Current Musicology

PER.US.3

 

– ABRAHAM (G.), 18th-century Music and the Problems of its History, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 49-51

– ADAMS (B.), Philip Brett. Music and Sexuality in Britten: Selected Essays, Number 84/Fall 2007 – Book Reviews, pp. 147-152

  • Stephen Banfield. Sensibility and the English Song: Critical Studies of the Early 20th Century, Number 49/1992 – Reviews, pp. 88-90

– ADAS (J.), Mozart, Wolfgang Hildesheimer, Number 35/1983 – Reviews, pp. 69-72

– ADELSON (D.M.), Interpreting Berlioz’s Overture to King Lear,  Opus 4: Problems and Solutions, Number 35/1983 – Articles, pp. 46-56

– AGAWU (K.), Does Music Theory Need Musicology?, Number 53/1993 – Approaches to the Discipline, pp. 89-98

  • Robert S. Hatten. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation., Numbers 60 & 61/1996 – Reviews: New Approaches to Beethoven’s Life and Music, pp. 147-161

– AIGNER (T.), Johann Mederitsch, Called Gallus (1752-1835): composer and Copyist in Vienna and Lemberg, Number 20/1975 – Articles, pp. 79-86

– ALLANBROOK (W.J.), Nature and Convention: The Marriage of Figaro, Human Nature in the Unnatural Garden: Figaro as Pastoral, Number 51/1993 – Articles, pp. 82-93

– ALLSEN (J.M.), Recent Musicology at the University of Wisconsin, Issues 37-38/1984 – Reports, pp. 278-280

– ALM (I.), University of California at Los Angeles, Issue 39/1985 – Reports, p. 92

– ANDERSON (D.K.), Musicians, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 84-88

– ANGERMÜLLER (R.), Salzburg: Libraries, Archives, and Musicological research, Number 16/1973 – Reports from the Foreign Corresponding Editors, pp. 26-30

  • The Mozarteum: Mozart research Since 1970, Number 23/1977 – Reports from the Corresponding Editors, pp. 12-19

– ANNIBALDI (C.), Froeberger in Rome: From Frescobaldi’s Craftsmanship to Kirchner’s Compositional Secrets, Number 58/1995 – Articles, pp. 5-27

– APPLETON (J.), Report from Yale: Festival of Contemporary American music, Spring 1966 – Articles, pp. 65-68

– ARAÚJO (S.), Charles A. Perrone and Christopher Dunn, eds. Brazilian Popular Music and Globalization, Number 74/fall 2002 – Reviews, pp. 202-206

– ARCHABAL (N.), Minneapolis: Ives Festivals at Minnesota, Spring 1971 and Spring 1972, Number 18/1974 – Reports from the Domestic Corresponding Editors: Studies in American Music at Twenty American Campuses, pp. 43-45

– ARCHBOLD (L.), University of California, Berkeley: Opera Productions and Research, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 20-21

– ARLT (W.), Musicology and the Practice of Music: thoughts from the Work of the Schola Cantorum Basiliensis, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 88-94

– ARNONE (A.), The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano, Number 82/Fall 2006 – Articles, pp. 7-32

– ATLAS (A.W.), on the Identity of Some Musicians At The Brescian Court of Pandolfo III Malatesta, Issue 36/1983, pp. 11-20

– AUSTERLITZ (R.), Text and melody in Mansi song, Spring 1966 – Articles, pp. 37-58

– BAGNALL (A.), The Simple Fugues, Bach’s Art of Fugue: An Examination of the Sources, Number 19/1975 – Seminar Report, pp. 59-61

  • The Marriage of Heaven and Earth: A Late Medieval Source of the Consecratio virginum, Numbers 45-47/1990 – Articles, pp. 305-324

– BAILEY (K.), The Evolution of Variation Form in the Music Webern, Number 16/1973 – Articles, pp. 55-70

  • Row Anomalies in Opus 33: An Insight into Schoenberg’s Understanding of the Serial Procedure, Number 22/1976 – Articles, pp. 42-66

– BAILEYSHEA (M.), Beyond the Beethoven Model: Sentence Types and Limits, Number 77/ Spring 2004 – Articles, pp. 5-34

– BAKER (H.), Benedetto Marcello’s Oratorio Joaz Music Drama “Reformed”, Greater NY AMS Student Symposium, Number 29/1979, pp. 86-113

– BAKER (T.), Bach’s Revisions in the Augmentation Canon, Bach’s Art of Fugue: An Examination of the Sources, Number 19/1975 – Seminar Report, pp. 67-71

– BALTHAZAR (S.), Plot and Tonal Design as Compositional Constraints in Il trovatore, Numbers 60 & 61/1996 – Articles, pp. 51-78

  • The Rhythm of Text and Music in Ottocento Melody: An Empirical Reassessment in Light of Contemporary Treatises, Number 49/1992 – Articles, pp. 5-28

– BALTZER (R.), Aspects of Trope in the Earliest Motets for the Assumption of the Virgin, Numbers 45-47/1990 – Articles, pp. 5-42

– BARNETT (E.B.), An annotated Translation of Moriz Rosenthal’s Franz Liszt, Memories and Reflections, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 29-37

– BARON (C.K.), An Analysis of the Pitch Organization in Boulez’s “Sonatine” for Flute and Piano, Number 20/1975 – Articles, pp. 87-95

– BARON (J.H.), Report from Leipzing: Congress of the Gesellschaft für Musikforschung, Number 5/1967 – Reports, pp. 119-122

– BASART (A.P.), Access to Nineteenth- Century English-Language Periodicals, Number 31/1981 – Bibliographica, pp. 65-70

– BASELT (B.), German Democratic Republic: Musicology at the Martin Luther University, Halle-Wittenberg, Number 13/1972 – Reports from Foreign Corresponding Editors, pp. 11-15

– BAUER (G.), Washington University, St. Louis, Number 34/1982 – Reports From, pp. 79-81

– BECKERMAN (M.), Leoš Janáček, Kritische Gesamtausgabe, Reihe C, Band 1: Männerchöre 1, Leos Faltus, Petr Oliva, eds., Issue 37-38/1984 – Reviews, pp.

  • Report from Iowa City and Bard College: Dvořák in America, 4-7, 13-15, and 20-22 August 1993, Number 56/1994 – Reports, pp. 161-171

– BELFY (J.M.), The University of Louisville, Number 31/1981 – Reports from, p. 82

– BELKIND (N.), A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab duo Achinoam Nini and Mira Awad’s Representation of Israel at Eurovision 2009, Number 89/Spring 2010 – Articles, pp. 7-36

– BELLER-MCKENNA, (D.), I Am/Was the Walrus, Number 74/fall 2002 – Articles, pp. 47-68

– BENEDUM (R.), National Endowment for the Humanities Editing Institute, at the University of Maryland’s Center for Renaissance and Baroque Studies, Issues 37-38/1984 – Reports, p. 248

– BENT (M.), Subtiliter alternare: The Yoxford Motet O amicus / Precursaris, Numbers 45-47/1990 – Articles, pp. 43-84

– BENVENGA (N.), London: Berlioz’s Echoes, Number 10/1970 – Reports from the Foreign Corresponding Editors, pp. 36-39

– BERGQUIST (P.), Arthur Micheal Daniels The De Musica libri septem of Francisco de Salinas, Spring 1965 – Dissertations, pp. 97-99

  • Report from Munich, Antwerp and Eugene: Lasso Conferences in 1994, Number 57/1995 – Reports, pp. 171-174

– BERLEANT (A.), Music as sound and idea, Number 6/1968 – Responses, pp. 95-100

– BERLIN (E.), Robert J. Dietz – The Operatic style of Marc Blitzstein in the American “AgitProp” Era, Number 18/1974 – Dissertations, pp. 120-126

– BERLIN (E.A.), Cole Johnson Brothers’ The Evolution of “Ragtime”, Issue 36/1983, pp. 21-40

– BERLIND (G.), Griphos: an interim report, Number 5/1967 – Bibliographia, pp. 149-153

– BERNSTEIN (D.W.), “Paths of Harmony” in the First Movement of Brahms’s Cello Sonata in E minor, Op. 38, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 169-184

– BEVERIDGE (D.), Sophisticated primitivism: the Significance of Pentatonicism in Dvřák’s American Quartet, Number 24/1977 – Articles, pp. 25-36

– BIANCOROSSO (G.), Phil Powrie and Robynn Stilwell, eds. Changing Tunes: The Use of Pre-existing Music in Film, Number 83/Spring 2007 – Book Reviews, pp. 167-174

– BIBA (O.), Da Ponte in New York, Mozart in New York, Number 81/Spring 2006 – Articles: Mozart, pp. 109-122

– BICK (S.M.A.), Eisler’s Notes on Hollywood and the Film Music Project, 1935-42, Number 86/Fall 2008 – Articles, pp. 7-40

– BICKFORD (T.), Susan Boynton and Roe-Min Kok, eds. Musical Childhoods and the Cultures of Youth, Number 86/Fall 2008 – Book Reviews, pp. 167-178

– BINDER (B.), Kundry and the Jewish Voice: Anti-Semitism and Musical Trascendence in Wagner’s Parsifal, Number 87/Spring 2009 – Articles, pp. 47-132

– BLACHLY (A.), New York: Early Music concerts, 1969-1070, Number 12/1971 – Reports, pp. 50-55

  • Some Observations on the “Germanic” Plainchant Tradition, Numbers 45-47/1990 – Articles, pp. 85-118

– BLAŽEKOVIĆ (Z.), Music Autographs in the Nikola Udina Algarotti Collection in Zagreb (circa 1740 – circa 1840), Number 57/1995 – Catalogue, pp. 127-164

– BLAZIN (D.) [et al.], Report from Lincoln Center: Performing Mozart’s Music, Number 51/1993 – Reports, pp. 118-132

– BLEZZARD (J.H.), Report from Liverpool, England: Music and Musicology in a changing Academic Environment, Number 40/1985 – Reports, pp. 74-77

  • Report from the University of Liverpool, England: Liverpool Sounds: Harmony, Challenge, and Development, Number 52/1993 – Reports, pp. 75-79
  • Report from the University of Liverpool: Performance and Study__New Venues, New Opportunities, Number 58/1995 – Reports, pp.112-116
  • Report from the University of Liverpool, England: New Initiatives, Old Music, and New Discoveries, Number 48/1991 – Reports, pp. 69-73

– BLOCK (A.F.), New York: Doctoral Program at CUNY, Number 15/1973 – Reports from the Domestic Corresponding Editors, pp. 7-14

  • Why Amy Beach Succeeded as a Composer: The Early Years, Issue 36/1983, pp. 41-60

– BLUM (J.), Review of Roger Wallis. 1984. Big Sounds from Small Peoples: The Music Industry in Small Countries. New York: Pendragon, Number 42/1986 – Reviews, pp. 64-66

– BLUM (F.), Music Library Association panel on microforms and photodublication, Number 6/1968 – Bibliographica, pp. 137-141

– BLUM (S.), In Defense of Close Reading and Close Listening, Number 53/1993 – Approaches to the Discipline, pp. 41-54

  • Levon Hakobian. Music of the Soviet Age, 1917-1987, Allan B. Ho and Dmitry Feofanov, eds. Shostakovih Reconsidered, David Haas. Leningrad’s Modernists: Studies in Composition and Musical Thought, 1917-1932, Number 65/1998 – Review, pp. 165-173

– BLUME (F.), Musicology in German Universities, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 52-64

– BODLEY (S.), Dublin: Curriculum at University College, Number 7/1968, pp. 60-61

– BOLSTER (C.), Report from New Haven: annual meeting of the American Ethnomusicological Society, Number 6/1968 – Reports, pp. 78-81

– BONEAU (D.), Genesis of a Trio: the Chicago Manuscript of Fauré’s Opus 120, Number 35/1983 – Articles, pp. 19-33

– BONIME (S.), The Musicians of the Royal Stable under Charles VIII and Louis XII (1484-1514), Number 25/1978 – Articles, pp. 7-21

– BOODY (C.G), Minneapolis: The Charles Ives Festival, Spring 1970 – reflections, Number 11/1971 – Reports , p. 57

– BOOTH (P.J.H.), University College, Cardiff: Research in Music and Sound, Number 24/1977 – Reports from the Foreign  Corresponding Editors, pp. 11-14

– BOSSIN (J.), The Berlin Festival’s Ligeti Retrospectives, Issue 37-38/1984 – Reports, pp. 233-240

– BOTHWELL (B.), Tricia Rose. The Hip Hop Wars: What We Talk About When We Talk About Hip Hop—And Why It Matters, Number 89/Spring 2010 – Book Reviews, pp. 95-102

– BOTSTEIN (L.), Aesthetics and Ideology in the Fin-de-Siècle Mozart Revival, Number 51/1993 – Articles, pp. 5-25

  • Cinderella; or Music and the Human Sciences. Unfootnoted Musings from the Margins, Number 53/1993 – Approaches to the Discipline, pp. 124-134

– BOWER (C.M), Introduction, A Bibliography of Early Organum, Number 21/1976 – Special Projects, p.16

– BOWERS (J.), Report from Rochester: Feminist Theory and Music II, 17-20 June 1993, Number 56/1994 – Reports, pp. 138-149

– BOYNTON (S.), Mary O’Neill. Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire, Number 83/Spring 2007 – Book Reviews, pp. 183-188

– BRAINARD (P.), Proportional Notation in the Music of Schütz and His Contemporaries, Number 50/1992 – Articles, pp. 21-46

– BRAND (E.), The Beethoven Seminar at Bar-Ilan University, Ramat Gan, Israel, 1976-77, Number 27/1979 – Reports, pp. 10-13

– BRISCOE (J.R.), The Current State of Research into Practical Sources of Early Polyphony, A Bibliography of Early Organum, Number 21/1976 – Special Projects, pp. 17-28

– BROOK (B.S.), Haydn’s String Trios: A misunderstood Genre, Issue 36/1983, pp. 61-78

– BROCKETT (C.W.), JR., Carlton T. Russel, The Southern French Tonary in the Tenth and Eleventh Centuries, Number 13/1972 – Dissertations, pp. 107-114

  • A Comparison of the Five Monochords of Guido of Arezzo, Number 32/1981 – Articles, pp. 29-42

