– ABBATE (C.), The Parisian “Vénus” and the “Paris” Tannhäuser, pp.73-123, Volume XXXVI, No.1, 1983

  • Outside Ravel’s Tomb, pp.465-530, Volume 52, No.3, 1999

– ADAMS (B.), British Music and Modernism, 1895-1960, edited by Matthew Riley, pp.741-745, Volume 64, No.3, 2011

– ADKINS (C. D.), Supplement (1968) to Doctoral Dissertations in Musicology, pp.342-380, Volume XXI, No.3, 1968

  • Supplement (1969) to Doctoral Dissertations in Musicology, pp.456-503, Volume XXII, No.3, 1969
  • Supplement (1971) to Doctoral Dissertations in Musicology, pp.414-448, Volume XXIV, No.3, 1971
  • Supplement (1972) to Doctoral Dissertations in Musicology, pp.428-467, Volume XXV, No.3, 1972

– ADKINS (C. D.), DICKINSON (A.), Supplement (1973) to Doctoral Dissertations in Musicology, pp.440-479, Volume XXVI, No.3, 1973

  • Supplement (1974) to Doctoral Dissertations in Musicology, pp.475-514, Volume XXVII, No.3, 1974

– ADRIAANSZ (W.), A Japanese Procrustean Bed: A Study of the Development of Danmono, pp.26-60, Volume XXIII, No.1, 1970

– AGAWU (K.), Elaine R. Sisman, Haydn and the Classical Variation, pp.136-144, Volume XLVIII, No.1, 1995

  • The Invention of “African Rhythm”, pp.380-395, Volume XLVIII, No.3, 1995
  • Music and the Racial Imagination, edited by Ronald Radano and Philip V. Bohlman, pp.686-691, Volume 54, No.3, 2001
  • Structural Analysis or Cultural Analysis? Competing Perspectives on the “Standard Pattern” of west African Rhythm, pp.1-46, Volume 59, No.1, 2006
  • Analytical Studies in world Music, edited by Michael Tenzer, pp.411-418, Volume 61, No.2, 2008

– AGEE (R. J.), Ruberto Strozzi and the Early Madrigal, pp.1-17, Volume XXVI, No.1, 1983

  • Filippo Strozzi and the Early Madrigal, pp.227-237, Volume XXXVIII, No.2, 1985
  • Lawrence F. Bernstein, ed., La Couronne et fleur des chansons a troys, pp.642-649, Volume XXXIX, No.3, 1986

– AGNEW (V.), The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner, by Matthew Gelbart, pp.155-159, Volume 63, No.1 , 2010

– AHLQUIST (K.), Juillard: A History, by Andrea Olmstead, pp.369-373, Volume 55, No.2, 2002

– ALBRECHT (O. E.), Opera in Philadelphia, 1800-1830, pp.499-515, Volume XXXII, No.3, 1979

– ALCÁNTARA ROJAS (B.), The Singing of the New World: Indigenous Voice in the Era of European Contact, by Gary Tomlinson, pp.647-652, Volume 63, No.3, 2010

– ALLEN (A. S.), Ecomusicology: Ecocriticism and Musicology, pp.391-394, Volume 64, No.2, 2011

  • Prospects and Problems for Ecomusicology in Confronting a Crisis of Culture, pp,.414-419, Volume 64, No.2, 2011

– ALLEN LOTT (R.), “New Music for New Ears”: The International Composers’ Guild, pp.266-287, Volume XXXVI, No.2, 1983

– ALLSEN (J. M.), Binchois Studies, edited by Andrew Kirkman and Dennis Slavin, pp.394-401, Volume 57, No.2, 2004

– ALMÉN (B.), Absolute Music and the Construction of Meaning, by Daniel K. L. Chua, pp.185-193, Volume 57, No.1, 2004

– ALTSTATT (A.), Cantus Planus Regensburg, directed by David Hiley; Corpus Antiphonalium Officii-Ecclesiae Centralis Europae, directed by László Dobszay and Gábor Prószéky; Cantus: A Database forLatin Ecclesiastical Chant, directed by Debra Lacoste; and Global Chant Database and The CANTUS Index, both directed by Jan Koláček, pp.267-285, Volume 67, No.1, 2014

– AKE (D.), Thelonious Monk: The Life and Time of an American Original, by Robin D. G. Kelley, pp.460-464, Volume 64, No.2, 2011

– ANDERSON (G. A.), A Small Collection of Notre Dame Motets Ca. 1215-1235, pp.157-196, Volume XXII, No.2, 1969

  • The Rhythm of cum littera Sections of Polyphonic Conductus in Mensural Sources, pp.288.304, Volume XXVI, No.2, 1973
  • Responsory Chants in the Tenors of Some Fourteenth-Century Continental Motets, pp.119-127, Volume XXIX, No.1, 1976
  • The Rhythm of the Monophonic Conductus in the Florence Manuscript As Indicated in Parallel Sources in Mensural Notation, pp.480-489, Volume XXXI, No.3, 1978

– ANDERSON (G. B.), Putting the Experience of the World at the Nation’s Command: Music at the Library of Congress, 1800-1917, pp.108-149, Volume XLII, No.1, 1989

– ANDERSON (M. A.), The One Who Comes After Me: John the Baptist, Christian Time, and Symbolic Musical Techniques, pp.639-708, Volume 66, No.3, 2013

– ANNIBALDI (C.), Musical Autographs of Frescobaldi and his Entourage in Roman Sources, pp.393-425, Volume XLIII, No.3, 1990

– ANTHONY (J. R.), The French Opera-Ballet in the Early 18th Century: Problems of Definition and Classification, pp.197-206, Volume XVIII, No.2, 1965

  • André Campra, Les Festes vénitiennes, pp.144-148, Volume XXVII, No.1, 1974
  • Louis E. Auld, The Lyric Art of Pierre Perrin, Founder of French Opera, pp.410-417, Volume XLII, No.2, 1989

– ANTOKOLETZ (E.), Pieter C. van den Toorn, The Music of Igor Stravinsky, pp.428-436, Volume XXXVII, No.2, 1984

  • Interval Cycles in Strvinsky’s Early Ballets, pp.578-614, Volume XXXIX, No.3, 1986
  • Jann Pasler, ed., Confronting Stravinsky: Man, Musician, and Modernist; and Ethan Haimo and Paul Johnson, eds., Stravinsky Retrospectives, pp.547-558, Volume XLI, No.3, 1988

– APEL (W.), From St.Martial to Notre Dame, pp.145-158, Volume II, No.3, 1949

  • Rondeaux, Virelais, and Ballades in French 13th-Century Song, pp.121-130, Volume VII, No.2, 1954
  • The Central Problem of Gregorian Chant, pp.118-127, Volume IX, No.2, 1956
  • Spanish organ music of the early 17th century, pp.174-181, Volume XV, No.2, 1962

– APLIN (J.), The Survival of  Plainsong in Anglican Music: Some Early English Te-Deum Settings, pp.247-275, Volume XXXII, No.2, 1979

  • Cyclic Techniques in the Earliest Anglican Services, pp.409-435, Volume XXXV, No.3, 1982

– APPLEGATE (C.), Verdi and the Germans: From Unification to the Third Reich, by Gungula Kreuzer, pp.880-885, Volume 65, No.3, 2012


– ASHBROOK (W.), Philip Gossett and Charles Rose, eds., Early Romantic Opera, pp.622-628, Volume XXXVIII, No.3, 1985

– ASHBY (A.), Of Model-Typen and Reihenformen: Berg, Schoenberg, F.H. Klein, and the Concept of Row Derivation, pp.67-105, Volume XLVIII, No.1, 1995

  • Schoenberg, Boulez, and Twelve-Tone Composition as “Ideal Type”, pp.585-626, Volume 54, No.3, 2001
  • Untwisting the Serpent: Modernism in Music, Literature, and Other Arts, by Daniel Albright, pp.740-747, Volume 56, No.3, 2003

– ASPDEN (S.), “Fam’d Handel Breathing, tho’ Transformed to Stone”: The Composer as Monument, pp.39-90, Volume 55, No.1, 2002

– ATKINSON (C. M.), The Earliest Agnus Dei Melody and Its Tropes, pp.1-19, Volume XXX, No.1, 1977

  • Itinerari e stratificazioni dei tropi: San Marco, l’Italia settentrionale e le regioni transalipine; Testi d’un convegno e di sessioni di studio negli anni 1992-1995 presso la fondazione Ugo e Olga Levi, edited by Wulf Arlt and Giulio Cattin, pp.641-647, Volume 63, No.3, 2010

– ATLAS (A.), A Note on Isaac’s Quid dabit capiti meo aquam, pp.103-110, Volume XXVII, No.1, 1974

  • Alexander Agricola and Ferrante I of Naples, pp.313-319, Volume XXX, No.2, 1977
  • Leeman Perkins and Howard Garey, eds., The Mellon Chansonnier, pp.132-143, Volume XXXIV, No.1, 1981
  • Howard Mayer Brown, ed., A Florentine Chansonnier from the Time of Lorenzo the Magnificent, pp.153-161, Volume XXXVIII, No.1, 1985

– AUBREY (E.), Poetry and Music in Medieval France: From Jean Renart to Guillaume de Machaut, by Ardis Butterfield, pp.704-710, Volume 58, No.3, 2005

  • The Christian West and Its Singer: The First Thousand Years, by Christopher Page, pp.297-304, Volume 66, No.1, 2013

– AUNER (J.), Glenn Watkins, Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to Postmodernists, pp.161-174, Volume XLIX, No.1, 1996

– BAILEY (T.), Accentual and cursive Cadences in Gregorian Psalmody, pp.463-471, Volume XXIX, No.3, 1976

– BALTHAZAR (S. L.), Intellectual History and Concepts of the Concerto, pp.39-72, Volume XXXVI, No.1, 1983

  • Rossini and the Development of the Mid-Century Lyric Form, pp.102-125, Volume XLI, No.1, 1988

– BALTZER (R. A.), Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript, pp.1-18, Volume XXV, No.1, 1972

  • Christopher Page, The Owl and the Nightingale: Musical Life and Ideas in France, 1100-1300, pp.498-502, Volume XLIV, No.3, 1991
  • The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine, by James Grier, pp.207-210, Volume 61, No.1, 2008

– BARBERA (A.), Recent Studies in Ancient Music and Ancient Music Theory, pp.353-367, Volume XLIII, No.2, 1990

– BARBOUR (M.), Irregular System of Temperament, pp.20-26, Volume I, No.3, 1948

– BARG (L.), Queer Encounters in the Music of Billy Strayhorn, pp.771-824, Volume 66, No.3, 2013

– BARTLET (M. E. C.), Politics and the Fate of Roger et Olivier, A Newly Recovered Opera by Grétry, pp.98-138, Volume XXXVII, No.1, 1984

  • Recent Volumes From Répertoire international de la presse musicale: A Retrospective Index Series, pp.498-504, Volume XLIII, No.3, 1990

– BARON (C. K.), All Made of Tunes: Charles Ives and the Uses of Musical Borrowing, pp.437-444, Volume 53, No.2, 2000

– BARON (J. H.), Secular Spanish Solo Song in Non-Spanish Sources, 1599-1640, pp.20-42, Volume XXX, No.1, 1977

– BARNET (G.), Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century, pp.245-282, Volume 51, No.2, 1998

– BASHFORD (C.), Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain, pp.291-360, Volume 63, No.2, 2010

– BAUMAN (T.), Edward J. Dent, The Rise of Romantic Opera, pp.535-539, Volume XXX, No.3, 1977

  • Benda, the Germans, and Simple Recitative, pp.119-131, Volume XXXIV, No.1, 1981
  • The Society of La Fenice and Its First Impresarios, pp.332-354, Volume XXXIX, No.2, 1986

– BAUR (S.), Ravel’s “Russian” Period: Octatonicism in His Early Works, 1893-1908, pp.531-592, Volume 52, No.3, 1999

– BEAL (A. C.), Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956, pp.105-140, Volume 53, No.1, 2000

– BEBBINGTON (W. A.), Richard Wagner, My Life, trans. Andrew Gray, ed. Mary Whittall, pp.663-667, Volume XXXIX, No.3, 1986

– BECKWITH (R. S.), Vladimir Vasilevich Stasov, Selected Essays on Music, pp.115-117, Volume XXV, No.1, 1972

– BÉHAGUE (G.), George List, Music and Poetry in a Colombian Village, pp.399-404, Volume XXXVIII, No.2, 1985

– BELLER-MCKENNA (D.), The Price of Assimilation: Felix Mendelssohn and the nineteenth-Century Anti-Semitic Tradition, by Jeffrey Sposato, pp.737-742, Volume 62, No.3, 2009

– BELLMAN (J. D.), Music in Chopin’s Warsaw, by Halina Goldberg, pp.226-231, Volume 62, No.1, 2009

– BENNET COCHRANE (M.), The Alleluia in Gregorian Chant, pp.213-220, Volume VII, No.3, 1954

– BENT (I. D.), “That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901-1910, pp.69-138, Volume 58, No.1, 2005

– BENT (M.), New and Little-Known Fragments of English Medieval Polyphony, pp.137-156, Volume XXI, No.2, 1968

  • Polyphonic Music of the Fourteenth Century. Vol. XII: Italian Sacred Music, Kurt von Fischer and F. Alberto Gallo, eds., pp.561-572, Volume XXXII, No.3, 1979
  • Resfacta and Cantare Super Librum, pp.371-391, Volume XXXVI, No.3, 1983
  • Manuscrits de musique polyphonique, XV et XVI siècles: Italie. Catalogue par Nanie Bridgman, pp.272-283, Volume XLVIII, No.2, 1995
  • On the Interpretation of Ø in the Fifteenth Century: A Response to Rob Wegman, pp.597-612, Volume 53, No.3, 2000

– BENT (M.) – BENT (I.), Dufay, Dunstable, Plummer – A New Source, pp.394-424, Volume XXII, No.3, 1969

– BENTON (R.), Cari Johansson. J. J. & B. Hummel Music-Publishing and Thematic Catalogues. Vol I: Text. Vol II: Music-Publishing Catalogues in Facsimile. Vol. III: Thematic Catalogue 1768-74 in Facsimile; Wolfgang Matthäus, Johann André Musikverlag zu Offenbach am Main: Verlagsgeschichte und Bibliographie 1772-1800, pp.530-532, Volume XXVII, No.3, 1974

  • International Association of Music Libraries, Commission for Bibliographical Research. Guide for Dating Early Published Music: A Manual of Bibliographical Practices, pp.138-140, Volume XXIX, No.1, 1976
  • Pleyel as Music Publisher, pp.125-140, Volume XXXII, No.1, 1979

– BERG (D. M.), Towards a Catalogue of the Keyboard Sonatas of C. P. E. Bach, pp.276-303, Volume XXXII, No.2, 1979

  • P.E. Bach’s Organ Sonatas: A Musical Offering for Princess Amalia?, pp.477-520, Volume 51, No.3, 1998

– BERGER (K.), Roman Ingarden, The Work of Music and the Problems of Its Identity, pp.558-565, No.3, 1988

– BERGQUIST (P.), The Poems of Orlando di Lasso’s Prophetiae Sibyllarum and Their Sources, pp.516-538, Volume XXXII, No.3, 1979

  • Reading Renaissance Music Theory: Hearing with the Eyes, by Cristle Collins Judd, pp.695-702, Volume 56, No.3, 2003

– BERNSTEIN (J. A.), Lassus in English Sources : Two Chanson Recovered, pp.315-325, Volume XXVII, No.2, 1974

– BERNSTEIN (L. F.), Claude Gervaise as Chanson Composer, pp.359-381, Volume XVIII, No.3, 1965

  • The cantus-firmus chansons of Tylman Susato, pp.197-240, Volume XXII, No.2, 1969
  • La Courone et fleur des chansons a troys : A Mirror of the French Chanson in Italy in the Years between Ottaviano Petrucci and Antonio Gardano, pp.1-68, Volume XXVI, No.1, 1973
  • The “Parisian Chanson”: Problems of Style and Terminology, pp.193-240, Volume XXXI, No.2, 1978

– BETZWIESER (T.), Orientalism, Masquerade and Mozart’s Turkish Music, by Matthew Head, pp.656-663, Volume 57, No.3, 2004

– BICK (S.), In the Tradition of Dissent: Music at The New School for Social Research, 1926-33, pp.129-290, Volume 66, No.1, 2013

– BJORK (D. A.), The Kyrie Trope, pp.1-41, Volume XXXIII, No.1, 1980

– BLACKBURN (B. J.), Josquin’s Chansons: Ignored and Lost Sources, pp.30-76, Volume XXIX, No.1, 1976

  • On Compositional Process in the Fifteenth Century, pp.210-284, Volume XL, No.2, 1987
  • Don Harrán, Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century; and James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600, pp.161-172, Volume XLII, No.1, 1989
  • Chromatic Beauty in the Late Medieval Chanson: An Interpretation of Manuscript Accidentals, by Thomas Brothers, pp.630-636, Volume 51, No.3, 1998

– BLASIUS (L. D.), The Psychopathic Ear: Music Experiments, Experimental Sounds, 1840-1910, by Alexandra Hui; and Helmholtz and the Modern Listener, by Benjamin Steege, pp.250-257, Volume 67, No.1, 2014

– BLOOM (P.), Berlioz and the Prix De Rome of 1830, pp.279-304, Volume XXXIV, No.2, 1981

– BLOECHL (O.), Dramatic Expression in Rameau’s “tragédie en musique”: Between Tradition and Enlightenment, by Cynthia Verba, pp.229-232, Volume 68, No.1, 2015

– BLOXAM (M. J.), In praise of spurious Saints: The Missae Floruit Egregiis by Pipelare and La Rue, pp.163-220, Volume XLIV, No.2, 1991

– BLUM (F.), Santayana’s Music Aesthetics, pp.20-28, Volume XI, No.1, 1958

– BLUM (S.), Rousseau’s Concept of Sisteme musical and the Comparative Study of Tonalities in Nineteenth-Century France, pp.349-361, Volume XXXVIII, No.2, 1985

– BOHLMAN (P.), Salomone Rossi: Jewish Musician in Late Renaissance Mantua, by Don Harrán, pp.395-402, Volume 53, No.2, 2000

  • Work and Pray: Living the Psalms with the Nuns of Regina Laudis, written and produced by Margot Fassler; Performing the Passion: J.S. Bach and the Gospel According to John, and a Church Musician, both directed and produced by Margot Fassler and Jacqueline C. Richard, pp.286-294, Volume 67, No.1, 2014

– BONDS (M. E.), Haydn, Laurence Sterne, and the origins of musical irony, pp.57-91, Volume XLIV, No.1, 1991

– BONTA (S.), Liturgical Problems in Monteverdi’s Marian Vespers, pp.87-106, Volume XX, No.1, 1967

  • The Uses of the Sonata da Chiesa, pp.54-84, Volume XXII, No.1, 1969

– BOORMAN (S.), The “Fisrt” Edistion of the Odhecaton A, pp.183-207, Volume XXX, No.2, 1977

  • The Critical Editing of Music: Hisotyr, Method, and Practice, by James Grier, pp.359-362, Volume 54, No.2, 2001

– BORGIR (T.), Peter Williams, Figured BassAccompaniment, 2 vols., pp.476-479, Volume XXV, No.3, 1972

– BORROFF (E.), Albert P. de Mirimonde, L’Iconographie musicale sous les rois Bourbons: La Musique dans les arts plastiques (XVIIe-XVIIIe siècles), pp.149-151, Volume XXXI, No.1, 1978

– BOTSTEIN (L.), Katherine Bergeron and Philip V. Bohlman, eds., Disciplining Music: Musicology and Ist Canons, pp.340-347, Volume XLVII, No.2, 1994

– BOYDEN (D. D.), Prelleur, Geminiani, and Just Intonation, pp.202-219, Volume IV, No.3, 1951

– BOYNTON (S.), Aspects of Orality and Formularity in Gregorian Chant, by Theodore Karp; and Gregorian Chant and the Carolingians, by Kenneth Levy, pp.141-152, Volume 53, No.1, 2000

– BOWER (C. M.), Hucbald, Guido, and John on Music, trans. Warren Babb, ed. Claude Palisca, pp.157-167, Volume XXXV, No.1, 1982

– BOWLES (E. A.), Musical instruments in the medieval corpus Christi procession, pp.251-260, Volume XVII, No.3, 1964

  • Jean Perrot, The Organ from Its Invention in the Hellenistic Period to the End of the Thirteenth Century, pp.272-276, Volume XXV, No.2, 1972

– BRACKETT (D.), Race, Rock, and Elvis, by Michael T. Bertrand, pp.215-221, Volume 57, No.1, 2004

– BRAINARD (P.), Tartini and the Sonata for Unaccompanied Violin, pp.383-393, Volume XIV, No.3, 1961

  • Bach’s Parody Procedure and the St. Matthew Passion, Volume XXII, No.2, 1969

– BRANDEL (R.), Music of the Giants and the Pygmies of the Belgian Congo, pp.16-28, Volume V, 1952

  • The Music of African Circumcision Rituals, pp.52-62, Volume VII, No.1, 1954
  • Robert Lewis Marshall, The Compositional Process of J. S. Bach: A Study of the Autograph Scores of the Vocal Works, pp.483-488, Volume XXVI, No.2, 1973

– BRAUNER (C. S.), Textual Problems in Bellini’s Norma and Beatrice di Tenda, pp.99-118, Volume XXIX, No.1, 1976

– BRAUNER (M. P.), Adalbert Roth, Studien zum frühen Repertoire der päpstlichen Zapelle unter dem Pontifikat Sixtus‘ IV. (1471-1484): Die Chrobücher 14 und 51 des Fondo Cappella Sistina der Biblioteca Apostolica Vaticana, pp.306-312, Volume XLVI, No.2, 1993

  • Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, edited by Paula Higgins, pp.337-346, Volume 55, No.2, 2002

– BRAUNSCHWEIG (Y.), Robert Schumann: Life and Death of a Musician, by John Worthen; and Robert Schumann: The Book of Songs, by Jon W. Finson, pp.726-736, Volume 62, No.3, 2009

– BRENNER (R. D.), Johann Mattheson, Cleopatra. Reinhardt Keiser, Die grossmütige Tomyris, pp.333-335, Volume XXX, No.2, 1977

– BRETT (P.), D. W. Krummel, English Music Printing 1553-1700, pp.155-158, Volume XXXII, No.1, 1979

– BRINNER (B.), A Musical Time Capsule from Java, pp.221-260, Volume XLVI, No.2, 1993

– BRISCOE (J. R.), Teaching Music History, edited by Mary Natvig, pp.693-702, Volume 57, No.3, 2004

– BRITTAN (F.), On Microscopic Hearing: Fairy Magic, Natural Science, and the Scherzo fantastique, pp. 527-600, Volume 64, No.3, 2011

  • Listz as Transcriber, by Jonathan Kregor, pp.308-314, Volume 66, No.1, 2013

– BROBECK (J. T.), Musical Patronage in the Royal Chapel of France under Francis I (R. 1515-1547), pp.187-239, Volume XLVIII, No.2, 1995


– BRODBECK (D.), Margit L. McCorkle, Johannes Brahms Thematisch-Bibliographisches Verzeichnis, pp.418-431, Volume XLII, No.2, 1989

  • Dvořák’s Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum, 71-132, Volume 60, No.1, 2007

– BRODER (N.), The Beginning of the Orchestra, pp.174-180, Volume XIII, 1960

– BRODY (E.), Francois Lesure, comp., and Richard Langham Smith trans. and ed., Debussy on Music, pp.376-382, Volume XXXI, No.2, 1978

– BRODY (M.), Twelve-Tone Music in America, by Joseph N. Straus, pp. 291-297, Volume 65, No.1, 2012

– BROFSKY (H.), Newell Jenkins and Bathia Churgin, Thematic Catalogue of the Works of Giovanni Battista Sammartini, pp.365-367, Volume XXXI, No.2, 1978

– BRONSON (B. H.), Some Observations about Melodic Variation in British-American Folk Tunes, pp.120-134, Volume III, No.2, 1950

– BROOK (B. S.), Robert Münster and Robert Machold, eds., Thematischer Katalog der Musikhandschriften der ehemahligen Klosterkirchen Weyarn, Tegernesee und Benediktbeuern; Ursula Bockholdt, Robert Machold and Lisbet Thew, eds., Thematischer Katalog der Benediktinerinnenabtei Frauenwörth und der Pfarrkirchen Indersdorf, Wasserburg am Inn und Bad Tölz; Gertraut Haberkamp, ed., Thematischer Katalog der Musikhandschriften der Fürstlich Oettingen-Wallerstein’schen Bibliothek Schloss Harburg, pp.549-555, Volume XXXII, No.3, 1979

– BROOKS (C.), Antoine Busnois, Chanson Composer, pp.111-135, Volume VI, No.2, 1952

– BROOKS (J.), Nadia Boulanger and the Salon of the Princesse de Polignac, pp.415-468, Volume XLVI, No.3, 1993

– BROOKS HOWARD (J.), Form and Method in Johannes Lippius’s Synopsis Musicae Novae, pp.524-550, Volume XXXVIII, No.3, 1985

– BROTHERS (T.), Two Chansons Rustiques à 4 by Claudin de Sermisy and Clément Janequin, pp.305-324, Volume XXXIV, No.2, 1981

  • Vestiges of the Isorhythmic tradition on mass and motet, Ca. 1450-1475, Volume XLIV, No.1, 1991
  • Pioneers of Jazz: The Story of the Creole Band, by Lawrence Gushee, pp.747-755, Volume 59, No.3, 2006

– BROWN (A. P.), Problems of Authenticity in Two Haydn Keyboard Works (Hoboken XVI:47 and XIV:7), pp.85-97, Volume XXV, No.1, 1972

  • Marianne Danckwardt, Die langsame Einleitung: Ihre Herkunft und ihr Bau bei Haydn und Mozart (Münchener Veröffent-lichungen zur Musikgeschichte, 25), pp.200-204, Volume XXXIII, No.1, 1980
  • Joseph Haydn and Leopold Hofmann’s «Street Songs», pp.356-383,Volume XXXIII, No.2, 1980
  • Notes on Some Eighteenth-Century Viennese Copyists, pp.325-338, Volume XXXIV, No.2, 1981
  • Joseph Kerman, The Masses and Motets of William Byrd, pp.162-169, Volume XXXVIII, No.1, 1985

– BROWN (B. A.), Gluck’s Rencontre Imprévue and Its Revisions, pp.498-518, Volume XXXVI, No.3, 1983

– BROWN (H.), The Chanson rustique : Popular Elements in the 15th- and 16th-Century Chanson, pp.16-26, Volume XII, No.1, 1959

  • The Chanson Spirituelle, Jacques Buus, and Parody technique, pp.145-173, Volume XV, No.2, 1962

– BROWN (H. M.), Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance, pp.1-48, Volume XXXV, No.1, 1982

  • Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, ed. Emil Vogel, Alfred Einstein, François Lesure, and Claudio Sartori, pp.142-150, Volume XXXVI, No.1, 1983

– BROWN (M. H.), Hannsdieter Wohlfarth, Johann Christoph Friedrich Bach: Ein Komponist im Vorfeld der Klassik, pp.496-500, Volume XXVI, No.3, 1973

  • David Brown, Tchaikovsky: The Early Years 1840-1874, pp.402-407, Volume XXXIII, No.2, 1980
  • Alexander Poznansky, Tchaikovsky: The Quest for the Inner Man, pp.359-364, Volume XLVII, No.2, 1994

– BROWN (J.), Walter Frisch, The Early Works of Arnold Schoenberg, 1893.1908, pp.521-531, Volume XLVIII, No.3, 1995

– BROWN Jr (S. E.), New Evidence of Isomelic Design in Dufay’s Isorhythmic Motets, pp.7-13, Volume X, No.1, 1957

  • A Possible Cantus Firmus Among Ciconia’s Isorhythmic Motets, pp.7-15, Volume XII, No.1,1959

– BROYLES (M. E.), Beethoven’s Sonata Op.14, No.1 – Originally for Strings?, pp.405-419, Volume XXIII, No.3, 1970

  • The Two Instrumental Styles of Classicism, pp.210-242, Volume XXXVI, No.2, 1983
  • Lowell Mason on European Church Music and Transatlantic Cultural Identification: A Reconsideration, pp.316-348, Volume XXXVIII, No.2, 1985
  • Music and Class Structure in Antebellum Boston, pp.451-493, Volume XLIV, No.3, 1991

– BRUCE (S. G.), Shaping a Monastic Identity: Liturgy and History at the Imperial Abbey of Farfa, 1000-1125, by Susan Boynton, pp.418-422, Volume 61, No.2, 2008

– BRUINSMA (H. A.) The Organ Controversy in the Netherlands Reformation to 1640, pp.205-212, Volume VII, No.3, 1954

– BUCH (L.), City Culture and the Madrigal at Venice, by Martha Feldmann, pp.183-193, Volume 52, No.1, 1999

– BUCHANAN (H. H.), A Key to Schoenberg’s Erwartung, pp.434-449, Volume XX, No.3, 1967

– BUCK III (C. S.), Revisions in Early Clavier Concertos of C. P. E. Bach: Revelations from a New Source, pp.127-132, Volume XXIX, No.1, 1976

– BUELOW (G. J.), Klaus Zelm, Die Opern Reinhard Keisers, pp.349-352, Volume XXXII, No.2, 1979

– BUHLER (J.), – NEUMEYER (D.), Carly Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music; and Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film, pp.364-385, Volume XLVII, No.2, 1994

– BUHLER (S. M.), Policing Pop, edited by Martin Cloonan and Reebee Garofalo, pp.227-231, Volume 59, No.1, 2006

– BUNS SPIESS (L.), The Diatonic “Chromaticism” of the Enchiriadis Treatises, pp.1-6, Volume XII, No.1, 1959

– BUKOFZER (M. F.), Caput Redivivum: A New Source for Dufay’s Missa Caput, pp.97-110, Volume IV, No.2, 1951

– BUNCE SPIESS (L.), Benavides and Church music in New Mexico in the Early 17th century, pp.144-156, Volume XVII, No.2, 1964

– BURCKHARDT QURESHI (R.), Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal, pp.457-497, Volume XLIII, No.3, 1990

  • Music Anthropologies and Music Histories: A Preface and an Agenda, pp.331-342, Volume XLVIII, No.3, 1995

– BURFORD (M.), Sam Cooke as Pop Album Artist – A Reinvention in Three Songs, pp.113-178, Volume 65, No.1, 2012

– BURGARD (A. M.) and BECKERMAN (M.), Janáček: Years of a Life, by John Tyrrell. Vol. 1 (1854-1914), The Lonely Blackbird. Vol. 2 (1914-1928), Tsar of the Forests, pp.703-715, Volume 63, No.3, 2010

– BURGESS (G.), Enlightening Harmonies: Rameau’s corps sonore and the Representation of the Divine in the tragédie en musique, pp.383-462, Volume 65, No.2, 2012

– BURKHOLDER (J. P.), Johannes Martini and the Imitation Mass of the Late Fifteenth Century, pp.470-523, Volume XXXVIII, No.3, 1985

  • The Organist in Ives, pp.255-310, Volume 55, No.2, 2002

– BURNETT (C.), Music, Science and Natural Magic in Seventeenth-Century England, by Penelope Gouk, pp.365-368, Volume 55, No.2, 2002

– BURNHAM (S.), Beethoven: The Music and the Life, by Lewis Lockwood, pp.451-458, Volume 58, No.2, 2005

– BURNS (J. A.), Antonio Valente, Neapolitan Keyboard Primitive, pp.133-143, Volume XII, No.2-3, 1959

– BUSSE BERGER (A. M.), The Origin and Early History of Porportion Signs, pp.403-433, Volume XLI, No.3, 1988

  • Spreading the Gospel of Singbewegung: An Ethnomusicologist Missionary in Tanganyika of the 1930s, pp.475-522, Volume 66, No.2, 2013

– BUTLER (M. R.), Glusk’s Alceste in Bologna: Production and Performance at the Teatro Comunale, 1778, pp. 727-776, Volume 65, No.3, 2012

– BUTT (J.), Authenticities: Philosophical Reflections on Musical Performance, by Peter Kivy, pp.402-411, Volume 53, No.2, 2000

– BUTTERFIELD (A.), The Music of the Troubadours, by Elizabeth Aubrey, pp.369-374, Volume 57, No.2, 2004

– CABALLERO (C.), Patriotism or Nationalism? Fauré and the Great War, pp.593-626, Volume 3, No.53, 1999

  • French Cultural Politics and Music: From the Dreyfus Affair to the First World War, by Jane F. Fulcher, pp.563-578, Volume 55, No.3, 2002

– CADDY (D.), Body Knowledge: Performance, Intermediality, and American Entertainment at the turn of the Twentieth Century, by Mary Simonson, pp.233-238, Volume 68, No.1, 2015

– CALCAGNO (M.), “Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater, pp.383-432, Volume 55, No.3, 2002

– CALICO (J. H.), Diven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Reinhold Brinkmann and Christoph Wolff, pp.643-649, Volume 53, No.3, 2000

  • Weill’s Musical Theatre: Stages of Reform, by Stephen Hinton, pp.878-881, Volume 66, No.3, 2013

– CAMUS (R. F.), Kenneth Kreitner, Discoursing Sweet Music: Town Bands and Community Life in Turn-of-the Century Pennsylvania, pp.361-364, Volume XLV, No.2, 1992

– CANDELARIA (L.), Bernardino de Sahagún’s Psalmodia Christiana: A Catholic songbook from Sixteenth-Century New Spain, pp.619-984, Volume 67, No.3, 2014

– CAPLIN (W. E.), Joel Lester, The Rhythms of Tonal Music, pp.382-392, Volume XLI, No.2, 1988

  • The Classical Cadence: Conceptions and Misconceptions, pp.51-118, Volume 57, No.1, 2004

– CARDAMONE (D. G.), Madrigali A Tre et Arie _Napolitane: A Typographical and Repertorial Study, pp.436-481, Volume XXXV, No.3, 1982

– CARTER (C.), The Rake’s Progress and Stravisky’s Return: The Composer’s Evolving Approach ti Setting Text, pp.553-640, Volume 63, No.3, 2010

– CARTER (T.), Intriguing Laments: Sigismondo D’India, Claudio Monteverdi, and Dido Alla Parmigiana (1628), pp.32-69, Volume XLIX, No.1, 1996

  • Show Boat: Performing Race in an American Musical, by Todd Decker, pp.602-607, Volume 67, No.2, 2014

– CASTELVECCHI (S.), Sentimental and Anti-Sentimental in Le nozze di Figaro, pp.1-24, Volume 53, No.1, 2000

– CASWELL (A.), Mme Cinti-Damoreau and the Embellishment of Italian Opera in Paris: 1820-1845, Volume XXVIII, No.3, 1975

– CAZDEN (N.), Pythagoras and Aristoxenos Reconciled, pp.97-105, Volume XI, No.2-3, 1958

– CHAFE (E.), J. S. Bach’s St. Matthew Passion: Aspects of Planning, Structure, and Chronology, pp.49-114, Volume XXXV, No.1, 1982

  • Howard H. Cox, ed., The Calov Bible of J. S. Bach; Robin A. Leaver, ed., S. Bach and Scripture; Jaroslav Pelikan, Bach Among the Theologians, pp.343-352, Volume XL, No.2, 1987

– CHASE (G.), Charles Hamm, Yesterdays, pp.156-163, Volume XXXIV, No.1, 1981

– CHATER (J.), Luca Marenzio, The Secular Works, VI, ed. Patricia Myers, pp.376-385, Volume XXXVIII, No.2, 1985

– CHENG (W.), The Oxford Handbook of Sound Studies, edited by Trevor Pinch and Karin Bijsterveld; and The Sound Studies Reader, edited by Jonathan Sterne, pp.257-266, Volume 67, No.1, 2014

– CHERLIN (M.), Memory and Rhetorical Trope in Schoenberg’s String Trio, pp.559-602, Volume 51, No.3, 1998

– CHESNUT (J. H.), Mozart’s Teaching of Intonation, pp.258-271, Volume XXX, No.2, 1977

– CHEW (G.), A Magnus Liber Organi Fragment at Aberdeen, pp.326-343, Volume XXXI, No.2, 1978

– CHRISTENSEN (T.), Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception, pp.255-298, Volume 52, No.2, 1999

  • Music Theory in Seventeenth-Century England, by Rebecca Herissone; and Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, edited by Suzannah Clark and Alexander Rehding, pp.175-184, Volume 57, No.1, 2004

– CHUA (D. K. L.), Conventional Wisdom: The Content of Musical Form, by Susan McClary, pp.413-417, Volume 54, No.2, 2001

  • Beethoven’s Other Humanism, pp.571-646, Volume 62, No.3, 2009

– CHURGIN (B.), Francesco Galeazzi’s Description (1796) of Sonata Form, pp.181-199, Volume XXI, No.2, 1968

  • Leonard G. Ratner, Classic Music, pp.351-360, Volume XXXV, No.2, 1982

– CHUSID (M.), Schubert’s Overture for String Quintet and Cherubini’s Overture to Faniska, pp.78-84, Volume XV, No.1, 1962

– CHYBOWSKI (J. J.), Becoming the “Black Swag” in Mid-Nineteenth-Century America: Elizabeth Taylor Greenfield’s Early Life and Debut Concert Tour, pp.125-166, Volume 67, No.1, 2014

– CLARK (C.), Empress Marie Therese and Music at the Viennese Court, 1792-1807, by John A. Rice; and The Musician as Entrepreneur, 1700-1914: Managers, Charlatans, and Idealists, edited by William Weber, pp.421-431, Volume 60, No.2, 2007

– CLARK (M.), Music Drama at the Paris Odéon, 1824-1828, by Mark Everist, pp.717-723, Volume 58, No.3, 2005

– CODE (D. J.), Hearing Debussy Reading Mallarmé: Music après Wagner in the Prélude à l’après-midi d’un faune, pp.493-554, Volume 54, No.3, 2001

– COELHO (V.), Jean-Michel Vaccaro, LA Musique de luth en France au XVI siècle, pp.369-376, Volume XXXVIII, No.2, 1985

– COHEN (A.), La Supposition and the Changing Concept of Dissonance in Baroque Theory, pp.63-84, Volume XXIV, No.1, 1971

– COHON (B. J.), The Structure of the Synagogue Prayer-Chant, pp.17-32, Volume III, No.1, 1950

– COHN (R.), Bartók’s Octatonic Strategies: a Motivic Approach, pp.262-300, Volume XLIV, No.2, 1991

  • Uncanny Resemblances: Tonal Signification in the Freudian Age, pp.285-324, Volume 57, No.2, 2004

– COLE (M. S.), The Vogue of the Instrumental Rondo in the Late 18th Century, pp.425-455, Volume XXII, No.3, 1969

  • Afrika singt: Austro-German Echoes of the Harlem Renaissance, pp.72-95, Volume XXX, No.1, 1977

– COLEMAN-NORTON (P. R.), Cicero Musicus, pp.2-22, Volume I, No.2, 1948

– COLLINS (M.), The Perfomance of Triplets in the 17th and 18th Centuries, pp.281-328, Volume XIX, No.3, 1966

  • In Defence of the French Trill, pp.405-439, Volume XXVI, No.3, 1973
  • The Literary Background of Bellini’s I Capuleti ed I Montecchi, pp.532-538, Volume XXXV, No.3, 1982

– COLLINS (M. B.), The performance of Sesquialtera and Hemiola, pp.5-29, Volume XVII, No.1, 1964

– CONE (E. T.), Leonard B. Meyer, Explaining Music: Essay and Exploration, pp.335-338, Volume XXVII, No.2, 1974

  • The Authority of Music Criticism, pp.1-18, Volume XXXIV, No.1, 1981

– CONNOLLY (T. H.), Introits and Archetypes: Some Archaism of the Old Roman Chant, pp.157-174, Volume XXV, No.2, 1972

  • The Graduale of S. Cecilia in Trastevere and the Old Roman Traditions, pp. 413-458, Volume XXVIII, No.3, 1975

– CONOMOS (D.), Communion Chants in Magna Graecia, pp.241-263, Volume XXXIII, No.2, 1980

– COOK (N.), Beethoven’s Unfinished Piano Concerto: A Case of Double Vision?, pp.338-374, Volume XLII, No.2, 1989

– COOKE (M.), Britten’s Musical Language, by Philip Rupprecht, pp.243-247, Volume 58, No.1, 2005

– CORAL (L.), Barry S. Brook, Thematic Catalogues in Music: An Annotated Bibliography, pp.332-333, Volume XXVI, No.2, 1973

– COREN (D.), Curt von Westernhagen, Die Entstehung des “Ring.“ Dargestellt an den Kompositionsskizzen Richard Wagners, pp.557-562, Volume XXVIII, No.3, 1975

– CORNEILSON (P.) – WOLF (E. K.), Newly Identified Manuscripts of Operas and Related Works from Mannheim, pp.244-273, Volume XVLII, No.2, 1994

– CORRELL ROESNER (L.), Wolfang Boetticher, Robert Schumanns Klavierwerke. Neue biographische und textkritische Untersuchungen. Teil I: Opus 1-6, pp.156-163, Volume XXXI, No.1, 1978

– Cosmopolitanism in the Age of Nationalism, 1848-1914, pp.523-550, Volume 66, No.2, 2013

– COWART (G.), Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra, pp.265-302, Volume 54, No.2, 2001

  • Opera in the Age of Rousseau: Music, Confrontation, Realism, by David Charlton, pp.598-602, Volume 67, No.2, 2014

– CRAMER (A.), Schoenberg’s Transformation of Musical Language, by Ethan Haimo, pp.482-488, Volume 62, No.2, 2009

– CRANE (F.), Reinhold Hammerstein, Diabolus in musica: Studien zur Ikonographie der Musik im Mittelalter, pp.300-303, Volume XXIX, No.2, 1976

– CRAWFORD (D.), A Review of Costanzo Festa’s Biography, pp.102-111, Volume XXVIII, No.1, 1975

  • Eustachio Romano, Musica duorum Rome, 1521, pp.303-308, Volume XXIX, No.2, 1976
  • Winfried Kirsch, Die Motetten des Andreas de Silva, pp.150-155, Volume XXXII, No.1, 1979

– CRAWFORD (R.), Jacob Eckhard’s Choirmaster’s Book of 1809, pp.255-258, Volume XXV, No.2, 1972

– CRIST (E. B.), Aaron Copland and the Popular Front, pp.409-466, Volume 56, No.2, 2003

– CRIST (S. A.), Bach and the Patterns of Invention, by Laurence Dreyfus, pp.627-633, Volume 52, No.3, 1999

– CROCKER (R. L.), The Repertory of Proses at Saint Martial de Limoges in the 10th Century, pp.149-164, Volume XI, No.2-3, 1958

  • Discant, Counterpoint, and Harmony, pp.1-21, Volume XV, No.1, 1962
  • Some Ninth-Century Sequences, pp.367-402, Volume XX, No.3, 1967
  • Hermann’s Major Sixth, pp.19-37, Volume XXV, No.1, 1972
  • Michel Huglo, Les Tonaires: Inventaire, Analyse, Comparaison, pp.490-495, Volume XXVI, No.3, 1973
  • Matins Antiphons at St. Denis, pp.441-490, Volume XXXIX, No.3, 1986
  • Stiftsbibliothek Sankt Gallen Codices 484&381, edited by Wulf Arlt and Susan Rankin in collaboration with Cristina Hospenthal, pp.625-630, Volume 51, No.3, 1998

