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Volume Index    [Author Index]


Current Issue (Volume 18, Number 4, December 2012)

Article: Timothy K. Chenette (University of Massachusetts Amherst) Hearing Counterpoint Within Chromaticism: Analyzing Harmonic Relationships in Lassuss Prophetiae Sibyllarum

Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Rethinking Octatonicism: Views from Stravinskys Homeland

Article: Yosef Goldenberg (The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance) The Interruption-Fill and Corollary Procedures

Article: Eugene Montague (The George Washington University) Instrumental Gesture in Chopins tude in A-Flat Major, Op. 25, No. 1

Article: Rob Schultz (University of Massachusetts Amherst) Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith

Article: Joseph N. Straus (Graduate Center, City University of New York) Three Stravinsky Analyses: Petrushka, Scene 1 (to Rehearsal No. 8); The Rakes Progress, Act III, Scene 3 (In a foolish dream); Requiem Canticles, Exaudi

Article: Benjamin K. Wadsworth (Kennesaw State University) Directional Tonality in Schumanns Early Works

Review: Chelsea Burns (University of Chicago) Review of Michael Tenzer and John Roeder, eds., Analytical and Cross-Cultural Studies in World Music (Oxford University Press, 2011)

Review: Jonathan Kochavi (Swarthmore College) Review of Edward Gollin and Alexander Rehding, eds., The Oxford Handbook of Neo-Riemannian Theories (Oxford University Press, 2011)

Review: David Thurmaier (Florida Gulf Coast University) Review of Vincent P. Benitez, The Words and Music of Paul McCartney: The Solo Years (Praeger, 2010); Ian Inglis, The Words and Music of George Harrison (Praeger, 2010); and Ben Urish and Ken Bielen, The Words and Music of John Lennon (Praeger, 2007)

Volume 18, Number 3, September 2012

Festschrift for Steve Larson

  • Article: Stephen Rodgers (University of Oregon) and Henry Martin (Rutgers University) Guest Editors Introduction: The More Questions, The Better
  • Article: Matthew L. BaileyShea (University of Rochester) Musical Forces and Interpretation: Some Thoughts on a Measure in Mahler
  • Article: Robert S. Hatten (University of Texas at Austin) Musical Forces and Agential Energies: An Expansion of Steve Larsons Model
  • Article: David J. Heyer (University of Oregon) Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach
  • Article: Stefan C. Love (University of Chicago) Possible Paths: Schemata of Phrasing and Melody in Charlie Parkers Blues
  • Article: Henry Martin (Rutgers University-Newark) Charlie Parker and Honeysuckle Rose: Voice Leading, Formula, and Motive
  • Article: Mark McFarland (Georgia State University) Schenker and the Tonal Jazz Repertory: A Response to Martin
  • Article: Alison Hood (National University of Ireland Maynooth) Ambiguity of Tonal Meaning in Chopins Prelude op. 28, no. 22
  • Article: Gary S. Karpinski (University of Massachusetts Amherst) Ambiguity: Another Listen
  • Article: Keith Waters (University of Colorado Boulder) Other Good Bridges: Continuity and Debussys Reflets dans leau
  • Article: Steve Larson (University of Oregon) Expressive Meaning and Musical Structure, Chapter 1 of Schenkerian Analysis: Pattern, Form, and Expressive Meaning
  • Review: Vasili Byros (Northwestern University) Review of Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice (Oxford University Press, 2012)
  • Review: Kristina Muxfeldt (Indiana University) Review of Suzannah Clark, Analyzing Schubert (Cambridge University Press, 2011)
  • Review: Robert Peck (Louisiana State University) Review of Steven Rings, Tonality and Transformation (Oxford University Press, 2011)
  • Review: Jason Yust (Boston University) Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triads Second Nature (Oxford University Press, 2012)

Volume 18, Number 2, June 2012

  • Article: David K. Blake (SUNY-Stony Brook) Timbre as Differentiation in Indie Music
  • Article: Anna M. Gawboy (Ohio State University) and Justin Townsend (Northeastern University) Scriabin and the Possible
  • Article: Blair Johnston (Indiana University) Between Romanticism and Modernism and Postmodernism: George Crumb’s Black Angels
  • Article: Rebecca Leydon (Oberlin College) Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime
  • Review: Kyle Fyr (University of Northern Colorado) Review of Timothy Johnson, John Adams’s “Nixon in China”: Musical Analysis, Historical and Political Perspectives (Ashgate, 2011)
  • Review: Dave Headlam (Eastman School of Music) Review of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011)
  • Review: Mariusz Kozak (University of Chicago) Review of Evan Jones, ed., Intimate Voices: The Twentieth Century String Quartet (Rochester University Press, 2009)
  • Review: Gordon Sly (Michigan State University) Review of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010)