– BROOK (B.S.), On graduate study and standards in musicology, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 156-160

– BROOM (W.A.), University of Louisville: The Doctoral Program in Musicology and Recent Event, Number 28/1979 – Reports, pp. 14-16

– BROUCEK (D.), Chapel Hill: The AMS/SEM Meetings of 1971, Number 14/1972 – Reports from the Domestic Corresponding Editors, pp. 45-47

– BROWN (A.P.), The Creation and The Season: Some Allusions, Quotations, and Models from Handel to Mendelssohn, Number 51/1993 – Articles, pp. 26-58

– BROYLES (M.), Tia DeNora. Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803., Numbers 60 & 61/1996 – Reviews: New Approaches to Beethoven’s Life and Music, pp. 139-146

– BRYANT (B.), Giuseppe Gerbino. Music and the Myth of Arcadia in Renaissance Italy, Number 88/Fall 2009 – Book Reviews, pp. 93-100

– BUCCIARELLI (M.),  Report from London: Baroque Drama and Handel’s Ariodante, 13-18 April 1993, Number 54/1993 – Reports, pp. 97-98

– BUHLER (J.), Robert Samuels. Mahler’s Sixth Symphony: A Study in Musical Semiotics., Numbers 60 & 61/1996 – Reviews, pp. 86-103

– BUJIC (B.), England: Music at the University of Reading, Number 17/1974 – Reports from the Foreign Corresponding Editors, pp. 81-83

– BURDE (W.), Young Composers in the Federal Republic of Germany: the Search for a New Identity, Issue 37-38/1984 – Essays, pp. 177-181

– BURFORD (M.), George Lipsitz. Footsteps in the Dark: The Hidden Histories of Popular Music, Number 86/Fall 2008 – Book Reviews, pp. 125-144

– BURGESS (G.), Martha Feldman. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy, Number 85/Spring 2008 – Book Reviews, pp. 163-172

– BURNHAM (S.), Musical and Intellectual Values: Interpreting the History of Tonal Theory, Number 53/1993 – Approaches to the Discipline, pp. 76-88

– BURRELL (J.), Eileen M. Hayes. Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music, Number 89/Spring 2010 – Book Reviews, pp. 109-112

– BURROWS (D.), On Patricia Carpenter’s “The musical object”, Number 5/1967 – Responses, pp. 112-115

– BURSTYN (S.), The “Arabian Influence” Thesis Revisited, Numbers 45-47/1990 – Articles, pp. 119-146

– BUTLER (M.) [et al.], Report: Music Processing on the IBM: A Review of Available Systems, Number 44/1987 – Report, pp. 61-98

– BUXTON (R.W.), Johannes Japart: A Fifteenth-Century Chanson Composer, Number 31/1981 – Articles, pp. 7-38

– CALDWELL (K.), From the Foreign Corresponding Editors Hull: Conference of Research Students in Music, Number 7/1968, pp. 45-46

– CALDWELL (S.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 32-33

– CAMMAROTA (R.M.), the Sources of the Christmas Interpolations in J.S. Bach’s Magnificat in E-flat Major (BWV 243a), Issue 36/1983, pp. 79-100

– CAMPBELL (D.E.), William Joseph Beasley – The Organ in America, as Portrayed in “Dwight’s Journal of Music”, Number 20/1975 – Reviews, pp. 105-110

– CANTRELL (B.), Three B’s – Three Chaconnes, Number 12/1971 – Articles, pp. 63-75

– CAPLIN (W.E.), University of Chicago: Musicology Colloquium, 1974-75, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 14-17

– CARLTON (S.), Sketching and Schubert’s Working Methods, Issue 37-38/1984, pp. 75-88

– CARPENTER (P.), The musical object, Number 5/1967 – Articles, pp. 56-86

– CARR (B.), Report from Buffalo: The third international Webern festival, Number 5/1967 – Reports, pp. 117-118

– CARSON BERRY (D.), The Role of Adele T. Katz in the Early Expansion of the New York “Schenker School”, Number 74/fall 2002 – Articles, pp. 103-152

– CASADEI (D.), David Levin. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky, Number 88/Fall 2009 – Book Reviews, pp. 123-130

– CASTELO-BRANCO (S.), Report from Madrid: Fifteenth Congress of the International Musicological Society__Mediterranean Musical Cultures and Their Ramifications (3-10 April 1992), Number 55/1993 – Reports, pp. 113-115

– CATEFORIS (T.), Rebel Girls and Singing Boys: Performing Music and Gender in the Teen Movie, Number 87/Spring 2009 – Articles, pp. 161-190

– CAZEAUX (I.), Musicology and Other Friendly Musical Disciplines, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 95-100

– CHAFE (E.), Key Structure and Tonal Allegory in the Passion of J.S. Bach: an Introduction, Number 31/1981 – Articles, pp. 39-54

– CHALMERS (J.), Mayer Joel Mandelbaum Multiple division of the octave and the tonal resources of 19-tone temperament, Number 5/1967 – Dissertations, pp. 138-142

– CHAPMAN (K.G.), Siegfried and Brünnhilde and the Passage of Time in Wagner’s Ring, Number 32/1981 – Articles, pp. 43-58

– CHARLTON (D.), William Weber. The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual and Ideology., Number 57/1995 – Reviews, pp.120-126

– CHITTUM (D.), Some Observations on the Row Technique in Webern’s Opus 25, Number 12/1971 – Articles, pp. 96-101

– CHRISTENSEN (T.), Friederich Erhardt Niedt. The Musical Guide: Parts 1 (1700/10), 2 (1721), and 3 (1717). Trans. Pamela L. Poulin and Irmgard C. Taylor.
Susan P. Snook-Luther. The Musical Dilettante: A Treatise on Composition by J. F. Daube, Number 52/1993 – Reviews, pp. 116-122

– CHURGIN (B.), The Symphony as Described by J. A. P. Schulz (1794): A Commentary and Translation, Number 29/1980 – Articles, pp. 7-16

– CHUSID (M.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 34-35

– CITRON (M.J.), Felix Mandelssohn’s Influence on Fanny Mendelssohn Hensel as a Professional Composer, Issue 37-38/1984, pp. 9-18

  • Gender and the Field of Musicology, Number 53/1993 – Approaches to the Discipline, pp. 66-75

– CLARK (J.B.), The Renaissance of Early American Keyboard Music: A Bibliographic Review, Number 18/1974 – Bibliographica, pp.127-132

– CLARK (C.), Intertextual Play and Haydn’s La fedeltà premiata, Number 51/1993 – Articles, pp. 59-81

– CLARK (A.V.), Report from Princeton: Symposium in Honor of Kenneth Levy, 21-23 February 1992, Number 54/1993 – Reports, pp. 84-87

  • Report from Princeton: Symposium in Honor of Harold Powers, 9 April 1994, Number 56/1994 – Reports, pp. 172-174
  • Report from Princeton: Music and Art in the Renaissance, 1 March 1996, Numbers 60 & 61/1996 – Reports, pp. 165-171

– CLARKSON (A.), Argument, Spring 1965 – Editorial, pp. 41-44

  • The 1965 revision of the U.S copyright law, Fall 1965 – Articles, pp. 191-198
  • Introduction: Music literacy and the teaching of music in school, college, and university, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 129-135
  • Report from New York University: Music colloquium of the Institute for Computer Research in the Humanities, Spring 1966 – Articles, pp. 69-70
  • “Structures of fantasy and fantasies of structures”: Engaging the Aesthetic Self, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 67-94

– CLAUS (L.W.), University of Maryland: World Music Studies, Number 24/1977 – Reports from the Domestic Corresponding Editors, pp. 7-10

– CLAUSEN (B.E.), Review of John Neubauer. 1986. The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics. New Haven: Yale University Press, Number 42/1986 – Reviews, pp. 69-73

– CLAUSING (S.), Erlangen-Nuremberg: Musicology at the Friederich-Alexander University, Number 18/1974 – Reports from the Foreign Corresponding Editors, pp. 48-51

– CODE (D.J.), Heath Lees. Mallarmé and Wagner: Music and Poetic Language, Number 85/Spring 2008 – Book Reviews, pp. 157-162

– COEYMAN (B.), University of Pennsylvania: Summer Institute for Medieval Performance, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 18-19

– COLE (M.S.), A Sonata Offering for the Prince of Tuscany, Number 16/1973 – Articles, pp. 71-78

  • Eric Zeisl’s “American Period”, Number 18/1974 – Articles, pp. 71-78

– COLEMAN (K.), Patrick Burke. Come In And Hear The Truth: Jazz and Race on 52nd Street, Number 89/Spring 2010 – Book Reviews, pp. 113-120

– COLLINS (M.), Replay to Arthur Hills, Number 5/1967 – Dissertations, pp. 128-129

– CONATI (M.), Italian Romantic Opera and Musicology, Number 27/1979 – Opera Issue Supplement, pp. 65-72

– CONE (E.T.), What id a composition?, Number 5/1967 – Responses, pp. 101-107

– CONRADIN (H.), Zürich: Musicology at the Musicological Institute, Number 7/1968, p. 64

  • Zurich: The Musicological Institute, Number 15/1973 – Reports from Foreign Corresponding Editors, pp. 45-48

– COOK (S.C.), The University of Michigan, Number 31/1981 – Reports from, pp. 78-79

  • The University of Michigan, Number 33/1982 – Reports From, pp. 102-103
  • Report from the University of Hong Kong: Fourth Symposium of the International Musicological Society, Number 49/1992 – Report, pp. 48-53

– COOPER (B.), Report: Aberdeen, Scotland. The Music of John Ross, Number 43/1987 – Reportss, pp. 83-86

– COOPER (K.), Il teatro alla moda, or A Safe and Easy Method of Producing Baroque Operas According to the Modern Practice, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 65-72

– CORNEILSON (P.), A Context for Mozart’s French Ariettes: The Wendling Family and Friedrich Schiller’s Kabale und Liebe, Number 81/ Spring 2006 – Articles: Mozart, pp. 53-72

– CORRELL (L.E.), Structural Revisions in the String Quartets Opus 41 of Robert Schumann, Number 7/1968 – Articles, pp. 87-96

– COX (C.), Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation, Number 77/ Spring 2004 – Articles, pp. 35-68

– CRAWFORD (D.E.), Thomas Lee Noblitt, The Motetti Missales of the Late 15th Century, Number 10/1970 – Dissertations, pp. 102-108

– CRISP (D.), The University of New England, Australia, Number 32/1981 – Report From, pp. 89-91

– CROCKER (R.L.), Some Reflections on the shape of music, Number 5/1967 – Articles, pp. 50-55

  • Rhythm in Early Polyphony, Numbers 45-47/1990 – Articles, pp. 147-178

– CROSS (C.M.), Three Levels of “Idea” In Schoenberg’s Thought and Writings, Number 30/1980 – Articles, pp. 24-36

  • Report from Los Angeles: Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture___Vienna, Berlin, Los Angeles, 15-17 November, 1991, Number 54/1993 – Reports, pp. 88- 93

– CROUCH (M.L.), An Annotated Bibliography and Commentary Concerning Mission Music of Alta California from 1969 to 1834: In Honor of the American Bicentennial, Number 22/1976 – Bibliographica, pp. 88-99

– CRUZ (G.), How Musical is Gesture? Mary Ann Smart. Mimomania: Music and Gesture in Nineteenth-Century Opera, Number 84/Fall 2007 – Review Essays, pp. 127-138

– CUMMING (J.E.), The Goddess Fortuna Revisited, Number 30/1980 – Articles, pp. 7-23

– CUMMING (N.), Music Analysis and the Perceiver: A Perspective from Functionalist Philosophy, Number 54/1993 – Articles, pp. 38-53

– CURRIE (J. R.), Better the Puppet?, Number 74/fall 2002 – Essay, pp. 5-46

– CUSICK (S. G.), Elisabeth Le Guin. Boccherini’s Body: An Essay in Carnal Musicology, Number 84/Fall 2007 – Book Reviews, pp. 139-146

– CUTHBERT (J.A.), West Virginia State University, Number 31/1981 – Reports from, pp. 86-91

– CYR (M.), Berkeley: Reameau Opera Revival, 1972, Number 16/1973 – Reports from the Domestic Corresponding Editors, pp. 16-17

– D’AMDREA (F.), Music education needs musicology, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 151-155

– DAHLHAUS (C.), Fragments of a Musical Hermeneutics (trans. Karen Painter), Number 50/1992 – Articles, pp. 5-20

-DANIELS (A.), Martin Orville Johnson The philosophies and attitudes of selected music teachers toward music education, Fall-Winter 1966 – Dissertations, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 182-185

– DARLING (R.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 36-37

– DART (T.), Comments on Current Musicology’s Methodology Project, Number 7/1968 – Articles, pp. 81-86

– DAVERIO (J.), Boston University: Opera Performances, 1977-78, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 7-8

  • Ruth Solie, ed. Musicology and Difference: Gender and Sexuality in Music Scholarship., Number 56/1994 – Reviews, pp. 86-101

– DAY (C.J.), The Theater of SS. Giovanni e Paolo and Monteverdi’s L’incoronazione di Poppea, Number 25/1978 – Articles, pp. 22-38

– DAY (D.), Brigham Young University: William Primrose Viola Library and International Viola Congess, Number 28/1979 – Reports, pp. 9-10

– DAYAL (G.), Karin Bijsterveld and J. van Dijck, eds. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices, Number 90/Fall 2010 – Book Reviews, pp. 119-124

– DEAN (W.), Handel and Keiser: Further Borrowings Thoughts on Writing a Comprehensive History of 18th-century Music, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 73-80

– DEAVILLE (J.), Wagner in retrospect: A Centennial Reappraisal, at the University of Illinois at Chicago, Issues 37-38/1984 – Reports, pp. 245-247

  • Report from McMaster University, Hamilton, Ontario: The M.A. Program in Music Criticism, Number 52/1993 – Reports, pp. 80-84

– DEBELLIS (M.), Is There an Observation/Theory Distinction in Music?, Number 55/1993 – Articles, pp. 56-87

– DE BRITO (M.C.) Portuguese musicologists Hold First National Meeting, Number 33/1982 – Reports From, pp. 107-109

