Journal of music theory

PER. US. 5

– ADAMS (K.), A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century, pp.255-327, Volume LIII, No. 2, 2009

– AGAWU (V. K.), Schubert: Critical and Analytical Studies edited by Walter Frisch, pp.324-331, Volume XVIII, No.2, 1984

– AGMON (E.), A Mathematical Model of the Diatonic System, pp.1-27, Volume XXXIII, No.1, 1989

•Coherent Tone-Systems: A Study in the Theory of Diatonicism, pp.39-60,
Volume XL, No.1, 1996

– AL-ZAND (K.), Improvisation as Continually Juggled Priorities: Julian “Cannonball” Adderley’s “Straight, No Chaser”, pp.209-240, Volume XLIX, No.2, 2005

– ALLDAHL (P. G.), The European Conservatory, pp.111-123, Volume XVIII.I, No I, 1974

– ALDRICH (P.), Rhythmic in Seventeen-Century Italian Monody, pp.117-151, Volume XI:II, No. I, 1967

– ALEGANT (B.), When Even Becomes Odd: A Partitional Approach to Inversion, pp.193-230, Volume XLIII, No.2, 1999

– ANSON-CARTWRIGHT (M.), The Mutable Subject: Tonal and Rhythmic Transformations in Selected Fugues of J. S. Bach, pp.1-24, Volume LVIII, No. , 2014

– ARNDT (M.), Schenker and Schoenberg on the Will of the Tone, pp.89-146, LV, No. 1, 2011

– ATCHERSON (W. T.), England, pp.6-15, Volume XVI, No. I-II, 1972

– AUBREY (E.), Reconsidering “High Style” and “Low Style” in Medieval Song, pp.75-122, Volume CII, No.1, 2008

– AUERBACH (B.), Tiered Polyphony and Its Determinative Role in the Piano Music of Johannes Brahms, pp.273-317, Volume LII, No. 2, 2008

– BARBERA (C. A.), Arithmetic and Geometric Division of the Tetrachord, pp.294-323, Volume XI, No. 2, 1977

– BABBITT (M.), An Introduction To The R.C.A. Synthesizer, pp.151-299, Volume VIII, No 1, 1964

•Set Structure as a Compositional Determinant, pp.72-94, Volume V, No. I, 1961

– BAILEY (K), Symmetry as Nemesis: Webern and the First Movement of the Concerto, Opus 24, pp.245-310, Volume XL, No.2, 1996

•The Hexatonic and the Double Tonic: Wolf’s Christmas Rose, pp.187-210,
Volume CI, No.1, 2007

– BAIN (J.), Hildegard, Hermannus, and Late Chant Style, pp.123-150, Volume CII, No.1, 2008

– BARBERA (A.), The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study in Ancient Pythagoreanism, pp.191-224, Volume XVII, No.1, 1983

– BARKIN (E.), Analysis Symposium: Webern, Orchestra Pieces (1913) Movement I (“Bewegt”), pp.47-65, Volume XIX.I. Vol. I. 1975

– BARNEY (C.), The experimental College, pp.101-110, Volume XVIII.I, No I, 1974

– BARTOLOZZI (B.), Proposals for Changes in Musical Notation, pp.297-301, Volume V, No. II, 1961

– BAKER (N. K.), Heinrich Koch and the Theory of  Melody, pp.1-48, Volume XX, No.1, 1976

– BAKST (J.), The Proper Nature of a Course in Harmony, pp. 258-301, Volume III, No. I, 1959

– BAKULINA (E.), Tonality and Mutability in Rachmaninoff’s All-Night Vigil, Movement 12, pp.63-98, Volume LVIX, No. 1, 2015

– BARKIN (E.), Notes in Progress, pp.291-312, Volume XXII, No.2, 1978

– BASS (R.), Models of Octatonic and Whole-tone Interaction: George Crumb and his Predecessors, pp.155-186, Volume XXXVIII, No.2, 1994

– BAUER (A.), Philosophy Recomposed: Stanley of Music, pp.61-74, Volume LIV, No. 1, 2010

– BEACH (D.), The Functions of the Six-four Chord in Tonal Music, pp.2-31, Volume XI:II, No. I, 1968

•Analysis Symposium, pp.186-217, Volume XIII:II, No. 1; 1969

•The Origins of Harmonic Analysis, pp.274-307, Volume XVIII.II, No. I, 1974

•Segmental Invariance and the Twelve-Tone System, pp.157-185, Volume XX,
No.2, 1976

•The True Principles for the Practice of Harmony by Johann Philipp Kirnberger: a
Translation, pp.163-226, Volume XXIII, No.2, 1979

•A Schenker Bibliography: 1969-1979, pp.275-286, Volume XXIII, No.2, 1979

•A Recurring Pattern in Mozart’s Music, pp.1-30, Volume XVII, No.1, 1983

•The Fundamental Line from Scale Degree 8: Criteria for Evaluation, pp.271-294,
Volume XXXII, No.2, 1988

•More on the Six-Four, pp.281-290, Volume XXXIV, No.2, 1990

•Harmony and Linear Progression in Schubert’s Music, pp.1-21, Volume XXXVIII,
no.1, 1994

•Modal Mixture and Schubert’s Harmonic Practice, pp.73-100, Volume XLII, No.1,
1998

– BEAUDOIN (R.), You’re There and You’re Not There: Musical Borrowing and Cavell’s Way, pp.91-106, Volume LIV, No. 1, 2010

– BECKER (A.), A Grammar of the Musical Genre Srepegan, pp.1-44, Volume XXIII, No.1, 1979

– BAKER (J. M.), The Limits of Tonality in the Late Music of Franz Lizt, pp.145-174, Volume XXXIV, No.1, 1990

– BENNIGHOF (J.), Set-Class Aggregate Structuring, Graph Theory, and some Compositional Strategies, pp. 51-98, Volume XXXI, No. 1, 1987

– BENJAMIN (W. E.). “Pour les Sixtes”: An Analysis, pp.253-290, Volume XXII, No.2, 1978

•Shenker’s Theory and the Future of Music, pp.155-173, Volume XV,
No.1, 1981

– BERGER (J.), Foundation of Computer Music edit by Curtis Roads and John Strawn, pp.331-336, Volume XVIII, No.2, 1984

– BERNARD (J. W.), The Principle and the Elements: Rameau’s Controversy with D’Alembert, pp.37-62, Volume XIV, No.1, 1980

•Space and Symmetry in Late Works of Luigi Dallapiccola, pp.185-202,
Volume XXX, No. 1, 1986

•Problem of Pitch Structure in Elliot Carter’s First and Second String
Quartets, pp.231-266, Volume XXXVII, No.2, 1993

– BERNSTEIN (D. W.), Georg Capellen’s Theory of Reduction: Radical Harmonic Theory at the Turn of the Twentieth Century, pp.85-116, Volume XXXVII, No.1, 1993

– BERRY (E.), Rhythmic Accelerations in Beethoven, pp.177-240, Volume XXII, No.2, 1978

– BERRY TURREL (F.), Isagogic in musician of Henry Glarean, pp.97-138, Volume III, No. I, 1959

– BERRY (W.), Text and Music in the Alto Rhapsody, pp.223-238, Volume XVII, No.1, 1983

– BLOCH (S.), Vector Products and Intervallic Weighting, pp.21-42, Volume XXXVIII, no.1, 1994

– BOBBITT (R.), The Physical Basis of Intervallic Quality and its Application to the Problem of Dissonance, pp. 173-205, Volume III, No. I, 1959

– BOKER-HEIL (N), Plotting Conventional Music Notation, pp.72-101, Volume XVI, No. I-II, 1972

– BOOMSLITER (P.), The Long Pattern Hypothesis in Harmony Hearing, pp.2-28, Volume V, No. I, 1961

– BORETZ (B.), The Logic of What?, pp.107-116, XXXIII, No.1, 1989

– BOYLE (M.), Galant Recitative Schemas, pp.1-98, Volume LVIX, No. 1, 2015

– BRIBITZER-STULL (M.), The Cadenza as Parenthesis: An Analytic Approach, pp.211-252, Volume C, No.2, 2006

– BOSS (J.), Schoenberg of Ornamentation and Structural Levels, pp.187-216, Volume XXXVIII, No.2, 1994

– BOWER (C. M.), Prosdocimo’s Contrapunctus Translated by Jan Herlinger, pp.318-323, Volume XVIII, No.2, 1984
– BRESLAUER (P.), Harmony in Tonal Music by Joel Lester, pp.142-153, Volume XVII, No.1, 1983