– CROOK (D.), A Sixteenth-Century Catalog of Prohibited Music, pp.1-78, Volume 62, No.1, 2009

  • The Exegetical Motet, pp.255-316, Volume 68, No.2, 2015

– COOKE (N.), The Hymn Tune Index: A Census of English-LanguageHymn Tunes in Printed Sources From 1535  to 1829, by Nicholas Temperley, assisted by Charles G. Manns and Joseph Herl, pp.710-720, Volume 56, No.3, 2003

– CROSS (I.), Conceptualizing Music: Cognitive Structure, Theory, and Analysis, by Lawrence M. Zbikowski, pp.220-227, Volume 59, No.1, 2006

– CRUTCHFIELD (W.), The Prosodic Appoggiatura in the Music of Mozart and his Contemporaries, pp.229-274, Volume XLII, No.2, 1989

– CUMMING (J. E.), Josquin’s Rome: Hearing and Composing in the Sistine Chapel, by Jesse Rodin, pp.583-589, Volume 67, No.2, 2014

– CUMMINGS (A. M.), Toward an Interpretation of the Sixteenth-Century Motet, pp.43-59, Volume XXXIV, No.1, 1981

CURRIE (J.), Music After All, pp.145-204, Volume 62, No.1, 2009

  • Where Jankélévitch Cannot Speak, pp.247-250, Volume 65, No.1, 2012

– CURTIS (A.), La Poppea Impasticciata or, Who Wrote the Music to L’Incoronazione (1643)?, pp.23-54, Volume XLII, No.1, 1989

– CUSICK (S. G.), Gendering modern music: thoughts on the Monteverdi-Artusi Controversy, pp.1-25, Volume XLVI, No.1, 1993

  • Craig A. Monson, ed., The Crannied Wall: Women, Religion, and the Arts in Early Modern Europe, pp.347-359, Volume XLVII, No.2, 1994
  • Desire and Pleasure in Seventeenth-Century Music, by Susan McClary, pp556-561, Volume 66, No.2, 2014

– CUTTER (P. F.), The Old-Roman Chant Tradition: Oral or Written?, pp.167-181, Volume XX, No.2, 1967

– CUTTS (J. P.), A Reconsideration of the Willow Song, pp.14-24, Volume X, No.1, 1957

– CUYLER (L. E.), The Sequences of Isaac’s Choralis Constantinus, pp.3-16, Volume III, No.1, 1950

– CYRUS (C. J.), The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France, by Richard Freedman, pp.651-656, Volume 57, No.3, 2004

– D’ACCONE (F. A.), The Singers of San Giovanni in Florence during the 15th century, pp.307-358, Volume XIV, No.3, 1961

  • The Musical Chapels at the Florentine Cathedral and Baptistry during the first half of the 16th century, pp.1-50, Volume XXIV, No.1, 1971

– D’ALESSI (G.), Precursors of Adriano Willaert in the Practice of Coro Spezzato, pp.187-210, Volume V, No.3, 1952

– DALGLISH (W.), The Origin of the Hocket, pp.3-20, Volume XXXI, No.1, 1978

– DANIEL (R. T.), English Models for the First American Anthems, pp.49-58, Volume XII, No.1, 1959

– DAVERIO (J.), The Wechsel der Töne in Brahms’s Schicksalslied, pp.84-113, Volume XLVI, No.1, 1993

-DAVID (A.) and POLLACK (H.), Rotational Form in the Opering Scene of Gershwin’s Porgy and Bess, pp.373-414, Volume 60, No.2, 2007

– DAVID (H. T.), A Lesser secret of J. S. Bach uncovered, pp.199-223, Volume XIV, No.2, 1961

– DAVIES (D. E.), Silent Music: Medieval Song and the Construction of History in Eighteenth- Century Spain, by Susan Boynton, pp.562-565, Volume 66, No.2, 2013

– DE SOUZA (J.), The Orchestral Revolution: Haydn and the Technologies of Timbre, by Emily I. Dolan, pp.239-244, Volume 67, No.1, 2014

– DE VEAUX (S.), Bebop and the Recording Industry: The 1942 AFM Recording Ban Reconsidered, pp.126-165, Volume XLI, No.1, 1988

  • Thinking in Jazz: The Infinite Art of Improvisation, by Paul Berliner; and Saying Something: Jazz Improvisation and Interaction, by Ingrid Monson, pp.392-406, Volume 51, No.2, 1998

– DE VOTO (M.), Douglas Jarman, The Music of Alban Berg, pp.407-412- Volume XXXIII, No.2, 1980

– DEAN (J. J.), The Repertory of the Cappella Giulia in the 1560s, pp.465-490, Volume XLI, No.3, 1988

– DEAVILLE (J.), The Virtuoso Listz, by Dana Gooley, pp.666-677, Volume 60, No.3, 2007

– DEFORD (R. I.), On Diminution and Proportion in Fifteenth-Century Music Theory, pp.1-68, Volume 58, No.1, 2005

– DIETZ (H. B.), A Chronology of Maestri and Organisti at the Cappella Reale in Naples, 1745-1800, pp.379-406, Volume XXV, No.3, 1972

  • Michael F. Robinson, Naples and Neapolitan Opera, pp.552-557, Volume XXVIII, No.3, 1975

– DILL (C.), Rameau’s Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte et Aricie, pp.433-476, Volume 55, No.3, 2002

– DILLON (E.), The Virgin of Chartres: Making History Thought Liturgy and the Arts, by Margot E. Fassler, pp.425-433, Volume 64, No.2, 2011

– DIRST (M.), J. S. Bach: A Life in Music, by Peter Williams, pp.475-482, Volume 62, No.2, 2009

– DI GRAZIA (D. M.), Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany, by Ryan Minor, pp. 244-250, Volume 67, No.1, 2014

– DOE (J.), Opéra-comique on the Eve of Revolution: Dalayrac’s Sargines and the Development of “Heroic” Comedy, pp.317-374, Volume 68, No.2, 2015

– DONINGTON (R.), John Shirley, William Davenant, Inigo Jones, and William Lawes, Trois Masques à la cour de Charles Ier d’Angleterre, pp.495-496, Volume XXVI, No.3, 1973

– DORF (S. N.), Stravinsky’s “Pulcinella”: A Facsimile of the Sources and Sketches, edited by Maureen A. Carr; and Nijinsky’s Bloomsbury Ballet: Reconstruction of the Dance and Design of “Jeux”, by Millicent Hodson, pp.272-284, Volume 65, No.1, 2012

– DOTTO (G.), Opera, Four Hands: Collaborative Alterations in Puccini’s Fanciulla, pp.604-624, Volume XLII, No.3, 1989

– DOWNES (E. O. D.), Secco Recitative in Early Classical Opera Seria, pp.50-69, Volume XIV, No.1, 1961

– DREYFUS (L.), J. S. Bach’s Experiment in Differentiated Accompaniment: Tacet Indications in the Organ Parts to the Vocal Works, pp.321-334, Volume XXXII, No.2, 1979

– DROTT (E.), Free Jazz and the French Critic, pp.541-582, Volume 61, No.3, 2008

– DUCKLES (V.), The Gramble Manuscript as a Source of Continuo Song in England, pp.23-40, Volume I, No.2, 1948

  • The “Curious” Art of John Wilson (1595-1674): An Introduction to his songs and lute music, pp.93-112, Volume VII, No.2, 1954
  • Répertoire International des Sources Musicale / Internationales Quellenlexikon der Musik / International Inventory of Musical Sources, pp.152-155, Volume XXVI, No.1, 1973
  • Ian Spink, English Song: Dowland to Purcell, pp.549-552, Volume XXVIII, No.3, 1975

– DUMITRESCU (T.), Who Was “Prioris”? A Royal Composer Recovered, pp.5-66, Volume 65, No.1, 2012

– DUNCAN (C.) and MATEER (D.), An Innocent Abroad? Caterina Galli’s Finances in New Handel, pp.495-526, Volume 64, No.3, 2011

– DURANTE (S.), Alberto Basso, ed., Storia della musica a cura della Società italiana di musicologia, pp.533-541, Volume XL, No.3, 1987

– EARP (L.), Machaut’s Role in the Production of Manuscripts of his Works, pp.461-503, Volume XLII, No.3, 1989

  • Daniel Leech-Wilkinson, Machaut’s Mass: An Introduction; and Compositional Techniques in the Four-Past Isorhythmic Motets of Philippe de Vitry and His Contemporaries, pp.295-305, Volume XLVI, No.2, 1993
  • Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay, by Graeme M. Boone, pp.127-140, Volume 54, No.1, 2001
  • Guillaume de Machaut and Reims: Context and Meaning in His Musical Works, by Anne Walters Robertson, pp.384-393, Volume 57, No.2, 2004

– EDGE (D.), Manuscripts from Mannheim, ca. 1730-1778: A Study in the Methodology of Musical Source Research, by Eugene K. Wolf, in collaboration with Jean K. Wolf and Paul Corneilson, pp.739-747, Volume 59, No.3, 2006

– EGAN (P.), “Concert” scenes in musical paintings of the Italian Renaissance, pp.184-195, Volume XIV, No.2, 1961

– EINSTEIN (A.), On Certain Manuscripts of Mozart’s, Hitherto Unknown or Recently Recovered, pp.13-16, Volume I, No.1, 1948

  • Vincenzo Ruffo’s Opera nova di musica, pp.233-235, Volume III, No.3, 1950
  • A “King Theodore” Opera, pp.196-198, Volume XIV, No.2, 1961

– EISEN (C.), Contributions to a New Mozart Documentary Biography, pp.615-632, Volume XXXIX, No.3, 1986

  • Back, Carl Philipp Emanuel, The Complete Works, pp.149-155, Volume 63, No.1, 2010

– ELDRIDGE (R.), A Theory of Art, by Karol Berger, pp.191-197, Volume 54, No.1, 2001

– ELLINWOOD (L. W.), Problems and Opportunities in Modern Hymnology, pp.41-47, Volume 1, No.2, 1948

– ELLIS (K.), Mireille’s Homecoming? Gounod, Mistral, and the Midi, pp.463-510, Volume 65, No.2, 2012

– ERDELY (S.), Philip V. Bohlman, “The Land Where Two Streams Flow”: Music in the German-Jewish Community of Israel, pp.153-160, Volume XLV, No.1, 1992

– ERICKSON (R. F.), The Computer and Music, pp.102-107, Volume XXV, No.1, 1972

– ERLMANN (V.), The Garland Encyclopedia of World Music, vol.1, Africa, edited by Ruth Stone, p.407-409, Volume 51, No.2, 1998

– ERWIN (C. E.), Donald G. Daviau and George J. Buelow, The Ariadne auf Naxos of Hugo von Hofmannsthal and Richard Strauss, pp.492-496, Volume XXIX, No.3, 1976

– ESKEW (H.), John G. McCurry, The Social Harp: A Collection of Tunes, Odes, Anthems, and Set Pieces, Selected from Various Authors, pp.352-353, Volume XXVII, No.2, 1974

– ESSE (M.), Changing the Score: Arias, Prima Donnas, and the Authority of Performance, by Hilary Poriss, pp.725-730, Volume 64, No.3, 2011

  • Encountering the improvvisatrice in Italian Opera, pp.709-770, Volume 66, No.3, 2013

– EUBANKS WINKLER (A.), Bodleian Library Broadside Ballads. Mike Heaney, Director,; English Broadside Ballad Archive, Patricia Fumerton, Director,, pp.848-866, Volume 67, No.3, 2014

– EVANS (J.), Stravinsky’s Music in Hitler’s Germany, pp.525-594, Volume 56, No.3, 2003

– EVANS (P.), Some Reflections on the Origins of the Trope, pp.119-130, Volume XIV, No.2, 1961

  • Thomas Forrest Kelly, The Beneventan Chant, pp.494-498, Volume XLIV, No.3, 1991

– EVERIST (M.), From Paris to St. Andrews: the Origins of W, pp.1-42, Volume XLIII, No.1, 1990

  • Anne Walters Robertson, The Service-Books of the Royal Abbey of Saint-Denis: Images of Ritual and Music in the Middle Ages, pp.138-144, Volume XLVI, No.1, 1993
  • The Oxford History of Western Music, by Richard Taruskin, pp.699-720, Volume 62, No.3, 2009
  • The Music of Power: Parisian Opera and the Politicss of Genre, 1806-1864, pp.685-734, Volume 67, No.3, 2014

– FAIRCLOUGH (P.), “Don’t Sing It on a Feast Day”: The Reception and Performance of Western Sacred Music in Soviet Russia, 1917-1953, pp.67-112, Volume 65, No.1, 2012

– FAIRTILE (L. B.), The New Grove Dictionary of Music Online, edited by Laura Macy, pp.748-754, Volume 56, No.3, 2003

– FALCK (R.), Rondellus, Canon, and Related Types before 1300, pp.38-57, Volume XXV, No.1, 1972

– FALLON (D.), Saint-Saëns and the Concours de composition musicale in Bordeaux, pp.309-325, Volume XXXI, No.2, 1978

– FALLON (R.), Olivier Messiaen: Le livre du centenaire, edited by Anik Lesure and Claude Samuel; Messiaen, by Peter Hill and Nigel Simeone; The Reinvention of Religious Music: Oliver Messiaen’s Breakthrough Toward the Beyond, by Sander van Maas; and Musik des Unsichtbaren: Der Komponist Olivier Messiaen (1908-1992) am Schnittpunkt von Theologie und Musik, edited by Michaela Christine Hastetter, with Christian Lenze, pp.378-392, Volume 63, No.2, 2010

– FALLOWS (D.), Craig M. Wright, Music at the Court of Burgundy, pp.545-552, Volume XXXIV, No.3, 1981

  • Ottaviano Petrucci: A Catalogue Raisonné, by Stanley Boorman, pp.415-421, Volume 60, No.2, 2007

– FARRELL (G.), Imaging Sound: An Ethnomusicological Study of Musi, Art, and Culture in Mughal India, by Bonnie C. Wade, pp.667-670, Volume 53, No.3, 2000

– FASSLER (M. E.), Who Was Adam of St. Victor? The Evidence of the Sequence Manuscripts, pp.233-269, Volume XXXVII, No.2, 1984

  • Allegorical Architecture in Scivias: Hildegard’s Setting for the Ordo Virtutum, pp317-378, Volume 67, No.2, 2014

– FAUSER (A.), La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics, pp.83-130, volume 51, No.1, 1998

– FEDER (S.), Heard Maladies Are Sweet (“But Those Unheard Are Sweeter”): A Response to Gayle Sherwood, pp.627-640, Volume 54, No.3, 2001

– FELDMAN (M.), Rore’s “Selva Selvaggia”: The Primo Libro of 1542, pp.547-603, Volume XLII, No.3, 1989

  • Magic Mirrors and the Seria Stage: Thoughts Toward a Ritual View, pp.423-484, Volume XLVIII, No.3, 1995

– FENLON (I.), Anthony Newcomb, The Madrigal at Ferrara, pp.167-179, Volume XXXV, No.1, 1982

  • Francesca Caccini at the Medici Court: Music and the Circulation of Power, by Suzanne G. Cusick, pp.257-266, Volume 65, No.1, 2012

– FENLON (I.) – HAAR (J.), A New Source for the Early Madrigal, pp.164-180, Volume XXXIII, No.1, 1980

– FENLON (I.) – MILSOM (J.), “Ruled Paper Imprinted”: Music Paper and Patents in Sixteenth-Century England, pp.139-163, Volume XXXVII, No.1, 1984

– FERAND (E. T.), What is Res Facta?, pp.141-150, Volume X, No.3, 1957

– FERRAGUTO (M.), Beethoven à la moujik : Russianness and Learned Style in the «Razumovsky » String Quartets, pp.77-124, Volume 67, No.1, 2014

– FERRIS (D.), Public Performance and Private Understanding: Clara Wieck’s Concerts in Berlin, pp.351-408, Volume 56, No.2, 2003

  • Schubert’s Late Lieder: Beyond the Song- Cycles, by Susan Youens, pp.215-220, Volume 59, No.1, 2006

– FILLION (M.), H. C. Robbins Landon, Haydn : Chronicle and Works. Vol. III: Haydn in England, 1791-1795, pp.372-376, Volume XXXI, No.2, 1978

  • Beethoven’s Concertos: History, Style, Performance, by Leon Plantinga, pp.382-388, Volume 54, No.2, 2001

– FINK (R.), “Rigoroso(♪=126)”: The Rite of Spring and the Forging of a Modernist Performing Style, pp.299-362, Volume 52, No.2, 1999

  • Goal-Directed Soul? Anaòyzing Rhythmic Teleology in African American Popular Music, pp.179-238, Volume 64, No.1, 2011
  • File Under: American Spaces, pp.708-712, Volume 64, No.3, 2011

– Finishing Mozart’s Requiem: On “ ‘Die Ochsen am Berge’: Franz Xaver Süssmayr and the Orchestration of Mozart’s Requiem, K. 626” by Simon P. Keefe, Spring 2008, pp.583-608, Volume 61, No.3, 2008

– FINNEY (T. M.), A Manuscript Collection of English Restoration Anthems, pp.193-198, Volume XV, No.2, 1962

– FINSON (J. W.), The Sketches for the Fourth Movement of Schumann’s Second Symphony, Op.61, pp.143-168, Volume XXXIX, No.1, 1986

  • Richard Crawford, The American Musical Landscape, pp.305-311, Volume XLVIII, No.2, 1995

– FISHER (S. C.), Neal Zaslaw, Mozart’s Symphonies: Context, Performance Practice, Reception, pp.512-521, Volume XLVIII, No.3, 1995

– FORD (R.), Werner Braun, Britannia abundans: Deutsch-englische Musikbeziehungen zur Shakespearezeit, pp.191-196, Volume XXXIII, No.1, 1980

– FORD (W. K.), An English Liturgical Partbook of the 17th Century, pp.144-160, Volume XII, No.2-3, 1959

– FORNEY (K. K.), Mary S. Lewis, Antonio Gardano, Venetian Music Printer, 1538-1569: A Descriptive Bibliography and Historical Study, pp.332-338, Volume XLV, No.2, 1992

  • Music Printing in Renaissance Venice: The Scotto Press (1529-1572), by Jane A. Bernstein, pp.702-709, Volume 56, No.3, 2003

– FORSCHER WEISS (S.), Bologna QI8: Some Reflections on Content and Context, pp.63-101, Volume XLI, No.1, 1988

– FORTE (A.), New Approaches to the Linear Analysis of Music, pp.315-348, Volume XLI, No.2, 1988

– FOX (C. W.), Barbireau and Barbingant: A Review, pp.79-101, Volume XIII, 1960

– FRANKLIN (D.), Pelham Humfrey, Complete Church Music. Vols. I-II, pp.143-149, Volume XXVIII, No.1, 1975

– FREEMAN (J.), Donizetti in Palermo and Alahor in Granata, pp.240-250, Volume XXV, no.2, 1972

– FREEMAN (R.), Apostolo Zeno’s Reform of the Libretto, pp.321-341, Volume XXI, No.3, 1968

– FRENCH (R. F.), Nicholas Temperley, The Music of the English Parish Church, pp.345-352, Volume XXXIV, No.2, 1981

– FREYHAN (M.), Toward the Original Text of Mozart’s Die Zauberflöte, pp.355-380, Volume XXXIX, No.2, 1986

– FRIEDHEIM (P.), Rhythmic Structure in Schoenberg’s Atonal Compositions, pp.59-72, Volume XIX, No.1, 1966

  • Franz Liszt, Neue Ausgabe sämtlicher Werke / New Liszt Edition. Series I: Werke für Klavier zu zwei Händen. I: Etüden I: Études d’exécution transcendante; Vol. II: Étuden II, pp.171-174, Volume XXVI, No.1, 1973
  • Julian Rushton, The Musical Language of Berlioz, pp.178-183, Volume XXXVIII, No.1, 1985

– FRIGYESI (J.), Béla Bartók: Composition, Concepts, and Autograph Sources, by László Somfai, pp.388-398, Volume 52, No.2, 1999

– FRISCH (W.), Thematic Form and the Genesis of Schoenberg’s D-Minor Quartet, Opus 7, pp.289-314, Volume XLI, No.2, 1988

– FROLOVA-WALKER (M.), “National in Form, Socialist in Content”: Musical Nation-Building in the Soviet Republics, pp.331-372, Volume 51, No.2, 1998

  • Russian Opera and the Symbolist Movement, by Simon Morrison, pp.507-513, Volume 59, No.2, 2006

– FROMSON (M.), Themes of Exile in Willaert’s  Musica Nova, pp.442-487, Volume XLVII, No.3, 1994

– FRY (A.), Freedom Sounds: Civil Rights Call Out to Jazz and Africa, by Ingrid Monson, pp.716-724, Volume 63, No.3, 2010

– FULCHER (J. F.), Reinscribing Opera in History and Politics: Opera in History: From Monteverdi to Cage, by Herbert Lindenberger; and Opera and Politics: From Monteverdi to Henze, by John Bokina, pp.147-159, Volume 54, No.1, 2001

– FULLER (D.), James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, pp.374-384, Volume XXVIII, No.2, 1975

  • Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music, pp.394-402, Volume XXXIII, No.2, 1980
  • Jean-Philippe Rameau, Opera Omnia, ser.1, vol.2, Pièces de clavecin en concerts, edited by Denis Herlin and Davitt Moroney, pp.183-190, Volume 51, No.1, 1998

– FULLER (S.), Hidden Polyphony – A Reappraisal, pp.169-192, Volume XXIV, No.2, 1971

  • Paul Evans, The Early Trope Repertory of Saint Martial de Limoges, pp.155-159, Volume XXVI, No.1, 1973
  • Machaut’s Music: New Interpretations, edited by Elizabeth Eva Leach, pp.187-193, Volume 60, No.1, 2007