  • Fifth Meeting of Mùsica Antigua Ibérica, Number 33/1982 – Reports From, pp. 110-112
  • Problems Encountered in the Study of Portuguese Musical Relations with Spain, Italy, and the Netherlands During the Renaissance, Issue 37-38/1984 – Articles, pp. 113-126

– DEDEL (P.), Dissemination and Dispute, Bach’s Art of Fugue: An Examination of the Sources, Number 19/1975 – Seminar Report, pp. 50-54

– DELL’ANTONIO (A.) [et al.], Report from the University of California at Berkeley: Classic and Romantic Instrumental Music and Narrative, Number 48/1991 – Reports, pp. 42-50

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– DILL (H.J.), Schoenberg’s George-Lieder: The Relationship between Text and Music in Light of Some Expressionist Tendencies, Number 17/1974 – Articles, pp. 91-9

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– DORIS (H.), Music-ology, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 100-103

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– DOUTT (M.), The University of Kentucky, Number 35/1983 – Reports From, pp. 61-64

– DRABKIN (W.), Some Relationship between the Autographs of Beethoven’s Sonata in Cminor, Opus 111, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 38-48

– DUBIEL (J.), Hearing, Remembering, Cold Storage, Purism, Evidence, and Attitude Adjustement, Numbers 60 & 61/1996 – Articles, pp. 26-50

– DUCKLES (V.), Thoughts on Writing a Comprehensive History of 18th-century Music, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 81-83

– DUCLOUX (W.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 38-39

– DYSON (J.P.), Ironic Dualities in “Das Rheingold”, Number 43/1987 – Articles, pp. 33-50

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– EISEMBERG (A.), Kelly Askew. Performing the Nation: Swahili Music and Cultural Politics in Tanzania, Number 75/ spring 2003 – Book Reviews: Music and Politics in Africa, pp. 214-222

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– EMERSON (I.), American Opera Center: Mozart’s La Clemenza di Tito, ( January 21-23,1971), Number 12/1971 – Reports, pp. 47-50

– ERDELYY (S.), Folk-Music Research in Hungary until 1950: The Legacy of Zoltán Kodály and Béla Bartók, Number 43/1987 – Articles, pp. 51-61

– ERICKSON (S.E.), A New Source for Domenico Zippoli’s Sonate d’intavolatura, Number 29/1980 – Articles, pp. 70-77

– ESSE (M.), Speaking and Sighing: Bellini’s canto declamato and the Poetics of Restraint, Number 87/Spring 2009 – Articles, pp. 7-46

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– FALLOWS (D.) [et al.], Report from London: Five Reports on the 16th International Congress of the International Musicological Society: “Music and Sister Disciplines: Past, Present and Future,” London, 14-20 August 1997, Number 63/1997 – Reports, pp. 150-169

– FARRINGTON (J.), Sonneck Society and College Music Society Meeting, and a Festival of New Music, at Florida State University, Issues 37-38/1984 – Reports, pp. 253-255

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– FARRUGIA (R.) [et al.], Producing Producers: Women and Electronic/Dance Music, Number 86/Fall 2008 – Articles, pp. 79-100

– FELLOWA (O.), Paul Henry Lang: an Enlightened Critic of the French Enlightenment, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 84-87

– FENLON (I.), Cambridge: Conference on Medieval and Renaissance Music, 1974, Number 19/1975 – Reports from the Foreign Corresponding Editors, pp. 23-24

– FERREIRA (M. P.), Report from Lleida, Spain: International Colloquium “Fonts Musicals a la Península Ibèrica (ca. 1250-ca. 1550)”, April 1996, Numbers 60 & 61/1996 – Reports, pp.172-174

– FESPERMAN (J.), Report from Washington: music and instruments at the Smithsonian Institution, Number 6/1968 – Reports, pp. 63-65

– FIKENTSCHER (K.), Paul Théberge. Any Sound you Can Imagine: Making Music/Consuming Technology., Number 62/1997 – Reviews, pp. 95-100

– FILE (D.D.), a Bibliography of Research in Pre-Notre Dame Organum: The Theoretical Sources, A Bibliography of Early Organum, Number 21/1976 – Special Projects, pp. 29-36

– FINK (M.), Pierre Boulez: A Selective Bibliography, Number 13/1972 – Bibliographica, pp. 135-150

  • Anton Webern: Supplement to a Basic Bibliography, Number 16/1973 – Bibliographica, pp. 103-110

– FINSCHER (L.), Johann Wolfgang Goethe University, Frankfurt: Musicology and Opera at the Musicological Institute, Number 28/1978 – Reports from the Foreign Corresponding Editors. pp. 29-30

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– FISCHBECK (L.), Brandon LaBelle. Acoustic Territories: Sound Culture and Everyday Life, Number 90/Fall 2010 – Book Reviews, pp. 111-118

– FISCHMANN (Z.E.), Czechoslovakia: Some Musicological Sources, Number 10/1970 – Reports from the Foreign Corresponding Editors, pp. 44-52

– FISCHER, VON (K.), Text Underlay in Landini’s Ballate for Three Voices, Numbers 45-47/1990 – Articles, pp. 179-198

– FISHER (J.), Literature Concerning Possible Secular Origins of Sacred Poluphony, A Bibliography of Early Organum, Number 21/1976 – Special Projects, pp. 37-40

– FISHER (S.C.), Joseph P. Ponte, Aureliani Reomensis, Musica disciplina: A Revised Text, Translation, and Commentary; Lawrence A. Gushee, The Musica disciplina of Aurelian of Réôme: A Critical Text and Commentary, Number 13/1972 – Dissertations, pp. 114-119

– FISHER (G.), System and Impulse: Three Theories of Periodic Structure from the Early Nineteenth Century, Number 49/1992 – Articles, pp. 29-47

– FLEMING (M.D.), Washington University: The Music Library, Number 19/1975 – Reports from the Domestic Corresponding Editors, p. 20

– FOLSTEIN (R.L.), A Bibliography on Jacques Offenbach, Number 12/1971 – Bibliographica, p. 116

– FORD (A.), University of Hull: music Degree Programs – A Progress Report, Number 19/1975 – Reports from the Foreign Corresponding Editors, pp. 25-28

  • The University, Hull, England, Number 35/1983 – Reports From, pp. 57-60

– FOREMAN (R.L.E), Bibliography of Writings on Arnold Bax, Number 10/1970 – Bibliographica, pp. 124-139

– FORNEY (K.), The Netherlands: Symposium on Medieval Courtly Arts, Number 24/1977 – Reports from the traveling  Corresponding Editors, pp. 18-19

  • Fifth International Verdi Congress, Number 28/1978 – Reports from the Domestic Corresponding Editors. pp. 24-28

– FORNEY (K.K.), The Collegium Musicum: A Survey of Thirty-Two American Universities, Number 22/1976 – Special Project, pp. 24-40

– FORSBERG (S.), Beth Anna Mekota, The Solo and Ensemble Keyboard Works of Johann Christian Bach, Number 17/1974 – Dissertations, pp. 115-120

– FOSTER (D.R.), Franz Beck As a Theater Composer in Bordeaux, Number 33/1982 – Articles, pp. 7-36

– FRAGER (M.), The Manuscript of the Schumann Piano Concerto, Number 15/1973 – Articles, The Spheres of Music: Harmony and Discord, Part II pp. 83-87

– FRANCK (G.), Budapest: Second Annual Bartók Conference, Number 7/1968, pp. 65-67

  • Budapest: Third Annual Bartók Conference Number 10/1970 – Reports from the Foreign Corresponding Editors, pp. 53-57
  • Belgium: The Festival of Flanders , Number 11/1971 – Reports from the Foreign Corresponding Editors, pp. 75-80
  • Belgium: The Festival of Flanders, 1971, Number 15/1973 – Reports form Foreign Corresponding Editors, pp. 32-35
  • Hungary: Interforum for Hungarian Television, Number 15/1973 – Reports form Foreign Corresponding Editors, pp. 36-38
  • Budapest: Commemoration of Kodàly’s 90th Birthday, December 197, Number 17/1974 – Reports from the Foreign Corresponding Editors, pp. 87-89

– FREEMAN (J.D.), Aubrey S. Garlington, The Concept of the Marvelous in French and German opera, 1770-1840, Number 11/1971 – Dissertations, pp. 115-117

– FREUNDLICH (I.), Random Thoughts on the Preludes of Claude Debussy, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 48-58

– FRIEDHEIM (P.), Berlioz’ Roméo Symphony and The Romantic Temperament, Issue 36/1983, pp. 101-112

– FRIEDLAND (B.), New York: Ph.D. Program in Musicology at CUNY, Number 9/1969 – Reports, pp. 27-35

  • Some Reflections on Performance Practice, Musicology, and Aesthetic, Number 12/1971 – Reports, pp. 56-63

– FRISCH (W.), Review Essay: Lullaby for Broadway?, Mark N. Grant. The Rise and Fall of the Broadway Musical, Raymond Knapp. The American Musical and the Formation of National Identity, Steve Swayne. How Sondheim Found His Sound, Number 81/ Spring 2006 – Book Reviews: Music in the “American Century”, pp. 123-134

– FRUEHWALD (S.), Review of Brown, A. Peter. 1986. Performing Haydn’s “The Creation”: Reconstructing the Earliest Renditions. Bloomington: Indiana University Press, Number 42/1986 – Reviews, pp. 73-77

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– FULCHER (J.), Music and the Communal Order: The Vision of Utopian Socialism in France, Number 27/1979 – Articles, pp. 27-35

– FULCHER (J.F.), French Grand Opera and the Quest for a National Image: An Approach to the Study of Government-Sponsored Art, Number 35/1983 – Articles, pp. 34-45

– FULLER (S.), Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Telfth-Century Paris, ­Number 59/1995 – Reviews, pp. 77-87

  • Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut, Numbers 45-47/1990 – Articles, pp. 199-246

– GALAND (J.), The Turn from the Aesthetic. Number 58/1995 – Viewpoint, pp.79-97

– GALLOPE (M.), Jean-Luc Nancy. Listening, Number 86/Fall 2008 – Book Reviews, pp. 157-166

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– GARTON (B.), Recent Developments at the Columbia University Computer Music Center, Number 66/1998, Special Issue: Music Theory/Computer Music – Columbia Report, pp. 86-94

– GARVEY JACKSON (B.), Oratorios by Command of the Emperor: The Music of Camilla de Rossi, Number 42/1986 – Articles, pp. 7-19

– GEERS (D.), Curtis Roads, ed. The Computer Music Tutorial. Joel Chadable. Electric Sound: The Past and Promise of Electronic Music., Number 66/1998, Special Issue: Music Theory/Computer Music – Reviews, pp. 116-124

– GIBBONS (W.), Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis, Number 85/Spring 2008 – Articles, pp. 7-28

– GIBBS (C.), Contemplating Music: Challenges to Musicology, by Joseph Kerman, Issue 39/1985 – Reviews, pp. 66-73

  • Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 117-144

– GILBERT (S.E.), Robert Barclay Brown, The Early Atonal Music of Anton Webern: Sound Material and Structure, Number 13/1972 – Dissertations, pp. 105-107

– GILLER (D.), The Naples L’Homme Armé Masses and Caron: A Study in Musical Relationship, Number 32/1981 – Articles, pp. 7-28

– GILLIAM (B.), Perspectives on Bruckner, Number 57/1995 – Viewpoint, pp. 95-100

– GILLIS (F.J.), Launcelot Allen Pyke, II Jazz, 1920 to 1927: an analytical study, Spring 1965 – Dissertations, p. 104

– GILMAN (S.), Alexander Ringer. Arnold Schoenberg: The Composer as Jew., Number 55/1993 – Reviews, pp. 102-104

– GIRDHAM (J.), Winton Dean and John Merrill Knapp. Handel’s Operas, 1704-1726, Number 49/1992 – Reviews, pp. 85-87

– GLICKMAN (E.), Tonality and Gravity, Issue 36/1983, pp. 113-124

– GLIXON (B.L.), Drammaturgia musicale veneta. Volumes 4,6,12,18,24,26, Issue 39/1985 – Reviews, pp. 74-84

– GOEHR (L.), Peter Kivy. New Essays on Musical Understanding and Lawrence Kramer. Musical Meaning: Toward a Critical History, Number 74/fall 2002 – Reviews, pp. 153-158

  • Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge), Number 87/Spring 2009 – Articles, pp. 133-160

– GOEHRING (E. J.), Musical Plationism in Modern Culture, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 185-204

  • Don Giovanni at the Crossroads of Pleasure and Virtue, Lydia Goehr and Daniel Herwitz, eds. The Don Giovanni Moment: Essays on the Legacy of an Opera, Number 84/Fall 2007 – Review Essays, pp. 101-116

– GONZÁLEZ-ZULETA (F.), Ethnology and Music: A Philosophical Consideration, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 111-116

– GORDON (T.), The Cubist Metaphor: Picasso in Stravinsky Criticism, Number 40/1985 – Articles, pp. 22-33

– GOSSETT (P.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 40-42

– GRAHAM (S. J.), Tim Brooks. Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919, Number 81/ Spring 2006 – Book Reviews: Music in the “American Century”, pp. 135-146

– GRAMIT (D.), Lieder, Listeners, and Ideology: Schubert’s “Alinde” and Opus 81, Number 58/1995 – Articles, pp. 28-60

– GRAVE (F.K.), Abbé Vogler’s Theory of Reduction, Number 29/1980 – Articles, pp. 41-69

  • Elaine R. Sisman, Haydn and the Classical Variation., Number 55/1993 – Reviews, pp. 88-93

– GRAZIANO (J.), Serial Procedures in Schoenberg’s Opus 23, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 58-64

– GREEN (R.A.), Bloomington: the Black Music Center at Indiana University, Number 18/1974 – Reports from the Domestic Corresponding Editors: Studies in American Music at Twenty American Campuses, pp. 35-36

  • Indiana University: Meeting of the National Opera Association, 2-5 November 1977, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 9-10

– GREENE (G.A.), Recent Musicological Activities, University of Maryland at College Park, Issues 37-38/1984 – Reports, pp. 280-281