•Diminutional Rhythm and Melodies Structure, pp.1-22, Volume XXXII,
No.1, 1988

– BRINER (A.), A New Comment on Tonality by Paul Hindemith, pp.109-112, Volume V, No. I, 1961

– BRINKMAN (A. R.), Representing Musical Scores fot Computer Analysis, pp.225-276, Volume XXX, No. 1, 1986

– BRODY (C.), Parametric Interaction in Tonal Repertories, pp.97-148, Volume X, No. 2, 2016

– BROWN (M.), The Diatonic and the Chromatic in Schenker’s Theory of Harmonic Relations, pp.1-35, Volume XXX No.1, 1986

The Scientific Image of Music Theory, pp.65-106, Volume XXXIII, No.1, 1989

– BROWN (S. C.), Twelve-Tone Rows and Aggregate Melodies in the Music of Shostakovich, pp.191-234, Volume LVIX, No. 2, 2015

– BUELOW (G. J.), Heinichen’s Treatment of Dissonance, pp216-276, Volume VI, No. II, 1962

•Germany, pp.36-49, Volume XVI, No. I-II, 1972

– BURKHART (C.), Schenker’s “Motivic Parallelisms”, pp.145, 176, Volume XXII, No.2, 1978

– BURNHAM (S.), The Role of Sonata Form in A. B. Marx’s Theory of Form, pp.247-272, Volume XXXIII, No.2, 1989

– BURN Volume XXXVIII, no.1, 1994
S (L.), Modal Identity and Irregular Endings in Two Harmonizations by J. S. Bach, pp.43-78,

– BUTLER (G. G.), Fugue and Rhetoric, pp.49-110, Volume XXI, No.1, 1977

– CAFIERO (R.), The Early Reception of Napolitan Partimento Theory in France: A Survey, pp.137-160, Volume CI, No.1, 2007

– CALLENDER (C.), Voice-leading Parsimony in the Music of Alexander Scriabin, pp.219-234. Volume XLII, No.2, 1998

•Continuous Harmonic Spaces, pp.277-332, Volume CI, No.1, 2007

– CAMBPELL (B. B.), Beethoven’s Compositional Choices: the Two Versions of Opus 18, No. 1, First Movement by Janet M. Levy, pp.187-196, Volume XXIX No.1, 1985

– CAPLIN (W.), The Art of Strict Musical Composition by J. P. Kirnnberger, pp.124-128, Volume XVII, No.1, 1983

•Moritz Hauptmann and the Theory of Suspensions, pp.251-270, Volume XVII,
No.1, 1983

– CAPUZZO (G.), The Complement Union Property in the Music of Elliott Carter, pp.1-24, Volume XLVIII, No.1, 2004

– CAREY (N.), Regions: A Theory of Tonal Spaces in Early Medieval Treatises, pp.113-148, Volume XL, No.1, 1996

•On Coherence and Sameness, and the Evaluation of Scale Candidacy Claims,
pp.1- 57, Volume XLVI, No.1, 2002

– CARR (M. A.), Harmony: Patterns and Principles by Allen Winold, pp.153-156, Volume XXXI, No. 1, 1987

– CARSON BERRY (D.), Journal of Music Theory under Allen Forte’s Editorship, pp.7-24, Volume C, No.1, 2006

– CAZDEN (N.), The Principle of Direction in the Motion of Similar Tonal Harmonies, pp.162-192, Volume II, No.2, 1958

•Staff Notation as a Non-Musical Communications Code, pp.113-127, Volume V,
No. I, 1961

•How to Compose Non-Music, pp.287-296, Volume V, No. II, 1961

– CHAPMAN (A.), Some Intervallic Aspects of Pitch-Class Set Relations, pp.275-290, Volume XV, No.2, 1981

– CHILDS (B.), The Experimental College, pp.101-110, Volume XVIII.I, No I, 1974

– CHRISMAN (R.), Identification and Correlation of Pitch-sets, pp.58-83, Volume XV, No. I, 1971

– CHRISTENSENSEN (T.), The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory, pp.1-42, Volume XXXVI, No.1, 1992

– CLAMPITT (D.), Alternative Interpretations of Some Measures from Parsifal, pp.321-334, Volume XLII, No.2, 1998

– CLARK (W.), Heinrich Schenker on the Nature of the Seventh Chord, pp.221-260, Volume XVI, No.2, 1982

– CLARKSON (A.), Analysis Symposium: Brahms OP. 105/1, pp.2-57, Volume XV, No. I, 1971

•On New (and Not-So-New) Music in America by Stefan Wolpe: a
Translation, pp.1-46, Volume XVII, No.2, 1984

– CLIFTON (T.), An Application of Goethe’s Concept of Steigerung to the Morphology of Diminution, pp.165-190, Volume XIV:II, No. I, 1970

•A Phenomenological Analysis of Musical Experience and Other Related Essays,
pp.237-246, Volume XIV:II, No. I, 1970

•Some Comparisons Between Intuitive and Scientific Descriptions of Music,

pp.66-111, Volume XIX.I. Vol. I. 1975
– CLOUGH (J.), The Leading Tone in Direct Chromaticism: From Renaissance to Baroque, pp.2-
21, Volume I, No.1, 1957

•Aspects of Diatonic Sets, pp.45-62, Volume XXIII, No.1, 1979

•Use of the Exclusion Relation to Profile Pitch-Class Sets, pp.181-202, Volume
XVII, No.1, 1983

•Variety and Multiplicity in Diatonic Systems, pp.249-270, Volume XXIX No.2,
1985

•Maximally Even Sets, pp.93-174, Volume XXXV, No.1, 1991

•Hyperscales and the Generalized Tetrachord, pp.67-100, Volume XLI, No.1, 1997
– COHEN (D.), Palestrina Counterpoint: A Musical Expression of Unexcited Speech, Volume XV, No. I, 1971

•France, pp.16-35, Volume XVI, No. I-II, 1972

 

– COHN (R.), Properties and Generability of Transpositionally Invariant Sets, pp.1-32, Volume XXXV, No.1, 1991

•Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnets
Representations, pp.1-66, Volume XLI, No.1, 1997

•Introduction to Neo-Riemannin Theory: A Survey and Historical Perspective,
pp.167-180, Volume XLII, No.2, 1998
– COOK (N.), Music Theory and ‘Good Comparison’: A Viennese Perspective, pp.117-142, XXXIII, No.1, 1989

•Parsimony and Extravagance, pp.109-140, Volume XLIX, No.1, 2005

– COONS (E.), Information as a Measure of Structure in Music, [with David Kraehenbuehl], pp.127-161, Volume II, No.2, 1958

– COOPER (W.) [with Leonard B. Mayer], The Rhythmic Structure of Music, pp.129-147, Volume V, No. I, 1961

– COOVER (J.). Music theory in translation: a bibliography, [with Vassar College], pp.70-96, Volume III, No.1. 1959

•Music Theory in Translation: A Biography Supplement, 1959-69, pp.230-275,
Volume XIII:II, No. 1; 1969

– COVACH (J. R.), The Zwolftonspiel of Josef Matthias Hauer, pp.149-184, Volume XXXVI, No.1, 1992

– COX (F.), Stanley Cavell on Modern Music: “Music Discomposed”, and “A Matter of Meaning It” after Forty Years, pp.37-60, Volume LIV, No. 1, 2010

– CHILDS (A.), Moving Beyond Neo-Riemannin Triads: Exporting a Transformational Model for Seventh Chords, pp.181-194, Volume XLII, No.2, 1998

– CHRISTENSEN (T.), Eighteenth-Century Science and the Cprps Sonore: the Scientific Background to Rameau’s Principle of Harmony, pp. 23-50, Volume XXXI, No. 1, 1987

– CLOUGH (R.), A Rudimentary Geometric Model for Contextual Transposition and Inversion, pp.297-306, Volume XLII, No.2, 1998

– COHN (R.), Square Dances with Cubes, pp.283-296, Volume XLII, No.2, 1998

– COLLINS JUDD (C.), Music in Dialogue: Conversational, Literary, and Didactic Discourse about Music in the Renaissance, pp.41-74, Volume CII, No.1, 2008

– CREEL (W.) [With Boomsliter], Extended Reference: An Unrecognized Dynamic in Melody, pp.2-23, Volume VII, No 1, 1963