– GABLE (D.), Boulez’s Two Cultures: The Post-War European Synthesis and Tradition, pp.426-456, Volume XLIII, No.3, 1990

– GALLOPE (M.), Jankélévitch’s Fidelity to Inconsistency, pp.235-240, Volume 65, No.1, 2012

– GARLINGTON (A. S.), “Gothic” Literature and Dramatic Music in England, 1781-1802, pp.48-64, Volume XV, No.1, 1962

  • August Wilhem von Schlegel and the German Romantic Opera, pp.500-506, Volume XXX, No.3, 1977

– GARRET (C. H.), Reflections: American Music Studies in 2011, pp.712-714, Volume 64, No.3, 2011

  • Frontier Figures: American Music and the Mythology of the American West, by Beth E. Levy, pp.584-590, Volume 66, No.2, 2013

– GEIRINGER (K.), Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis, pp.469-473, Volume XXV, No.3, 1972

– GENE MOSS (H.), Popular Music and the Ballad Opera, pp.365-382, Volume XXVI, No.3, 1973

– GETTEL (W. D.), Arthur Clifton’s Enterprise, pp.23-35, Volume II, No.1, 1949

– GIANTURCO (C. M.), The Revisions of Alessandro Stradella’s Forza dell’amor paterno, pp.407-427, Volume XXV, No.3, 1972

– GIGER (A.), Verismo: Origin, Corruption, and Redemption of an Operatic Term, pp.271-316, Volume 60, No.2, 2007

  • Landscape and Gender in Italian Opera: The Alpine Virgin from Bellini to Puccini, by Emanuele Senici, pp.431-438, Volume 61, No.2, 2008

– GILBERT (S.), A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League, by Lily E. Hirsch, pp.456-459, Volume 64, No.2, 2011

– GILLIAM (B.), Herta Blaukopf, ed., Gustav Mahler/Richard Strauss: Correspondence, pp.418-422- Volume

  • “Friede im Innern”: Strauss’s Public and Private Worlds in the Mid 1930s, pp.565-598, Volume 57, No.3, 2004

– GILLIES (M.), New Bartók Studies: Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality, by David E. Schneider, pp.488-497, Volume 62, No.2, 2009

– GILLMOR (A.), Satie the Bohemian: From Cabaret to Concert Hall, by Steven Moore Whiting, pp.168-174, Volume 54, No.1, 2001

– GILMORE (B.), Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious, by Elliot Antokoletz, with the collaboration of Juana Canabal Antokoletz, pp.436-440, Volume 60, No.2, 2007

– GIVAN (B.), Gunther Schuller and the Challenge of Sonny Rollins: Stylistic Content, Intentionality, and Jazz Analysis, pp.167-238, Volume 67, No.1, 2014

– GLIXON (J.), Denis Arnold, Giovanni Gabrieli, pp.149-156, Volume XXXIV, No.1, 1981

  • A Musicians’ Union in Sixteenth-Century Venice, pp.392-421, Volume XXXVI, No.3, 1983
  • Francesco Luisi, Laudario Giustinianeo, pp.170-179, Volume XLI, No.1, 1988

– GOEHR (L.), The Aesthetics of Music, by Roger Scruton, pp.398-409, Volume 52, No.2, 1999

  • Adorno, Schoenberg, and the Totentanz der Prinzipien – in Thirteen Steps, pp.595-636, Volume 56, No.3, 2003
  • “-wie ihn uns Meister Dürer gemalt!”: Contest, Myth, and Prophecy in Wagner’s Die Meistersinger von Nürnberg, pp.51-118, Volume 64, No.1, 2011

– GOEHRING (E. J.), Understanding the Women of Mozart’s Opera, by Kristi Brown-Montesano, pp.609-615, Volume 61, No.3, 2008

– GOERTZEN (C.), Heartbeat of the People: Music and Dance of the Northern Pow-Wow, by Tara Browner; and Writing American Indian Music: Historic Transcription, Notation, and Arrangements, edited by Victoria Lindsay Levine, pp.518-525, Volume 59, No.2, 2006

– GOLD (L.) and BRINNER (B.), Deep Listeners: Music, Emotion, and Trancing, by Judith Becker; and Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory, by Marc Perlman, pp.677-688, Volume 60, No.3, 2007

– GOLDTHWAITE (S.), Rhythmic Pattern Signposts in the 15th-Century Chanson, pp.177-188, Volume XI, No.2-3, 1958

– GÖLLNER (T.), The three-part Gospel reading and the medieval Magi Play, pp.51-62, Volume XXIV, No.1, 1971

  • Unkonwn Passion Tones in Sixteenth-Century Hispanic Sources, pp.46-71, Volume XXVIII, No.1, 1975

– GOMBOSI (O.), Some Musical Aspects of the English Court Masque, pp.3-19, Volume I, No.3, 1948

  • Key, Mode, Species, pp.20-26, Volume IV, No.1, 1951

– GOODMAN (G.), “The Tears I Shed at the Songs of Thy Church”: Seventeenth-Century Musical Piety in the English Atlantic World, pp.691-726, Volume 65, No.3, 2012

– GOOLEY (D.), Listz’s Transcultural Modernism and the Hungarian-Gypsy Tradition, by Shay Loya, pp.570-576, Volume 66, No.2, 2013

  • Romantic Anatomies of Performance, by J.Q. Davies, pp.687-691, Volume 68, No.3, 2015

– GORDON (B.), Gender, Sexuality, and Early Music, edited by Todd M. Borgerding; and Women and Popular Music: Sexuality, Identity, and Subjectivity, by Sheila Whiteley, pp.473-482, Volume 59, No.2, 2006

– GOSSETT (P.), Techniques of Unification in Early Cyclic Massed and Mass Pairs, pp.205-231, Volume XIX, No.2, 1966

  • Beethoven’s Sixth Symphony: Sketches for the First Movement, pp.248-284, Volume XXVII, No.2, 1974
  • Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention, pp.156-161, Volume XLIII, No.1, 1990
  • Enchantment: The Seductress in Opera, by Jean Starobinski, pp.677-684, Volume 61, No.3, 2008
  • Some Thought on the Use of Autograph Manuscripts in Editing the Works of Verdi and Puccini, pp.103-128, Volume 66, No.1, 2013

– GRAMIT (D.), Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music, by James Garratt, pp.458-467, Volume 58, No.2, 2005

– GRANT (R. M.), Listening, by Jean-Luc Nancy, pp.748-752, Volume 62, No.3, 2009

  • Mozart’s Ghosts: Haunting the Halls of Musical Culture and Mozart’s Grace, by Mark Everist; Mozart’s Grace, by Scott Burnham, pp.439-445, Volume 68, No.2, 2015

– GRAUE (J. C.), David Branson, John Field and Chopin, pp.350-351, Volume XXVI, No.2, 1973

  • Leon Plantinga, Clementi: His Life and Music, pp.529-535, Volume XXXI, No.3, 1978

– GRAVE (F. K.), Reginald Barrett-Ayres, Joseph Haydn and the String Quartet, pp.323-326, Volume XXIX, No.2, 1976

  • Abbé Vogler’s Revision of Pergolesi’s Stabat Mater, pp.43-71, Volume XXX, No.1, 1977
  • Rita Benton, Ignace Pleyel: A Thematic Catalogue of His Compositions; A. Peter Brown, Carlo d’Ordone (1734-1786): A Thematic Catalog (Detroit Studies in Music Bibliography, 39), pp.204-210, Volume XXXIII, No.1, 1980
  • Eugene K. Wolf, The Symphonies of Johann Stamitz, pp.322-327, Volume XXXVI, No.2, 1983
  • Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention, pp.156-162, Volume XLIII, No.1, 1990

– GRAYSON (D. A.), Robert Orledge, Debussy and the Theatre, pp.112-122, Volume XL, No.1, 1987

– GRAZIANO (J.), The Early Life and Career of the “Black Patti”: The Odyssey of an African American Singer in the Late Nineteenth Century, pp.543-596, Volume 53, No.3, 2000

– GREEN (D. M.), The Allegro misterioso of Berg’s Lyric Suite: Iso- and Retrorhythms, pp.507-516, Volume XXX, No.3, 1977

  • George Perle, The Operas of Alban Berg, Volume Two: Lulu, pp.122-129, Volume XL, No.1, 1987

– GREENE  (R. L.), Two Medieval Musical Manuscripts: Egerton 3307 and some University of Chicago Fragments, pp.1-34, Volume VII, No.1, 1954

– GREENFIELD (D.), Janet M. Levy, Beethoven’s Compositional Choices: The Two Versions of Opus 18, no.1, First Movement, pp.177-185, Volume XXXVII, No.1, 1984

– GREENWALD (H. M.), Puccini, Il tabarro, and the Dilemma of Operatic Transposition, pp.521-558, Volume 51, No.3, 1998

– GREER (M. J.), Analyzing Bach Cantatas, by Eric Chafe, pp.538-547, Volume 55, No.3, 2002

– GREY (T. S.), Late Beethoven: Music, Thought, Imagination, by Maynard Solomon, pp.222-231, Volume 60, No.1, 2007

– GRIER (J.), The Stemma of the Aquitanian Versaria, pp.250-288, Volume XLI, No.2, 1988

  • Scribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant, pp.373-427, Volume XLV, No.3, 1992
  • Nota Bene: Reading Classing and Writing Melodies in the Early Middle Age, by Jan M. Ziolkowski, pp.361-367, Volume 63, No.2, 2010
  • Adémar de Chabannes (989-1034) and Musical Literacy, pp.605-638, Volume 66, No.3, 2013

– GRIFFIN (T.), Michael Collins, ed., The Operas of Alessandro Scarlatti, VIII, Tigrane, pp.186-191, Volume XXXIX, No.1, 1986

– GRIMLEY (D. M.), Music, Landscape, Attunement: Listening to Sibelius’s Tapiola, pp.394-398, Volume 64, No.2, 2011

– GROUT (D. J.), Ursula Kirkendale, Antonio Caldara: La Vita, pp.474-476, Volume XXV, No.3, 1972

– GUENTHER (R. J.), James M. Baker, The Music of Alexander Scriabin, pp.194-199, Volume XLI, No.1, 1988

– GUSHEE (L.), New Sources for the Biography of Johannes de Muris, pp.3-26, Volume XXII, No.1, 1969

  • Frank Tirro, Jazz: A History, pp.535-540, Volume XXXI, No.3, 1978

– GUSHEE (M.), A Polyphonic ghost, pp.204-211, Volume XVI, No.2, 1963

– GUSTAFSON (B.), H. Wiley Hitchcock, Les Oeuvres de The Works of / Marc-Antoine Charpentier: Catalogue raisonné, pp.170-177, Volume XXXVII, No.1, 1984

  • Desperate Measures: The Life and Music of Antonio Padoani Bembo, by Claire Fontijn, pp.650-653, Volume 61, No.3, 2008

– HAAR (J. E.), On musical games in the 16th century, pp.22-34, Volume XV, No.1, 1962

  • The Note Nere Madrigal, pp.22-41, Volume XVIII, No.1, 1965
  • Zarlino’s definition of Fugue and Imitation, pp.226-254, Volume XXIV, No.2, 1971
  • Handwörterbuch der musikalischen Terminologie, pp.130-132, Volume XXVII, No.1, 1974
  • A Madrigal Falsely Ascribed to Lasso, pp.526-529, Volume XXVIII, No.3, 1975
  • False Relations and Chromaticism in Sixteenth-Century Music, pp.391-418, Volume XXX, No.3, 1977
  • Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Compiled by the University of Illinois Musicological Archives for Renaissance Manuscript Studies. (Renaissance Manuscript Studies, I.) Vol. !: A- J, pp.384-389, Volume XXXIII, No.2, 1980
  • A Sixteenth-Century Attempt at Music Criticism, pp.191-209, Volume XXXVI, No.2, 1983
  • Gary Tomlinson, Monteverdi and the End of the Renaissance, pp.647-656, Volume XLII, No.3, 1989
  • Il Codice Squarcialupi. MS. Mediceo Palatino 87, Biblioteca Laurenziana di Firenze, pp.145-155, Volume XLIX, No.1, 1996
  • Petrucci’s Justiniane Revisited, pp.1-38, Volume 52, No.1, 1999
  • Music in the Age of the Renaissance, by Leeman L. Perkins, pp.629-636, Volume 53, No.3, 2000

– HADLOCK (H.), Sonorous Bodies: Women and the Glass Harmonica, pp.507-542, Volume 53, No.3, 2000

  • The Courtesan’s Arts: Cross-Cultural Perspectives, edited by Martha Feldman and Bonnie Gordon; and Music of the Sirens, edited by Linda Phyllis Austern and Inna Naroditskaya, pp.633-645, Volume 61, No.3, 2008

– HAGGH (B.), The Maze and the Warrior: Symbols in Architecture, Theology, and Music, by Craig Wright, pp.467-478, Volume 56, No.2, 2003

– HAILEY (C.), Kurt Weil: A Life in Pictures and Documents, by David Farneth with Elmar Juchem and Dave Stein; Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya, edited and translated by Lys Symonette and Kim H. Kowalke; Briefe an die Familie (1914-1950), by Kurt Weill, edited by Lys Symonette and Elmar Juchem; Briefwechsel mit der Universal Edition, by Kurt Weill, selected and edited by Nils Grosch; Musik und musikalisches Theater: Gesammelte Shriften, by Kurt Weill, edited by Stephen Hinton and Jürgen Schebera; Kurt Weill und Maxwell Anderson: Neue Wege zu einem amerikanischen Musiktheater, by Kurt Weill, edited by Stephen Hinton and Edward Harsh, pp.484-498, Volume 56, No.2, 2003

– HAIMO (E.), Redating Schoenberg’s Passacaglia for Orchestra, pp.471-495, Volume XL, No.3, 1987

– HALL (R. W.), Generalized Musical Intervals and Trasformations, by David Lewin; and Musical Form and Trasformation: Four Analytic Essays, by David Lewin, pp.205-222, Volume 62, No.1, 2009

– HALLMARK (R.), Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf; Elaine Brody and Robert A. Fowkes, The German Lied and Its Poetry, pp.360-366, Volume XXVII, No.2, 1974

  • Schubert’s Poets and the Making of Lieder, by Susan Youens; and Schubert, Müller, and “Die schöne Müllerin”, by Susan Youens, pp.644-653, Volume 51, No.3, 1998

– HALPERN WARD (L.), The Motetti Missales Repertory Reconsidered, pp.491-523, Volume XXXIX, No.3, 1986

– HAMBERLIN (L.), Visions of Salome: The Femme Fatale in American Popular Songs before 1920, pp.631-696, Volume 59, No.3, 2006

– HAMBRIDGE (K.), Staging Singing in the Theater of War (Berlin, 1805), pp.39-98, Volume 68, No.1, 2015

– HAMESSLEY (L.), En Travesti: Women, Gender Subversion, Opera, edited by Corinne E. Blackmer and Patricia Juliana Smith, pp.163-170, Volume 52, No.1, 1999

– HAMM (C. E.), Dating a Group of Dufay Works, pp.65-71, Volume XV, No.1, 1962

  • The Reason Mass, pp.5-21, Volume XVIII, No.1, 1965
  • Répertoire International des Sources Musicales / International Inventory of Musical Sources. Series B IV, Vols. 3-4: Handschriften mit mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, pp.518-522, Volume XXVII, No.3, 1974
  • Albert Goldman, Elvis, pp.335-340, Volume XXXVI, No.2, 1983
  • The Theatre Guild Production of Porgy and Bess, pp.495-532, Volume XL, No.3, 1987
  • Steven Saunders and Deane L. Root, eds, The Music of Stephen C. Foster: A Critical Edition, pp.515-526, Volume XLV, No.3, 1992
  • Demons of Disorder: Early Blackface Minstrels and Their World, by Dale Cockrell; Raising Cain: Blackface Performance from Jim Crow to Hip Hop, by W. T. Lhamon, Jr.; and Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture, by William J. Mahar, pp.165-183, Volume 53, No.1, 2000
  • The Garland Encyclopedia of World Music, vol.3, The United States and Canada, edited by Ellen Koskoff, pp.193-201, Volume 57, No.1, 2004

– HAMMOND (F.), Girolamo Frescobaldi, Il Primo Libro di Capricci fatti sopra diversi soggetti, Étienne Darbellay, ed., pp.527-533, Volume XLI, No.3, 1988

– HANNAS (R.), Concernig Deletions in the Polyphonic Mass Credo, pp.155-186, Volume V, No.3, 1952

– HANSELL (K.) – HANSELL (S.), Johann Adolf Hasse, Ruggiero, ovvero L’Eroica gratitudine, pp.308-319, Volume XXIX, No.2, 1976

– HANSELL (S. H.), Sacred Music at the Incurabili in Venice at the time of J. A. Hasse – I, pp.282-301, Volume XXIII, No.2, 1970

  • Sacred Music at the Incurabili in Venice at the time of J. A. Hasse – II, pp.505-521, Volume XXIII, No.3, 1970
  • Howard E. Smither, A History of the Oratorio. Volumes I and II, pp.343-349, Volume XXXII, No.2, 1979
  • Giovanni Battista Pergolesi, Adriano in Siria, Edited by Dale Monson, pp. 506-515, Volume XLV, No.3, 1992


– HARDIE (G.), Neapolitan Comic Opera, 1707-1750: Some Addenda and Corrigenda for The New Grove, pp.124-127, Volume XXXVI, No.1, 1983


– HARKER (B.), Louis Armstrong, Eccentric Dance, and the Evolution of Jazz on the Eve of Swing, pp.67-122, Volume 61, No.1, 2008

  • Louis Armstrong’s New Orleans, by Thomas Brothers, pp.224-231, Volume 61, No.1, 2008


– HARNESS (K.), La Flora and the End Of Female Rule in Tuscany, pp.437-476, Volume 51, No.3, 1998

  • Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575-1700, by Colleen Reardon, pp.190-196, Volume 59, No.1, 2006
  • Nuns Behaving Badly: Tales of Music, Magic, Art, and Arson in the Convents of Italy, by Craig A. Monson, pp.603-607, Volume 65, No.2, 2012

– HARNESS (K.) – HILL (J. W.), Warren Kirkendale, The Court Musicians in Florence during the Principate of the Medici with a Reconstruction of the Artistic Establishment, pp.106-115, Volume XLVIII, No.1, 1995

– HARRÁN (D.), Chi bussa? Or the Case of the Anti-Madrigal, pp.85-92, Volume XXI, No.1, 1968

  • Verse Types in the Early Madrigal, pp.27-53, Volume XXII, No.1, 1969
  • New Evidence for Musica Ficta: The Cautionary Sign, pp.77-98, Volume XXIX, No.1, 1976
  • More Evidence for Cautionary Signs, pp.490-494, Volume XXXI, No.3, 1978
  • An Early Modern Hebrew Poem on Music in Its Beginnings and at the End of Time, pp.3-50, Volume 64, No.1, 2011

– HARRIS (E. T.), The Italian in Handel, pp.468-500, Volume XXXIII, No.3, 1980

– HAYDON (G.), On the Problem of Expression in Baroque Music, pp.113-119, Volume III, No.2-3, 1950

  • The Dedication of Francesco Corteccia’s Hinnario, pp.112-116, Volume XIII, 1960
  • The Hymns of Costanzo Festa: a Style Study, pp.105-117, Volume XII, No.1, 1959
  • George Sherman Dickinson, pp.219-221, Volume XVIII, No.2, 1965

– HAYES (D.), Rameau’s “Nouvelle Méthode”, pp.61-74, Volume XXVII, No.1, 1974

– HEAD (M.), ‘If the Pretty Little Hand Won’t Stretch’ : Music for the Fair Sex in Eighteenth-Century, pp.203-254, Volume 52, No.2, 1999

  • Cultural Meanings for Women Composers: Charlotte (“Minna”) Brandes and the Beautiful Dead in the German Enlightenment, pp.231-284, Volume 56, No.2, 2004

– HEARTZ (D.), A New Attaingnant Book and the Beginning of French Music Printing, pp.9-23, Volume XIV, No.1, 1961

  • The repertoire International des Sources Musicales, pp.268-273, Volume XIV, No.2, 1961
  • Hoftanz and Basse Dance, pp.13-36, Volume XIX, No.1, 1966
  • Au pres de vous – Claudin’s Chanson and the Commerce of Publishers’ Arrangements, pp.193-225, Volume XXIV, No.2, 1971

– HECK (T. F.), Luis de Milán, El Maestro, pp.487-490, Volume XXV, No.3, 1972

  • Harvey Turnbull, The Guitar from the Renaissance to the Present Day, pp.142-143, Volume XXVIII, No.1, 1975

– HEDGES BROWN (J.), Higher Echoes of the Past in the Finale of Schumann’s 1842 Piano Quartet, pp.511-564, Volume 57, No.3, 2004

– HEFFLEY (M.), A Power Stronger Than Itself: The AACM and American Experimental Music, by George E. Lewis, pp.464-470, Volume 64, No.2, 2011

– HEFLING (S. E.), Zoltan Roman, Gustav Mahler’s American Years, 1907-1911 : A Documentary History, pp.343-348, Volume XLIV, No.2, 1991

– HELLER (W.), The Beloved’s Image: Handel’s Admeto and the Statue of Alcestis, pp.559-638, Volume 58, No.3, 2005

  • Tacitus Incognito : Opera as History in L’incoronazione di Poppea, pp.39-96, Volume 52, No.1, 1999
  • Monteverdi’s Last Operas: A Venetian Trilogy, by Ellen Rosand, pp.367-377, Volume 63, No.2, 2010

– HENSON (K.), Victor Capoul, Marguerite Olagnier’s Le Saïs, and the Arousing of Female Desire, pp.419-464, Volume 52, No.3, 1999