Volume 18, Number 1, April 2012

Analyzing Performance

  • Article: Nicholas Cook (University of Cambridge) Introduction: Refocusing Theory
  • Article: Daniel Barolsky (Beloit College) and Peter Martens (Texas Tech University) Rendering the Prosaic Persuasive: Gould and the Performance of Bachs C-minor Prelude (WTC I)
  • Article: Alan Dodson (University of British Columbia) Solutions to the Great Nineteenth-Century Rhythm Problem in Horowitzs Recording of the Theme from Schumanns Kreisleriana, Op. 16, No. 2
  • Article: Daniel Leech-Wilkinson (King's College London) Compositions, Scores, Performances, Meanings
  • Article: Peter Martens (Texas Tech University) Tactus in Performance: Constraints and Possibilities
  • Article: Mitchell S. Ohriner (Shenandoah University) Grouping Hierarchy and Trajectories of Pacing in Performances of Chopins Mazurkas
  • Article: Michael Schutz and Fiona Manning (McMaster University) Looking Beyond the Score: The Musical Role of Percussionists Ancillary Gestures
  • Review: Gregory J. Decker (Bowling Green State University) Review of Andrew Davis, Il Trittico, Turandot, and Puccinis Late Style (Indiana University Press, 2010)
  • Review: Clare Sher Ling Eng (Belmont University) Review of Peter Kaminsky, ed., Unmasking Ravel: New Perspectives on the Music (University of Rochester Press, 2011)
  • Review: Andrew D. Robbie (Harvard University) Review of Brian Hulse and Nick Nesbitt, eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Ashgate, 2010)
  • Review: Chris Stover (The New School for Jazz and Contemporary Music) Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 196568 (Oxford University Press, 2011)

Volume 17, Number 4, December 2011

  • Article: Julian Hook (Indiana University) How to Perform Impossible Rhythms
  • Article: Mark Sallmen (University of Toronto) Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation
  • Article: David Temperley (Eastman School of Music) Scalar Shift in Popular Music
  • Review: Michael Cherlin (University of Minnesota) Review of Sabine Feisst, Schoenbergs New World: The American Years (Oxford University Press, 2011)
  • Review: Thomas Christensen (The University of Chicago) Review of Lee Rothfarb, August Halm: A Critical and Creative Life in Music (University of Rochester Press, 2009)
  • Review: Miguel J. Ramirez (Clarksville, TN) Review of Dermot Gault, The New Bruckner: Compositional Development and the Dynamics of Revision (Surrey, England: Ashgate, 2011)
  • Review: Andrew Westerhaus (The University of Chicago) Review of Gretchen Horlacher, Building Blocks: Repetition and Continuity in the Music of Stravinsky (New York: Oxford University Press, 2011)
  • Essay: Karen M. Bottge (University of Kentucky) Reading Adornos Reading of the Rachmaninov Prelude in C-sharp Minor: Metaphors of Destruction, Gestures of Power

Volume 17, Number 3, October 2011

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

  • Article: Nicole Biamonte (McGill University) Introduction
  • Article: Jay Summach (Yale University) The Structure, Function, and Genesis of the Prechorus
  • Article: Christopher Doll (Rutgers, The State University of New Jersey) Rockin Out: Expressive Modulation in Verse-Chorus Form
  • Article: Brad Osborn (DePauw University) Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres
  • Article: Timothy Koozin (University of Houston) Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach
  • Article: Christopher Endrinal (University of Massachusetts, Lowell) Burning Bridges: Defining the Interverse in the Music of U2
  • Article: Robin Attas (University of British Columbia) Sarah Setting the Terms: Defining Phrase in Popular Music
  • Article: Drew F. Nobile (CUNY Graduate Center) Form and Voice Leading in Early Beatles Songs
  • Article: Mark Spicer (Hunter College and the Graduate Center, CUNY) (Per)Form in(g) Rock: A Response
  • Review: Julian Hook (Indiana University) Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)
  • Review: Harald Krebs (University of Victoria) Review of Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 17871791 (New York: Oxford University Press, 2009)
  • Review: Seth Monahan (Eastman School of Music) Review of Janet Schmalfeldt: In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford: Oxford University Press, 2011)
  • Review: Samuel Ng (College-Conservatory of Music, University of Cincinnati) Review of Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative (Surrey, England: Ashgate, 2010)

