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Author Type Title  Volume  Formats
Samarotto, FrankReview“The Body that Beats”: Review of Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (Oxford University Press, 1999)6.4, 2000HTML/Frames
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Spicer, MarkArticle(Per)Form in(g) Rock: A Response17.3, 2011HTML
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Shaffer, Kris P.ArticleA Proposal for Open Peer Review20.1, 2014HTML
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Scholtz, Kenneth P.ArticleAlgorithms for Mapping Diatonic Keyboard Tunings and Temperaments4.4, 1998HTML/Frames
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Schumann, Scott C.ArticleAsymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan27.2, 2021HTML
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Stoia, NicholasArticleBlues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll26.4, 2020HTML
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Stroud, CaraArticleCodetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 201528.2, 2022HTML
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Sauer, Amanda StringerArticleCognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 10113.2, 2007HTML
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Schulenberg, David L.CommentaryCommentary on Channan Willner: “More on Handel and the Hemiola” (MTO 2.3)2.5, 1996HTML
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Smoliar, StephenCommentaryCommentary on Justin London (MTO 0.2)0.3, 1993HTML
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Smoliar, StephenCommentaryCommentary on Neumeyer (MTO 0.1)0.2, 1993HTML
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Smoliar, StephenCommentaryCommentary on Roeder (MTO 0.5)0.6, 1994HTML
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Smoliar, StephenArticleComputers Compose Music, But Do We Listen?0.6, 1994HTML
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Sobaskie, James WilliamArticleContextual Drama in Bach12.3, 2006HTML/Frames
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Shaftel, MatthewArticleDemographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory20.1, 2014HTML
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Spreadborough, KristalArticleEmotional Tones and Emotional Texts: A New Approach to Analyzing the Voice in Popular Vocal Song28.2, 2022HTML
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Sallmen, MarkArticleExploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation17.4, 2011HTML
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Sullivan, JamesArticleExtending the Parallel Multiple-Analysis Processor: Perceived Meter in Post-Tonal Music29.1, 2023HTML
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Sawatzky, GrantReportFifth Conference on Analytical Approaches to World Music, and Eighth Folk Music International Workshop24.3, 2018HTML
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Spicer, MarkArticleFragile, Emergent, and Absent Tonics in Pop and Rock Songs23.2, 2017HTML
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Smither, Sean R.ArticleGuide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz25.2, 2019HTML
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Sheehy, AugustEssayImprovisation, Analysis, and Listening Otherwise19.2, 2013HTML
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Steinbeck, PaulEssayImprovisational Fictions19.2, 2013HTML
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Snodgrass, Jennifer SterlingCommentaryIntegration, Diversity, and Creativity: Reflections on the “Manifesto” from the College Music Society22.1, 2016HTML
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Samplaski, ArtArticleInterval-Classes and Psychological Space10.2, 2004HTML/Frames
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Straus, Joseph EssayIntroduction  15.3, 2009HTML
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Sheehy, August and Paul SteinbeckEssayIntroduction: Theorizing Improvisation (Musically)19.2, 2013HTML
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Schmalfeldt, JanetArticleKeynote Address, Twenty-Sixth Annual SMT Conference: “Coming Home”10.1, 2004HTML/Frames
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Salley, KeithArticleLate Night Thoughts on Listening to Schoenberg’s Klavierstück, op. 33a27.1, 2021HTML
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Smith, Jordan B. L., Isaac Schankler and Elaine ChewArticleListening as a Creative Act: Meaningful Differences in Structural Annotations of Improvised Performances20.3, 2014HTML
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Sallmen, MarkArticleListening to the Music Itself: Breaking Through the Shell of Elliott Carter’s “In Genesis”13.3, 2007HTML
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Schutz, Michael and Fiona ManningArticleLooking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures18.1, 2012HTML
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Samplaski, ArtArticleMapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling11.2, 2005HTML/Frames
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Smoliar, StephenCommentaryMathematical Logic: Response to Jay Rahn (MTO 0.9, 0.10)0.10, 1994HTML