– CRISMAN (R.), The Liberal-Arts College, pp.91-100, Volume XVIII.I, No I, 1974

•Describing Structural Aspects of Pitch-Sets Using Successive-Interval Arrays,
pp.1-28, Volume XXI, No.1, 1977

•Anton Webern’s “Six Bagatelles for String Quartet”, Op. 9: The Unfolding of
Intervallic Successions, pp.81-122, Volume XXIII, No.1, 1979

•Theory: Special Topics edited by Richmond Browne, pp.231-320, Volume XVII,
No.1, 1983
– CROCKER (R. L.), Musica Rhytmica and Musica Metrica in Antique and Medieval Theory, pp.2-23, Volume II, No.1, 1958

– CUTLER (T.), On Voice Exchanges, pp.191-226, Volume LIII, No. 2, 2009

– DAHLHAUS (C.), Some Models of Unity in Musical Form, pp.2-31, Volume XIX.I. Vol. I. 1975

– DAMSCHRODER (D.), Schubert, Chromaticism, and the Ascending 5-6 Sequence, pp.253-276, Volume C, No.2, 2006

– DANIELS (A.), Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas, pp.234-280, Volume IX:II, No. 1, 1965

– DAVIES (S.), Attributing Significance to Unobvious Musical Relationships, pp.203-214, Volume XVII, No.1, 1983

– DeBELLIS (M.), The Paradox of Musical Analysis, pp.83-100, Volume XLIII, No.1, 1999

– DE DOBAY (T.), The Evolution of Harmonic Style in the Lorca Works of Crumb, pp.89-112, Volume XVII, No.1, 1983

– DELIO (T.), Iannis Xenakis’ Nomos Alpha: The Dialectics of Structure and Materials, pp.63-96, Volume XIV, No.1, 1980

– DEMPSTER (D.), Evaluating Musical Analyses and Theories: Five Perspectives, pp.247-280, Volume XXXIV, No.2, 1990

– DEMSKE (T. R.), Inversional Common-Note Structure and Interval-Class Content, pp.295-334, Volume XXXII, No.2, 1988

•Inversional Common-Note Structure and Interval-Class Content, pp.295-334,
Volume XXXII, No.2

– DeTHORNE (J.), Absolute Color, Fluctuating Mischfarben, and Structurally Functional “Gypsy” Orchestration, pp.193-144, Volume LVII, No. 2, 2013

– DIVILBISS (J.L.), The Real-Time Generation of Music Witj a Digital Computer, pp.89-111, Volume 8, No 1, 1964

– DODSON (A.), Metrical Dissonance and Directed Motion in Paderewski’s Recordings of Chopin’s Muzurkas, pp.57-94, Volume LIII, No. 1, 2009

– DROTT (E.), Fraudulence and the Gift Economy of Music, pp.61-74, Volume LIV, No. 1, 2010

•The End(s) of Genre, pp.1-46, Volume LVII, No. 1, 2013

– DOUTHETT (J.), Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition, pp.241-264, Volume XLII, No.2, 1998

– DUANE (B.) Agency and Information Content in Eighteenth-and Early Nineteenth-Century String-Quartet Expositions, pp.87-118, Volume LVI, No. 1, 2012

– DUBIEL (J.), When You are a Beethoven: Kinds of Rules in Schenker’s Counterpoint, pp.291-240, Volume XXXIV, No.2, 1990

– EPSTEIN (D.), On Schenker’s Free Composition, pp.143-151, Volume XV, No.1, 1981

•Shaping Time: Music, The Brain, and Performance, a response to William
Rothstein, pp.165-190, Volume XLIII, No.1, 1999

– ERIKSSON (T.), The IC Max Point Structure, MM Vectors and Regions, pp.95-112, Volume XXIX No.1, 1985

– ERICKSON (R.), Time-Relations, pp.174-193, Volume VII, No. I-II, 1962

•Music Analysis and the Computer, pp.241-260, Volume XII:II, No. I, 1968

•A General-Purpose System For Computer Aided Musical Studies, pp.276-294,
Volume XIII:II, No. 1; 1969

– ESPER (E.), Max Meyer and the Psychology of Music, pp.182-199, Volume X:II, No. I, 1966

– ETZION (J.), “Family Resemblances” and Variability in the Sephardic Romancero: A Methodological Approach to Variantal Comparison, pp.267-310, Volume XXXVII, No.2, 1993

– EVERETT (W.), Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song, pp.25-65, Volume XLVIII, No.1, 2004

– FAY (T.), Perceived Hierarchic Structure in Language Speech, pp.84-111, Volume XV, No. I,
1971

•Context Analysis of Musical Gestures, pp.124-151, Volume XVIII.I, No I, 1974

– FENNELLY (B.), Structure and Process in Webern’s OPUS 22. pp.300-329, Volume X:II, No. I, 1966

– FERRIS (J), The Evolution of Rameau’s Harmonic Theories, pp. 231-255, Volume III, No. I, 1959

– FLETCHER (S.), Music-Reading Reconsidered as a Code-Learning Problem, pp.76-96, Volume I, No.1, 1957

– FORTE (A.), Schenker’s Conception of Musical structure, pp.1- pp. 30, Volume III, No. I, 1959

•A Theory Of Set-Complexes For Music, pp.136-178, Volume VIII, No 1, 1964

•A Program for the Analytic Reading of Scores, pp.330-363, Volume X:II, No. I,

1966

•Analysis Symposium: Webern, Orchestral Pieces (1913), pp.2-45, Volume XVIII.I,
No I, 1974

•Motive and Rhythmic Contour in the Alto Rhapsody, pp.255-272, Volume XVII,
No.1, 1983

•Pitch-Class Set Genera and the Origin of Modern Harmonic Species, pp.187-270,
Volume XXXII, No.2, 1988

•Pitch-Class Set Genera and the Origin of Modern Harmonic Species, pp.187-270,
Volume XXXII, No.2

•Concepts of Linearity in Schoenberg’s Atonal Music: A Study of the Opus 15 Song
Cycle, pp.285-282, Volume XXXVI, No.2, 1992

•Paul Hindemith’s Contribution to Music Theory in the United States, pp.1-15,
Volume XLII, No.1, 1998

– FRIEDMANN (M. L.), A Methodology for the Discussion of Contour: Its Application to Schoenberg’s Music, pp.223-248, Volume XXIX No.2, 1985

•A Response: My Contour, Their Contour, pp.268-274, Volume XVIII,
No.2, 1984

– FULLER (R), Structure and Information in Webern’s Symphonies, OP. 21, pp.60-114, Volume XI:II, No. I, 1967

•A Study of Interval and Trichord Progression, pp.102-1641 Volume XVI, No. I-II,
1972

•On Sonority un Fourteenth-Century Polyphony: Some Preliminary Reflection,
pp.35-70, Volume XXIX No.2, 1985

•A Study of Microtonal Equal Temperaments’. pp.211-238, Volume XXXV,
No.1, 1991

•Tendencies and Resolutions: The Directed Progression in Ars Nova Music,
pp.229-258, Volume XXXVI, No.2, 1992

•A Structuralist Approach to the Diatonic Scale, pp.182-210, Volume XIX, No. 2,
1975

•Interpreting Hucbald on Mode, pp.13-40, Volume CII, No.1, 2008

– GALLOPE (M.), Cavell and Deleuze, pp.107-120, Volume LIV, No. 1, 2010

– GAMER (C.), Some Combinational Resources of Equal-Tempered Systems, pp.32-59, Volume XI:II, No. I, 1967

– GAULDIN (R.), The Conservatory, pp.59-90, Volume XVIII.I, No I, 1974

•An Analysis, pp.253, 290, Volume XXII, No.2, 1978

– GAWBOY (A.), The Wheatstone Concertina and Symmetrical Arrangements of Tonal Space, pp.163-190, Volume LIII, No. 2, 2009

– GILBERT (S. E.), The “Twelve-Tone System” of Carl Ruggles: a Study of the Evocations for Piano, pp.68-91, Volume XIV:I, No. 1, 1970

•An Introduction to Trichordal Analysis, pp.338-363, Volume XVIII.II, No. I,
1974

– GODER (M.), The Interval-Triangle, pp.142-167, Volume XVI, No. I-II, 1972

– GODT (I.), Motivic Integration in Josquin’s Motets, pp.264-293, Volume XI, No. 2, 1977

– GOLDENBERG (Y.), Journal Music Theory over the Years: Consent Analysis of the Articles and Related Aspects, pp.25-64, Volume C, No.1, 2006