Volume 17, Number 2, July 2011

  • Article: Arnie Cox (Oberlin Conservatory of Music) Embodying Music: Principles of the Mimetic Hypothesis
  • Article: David J. Heetderks (University of Michigan) A Tonal Revolution in Fifths and Semitones: Aaron Coplands Quiet City
  • Article: Jennifer Iverson (University of Iowa) Creating Space: Perception and Structure in Charles Ivess Collages
  • Article: Steven Jan (University of Huddersfield) Music, Memory and Memes in the Light of Calvinian Neuroscience
  • Article: Stanley V. Kleppinger (University of Nebraska-Lincoln) Coplands Fifths and Their Structural Role in the Sonata for Violin and Piano
  • Review: Jeremy Grall (University of Alabama at Birmingham) Review of Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music (Oxford University Press, 2009)
  • Review: Justin London (Carleton College) Review of Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010)
  • Essay: Emily J. Adamowicz (University of Western Ontario) Subjectivity and Structure in Milton Babbitts Philomel
  • Essay: Zachary Bernstein (The Graduate Center, City University of New York) Duplicated Subdivisions in Babbitts It Takes Twelve to Tango
  • Essay: Daphne Leong (University of Colorado-Boulder) Webs and Snares: Multiple References in Babbitts Homily and Beaten Paths
  • Essay: Ciro Scotto (University of South Florida) What Do I Hear Now, Groupwise?
  • Essay: Martin Kutnowski (St. Thomas University) How Register Tells the Story in Scriabins Op. 22, No. 2

Volume 17, Number 1, April 2011

  • Article: Sean Atkinson (University of Texas at Arlington) Canons, Augmentations, and Their Meaning in Two Works by Steve Reich
  • Article: David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya) Modes, the Height-Width Duality, and Handschins Tone Character
  • Article: Stacey Davis (University of Texas at San Antonio) Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bachs Unaccompanied String Works
  • Article: Melissa E. Hoag (Oakland University) Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick”
    (op. 57, no. 4)
  • Article: Patrick McCreless (Yale University) Ownership, In Music and Music Theory
  • Article: Robert W. Peck (Louisiana State University) A GAP Tutorial for Transformational Music Theory
  • Article: Stephen Rodgers (University of Oregon) Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel
  • Article: David Temperley (Eastman School of Music) The Cadential IV in Rock
  • Commentary: Michael Fitzpatrick (University of Western Ontario) Models and Music Theory: Reconsidering David Lewins Graph of the 3-2 Cohn Cycle
  • Review: Mark Carlson (University of California, Los Angeles) Review of Alexandra Pierce, Deepening Musical Performance through Movement (Indiana University Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Kent D. Cleland and Mary Dobrea-Grindahl, Developing Musicianship Through Aural Skills: A Holistic Approach to Sight-Singing and Ear-Training (New York: W.W. Routledge, 2010)

Volume 16, Number 4, December 2010

Rhythm: Africa and Beyond

  • Article: James Burns (Binghamton University) Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora
  • Article: Matthew W. Butterfield (Franklin & Marshall College) Variant Timekeeping Patterns and Their Effects in Jazz Drumming
  • Article: David Locke (Tufts University) Yewevu in the Metric Matrix
  • Article: Rainer Polak (Bayreuth, Germany) Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision in Jembe Music from Mali
  • Article: Martin Scherzinger (New York University) Temporal Geometries of an African Music: A Preliminary Sketch
  • Commentary: Kofi Agawu (Princeton University) Commentary
  • Commentary: Cynthia Tse Kimberlin (Music Research Institute) Commentary
  • Commentary: Justin London (Carleton College) Commentary
  • Commentary: Michael Tenzer (University of British Columbia) Africa Stand Up!—and Be Counted Among Others
  • Commentary: Michael Vercelli (West Virginia University) and Janet Sturman (University of Arizona) Commentary on "Rhythm: Africa and Beyond"
  • Review: Rebecca Jemian (Ithaca College) Review of Josephine Lang: Her Life and Songs, by Harald Krebs and Sharon Krebs (Oxford University Press, 2007)
  • Review: Matthew S. Royal (Brock University) Review of Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 16531705 (Aldershot and Burlington: Ashgate Press, 2008)

