames | Rao, Nancy Yunhwa | Article | The Concept of Shi: Chinese Aesthetics and Happy Rain on a Spring Night (2004) | 26.3, 2020 | HTML
PDF | Ricci, Adam | Article | The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3 | 13.3, 2007 | HTML
PDF | Rothstein, William | Commentary | The Tristan Chord in Historical Context: A Response to John Rothgeb (MTO 1.1) | 1.3, 1995 | HTML
PDF
ASCII | Rothgeb, John | Article | The Tristan Chord: Identity and Origin | 1.1, 1995 | HTML
PDF
ASCII | Rodgers, Stephen | Article | Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel | 17.1, 2011 | HTML
PDF | Richards, Mark | Article | Tonal Ambiguity in Popular Music’s Axis Progressions | 23.3, 2017 | HTML
PDF | Roeder, John | Article | Toward a Semiotic Evaluation of Music Analyses | 0.5, 1993 | HTML
PDF
ASCII | Rabinovitch, Gilad and Johnandrew Slominski | Article | Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation | 21.3, 2015 | HTML
PDF | Reenan, Samuel and Richard Bass | Article | Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music | 22.2, 2016 | HTML
PDF | Rifkin, Deborah | Article | Visualizing Peter: The First Animated Adaptations of Prokofiev’s Peter and the Wolf | 24.2, 2018 | HTML
PDF | Rahn, Jay | Article | Was Mesopotamian Tuning Diatonic? A Parsimonious Answer | 28.1, 2022 | HTML
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