– GOLLIN (E.), Some Aspects of Three-Dimensional, pp-195-206, Volume XLII, No.2, 1998

– GOSMAN (A.), Stacked Canon and Renaissance Compositional Procedure, pp.289-318, Volume XLI, No.2, 1997

– GRANT (C. P.), The Real Relationship between Kimberger’s and Rameau’s Concept of the Fundamental Bass, pp.324-339, Volume XI, No. 2, 1977

•Leonard Euler’s Unfinished Theory of Rhythm, pp.245-286, Volume LVII,
No. 2, 2013

– GREEN (D.), Berg’s Wozzeck: Harmonic Language and Dramatic Design by Janet Schmalfeldt, pp.177-186, Volume XXIX No.1, 1985

– GRUBER (A.), Mersenne and Evolving Tonal Theory, pp.36-67, Volume XIV:I, No. 1, 1970

– GUSHEE (L.), The Pratica Musicae of Franchinus Gafurius, pp.127135, Volume XIV:I, No. 1, 1970

– GUSTIN (M.), A Theory of Roots, pp.178-199, Volume VI, No. II, 1962

– GJERDINGEN (R. O.), Partimento, que me veux.tu?, pp.85-136, Volume CI, No.1, 2007

– HAAR (J.), A Sixteenth-Century Xexachord Composition, pp.32-46, Volume XIX.I. Vol. I. 1975

– HAIMO (E.), Isomorphic Partitioning and Schoenberg’s Fourth String Quartet, pp.47-72, Volume XVII, No.1, 1983

•Haydn’s Altered Reprise, pp.335-354, Volume XXXII, No.2, 1988

– HALL (P.), The Operas of Alban Berg, Volume 2/”Lulu” by George Perle, pp.140-145, Volume XXXI, No. 1, 1987

– HANNINEN (D. A.), Associative Sets, Categories, and Music Analysis, pp.147-218, Volume XLVIII, No.2, 2004

– HAYDON (G.), Music Theory and Music History, pp.149-256, Volume VII, No. I-II, 1962

– HARRISON (D.), A Theory of Harmony by Ernst Levy, pp.353-358, Volume XVIII, No.2, 1984

•Some Group Properties of Triple Counterpoint and Their Influence on
Compositions by J. S. Bach, pp.51-74, Volume XXXII, No.1, 1988

•Max Reger’s Motivic Technique: Harmonic Innovations at the Borders of
Atonality, pp.61-92, Volume XXXV, No.1, 1991

– HARTT (J. C.), Rehearing Machaut’s Motets: Taling the Next Step in Understanding Sonority, pp.179-234, Volume LIV, No. 2, 2010

– HASTY (C. F.), Rhythm in Post-Tonal Music: Preliminary Questions of Duration and Motion, pp.183-216, Volume XV, No.2, 1981

•Phrase Formation in Post-Tonal Music, pp.167-190, Volume XVIII, No.2,
1984

•An Intervallic Definition of set Class, pp. 183-204, Volume XXXI, No. 2, 1987

– HEFLING (S. E.), Der Langsame Symphoniesatz Gustav Mahlers: Historischvergleichende Studien zu Mahlers Kompositionstechnik by Theodor Schmitt, pp.145-155, Volume XXX, No. 1, 1986

•“Of the Manner of Playing the Adagio”: Structural Levels and Performance
Practice in Quantz’s Versuch, pp. 205-223, Volume XVIII, No.2, 1984

– HYDE (M. M.), Musical Form and the Development of Schoenberg’s Twelve-Tone Method, pp.85-144, Volume XXIX No.1, 1985

– HILLER (L. A.), Electronic Music of the University of Illinois, pp.99-126, Volume VII, No 1, 1963

– HIRSHBERG (J.), Berlioz and the Fugue, pp.152-189, Volume XVIII.I, No I, 1974

– HOFFMAN (J.), On Pitch-Class Set Cartography; relations between Voice-Leading Spaces and Fourier Spaces, pp.219-250, Volume LII, No. 2, 2008

– HOLTMEIER (L.), Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave, pp.5-50, Volume CI, No.1, 2007

– HORLACHER (G.), Metric Irregularity in Les Noces: The Problem of Periodicity, pp.285-310, Volume XXXIX, No.2, 1995

– HOOK (J.), Uniform Triadic Transformations, pp.57-126, Volume XLVI, No.1-2, 2002

– HORSLEY (I.), Fugue: History and Practice, pp.152-171, Volume XI:II, No. I, 1967

•Italy, pp.50-61, Volume XVI, No. I-II, 1972

– HOUGHTON (E.), Rhythm and Meter in 15TH-Century Polyphony, pp.190-212, Volume XVIII.I, No I, 1974

– HOUTSMA (A. J.), What Determines Musical Pitch?, pp.138-157, Volume XV, No. I, 1971

– HOWARD (B.), The University, pp.46-58, Volume XVIII.I, No I, 1974

– HOWELL (A.), Spain, pp.62-70, Volume XVI, No. I-II, 1972

– HUGHES (M.), Analysis Symposium, pp.155-238, Volume XII:II, No. I, 1968

– HYER (B.), Reimag(in)ing Riemann, pp.101-138, Volume XXXIX, No.1, 1995

– ITO (J. P.), Hypermetrical Schemas, Metrical Orientation, and Cognitive- Linguistic Paradigms, pp.47-86, Volume LVII, No. 1, 2013

– IVANOVITCH (R.), Showing Off: Variation in the Display Episodes of Mozart’s Piano Concertos, pp.181-219, Volume LII, No. 2, 2008

– JACOBI (E.), Harmonic Theory in England after the time of Rameau, pp.126-145, Volume I, No.2, 1957

– JACOBSON (G. H.), Book Reviews, pp. 302-319, Volume III, No. I, 1959

•Harmonic Materials of Modern Music, pp.236-269, Volume IV, No 1,
1960

– JACKSON (T. L.), The Tragic Reversed Recapitulation in the German Classical Tradition, pp.61-112, Volume XL, No.1, 1996

– JOHNSON (T. A.), Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach, pp.117-156, Volume XXXVII, No.1, 1993

– KABBASH (P.), Aggregate-Derived Symmetry in Webern’s Early Works, pp.225-250, Volume XVII, No.1, 1983

– KAMIEN (R.), Introduction to Schenkerian Analysis by Allen Forte and Steve Gilbert, pp.113-123, Volume XVII, No.1, 1983

•Subtle Enharmonic Relationships in Mozart’s Music, pp. 169-184, Volume XXX,
No. 2, 1986

•Conflicting Metrical Patterns in Accompaniment and Melody in Works by Mozart
and Beethoven: A Preliminary Study, pp.311-350, Volume XXXVII, No.2, 1993

– KAUFMANN (H. W.), Vicentino’s Arciorgano, an Annotated Translation. pp. 32-49, Volume V, No. I, 1961

– KEILER (A.), The Origins of Schenker’s Thought: How Mai is Musical, pp.273-298, Volume XXXIII, No.2, 1989

•The Problem of the Retrieval of Musical Knowledge: The Thoroughbass Tradition
and Its Relationship to Rameau, pp.287-320, Volume LVII, No. 2, 2013

– KIELIAN-GILBERT (M.), Inventing a Melody with Harmony: Tonal Potential and Bach’s “Das alte Jahr vergangen ist”, pp.103-110, Volume C, No.1, 2006

– KLEIN (M. L.), Ironic Narrative, Ironic Reading, pp.95-136, Volume LIII, No. 1, 2009

– KLUMPENHOUWER (H.), An Instance of Parapraxis in the Gavotte of Schoenberg’s Opus 25, pp.217-248, Volume XXXVIII, No.2, 1994

•Aspects of Depth in K-net Analysis with Special Reference to
Webern’s opus 16/4, pp.1-44, Volume XLIX No.1, 2005

– KNAPP (J.), The 13th-Century Treatises on Modal Rhythm and the Descant, pp.200-215, Volume VI, No. II, 1962

– KOCHAVI (J.), Some Structural Features of Contextually-Defined Inversion Operators, pp.307-320, Volume XLII, No.2, 1998

– KOPP (D.), Pentatonic Organization in Two Piano Early Serial Music, pp.227-260, Volume XLI, No.2, 1997

– KOTTICK (E. L.), Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons, pp.264-274, Volume XII:II, No. I, 1968

