In theory only : journal of the Michigan music theory society

PER. US. 6

 

– ADRIAN (J. S.), J. S. Bach’s Invention in A Minor: A Re-View, pp.15-28, Volume VIII, No. 7, 1985

– AGMON (E.), Equal Division of the Octave in a Scarlatti Sonata, pp.1-8, Volume XI, No. 5, 1990

-BARKING (E.), Arnold Schoenberg’s Opus 16/6, pp.18-26, Volume IV, No. VIII, 1979

– BERGQUIST (P.), Introduction to Schenkerian Analysis, pp.45-51, Volume VII, No. 4, 1983

– BIRINGER (G.), Musical Metaphors in Schoenberg’s “Der kranke Mond” (Pierrot Lunaire, no. 7), pp.3-14, Volume VIII, No. 7, 1985

– BOROS (J.), Some Properties of the All-Trichord Hexachord, pp.19-41, Volume XI, No. 6, 1990

– BOTEELHO (M.), Meter and the Play of Ambiguity in the Third Brandenburg Concerto, pp.1-36, Volume XI, No. 4, 1990

– BRAUNSCHWEIG (K.), Gradus ad Parnassum, pp.35-58, Volume XII, No. 7/8, 1994

– BROWN (M), “My Hovercraft is Full of Eels”; or, The Ups and Downs of Traslating Das Meisterwerk in der Musik, Volume1 edited by William Drabkin, pp.95-110, Volume XIII, No. 5-8, 2007

– CAMPOS (A. N.), Dutton’s Undoing: A Musical Mystery, pp.39, Volume IX, No. 7, 1987

•Dutton Revealed: A Musical Mystery Solved, pp.30, Volume IX, No. 8, 1987

– CINNAMON (H.), Chromaticism and Tonal Coherence in Liszt’s Sonetto 104 del Petrarca, pp.3-19, Volume VII, No. 3, 1983

•Comment: Durational Reduction and Bach’s C Major Invention: An Alternative View, pp.25-36, Volume VII, No. 4, 1983

•Some Elements of Tonal and Motivic Structure in “In diesen Wintertagen”, Op. 14, no. 2 by Arnold Schoenberg: A Schoenbergian-Schenkerian Study, pp.23-50, Volume VII, No. 7/8, 1984

– CONNER (T. A.), Techniques for Manipulating the Internal Structure of Mosaics, pp.15-34, Volume XII, No. 7/8, 1994

– COVACH (J. R.), Dahlhaus, Schoenberg, and the New Music, pp.19-42, Volume XII, No. 1/2, 1991

•Forum: Analysis-What Is It Good For? We Won’t Get Fooled Again: Rock Music and Musical Analysis, pp.117-142, Volume XIII, No. 1-4, 1997

– CHERLIN (M.), Alphonce’s Invariance Matrix and Lewin’s Inversional Clock: A New Approach Toward Reading Pitch-Class Matrices, pp.47-59, Volume IX, No. 2/3, 1986

– DAMSCHRODES (D. A.), Aspects of Schenkerian Theory, edited by David Beach, pp.51-58, Volume VII, No. 7/8, 1984

•Structural Levels and the College Freshman, pp.17-26, Volume VIII, No. 6, 1985

– DANIEL (K. W.), A Preliminary Investigation of Pitch-Class Set Analysis in the Atonal and Polytonal Works of Milhaud and Poulenc, pp.22-49, Volume VI, No. VI, 1982

– DEMBSKI (S.), The Structure of Construction, pp.17-35, Volume XIII, No. 5-8, 2007

– DEMSKE (T.), Registral Centers of Balance in Atonal Works by Schoenberg and Webern, pp.60-76, Volume IX, No. 2/3, 1986

– DERR (E.), A Deeper Examination or Mozart’s 1-2-3-4 Theme and Its Strategic Deployment, pp.5-44, Volume VIII, No. 4/5, 1985

– DIPERT (R. R.), Meyer’s Emotion and Meaning in Music: A Sympathetic Critique of Its Central Claims, pp.3-18, Volume VI, No. VIII, 1983

– DON (G. W.), Goethe and Schenker, pp.1-14, Volume X, No. 8, 1988

•Thoughts on Geertz’s Local Knowledge, pp.15-18, Volume XI, No. 6, 1990

– EVERETT (W.), Text-Painting in the Foreground and Middleground of Paul McCartney’s Beatle Song, “She’s Leaving Home”: A Musical Study of Psychological Conflict, pp.5-22, Volume IX, No. 7, 1987

