Volume 27 Number 2, June 2021

Copyright © 2021 Society for Music Theory


Editor’s Message

Symposium on Aural Skills and Cognition

A Cognitive Basis for Choosing a Solmization System
27.2.1
        Gary S. Karpinski (The University of Massachusetts Amherst)
What Are the Truly Aural Skills?
27.2.2
        Timothy Chenette (Utah State University)
Developing Musical Imagery: Contributions from Pedagogy and Cognitive Science
27.2.3
        Sarah Gates (Northwestern University)
Rethinking Aural Skills Instruction through Cognitive Research: A Response
27.2.4
        Elizabeth West Marvin (Eastman School of Music)

Articles

Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan
27.2.5
        Scott C. Schumann (Central Michigan University)
Flexible Ostinati, Groove, and Formal Process in Craig Taborn’s Avenging Angel
27.2.6
        Antares Boyle (Portland State University)
The Functions of Continuous Processes in Contemporary Electronic Dance Music
27.2.7
        Jeremy W. Smith (University of Louisville)
War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”
27.2.8
        Abigail Shupe (Colorado State University)
Melody on the Threshold in Spectral Music
27.2.9
        James Donaldson (McGill University)
Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music
27.2.10
        Joshua W. Hahn (Richmond, VA)
Anne Teresa De Keersmaeker’s Violin Phase and the Experience of Time, or Why Does Process Music Work?
27.2.11
        Mariusz Kozak (Columbia University)

Reviews

Review of Malawey, Victoria, A Blaze of Light in Every Word: Analyzing the Popular Singing Voice (Oxford University Press, 2020)
27.2.12
        Michèle Duguay (The Graduate Center, City University of New York)
Music Theory’s Visceral Turn: A Review of Roger Matthew Grant, Peculiar Attunements: How Affect Theory Turned Musical (New York: Fordham University Press, 2020)
27.2.13
        Stephen M. Kovaciny (Madison, WI)




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Updated May 24 2021