– KNOPOFF (L.), Information Theory for Musical Continua, pp.17-44, Volume XV, No.1, 1981

•Entropy as a Measure of Style: The Influence of Sample Length, pp.75-98,
Volume XVII, No.1, 1983

– KRAEHENBUEHL (D.). On the Nature and Value of Theoretical Training: A Forum, pp. 31-69.
Volume III, No. I, 1959

– KRAMER (L.), Music Recomposed: Remarks on the History of the Same, pp.25-36, Volume LIV, No. 1, 2010

– KREBS (H.), Alternatives to Monotonality in Early Nineteenth-Century Music, pp.1-16, Volume XV, No.1, 1981

•School of Clavier Playing by D. G. Turk, pp.154-157, Volume XVII, No.1, 1983

•Some extensions of the Concept of Metrical Consonance and Dissonance, pp.99-
120, Volume XXXI, No. 1, 1987

– KRAMER (J.), The Row as Structural Background and Audible Foreground: The First movement of Webern’s First Cantata, pp.158-181, Volume XV, No. I, 1971

– KRUMHANSL (C.), Perceived Triad Distance: Evidence Supporting the Psychological Reality of Neo-Riemannian Transformations, pp.265-282, Volume XLII, No.2, 1998

– KURTH (R.), Partition Lattices in Twelve-Tone Music: An Introduction, pp.21-82, Volume XLIII, No.1, 1999

– LA RUE (J.), On Style Analysis, pp.91-108, Volume VI, No. 1, 1962

– LAKNER (Y.), A New Method of Representing Tonal Relations, pp.194-235, Volume IV, No 1, 1960

– LAMBERT (P.), Toward a Theory of Chord Structure for the Music of Charles Ives, pp.55-84, Volume XXXVII, No.1, 1993

– LARSON (S.), The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning, pp.101-136, Volume XLI, No.1, 1997

•Swing and Motive in Three Performances by Oscar Peterson, pp.283-314,
Volume XLIII, No.2, 1999

•Composition versus Improvisation?, pp.241-276, Volume XLIX, No.2, 2005

– LE CAINE (H.), A Tape Recorder for Use in Electronic Music Studios and Related Equipment, pp.73-82, Volume VII, No 1, 1963

– LEACH (E. E.), Counterpoint and Analysis in Fourteenth Century Song, pp.45-80, Volume XLIV, No.1, 2000
– LENNEBERG (H.), Johann Mattheson on Affect and Rhetoric in Music, pp.47-84, Volume II, No.1, 1958

  • Johann Mattheson on Affect and Rhetoric in Music (II), pp.193-236, Volume
    II, No.2, 1958

– LEONG (D.), Humperdinck and Wagner: Metric States, Symmetries, and Systems, pp.211-244, Volume CI, No.1, 2007

– LERDAHL (F.), Toward a Formal Theory of Tonal Music, pp.111-172, Volume XXI, No.1, 1977

•Generative Music theory and its Relation to Psychology, pp.45-90,     Volume
XV, No.1, 1981

•A Reply to Peel and Slawson’s Review of A Generative Theory of Tonal Music,
pp.145-160, Volume XXIX No.1, 1985

•Issues in Prolongational Theory: A Response to Larson, pp.141-156,    Volume
XLI, No.1, 1997

– LESTER (J.), The Recognition of Major and Minor Keys in German Theory: 1680-1730, pp.65-104, Volume XXII, No. 1, 1978

– LEWIN (D.), A Metrical Problem in Webern’s OP.27, pp.125-132, Volume VI, No. 1, 1962

•On Certain Techniques of Re-ordering in serial Music, pp.276-286, Volume X:II,
No. I, 1966

•Forte’s Interval Vector, My Interval Function, and Regener’s Common-Note
Function, pp.194-237, Volume XI, No. 2, 1977

•On the Interval Content of Invertible Hexachords, pp.158-188, Volume XX, No.2
1976

•A Label-Free Development for 12-Pitch-Class Systems, pp-29-48, Volume XXI,
No.1, 1977

•On Generalized Intervals and Transformations, pp.243-252, Volume XIV, No.2,
1980

•A Formal Theory of Generalized Tonal Functions, pp.23-60, Volume XVI, No.1,
1982

•A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg’s Opus
11, No.2, pp.79-102, Volume XXXVIII, no.1, 1994

•Cohn Functions, pp.181-216, Volume XL, No.2, 1996

•Some Ideas About Voice-Leading Between Pcsets, pp.15-72, Volume XLII, No.1,
1998

•Notes on the Opening of the F# Minor Fugue from WTC I, pp.235-240, Volume
XLII, No.2, 1998

– LINCICOME (D.), International Systems, pp.168-205, Volume XVI, No. I-II, 1972
– LINDLEY (M.), Mersenne on Keyboard Tuning, pp.167-204, Volume XIV, No.2, 1980

– LITCHFIELD (M.), Aristoxenus and Empiricism: A Reevaluation Based on His Theories, pp.51-74, Volume XXXII, No.1, 1988

– LOACH (D.), A Stylistic Approach to Species Counterpoint, pp.181-200, Volume I, No.2, 1957

– LONDON (J.), Musical Genre and Schenkerian Analysis, pp.101-124, Volume XLII, No.1, 1998

•Some Non-Isomorphisms between Pitch and Time, pp.57-126, Volume XLVI,
No.1-2, 2002

– LONG (M. K.), Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler, pp.235-272, Volume LVIX, No. 2, 2015

– LONGYEAR (R. M.), Binary Variants of Early Classic Sonata Form, pp.162-197, Volume XIII:II, No. 1; 1969

•The Minor Mode in Eighteenth-Century Sonata Form, pp.182-229, Volume XV, No.
I, 1971

– LORD (C.), Intervallic Similarity Relations in Atonal Set Analysis, pp.91-114, Volume XV, No.1, 1981

– LUENING (O.), Some Random About Electronic Music, pp.3-84, Volume 8, No 1, 1964

– MACE (D. T.), Marin Mersenne on Language and Music, pp.2-35, Volume XIV:I, No. 1, 1970

MAEGAARD (O.), The Nomenclature of Pitch-Class Sets and the Teaching of Atonal Theory, pp.299-314, Volume XXIX No.2, 1985

– MARGULIS (E. H.), Moved by Nothing: Listening to Musical Silence, pp.245-276, Volume CI, No.1, 2007

– MARTIN (H.), Balancing Composition and Improvisation in James P. Johnson’s “Carolina Shout”, pp.277-300, Volume XLIX, No.2, 2005

•Rameau’s Changing Views on Supposition and Suspension, pp.121-168, Volume
LVI, No. 2, 2012

– MARTINO (D.), The Source Set and Its Aggregate Formations, pp.224-274, Volume V, No. II, 1961

– MARTINS (J. O.), Bartòk’s Polymodality: The Dasian and Other Affinity Spaces, pp.273-320, Volume LVIX, No. 2, 2015

– MASON (R. M.), Enumeration of Synthetic Musical Scales bt Matrix Algebra and a Catalogue of Busoni Cales, pp.92-126, Volume XIV:I, No. 1, 1970

– MATHIENS (T. J.), Aristides Quintilianus and the Harmonics of Manuel Bryenniua: A Study in Byzantine Music Theory, pp.31-48, Volume XVII, No.1, 1983

•An Annotated Translation of Euclid’s Division of a Monochord, pp.236-
259, Volume XIX, No. 2, 1975

– MAVROMATIS (P.), Exploring the Rhythm of the Palestrina Style: A Case Study in Probabilistic Grammar Induction, pp.169-224, Volume LVI, No. 2, 2012

– McCLAIN (E. G.), Musical “Marriages” in Plato’s Republic, pp.242-273, Volume XVIII.II, No.I, 1974

– MAcLEAN HYDE (M.), The Roots of Form in Schoenberg’s Sketches, pp.1-36, Volume XIV, No.1, 1980

_ McCRELESS (P.), Aspects of Schenkerian Theory, David Beach, pp.169-176, Volume XXIX No.1, 1985

– McFARLAND (M.), Debussy: The Origins of a Method, pp.295-324, Volume XLVIII, No.2, 2004

– McNAMEE (A. K.), Bitonality, Mode, and Interval in the Music of Karol Szymanowski, pp.61-84, Volume XXIX No.1, 1985

– MEAD (A.), Physiological Metaphors and Musical Understanding, pp.1-20, Volume XLIII, No.1, 1999