– GREITZER (M.L.), Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe’s “Obsession” for Solo Violin, Number 86/Fall 2008 – Articles, pp. 63-78

– GRESCH (D.), The Fact of Fiction: Franz Werfel’s Verdi: Roman der Oper, Number 28/1979 – Articles, pp. 30-40

– GREY (T.), Klaus Kropfinger. Wagner and Beethoven: Richard Wagner’s Reception of Beethoven. Trans. Peter Palmer, Number 52/1993 – Reviews, pp. 89-99

– GRIFFEL (L.M.), The Sonata Design in Chopin’s Ballades, Issue 36/1983, pp. 125-136

  • Der Tod und die Forelle: New Thoughts on Schubert’s Quintet, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 55-66

– GRIFFEL (M.), Bibliography of writings on Ernest Bloch, Number 6/1968 – Bibliographica, pp. 142-146

– GRIFFEL (M.R.), Annals of Opera 1597-1940, compiled by Alfred Loewenberg, Number 31/1981 – Reviews, pp. 75-77

  • Opera at Columbia: A Shining Legacy, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 95-134

– GRIFFIN (J.A.), Chapel Hill:  The AMS/SEM Meetings of 1971, Number 14/1972 – Reports from the Domestic Corresponding Editors, pp. 45-47

– GRIGORIEVA (G.V.), Stylistic Aspects of Soviet Music, Number 52/1993 – Reports, pp. 44-47

  • Report from Moscow: Events at the Moscow Tchaikovsky Conservatory, Number 52/1993 – Reports, pp. 56-57

– GROENEVELD (D.), A Bibliography of the European Harp to 1600, Number 16/1973 – Bibliographica, pp. 92-102

– GROUT (D.J.), Some desiderata and Goals for the Study of 18th-century Italian Opera, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 88-9

– GUDGER (W.D.), Handel’s Last Compositions and His Borrowings from Habermann (part I), Number 22/1976 – Articles, pp. 67-72

  • Handel’s Last Composition and His Borrowings from Habermann (part II), Number 23/1977 – Articles, pp. 28-45

-GUSTAFSON (B.), University of Michigan: The Stearns Collections – A Progress Report, Number 19/1975 – Reports from the Domestic Corresponding Editors, pp. 18-19

– HAAS (A.S.), University of California, Los Angeles: Concert Festivals, 1974-1975, Number 19/1975 – Reports from the Domestic Corresponding Editors, p.17

– HADJU HEYER (J.), John S. Powell. Music and Theater in France, 1600-1680, Number 74/fall 2002 – Approaches to French Opera, pp. 224- 227

– HAINES (E.), A Composer Reacts to Musicologists, Number 15/1973 – Articles, The Spheres of Music: Harmony and Discord, Part II pp. 88-91

– HAILEY (C.), Brian Gilliam, ed. Richard Strauss and His World, and Richard Strauss: New Perspectives on the Composer and His Work., Number 55/1993 – Reviews, pp. 94-101

– HALL (R.J.), JR., How Picard was the “Picardy Third”?, Number 19/1975 – Articles, pp. 78-80

– HALL (R.L.), Music as the form of World, Number 6/1968 – Responses, pp. 105-110

– HALLE (J.) and LERDAHL (F.), A Generative Textsettings Model, Number 55/1993 – Articles, pp. 3-23

– HAMAO (F.), On the Origin of the Twelve-Tone Method: Schoenberg’s Sketches for the Unfinished Symphony (1914-1915), Number 42/1986 – Articles, pp. 32-45

– HANNING (B.R.), Joseph Emilio Rotondi Literary and musical aspects of Roman opera, 1600-1650, Spring 1965 – Dissertations, pp. 105-110

– HARINGER (A.), Raymond Monelle. The Musical Topic: Hunt, Military, and Pastoral, Number 89/Spring 2010 – Book Reviews, pp. 121-136

– HARKER (B.), “Telling a Story”: Louis Armstrong and Coherence in Early Jazz, Number 63/1997 – Articles, pp. 46-83

– HARPER (S.), Report from the University of Wales at Bangor: The Twenty-first Annual Conference of Medieval and Renaissance Music, 22-25 July 1993, Number 55/1993 – Reports, pp. 118- 120

  • Report from Bangor: The Third Conference of the Centre for Advanced Welsh Music Studies Studies: “The Shaping of Welsh Musical Culture”, 5-6 September 1997, Number 62/1997 – Reports, pp. 125-128

– HARPSTER (R.W.), Genius in the 18th Century: C.F.D. Schubart’s Vom musikalischen Genie, Number 15/1973 – Articles, pp. 73-80

– HARRAN (D.), Musical Research in Israel, Number 7/1968 – Articles, pp. 120-128

  • Israel: Highlights of the Year 1968-69, Number 10/1970 – Reports from the Foreign Corresponding Editors, pp. 40-43
  • Israel: The Composer’s Workshop, 1969, Number 11/1971 – Reports from the Foreign Corresponding Editors, pp. 66-75
  • Israel: Testimonium II, 1971, Number 15/1973 – Reports from Foreign Corresponding Editors, pp. 38-44
  • Report from Israel, Number 19/1975 – Reports from the Foreign Corresponding Editors, pp. 29-31
  • Report from Jerusalem: World Congress on Jewish Music, Number 27/1979 – Reports, pp.20-23

– HARRIS (S.), The Evolution of the Byzantine Hypakoae (Responds) of the Church Year, Number 58/1995 – Articles, pp. 61-78

– HARRISON (D.), Mark Evan Bonds. Wordless Rhetoric: Musical Form and the Metaphor of the Oration, Number 52/1993 – Reviews, pp. 110-115

– HARRISON (K.), Michael V. Pisani. Imagining Native America in Music, Number 82/Fall 2006 – Book Reviews, pp. 121-126

– HARWOOD (G.W.), Robert Schumann’s Sonata in F- Sharp Minor: A Study of Creative Process and Romantic Inspiration, Number 29/1980 – Articles, pp. 17-30

– HASKINS (R.), Robert Fink. Repeating Ourselves: American Minimal Music as Cultural Practice, Number 81/ Spring 2006 – Book Reviews: Music in the “American Century”, pp. 147-154

– HATCH (C.), Romantic Music: A history of Musical Style in Nineteenth-Century Europe, by Leon Plantinga, Issue 37-38/1984 – Essays, pp. 187-201

  • James Webster. Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Cambridge Studies in Music Theory and Analysis, ed. Ian D. Bent. Cambridge: Cambridge University Press, 1991. xix, 402 pp.; Number 51/1993 – Reviews, pp. 133-144
  • A Selected Bibliography, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 11-14
  • Observations on Editing, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 139-142
  • Maynard Solomon. Beethoven Essays, Number 50/1992 – Reviews, pp. 87-90

– HAUPTMAN (F.), Jay Weldon Wilkey, Certain Aspects of Form in the Vocal Music of Alban Berg, Number 12/1971 – Dissertations, pp. 112-115

– HAYES (D.), Some Neglected Women Composers of the Eighteenth Century and Their Music, Issue 39/1985 – Articles, pp. 42-65

– HEAD (M.), Matthew Riley. Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment, Number 77/ Spring 2004 – Special Book Review Section: Music in the Age of Enlightenment, pp. 117-122

-HEARTZ (D.), Approaching a History of 18th-century Music, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 92-95

– HECK (T.F.), Ricordi Plate Numbers in the Earlier 19th Century: A Chronological Survey, Number 10/1970 – Bibliographica, pp. 117-123

– HEDGES (A.), England: Music Conference at Sheffield University, Number 11/1971 – Reports from the Foreign Corresponding Editors, pp. 65-66

  • On the training of Musicologists and performers in Great Britain, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 116-121

– HELBIG (A.), The Cyberpolitics of Music in Ukraine’s 2004 Orange Revolution, Number 82/Fall 2006 – Articles, pp. 81-102

– HELLAWELL (P.), Reports: Belfast. The 1987 New Hampshire Music Festival Composers’ Conference, Number 43/1987 – Reports, pp. 86-89

  • Review of Walter Frisch, ed. 1986. Schubert: Critical and Analytical Studies. Lincoln: University of Nebraska Press, Number 42/1986 – Reviews, pp. 58-63

– HELMS (H.G.), Charles Edward Ives – Ideal American or Social Critic?, Number 19/1975 – Special Reports, pp. 37-44

– HENSON (K.), Willful Histories. Katharine Ellis. Interpreting the Musical Past: Early Music in Nineteenth-Century France, Number 86/Fall 2008 – Book Reviews, pp. 179-184

– HIBBERD (S), Mariane Smith. Ballet and Opera in the Age of “Giselle”, Number 74/fall 2002 – Approaches to French Opera, pp. 228-236

– HIGGINS (N.), Daniel Fischlin and Ajay Heblin, eds. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. and Robert O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffith, eds. Uptown Conversation: The New Jazz Studies, Number 77/ Spring 2004 – Book Reviews, pp. 159-170

– HIGGINS (P.), From the Ivory Tower to the Marketplace: Early Music, Musicology, and the Mass Media, Number 53/1993 – Approaches to the Discipline, pp. 109-123

– HILLS (A.), Michael Bruce Collins. The performance of coloration, sesquialtera, and hemiolia (1450-1750), Number 5/1967 – Dissertations, pp. 123-127

– HIRSHBERG (J.), The Formation and Destination of the Fonds Blancheton, Number 27/1979 – Articles, pp. 36-44

– HITCHCOCK (H.W.), Brooklyn College: The Institute for Studies in American Music, Number 18/1974 – Reports from the Domestic Corresponding Editors: Studies in American Music at Twenty American Campuses, pp. 37-40

– HOLLOWAY (C.), Alois Troller, On the Spiritual in Music, Number 13/1972 – Translations, pp. 119-134

– HOLLOWAY (I.), Alois Troller, On the Spiritual in Music, Number 13/1972 – Translations, pp. 119-134

-HOLMES (W.C.), Robert L. Weaver Florentine comic operas of the 17th century, Spring 1965 – Dissertations, pp. 111-113

– HOLZAEPFEL (J.), Report from Wesleyan University: Seventy-Fifth Birthday Celebration for John Cage: 22-27 February 1988, Number 48/1991 – Reports, pp. 56-68

– HOOGERWERF (F.W.), Willem Pijper’s Utrecht Reviews: Introduction and Inventory, Number 25/1978 – Bibliographica, pp. 122-135

– HOOVER (E.), Variations V: “Escaping Stagnation” Through Movement of Signification, Number 90/Fall 2010 – Articles, pp. 57-76

– HORTON (J.), Andrew dell’Antonio, ed. Beyond Structural Listening? Postmodern Modes of Hearing, Number 78/ Fall 2004 – Book Reviews, pp. 93-104

– HORWATH (M.), Tebaldini, Gnecchi, and Strauss, Number 10/1970 – Articles, pp. 74-91

– HUDSON (F.), Bach’s Wedding Music, Number 7/1968 – Articles, pp. 111-119

– HUEBNER (S.), Operatic Texts: Ours, Yours, and Mine Roger Parker. Remaking the Song: Operatic Visions and Revisions from Handel to Berio, Number 84/Fall 2007 – Review Essays, pp. 117- 126

– HUGHES (M.C.), Replay to Michael Kassler, Number 5/1967 – Dissertations, p. 143

– HULTBERG (C.), Harold Brook Porter. An integrated course in music literature, theory, and ensemble performance for talented high school students, Fall-Winter 1966 – Dissertations, Special Section: Articles, Reports, and Reviews on musicology and music education, p. 192

– HUNG (E.), Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as “Music of Attractions”, Numbers 79-80/ 2005 – Articles, pp. 245-260

– HUNTER (M.), Haydn’s Sonata-Form Arias, Issue 37-38/1984, pp. 19-32

  • Landscapes, Gardens, and Gothic Settings in the Opere Buffe of Mozart and His Italian Contemporaries, Number 51/1993 – Articles, pp. 94-104

– HUTCHINSON (W.), Systematic Musicology Reconsidered, Number 21/1976 – Articles, pp. 61-69

– IRVING (H.), Haydn and Laurence Sterne: Similarities in Eighteenth-Century Literary and Musical Wit, Number 40/1985 – Articles, pp. 34-49

– IRVINE (T.), Daniel Leech-Wilkinson. The Modern Invention of Medieval Music, Number 77/ Spring 2004 – Book Review, pp. 147-158

  • The Foundations of Mozart Scholarship, Number 81/ Spring 2006 – Articles: Mozart, pp. 7-52

– JACKSON (P.T), Glen Haydon, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 127-128

– JACKESOM (R.), Caroline Brown Miller – “Chiavette: A New Approach”, Number 19/1975 – Review, pp. 113-116

– JAMES (R.), University of Michigan: Britten’s Curlew River, Number 28/1978 – Reports from the Domestic Corresponding Editors. pp. 22-23

– JENKINS (C.), A View from Death: Ariadne auf Naxos as Failed Totality, Number 77/ Spring 2004 – Articles, pp. 69-96

– JENNINGS (J.M.), NEW Zealand: Music in the Universities, Number 9/1969 – Reports, from the Foreign Corresponding Editors, pp. 35-38

  • New Zealand: New Zealand Music research, Number 14/1972 – Reports from the Foreign Corresponding Editors, pp. 70-77
  • New Zealand: research Degrees in New Zealand Universities, Number 20/1975 – Reports from Foreign Corresponding Editors, pp. 27-36

– JENSEN (R.A.), Birdsong and the imitation of Birdsong in the Music of the Middle Ages and Renaissance, Number 40/1985 – Articles, pp. 50-65

– JOHNSON (J.L.), Oratorio at Rome’s Vallicella Oratory: New Sources, Issue 37-38/1984, pp. 89-100

– JOHNSTON (G.S.), Report from University of Durham, United Kingdom: Fifth Biennial Conference on Baroque Music, 4-7 July 1992, Number 54/1993 – Reports, pp. 94-96

– JONES (P.), Rutgers University: Elliot Carter Lectures, Number 20/1975 – Reports from Domestic Corresponding Editors, p. 9

– JOSEPHSON (D.S.), Percy Grainger: Country Gardens and Other Curses, Number 15/1973 – Articles, pp. 56-63