•Westergaard’s Theory of Tonal Rhythm, pp.35-54, Volume XIII, No. 5-8, 2007

– GINGERICH (L. L.), Pedagogically Speaking: Another Method for Teaching Hexachordal combinatoriality, pp.57-64, Volume VIII, No. 4/5, 1985

– GRAYBILL (R.), Consonance and Dissonance in the Freshman Theory Class, pp.51-56, Volume IX, No. 5/6, 1986

•Phenomenal Accent and Meter in the Exercise, pp.11-44, Volume XI, No. 1/2, 1989

– GREER 8T. A.), A Critique of Clifton’s Theory of Intuitive Description, pp.3-22, Volume VII, No. 7/8, 1984

– GUCK (M. A.), Musical Images as Musical Thoughts: The Contribution of Metaphor to Analysis, pp.2943, Volume V, No. V, 1981

– GWILT (R.), Sonata-Allegro Revisited, pp.3-34, Volume VII, No. 5/6, 1984

– HAIMO (E.), Generated Collections and Interval Control in Debussy’s Preludes, pp.3-15, Volume IV, No. VIII, 1979

– HATTEN (R.), Semiotic Perspective on Issues in Music Cognition, pp.1-10, Volume XI, No. 3, 1989

– HEADLAM (D.), Pedagogically Speaking: Teaching Hexachordal Combinatoriality, pp.35-39, Volume VII, No. 3, 1983

•Recognizing Pitch-Class Collections of Limited Transposition, pp.37-44, Volume VII, No. 4, 1983

– HORTON (C. T.), A Structural Function of Dynamics in Schumann’s “Ich grolle nicht”, pp.30-64, Volume IV, No. VIII, 1979

– HOYT (R. J.), Chopin’s Prelude in A minor Revisited: The Issue of Tonality, pp.7-16, Volume VIII, No. 6, 1985

– JACKSON (T. L.), Gabriel Faurè’s Expansions of Nonduple Hypermeter in La fleur qui va sur L’eau, Op. 85, No. 2, pp.1-28, Volume XII, No. 3/4, 1992

– KIELIAN-GILBERT (M.), Motive Transfer in Chopin’s A Minor Prelude, pp.21-32, Volume IX, No. 1, 1986

– KOIVISTO (T.), The Defining Moment: The Thema as Relational Nexus in Webern’s Op. 27, pp.29-70, Volume XIII, No. 1-4, 1997

– KOMAR (A. J.), The Pedagogy of Tonal Hierarchy, pp.21-28, Volume X, No. 5, 1988

– KOWALSKI (D.), An Algorithm and a Computer Program for the Construction of Self-deriving Arrays, pp.27-50, Volume IX, No. 5/6, 1986

– KREBS (H.), The Background Level in Some Tonally Deviating Works of Franz Schubert, pp.5-18, Volume VIII, No. 8, 1985

•Dramatic Functions of Metrical Consonance and Dissonance in Das Rheingold, pp.5-20, Volume X, No. 5, 1988

– LAKE (W. E.), Orlando di Lassos’s Prologue to Prophetiae Sibyllarum: A Comparison of Analytical Approaches, pp.1-20, Volume XI, No. 7/8, 1991

•Hermeneutic Musical Structures in “Das irdische Laben” by Gustav Mahler, pp.1-14, Volume XII, No. 7/8, 1994

– LARSON (S.), On Analysis and Performance: The Contribution of Durational Reduction to the Performance of J. S. Bach’s Two-Part Invention in C Major, pp.3145, Volume VII, No. I, 1983

– LESTER (J.), Simultaneity Structures and Harmonic Functions in Tonal Music, pp.3-28, Volume V, No. V, 1981

– LEVERSON (I. M.), Smooth Moves: Schubert and Theories of Modulation in the Nineteenth Century, pp.35-54, Volume VII, No. 5/6, 1984

– LEVY (J.), The Diatonic Basis of Fugue in Zarlino, pp.33-46, Volume IX, No. 2/3, 1986

– LEWIN (D.), An Interesting Global Rule for Species Counterpoint, pp.19-44, Volume VI, No. VIII, 1983

– LONDON (J.), Metric Ambiguity (?) in Bach’s Brandeburd Concerto No.3, pp.21-54, Volume XI, No. 7/8, 1991

•Lerdahl and Jackendoff’s Strong Reduction Hypothesis and the Limits of Analytical Description, pp.3-28, Volume XIII, No. 1-4, 1997

– MARRA (J.), Interrelations Between Pitch and Rhythmic Structure in Webern’s Opus 11, No. 1, pp.3-33, Volume VII, No. 2 1983