– HEPOKOSKI (J.), Julian Budden, The Opera of Verdi, Vol. III, pp.577-585, Volume XXXV, No.3, 1982

  • David Rosen and Andrew Porter, eds., Verdi’s Macbeth: A Sourcebook, pp.408-417, Volume XXXIX, No.2, 1986
  • Die Tondichtungen von Richard Strauss, by Walter Werbeck, pp.603-625, Volume 51, No.3, 1998
  • Beyond the Sonata Principle, pp.91-154, Volume 55, No.1, 2002
  • Ineffable Immersion: Contextualizing the Call for Silence, pp.223-230, Volume 65, No.1, 2012

– HERISSONE (R.), Playford, Purcell, and the Functions of Music Publishing in Restoration England, pp.243-290, Volume 63, No.2, 2010

– HERLINGER (J. W.), Marchetto’s Division of the Whole Tone, PP.193-216, Volume XXXIV, No.2, 1981

  • Karol Berger, Musica Ficta: Theories of Accidental Inflection in Vocal Polyphony from Marchetto of Padua to Gioseffo Zarlino, pp.640-647, Volume XLII, No.3, 1989

– HERTZMANN (E.), Curt Sachs (1881-1959): A Memorial Address, pp.1-5, Volume XI, No.1, 1958

  • Mozart and Attwood, pp.178-184, Volume XII, No.2-3, 1959

– HESS (A. G.), Observations on The Lamenting Voice of the Hidden Love, pp.211-223, Volume V, No.3, 1952

– HESS (C. A.), Copland in Argentina: Pan Americanist Politics Folklore, and the Crisis in Modern Music, pp.191-250, Volume 66, No.1, 2013

– HETTRICK (W. E.), The Clausholm Music Fragments, pp.145-148, Volume XXIX, No.1, 1976

– HEWITT (H.), Supplement (1953-1954) to Doctoral Dissertations in Musicology, pp.131-140, Volume VII, No.2, 1954

  • Supplement (1955) to Doctoral Dissertations in Musicology, pp.116-122, Volume VIII, No.2, 1955
  • Supplement (1956) to Doctoral Dissertations in Musicology, pp.202-209, Volume IX, No.3, 1956
  • The Two Puzzle Canons in Busnois’s Maintes femmes, pp.104-110, Volume X, No.2, 1957
  • Supplement (1958-59) to Doctoral Dissertations in Musicology, pp.217-226, Volume XI, No.2-3, 1958
  • Supplement (1960) to Doctoral Dissertations in Musicology, pp.215-224, Volume XII, No.2-3, 1959
  • Supplement (1962) to Doctoral Dissertations in Musicology, pp.330-346, Volume XV, No.3, 1962
  • Supplement (1963) to Doctoral Dissertations in Musicology, pp.382-393, Volume XVI, No.3, 1963
  • Supplement (1964) to Doctoral Dissertations in Musicology, pp.346-362, Volume XVII, No.3, 1964
  • Supplement (1966) to Doctoral Dissertations in Musicology, pp.383-397, Volume XIX, No.3, 1966
  • Supplement (1967) to Doctoral Dissertations in Musicology, pp.450-468, Volume XX, No.3, 1967

– HIBBERD (L.), Giraldus Cambrensis and English “Organ” Music, pp.208-212, Volume VIII, No.3, 1955

– HICKS (M.), The imprisonment of Henry Cowell, pp.92-119, Volume XLIV, No.1, 1991

– HIGGINS (P.), In Hydraulis Revisited: New Light on the Career of Antoine Busnois, pp.36-86, Volume XXXIX, No.1, 1986

  • Reinhard Strohm, Music in Late Medieval Bruges, pp.150-161, Volume XLII, No.1, 1989
  • The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius, pp.443-510, Volume 57, No.3, 2004

– HILL (J. W.), Vivaldi’s Griselda, pp.53-82, Volume XXXI, No.1, 1978

  • Muzio Clementi, Opere sinfoniche complete, ed. Pietro Spada; Pietro Spada, The Complete Symphonic Works of Muzio Clementi, pp.577-586, Volume XXXII, No.3, 1979
  • Nino Pirrotta and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi, pp.519-526, Volume XXXVI, No.3, 1984

– HIROSHI GARRET (C.), Chinatown, Whose Chinatown? Defining America’s Borders with Musical Orientalism, pp.119-174, Volume 57, No.1, 2004

– HIRSCH (M.), Vanishing Sensibilities: Schubert, Beethoven, Schumann, by Kristina Muxfeldt, pp.565-570, Volume 66, No.2, 2013

– HITCHCOCK (H. W.), Marc-Antoine Charpentier and the Comédie-Française, pp.255-281, Volume XXIV, No.2, 1971

  • Depriving Caccini of a Musical Pastime, pp.58-78, Volume XXV, No.1, 1972
  • A New Biographical Source for Caccini, pp.145-147, Volume XXVI, No.1, 1973
  • Caccini’s “Other” Nuove musiche, pp.438-460, Volume XXVII, No.3, 1974
  • Jacopo Peri, Euridice, ed. Howard Mayer Brown, pp.150-157, Volume XXXVI, No.1, 1983
  • Stuart Feder, Charles Ives: “My Father’s Song”, A Psychoanalytic Biography, pp.319-329, Volume XLVI, 1993
  • Ives’s 114 [+15] Songs and What He Thought of Them, pp.97-144, Volume 52, No.1, 1999

– HOECKNER (B.), Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal, by David J. Levin, pp.478-483, Volume 56, No.2, 2003

– HOLMAN (H. J.), Melasmatic tropes in the responsories for Matins, pp.36-46, Volume XVI, No.1, 1963

– HOLMES (W. C.), Lorenzo Bianconi and Giorgio Pestelli, eds., Storia dell’opera italiana, part 2, vols. 4, 5, and 6, pp.120-128, Volume XLIV, No.1, 1991

– HOLOMAN (D. K.), Hector Berlioz, Oeuvres littéraires: Correspondance générale. Vol. I : 1803-1832, pp.167-171, Volume XXVI, No.1, 1973

  • Reconstructing a Berlioz Sketch, pp.125-130, Volume XXVIII, No.1, 1975
  • Jean Mongrédien, Jean-François Le Sueur, and Catalogue thématique, pp.566-573, Volume XXXIV, No.3, 1981
  • Ralph P. Locke, Music, Musicians, and the Saint-Simonians, pp.539-547, Volume XLI, No.3, 1988

– HOLZER (R. R.), Howard E. Smither, ed., Oratorios of the Italian Baroque, pp.533-539, Volume XLI, No.3, 1988

  • Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice, by Wendy Heller, pp.193-200, Volume 60, No.1, 2007

– HOMAN (F. W.), Final and internal cadential patterns in Gregorian chant, pp.66-77, Volume XVII, No.1, 1964

– HOOD (M.), The Reliability of Oral Tradition, pp.201-209, Volume XII, No.2-3, 1959

– HOPPIN (R. H.), Partial Signatures and Musica Ficta in Some Early 15th-Century Sources, pp.197-216, Volume VI, No.3, 1953

  • Conflicting Signatures Reviewed, pp.97-117, Volume IX, No.2, 1956
  • Andrew Hughes, Manuscript Accidentals: Ficta in Focus, 1350-1450, pp.338-343, Volume XXVII, No.2, 1974

– HORNE (W. P.), Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism, by Margaret Notley, pp.670-676, Volume 61, No.3, 2008

– HORSLEY (I.), Improvised Embellishment in the Performance of Renaissance Polyphonic Music, pp.3-19, Volume IV, No.1, 1951

  • The 16th-Century Variation: a new historical survey, pp.118-132, Volume XII, No.2-3, 1959
  • Full and Short Scores in the Accompaniment of Italian Church Music in the Early Baroque, pp.466-499, Volume XXX, No.3, 1977

– HOWARD (D.), The Virtual Haydn: Complete Works for Solo Keyboard. Tom Beghin, Martha de Francisco, Wieslaw Woszczyk, et al., pp.465-475, Volume 68, No.2, 2015

– HOWE (B.), The Allure of Dissolution: Bodies, Forces, and Cyclicity in Schubert’s Final Mayrhofer Settings, pp. 271-322, Volume 62, No.2, 2009

– HOWELL JR (A.C.), French Baroque Organ Music and the Eight Church Tones, pp.106-118, Volume XI, No.2-3, 1958

– HÖYNG (P.), Beethoven after Napoleon: Political Romanticism in the Late Works, by Stephen Rumph, pp.431-435, Volume 60, No.2, 2007

– HUCKE (H.), Toward a New Historical View of Gregorian Chant, pp.437-467, Volume XXXIII, No.3, 1980

– HUDSON (B.), Notes on Gregorio Strozzi and his Capricci, pp.209-221, Volume XX, No.2, 1967

– HUDSON (R.), Further Remarks on the Passacaglia and Ciaccona, pp.302-314, Volume XXIII, No.2, 1970

  • The Ripresa, the Ritornello, and the Passacaglia, pp.364-394, Volume XXIV, No.3, 1971
  • Warren Kirkendale, L’Aria di Fiorenza, id est, Il Ballo del Gran Duca, pp.344-350, Volume XXVI, No.2, 1973

– HUEBNER (S.), Music Criticism in Nineteenth-Century France: “La Revue et Gazette musicale de Paris”, 1834-80, by Katharine Ellis, pp.163-169, Volume 51, No.1, 1998

  • Mallarmé and Debussy: Unheard Music, Unseen Text, by Elizabeth McCombie, pp.231-238, Volume 60, No.1, 2007
  • Composing the Citizen: Music as Public Utility in Third Republic France, by Jann Pasler, pp.690-703, Volume 63, No.3, 2010

– HUESTIS (R.), Michael Kugler, Die Tastenmusik im Codex Faenza, pp.522-524, Volume XXVII, No.3, 1974

– HUGHES (A.), Mensural Polyphony for Choir in 15th-Century England, pp.352-369, Volume XIX, No.3, 1966

  • The Ludus super Anticlaudianum of Adam de la Bassée, pp.1-25, Volume XXIII, No.1, 1970
  • Terence Bailey, The Processions of Sarum and the Western Church, pp.334-335, Volume XXVI, No.2, 1973
  • Gaston G. Allaire, The Theory of Hexachords, Solmization and the Modal System: A Pratical Application, pp.132-139, Volume XXVII, No.1, 1974

– HUGHES (D. G.), Further Notes on the Grouping of the Aquitanian Tropers, pp.3-12, Volume XIX, No.1, 1966

  • Geschichte der katholischen Kirchenmiusik, pp.368-370, Volume XXVIII, No.2, 1975
  • The First Magdalene Lament of the Tours Easter Play, pp.276-283, Volume XXIX, No.2, 1976
  • Andrew Hughes, Medieval Manuscripts for Mass and Office, pp.412-415, Volume XXXVII, No.2, 1984
  • Evidence for the Traditional View of the Transmission of Gregorian Chant, pp.377-404, Volume XL, No.3, 1987
  • John Stevens, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350, Volume XLII, No.2, 1989

– HUGLO (M.), Finn Egeland Hansen, The Grammar of Gregorian Tonality, pp.416-424, Volume XXXVII, No.2, 1984

– HUNTER (M.), “To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics, pp.357-398, Volume 58, No.2, 2005

  • In Search of Opera, by Carolyn Abbate, pp.723-729, Volume 58, No.3, 2005
  • Opera and Sovereignty: Trasforming Miths in Eighteenth-Century Italy, by Martha Feldman, pp.720-725, Volume 62, No.3, 2009

– HURLEY (D. R.), Handel’s Opera, 1726-1741, by Winton Dean, pp.143-149, Volume 64, No.1, 2010

– HUSH (D.), Janet Schmalfeldt, Berg’s Wozzeck: Harmonic Language and Dramatic Design, pp.424-428, Volume XXXVII, No.2, 1984

– HUSMAN (H.), The Enlargement of the Magnus liber organi and the Paris Churches St.Germain l’Auxerrois and Ste. Geneviève-du-Mont, pp.176-203, Volume XVI, No.2, 1963

  • Jean-Jacques Nattiez, Wagner Androgyne : A Study in Interpretation, pp.531-541, Volume XLVII, No.3, 1994

– HYDE (F. B.), Helbert Schneider, Die französische Kompositionslehre in der ersten Hälfte des 17. Jahrhunderts, pp.348-352, Volume XXVII, No.2, 1974

– HYDE (M. M.), George Perle, The Operas of Alban Berg, I, pp.573-587, Volume XXXIV, No.3, 1981

  • The Format and Fuction of Schoenberg’s Twelve-Tone Sketches, pp.453-480, Volume XXXVI, No.3, 1983

– HYER (B.), Deconstructive Variations: Music and Reason in Western Society, by Rose Rosengard Subotnik; and Classical Music and Postmodern Knowledge, by Lawrence Kramer, pp.409-424, Volume 51, No.2, 1998

– IRWIN (J. L.), Baroque Piety: Religion, Society, and Music in Leipzig, 1650-1750, by Tanya Kevorkian, pp.222-225, Volume 62, No.1, 2009

– IVERSON (J.), Extraordinary Measures: Disability in Music, by Joseph N. Straus; and Music, Disability, and Society, by Alex Lubet, pp.611-621, Volume 65, No.2, 2012

– IZZO (F.), Verdi, the Virgen, and the Censor: The Politics of the Cult of Mary in I Lombardi alla prima crociata and Giovanna d’Arco, pp.557-598, Volume 60, No.3, 2007

– JACKSON (T. A.), The Birth of Bebop: A Musical and Social History, by Scott DeVeaux, pp.405-412, Volume 54, No.2, 2001

– JACOBI (E. R.), Three Additional Letters from C. P. E. Bach to J. J. H. Westphal, pp.119-125, Volume XXVII, No.1, 1974

– JACOBS (C.), Macario Santiago Kastner, Antonio und Hernando de Cabezon: Eine Chronik dargestellt am Leben zweier Generationen von Organisten, pp.389-394, Volume XXXIII, No.2, 1980

– JAIRAZBHOY (N. A.), Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts, pp.625-639, Volume XLII, No.3, 1989

– JANDER (O.), Concerto Grosso Instrumentation in Rome in the 1660’s and 1670’s, pp.168-180, Volume XXI, No.2, 1968

  • The Operas of Alessandro Scarlatti (Donald J. Grout, general editor.) I: Eraclea. II: Marco Attilio Regolo. III: Griselda, pp.352-356, Volume XXXII, No.2, 1979

– JEFFERY (P.), Notre Dame Polyphony in the Library of Pope Boniface VIII, pp.118-124, Volume XXXII, No.1, 1979

  • A Four-Part In Seculum Hocket and A Mensural Sequence in an Unknown Fragment, pp.1-48, Volume XXXVII, No.1, 1984

– JENSEN (C. R.), Nikolai Diletski, Idea Grammatiki Musikiiskoi, ed. and trans. Vladimir Vasil’evich Protopopov, pp.526-532, Volume XXXVI, No.3, 1983

  • A Theoretical Work of Late Seventeenth-Century Muscovy: Nikolai Diletskii’s Grammatika and the Earliest Circle of Fifths, pp.305-331, Volume XLV, No.2, 1992

– JEPPESEN (K.), Cavazzoni-Cabezón, pp.81-85, Volume VIII, No.2, 1955

– JEROLD (B.), Maniera smorfiosa, a Troublesome Ornament: A Response to Elisabeth Le Guin, pp.459-460, Volume 59, No.2, 2006

– Jewish Studies and Music, pp.557-592, Volume 65, No.2, 2012

– JOHNSON (A.), The Masses of Cipriano de Rore, pp.227-239, Volume VI, No.3, 1953

– JOHNSON (D.), Beethoven’s Sketches for the Scherzo of the Quartet Op. 18, No.6, pp.385-404, Volume XXIII, No.3, 1970

  • Carl Dahlhaus, Die Musik des 19. Jahrhunderts, Volume XXXVI, No.3, 1984

– JOHNSON (D.) – TYSON (A.), Reconstructing Beethoven’s Sketchbooks, pp.137-156, Volume XXV, No.2, 1972

– JOHNSON (H. E.), Some “First Performances” in America, pp.235-243, Volume V, No.3, 1952

  • The Adams Family and Good Listening, pp.165-176, Volume XI, No.2-3, 1958
  • Gustav Satter, Eccentric, pp.61-73, Volume 1, 1963

– JOHNSON (J. T.), How to “Humour” John Jenkins’ Three-Part Dances: Performance Directions in a Newberry Library MS, pp.197-208, Volume XX, No.2, 1967

  • Robert Winter, Antonín Dvořák: Symphony from the New World, pp.114-126, Volume XLIX, No.1, 1996
  • Political and Religious Ideas in the Works of Arnold Schoenberg, edited by Charlotte M. Cross and Russell A. Berman; Schoenberg and His World, edited by Walter Frisch; and Schoenberg, Berg, and Webern: A Companion to the Second Viennese School, edited by Bryan R. Simms, pp.396-405, Volume 54, No.2, 2001

– JUDD (C. C.), Modal types and Ut, Re, Mi tonalities: tonal coherence in sacred vocal polyphony from about 1500, pp.428-467, Volume XLV, No.3, 1992

– KALLBERG (J.), Krystyna Kobylańska, Frederic Chopin: Thematisch-bibliographisches Werkverzeichnis, pp.357-365, Volume XXXIV, No.2, 1981

  • Chopin’s Last Style, pp.264-315, Volume XXXVIII, No.2, 1985
  • Jean-Jacques Eigeldinger, Chopin: Pianist and Teacher as Seen by his Pupils. Naomi Shohetm Krysia Osostowicz and Roy Howat, trans. and Roy Howat, ed., pp.189-193, Volume XLII, No.1, 1989

– KAMIEN (R.), Style Change in the Mid-18th-Century Keyboard Sonata, pp.37-58, Volume XIX, No.1, 1966

– KANAZAWA (M.), Johannis de Quadris, Opera, pp.364-368, Volume XXVIII, No.2, 1975

– KANGAS (R. R.), Mahler’s Early Summer Journeys through Vienna, or What Anthropomorphized Natur Tells Us, pp.375-428, Volume 68, No.2, 2015

– KARNES (K. C.), Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna, pp.647-698, Volume 62, No.3, 2009

  • Wagner and the Erotic Impulse, by Laurence Dreyfus, pp.607-611, Volume 65, No.2, 2012

– KARP (J.), Making Americans: Jews and the Broadway Musical, by Andrea Most, pp.764-769, Volume 59, No.3, 2006

– KARP (T.), Ernst Apfel, Anlage und  Struktur der Motetten im Codex Montpellier, pp.270-272, Volume XXV, No.2, 1972

  • Latin Poetry and Conductus Rhythm in Medieval France, by Christopher Page; and The Sound of Medieval Song: Ornamentation and Vocal Style According to the Treatises, by Timothy J. McGee, pp.613-623, Volume 53, No.3, 2000

– KARTOMI (M.), Calling Back the Spirit: Music, Dance and Cultural Politics in Lowland South Sulawesi, by R. Anderson Sutton, pp.260-263, Volume 58, No.1, 2005

– KASSLER (J. C.), The Systematic Writing on Music of William Jones (1726-1800), pp.92-107, Volume XXVI, No.1, 1973

– KAUFMANN (H. W.), Vicentino and the Greek genera, pp.325-346, Volume XVI, No.3, 1963

  • More on the Tuning of the Archicembalo, pp.84-94, Volume XXIII, No.1, 1970
  • Glenn Watkins, Gesualdo: The Man and His Music, pp.486-490, Volume XXIX, No.3, 1976

– KEEFE (S. P.), “Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart’s Requiem, K. 626, pp.1-66, Volume 61, No.1, 2008

– KEISTER (J.), Sensational Knowledge: Embodying Culture through Japanese Dance, by Tomie Hahn, pp.497-503, Volume 62, No.2, 2009

– KELLMAN (H.), The Origins of the Chigi Codex, pp.6-19, Volume XI, No.1, 1958

– KELLY (T. F.), Melodic Elaboration in Responsory Melismas, pp.461-474, Volume XXVII, No.3, 1974

  • New Music from Old: the Structuring of Responsory Prosas, pp.366-390, Volume XXX, No.3, 1977
  • Introducing the Gloria in Excelsis, pp.479-506, Volume XXXVII, No.3, 1984

– KEMP (M.), Emanuel Winternitz, Leonardo da Vinci as a Musician, pp.312-316, Volume XXXVI, No.2, 1983

– KENNEY (S. W.), Contrafacta in the Works of Walter Frye, pp.182-202, Volume VIII, No.3, 1955

– KERMAN (J.), Elisabethan Anthologies of Italian Madrigals, pp.122-138, Volume IV, No.2, 1951

  • Byrd’s Motets: Chronology and Canon, pp.359-382, Volume XIV, No.3, 1961
  • A Profile for American Musicology, pp.61-69, Volume XVIII, No.1, 1965
  • Byrd’s Settings of the Ordinary of the Mass, pp.408-439, Volume XXXII, No.3, 1979
  • Leonora’s Last Act: Essays in Verdian Discourse, by Roger Parker, pp.653-659, Volume 51, No.3, 1998

– KERN HOLOMAN (D.), Berlioz, by David Cairns, pp.201-208, Volume 57, No.1, 2004

– KESTEN (S.), Lenore Coral, A Concordance of the Thematic Indexes to the Instrumental Works of Antonio Vivaldi; Noriko Ohmura,  A Reference Concordance Table of Vivaldi’s Instrumental Works; Peter Ryom, Antonio Vivaldi, Table de concordances des oeuvres, pp.153-156, Volume XXVIII, No.1, 1975