Volume 16, Number 3, August 2010

  • Article: J. Daniel Jenkins (University of South Carolina) After the Harvest: Carter’s Fifth String Quartet and the Late Late Style
  • Article: Nicholas Stoia (Boston, MA) Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 19201945
  • Article: Daniel K. S. Walden (Oberlin College and Conservatory) Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn’s Schilflied and Hindemith’s Ludus Tonalis
  • Article: Keith J. Waters (University of Colorado at Boulder) and J. Kent Williams (University of North Carolina at Greensboro) Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two- and Three-Dimensional Pitch Spaces; or Jazz Harmony after 1960
  • Review: Stephen Rodgers (University of Oregon) Review of Matthew Santa, Hearing Form: Musical Analysis With and Without the Score (New York: Routledge, 2010)
  • Review: Elise O. Takehana (University of Florida) Review of Nicola Dibben, Björk (Bloomington: Indiana University Press, 2009)

Volume 16, Number 2, May 2010

Form as Process

  • Article: Brenda Ravenscroft (Queen's University) Form as Process: Celebrating the Work of Janet Schmalfeldt (Chairs Introduction)
  • Article: Carissa Reddick (University of Northern Colorado) Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century
  • Article: Janet Schmalfeldt (Tufts University) Response to Carissa Reddick
  • Article: Mike Cheng-Yu Lee (Cornell University) A Response to Schmalfeldts Form as Process of Becoming: Once More on the Performance and Analysis of Schuberts Sonata in A minor, Op. 42
  • Article: Janet Schmalfeldt (Tufts University) Response to Mike Cheng-Yu Lee
  • Article: William E. Caplin (Schulich School of Music, McGill University) Beethovens Tempest Exposition: A Response to Janet Schmalfeldt
  • Article: James Hepokoski (Yale University) Formal Process, Sonata Theory, and the First Movement of Beethovens Tempest Sonata
  • Article: Janet Schmalfeldt (Tufts University) One More Time on Beethoven’s “Tempest,” From Analytic and Performance Perspectives: A Response to William E. Caplin and James Hepokoski
  • Review: David Casacuberta (Universitat Autnoma de Barcelona) Review of David Temperley, Music and Probability (Cambridge: MIT Press, 2007)
  • Review: David Damschroder (University of Minnesota) Review of Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Pieter Bergè (Leuven, Belgium: Peeters, 2009)

Volume 16, Number 1, March 2010

  • Article: Brent Auerbach (University of Massachusetts, Amherst) Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction
  • Article: Jill T. Brasky (University of South Florida) Extraordinary Function and the Half-Diminished Seventh in the Song of the Wood Dove
  • Article: Victoria Malawey (Kenyon College) Harmonic Stasis and Oscillation in Björk’s Medúlla
  • Article: Ed Martin (University of Wisconsin Oshkosh) Harmonic Progression in Magnus Lindberg’s Twine
  • Article: Susan McClary (University of California, Los Angeles) In Praise of Contingency: The Powers and Limits of Theory
  • Commentary: Dmitri Tymoczko (Princeton University) Geometrical Methods in Recent Music Theory
  • Review: Ken Stephenson (University of Oklahoma) Review of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway"
    (Aldershot and Burlington: Ashgate, 2008)
  • Essay: Timothy Cutler (Cleveland Institute of Music) Cryptic Audiodiversity and the Dissonant Perfect Unison

Volume 15, Number 5, October 2009

  • Article: Kyle Adams (Indiana University) On the Metrical Techniques of Flow in Rap Music
  • Article: Michael Berry (Texas Tech University) The Importance of Bodily Gesture in Sofia Gubaidulina’s Music for Low Strings
  • Article: Tuire Kuusi (Sibelius Academy) Discrimination and Evaluation of Trichords
  • Article: Joti Rockwell (Pomona College) Birdcage Flights: A Perspective on Inter-Cardinality Voice Leading
  • Review: Daniel Shanahan (Trinity College Dublin) Review of Aniruddh D. Patel, Music, Language, and the Brain (New York and Oxford: Oxford University Press, 2008)
  • Essay: Donald G. Traut (University of Arizona) Dyadic TC Lattices: Revisiting the TC/IS Relationship