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Stankis, Jessica E.ArticleMaurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme21.1, 2015HTML
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Stoia, NicholasArticleMode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–194516.3, 2010HTML
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Sterbenz, MaeveArticleMovement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video23.2, 2017HTML
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Smoliar, StephenCommentaryMusical Objects: Response to John Covach (MTO 0.11)1.1, 1995HTML
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Sayrs, ElizabethArticleNarrative, Metaphor, and Conceptual Blending in “The Hanging Tree”9.1, 2003HTML
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Salley, KeithArticleOn Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg21.4, 2015HTML
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Schmalfeldt, JanetArticleOn Keeping the Score4.2, 1998HTML/Frames
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Schmalfeldt, Janet ArticleOne More Time on Beethoven’s “Tempest,” From Analytic and Performance Perspectives: A Response to William E. Caplin and James Hepokoski16.2, 2010HTML
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Seress, HuguesEssayPolarization, Modal Orientation, and Voice Leading: Interaction between Hierarchical Levels of Tonal Structure in Dohnányi’s op. 2624.4, 2018HTML
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Silberman, PeterArticlePost-Tonal Improvisation in the Aural Skills Classroom9.2, 2003HTML/Frames
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Straus, Joseph N.CommentaryPost-structuralism and Music Theory: A Response to Adam Krims (MTO 0.11)1.1, 1995HTML
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Segall, ChristopherArticleProkofiev’s Symphony no. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords24.2, 2018HTML
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Schmalfeldt, JanetEssayResponse  22.2, 2016HTML
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Schmalfeldt, JanetArticleResponse (to the Special Issue on Performance and Analysis)11.1, 2005HTML
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Schmalfeldt, Janet ArticleResponse to Carissa Reddick16.2, 2010HTML
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Schmalfeldt, Janet ArticleResponse to Mike Cheng-Yu Lee16.2, 2010HTML
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Shanahan, DanielReviewReview of Aniruddh D. Patel, Music, Language, and the Brain (Oxford University Press, 2008)15.5, 2009HTML
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Sly, GordonReviewReview of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010)18.2, 2012HTML
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Schubert, PeterReviewReview of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge University Press, 2002)12.1, 2006HTML
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Smith, Elizabeth LenaReviewReview of Edward D. Latham, Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas (University of North Texas Press, 2008) 14.4, 2008HTML
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Schaffer, John Wm.ReviewReview of Eleanor Selfridge-Field, Beyond MIDI: The Handbook of Musical Codes (MIT Press, 1997)5.4, 1999HTML
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Sheehy, AugustReviewReview of Elliott Antokoletz and Marianne Wheeldon eds., Rethinking Debussy (Oxford University Press, 2011) 19.1, 2013HTML
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Suurpää, LauriReviewReview of Heather Platt and Peter H. Smith, eds., Expressive Intersections in Brahms: Essays in Analysis and Meaning (Indiana University Press, 2012)20.3, 2014HTML
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Schubert, Peter N.ReviewReview of Joachim Burmeister; Benito V. Rivera trans., Musical Poetics (Yale University Press, 1993)1.5, 1995HTML
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Salley, KeithReviewReview 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, 2015HTML
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Stover, ChrisReviewReview of Judy Lochhead, Reconceiving Structure in Contemporary Music (Routledge, 2015)22.4, 2016HTML
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Stover, ChrisReviewReview of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 1965–68 (Oxford University Press, 2011)18.1, 2012HTML
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Stephenson, KenReviewReview of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway" (Ashgate, 2008) 16.1, 2010HTML
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Smucker, PeterReviewReview of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020)27.4, 2021HTML
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Stephan-Robinson, AnnaReviewReview of Leigh Van Handel, Music Theory Skill Builder (Oxford University Press, 2013)20.3, 2014HTML
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Stroud, CaraReviewReview of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018)25.2, 2019HTML
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Smyth, David H.ReviewReview of Maureen A. Carr ed., Stravinsky's Histoire du soldat: A Facsimile of the Sketches (A-R Editions, 2005)12.2, 2006HTML