– KIDD (R. R.), Music from the Age of Jefferson, Recording. Contents: Johann Schobert, Sinfonia, Op.10, No.1; William Linley, Air from Othello; M. Martini (?), “Plaire à celui que j’aime”; Daniel Purcell, Psalm 100; Muzio Clementi, Sonata for Pianoforte and Flute, Op.2, No.3; Wenceslaus Wodizka, Sonata for Violin and Basso continuo, Op.1, No.3; Thomas Arne, Air from Artaxerxes, “Water Parted from the Sea”; Niccolo Piccini, Air from Didon, “Ah! que je fus bien inspire”; Edward Light, “Guardian Angels”; James Hook, “The Caledonian Laddy”; Johann Christian Bach, Sonata for Harpsichord Four Hands, Op.18, No.6, pp.496-500, Volume XXIX, No.3, 1976

– KINDERMAN (W.), The Evolution and Structure of Beethoven’s “Diabelli” Variations, pp.306-328, Volume XXXV, No.2, 1982

– KINKELDEY (O.), Johannes Wolf (1869-1947), pp.5-12, Volume I, No.1, 1948

– KIRBY (F. E.), Herder and opera, pp.316-329, Volume Xv, No.3, 1962

– KIRKENDALE (U.), The Ruspoli Documents on Handel, pp.222-273, Volume XX, No.2, 1967

  • The Source for Bach’s Musical Offering: The Institutio Oratoria of Quintilian, pp.88-141, Volume XXXIII, No.1, 1980

– KIRKENDALE (W.), More slow introductions by Mozart to Fugues of J. S. Bach?, pp.43-65, Volume XVII, No.1, 1964

  • “Segreto Comunicato da Paganini”, pp.394-408, Volume XVIII, No.3, 1965
  • Ciceronians Versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach, pp.1-44, Volume XXXII, No.1, 1979

– KIRKMAN (A.), The Invention of the Cyclic Mass, pp.1-48, Volume 54, No.1, 2001

  • Composer at Work: The Craft of Musical Composition, 1450-1600, by Jessie Ann Owens, pp.166-175, Volume 55, No.1, 2002
  • The Josquin Research Project. Jesse Rodin, Project Director; Craig Sapp, Technical Director., pp.455-464, Volume68, No.2, 2015

– KIVY (P.), Charles Darwin on Music, pp.42-48, Volume XII, No.1, 1959

  • Mainwaring’s Handel: Its relation to English Aesthetic, pp.170-178, Volume XVII, No.2, 1964

– KLITZ (B.), Some 17th-Century Sonatas for Bassoon, pp.199-205, Volume XV, No2, 1962

– KLOTZ (S.), Music and German National Identity, edited by Clelia Applegate and Pamela Potter, pp.467-472, Volume 58, No.2, 2005

– KLUMPENHOUWER (H.), Tonal Pitch Space, by Fred Lerdahl, pp.488-496, Volume 58, No.2, 2005

– KNAPP (J.), Quid Tu Vides, Jeremia: Two Conductus in one, pp.212-220, Volume XVI, No.2, 1963

  • Roger Fiske, English theatre music in the Eighteenth Century, pp.527-529, Volume XXVII, No.3, 1974
  • The Instrumentation Draft of Wagner’s Das Rheingold, pp.272-295, Volume XXX, No.2, 1977
  • Musical Declamation and Poetic Rhythm in an Early Layer of Notre Dame Conductus, pp.383-407, Volume XXXII, No.3, 1979

– KNAPP (M. J.), John Deathridge, Wagner’s Rienzi: A Reappraisal, pp.158-163, Volume XXXII, No.1, 1979

– KNAPP (R.), A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven’s Fifth and Sixth, pp.291-344, Volume 53, No.2, 2000

  • Motives for Allusion: Context and Content in Nineteenth-Century Music, by Christopher Alan Reynolds; and Quotation and Cultural Meaning in Twentieth-Century Music, by David Metzer, pp.736-748, Volume 58, No.3, 2005

– KNIGHTON (T.), A New-World Collection of Polyphony for Holy Week and the Salve Service: Guatemala City, Cathedral Archive, Music MS 4, edited by Robert J. Snow, pp.176-183, Volume 52, No.1, 1999

– KNITTEL (K. M.), Wagner, Deafness, and the Reception of Beethoven’s Late Style, pp.49-82, Volume 51, No.1, 1998

– KOEGEL (J.), Banda: Mexican Musical Life across Borders, by Helena Simonett; and Refried Elvis: The Rise of the Mexican Counterculture, by Eric Zolov, pp.247-260, Volume 58, No.1, 2005

– KOEHLER (L.), Gordon K. Greene, ed., French Secular Music, pp.633-641, Volume XXXIX, No.3, 1986

– KOLINSKI (M.), A New Equidistant 12-Tone Temperament, pp.210-214, Volume XII, No.2-3, 1959

– KÖRNDLE (F.), Orlando di Lasso Studies, edited by Peter Bergquist, translated by Ted Rippey and Pamela Potter, pp.624-629, Volume 53, No.3, 2000

– KORSTVEDT (B. M.), Analyzing Wagner’s Operas: Alfred Lorenz and German Nationalist Ideology, by Stephen McClatchie, pp.159-167, Volume 54, No.1, 2001

– KORSYN (K.), Leonard B. Meyer, Style and Music: Theory, History, and Ideology, pp.469-475, Volume XLVI, No.3, 1993

– KOTTICK (E. L.), The Chansonnier Cordiforme, pp.10-27, Volume XX, No.1, 1967

– KOVARIK (E.), A Newly Discovered Dunstable Fragment, pp.21-33, Volume XXI, No.1, 1968

  • The Performance of Dufay’s Paraphrase Kyries, pp.230-244, Volume XXVIII, No.2, 1975

– KOWALKE (K. H.), A Chronology of American Musical Theater, by Richard C. Norton; Broadway Musicals, 1943-2004, by John Stewart; Unfinished Show Business: Broadway Musicals as Works-in-Process, by Bruce Kirle; Musical Theater and American Culture, by David Walsh and Len Platt; Our Musicals, Ourselves: A Social History of the American Musical and the Formation of National Identity, by Raymond Knapp; The American Musical and the Performance of Personal Identity, by Raymond Knapp; The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim, by Scott McMillin; and The Rise and Fall of the Broadway Musical, by Mark N. Grant, pp.688-714, Volume 60, No.3, 2007

– KRADER (B.), Rumanian Folk Music, by Béla Bartók, Vol. I: Instrumental Melodies, Vol. II: Vocal Melodies, Vol. III: Texts, pp.276-279, Volume XXV, No.2, 1972

– KRAMER (L.), Chopin at the Funeral: Episodes in the History of Modern Death, pp.97-126, Volume 54, No.1, 2001

– KRAMER (R.), Notes to Beethoven’s Education, pp.72-101, Volume XXVIII, No.1, 1975

  • Ludwig van Beethoven, Kesslersches Skizzenbuch, edited by Sieghard Brandenburg (Veröffentlichungen des Beethovenhauses in Bonn, neue Folge, erste Reihe. Beethoven: Skizzen und Entwürfe, I), pp.596-601, Volume XXXIII, No.3, 1980
  • The New Modulation of the 1770S: C. P. E. Bach in Theory, Criticism, and Practice, pp.551-592, Volume XXXVIII, No.3, 1985
  • Douglas Johnson, Alan Tyson, and Rober Winter, The Beethoven Sketchbooks, pp.361-367, Volume XL, No.2, 1987

– KRAVITT (E. F.), The Lied in 19th-Century Concert Life, pp.207-218, Volume XVIII, No.2, 1965

– KREMER (R.), Fenner Douglass, The Language of the Classical French Organ: A Musical Tradition Before 1800, pp.112-114, Volume XXV, No.1, 1972

– KREUZER (G.), “Oper im Kirchengewande”? Verdi’s Requiem and the Anxieties oft he Young German Empire, pp.399-450, Volume 58, No.2, 2005

– KRUCKENBERG (L.), Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages, pp.243-318, Volume 59, No.2, 2006

– KRUMMEL (D. W.), Irvin Lowens, A Bibliography of Songsters Printed in America before 1821, pp.338-341, Volume XXX, No.2, 1977

  • Catalogue of the Works of Hector Berlioz. Edited by D. Kern Holoman, pp.367-375, Volume XLIII, No.2, 1990

– KOSKOFF (E.), Musical Journeys in Sumatra, by Margaret Kartomi, pp.881-887, Volume 66, No.3, 2013

– KÜGLE (K.), Glorious Sound for a Holy Warrior: New Light on Codex Turin J.II.9, pp.637-690, Volume 65, No.3, 2012

– KURT (R.), Schoenberg’s Musical Imagination, by Michael Cherlin, pp.243-252, Volume 62, No.1, 2009

  • Shoenberg’s New World: The American Years, by Sabine Feisst, pp.576-584, Volume 66, No.3, 2013

– KURTZMAN (J.), Claudio Monteverdi, Opera Omnia. Vol. II: Madrigali a 5 voci, libro primo, pp.343-348, Volume XXVII, No.2, 1974

  • The Sounds of Milan: 1585-1650, by Robert L. Kendrick, pp.185-190, Volume 59, No.1, 2006

– LAIRD (P. R.), Music in German Immigrant Theater: New York City 1840-1940, by John Koegel, pp.736-741, Volume 64, No.3, 2011

– LANG (P. H.), Mozart after 200 years, pp.197-205, Volume XIII, 1960

– LANKIN REDWAY (V.), Charles Theodore Pachelbell, Musical Emigrant, pp.32-36, Volume V, No.1, 1952

– LARSON (A. P.), Stanley Sadie, ed., The New Grove Dictionary of Musical Instruments, pp.375-382, Volume XLI, No.2, 1988

– LARUE (J.), The Okinawan Notation System, pp.27-35, Volume IV, No.1, 1951

  • A System of Symbols for Formal Analysis, pp.25-28, Volume X, No.1, 1957
  • Major and Minor Mysteries of Identification in the 18th-Century Symphony, pp.181-196, Volume XIII, 1960
  • Significant and coincidental resemblance between classical themes, pp.224-234, Volume XIV, No.2, 1961
  • Eugene Narmour, Beyond Schenkerism: The Need for Alternatives in Music Analysis, pp.586-591, Volume XXXII, No.3, 1979
  • Charles Rosen, Sonata Forms, pp.557-566, Volume XXXIV, No.3, 1981

– LAWTON (D.), Martin Chusid, A Catalog of Verdi’s Operas, pp.151-153, Volume XXIX, No.1, 1976

– LE GUIN (E.), “One Says That One Weeps, but One Does Not Weep”: Sensible, Grotesque, and Mechanical Embodiments in Boccherini’s Chamber Music, pp.207-254, Volume 55, No.2, 2002

  • This Matter of smorf-: A Response to Beverly Jerold and Marco Mangani, pp.465-472, Volume 59, No.2, 2006
  • Historia de la música española desde la venida de los fenicios hasta el año de 1850, by Mariano Soriano Fuertes. Madrid and Barcelona, 1855-59. Facsimile reprint., pp.422-430, Volume 61, No.2, 2008

– LEACH (E. E.), The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music, by David J. Rothenberg, pp.597-603, Volume 65, No.2, 2012

– LEDBETTER (S.), Lionello Cammarota, Gian Domenico del Giovane da Nola: I documenti biografici e l’attività presso la SS. Annunziata con l’opera completa. Madrigali a 4 e 5 voci, Canzoni villanesche a 3 e 4 voci. 2 vols. (Polifonia napoletana del rinascimento.), pp.370-374, Volume XXVIII, No.2, 1975

  • Pietro Maria Marsolo, Secondo Libro dei madrigali a quattro voci, opera decima (1614), Volume XXX, pp.150-154, No.1, 1977
  • Marenzio’s Early Career, pp.304-320, Volume XXXII, No.2, 1979

– LEE (S.D.), A Minstrel in a World without Minstrels: Adorno and the Case of Schreker, pp.639-696, Volume 58, No.3, 2005

– LEECH-WILKINSON (D.), Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146, edited by Margaret Bent and Andrew Wathey, pp.152-159, Volume 53, No.1, 2000

– LEFKOWITZ (M.), The Longleat Papers of Bulstrode Whitelocke; New Light on Shirley’s Triumph of Peace, pp.42-60, Volume XVIII, No.1, 1965

– LEISTRA-JONES (K.), Staging Authenticity: Brahms, Joachim, and the Politics of Werktreue Performance, pp.397-436, Volume 66, No.2, 2013

– LELAND CLARKE (H.), Toward a Musical Periodization of Music, pp.25-30, Volume IX, No.1, 1956

– LENNEBERG (H. H.), The Critic Criticized: Sebastian Virdung and his Controversy with Arnold Schlick, pp.1-6, Volume X, No.1, 1957

– LENNEMBERG (H.) – LIBIN (L.), Unknown Handel Sources in Chicago, pp.85-100, Volume XXII, No.1, 1969

– LEOPOLD (S.), Ellen Rosand, Opera in Seventeenth-Century Venice: The Creation of a Genre, pp.507-512, Volume XLVIII, No.3, 1995

– LEPPERT (R. D.), Walter Salmen, Musikleben im 16. Jahrundert. (Musikgeschichte in Bildern, III, 9.), pp.339-343, Volume XXXII, No.2, 1979

– LERNER (E. R.), Some Motet Interpolations in the Catholic Mass, pp.24-31, Volume XIV, No.1, 1961

  • Edgar H. Sparks, The Music of Noel Bauldeweyn, pp.525-527, Volume XXVII, No.3, 1974

– LESSEM (A.), Imitation and Expression: Opposing French and British Views in the 18th Century, pp.325-330, Volume XXVII, No.2, 1974

– LESTER (A. E.), Performing Piety: Musical Culture in Medieval English Nunneries, by Anne Bagnall Yardley, pp.645-650, Volume 61, No.3, 2008

– LESTER (J.),  Revisions in  the Autograph of The Missa Solemnis Kyrie, pp.420-438, Volume XXIII, No.3, 1970

  • Root-Position and Inverted Triads in Theory around 1600, pp.110-119, Volume XXVII, No.1, 1974
  • Jan Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schönberg. Vol. I: Chronologischer Teil. Vol. II: Analysticher Teil. Vol. III: Notenbeilage, pp.155-160, Volume XXVII, No.1, 1974
  • Major-Minor Concepts and Modal Theory in Germany: 1592-1680, pp.208-257, Volume XXX, No.2, 1977
  • Heightening Levels of Activity and J.S. Bach’s Parallel-Section Constructions, pp.49-96, Volume 54, No.1, 2001

– LEVIN (R. D.), Frederick Neumann, Ornamentation and Improvisation in Mozart, pp.355-368, Volume XLI, No.2, 1988

  • Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity, by Karol Berger, pp.658-684, Volume 63, No.3, 2010

– LEVITZ (T.), Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich, by Pamela M. Potter, pp.176-187, Volume 55, No.1, 2002

– LEVY (J. M.), Texture as a Sign in Classic and Early Romantic Music, pp.482-531, Volume XXXV, No.3, 1982

– LEVY (K.), New Material on the Early Motet in England, pp.220-239, Volume IV, No.3, 1951

  • A Hymn for Thursday in holy week, pp.127-175, Volume XVI, No.1, 1963
  • The Italian Neophytes’ Chants, pp.181-227, Volume XXIII, No.2, 1970
  • A Dominican Organum Duplum, pp.183-211, Volume XXVII, No.2, 1974
  • Charlemagne’s Archetype of Gregorian Chant, pp.1-30, Volume XL, No.1, 1987
  • On Gregorian Orality, pp.185-227, Volume XLIII, No.2, 1990
  • Abbot Helisachar’s Antiphoner, pp.171-186, Volume XLVIII, No.2, 1995

– LEWIS (G. E.), Americanist Musicology and Nomadic Noise, pp.691-695, Volume 64, No.3, 2011

– LEWIS (H.), “The Music Has Something to Say”: The Musical Revisions of L’Atlante (1934), pp.559-604, Volume 68, No.3, 2015

– LEWIS (M. S.), David Crawford, Sixteenth-Century Choirbooks in the Archivio Capitolare at Casale Monferrato, pp.521-529, Volume XXXI, No.3, 1978

– LEYDON (R.), The Sounds of Early Cinema, edited by Richard Abel and Rick Altman, pp.226-232, Volume 58, No.1, 2005

– LIBBY (D.), Interrelationships in Corelli, pp.263-287, Volume XXVI, No.2, 1973

– LIBIN (L.), Ross Dufflin, RIdIM/RCMI Inventory of Music Iconography No.8: The Cleveland Museum of Art; Margaret J. Kartomi, On Concepts and Classifications of Musical Instruments; and Sue Carole DeVale, ed., Selected Reports in Ethnomusicology. Volume 8, Issues in Organology, pp.144-152, Volume XLVI, No.1, 1993

– LINCOLN (H. B.), H. Colin Slim, A Gift of Madrigals and Motets. Vol. I: Description and Analysis. Vol. II: Transcriptions, pp.139-142, Volume XXVII, No.1, 1974

– LINDENBERGER (H.), Opera, Sex, and Other Vital Matters, by Paul Robinson; and Opera on Screen, by Marcia J. Citron, pp.684-693, Volume 57, No.3, 2004

– LINDGREN (L.), Reinhard Strohm, Italienische Opernarien des frühen Settecento (1720-1730). Part I: Studien. Part II: Notenbeispiele und Verzeichnisse, pp.151-156, Volume XXXI, No.1, 1978

  • Ellen T. Harris, Handel and the Pastoral Tradition, pp.352-357, Volume XXXIV, No.2, 1981

– LINKER (R. W.) – McCPEEK (G. S.), The Bergerette Form in the Laborde Chansonnier: A Musico-Literary Study, pp.113-120, Volume VII, No.2, 1954

– LIPPMAN (E. A.), Hellenic conceptions of Harmony, pp.3-35, Volume XVI, No.1, 1963

  • Theory and Practice in Schumann’s Aesthetics, pp.310-345, Volume XVII, No.3, 1964

– LIST (G.), Hopi Melodic Concepts, pp.143-152, Volume XXXVIII, No.1, 1985

– LITTERICK (L.), Das Liederbuch des Johannes Heer von Glarus, pp.108-112, Volume XXV, No.1, 1972

– LITTLE (M.), The Contribution of Dance Steps to Musical Analysis and Performance: La Bourgogne, pp.112-124, Volume XXVIII, No.1, 1975

  • Fabritio Caroso, Nobiltà di Dame, Julia Sutton, ed., pp.542-548, Volume XL, No.3, 1987

– LOCHHEAD (J.), Can We Say What We Hear? – Jankélévitch and the Bergsonian Ineffable, pp. 231-234, Volume 65, No.1, 2012

– LOCKE (D.), Female Song Tradition and the Akan of Ghana: The Creative Process in Nnwonkor, by Kwasi Ampene, pp.231-237, Volume 61, No.1, 2008

– LOCKE (R. P.), Joël-Marie Fauquet, Les sociétés de musique de chambre à Paris de la Restauration à 1870, pp.504-512, Volume XLIII, No.3, 1990

– LOCKWOOD (L.), Jean Mouton and Jean Michel: New Evidence on French Music and Musicians in Italy, 1505-1520, pp.191-246, Volume XXXII, No.2, 1979

– LONDON (J.), Music in the Moment, by Jerrold Levinson, pp.156-162, Volume 52, No.1, 1999

– LONG (M.), Landini’s Musical Patrimony: A Reassessment of Some Compositional Conventions in Trecento Polyphony, pp.31-52, Volume XL, No.1, 1987

  • Symbol and Ritual in Josquin’s Missa di Dadi, pp.1-22, Volume XLII, No.1, 1989
  • Singing Through the Looking Glass: Child’s Play and Learning in Medieval Italy, pp.253-306, Volume 61, No.2, 2008

– LOVENSHEIMER (J.), West Side Story: Cultural Perspectives on an American Musical, by Elizabeth Wells; and Leonard Bernstein: “West Side Story”, by Nigel Simeone, pp.285-291, volume 65, No.1, 2012

– LOWE (M.), Mozart and Enlightenment Semiotics, by Stephen Rumph, pp.867-871, Volume 65, No.3, 2012

– LOWENS (I.), John Wyeth’s Respository of Sacred Music, Part Second: A Northern Precursor of Southern Folk Hymnody, pp.114-131,Volume V, No.2, 1952

  • The Origins of the America Fuging Tune, pp.43-52, Volume VI, No.1, 1953
  • The Bay Psalm Book in 17th-Century New England, pp.22-29, Volume VIII, No.1, 1955
  • Writings about Music in the Periodicals of American Transcendentalism (1835-50), pp.71-85, Volume X, No.2, 1957 Andrew Law and the Pirates, pp.206-223, Volume XIII, 1960
  • David P. McKay and Richard Crawford, William Billings of Boston: Eighteenth-Century Composer. Hans Nathan, William Billings: Data and Documents, pp.328-333, Volume XXX, No.2, 1977

– LOWINSKY (E. E.), On the Use of Scores by Sixteenth-Century Musicians, pp.17-23, Volume I, No.1, 1948

  • A Newly Discovered Sixteenth-Century Motet Manuscript at the Biblioteca Vallicelliana in Rome, pp.173-232, Volume III, No.3, 1950
  • Conflicting Views on Conflicting Signatures, pp.181-204, Volume VIII, No.3, 1954
  • Early Scores in Manuscript, pp.126-173, Volume XIII, 1960
  • Character and Purposes of American Musicology; A Reply to Joseph Kerman, pp.222-234, Volume XVIII, No.2, 1965
  • On the Presentation and Interpretation of Evidence: Another Review of Costanzo Festa’s Biography, pp.106-128, Volume XXX, No.1, 1977

– LUBBEN (J.), The Masterwork in Music: A Yearbook. Volume 1 (1925), by Heinrich Schenker, pp.145-156, Volume 52, No.1, 1999

– LUBKIN (G.), Music and Patronage in the Sforza Court, by Paul A. Merkley and Lora L. M. Merkley, pp.346-353. Volume 55, No.2, 2002