Volume 15, Numbers 3 and 4, August 2009

  • Review: Eleanor Aversa (University of Pennsylvania) Review of David Huron, Sweet Anticipation: Implications for Composers
  • Essay: Joseph Straus (Graduate Center, CUNY) Introduction
  • Essay: Paul Attinello (Newcastle University) Time, Work, and Chronic Illness
  • Essay: Samantha Bassler (Open University, UK) “But You Don’t Look Sick”: A Survey of Scholars with Chronic, Invisible Illnesses and their Advice on How to Live and Work in Academia
  • Essay: James Deaville (Carleton University) More Than the Blues: Clinical Depression, Invisible Disabilities and Academe
  • Essay: Timothy L. Jackson (University of North Texas) Escaping from a Black Hole: Facing Depression in Academia
  • Essay: Allen Gimbel (Lawrence University) Scholarship and Quadriplegia
  • Essay: Stefan Sunandan Honisch (University of British Columbia) Re-narrating Disability through Musical Performance
  • Essay: Jeff Gillespie (Butler University) Our Common Uniqueness
  • Essay: Ciro Scotto (Eastman School of Music) The Symbiosis of Disability
  • Essay: Jon Kochavi (Swarthmore College) How Do You Hear That? Autism, Blindness, and Teaching Music Theory
  • Essay: Shersten Johnson (University of St. Thomas) Notational Systems and Conceptualizing Music: A Case Study of Print and Braille Notation
  • Essay: Stephanie Jensen-Moulton (Brooklyn College) Music Fundamentals: Three Classes with Daniel Trush
  • Essay: David Pacun (Ithaca College) Reflections on and Some Recommendations for Visually Impaired Students
  • Essay: Janna Saslaw (Loyola University) Teaching Blind: Methods for Teaching Music Theory to Visually Impaired Students
  • Essay: Rebecca Morris (Unversity of Southern California) Universal Design and Adaptive Equipment: Ideas and Solutions for Music Schools

Volume 15, Number 2, June 2009

  • Article: Emmanuel Amiot (CPGE, Perpignan) Discrete Fourier Transform and Bach’s Good Temperament
  • Article: Stephen C. Brown (Northern Arizona University) Axis Tonality and Submediant in the Music of Shostakovich
  • Article: Joseph C. Kraus (Florida State University) Coaching Mozarts String Quintet in E-Flat Major: Finding the Rhythmic Shape
  • Article: Frank Samarotto (Indiana University) “Plays of Opposing Motion”: Contra-Structural Melodic Impulses in Voice-leading Analysis
  • Commentary: Justin A. Williams (University of Nottingham) Beats and Flows: A Response to Kyle Adams, Aspects of the Music/Text Relationship in Rap
  • Commentary: Kyle Adams (Indiana University) Peoples Instinctive Assumptions and the Paths of Narrative: A Response to Justin Williams
  • Review: Mark McFarland (Georgia State University) Review of Jeremy Day-O'Connell, Pentatonicism from the Eighteenth Century to Debussy (Rochester: University of Rochester Press, 2007)
  • Review: Patrick Tuck (University of the Cumberlands) Review of Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis (New York: W.W. Norton, 2005)

Volume 15, Number 1, March 2009

Special Issue: Animating the “Inside”

  • Article: John Roeder (University of British Columbia) Introduction
  • Article: Robin Attas (University of British Columbia) Metaphors in Motion: Agents and Representation in Transformational Analysis
  • Article: John Roeder (University of British Columbia) Constructing Transformational Signification: Gesture and Agency in Bartók’s Scherzo, Op. 14, No. 2, measures 1–32
  • Article: Stephanie Lind (Queen's University) An Interactive Trichord Space Based on Measures 18–23 of Clermont Pépin’s Toccate no. 3
  • Article: Mustafa Bor (University of Alberta) Sonata-Formal Functions and Transformational Processes in the First Movement of Rochbergs String Quartet No. 6
  • Article: Stephanie Lind (Queen's University) and John Roeder (University of British Columbia) Transformational Distance and Form in Bergs Schlafend trgt man mich
  • Article: Scott Alexander Cook (University of British Columbia) Moving Through Triadic Space: An Examination of Bryarss Seemingly Haphazard Chord Progressions
  • Article: John Roeder (University of British Columbia) A Transformational Space Structuring the Counterpoint in Adss Auf dem Wasser zu singen
  • Review: Jack Boss (University of Oregon) Review of Michael Cherlin, Schoenberg’s Musical Imagination (Cambridge: Cambridge University Press, 2007)
  • Review: Don Traut (University of Arizona) Review of Henry Martin, Counterpoint: A Species Approach Based on Schenker’s “Counterpoint” (Lanham, MD: The Scarecrow Press, Inc., 2005)