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Schaffer, John Wm.ReviewReview of Peter Castine’s Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music (Peter Lang, 1994)2.6, 1996HTML
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Snyder, John L.ReviewReview of Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge University Press, 2002)10.4, 2004HTML
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Smoliar, StephenReviewReview of Robert Cogan, New Images of Musical Sound (Harvard University Press, 1984)1.3, 1995HTML
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Spicer, MarkReviewReview of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul (Oxford University Press, 2001)11.4, 2005HTML/Frames
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Straus, Joseph N.ArticleSMT 1997 Plenary Session: Introductory Remarks4.2, 1998HTML/Frames
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Sprick, Jan PhilippEssaySequences: Between Affirmation and Destruction of Tonality24.4, 2018HTML
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Segall, ChristopherEssaySergei Taneev’s Vertical-Shifting Counterpoint: An Introduction20.3, 2014HTML
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Schubert, PeterArticleSometimes the Music Wins: Text and Music in a Willaert Madrigal27.4, 2021HTML
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Schachter, MichaelArticleStructural Levels in South Indian Music21.4, 2015HTML
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Samarotto, FrankArticleSublimating Sharp 4̂: An Exercise in Schenkerian Energetics10.3, 2004HTML/Frames
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Sherrill, PaulArticleSusanna’s “Deh vieni”24.4, 2018HTML
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Steinbeck, PaulArticleTalking Back: Performer-Audience Interaction in Roscoe Mitchell’s “Nonaah”22.3, 2016HTML
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Schuiling, FlorisArticleTalking Scores and the Dismediation of Music Notation29.1, 2023HTML
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Scherzinger, MartinArticleTemporal Geometries of an African Music: A Preliminary Sketch16.4, 2010HTML
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Smith, Jeremy W.ArticleThe Functions of Continuous Processes in Contemporary Electronic Dance Music27.2, 2021HTML
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Straus, Joseph N.ArticleThe Melodic Organization of The Rite of Spring28.4, 2022HTML
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Stephenson, AlexArticleThe Poetics and Politics of Ambiguity: Overtone Structures and Equal Temperament in Works by Julian Anderson and Rand Steiger28.2, 2022HTML
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Summach, JayArticleThe Structure, Function, and Genesis of the Prechorus17.3, 2011HTML
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Scotto, CiroEssayThe Symbiosis of Disability15.3, 2009HTML
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Schubert, Peter N.ArticleThomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet24.1, 2018HTML
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Straus, Joseph N.ArticleThree 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, 2012HTML
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Stover, ChrisArticleTime, Territorialization, and Improvisational Spaces23.1, 2017HTML
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Schultz, RobArticleTonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith18.4, 2012HTML
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Straus, Joseph N.ArticleTotal Voice Leading20.2, 2014HTML
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Scotto, Ciro G.ArticleTransformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb8.3, 2002HTML/Frames
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Shupe, AbigailArticleWar and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”27.2, 2021HTML
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Scotto, CiroEssayWhat Do I Hear Now, Groupwise?17.2, 2011HTML
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Schubert, Peter and Marcelle Lessoil-DaelmanArticleWhat Modular Analysis Can Tell Us About Musical Modeling in the Renaissance19.1, 2013HTML
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Soderberg, StephenArticleWhite Note Fantasy4.3, 1998HTML/Frames
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Soderberg, StephenArticleWhite Note Fantasy, Part II: A Few Hypertonal Variations5.2, 1999HTML/Frames
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Schubert, PeterArticleWillaert’s Elusive Counterpoint Explained28.4, 2022HTML
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Stoecker, PhilipCommentaryWithout a Safety (k)-Net13.3, 2007HTML
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Samarotto, FrankArticle“Plays of Opposing Motion”: Contra-Structural Melodic Impulses in Voice-leading Analysis15.2, 2009HTML
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Saslaw, JannaEssay“Teaching Blind”: Methods for Teaching Music Theory to Visually Impaired Students15.3, 2009HTML
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