– MEKEEL (J), The Harmonic Theories of Kirnberger and Marpurg, pp.169-193, Volume IV, No 1, 1960

– MEYERS (R. G.), Technical Bases Of Electronic Music, pp.184-250, Volume VIII, No 1, 1964

•Technical Bases of Electronic Music [Continued], pp.216-274, Volume X:II,
No. I, 1966

– MIRKA (D.), Punctuation and Sense in Late-Eighteenth-Century Music, pp.235-282, Volume LIV, No. 2, 2010

– MITCHELL (W. J.), The STUDY OF Chromaticism, pp.2-31, Volume VI, No. 1, 1962

– MONAHAN (S.), Action and Agency Revisited, pp.321-372, Volume LVII, No. 2, 2013

– MOONEY (K.), Hugo Riemann’s Debut as a Music Theorist, pp.81-99, Volume XLIV, No.1, 2000

•Riemann’s “Musical Logic”, pp.100-125, Volume XLIV, No.1, 2000

– MORENO (J.), Challenging Views of Repetition: From Satzlehre to Melodielehre, pp.127-170, Volume XLIV, No.1, 2000

– MORGAN (R. P.), Dissonant Prolongations: Theoretical and Compositional Precedents, pp.49-92, Volume XX, No.1, 1976

•Articles/Review: Are There Two Tonal Practices in Nineteenth-Century
Music? The Second Practices of Nineteenth-Century Tonality; William
Kinderman and Harald Krebs, eds., pp.135-164, Volume XLIII, No.1, 1999

•Review David W. Beach, Aspects of Unity in J. S. Bach’s Partitas and Suites:
An Analytical Study, pp.181-188, Volume XLIX, No.1, 2005

•Dissonant Prolongations Again: Nontonic Extensions in Nineteenth-Century
Music, pp.1-22, Volume LX, No. 1, 2016

– MORI (A.), Propositional Exchange in Stravinsky’s Early Serial Music, pp.227-260, Volume XLI, No.2, 1997

– MORRIS (R.), The Structure of All-Interval Series, pp.364-389, Volume XVIII.II, No. I, 1974

•On the Generation of Multiple Order-Function Twelve-Tone Rows, pp.238-263, Volume
XI, No. 2, 19

•Set Groups, Complementation, and Mappings among Pitch-Class sets, pp.101-143, Volume
XVI, No.1, 1982

•Pitch-Class Complementation and its Generalizations, pp.175-246, Volume XXXIV, No.1,
1990

•Equivalence and Similarity in Pitch and their Interaction with Pcset Theory, pp.207-244,
Volume XXXIX, No.2, 1995

– MURPHY (S.), Metric Cubes in Some Music of Brahms, pp.1-56, Volume LIII, No. 1, 2009

– MUZZULINI (D.), Musical Modulation by Symmetries, pp.311-328, Volume XXXIX, No.2, 1995

– NAKASEKO (K.), Symbolism in Ancient Chinese Music Theory, pp.146-180, Volume I, No.2, 1957

– NELSON (R. B.), Kirnberger’s Thoughts on the Different Methods of Teaching Composition as Preparation for Understanding Fugue, pp.71-94, Volume XXIX No.2, 1985

•Kirnberger’s Thoughts on the Different Methods of Teaching Composition as
Preparation for Understanding Fugue, pp.71-94, Volume XXX, No. 1, 1986

– NEUMEYER (D.), The Ascending Urlinie, pp.275-304, Volume XVIII, No.2, 1984

– NEWMAN (W. S.), The Sonata In The Classic Era, pp.113-129, Volume VIII, No 1, 1964

– NOBILE (D.), Harmonic Function in Rock Music: A Syntactical Approach, pp.149-180, Volume X, No. 2, 2016

– NOLAN (C.), Structural Levels and Twelve-Tone Music: A Revisional Analysis of the Second Movement of Webern’s Piano Variations Opus 27, pp.47-76, Volume XXXIX, No.1, 1995

– NORDGREN (Q. R.), A Measure of textural Patterns And Strengths, pp.19-31, Volume IV, No 1, 1960

– OGDON (W), A Webern Analysis, pp.133-150, Volume VI, No. 1, 1962

– OSTER (E.), Register and the Large-scale connection, pp.54-71, Volume V, No. I, 1961

– PARKS (R. S.), Voice Leading and Cromatic Harmony in the Music of Chopin, pp.189-214, Volume XX, No.2, 1976

•Harmonic Resources in Bartòk’s “Fourhts”, pp.245-274, Volume XV, No.2,
1981

•Tonal Analogues as Atonal Resources and their Relation to Form in Debussy’s
Chromatic Etude, pp.33-60, Volume XXIX No.1, 1985

•Claude Debussy and Twentieth-Century Music by Stage of the Scientific
Revolution, pp.328-335, Volume XXIX No.2, 1985

– PASTILLE (W.), Schenker’s High-Level Motives, pp.117.148, Volume XXXVI, No.1, 1992

– PEARSALL (E.), Mind and Music: On Intentionality, Music Theory, and Analysis, pp.231-256, Volume XLIII, No.2, 1999

•Transformational Streams: Unraveling Melodic Processes in Twentieth-
Century Motivic Music, pp.69-98, Volume XLVIII, No.1, 2004

– PECK (R.), Composite Interval Cycle Sets, Their Relations, and Applications, pp.153-206, Volume XLVI, No.1-2, 2002

•Generalized Commuting Groups, pp.143-178, Volume LIV, No. 2, 2010

– PEDERSEN (P.), The Mel Scale, pp.295-308, Volume IX:II, No. 1, 1965

– PEEL (J.), A Generative Theory of Tonal Music By Fred Lerdhal and Ray Jackendoff, pp.271-293, Volume XVII, No.1, 1983

•Reply to a Reply, pp.161-168, Volume XXIX No.1, 1985

– PIKLER (A. G.), Mewls and Musical Intervals, pp.288-299, Volume X:II, No. I, 1966

– POLANSKY (L.) [with James Tenney], Temporal Gestalt Perception in Music, pp.205-242, Volume XIV, No.2, 1980

•Possible and Impossible Melodies: Some Formal Aspects of Contour, pp.259-
284, Volume XXXVI, No.2, 1992

– POLLAND (W.), Theories of Musical Behavior, pp.150-173, Volume VII, No. I-II, 1962

– POWELL (N. W.), Fibonacci and the Golden Mean: Rabbits, Rumbas, and Rondeaux, pp.227-274, Volume XXIII, No.2, 1979

– PLANCHART (A. E.), A Study of The Theories of Giuseppe Tartini, pp. 32-61, Volume IV, No 1, 1960

– PLANTINGA (L.), Philippe de Vitry’s Ars Nova: A Translation, pp.204-223, Volume V, No. II, 1961

– RAHN (J), Notes on Methodology in Music theory, pp.143-154, Volume XVIII, No.2, 1984

•Coordination of Interval Sizes in Seven-Tone Collections, pp.33-60, Volume XXXV,
No.1, 1991

– REYNOLDS (W. H.), Analysis and unity, pp.140-154, Volume III, No. I, 1959

– REDWOOD (A.), Mersenne and the Art of Delivery, pp.99-120, Volume LVIX, No. 1, 2015

– REGENER (E.), The Number seven in the Theory of Intonation, pp.140-153, Volume XIX.I. Vol. I. 1975

– REHDING (A.), Rousseau, Rameau, and Enharmonic Furies in the French Enlightenment, pp.141-180, Volume XLIX, No.1, 2005

– REN WICK (W.), Of Time and Eternity: Reflections on “Das alte Jahr Vergangen ist”, pp.65-76, Volume C, No.1, 2006

– RIEMANN (H.), Polyphonic Theory of the 16th Century, pp.127-145, Volume VII, No. I-II, 1962

– RIVERA (B. V.), The Isagoge (1581) of Johannes Avianius: An Early Formulation of Triadic Theory, pp.43-64, Volume XXII, No. 1, 1978

•On the Modes, pp.336-340, Volume XXIX No.2, 1985

– ROCHBERG (G.), The harmonic tendency of the hexachord, pp.208-230, Volume III, No. I, 1959

•Webern’s Search For Harmonic Identity, pp.109-124, Volume VI, No. 1,
1962

– ROCKWELL (J.), Banjo Transformations and Bluegrass Rhythm. pp.137-161, Volume LIII, No. 1, 2009