– LUPER (A. T.), Portuguese Plyphony in the Sixteenth and Early Seventeenth Centuries, pp.93-112, Volume III, No.2, 1950

– MACCLINTOCK (C.), A Court Musician’s Songbook: Modena MS C 311, pp.177-192, Volume IX, No.3, 1956

  • The Monodies of Francesco Rasi, pp.32-36, Volume XIV, No.1, 1961
  • The “Giaches Fantasias” in MS Chigi Q VIII: A Problem in Identification, pp.370-382, Volume XIX, No.3, 1966
  • Dietrich Kämper, Studien zur instrumentalen Ensemblemusik des 16. Jahrhunderts in Italien, pp.161-164, Volume XXVI, No.1, 1973

– MACCORKLE (D. M.), Finding a Place for American Studies in American Musicology, pp.73-84, Volume XIX, No.1, 1966

– MACDONALD (C.), Robert Schumann, Konzertsatz für Klavier und Orchester d-moll, reconstructed and completed by Jozef De Beenhouwer, pp.143-153, Volume XLV, No.1, 1992

– MACEY (P.), Savanarola and the Sixteenth-Century Motet, pp.422-452, Volume XXXVI, No.3, 1983

  • Alfonso Ferrabosco, the Elder, Opera Omnia, I, ed. Richard Charteris, pp.650-655, Volume XXXIX, No.3, 1986

– MADRID (A .L.), American Music in Times of Postnationality, pp.699-703, Volume 64, No.3, 2011

– MAGEE (G. S.), Rethinking Social Class and American Musica, pp.696-699, Volume 64, No.3, 2011

– MAGEE (J.), Revisiting Fletcher Henderson’s “Copenhagen”, pp.42-66, Volume XLVIII, No.1, 1995

  • “Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s, pp.697-732, Volume 59, 2006

– MAHONEY (D. F.), Unfinished Music, by Richard Kramer, pp.685-690, Volume 63, No.3, 2010

– MAHRT (W. P.), Heinrich Isaac, Messen, pp.341-344, Volume XXVI, No.2, 1973

– MAIANI (B.), Approaching the Communio Melodies, pp.209-290, Volume 53, No.2, 2000

– MAIER (F. M.), The Idea of Melodic Connection in Samuel Beckett, pp.373-410, Volume 61, No.2, 2008

– MAÎTRE (C.), The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography; Written in Honor of Professor Ruth Steiner, edited by Margot E. Fassler and Rebecca A. Baltzer, translated by Elizabeth Aubrey, pp.697-704, Volume 58, No.3, 2005

– MALM (W. P.), Four Seasons of the Old Mountain Woman: An Example of Japanese Nagauta Text Setting, pp.83-117, Volume XXXI, No.1, 1978

– MALOY (R.), Old Hispanic Chant and the Early History of Plainsong, pp.1-76, Volume 67, No.1, 2014

– MANIATES (M. R.), Combinative Chansons in the Dijon Chansonnier, pp.228-281, Volume XXIII, No.2, 1970

  • Johannes Lhéritier, Opera omnia, pp.261-270, Volume XXV, No.2, 1972
  • Vicentino’s “Incerta et occulta scientia” Reexamined, pp.335-351, Volume XXVIII, No.2, 1975
  • Gary Tomlinson, Music in Renaissance Magic: Toward a Historiography of Others, pp.115-126, Volume XLVIII, No.1, 1995

– MANGANI (M.), More on smorfioso, pp.461-464, Volume 59, No.2, 2006

– MANGSEN (S.), Studies in Figured Bass Accompaniment, pp.498-506, Volume XLV, No.3, 1992

– MANOS (I.), Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia, by Charles Keil and Angeliki Vellou Keil, pp.513-518, Volume 59, No.2, 2006

– MANUEL (P.), From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics, pp.311- 336, Volume 55, No.2, 2002

– MARCO (G. A.), A Musical Task in the “Surprise” Symphony, pp.41-44, Volume XI, No.1, 1958

– MARISSEN (M.), The Music Libel Against the Jews, by Ruth HaCohen, pp.304-308, Volume 66, No.1, 2013

– MARSHALL (J. M.), Hidden Polyphony in a manuscript from St. Martial de Limoges, pp.131-144, Volume XV, No.2, 1962

– MARSHALL (R. L.), The paraphrase technique of Palestrina in his masses based on hymns, pp.347-372, Volume XVI, No.3, 1963

  • S. Bach’s Compositions for Solo Flute: A Reconsideration of Their Authenticity and Chronology, pp.463-498, Volume XXXII, No.3, 1979

– MARSTON (N.), Approaching the Sketches for Beethoven’s “Hammerklavier” Sonata, pp.404-450, Volume XLIV, No.3, 1991

– MARTIN (D. C.), Lying Up a Nation: Race and Black Music, by Ronald Rodano; and Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey Jr., pp.755-764, Volume 59, No.3, 2006

– MASSEY (D.), The Problem of Ives’s Revisions, 1973-1987, pp.599-646, Volume 60, No.3, 2007

– MATHEW (N.), Music and the Politics of Negation, by James R. Currie, pp.828-833, Volume 67, No.3, 2014

– MATTFELD (J. A.), Some relationships between texts and cantus firmi in the liturgical motets of Josquin des Pres, pp.159-183, Volume XIV, No.2, 1961

– MAUK (F.), Thomas Clifton, Music As Heard, pp.205-209, Volume XXXIX, No.1, 1986

– MAY (E. D.), The Organs of J. S. Bach: A Handbook, by Christoph Wolff and Markus Zepf; J. S. Bach and His Royal Instrument: Essays on The Organ Works, bu Russell Stinson; and Bach’s Feet: The Organ Pedals in European Culture, by David Yearsley, pp.589-598, Volume 67, No.2, 2014

– MAYNARD (J. D.) “Heir Beginnis Countering”, pp.182-196, Volume XX, No.2, 1967

– MAZO (M.), Roland John Wiley, Tchaikovsky’s Ballets, pp.194-203, Volume XLII, No.1, 1989

  • Stravinsky’s Les Noces and Russian Folk Wedding Ritual, pp.99-142, Volume XLIII, No.1, 1990

– MAZULLO (M.), Understanding Rock: Essays in Musical Analysis, edited by John Covach and Graeme M. Boone, pp.187-194, Volume 55, No.1, 2002

– MCCALLA (J.), Arthur B. Wenk, Claude Debussy and the Poets, pp.163-167, Volume XXXI, No.1, 1978

– MCCLATCHIE (S.), Richard Strauss, by Matthew Boyden; The Life of Richard Strauss, by Bryan Gilliam; and Richard Strauss: Man, Musician, enigma, by Michael Kennedy, pp.650-660, Volume 53, No.3, 2000

– MCCLYMONDS (M. P.), The Evolution of Jommelli’s Operatic Style, pp.326-355, Volume XXXIII, No.2, 1980

– MCCORKLE (B.), Composing Japanese Musical Modernity, by Bonnie Wade, pp.703-708, Volume 68, No.3, 2015

– MCCRELESS (P.), Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writing of Johann Georg Sulzer and Heinrich Christoph Koch, edited and translated by Nancy Kovaleff Baker and Thomas Christensen; and Music Theory in the Age of Romanticism, edited by Ian Bent, pp.169-182, Volume 51, No.1, 1998

– MCDONALD (M.), Jeux de Nombres: Automated Rhythm in The Rite of Spring, pp.499-552, Volume 63, No.3, 2010

– MCGEE (T.), The Liturgical Placements of the Quem quaeritis Dialogue, pp.1-29, Volume XXIX, No.1, 1976

  • Diane Dolan, Le Drame liturgique de Pâques en Normandie et en Angleterre au moyen age, pp.145-147, Volume XXX, No.1, 1977
  • “Alla Battaglia”: Music and Ceremony in Fifteenth-Century Florence, pp.288-302, Volume XXXVI, No.2, 1983

– MCHUGH (D.), “I’ll Never Know Exactly Who Did What”: Broadway Composers as Musical Collaborators, pp.605, Volume 68, No.3, 2015

– MCKINNON (J. W.), Musical Instruments in Medieval Psalm Commentaries and Psalters, pp.3-20, Volume XXI, No.1, 1968

  • Tilman Seebass, Musikdarstellung und Psalterillustration im früheren Mittelalter: Studien ausgehend von einer Ikonologie der Handschrift, pp.361-364, Volume XXVIII, No.2, 1975
  • Representations of the Mass in Medieval and Renaissance Art, pp.21-52, Volume XXXI, No.1, 1978
  • The Eighth-Century Frankish-Roman Communion Cycle, pp.179-227, Volume XLV, No.2, 1992

– MEADORS (J.), Fuenllana, Miguel de, Orphénica lyra (Seville, 1554), edited by Charles Jacobs, pp.587-592, Volume XXXIII, No.3, 1980

– MECONI (H.), Pierre de la Rue, Opera omnia, pp.283-293, Volume XLVIII, No.2, 1995

– MEINTJES (L.), Representing African Music: Postcolonial Notes, Queries, Position, by Kofi Agawu, pp.769-777, Volume 59, No.3, 2006

– MELAMED (D. R.), The Authorship of the Motet Ich Lasse Dich Nicht (BWV ANH. 159), pp.491-526, Volume XLI, No.3, 1988

  • Recent Bach Research in English, pp.339-352, Volume XLV, No.2, 1992
  • The Double Chorus in J.S. Bach’s St. Matthew Passion BWV 244, pp.3-50, Volume 57, No.1, 2004

– MENDEL (A.), Gustave Reese (1899-1977): A Personal Memoir, pp.359-365, Volume XXX, No.3, 1977

– MENGOZZI (S.), Johannes Tinctoris: Complete Theoretical Works. Ronald Woodley, Director,, pp.839-847, Volume 67, No.3, 2014

– METZER (D.), Reclaiming Walt: Marc Blitzstein’s Whitman Settings, pp.240-271, Volume XLVIII, No.2, 1995

– MEYER (L. B.), On rehearing music, pp.257-267, Volume XIV, No.2, 1961

– MEYER (S.), Terror and Transcendence in the Operatic Prison, 1790-1815, pp.477-524, Volume 55, No.3, 2002

– MICZNIK (V.), Studies in Semiotics, pp.526-535, Volume XLV, No.3, 1992

– MILHOUS (J.), Opera Finances in London 1674-1738, pp.567-592, Volume XXXVII, No.3, 1984

– MILHOUS (J.) – HUME (R.D.), Opera salaries in eighteenth-century London, pp.26-83, Volume XLVI, No.1, 1993

– MILLER (L. E.), Henry Cowell and John Cage: Intersections and Influences, 1933-1941, pp.47-112, Volume 59, No.1, 2006

– MILSOM (J.), Josquin, by David Fallows, pp.433-444, Volume 64, No.2, 2011

– MILTON MILLER (H.), Fulgens Praeclara: a Unique Keyboard Setting Musico-Dramatic Criticism of English  Comic of a Plainsong Sequence, pp.97-101, Volume II, No.2, 1949

  • Forthy Wayes of 2 Pts. in one of tho [mas] Woodson, pp.14-21, Volume VIII, No.1, 1955

– MINAGAWA (T.), Japanese Noh Music, pp.181-200, Volume X, No.3, 1957

– MINTZ (D.), Schumann as an interpreter of Goethe’s Faust, pp.235-256, Volume XIV, No.2, 1961

– MISHKIN (H. G.), Five Autograph String Quartets by Giovanni Battista Sammartini, pp. 136-147, Volume VI, No.2, 1953

– MITCHELL (W. J.), Chord and Context in 18th-Century theory, pp.221-239, Volume XVI, No.2, 1963

  • Erich Hertzmann, pp.3-4, Volume XVII, No.1, 1964

– MOCKUS (M.), Queer Episodes in Music and Modern Identity, edited by Sophie Fuller and Lloyd Whitesell, pp.730-736, Volume 58, No.3, 2005

– MOEHN (F.), Western Music and Race, edited by Julie Brown, pp.402-415, Volume 63, No.2, 2010

– MOLDENHAUER (H.), A Newly Found Mozart Autograph: Two Cadenzas to K. 107, pp.213-216, Volume VIII, No.3, 1955

– MONAHAN (S.), “I have tried to capture you…”: Rethinking the “Alma” Theme from Mahler’s Sixth Symphony, pp.119-178, Volume 64, No.1, 2011

– MONSON (C.), Stylistic Inconsistencies in a Kyrie Attributed to Dufay, pp.245-267, Volume XXVIII, No.2, 1975

  • Thomas Myriell’s Manuscript Collection: One View of Musical Taste in Jacobean London, pp.419-465, Volume XXX, No.3, 1977
  • Authenticity and Chronology in Byrd’s Church Anthems, pp.280-305, Volume XXXV, No.2, 1982
  • The Council of Trent Revisited, pp.1-38, Volume 55, No.1, 2002

– MONSON (I.), The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse, pp.396-422, Volume XLVIII, No.3, 1995

– MONTAGNIER (J. P. C.), Music, Discipline, and Arms in Early Modern France, by Kate van Orden, pp.211-214, Volume 61, No.1, 2008

– MONTEMORRA MARVIN (R.), Semiramide, melodrama tragico in due atti di Gaetano Rossi, musica di Gioacchino Rossini, edited by Philip Gossett and Alberto Zedda; and Il Viaggio a Reims ossia L’albergo del Giglio d’oro, dramma giocoso in un atto di Luigi Balochi, musica di Gioacchino Rossini, edited by Janet Johnson, pp.202-215, Volume 59, No.1, 2006

– MOORE (J. H.), The Vespero Delli Cinque Laudate and the Role of Salmi Spezzati at St. Mark’s, pp.249-278, Volume XXXIV, No.2, 1981

  • The Letters of Claudio Monteverdi, ed. Denis Stevens, pp.554-565, Volume XXXV, No.3, 1982
  • Venezia Favorita Da Maria: Music for the Madonna Nicopeia and Santa Maria della Salute, pp.299-355, Volume XXXVII, No.2, 1984

– MOORE PRUETT (L.), Listening and Longing: Music Lovers in the Age of Barnum, by Daniel Cavicchi; and American Orchestras in the Nineteenth Century, edited by John Spitzer, pp.887-895, Volume 66, No.3, 2013

– MOOREFIELD (A. A.), James Bruce: Ethnomusicologist or Abyssinian Lyre?, pp.493-514, Volume XXVIII, No.3, 1975

– MORGAN (R. P.), Circular Form in the Tristan Prelude, pp.69-104, Volume 53, No.1, 2000

– MÓRICZ (K.), Sensuous Pagans and Righteous Jews: Changing Concepts of Jewish Identity in Ernest Bloch’s Jézabel and Schelomo, pp.439-492, Volume 54, No.3, 2001

  • Listening for Utopia in Ernst Bloch’s Musical Philosophy, by Benjamin M. Korstvedt, pp.885-891, Volume 65, No.3, 2012

– MORONEY (D.), Alessandro Striggio’s Mass in Forty and Sixty Parts, pp.1-70, Volume 60, No.1, 2007

  • Portraits around Marc-Antoine Charpentier, by Patricia M. Ranum; Les manuscrits autographes de Marc-Antoine Charpentier, edited by Catherine Cessac; Marc-Antoine Charpentier: Un musician retrouvé, edited by Catherine Cessac; and François Couperin and ‘The Perfection of Music’, by David Tunley, pp.654-670, Volume 61, No.3, 2008

– MORRIS (R. D.), David Schiff, The Music of Elliott Carter, pp.183-190, Volume XXXVIII, No.1, 1985

– MORRISON (S.), Skryabin and the Impossible, pp.283-330, Volume 51, No.2, 1998

  • Defining Russia Musically: Historical and Hermeneutical Essays, by Richard Taruskin, pp.412-425, Volume 53, No.2, 2000
  • Shostakovich: A Life, by Laurel E. Fay, pp.426-436, Volume 53, No.2, 2000
  • Sergey Prokof’yev: Dnevnik 1907-1933, edited by Svyatoslav Prokof’yev, pp.233-243, Volume 58, No.1, 2005
  • Russian Music and Nationalism: From Glinka to Stalin, by Marina Frlova-Walker, pp.266-272, Volume 65, No.1, 2012

– MORROW (M. S.), Music in the Galant Style, by Robert O. Gjerdingen; and The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period”, by Stephanie D. Vial, pp.244-253, Volume 64, No.1, 2011

– MOSELEY (R.), Digital Analogies: The Keyboard as Field of Musical Play, pp.151-228, Volume 68, No.1, 2015

– MOSHAVER (M. A.), Telos and Temporality: Phenomenology and the Experience of Time in Lewin’s Study of Perception, pp.179-214, Volume 65, No.1, 2012

– MUELLER (R. C.), Alan Walker, Franz Listz, I, The Virtuoso Years, 1811-1847, pp.185-196, Volume XXXVII, No.1, 1984

– MUNDY (R.), Evolutionary Categories and Musical Style from Adler to America, pp.735-768, Volume 67, No.3, 2014

– Music and Sexuality, pp.825-872, Volume 66, No.3, 2013

– Musicology Beyond Borders?, pp.821-862, Volume 65, No.3, 2012

– MURATA (M.), The Recitative Soliloquy, pp.45-73, Volume XXXII, No.1, 1979

  • Roman Monody, Cantata, and Opera from the Circles Around Cardinal Montalto, by John Walter Hill, pp.636, Volume 51, No.3, 1998

– MURRAY (S. E.), Raoul F. Camus, Military Music of the American Revolution, pp.531-535, Volume XXX, No.3, 1977

  • Weeping and Mourning: Funeral Dirges in Honor of General Washington, pp.282-308, Volume XXXI, No.2, 1978

– MURRAY BARBOUR (J.), More on the Leipzig Organ Tuning, pp.41-44, Volume III, No.1, 1950

  • Violin Intonation in the 18th Century, pp.224-234, Volume V, No.3, 1952
  • The Principles of Greek Notation, pp.1-17, Volume XIII, 1960

– MUSGRAVE (M.), Walter Frisch, Brahms and the Principle of Developing Variation, pp.628-636, Volume XXXVIII, No.3, 1985

– NÁDAS (J.), The Structure of MS Panciatichi 26 and the Transmission of Trecento Polyphony, pp.393-427, Volume XXXIV, No.3, 1981

– NESS (A.), Wolfgang Boetticher, Handschriftlich überlieferte Lautenen- und Gitarrentabulaturen des 15. bis 18. Jahrhunderts, pp.339-345, Volume XXXIV, No.2, 1981

– NETTL (B.), Stylistic Variety in North American Indian Music, pp.160-168, Volume VI, No.2, 1953

  • Change in Folk and Primitive Music: A Survey of Methods and Studies, pp.101-109, Volume VIII, No.2, 1955
  • Unifying Factors in Folk and Primitive Music, pp.196-201, Volume IX, No.3, 1956
  • Albrecht Schneider, Musikwissenschaft und Kulturkreislehre: Zur Methodik und Geschichte der vergleichenden Musikwissenschaft, pp.132-135, Volume XXXI, No.1, 1978

– NEUMANN (F.), The French Inégales, Quantz, and Bach, pp.313-358, Volume XVIII, No.3, 1965

  • The Appoggiatura in Mozart’s Recitative, pp.115-137, Volume XXXV, No.1, 1982

– NEUMEYER (D.), Beyond the Soundtrack: Representing Music in Cinema, edited by Daniel Goldmark, Lawrence Kramer, and Richard Leppert, pp.445-453, Volume 61, No.2, 2008

– NEWCOMB (A.), Editions of Willaert’s Musica Nova: New Evidence,  New Speculatoins, pp.132-145, Volume XXVI, No.1, 1973

  • Recent Edition of Madrigals, pp.395-408, Volume XXXIX, No.2, 1986
  • Divining the Oracle: Monteverdi’s Seconda Prattica, by Massimo Ossi; and Modal Subjectivities: Self-Fashioning in the Italian Madrigal, by Susan McClary, pp.201-217, Volume 60, No.1, 2007
  • The Ballata and the “Free” Madrigal in the Second Half of the Sixteenth Century, pp. 427-498, Volume 63, No.3, 2010

– NEWMAN (W. S.), The Sonatas of Albinoni and Vivaldi, pp.99-113, Volume V, No.2, 1952

  • Beethoven’s Pianos Versus His Piano Ideals, pp.484-504, Volume XXIII, No.3, 1970
  • The New Oxford History of Music. Vol. VII: The Age of Enlightenment, 1745-1790, pp.384-395, Volume XXVIII, No.2, 1975
  • The Performance of Beethoven’s Trills, pp.439-462, Volume XXIX, No.3, 1976

– NICHOLLS (D.), Aaron Copland: The Life and Work of an Uncommon Man, by Howard Pollack, pp.191-196, Volume 53, No.1, 2000

– NIEBUR (L.), Victory Throught Harmony: The BBC and Popular Music in World War II, by Christina L. Baade, pp.314-318, Volume 66, No.1, 2013

– NOLTE (E. V.), The Magnificat Fugues of Johann Pachelbel: Alernation or Intonation?, pp.19-24, Volume IX, No.1, 1956

– NOSOW (R.), The Motet in the Age of Du Fay, by Julie E. Cumming, pp.362-368, Volume 54, No.2, 2001

– NUGENT (G.), Anti-Protestant Music for Sixteenth-Century Ferrara, pp.228-291, Volume XLIII, No.2, 1990

– ODEGARD (P. S.), Dictionary of Contemporary Music, pp.153-156, Volume XXIX, No.1, 1976

– ORDEN (K.), Sexual discoursein the Parisian chanson: a libidinous aviary, pp.1-41, Volume XLVIII, No.1, 1995

– OSSI (M.), Claudio Monteverdi’s Ordine Novo, Bello et Gustevole: The Canzonetta as Dramatic Module and Formal Archetype, pp.261-304, Volume XLV, No.2, 1992