Volume 14, Number 4, December 2008

  • Article: Lori Burns (University of Ottawa) and Marc Lafrance (Concordia University) Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Bjrk
  • Article: Nicolas Donin (IRCAM) and Jonathan Goldman (University of Victoria) Charting the Score in a Multimedia Context: the Case of Paradigmatic Analysis
  • Review: Bruce Quaglia (University of Utah) Review of Ethan Haimo, Schoenberg’s Transformation of Musical Language (New York: Cambridge University Press, 2006)
  • Review: Elizabeth Lena Smith (Illinois State University) Review of Edward D. Latham, Tonality as Drama: Closure and Interruption in Four Twentieth-Century American Operas (Denton: University of North Texas Press, 2008)

Volume 14, Number 3, September 2008

  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Maximally Alpha-Like Operations
  • Article: Vasileios Kallis (University of Nicosia, Cyprus) Principles of Pitch Organization in Scriabin’s Early Post-tonal Period: The Piano Miniatures
  • Commentary: Henry Martin (Rutgers University-Newark) and Cynthia Folio (Temple University) Report on the 2008 Mannes Institute for Advanced Studies in Music Theory: Jazz Meets Pop
  • Review: Brad Osborn (University of Washington) Review of Andrew Dell Antonio, ed., Beyond Structural Listening?: Postmodern Modes of Hearing (Berkeley: University of California Press, 2004)

Volume 14, Number 2, June 2008

  • Article: Nicholas Baragwanath (Royal Northern College of Music) Analytical Approaches to Melody in Selected Arias by Puccini
  • Article: Nicole Biamonte (University of Iowa) Augmented-Sixth Chords vs. Tritone Substitutes
  • Article: Kyle Adams (Indiana University) Aspects of the Music/Text Relationship in Rap
  • Commentary: Olli Väisälä (Sibelius Academy) Rhetoric and Justification in Analysis: A Commentary on Eric Wen’s Commentary
  • Review: David Nicholls (University of Southampton) Review of Pwll ap Siôn, The Music of Michael Nyman: Texts, Contexts and Intertexts (Aldershot, UK: Ashgate, 2007)

Volume 14, Number 1, March 2008

  • Article: Golan Gur (Ludwig Maximilian University and Humboldt University) Body, Forces, and Paths: Metaphor and Embodiment in Jean-Philippe Rameaus Conceptualization of Tonal Space
  • Article: Felix F. Diergarten (Musikhochschule Freiburg) At times even Homer nods off: Heinrich Christoph Kochs Polemic against Joseph Haydn
  • Article: William Rothstein (Queens College and CUNY Graduate Center) Common-tone Tonality in Italian Romantic Opera: An Introduction
  • Commentary: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks One More Time: A Response to Eight Responses
  • Commentary: Roger Mathew Grant (University of Pennsylvania) Hysteria at the Musical Surface
  • Commentary: Eric Wen (Curtis Institute of Music) Commentary on Samuel Ng’s review of Peter H. Smith’s Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet
  • Review: David B. Easley (Florida State University) Review of Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge and London: Harvard University Press, 2003)
  • Review: David Nicholls (University of Southampton) Review of Ray Allen and Ellie M. Hisama, eds., Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American Music (Rochester: University of Rochester Press, 2007)
  • Review: Jonathan Pieslak (The City College of New York) Review of Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003)