– MARTIN (H.), Syntax in Music and Drama, pp.65-78, Volume X, No. 1/2, 1987

– MEAD (A. W.), A Practical Method for Dealing with Unordered Pitch-Class Collections, pp.54-66, Volume VII, No. 5/6, 1984

– McKEE (E.), The “Galitzin” Quartets of Beethoven by Daniel K. L. Chua, pp.77-94, Volume XIII, No. 5-8, 2007

– METZ (P. W.), Set Theory, Clock Diagrams, and Berg’s Op. 2, No.2, pp.1-18, Volume XII, No. 1/2, 1991

– McCRELESS (P.), Roland Barthes’s S/Z from a Musical Point View, pp.1-30, Volume X, No. 7, 1988

– NEUMEYER (D.), The Urlinie from 8 as a Middleground Phenomenon, pp.3-26, Volume IX, No. 5/6, 1986

•The Reciprocity of Ideas in Musical Space, pp.3-30, Volume X, No. 1/2, 1987

– PELES (S.), An Introduction To Westergaard’s Tonal Theory, pp.73-94, Volume XIII, No. 1-4, 1997

– PIERCE (A.), Climax in Music–Structure and Pharse (Part III), pp.3-30, Volume VII, No. I, 1983

– POLEDNAK (I.), Musical Semiotics: A Report from Prague, pp.1-14, Volume XI, No. 6, 1990

– RAHN (J.), Where is the Melody?, pp.3-19, Volume VI, No. VI, 1982

•Find the Hidden Tune, pp.18-20, Volume IX, No. 1, 1986

•Asymmetrical Ostinatos in Sub-Saharan Music: Time, Pitch, and Cycles Reconsidered, pp.23-38, Volume IX, No. 7, 1987

•Toward a Theory for Chord Progression, pp.1-10, Volume XI, No. 1/2, 1989

– REILLY (A. D.), Modulation and Key Relationships in Eighteenth-Century German Theory, pp.45-56,  Volume VIII, No. 4/5, 1985

– ROTH (L.), Kirnberger’s Concept of Reductive Analysis, pp.21-29, Volume IX, No. 8, 1987

– ROTHFARB (L.), Diatonic vs. Tinctoris: Theory and Practice of Dissonance in Counterpoint, pp.3-32, Volume IX, No. 2/3, 1986

– ROTHSTEIN (W.), The Americanization of Heinrich Schenker, pp.5-17, Volume IX, No. 1, 1986

– ROUSE (S.), Hexachords and Their Trichordal Generators: An Introduction, pp.19-50, Volume VIII, No. 8, 1985

– SANTORE (J. C.), Berg’s Invention on a Rhythm: Hauptrhythmus Variation as Dramatic Metaphor and Tonal Functional Analogy, pp.3-17, Volume XIII, No. 5-8, 2007

– SCHMALFELDT (J.), Coming to Terms: Speaking of Pharse, Cadence and Form, pp.95-116, Volume XIII, No. 1-4, 1997

– SOBASKIE (J. W.), Associative Harmony: The Reciprocity of Ideas in Musical Space, pp.31-64, Volume X, No. 1/2, 1987

– SMOLIAR (S. W.), The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model by Eugene Narmour, pp.43-56, Volume XII, No. 1/2, 1991

•Elements of a Neuronal Model of Listening to Music, pp.29-46, Volume XII, No. 3/4, 1992

– SNARRENBERG (R.), The Play of Diffèrance, pp.1-26, Volume X, No. 3, 1987

– STRAUS (J.), The Motivic Structure of Palestrina’s Music, pp.3-24, Volume VII, No. 4, 1983

-THOMAS (L.), On Thinking About Thinking, pp.16-17, Volume IV, No. VIII, 1979

– VAN DEN TOORN (P.), Taruskin’s Angle, pp.27-46, Volume X, No. 3, 1987

– WENK (A. B.), Persing Debussy: Proposal for a Grammar of His Melodic Practice, pp.5-20, Volume IX, No. 8, 1987

– WESTERGAARD (P.), Notes Toward a Hypothetical Event, pp.55-74, Volume XIII, No. 5-8, 2007

– WILLIAMS (E. W.), On Mod 12 Complementary Interval Sets, pp.3443,    Volume VII, No. 2 1983

– WOOD (J.), Tetrachordal and Inversional Structuring in Arnold Schoenberg’s Herzgewachse, Op. 20, pp.23-34, Volume VII, No. 3, 1983