Volume 17 Number 3, October 2011

Copyright © 2011 Society for Music Theory


Editor’s Message

Articles

Special Issue: (Per)Form in(g) Rock

Introduction
17.3.1
        Nicole Biamonte (McGill University)
The Structure, Function, and Genesis of the Prechorus
17.3.2
        Jay Summach (Yale University)
Rockin’ Out: Expressive Modulation in Verse-Chorus Form
17.3.3
        Christopher Doll (Rutgers, The State University of New Jersey)
Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres
17.3.4
        Brad Osborn (DePauw University)
Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach
17.3.5
        Timothy Koozin (University of Houston)
Burning Bridges: Defining the Interverse in the Music of U2
17.3.6
        Christopher Endrinal (University of Massachusetts, Lowell)
Sarah Setting the Terms: Defining Phrase in Popular Music
17.3.7
        Robin Attas (University of British Columbia)
Form and Voice Leading in Early Beatles Songs
17.3.8
        Drew F. Nobile (CUNY Graduate Center)
(Per)Form in(g) Rock: A Response
17.3.9
        Mark Spicer (Hunter College and the Graduate Center, CUNY)

Reviews

Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)
17.3.10
        Julian Hook (Indiana University)
Review of Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (Oxford University Press, 2009)
17.3.11
        Harald Krebs (University of Victoria)
Review of Janet Schmalfeldt: In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford University Press, 2011)
17.3.12
        Seth Monahan (Eastman School of Music)
Review of Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative (Ashgate, 2010)
17.3.13
        Samuel Ng (College-Conservatory of Music, University of Cincinnati)



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