Volume 13, Number 4, December 2007

  • Article: Julian Hook (Indiana University) Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Francesco's Dream: Musical Logic in Landini's Three-Voice Ballate
  • Article: Peter A. Martens (Texas Tech University) Glenn Gould's "Constant Rhythmic Reference Point":
    Communicating Pulse in Bach's Goldberg Variations, 1955 and 1981
  • Article: Jacob Reed and Matthew Bain (Ohio State University) A Tetrahelix Animates Bach: Revisualization of David Lewin's Analysis of the Opening of the F# Minor Fugue from WTC I
  • Article: Matt L. BaileyShea (Eastman School of Music) Filleted Mignon: A New Recipe for Analysis and Recomposition
  • Article: Deborah Mawer (Lancaster University) Exploring Complementation in Bartk's Third Quartet
  • Review: Samuel Ng (Louisiana State University) Review of Peter H. Smith, Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet (Bloomington: Indiana University Press, 2005)

Volume 13, Number 3, September 2007

  • Article: Fernando Benadon (American University) A Circular Plot for Rhythm Visualization and Analysis
  • Article: Scott Murphy (University of Kansas) Considering Network Recursion and Bartks Fourths
  • Article: Adam Ricci (University of North Carolina at Greensboro) The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3
  • Article: Mark Sallmen (University of Toronto) Listening to the Music Itself: Breaking Through the Shell of Elliott Carters In Genesis
  • Commentary: Matthew W. Butterfield (Franklin & Marshall College) Response to Fernando Benadon
  • Commentary: Gretchen Foley (University of Nebraska-Lincoln) The Efficacy of K-Nets in Perlean Theory
  • Commentary: Henry Klumpenhouwer (University of Alberta) Reconsidering Klumpenhouwer Networks: a Response
  • Commentary: Catherine Losada (University of Cincinnati College-Conservatory of Music) K-nets and Hierarchical Structural Recursion: Further Considerations
  • Commentary: Catherine Nolan (University of Western Ontario) Thoughts on Klumpenhouwer Networks and Mathematical Models: The Synergy of Sets and Graphs
  • Commentary: Shaugn O'Donnell (The City College and Graduate Center, CUNY) Embracing Relational Abundance
  • Commentary: Philip Stoecker (Oberlin College Conservatory) Without a Safety (k)-Net
  • Commentary: Dmitri Tymoczko (Princeton University) Recasting K-nets
  • Review: Jeff Perry (Louisiana State University) Review of Anthony K. Brandt, Sound Reasoning: A New Way to Listen

Volume 13, Number 2, June 2007

  • Article: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks
  • Article: Amanda Stringer Sauer (Florida State University) Cognitive Dissonance and the Performers Inner Conflict: A New Perspective on the First Movement of Beethovens Op. 101
  • Commentary: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) and Matthias Pasdzierny (Universitt der Knste Berlin) Sprechstimme Reconsidered Once Again: '... though Mrs. Stiedry is never in pitch'
  • Review: Gabe Fankhauser and Jennifer Sterling Snodgrass (Appalachian State University) Review of Ralph Turek, Theory for Today's Musician (New York: McGraw-Hill, 2007)
  • Review: Bruce Quaglia (University of Utah) Reviews of Neil Lerner and Joseph Straus, editors, Sounding Off: Theorizing Disability in Music (New York: Routledge, 2006) and Joseph Straus, Normalizing the Abnormal: Disability in Music and Music Theory in Journal of the American Musicological Society 59, no. 1 (2006)

Volume 13, Number 1, March 2007

  • Article: Gregory J. Marion (University of Saskatchewan) Debussy and Recollection: trois aperu
  • Article: Christoph Neidhfer (McGill University) Bruno Maderna's Serial Arrays
  • Article: Diane Urista (Oberlin College) Chopins Prelude in C Major Revisited: Integrating Sound and Symbol
  • Commentary: Jeff Perry (Louisiana State University) Music Theory as Conversation
  • Commentary: Fernando Benadon (American University) Commentary on Matthew W. Butterfield's "The Power of Anacrusis"
  • Commentary: Daniel G Barolsky (Lawrence University) The Performer as Analyst
  • Review: Kimberly A. Francis (University of North Carolina at Chapel Hill) Review of Maureen Carr, Multiple Masks: Neoclassicism in Stravinskys Works on Greek Subjects (Lincoln: University of Nebraska Press, 2002)

Volume 12, Number 4, December 2006

  • Article: David Neumeyer (University of Texas at Austin) The Contredanse, Classical Finales, and Caplins Formal Functions
  • Article: Matthew W. Butterfield (Franklin & Marshall College) The Power of Anacrusis: Engendered Feeling in Groove-Based Musics
  • Article: Adrian P. Childs (University of Georgia) Structural and Transformational Properties of All-Interval Tetrachords