– ROEDER (J.), Harmonic Implications of Schoenberg’s Observations of Atonal Voice Leading, pp.27-62, Volume XVIII, No.2, 1984

•A Calculus of Accent, pp.1-41, Volume XXXIX, No.1, 1995

•Transformational Aspects of Arvo Part’s Tintinnabuli Music, pp.1-43, Volume
LV, No. 1, 2011

– ROIG-FRANCOLI’ (M. A.), Modal Paradigms in Mid-Sixteenth-Century Spanish Instrumental Composition: Theory and Practice in Antonio de Cabezòn and Thomàs de Santa Marìa, pp.249-292, Volume XXXVIII, No.2, 1994

– ROTHFARB (L. A.), Hermeneutics and Energetics: Analytical Alternatives in the Early 1900s, pp.43-68, Volume XXXVI, No.1, 1992

•Nineteenth-Century Fortunes of Musical Formalism, pp.167-220,Volume
LV, No. 2, 2011

– ROTHGEB (J.), Some Uses of Mathematical Concepts on Theories of Music, pp.200-275, Volume X:II, No. I, 1966

•Design as a Key to Structure on Tonal Music, pp.230-273, Volume XV, No. I, 1971

•Strict Counterpoint and Tonal Theory, pp.260-285, Volume XIX, No. 2, 1975

– ROTHSTEIN (W.), Linear Structure in the Twelve-Tone System: An Analysis of Donald Martino’s Pianissimo, pp.129-166, Volume XIV, No.2, 1980

•Brahms and the Principle of Developing Variation by Walter Frisch, pp.284-
294, Volume XXX, No. 2, 1986

– ROWELL (L.), Aristoxenus on Rhythm, pp.63-80, Volume XXIII, No.1, 1979

•Early Indian Musical Speculation and the Theory of Melody, pp.217-244,
Volume XV, No.2, 1981

– RAHN (J.), Generalized Musical Intervals and Transformations by David Lewin, pp.305-317, XXXIII, No.1, 1989

– RAPOPORT (P.), The Structural Relationships of Fifths and Thirds in equal Temperaments, pp.351-390, Volume XXXVII, No.2, 1993

– RINK (J.), Schenker and Improvisation, pp.1-55, Volume XXXVII, No.1, 1993

– ROTHSTEIN (W.), Tonal Structures in Bellini, pp.225-284, Volume LVI, No. 2, 2012

– RUPPRECHT (P.), Tonal Stratification and Uncertainty in Britten’s Music, pp.311-346, Volume XL, No.2, 1996

– RUSCH (R.), Schubert’s Drei Klavierstucke, D. 946, nos. 1 and2, and the Case of the Crossed-Out C Section, pp.53-86, Volume LVI, No. 1, 2012

– SANGUINETTI (G.), The Realization of Partimenti: An Introduction, pp.51-84, Volume CI, No.1, 2007

– SARATH (E.), A New look at Improvisation, pp.1-38, Volume XL, No.1, 1996

– SASLAW (J), Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music, pp.217-244, Volume XL, No.2, 1996

– SATYENDRA (R.), An Informal Introduction to Some Formal Concepts From Lewin’s Transformational Theory, pp.99-142, Volume XLVIII, No.1, 2004

– SAVAGE (W. R.), New York: Oxford University Press, 1977, pp.123-150, Volume XXIII, No.1, 1979

– SCHACHTER (C.), More About Schubert’s OP. 94/1, pp.218-229,  Volume XIII:II, No. 1; 1969

– SCUBERT (E. D.), Interval Recognition: Identification of Harmonic and Melodic Intervals, pp.212-235, Volume XIX, No. 2, 1975

– SEAY (A.), The Proportional Musicals of Johannes Tinctoris, pp.22-75, Volume I, No.1, 1957

•The Expositio Manus of Johannes Tinctoris, pp.194-233, Volume IX:II, No. 1, 1965

•French Renaissance Theory and Jean Yssandon, pp.254-273, Volume XV, No. I-II,
1971

– SEMMENS (R.), Etienne Louliè and the New Harmonic Counterpoint, pp.73-88, Volume XVII, No.1, 1983

– SERVIER (Z. V. D.), Dissonant Prolongations: Theoretical and Compositional Precedents, pp.49-92, Volume XX, No.1, 1976

– SELLECK (J.), Procedures for the Analysis of  Form: Two Computer Applications, pp.280-294, Volume IX:II, No. 1, 1965

– SERWER (H.), Marpurg Versus Kirrnberger: Theories of Fugal composition, pp.209-233, Volume XIV:II, No. I, 1970

– SCHACHTER (C. E.), A Commentary on Schenker’s Free Composition, pp.115-142, Volume XV, No.1, 1981

– SHACKFORD (C.), Some Aspects of Perception, Part I, pp.162-274, Volume V, No. II, 1961

•Some Aspects of Perception, Part II, pp.66-90, Volume VI, No. 1, 1962

•Some Aspect Perception III: Addenda, pp.295-317, Volume VI, No. II, 1962

– SCHMIDT (C.), On the Development of Musical Systems, pp.32-65, Volume VI, No. 1, 1962

– SCHACHTER (C.), Beethoven’s’ Sketches for the First Movement of op. 14, no. 1: A Study in Design, pp.1-22, Volume XVI, No.1, 1982

– SCHAEFFER (M.), The Electronic Music studio of the University of Toronto, pp.22-73, Volume VII, No 1, 1963

– SCHMALFELDT (J.), On the Relation of Analysis to Performance: Beethoven’s Begatelles Op. 126, Nos. 2 and 5, pp.1-33, Volume XXIX No.1, 1985

– SCHUBERT (P. N.), The Fourteen-Mode System of Illuminato Aiguino, pp.175-210, Volume XXXV, No.1, 1991

– SCHWARZ (D.), Review of Neil Lerner and Joseph N. Straus (eds.), Sounding Off: Theorizing Disability in Music, pp.189-206, Volume XLIX, No.1, 2005

– SERAFINE (M. L.), The Psychology of Music, pp.134-141, Volume XVII, No.1, 1983

– SHAFTEL (M.), From Inspiration to Archive: Cole Porter’s “Night and Day” pp.315-348, Volume XLIII, No.2, 1999

– SHELDON (D. A.), The Ninth Chord in German Theory, pp.61-100, Volume XVI, No.1, 1982

– SHENKER (H.), Organic Structure in Sonata, pp.164-183, Volume 12:2, No.

– SHIR-CLIFF (J.), Chromatic Harmony, pp.309-331, Volume IX:II, No. 1, 1965

– SHIRLAW (M.), The Science of Harmony: The Harmonic Generation of Chords, pp. 1-18, Volume IV, No 1, 1960

– SCHULTZ (R.), Normalizing Musical Contour Theory, pp.23-50, Volume LX, No. 1, 2016

– SILLIMAN (A. C.), Familiar Music and the A Priori: Beethoven’s Seventh Symphony, pp.215-226, Volume XX, No.2, 1976

– SIMMS (B.), Choron, Fetis, and the Theory of Tonality, pp.112-139, Volume XIX.I. Vol. I. 1975

•Line and Harmony in the Sketches of Schoenberg’s “Seraphita”, op.22, no.1,
Volume XVI, No.2, 1982

– SMITH (P. H.), Structural Tonic or Apparent Tonic? Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities, pp.245-284, Volume XXXIX, No.2, 1995

•Outer-Voice Conflicts: Their Analytical Challenges and Artistic Consequences,
pp.1-44, Volume XLIV, No.1, 2000

•Harmonic Cross-Reference and the Dialetic of Articulation and Continuity in
Sonata Expositions of Schubert and Brahms, pp.143-180, Volume C, No.2, 2006

•”We Look Away and Leap Around”: Music, Ethics, and the Transcendental in
Cavell and Adorno, pp.121-140, Volume LIV, No. 1, 2010

•Schumann’s Continuous Expositions and the Classical Tradition, pp.25-56,
Volume LVIII, No. , 2014

– SMOLIAR (W. S.), Process Structuring and Music Theory, pp.308-337, Volume XVIII.II, No. I, 1974

•Music Programs: An Approach to Music Theory Trough Computational
•Linguistics, pp.105-132, Volume XX, No.1, 1976

•Musical Grammars and Computer Analysis, M. Baroni and L. Callrgari, eds,
pp.130-140, The IC Max Point Structure, MM Vectors and Regions,

– SMYTH (D.), Schenker’s Octave Lines Reconsidered, pp.101-134, Volume XLIII, No.1, 1999