  • Thomas Carl Slattery, The Wind Music of Percy Aldridge Grainger, Number 16/1973 – Dissertations, pp. 79-91
  • Margaret Hee-Leng Tan, The Free Music of Percy Grainger, Number 17/1974 – Dissertations, pp. 130-133
  • Percy Grainger – Some Problems and Approaches, Number 18/1974 – Articles, pp. 55-68
  • The German Musical Exile and the Course of American Musicology, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 9-54

– JULIUS (R.), Edgard Varèse: An Oral History Project, Some Preliminary Conclusions, Number 25/1978 – Articles, pp. 39-49

– KAISER (K.), Concept of the architectural object, Number 6/1968 – Responses, pp. 86-94

– KAMIEN (R.), Rita Benton Nicolas Joseph Hüllmandel and French instrumental music in the second half of the 18th century, Spring 1965 – Dissertations, pp. 9596

– KANE (B.), Andy Hamilton. Aesthetics and Music, Number 85/Spring 2008 – Book Reviews, pp. 137-146

  • Peter Szendy. Listen: A History of Our Ears, Number 86/Fall 2008 – Book Reviews, pp. 145-156

– KASSLER (J.C.), London: Cybernetic Serendipity, Number 7/1968, pp. 47-59

– KASSLER (M.), Matt Cordell Hughes. Tonal orientation in Skriabin’s preludes: an analysis on the basis of information theory, Spring 1966 – Dissertations, pp. 82-86

  • Replay to Matt C. Hughes, Number 5/1967 – Dissertations, pp. 144-145

– KARP (T.), Finn Mathiassen The Style of the Early Motet, Number 9/1969 – Dissertations, pp. 193-196

– KAUFMANN (C.H.), Marvin C. Genuchi, The Life and Music of Jacob French (1754-1817), Colonial American Composer, Number 10/1970 – Dissertations, pp. 111-116

  • The Hodges and Newland Collections in the Library of Congress: A Preliminary Report, Number 18/1974 – Articles, pp. 79-89

– KAWABATA (M.), Virtuosity, the  Violin, the Devil…What Really Made Paganini “Demonic”?, Number 83/Spring 2007 – Articles, pp. 85-108

– KEEFE (S.P.), Report from England: Royal Music Association Conference, 31 March-2 April, 1995, Trinity College, Cambridge, ­Number 58/1995 – Reports, pp. 117-120

  • Report from New York: Columbia University Music Department Centennial Celebration, 18-19 October 1996, Numbers 60 & 61/1996 – Reports, pp. 162-164

– KEENAN (E.K.), Fabian Holt. Genre in Popular Music, Number 85/Spring 2008 – Book Reviews, pp. 113-120

  • Tara Rodgers. Pink Noises: Women on Electronic Music and Sound, Number 90/Fall 2010 – Book Reviews, pp. 77-84

– KEFFER (C.), University of Arizona: Summer and Fall Activities 1974, Number 19/1975 – Reports from the Domestic Corresponding Editors, pp. 15-16

  • University of Arizona: Current Research by Graduate Students, Number 22/1976 – Reports from the Domestic Corresponding Editors, pp.

– KEIM (B.), Comparative Study of the Music of the Indians and the Spanish in Arizona and New Mexico: A Selective Bibliography, Number 19/1975 – Bibliographica, pp. 117-121

– KELLEHER (J.), Review of Ernst Levy. 1985. A Theory of Harmony. Edited by Siegmund Levarie. Albany: State University of New York Press, Number 43/1987 – Reviews, pp. 62-70

– KELLER (M.A.), New York State: Genesee Music press – An Alternative, Number 16/1973 – Reports from the Domestic Corresponding Editors, pp. 10-12

– KENNAWAY (J.), Degenerate Religion and Masculinity in Parsifal Reception, Number 88/Fall 2009 – Articles, pp. 35-62

-KENTON (E.), The Music of the 18th Century: a Retrospective View, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 96-104

– KERR (H.H.), Miami: Ives Centennial Festival, 1974-75, Number 18/1974 – Reports from the Domestic Corresponding Editors: Studies in American Music at Twenty American Campuses, pp. 41-42

– KIDD (J.C.), Wit and Humor in Tonal Syntax, Number 21/1976 – Articles , pp. 70-82

– KIDWELL (S. A.), The Selection of Clausola Sources for Thirteenth-Century Motets: Some Practical Considerations and Aesthetic Implications, Number 64/1997 – Articles, pp. 73-103

– KIM (Y.), Alexander Rehding. Hugo Riemann and the Birth of Modern Musical ThoughtI, Number 76/ Fall 2003 – Book Reviews, pp. 81-96

– KING (J. T.), Thomas Goldsmith, ed. The Bluegrass Reader, Number 76/ Fall 2003 – Book Reviews, pp. 97-104

– KIRK (E.K.), A Parisian in America: The Lectures and Legacies of Charles Koechlin, Number 25/1978 – Articles, pp. 50-68

– KIRSCH (W.), Frankfurt am Main: Teaching, Studies, and research at the Musicological Institute, Number 16/1973 – Reports from the Foreign Corresponding Editors, pp. 34-37

– KIVY (P.), Leonard Meyer. Style and Music: Theory, History and Ideology, Number 49/1992 – Reviews, pp. 66-80

– KLEMENT (A.S.), Bonn: the Starting Point: Musicology at the Friedrich-Wilhelm University, Number 16/1973 – Reports from the Foreign Corresponding Editors, pp. 39-39

  • Budapest: The 1972 Conference on early Folk-Song Sources, Number 16/1973 – Reports from the Foreign Corresponding Editors, p. 40

– KNIGHT (E.), Brigham Young University: Musicological Evenings, Number 20/1975 – Reports from Domestic Corresponding Editors, p.7

– KNIGHT (E.E.), The Praise of Musicke: John Case, Thomas Watson, and William Byrd, Number 30/1980 – Articles, pp. 37-59

– KNOUSE (N.R.), Joseph Riepel (1709-1782): Hofkapellmeister des Fürsten von Thurn und Taxis, by Thomas Emmerig, Issue 37-38/1984 – Reviews, pp. 221-223

  • Joseph Riepel and the Emrging Theory of Form in the Eighteenth Century, Number 41/1986 – Articles, pp. 47-62

– KOBINA SAIOGHE (F.A.), Dagaba Xylophone Music of Tarkwa, Ghana: A Study of “Situational Change”, Issue 37-38/1984, pp. 167-176

– KOPROWSKI (R.), Bach “Fingerprints” in the Engraving of the Original Edition, Bach’s Art of Fugue: An Examination of the Sources, Number 19/1975 – Seminar Report, pp. 61-67

  • The Selling of The Burrell Collection: An Editorial Report, Number 27/1979 – Reports, pp. 7-9

– KOPTIS-TANNER (G.), Recent Musicological activities at Boston University, Issues 37-38/1984 – Reports, pp. 266-267

– KORF (W.E.), Gottschalk’s One-Act Opera Scene, Escenas campestres, Number 28/1978 – Articles, pp. 62-73

– KOSTON (D.), Musicology and Performance: The Common Ground, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 121-124

– KOVALEF (N.C.), New Heaven: The New York Pro Musica Visits Yale, Number 11/1971 – Reports , pp. 55-56

– KRAMER (E.), The Idea of Transfiguration in the Early German Reception of Mozart’s Requiem, Number 81/ Spring 2006 – Articles: Mozart, pp. 73-108

– KRAMER (L.), Music Criticism and the Postmodernist Turn: In Contrary Motion with Gary Tomlinson, Number 53/1993 – Approaches to the Discipline, pp. 25-35

  • Performance and Social Meaning in the Lied: Schubert’s Erster Verlust, Number 56/1994 – Articles, pp. 5-23
  • Nicholas Cook. Music, Imagination, and Culture., Number 50/1992 – Reviews, pp. 62-67

– KRAMER (J. D.), The Nature and Origins of Musical Postmodernism, Number 66/1998, Special Issue: Music Theory/Computer Music – Articles, pp. 7-20

– KRAMER (R.), David Ferris. Schumann’s Eichendorff “Liederkreis” and the Genre of the Romantic Cycle, Number 74/fall 2002 – Reviews, pp. 181-189

– KRANTZ (S.C.), Music at the university of Minnesota: Conferences, operas, and a New Building, Issues 37-38/1984 – Reports, pp. 267-270

– KRASNER (O.L.), Kenneth Whitton. Lieder: An Introduction to German Song, Number 41/1986 – Reviews, pp. 80-82

– KUNSELMAN (J.D.), UNIVERSITY OF California, Riverside: the Oswald Jonas Memorial Collection, Number 28/1979 – Reports, pp. 7-8

– KÜGLE (K.) [et al.], Report from Madrid: Fifteenth Congress of the International Musicological Society––Mediterranean Musical Cultures and Their Ramifications, 3-10 April 1992, Number 54/1993 – Reports, pp. 99-103

– KWABENA NKETIA (J. H.), Report from Legon: The International Center for African Music and Dance, University of Ghana, Number 63/1997 – Reports, pp. 142-149

– LACROIX (S.E.), Smith College, Northampton, Massachusetts, Number 33/1982 – Reports From, pp. 94-101

– LAM (J. S. C.), Report from Cincinnati: Encountering Chinese-American Music and Culture in Cincinnati, 28-31 March 1996, Numbers 60 & 61/1996 – Reports, pp. 175-180

  • Report from Santa Barbara: Afterthoughts on a New Music Festival: New Directions in Asian-American Music, 20-23 April 1994, Numbers 60 & 61/1996 – Reports, pp. 181-187

– LANDAU (S.), Do the Findings of Musicology help the Performer?, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 124-128

– LANG (P.H.), In Remembrance Erich Hertzmann, 1902-1963, Spring 1965 – Editorial, pp. 49-54

-LANSKY (P.), Report from Tanglewood: American Society of University Composers’ Institute, 6/1968 – Reports, pp. 66-70

– LAOR (L.), Concerning the Liturgical Usage of Dufay’s Fragmentary Masses, Issue 37-38/1984, pp. 49-58

– LARUE (J.), The Mapping of  Musical Classicism, a Little-known and Dangerous Period, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 113-116

– LARSEN (J.P.), A Challenge to Musicology: the Viennese Classical School, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 105-112

– LARSSON (R.), State University of New York at Buffalo: The North Central Conference of the Renaissance Society of America, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 10-11

  • State University of New York at Buffalo: A Production of Marco da Gagliano’s Ballo di donne turche, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 16-19

– LA RUE (J.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 43-45

– LATARTARA (J.) [et al.], Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationship, and the Musical Work, Number 84/Fall 2007 – Articles, pp. 53-78

– LAUDON (R.T.), No One Can Possibly Mistake the Genre of this Composition, Number 25/1978 – Articles, pp. 69-82

– LAZAREVICH (G.), Report on research and development in music education, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 161-172

  • The Eighteen-Century Intermezzo as Repertory for Opera Workshops, Number 28/1978 – Articles, pp.74-82

– LEFFERTS (P.M.), Columbia University, Number 23/1977 – Reports from the Corresponding Editors, pp. 7-9

  • Introduction, Greater NY AMS Student Symposium, Number 28/1979, p. 54
  • Cantilena and Antiphon: Music for Marian Services in Late Medieval England, Numbers 45-47/1990 – Articles, pp. 247-282

– LEFRAK (K.), Recent Activities in the Graduate Program of the Music Department of Hunter College, Issues 37-38/1984 – Reports, pp. 274-276

– LE GUIN (E.), Tess Knighton and Álvaro Torrente, eds. Devotional Music in the Iberian World, 1450-1800: The Villancico and Related Genres, Number 87/Spring 2009 – Book Reviews, pp. 191-200

– LEMMON (A.E.), Tulane University: The William Ransom Hogan Jazz Archive, Number 19/1975 – Reports from the Domestic Corresponding Editors, pp. 13-14

  • Tulane University: Mozart Opera Seminar, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 12-13
  • Tulane University, Center for Latin American Studies: Festival of Latin American Music, 1977-1978, Number 27/1979 – Reports, pp. 17-19

– LERDAHL (F.), Spatial and Psychoacoustic Factors in Atonal Prolongation, Number 63/1997 – Articles, pp. 7-26

– LESSEM (A.), Text and Music in Schoenberg’s Pierrot Lunaire, Number 19/1975 – Articles, pp. 103-112

– LESTER (J.), Problems in the Neue Bach Ausgabe of the E Major Partita for Violin Alone, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 64-68

  • The Fux-Mattheson Correspondence: An Annotated Translation, Number 24/1977 – Articles, pp. 37-62
  • Reading and Misreading: Schumann’s Accompaniments to Bach’s Sonatas and Partitas for Solo Violin, Number 56/1994 – Articles, pp. 24-53

– LESURE (F.), Toward a Committed Musicology, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 128-131

– LEWIN (D.), Figaro’s Mistakes, Number 57/1995 – Articles, pp. 45-60

– LEWIS (G.), Mike Heffley. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz, Number 78/ Fall 2004 – Book Reviews, pp. 77-92

– LIBBY (D.), La scenografia delle origini al 1936 (Storia del Teatro Regio di Torino, vol.2), Mercedes Viale Ferrero, Number 32/1981 – Reviews, pp. 83-86

– LIPICZKY (T.), Wesleyan University: the Wesleyan World Music Program, Number 15/1973 – Reports from Domestic Corresponding Editors, pp. 21-23

– LIPPMAN (E.A.), What should musicology be?, Spring 1965 – Articles, pp. 55-60

  • Eva Eggli. Probleme der misikalischen Wertästhetik im 19. Jahrhundert: ein Versuch zur schlechten Musik, Spring 1966 – Dissertations, pp. 87-88
  • Posdocimo de‘ Beldomandi, Contrapunctu, Jan Herlinger, ed., Issue 37-38/1984 – Reviews, p. 205
  • Musik im Wandel der Gesellschaft; Grundzüge der Musiksoziologie, by Kurt Blaukopf, Issue 37-38/1984 – Reviews, p. 206
  • T.A. Hoffmans Theorie des musikalischen Dramas: untersuchungen zum musikalischen Romantikbegriff im Umkreis der Leipziger Allgemeinen Musikalischen Zeitung, by Judith Rohr, Issue 39/1985 – Reviews, p. 85
  • Music Articulation: A Synoptic View of Baroque Form, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 115-116