Volume 12, Number 3, October 2006

  • Article: Ross W. Duffin (Case Western University) Just Intonation in Renaissance Theory and Practice
  • Article: James William Sobaskie (Hofstra University) Contextual Drama in Bach
  • Commentary: Maureen A. Carr (The Pennsylvania State University) "Who's on First?": Response to David H. Smyth's review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)
  • Review: Tim S. Pack (University of Oregon) Review of Syntagma musicum III, by Michael Praetorius, translated and edited by Jeffery T. Kite-Powell (New York and Oxford: Oxford University Press, 2004)
  • Review: Melissa Ursula Dawn Goldsmith (Nicholls State University) Review of Tim J. Anderson, Making Easy Listening: Material Culture and Postwar American Recording, Commerce and Mass Culture Series (Minneapolis and London: University of Minnesota Press, 2006)

Volume 12, Number 2, May 2006

  • Article: Yosef Goldenberg (Hebrew University of Jerusalem) A Musical Gesture of Growing Obstinacy
  • Article: Scott Murphy (University of Kansas) The Major Tritone Progression in Recent Hollywood Science Fiction Films
  • Article: Ronald Woodley (University of Central England, Birmingham Conservatoire) Sharp Practice in the Later Middle Ages: Exploring the Chromatic Semitone and its Implications
  • Review: David H. Smyth (Louisiana State University) Review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)

Volume 12, Number 1, February 2006

  • Article: Eliot Ghofur Woodruff (University of Canterbury) Metrical Phase Shifts in Stravinsky's The Rite of Spring
  • Article: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered
  • Article: Jeannie Ma. Guerrero (Eastman School of Music) Serial Intervention in Nono's Il canto sospeso
  • Article: Guy Capuzzo (University of North Carolina at Greensboro) Pat Martino's The Nature of the Guitar: An Intersection of Jazz Theory and Neo-Riemannian Theory
  • Review: Peter Schubert (McGill University) Review of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge: Cambridge University Press, 2002)

Volume 11, Number 4, October 2005

  • Article: Luis-Manuel Garcia (University of Chicago) On and On: Repetition as Process and Pleasure in Electronic Dance Music
  • Article: Allan F. Moore (University of Surrey) The Persona-Environment Relation in Recorded Song
  • Article: Dmitri Tymoczko (Princeton University) Voice Leadings as Generalized Key Signatures
  • Review: Mark Spicer (City University of New York) Review of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul
    (New York and Oxford: Oxford University Press, 2001)

Volume 11, Number 3, September 2005

  • Article: Lori Burns (University of Ottawa) Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong
  • Article: Thomas M. Fiore (University of Chicago) and Ramon Satyendra (University of Michigan) Generalized Contextual Groups
  • Article: Daphne Leong and David Korevaar (University of Colorado at Boulder) The Performer's Voice: Performance and Analysis in Ravel's Concerto pour la main gauche

Volume 11, Number 2, June 2005

  • Article: Stefan Eckert (Northwestern University) "So, you want to write a Minuet?" -- Historical Perspectives in Teaching Theory
  • Article: Art Samplaski, Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling
  • Review: Burdette Green (Ohio State University) Review of Rebecca Herissone, Music Theory in Seventeenth-Century England (Oxford: Oxford University Press, 2000)
  • Review: Daniel Harrison (Yale University) Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge: Cambridge University Press, 2003)

Volume 11, Number 1, March 2005

Special Issue on Performance and Analysis: Views from Theory, Musicology, and Performance

  • Article: Robert S. Hatten (Indiana University) Introduction (to the Special Issue on Performance and Analysis)
  • Article: Nicholas Cook (University of London) Prompting Performance: Text, Script, and Meaning in Bryn Harrison's tre-temps
  • Article: William Rothstein (CUNY Graduate Center) Like Falling off a Log: Rubato in Chopins Prelude in A-flat Major, Op. 28 No. 17
  • Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Virtuosity in Babbitts Lonely Flute
  • Article: Elizabeth McNutt (University of Colorado at Boulder) A Postscript on Process
  • Article: Janet Schmalfeldt (Tufts University) Response (to the Special Issue on Performance and Analysis)
  • Article: Daphne L
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