– SNNARRENBERG (R.), On the Prosody of German Lyric Song, pp.103-154, Volume LVIII, No. 2, 2014

– SODERBERG (S.), Z-Related Sets as Dual Inversions, pp.77-100, Volume XXXIX, No.1, 1995

•The T-Hex Constellation, pp.207-234, Volume XLII, No.2, 1998

•Schumann’s A-minor Mood: Late Style Dialectics in the First Movement of
the Cello Concerto, pp.51-88, Volume LX, No. 1, 2016

– STARR (D.), Sets, Invariance and Partitions, pp.1-42, Volume XXII, No. 1, 1978

– STEIN (D.), The expansion of the subdominant in the Late Nineteenth Century, pp.153-180, Volume XVII, No.2, 1983

– STEINMAYER (O.), Bacchius Geron’s Introduction to the Art of Music, pp.271-298, Volume
XXIX No.2, 1985

– STOECKER (P.), Aligned-Cycle Spaces, pp.181-212, Volume X, No. 2, 2016

– STRAUS (J.), Stravinsky’s Tonal Axis, pp.261-290, Volume XVI, No.2, 1982

The Music of Igor Stravinsky by Peter van den Toorn, pp.129-133, Volume XVII,
No.1, 1983

•The Problem of Prolongation in Post-Tonal Music, pp. 1-22, Volume XXXI, No.
1, 1987

•A Response To Larson, pp.137-140, Volume XLI, No.1, 1997

•Voice Leading in Set-Class Space, pp.45-108, Volume XLIX, No.1, 2005

•Contextual-Inversion Spaces, pp.43-88, LV, No. 1, 2011

– STEEGE (B.), Helmholtz, Music, Theory, and Liberal-Progressive History, pp.283-310, Volume LIV, No. 2, 2010

– STELLA (G.), Partimenti in the Age of Romanticism: Raimondi, Platania, and Boucheron, pp.161-184, Volume CI, No.1, 2007

– STUCKY (S.), Alternative Voices: Essays on Contemporary Vocal and Choral Composition by Istvan Anhalt, pp.121-133, Volume XXXI, No. 1, 1987

– STRUNK (S.), Chick Korea’s 1984 Performance of “Night and Day”, pp.257-282, Volume XLIII, No.2, 1999

•Notes on Harmony in Wayne Shorter’s Compositions, 1964-67, pp.301-332,
Volume XLIX, No.2, 2005

– SUURPA (L.), Form, Structure, and Musical Drama in Two Mozart Expositions, pp.181-210, Volume C, No.2, 2006

– SWAIN (J. P.), Les Fundaments de la Musique Tonale: Une Perspective Analytique Post-Schenkerienne by Celestin Deliege, pp.122-129, The IC Max Point Structure, MM Vectors and Regions,

– SWIFT (R.), New Images of Musical Sound by Robert Cogan, pp.277-283, Volume XXX, No. 1, 1986

– TARUSKIN (R.), Reply to Brown and Dempster, pp.155-164, Volume XXXIII, No.1, 1989

– TAAAVOLA (K.), Segmentation in Music: Generalizing a Piece-Sensitive Approach, pp.171-230, Volume XLIV, No.1, 2000

– TEMPERLEY (D.), Information Flow and Repetition in Music, pp.155-178, Volume LVIII, No. 2, 2014

– TENNEY (J. C.), Sound-Generation by means of a Digital Computer, pp.24-72, Volume VII, No 1, 1963

•Music as Heard: A Study in Applied Phenomenology by Thomas Clifton,
pp.197-2013, Volume XXIX No.1, 1985
– THOMSON (W.), The Problem of Tonality in Pre-Baroque and Primitive Music, pp.36-46, Volume II, No.1, 1958

•Style Analysis: Or The Perils of Pigeonholes, pp.191-208, Volume XIV:II,
No. 1, 1970

•Counterpoint in the Style of J. S. Bach by Thomas Benjamin, pp.345-352,
Volume XVIII, No.2, 1984

– TISCHLER (H.), A Propos Meter and Rhythm in the Ars Antiqua, pp.313-330, Volume XVI, No.2, 1982

– TRAVIS (R.), Towards a New Concept of Tonality, pp. 257-284, Volume III, No. I, 1959

– TRAUX (B.), A Communicational Approach to Computer Sound Programs, pp.227-300, Volume XX, No.2, 1976

– TREITLER (L.), Regarding “A Propos Meter and Rhythm in the Ars Antiqua”, pp.215-222, Volume XVII, No.1, 1983

– TYMOCZKO (D.), Scale Networks and Debussy, pp.147-218, Volume XLVIII, No.2, 2004

•Set-Class Similarity, Voice Leading, and the Fourier Transform, pp.251-272,
Volume LII, No. 2, 2008

• Generalizing Musical Intervals, pp.227-254, Volume LIV, No. 1, 2010

•Dear Stanley, pp.5-24, Volume LIII, No. 2, 2009

•The Generalized Tonnetz, pp.1-52, Volume LVI, No. 1, 2012

– URIBE (P. W.), A. B. Marx’s Sonateform, pp.221-252, Volume LV, No. 2, 2011

– VAISALA (O.), Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music, pp.207-284, Volume XLVI, No.1-2, 2002

– VARDELL SANDRESKY (M.), The Golden Selection in Three Byzantine Motets of Dufay, pp.291-306, Volume XV, No.2, 1981

-VELIMIROVIC (M.), Recent Soviet Articles on Music Theory, pp.283-294, Volume VI, No. II, 1962

-VERRALL (J.), A Method for FINDING Symmetrical Hexachords in Serial Form, pp.277-282, Volume VI, No. II, 1962

– VON BEKESY (G.), Improved Musical Dynamics by Variation of Apparen6t Size of Sound Source, pp.141-164, Volume XIV:II, No. I, 1970

– ZABKA (M.), Dancing with the Scales: Subchromatic Generated Tone Systems, pp.179-234, Volume LVIII, No. 2, 2014

– YOUNGBLOOD (J. E.), Style as Information, pp.24-35, Volume II, No.1, 1958

– WALDBAUER (I.), Riemann’s Periodization Revisited and Revisited, pp.333-392, Volume XXXIII, No.2, 1989

– WALKER (A.), A Study in Musical Analysis, pp.257-265, Volume VII, No. I-II, 1962

– WASON (R.), Schenker’s Notion of Scale-Step in Historical Perspective: Non-Essential Harmonies in Viennese Fundamental Bass Theory, pp.49-74, Volume XVII, No.1, 1983

•Riemann’s “Ideen zu einer ‘Lehre von den Tonvorstellungen’”: An Annotated
Translation, pp.69-116, Volume XXXVI, No.1, 1992

•Die Franzosische Kompositionslehre des 19. Jahrhunderts by Renate Groth,
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– WATERS (K.), Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock, pp.333-358, Volume XLIX, No.2, 2005

– WATES (R. E.), Thinking About Music: An Introduction to Philosophy of Music by Lewis Rowell, pp.141-144, Volume XXX, No. 1, 1986

– WEINLAND (J. D.), An Electronic Music Primer, pp.250-275, Volume XIII:II, No. 1; 1969

– WHITTALL (A.), Music and Poetry: The Nineteenth Century and After by Lawrence Kramer, pp.304-308, Volume XXX, No. 2, 1986

– WHITTENBERG (C.), Twentieth Century Music, pp.295-316, Volume XIII:II, No. 1; 1969

– WILDING-WHITE (R.), Tonality and Scale Theory, pp.275-286, Volume V, No. II, 1961

– WILLNER (C.), Metrical Displacement and Metrically Dissonant Hemiolas, pp.87-118, Volume LVII, No. 1, 2013

– WIENPAHL (R. W.), The Evolutionary Significance of  15TH Century Cadential Formulae, pp.131-168, Volume IV, No 1, 1960

– WINCKEL (F.), The Psycho-Acoustical Analysis of Music as Applied to Electronic Music, pp.194-148, Volume VII, No. I-II, 1962

– YESTON (M), Rubato and the Middleground, pp.286-301, Volume XIX, No. 2, 1975

– YUST (J.), Schubert’s Harmonic Language and Fourier Phase Space, pp.121-182, Volume LVIX, No. 1, 2015

•Special Collections: Renewing Set Theory, pp.213-262, Volume X, No. 2, 2016

– ZBIKOWSKI (L.), Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy, pp.193-226, Volume XLI, No.2, 1997