– LITCHFIELD (M.), Recent Musicological Activities at brigham Young university, Issues 37-38/1984 – Reports, pp. 281-283

-LITTLE (M.E.), What Questions Should a Performer Ask a Musicologist?, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 131-138

– LLOYD (R.), Bach: Luther’s Musical Prophet?, Number 83/Spring 2007 – Articles, pp. 5-32

– LOCHHEAD (J.), James Pritchett. The Music of John Cage., Number 58/1995 – Reviews, pp. 98-102

– LOEB (D.), The Composer as Musicologist, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 138-141

-LONDON (J.), Mark DeBellis. Music and Conceptualization., Numbers 60 & 61/1996 – Reviews, pp. 111-131

– LONGOBARDI (R.), Daniel Albright. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts, Number 74/fall 2002 – Reviews, pp. 207- 214

– LORNELL (K.), The Geography of Folk and Popular Music in the United States: An Annotated Bibliography, Issue 37-38/1984 – Articles, pp. 127-136

– LUENING (O.), Musicology and the Composer, Number 15/1973 – Articles, The Spheres of Music: Harmony and Discord, Part II pp. 92-94

– LÜDEMANN (W.), Report from Stellenbosch: 24th Annual Congress, Musicological Society of Southern Africa, 4-5 September 1997, Number 62/1997 – Reports, pp. 118-124

– LYNCH (R.), The Influence of the Operatic Reform in Hamburg, 1700-38, Greater NY AMS Student Symposium, Number 29/1979, pp. 76-85

– MACAN (E.), Alain Frogley, ed. Vaughan Williams Studies, Number 63/1997 – Reviews, pp. 102-115

– MACDONALD (C.), Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach, Number 55/1993 – Articles, pp. 24-55

– MACE (T.), Review of Stanley Sadie, ed. The New Grove Dictionary of Musical Instruments. London: Macmillan Press, Number 43/1987 – Reviews, pp. 76-82

– MACEY (P.), The University of California, Berkeley, Number 31/1981 – Reports from, pp. 80-81

– MACIEJEWSKI (T.), Poland: An Appraisal of the Musicological, Work in Poland in the Post-War Years, Number 22/1976 – Reports from the Foreign Corresponding Editors, pp. 14-20

– MACINTYRE (B.C.), The City university of New York: An Unusual Haydn Seminar, Number 20/1975 – Seminar Reports, pp. 42-49

– MADDRELL (J.E.), Ernest H. Sanders Medieval English Polyphony and its Significance for the Continent, Number 9/1969 – Dissertations, pp. 209-211

  • Albert Seay, Johannes de Grocheo: De Musica, Number 6/1968 – Bibliographica, pp. 134-137
  • Mensura and the Rhythm of Medieval Monodic Song, Number 10/1970 – Articles, pp. 64-68
  • Grocheo and The Measurability of Medieval Music: A Replay To Hendrik Vanderwerf, Number 11/1971 – Articles, pp. 89-90

– MALINOWSKI (S.A.), JR., Donald George Moe, The St. Mark Passion of Reinhard Keiser: A Practical Edition, with an Account of Its Historical Background, Number 17/1974 – Dissertations, pp. 121-129

– MAMULA (S.), Susie J. Tanenbaum. Underground Harmonies: Music and Politics in the Subways of New York, Number 63/1997 – Reviews, pp. 116-121

– MANIATES (M.R.), Sound, silence and time: Towards a fundamental ontology of music, Spring 1966 – Articles, pp. 59-64

  • Musical form: product and process, Number 6/1968 – Responses, pp. 110-114
  • Sonate, que me veux-tu?: the Enigma of French Musical Aesthetics in the 18th Century, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 117-140
  • Mannerism in Art, Literature, and Music: A Bibliography, Richard Studing and Elizabeth Kruz, eds., Number 32/1981 – Reviews, pp. 76-82

– MANN (A.), Report from Salzburg: the present state of Mozart research, Spring 1965 – Articles, pp. 92-94

  • Artist and Teacher, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 141-146

– MANUEL (P.), Evolution and Structure in Flamenco Harmony, Number 42/1986 – Articles, pp. 46-57

  • James Kippen. The Tabla of Lucknow: A cultural analysis of a musical tradition, Number 48/1991 – Reviews, pp.74-77

– MARION (G. J.), A Foreground Mist? Debussy’s Brouillards, Number 66/1998, Special Issue: Music Theory/Computer Music – Articles, pp. 21-65

– MARSHALL (R.L.), Richard Carroll Davis “Titles of dissertations” Self Parody among the Cantatas of Johann Sebastian Bach, Number 7/1968 – Dissertations, pp. 129-130

– MARSHALL (M.L.), Kelley Harness. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence, Number 82/Fall 2006 – Book Reviews, pp. 115-120

– MARSHALL (W.), Dave Tompkins. How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks; and Steve Goodman. Sonic Warfare: Sound, Affect, and the Ecology of Fear, Number 90/Fall 2010 – Book Reviews, pp. 93-104

– MARSTERS (N.), Florida State University, Number 31/1981 – Reports from, p. 85

– MARTIN (D.R.), Eine collection curieuser Vorstellungen (1730= and Thomas Lediard, an Early Eighteen-Century Operatic Scenographer, Number 28/1978 – Articles, pp. 83-98

  • Germany’s First Opera House: A Reassessment of Its Design, Number 31/1981 – Articles, pp. 55-64

– MARTIN (G.M.), John Malcom Tait. The significance of musical understanding in music education, Fall-Winter 1966 – Dissertations, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 193-194

– MATTHEW (N.), Stephen Rumph. Beethoven After Napoleon: Political Romanticism in the Late Works, Number 77/ Spring 2004 – Special Book Review Section: Music in the Age of Enlightenment, pp. 123-136

– MAW (D.), Meter and Word Setting: Revising Machaut’s Monophonic Virelais, Number 74/fall 2002 – Articles, pp. 69-102

– MAY (E.D.), Princeton: Bach Research, Number 10/1970 – Reports, pp. 21-24

-MAYER (F.D.), Toward a rapprochement of musicology and music education: Some practical considerations, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 140-144

– McCLYMONDS (M.P.), Jommelli’s Last Opera for Germany: The Opera Seria-Comica La schiava liberate (Ludwigsburg, 1768), Issue 39/1985 – Articles, pp. 7-20

– McCONATHY (O.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 46-47

– McGEARY (T.), Gender, Sexuality, and Method in Musicology. A review of Cecilia Reclaimed, edited by Susan C. Cook and Judy S. Tsou; and Queering the Pitch, edited by Philip Brett, Elizabeth Wood, and Gary C. Thomas, Number 65/1998 – Review-Essay, pp. 35-69

– McKEY (J.R.), Chicago: The Contemporary Chamber Players, Number 15/1973 – Reports from Domestic Corresponding Editors, pp.15-18

– McKINNEY (B.), The Challenge of 21st-Century Musicology, Number 29/1980 – Articles, pp. 78-84

– McKINNON (J.), The meaning of the patristic polemic against musical instruments, Spring 1965 – Articles, pp. 69-82

  • Josiah Darnell. An evaluation of the bachelor of music education curriculum at Murray State College through an analysis of the opinions of its teaching graduates, Fall-Winter 1966 – Dissertations, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 186-187

– McMULLEN (T.), Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship, Number 82/Fall 2006 – Articles, pp. 61-80

– McQUISTON (K.), Daniel Goldmark. Tunes for ‘Toons: Music and the Hollywood Cartoon, Number 81/ Spring 2006 – Book Reviews: Music in the “American Century”, pp. 155-162

– MEAD (R.H.), Hunter College: the Electronic Music Studio, Number 15/1973 – Reports from Domestic Corresponding Editors, pp. 18-20

– MECKNA (M.), University of California, Santa Barbara, Number 34/1982 – Reports From, p. 78

– MELTZER (H.), Francis Poulenc: his Artistic Development and Musical Style, Keith W. Daniel, Number 35/1983 – Reports From, pp. 65-68

– MENUHIN (Y.), musicology vs. Performance, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 142-145

– MERRIAM (A.P.), Ethnomusicology Today, Number 20/1975 –Articles, pp. 50-66

– MILLER (K.), William T. Dargan. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, Number 85/Spring 2008 – Book Reviews, pp. 121-128

– MILLER (L.), C.P.E. Bach’s Instrumental “Recompositions”: Revisions or Alternatives?, ­Number 59/1995 – Articles, pp. 5-47

– MILLER (M.), Some Thoughts Upon Editing the Music of Carl Nielsen, Number 34/1982 – Articles, pp. 64-74

– MINOR (M.D.), University of Kansas: Radio Programs of Early American Keyboard Music, Number 21/1976 – Reports from the Domestic Corresponding Editors, pp. 9-10

-MITCHELL (W.J.), Giuseppe Sarti and Mozart’s Quartet, K. 421, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 147-153

– MIXTER (K.E.), Ronald Cross Matthaeus Pipelare: a historic and stylistic study of his work, Number 6/1968 – Dissertations, pp. 127-130

– MOE (O.), JR., The Implied Model in Classical Music, Number 23/1977 – Articles, pp. 46-55

– MOLL (K.N.), Voice Function, Sonority, and Contrapuntal Procedure in Late Medieval Polyphony, Number 64/1997 – Articles, pp. 26-72

– MOORTELE (S.V.), Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form, Number 86/Fall 2008 – Articles, pp. 41-62

– MORGAN (J.), Micheal John Shott, hugo Wolf’s Music Criticism: translation and Analysis According to Pepper’s Four Hypotheses, Number 15/1973 – Dissertations, pp. 101-106

– MORGAN (R.P.), Jean- Jacques Nattiez, ed. The Cage-Boulez Correspondence., Number 56/1994 – Reviews, pp. 102-109

– MORRIS (M.), Elliott Antokoletz. The Music of Béla Bartok: A Study of Tonality and Progression in Twentieth-Centur Music, Number 41/1986 – Reviews, pp. 71-75

– MUELLER (G.), Alejandro L. Madrid. Nor-tec Rifa!: Electronic Dance Music from Tijuana to the World, Number 90/Fall 2010 – Book Reviews, pp. 85-92

– MUELLER (R.), Eleanor Perényi – Lizst: The Artist as Romantic Hero, Number 20/1975 – Review, pp. 96-104

– MUETER (J.A.), An Unpublished Cadenza by Gounod for Mozart’s Piano Concerto KV 491, Number 34/1982 – Articles, pp. 26-41

– MUGGLESTONE (E.M.H.), “Colored” Musicians in Cape Town: the Effect of Changes in Labels on Musical Content, Issue 37-38/1984, pp. 153-158

– MURRAY (S.E.), Earl McLain Owen, Jr. The Life and Music of Supply Belcher (1751-1836), “Handel of Maine”, Number 12/1971 – Dissertations, pp. 102-108

– MUSIC (D.W.), The Meyer Manuscript: An 18th-Century American Tunebook, Number 29/1980 – Articles, pp. 31-40

  • Alexander Johnson and the Tennessee Harmony, Issue 37-38/1984, pp. 59-74

– NADAS (J.), New York University: the American Institute for Verdi Studies Archive, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 11-13

– NEDBAL (M.), Dvořák’s Armida and the Czech Oriental “Self”, Number 84/Fall 2007 – Articles, pp. 25-52

– NEFF (S.), Otto Luening (1900–) and the Theories of Bernhard Ziehn (1845 – 1912), Issue 39/1985 – Articles, pp. 21-41

  • An American Precursor of Non-tonal Theory: Ernst Bacon (1898-1990), Number 48/1991 – Articles, pp. 5-26

– NETTL (B.), The State of Research in Ethnomusicology, and Recent Developments, Number 20/1975 – Articles, pp. 67-78

– NEUMEYER (D.), Melodrama as a Compositional Resource in Early Hollywood Sound Cinema, Number 57/1995 – Articles, pp. 61-94

– NEWBOULD (B.), A Working Sketch by Schubert (D.936a), Number 43/1987 – Articles, pp. 22-32

– NEWLAND (M.), Susan Thomas. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage, Number 89/Spring 2010 – Book Reviews, pp. 91-94

– NEWLIN (D.), Wallace C. McKenzie, Jr. The Music of Anton Webern, Spring 1965 – Dissertations, pp. 100-103

– NEWMAN (A.), The 20th-century Performer as Interpreter of the Baroque Tradition, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 145-15

– NEWMAN (E.W.), Enesco’s Oedipe: A Little-Known Masterpiece, Number 28/1978 – Articles, pp. 99-105

– NEWMAN (J.), A gentleman’s lute book: The tablature of Gabriello Fallamero, Fall 1965 – Articles, pp. 175-190

  • Noah Greenberg, Spring 1966 – Editorial, pp. 35-36

– NEWSOM (J.), Johannes Brahms. Concerto for Violin, Op. 77: A Facsimile of the Holograph Score, Number 30/1980 – Reviews, pp. 60-72

– NISBETT (R.F.), Louis Gruenberg: A Forgotten Figure of American Music, Number 18/1974 – Articles, pp. 90-95

– NODEN-SKINNER (C.), A Tudor Chansonnier: British Library Royal Appendix MSS 41-44, Issue 37-38/1984 – Articles, pp. 101-112

– NONKEN (M.), James M. Baker, David W. Beach, and Jonathan Bernard, eds. Music Theory in Concept and Practice., Number 62/1997 – Reviews, pp. 84-94

– NOVACK (S.), Some thoughts on the nature of the musical composition, Number 6/1968 – Responses, pp. 100-105

  • Aspects of the Creative Process in Music, Issue 36/1983, pp. 137-150

– OAKES (J.L.), The Filth and the Fury: An Essay on Punk Rock Heavy Metal Karaoke, Number 85/Spring 2008 – Articles, pp. 73-112

– OBELKEVICH (M.R.), The Growth of a Musical Idea – Beethoven’s Opus 96, Number 11/1971 – Articles, pp. 91-114

– O’DETTE (D.), West Virginia University: Seminar in Editing Techniques, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 25-26

– OLEXY (R.T.), Washington, D.C.: The AMS Convention, 1974, pp. 21-22

– OLMSTEAD (A.), Aspen after a Quarter Century, Number 19/1975 – Reports from the Domestic Corresponding Editors, pp. 7-9

– OLSON (J.E.), Introduction, Opera Performance and Musicology, Number 28/1978 – Forum, p.31

  • German Academic Exchange Conference, Bloomington, Indiana, Issues 37-38/1984 – Reports, pp. 240-244

– OLSON (G.), Report from Hong Kong: Present Directions and Thoughts about the Future, Number 58/1995 – Reports, pp. 121-128

– ONDERDONK (J.), Matthew Gelbart. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner, Number 87/Spring 2009 – Book Reviews, pp. 201-218

– ORCEYRE (R.) S.J., Report from Fairfield: the committee for Jesuits in the fine arts, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 173-174

– ORLEDGE (R.), Debussy’s Second English Ballet: Le Palais du Silence or No-Ja-Li, Number 22/1976 – Articles, pp. 73-87

– OSSI (M.), Musicological Events at Harvard University, Issues 37-38/1984 – Reports, pp. 256-260

– OTTO (C.A.), Syracuse University: the Music Library, Number 19/1975 – Reports from the Domestic Corresponding Editors, p. 12

– PAINTER (K.), Walter Frisch. German Modernism: Music and the Arts, Numbers 79-80/ 2005 – Book Reviews, pp. 261-270

– PALISCA (C.V.), The challenge of educational reform, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 145-150

– PARKER (M.), Luigi Boccherini and the Court of Prussia, Number 52/1993 – Articles, pp. 27-37

– PARMER (D.R.), Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms, Number 83/Spring 2007 – Articles, pp. 109-130

– PARR (S.M.), Susan Rutherford. The Prima Donna and Opera, 1815-1930, Number 83/Spring 2007 – Book Reviews, pp. 175-182

– PARSONEAULT (C.), North Texas State University : Opera Research, Number 26/1978 – Reports from the Domestic Corresponding Editors, pp. 14-15

– PARSONS (B.), Sets and the City: Serial Analysis, Parisian Reception, and Pierre Boulez’s Structures 1a, Number 76/ Fall 2003 – Articles, pp. 53-80

– PASS (W.), Vienna Beethoven Symposium, Number 11/1971 – Reports from the Foreign Corresponding Editors, pp. 62-64

– PATRICK JONES (R.), “You know what I mean?” The Pedagogical Canon of “Cannonball” Adderley, Numbers 79-80/ 2005 – Articles, pp. 169-206

– PAYMER (M.E.), City University of New York: the New Pergolesi Edition, Number 28/1979 – Reports, pp. 17-18

– PAYNE (T. B.), Datable “Notre Dame” Conductus: New Historical Observations on Style and Technique, Number 64/1997 – Articles, pp. 104-151

– PECHEFSKY (R.R.), Walter Frisch. Brahms and the Principle of Developing Variation, Number 41/1986 – Reviews, pp. 76-79

– PECKMAN (M.), Report from New York: first American performance of Reinhard Keiser’s Croesus, Number 6/1968 – Reports, pp. 81-84

– PERISON (H.), The Quartet-Tone System of Charles Ives, Number 18/1974 – Articles, pp. 96-104

– PERKINS (L. L.), Franchino Gaffurio. Theoricum Opus Musice Discipline, ed. by Cesarino Ruini., Number 64/1997 – Reviews, pp. 152-158

  • Concerning the Ontological Status of the Notated Work in the Fifteenth and Sixteenth Century, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 15-50

– PERSKY (S.), A discussion of Compositional Choices in Webern’s Fünf Sätze für Streichquartett, Op. 5, First Movement, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 68-75

– PESTELLI (G.), Italy: Musicology at the University of Turin, Number 13/1972 – Reports from Foreign Corresponding Editors, pp. 15-16

– PETRUSHKEVICH (L.), Report from Baltimore: Recent Trends in Soviet Musicology, Number 52/1993 – Reports, pp. 38-43

– PIESLAK (S. P.), “Lenin in Swaddling Clothes”: A Critique of the Ideological Conflict Between Socialist State Policy and Christian Music in Cold War Romania, Number 78/ Fall 2004 – Articles, pp. 7-30

– PINEGAR (S.), Opera and Vivaldi, Michael Collins and Elise K. Kirk, eds.; “Crosscurrents and the Mainstream of Italin Serious Opera, 1730-1790, A Symposium, February 11-13, 1982.” Studies in music from the University of Western Ontario 7, nos. 1-2 (1982), Issue 37-38/1984 – Reviews, pp. 214-220

  • The Seeds of Notation and Music Paleography, Number 53/1993 – Approaches to the Discipline, pp. 99-108
  • Jeremy Yudkin, ed, and trans. De Musica Mensurata: The Anonymous of St. Emmeram., Number 50/1992 – Reviews, pp. 68-82

– PLANTINGA (L.), R. Larry Todd, ed. Schumann and His World., Number 57/1995 – Reviews, pp. 101-112

– PLATOFF (J.), Mozart and His Rivals: Opera in Vienna, Number 51/1993 – Articles, pp. 105-111

– POLADIAN (S.), Miriam Karpilow Whaples Exoticism in dramatic music, 1600-1800, Spring 1965 – Dissertations, pp. 114-117

– POLLACK (H.), Report from the Westfield Center for Early Keyboard Studies: Mozart’s Nature, Mozart’s World, Number 51/1993 – Reports, pp. 112-117

  • Report from the University of Houston: Seventh Symposium on Literature and the Arts, Number 48/1991 – Reports, pp. 51-55

– POLYMEROPOULOU (M.), Nick Collins, ed. and Julio d’Escriván. Cambridge Companion to Electronic Music; and Joanna Demers. Listening through the Noise; The Aesthetics of Experimental Electronic Music, Number 90/Fall 2010 – Book Reviews, pp. 105-110

– PORCELLO (T.), Review Essay: Three Contributions to the “Sonic Turn”, Virgil Moorefield. The Producer as Composer: Shaping the Sounds of Popular Music, Peter Doyle. Echo & Reverb: Fabricating Space in Popular Music Recording, 1900-1960, Tim J. Anderson. Making Easy Listening: Material Culture and Postwar American Recording, Number 83/Spring 2007 – Book Reviews, pp. 153-166

– POTTER (S.), Colloquium on Secular Music of the European renaissance, at Rutgers University, Issues 37-38/1984 – Reports, pp. 249-252

– POWELL (J.S.), The Musical Sources of the Bibliothèque-Musée de la Comédie-Française, Number 41/1986 – Bibliographica, pp. 7-46

– POWELL (S.), University of western Ontario: Events at “Western”, Number 20/1975 – Reports from Domestic Corresponding Editors, p. 24

– POWERS (H.S.), Three Pragmatists in Search of a Theory, Number 53/1993 – Approaches to the Discipline, pp. 5-17

  • Reading Mozart’s Music: Text and Topic, Syntax and Sense, Number 57/1995 – Articles, pp. 5-44
  • A Canonical Museum of Imaginary Music, Numbers 60 & 61/1996 – Articles, pp. 5-25

– PROCTOR (G.), Philip Friedheim, Tonality and Structure in the Early Works of Schoenberg, Number 11/1971 – Dissertations, pp. 121-130

– PYPER (B.), Louise Meintjies. Sound of Africa! Making Music Zulu in a South African Studio, Number 75/ spring 2003 – Book Reviews: Music and Politics in Africa, pp. 205-213

– RABIN (M.), a Performer’s Perspective, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 155-158

– RAHN (D.J.), Morningside Heights: Columbia’s New Doctoral Program in Ethnomusicology, Number 11/1971 – Reports , pp.58-61

– RAHN (J.), Text underlay in French Monophonic Song ca. 1500, Number 24/1977 – Articles, pp. 63-79

  • Centers; Dissenters (Music, Religion, and Politics), Number 56/1994 – Viewpoint, pp. 72-85

– RAPHAEL (S. I.), Unraveling Narrativity: A Reflexive Paradigm, Number 78/ Fall 2004 – Articles, pp. 53-76

– RASTAL (R.), Leeds: Music Studies at the University, Number 14/1972 – Reports from the Foreign Corresponding Editors, pp. 65-70

– RATNER (L.G.), Approaches to Musical Historiography of the 18th Century, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 154-156

– RAWLINS (R.), Thomas Owens. Bepop: The Music and the Players., Number 62/1997 – Reviews, pp. 101-109

– RAYKOFF (I.), Judith Peraino. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig, Number 82/Fall 2006 – Book Reviews, pp. 103-110

– REDD (L.L.), Brigham Young University, Number 32/1981 – Report From, p. 88

– REVULURI (S.), Bennett Zon. Representing Non- Western Music in Nineteenth-Century Britain, Number 87/Spring 2009 – Book Reviews, pp. 227-232

– REXROTH (D.), Federal Republic of Germany: Concerning the International Musicological Congress in Bonn, 1970, Number 13/1972 – Reports from Foreign Corresponding Editors, pp. 7-10

– ŘEZNÍČEK (L.), Oslo: Musicology at the University, Number 15/1973 – Reports from Foreign Corresponding Editors, pp. 44-45

– RICE (E.), Timothy McGee, ed. Singing Early Music: The Pronounciation of European Languages in the Late Middle Ages and Renaissance, Number 64/1997 – Reviews, pp. 159-168

– RICE (J. A.), James Spitzer and Neal Zaslaw. The Birth of the Orchestra: History of an Institution, 1650-1815, Number 77/ Spring 2004 – Special Book Review Section: Music in the Age of Enlightenment, pp. 137-145

– RICH (M.F.), Opera Performance and Musicology, Number 28/1978 – Forum, pp. 47-49

– RIESSAUW (A.M.), Ghent: Musicology at the State University, Number 17/1974 – Reports from the Foreign Corresponding Editors, pp. 84-86

  • State University of Ghent, Number 24/1977 – Reports from the Foreign Corresponding Editors, pp. 14-17
  • Report from Ghent, Belgium, Number 33/1982 – Reports From, pp. 113-118

– RIGGS (K.), Ralph Locke. Musical Exoticism: Images and Reflections, Number 88/Fall 2009 – Book Reviews, pp. 117-122

– RIJAVEC (A.), Yugoslavia: Musicology at the University of Ljubljana, Number 13/1972 – Reports from Foreign Corresponding Editors, pp. 16-20

– RIMMER (F.), Glasgow: Scottish Music Achieve, Number 9/1969 – Reports, from the Foreign Corresponding Editors, pp. 39-41

– RINGER (A.L.), Musicology and the future of music education, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 136-139

  • Mozart and the Josephian Era: Some Socio-Economic Notes on Musical Change, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 158-165

– ROBBINS (J.), University of Illinois at Urbana-Champaign: Celebrations and Computers in Urbana, Issues 37-38/1984 – Reports, pp. 272-273

– ROBERTSON (E.), A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health’s “Bathtub Collection”, Number 88/Fall 2009 – Articles, pp. 63-86

– ROCHBERG (G.), Reflections on the Renewal of Music, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 75-83

– RODGERS (S.), Music Smashed to Pieces: the Destructive Logic of Berlioz’s Roméo au tombeau, Number 89/Spring 2010 – Articles, pp. 37-74

– ROEDERED (C.), Terence William Bailey, The Ceremonies and Chants of the Processions of the Western Church: With Particular Attention to the Practice of the Cathedral Church of Salisbury, Number 12/1971 – Dissertations, pp. 108-112

– ROJCEWICZ (P.), Noetic Learning through Music and the Arts: A View from the Conservatory, Special Section, Music Survey Courses: Approaches to Teaching, Number 65/1998 – Articles, pp. 97-115

– ROOT (G.), Michael Cherlin. Schoenberg’s Musical Imagination, Number 85/Spring 2008 – Book Reviews, pp. 147-156

– ROREM (N.), On Music and Politics: An Interview in Celebration of the Composer’s Seventieth Birthday (Eleonora M. Beck, Interviewer), Number 54/1993 – Articles, pp. 24-37

– ROSAND (E.), Francesco Cavalli in Modern Edition, Number 27/1979 – Opera Issue Supplement, pp. 73-83

– ROSENBERG (R. E.), A Voice Like Thunder: Corsican Women’s Lament as Cultural Work, Number 78/ Fall 2004 – Articles, pp. 31-52

  • Caroline Bithell. Transported by Song: Corsican Voices from Oral Tradition to World Stage, Number 85/Spring 2008 – Book Reviews, pp. 129-136

– ROSENGARD (R.), Report: The current status of the copyright revision bill, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 175-176

– ROSENSTIEL (L.), Introduction and Overview, Number 14/1972 – Articles, The Spheres of Music: Harmony and Discord, Part I, pp. 81-83

  • Introduction and Overview, Number 15/1973 – Articles, The Spheres of Music: Harmony and Discord, Part II pp. 81-82
  • Women in American Music, Edited by Adrienne Fried Block and Carol Neuls-Bates, Number 31/1981 – Reviews, pp. 71-74

– ROWEN (R.H.), Musical hearing in history, Number 5/1967 – Responses, pp. 96-101

– ROWLEY (G.S.), CIPHØR: A Computer-Assisted Bibliography of Organ and Harpsichord Music, Number 19/1975 – Bibiolgraphica, pp. 122-129

– ROY (W.G.), Tia DeNora. After Adorno: Rethinking Music Sociology, Number 82/Fall 2006 – Book Reviews, pp. 111-114

– RUEB (P.K.), University of Texas, Austin: Research and Events, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 22-23

  • University of Texas at Austin: recent Events, Number 22/1976 – Reports from the Domestic Corresponding Editors, pp. 11-13

– RUSHTON (J.), David Charlton. French Opera, 1730-1830: Meaning and Media, Number 74/fall 2002 – Approaches to French Opera, pp. 237-244

– RUSSELS (C.H.), An Investigation Into Arcangelo Corelli’s Influence on Eighteenth-Century Spain, Number 34/1982 – Articles, pp. 42-52

– RUST (D.), Irina Nikolska. Conversations with Witold Lutoslawski. and Charles Bodham Rae. The Music of Lutoslawski, ­Number 59/1995 – Reviews, pp. 94-100

– RUTSCHMAN (E.R.), University of Washington: the Microfilm Collection of 17th- and Early 18th-Century Manuscript Opera Scores and Libretti, Number 21/1976 – Reports from the Domestic Corresponding Editors, pp. 11-15

  • Minato and the Venetian Opera Libretto, Number 27/1979 – Opera Issue Supplement, pp. 84-91

– RYDING (E.), Unsuspected Eloquence: A History of the Relations Between Poetry and Music, by James Anderson Winn, Issue 37-38/1984 – Reviews, pp. 228-232

  • Claude Palisca. humanism in Italian renaissance Musical Thought, Number 41/1986 – Reviews, pp. 68-71
  • The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance. Edited by John Caldwell, Edward Olleson, and Susan Wollenberg, Number 50/1992 – Reviews, pp. 83-86
  • Review of Winifred Maynard. 1986. Elizabethan Lyric Poetry and Its Music. Oxford: Clarendon Press, Number 42/1986 – Reviews, pp. 67-69

– SACHER (J.), Toward a rapprochement of musicology and music education: Some practical considerations, Fall-Winter 1966 – Articles, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 140-144

– SAFFLE (M.), JURGEN Thym – “The Solo Song Settings of Eichendorff’s Poems by Schumann and Wolf”, Number 29/1979 – Reviews, pp. 130-135

– SALLIS (F.), Rachel Beckles Wilson. Ligeti, Kurtág, and Hungarian Music During the Cold War, Number 86/Fall 2008 – Book Reviews, pp. 119-124

– SALOP (A.), Donald M. Mintz, the sketches and drafts of three of Felix Mendelssohn’s major works, Number 5/1967 – Dissertations, p. 50

– SAKAKEENY (M.), Disciplinary Movements, the Civil Rights Movement, and Charles Keil’s Urban Blues, Numbers 79-80/ 2005 – Articles, pp. 143-168

– SANDEN (P.), Hearing Glenn Gould’s Body: Corporeal Liveness in Recorded Music, Number 88/Fall 2009 – Articles, pp. 7-34

– SANDERS (E.H.), Replay to J.E. Maddrell, Number 9/1969 – Dissertations, pp. 212-214

  • Preface, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 7-10
  • “Are My Ears on Wrong?” Hearing Polyphony of ca.1375-ca.1450, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 51-78
  • The Significance of Leading-Tones in Brahms’s Fourth Symphony, Numbers 79-80/ 2005 – 40th Anniversary Essays, pp. 135-138

– SANGER (N.), University of Pittsburgh: The Curriculum in Music 1974-74, Number 20/1975 – Reports from Domestic Corresponding Editors, pp. 20-21

– SANJEK (D.), Aaron Fox. Real Country: Music and Language in Working-Class Culture, Number 78/ Fall 2004 – Book Reviews, pp. 105-112

– SANTA (C.R. and M.), Solving Elgar’s Enigma, Number 89/Spring 2010 – Articles, pp. 75-90

– SASLAW (J.K.), The Concept of Ausweichung in Music Theory, 1770-1832, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 145-164

– SAUERBREI (P.M.), University of British Columbia, Number 23/1977 – Reports from the Corresponding Editors, pp. 10-11

– SCARUFFI (E.) [et al.], Report from Aspen: Meeting of the Music Critics Association, Summer 1989, with Participation by Soviet Music Critics, Number 52/1993 – Reports, pp. 60-63

– SCEA (S.), Musicological Activities at the University of Iowa, Issues 37-38/1984 – Reports, pp. 261-266

– SCHMIDT (E.), Report from McMaster University, Hamilton, Ontario: New Dimensions in Music Criticism, Number 52/1993 – Reports, pp. 85-88

– SCHAVRAN (H.), Edward Leon Kottick, The Music of the Chansonnier Cordiforme, Paris, Bibliothèque Nationale Rothschild 2973, Number 10/1970 – Dissertations, pp. 92-101

– SCHACHTER (C.), The Submerged Urlinie: The Prelude from Bach’s Suite No. 4 for Violoncello Solo, Number 56/1994 – Articles, pp. 54-71

– SCHECHTER (J.M.), Non-Hispanic Instruments in Mexico and central America: An Annotated Bibliography, Number 24/1977 – Bibliographica, pp. 80-104

– SCHELLHOUS (R.), Riverside: Music and Dance in 18th-century France, Number 16/1973 – Reports from the Domestic Corresponding Editors, pp. 7-9

– SCHERZINGER (M.), When the Music of Psychoanalysis Becomes the Psychoanalysis of Music. A Review of Listening Subjects: Music, Psychoanalysis, Culture, by David Schwarz., Number 66/1998, Special Issue: Music Theory/Computer Music – Review-Essay, pp. 95-115

  • Kofi Agawu. Representing African Music: Postcolonial Notes, Queries, Positions, Number 75/ spring 2003 – Book Reviews: Music and Politics in Africa, pp. 223-250
  • Curious Intersections, Uncommon Magic: Steve Reich’s It’s Gonna Rain, Numbers 79-80/ 2005 – Articles, pp. 207-244

– SCHMALENBERGER (S.), Neil Lerner and Joseph N. Straus, eds. Sounding Off: Theorizing Disability in Music, Number 84/Fall 2007 – Book Reviews, pp. 153-158

– SCHMIDT (C.B.), The “Apotheose de Lully:” or, Toward a New Lully Edition, Number 28/1978 – Articles, pp. 106-111

– SCHNEIDER (A.), Hungary: Fourth International Conference on Folk-Music Instruments, May 1973, Number 18/1974 – Reports from the Foreign Corresponding Editors, pp. 52-53

– SCHNOEBELEN (A.), Padre Martini’s Collection of Letters: An Overview, Number 19/1975 –Articles, pp. 81-88

– SCHOFFMAN (N.), Charles Ives’s Song, “Vote for Names”, Number 23/1977 – Articles, pp. 56-68

  • Vocal Sonata Forms of Mozart, Number 28/1979 – Articles, pp. 19-29
  • The Demise of Inversion, Issue 37-38/1984 – Articles, pp. 137-149

– SCHROEDER (D.P.), Haydn and Gellert: Parallels in Eighteenth-Century Music and Literature, Number 35/1983 – Articles, pp. 7-18

– SCHUBERT (P.), Recombinant Melody: Ten Things to Love About Willaert’s Music, Number 75/ spring 2003 – Festschrift in Honor of Christopher Hatch, pp. 91-114

  • Review of Karol Berger. 1987. Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. New York: Cambridge University Press, Number 44/1987 – Review, pp. 99-105

– SCHULENBERG (D.), Composition as Variation: inquires Into The Compositional procedures of the Bach Circle of Composers, Number 33/1982 – Articles, pp. 57-88

  • Nicholas Kenyon, ed. Authenticity and Early Music. Number 48/1991 – Reviews, pp. 78-87

– SCHULTZE (W.S.), Halle: Handel Opera Renaissance, Number 7/1968, pp. 68-74

– SCHWAGER (M.), A Contribution to the Biography of Ernest Bloch: Letters at the University of Hartford, Number 28/1979 – Articles, pp. 41-53

  • Julius Hartt’s “Letter to a Young Musician”, Number 41/1986 – Articles, pp. 68-70

– SCOTTI (J.R.), ragtime: A Musical and Cultural History, Edward A. Berlin, Number 33/1982 – Reviews, pp. 89-93

– SEAMAN (G. R.), Recent Activities in new Zealand, Number 33/1982 – Reports From, p. 106

  • Report from Moscow: Russian Music at the Crossroads, Number 52/1993 – Reports, pp. 58-59
  • An Eighteen­-Century Russian Pocket-Book, Number 34/1982 – Articles, pp. 53-63

– SEATON (D.), The Autograph: An Early Version of the “ Art of Fugue”, Bach’s Art of Fugue: An Examination of the Sources, Number 19/1975 – Seminar Report, pp. 54-59

  • Mendelssohn’s Musical education: A Study and Edition of His Exercises in Composition; oxford, Bodleian MS Margaret Deneke Mendelssohn C. 43, by R. Larry Todd, Issue 37-38/1984 – Reviews, pp. 224-227
  • Mendelssohn and His World. Ed. R. Larry Todd, Number 52/1993 – Reviews, pp. 100-109
  • Chicago: American Musicological Society Convention, November 1973, Number 18/1974 – Reports from the Domestic Corresponding Editors: Studies in American Music at Twenty American Campuses, pp. 46-47
  • Lawrence Kramer. Music as Cultural Practice, 1800-1900, Number 54/1993 – Reviews, pp. 67-73

– SELTZER (C.), Report from Queens: Meeting of Greater New York chapter of the American Musicology Society, Spring 1966 – Articles, pp. 77-81

  • (editor) Musicology and the musical composition, Number 5/1967 – Articles, p. 49

– SETO (M.), Jann Pasler. Composing the Citizen: Music as Public Utility in Third Republic France, Number 88/Fall 2009 – Book Reviews, pp. 109-116

– SHAKHNAZAROVA (N.G.), Bibliographical Report on Recent Soviet Works in Historical Musicology, Number 52/1993 – Reports, pp. 48-53

  • Report from Moscow: The Scientific Research Institute of the Arts of the U.S.S.R. Ministry of Culture and the U.S.S.R. Academy of Science, Number 52/1993 – Reports, pp. 54-55

– SHAMGAR (B.), Perceptions of Stylistic Change: A Study of the Reviews of New Music in the Harmonicon (1823-1833), Number 42/1986 – Articles, pp. 20-31

– SHAPIRO (J.M.), A Memorial Tribute to Otto Deri, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 25-29

-SHAPIRO (M.), Music and Song in Plays Acted by Children’s Companies during the English Renaissance, Number 7/1968 – Articles, pp. 97-110

– SHEEHAN (P.), Matthew Brown. Explaining Tonality: Schenkerian Theory and Beyond, Numbers 79-80/ 2005 – Book Reviews, pp. 283-292

– SHEINBAUM (J.J.), Periods in Progressive Rock and the Problem of Authenticity, Number 85/Spring 2008 – Articles, pp. 29-52

– SHELDON (D.A.), The philosophy of Theodor Adorno, Spring 1965 – Articles, pp. 83-91

  • Report from Indiana: Inter-American conference of ethnomusicology and composition, Fall 1965 – Articles, pp. 199-201

– SHEPHERD (J.), a Liturgico-Musical reappraisal: Two Studies, Number 23/1977 – Articles, pp. 69-78

– SHERR (R.), From the Diary of a 16th-Century Papal Singer, Number 25/1978 – Articles, pp.83-98

-SIEBER (W.), Regensburg: Musicology at the University, Number 16/1973 – Reports from the Foreign Corresponding Editors, pp. 31-33

– SILBIGER (A.), Tracing the Contents of Froberger’s Lost Autograph, Number 54/1993 – Articles, pp. 5-23

– SILVERBERG (L.), Amy C. Beal. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification, Number 86/Fall 2008 – Book Reviews, pp. 101-112

– SILVERMAN (F.E.), Gesualdo: Misguided or Inspired?, Number 16/1973 – Articles, pp. 49-54

  • New York City: Computer Conference, June 1973, Number 17/1974 – Reports from the Domestic Corresponding Editors, pp. 77-80

– SINE (N.), James Zychowicz, ed. The Seventh Symphony of Gustav Mahler: A Symposium., Number 55/1993 – Reviews, pp. 105-112

– SINGER (A.), Kaleidoscope and Silly Putty: An Appositive Inquiry, Number 13/1972 – Articles, In Remembrance of Otto Deri (1911-1969), pp. 83-90

– SKYLLSTAD (K.), Report from Aalborg: A European Music: Fact or Fiction, 24-29 August 1992, Number 54/1993 – Reports, pp. 104-105

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–  SMITH (P.E.), Gottschalk’s “The Banjo,” op. 15, and the Banjo in the Nineteenth Century, Number 50/1992 – Articles, pp. 47-61

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– STEVENS (H.), Peter Meyer Béla Bartòk’s Ady-Lieder, Op. 16, Fall-Winter 1966 – Dissertations, Special Section: Articles, Reports, and Reviews on musicology and music education, pp. 189-191

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– WOLFF (K.), Immanuel Willheim Johann Adolph Scheibe: german musical thought in transition, Fall 1965 – Dissertations, pp. 211-217

– WOLTERINK (C.D.), Stanford University: The Center for Computer Research in Music and Acoustic, Number 21/1976 – Reports from the Domestic Corresponding Editors, pp.7-8

– WRIGHT (C.), Cambridge: rare Music Manuscripts at Harvard, Number 10/1970 – Reports, pp. 25-33

– WRIGHT (L.A.), roger Huntington Sessions: A Selective Bibliography and a Listening of His Compositions, Number 15/1973 – Bibliographica, pp. 107-125

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– ZAGER (D.), From the Singer’s Point of View: A Case Study in Hexachordal Solmization as a Guide to Musica Recta and Musica Ficta in Fifteenth-Century Vocal Music, Number 43/1987 – Articles, pp. 7-21

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– ZÁLOHA (J.), The First opera Repertoire of the Castle Theater in Česky Krumlov, Number 15/1973 – Articles, pp. 64-72

– ZASLAW (N.), Handel and Leclair, Number 9/1969 – Articles 18th-century Studies In Honor of Paul Henry Lang, pp. 183-192

  • Free Music Periodicals, Number 10/1970 – Bibliographica, pp. 140-143
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– ZIMMERMAN (F.). Stoddard Lincoln John Eccles: the last of a tradition, Fall 1965 – Dissertations, pp. 208-209

– ZINAR (R.), The Use of Greek Tragedy in the History of Opera, Number 12/1971 – Articles, pp. 80-96

– ZOHN (S.), Martin Ruhnke, ed. Georg Philipp Telemann: Thematisch-Systenatisches Verzeichnis seiner Werke: Telemann-Werkverzeichnis. Instrumental Werke 2, Number 54/1993 – Reviews, pp.74-83

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– ZSAKO (J.), Bibliographical Sandtraps: The Klavierschule, Pleyel or Dussek?, Number 12/1971 – Articles, pp. 75-80

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– ZYCHOWICZ (J.L.), Transformational Analysis: An Essay Toward an Analytic Model, Issue 37-38/1984 – Essays, pp. 182-186