  • Eric Chafe, Monteverdi’s Tonal Language; and Iain Fenlon and Peter N. Miller, The Song of the Soul: Understanding “Poppea”, pp.490-507, Volume XLVIII, No.3, 1995

– OWENS (J. A.), Iain Fenlon, Music and Patronage in Sixteenth-Century Mantua, pp.334-344, Volume XXXV, No.2, 1982

  • The Milan Partbooks: Evidence of Cipriano De Rore’s Compositional Process, pp.270-298, Volume XXXVII, No.2, 1984
  • Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Reinaissance Musicians, pp.313-318, Volume XLVI, No.2, 1993

– PACKER (D. S.),  “La Calotte” and the 18th-century French Vaudeville, pp.61-83, Volume XXIII, No.1, 1970

– PAGE (C.), Reading and Reminiscence: Tinctoris on the Beauty of Music, pp.1-31, Volume XLIX, No.1, 1996

– PALISCA (C. V.), Vincenzo Galilei’s Counterpoint Treatise: A Code for the Seconda Pratica, pp.81-96, Volume IX, No.2, 1956

– PALUMBO (J.), The Foligno Fragment: A Reassessment of Three Polyphonic Glorias, Ca. 1400, pp.169-209, Volume XL, No.2, 1987

– PARAKILAS (J.), Manuel de Falla and Modernism in Spain, 1898-1936, by Carol A. Hesse, pp.673-678, Volume 57, No.3, 2004

– PARKER (R.), Philip Gossett, Anna Bolena and the Artistic Maturity of Gaetano Donizetti, pp.368-375, Volume XLI, No.2, 1988

– PARKER (R.) – BROWN (M.), Motivic and Tonal Interaction in Verdi’s Un Ballo In Maschera, pp.243-265, Volume XXXVI, No.2, 1983

– PARKER-HALE (M. A.), Bernd Baselt, Händel-Handbuch, II, pp.655-663, Volume XXXIX, No.3, 1986

– PARRISH (C.), Haydn and the Piano, pp.27-34, Volume I, No.3, 1948

– PARSONS (J.), Franz Schubert: Sexuality, Subjectivity, Song, by Lawrence Kramer; and Schubert Studies, edited by Brian Newbould, pp.651-661, Volume 54, No.3, 2001

– PASLER (J.), Decadent Enchantments: The Revival of Gregorian Chant at Solesmes, by Katherine Bergeron, pp.370-383, Volume 52, No.2, 1999

  • Musical Encounters at the 1889 Paris World’s Fair, by Annegret Fauser, pp.438-445, Volume 61, No.2, 2008

– PASTILLE (W.), Hellmut Federhofer, Heinrich Schenker, pp.667-677, Volume XXXIX, No.3, 1986

– PAUL (C. B.), Jean-Philippe Rameau, Complete Theoretical Writings, pp.148-154, Volume XXVII, No.1, 1974

– PAUL (D. C.), From American Ethnographer to Cold war Icon: Charles Ives through the Eyes of Henry and Sidney Cowell, pp.399-458, Volume 59, No.2, 2006

– PAULY (R. G.), Some Recently Discovered Michael Haydn Manuscripts, pp.97-103, Volume X, No.2, 1957

  • Johann Ernst Eberlin’s Motets for lent, pp.182-192, Volume XV, No.2, 1962

– PAYNE (T. B.), A Newly Identified Organum Trope by Philip the Chancellor, pp.233-254, Volume XXXIX, No.2, 1986

– PEDNEAULT-DESLAURIERS (J.), Pierrot L., pp.601-646, Volume 64, No.3, 2011

– PERAINO (J. A.), Re-Placing Medieval Music, pp.209-264, Volume 54, No.2, 2001

  • Girls with Guitars and Other Strange Stories: Madonna: Bawdy and Soul, by Karlene Faith; Scars of Sweet Paradise: The Life and Times of Janis Joplin, by Alice Echols; Frock Rock: Women Performing Popular Music, by Mavis Bayton; and Girls Will Be Boys: Women Report on Rock, edited by Liz Evans, pp.692-709, Volume 54, No.3, 2001
  • Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer, by Bruce W. Holsinger, pp.374-384, Volume 57, No.2, 2004
  • Medieval Song in Romance Languages, by John Haines, pp.593-597, Volume 65, No.2, 2012

– PERKINS (L. L.), Mode and Structure in the Masses of Josquin, pp.189-239, Volume XXVI, No.2, 1973

  • Bernhard Meier, Die Tonarten der klassischen Vokalpolyphonie, nach den Quellen dargestellt, pp.136-148, Volume XXXI, No.1, 1978
  • Musical Patronage at the Royal Court of France Under Charles VII and Louis XI (1422-83), pp.507-566, Volume XXXVII, No.3, 1984
  • The Civil Muse: Music and Musicians in Siena During the Middle Ages and the Renaissance, by Frank A. D’Accone, pp.387-395, Volume 53, No.2, 2000

– PERLE (G.), The Music of Lulu: A New Analysis, pp.185-200, Volume XII, No.2-3, 1959

  • Lulu: the formal design, pp.179-192, Volume XVII, No.2, 1964

– PERLIS (V.), Minna Lederman, The Life and Death of a Small Magazine, pp.643-647, Volume XXXVIII, No.3, 1985

– PERRIN (R. H.), Some Notes on Troubadour Melodic Types, pp.12-18, Volume IX, No.1, 1956

  • Descant and troubadour melodies: a problem in terms, pp.313-324, Volume XVI, No.3, 1963

– PESCE (D.), A Revised View of the Thirteenth-Century Latin Double Motet, pp.405-442, Volume XL, No.3, 1987

– PETERSEM (B. A.), Norman Del Mar, Richard Strauss: A Critical Commentary on His Life and Works. Vol. III, pp.351-354, Volume XXVI, No.2, 1973

– PFISTERER (A.), Inside the Offertory: Aspects of Chronology and Trasmission, by Rebecca Maloy, pp.721-725, Volume 64, No.3, 2011

– PHILLIPS (N.), Musica et Scolica enchiriadis, ed. Hans Schmid, pp.128-142, Volume XXXVI, No.1, 1983

– PHYLLIS AUSTERN (L.), Thomas Ravenscroft: Musical Chronicler of an Elizabethan Theater Company, pp.238-263, Volume XXXVIII, No.2, 1985

  • Nature, Culture, Myth, and the Musician in Early Modern England, pp.1-48, Volume 51, No.1, 1998

– PICKER (M.), Newly discovered sources for In Minen Sin, pp.133-143, Volume XVII, No.2, 1964

  • Albert Dunning, Die Staatsmotette, pp.258-260, Volume XXV, No.2, 1972
  • Dijon, Bibliothèque publique, Manuscrit 517, pp.336-337, Volume XXVI, No.2, 1973
  • The Josquin Companion, edited by Richard Sherr, pp.155-166, Volume 55, No.1, 2002

– PIEKUT (B.), Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: experimental Music in London, 1965-1975, pp.769-824, Volume 67, No.3, 2014

– PIRROTTA (N.), Music and Cultural Tendencies in 15th-Century Italy, pp.127-161, Volume XIX, No.2, 1966

– PLAMENAC (D.), A Postscript to the Collected Works of Johannes Ockeghem, pp.33-40, Volume III, No.1, 1950

  • Keyboard Music of the 14th Century in Codex Faenza 117, pp.179-201, Volume IV, No.3, 1951
  • Another Paduan Fragment of Trecento Music, pp.165-181, Volume VIII, No.3, 1955
  • Browsing Through a Little-Known Manuscript, pp.102-111, Volume XIII, 1960
  • On Reading Fifteenth-Century Chanson Texts, pp.320-324, Volume XXX, No.2, 1977

– PLANCHART (A. E.), Richard L. Crocker, The Early Medieval Sequence, pp.141-150, Volume XXXII, No.1, 1979

  • Martha K. Hanen, The Chansonnier El Escorial IV.a.24, pp.362-369, Volume XXXVIII, No.2, 1985
  • Jan W. Herlinger, The Lucidarium of Marchetto of Padua, pp.92-95, Volume XL, No.1, 1987
  • On the Nature of Trasmission and Change in Trope Repertories, pp.215-249, Volume XLI, No.2, 1988
  • Anicius Manlius Severinus Boethius, The Fundamentals of Music, translated with an introduction and notes by Calvin Bower, pp.121-123, Volume XLV, No.1, 1992
  • The Early Career of Guillaume Du Fay, pp.341-368, Volume XLVI, No.3, 1993
  • Johannes Ockeghem, Collected Works, vol.3, Motets and Chansons, ed. Richard Wexler with Dragan Plamenac, pp.521-531, Volume XLVII, No.3, 1994
  • Mourning into Joy: Music, Raphael, and Saint Cecilia, by Thomas Connolly, pp.140-146, Volume 54, No.1, 2001
  • Fragments of an Eleventh-Century Beneventan Gradual, pp.1-38, Volume 68, No.1, 2015

– PLANTINGA (L.), Clementi, Virtuosity, and the “German Manner”, pp.303-330, Volume XXV, No.3, 1972

  • Robert Schumann: Herald of a “New Poetic Age”, by John Daverio, pp.384-392, Volume 51, No.2, 1998

– PLATOFF (J.), Mozart’s Viennese Instrumental Music: A Study of Stylistic Re-Invention, by Simon P. Keefe; and Mozart’s Piano Music, by William Kinderman, pp.615-625, Volume 61, No.3, 2008

– POGUE (S. F.), D. W. Krummel, Bibliotheca Bolduaniana: A Renaissance Music Bibliography, pp.142-144, Volume XXVII, No.1, 1974

– POLANSKY (R.), The Rejected Kinderscenen of Roberto Schumann’s Opus 15, pp.126-131, Volume XXXI, No.1, 1978

– POLK (K.), Vedel und Geige – Fiddle and Viol: German String Traditions in the Fifteenth Century, pp.504-546, Volume XLII, No.3, 1989

  • Timothy J. McGee, Medieval Instrumental Dances, pp.324-328, Volume XLIV, No.2, 1991
  • OSvaldo Gambassi, Il Concerto Palatino della Signoria di Bologna: cinque secoli di vita musicali a corte (1250-1797), pp.328-332, Volume XLIV, No.2, 1991

– POLLACK (H.), Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944, pp.389-395, Volume 54, No.2, 2001

– POLLIN (A. M.), Toward an Understanding of Antonio Eximeno, pp.86-96, Volume X, No.2, 1957

– POLZONETTI (P.), Tartini and the Tongue of Saint Anthony, pp.429-486, Volume 67, No.2, 2014

– PORISS (H.), Life and Work of Pauline Viardot Garcia, Vol. 1, The Years of Fame, 1836-1863, and Vol. 2, The Years of Grace, 1863-1910, by Barbara Kendall-Davies, pp.692-697, Volume 68, No.3, 2015

– PORTER (A.), Giuseppe Verdi, Don Carlos, ed. Ursula Günther, pp.360-370, Volume XXXV, No.2, 1982

– PORTER (L.), John Coltrane’s A Love Supreme: Jazz Improvisation as Composition, pp.593-621, Volume XXXVIII, No.3, 1985

– POTTER (P. M.), Musicology Under Hitler: New Sources in Context, pp.70-113, Volume XLIX, No.1, 1996

– PORTER (W. V.), Peri and Corsi’s Dafne: Some New Discoveries and Observations, pp.170-196, Volume XVIII, No.2, 1965

  • Giulio Caccini, Le Nuove Musiche, pp. 483-486, Volume XXV, No.3, 1972

– POWELL (J. S.), Charpentier’s Music for Molière’s Le Malede Imaginaire and Its Revisions, pp.87-142, Volume XXIX, No.1, 1986

– POWERS (H. S.), Owen Wright, The Modal System of Arab and Persian Music, A.D. 1250-1300 (London Oriental Series, 28), pp.181-191, Volume XXXIII, No.1, 1980

  • Tonal Types and Modal Categories in Renaissance Polyphony, pp.428-470, Volume XXXIV, No.3, 1981

– PRESTON (K. K.), Vera Brodsky Lawrence, Strong on Music: The New York Music Scene in the Days of George Templeton Strong,1836-1850, vol. I: Resonances, 1836-1850, pp.512-519, Volume XLIII, No.3, 1990

  • High-Minded and Low-Down: Music in the Lives of Americans, 1800-1861, by Nicholas E. Tawa, pp.208-215, Volume 57, No.1, 2004

– PRESTON (S.), Stravinsky and Balanchine: A Journey of Invention, by Charles M. Joseph, pp.679-684, Volume 57, No.3, 2004

– PRICE (C.), Eric Walter White, A History of English Opera, pp.603-611, Volume XXXVII, No.3, 1984

  • Italian Opera and Arson in Late Eighteenth-Century London, pp.55-107, Volume XLII, No.1, 1989

– PRIM (A. J.), Chant sur le Livre in French Churches in the 18th Century, pp.37-49, Volume XIV, No.1, 1961

– PRIZER (W. F.), Isabella d’Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara, pp.1-33, Volume XXXVIII, No.1, 1985

  • Lewis Lockwood, Music in Renaissance Ferrara, 1400-1505, pp.95-105, Volume XL, No.1, 1987

– PROKSCH (B.), “Forward to Haydn!”: Schenker’s Politics and the German Revival of Haydn, pp.319-348, Volume 64, No.2, 2011

– PURI (M. J.), Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment, by Berthold Hoeckner, pp.488-501, Volume 59, No.2, 2006

  • Dandy, Interrupted: Sublimation, Repression, and Self-Portraiture in Maurice Ravel’s Daphnis et Chloé (1909-1912), pp.317-372, Volume 60, No.2, 2007
  • Jankélévitch and the Dilemma of Decadence, pp.241-246, Volume 65, No.1, 2012

– QUEREAU (Q. W.), Sixteenth-Century Parody: An Approach to Analysis, pp.407-441, Volume XXXI, No.3, 1978

– QUILLEN (W.), Winning and Losing in Russian New Music Today, pp.487-542, Volume 67, No.2, 2014

– QUINN (I.), Hidden Structure: Music Analysis Using Computers, by David Cope; and Music21: A Toolkit for Computer-Aided Musicology, by Michael Cuthbert, version 1.5, last modified May 11, 2013;, pp.295-307, Volume 67, No.1, 2014

– RADANO (R. M.), Benice Johnson Reagon, ed., We’ll Understand It Better By and By: Pioneering African American Gospel Composers, pp.144-154, Volume XLVIII, No.1, 1995

-RAMSEY, JR. (G. P.), Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations, by Brian Ward, pp.661-667, Volume 53, No.3, 2000

– RANDEL (D. M.), Al-Farabi and the Role of Arabic Music Theory in the Latin Middle Ages, pp.173-188, Volume XXIX, No.2, 1976

  • Crossing over with Rubén Blades, pp.301-323, Volume XLIV, No.2, 1991

– RANDELL UPTON (E.), The Modern Invention of Medieval Music: Scholarship, Ideology, Performance, by Daniel Leech-Wilkinson, pp.733-739, Volume 59, No.3, 2006

– RANKIN (S.), The divine truth of scripture: chant in the Roman De Fauvel, pp.203-243, Volume XVLII, No.2, 1994

– RASMUSSEN (M.), Howard Mayer Brown and Joan Lascelle, Musical Iconography: A Manual for Cataloguing Musical Subjects in Western Art before 1800, pp.353-360, Volume XXVII, No.2, 1974

  • Don L. Smither, The Music and History of the Baroque Trumpet before 1721, pp.320-323, Volume XXIX, No.2, 1976

-RATNER (L.), Harmonic Aspects of Classic Form, pp.159-168, Volume II, No.3, 1949

  • Key Definition – A Structural Issue in Beethoven’s Music, pp.472-483, Volume XXIII, No.3, 1970

– RAVENSCROFT (B.), The Cambridge History of Twentieth-Century Music, edited by Nicholas Cook and Anthony Pople, pp.441-447, Volume 60, No.2, 2007

– REANEY (G.), Dragan Plamenac, Keyboard Music of the Late Middle Ages in Codex Faenza 117, pp.140-143, Volume XXIX, No.1, 1976

– REESE (G.), The Origin of the English In Nomine, pp.7-22, Volume II, No.1, 1949

  • A Tribute to Manfred Bukofzer 1910-1955, pp.163-164, Volume VIII, No.3, 1955
  • The Polyphonic Magnificat of the Renaissance as a Design in Tonal Centers, pp.68-78, Volume XIII, 1960

– REESE (G.) – KARP (T.), Monophony in a Group of Renaissance Chansonniers, pp.4-15, Volume V, No.1, 1952

– REEVE (K.), David Cairns, Berlioz 1803-1832: The Making of an Artist, and D. Kern Holoman, Berlioz, pp.131-143, Volume XLV, No.1, 1992

– REHDING (A.), The Quest for the Origins of Music in Germany Circa 1900, pp.345-386, Volume 53, No.2, 2000

  • Ecomusicology between Apocalypse and Nostalgia, pèp.409-414, Volume 64, No.2, 2011

– REID (J.), Robert Garfias, Music of a Thousand Autumns: The TōStyle of Japanese Court Music, pp.157-159, Volume XXX, No.1, 1977

– REILLY (E. R.), Further musical examples for Quantz’s Versuch, pp.157-169, Volume XVII, No.2, 1964

– REVITT (P. J.), Domenico Corri’s “New System” for Reading Thorough-Bass, pp.93-98, Volume XXI, No.1, 1968

– REVULURI (S.), Musical Exoticism: Images and Reflections, by Ralph P. Locke, pp.253-261, Volume 64, No.1, 2011

– REYNOLDS (C.), Musical Careers, Ecclesiastical Benefices, and the Example of Johannes Brunet, pp. 49-97, Volume XXXVII, No.1, 1984

  • Musical Evidence of Compositional Planning in the Renaissance: Josquin’s Plus nulz regretz, pp.53-81, Volume XL, No.1, 1987
  • The Counterpoint of Allusion in Fifteenth-Century Masses, pp.228-260, Volume XLV, No.2, 1992
  • Crossing Paths: Schubert, Schumann, and Brahms, by John Daverio, pp.664-673, Volume 57, No.3, 2004

– RICE (J. A.), The Oxford Handbook of Topic Theory, edited by Danuta Mirka, pp.446-454, Volume 68, No.2, 2015

– RICE (P. F.), Platée: Ballet bouffon enun prologue et trios actes, livret de Jacques Autreau; révisé par Adrien-Joseph Valois d’Orville et Balot de Sovot; Versione 1749; Version 1745 (Compléments), by Jean-Philippe Rameau, edited by M. Elizabeth C. Bartlet, pp.661-666, Volume 60, No.3, 2007

– RICE (T.), The Music of the Other: New Challenges for Ethnomusicology in a Global Age, by Laurent Aubert, pp.742-747, Volume 62, No.3, 2009

– RICHARDS (A.), Boccherini’s Body: An Essay in Carnal Musicology, by Elisabeth Le Guin, pp.215-220, Volume 61, No.1, 2008

  • Carl Philipp Emanuel Bach, Portraits, and the Physiognomy of Music History, pp.337-396, Volume 66, No.2, 2013

– RICHARDS (J. E.), Structural Principles in the Grand Motets of Michel-Richard de Lalande (1657-1726), pp.119-127, Volume XI, No.2-3, 1958

– RIFKIN (J.), Scribal Concordances for Some Renaissance Manuscripts in Florentine Libraries, pp.305-326, Volume XXVI, No.2, 1973

  • Pietrequin Bonnel and Ms. 2794 of the Biblioteca Riccardiana, pp.284-296, Volume XXIX, No.2, 1976
  • The New Grove Dictionary, ed. Stanley Sadie, pp.183-199, Volume XXXV, No.1, 1982
  • Munich, Milan, and a Marian Motet: Dating Josquin’s Ave Maria… virgo serena, pp.239-350, Volume 56, No.2, 2003
  • The Creation of the Medici Codex, pp.517-570, Volume 62, No.3, 2009

– RIIS (T. L.), America’s Musical Life: A History, by Richard Crawford, pp.578-587, Volume 55, No.3, 2002

  • Out of Sight: The Rise of African American Popular Musica, 1889-1895, by Lynn Abbott and Doug Seroff; Ragged But Tight: Black Traveling Shows, “Coon Songs”, and the Dark Pathway to Blues and Jazz, by Lynn Abbott and Doug Seroff; Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919, by Tim Brooks; Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1922 (2 compact discs); Black People: Entertainers of African Descent in Europe and Germany, by Rainer E. Lotz; and Cross the Water Blues: African American Music in Europe, edited by Neil A. Wynn, pp.252-260, Volume 62, No.1, 2009

– RINGER (A. L.), The Chasse as a Musical Topic of the 18th Century, pp.148-159, Volume VI, No.2, 1953

  • William Weber, Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848, Volume XXX, No.1, 1977

– RINGS (S.), Talking and Listening with Jankélévitch, pp.218-222, Volume 65, No.1, 2012

– RINK (J. S.), George Barth, The Pianist as Orator: Beethoven and the Transformation of Keyboard Style, pp.155-161, Volume XLIX, No.1, 1996

– RIPIN (E. M.), A Reevaluation of Virdung’s Musica getutscht, pp.189-223, Volume XXIX, No.2, 1976

– RIVERA (B. V.), Bach’s Use of Hitherto Unrecognized Types of Countersubjects in the “Art of Fugue”, pp.344-362, Volume XXXI, No.2, 1978

– ROBERTS (J. H.), False Messiah, pp.45-98, Volume 63, No.1, 2010

– ROCCONI (E.), Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages, by Thomas J. Mathiesen, pp.645-650, Volume 54, No.3, 2001

– RODIN (J.), “When in Rome…”: What Josquin Learned in the Sistine Chapel, pp.307-372, Volume 61, No.2, 2008

– ROEDERER (C. D.), Can We Identify an Aquitanian Chant Style?, pp.75-99, Volume XXVII, No.1, 1974

  • The Frankish Die sanctificatus at St. Gall, pp.96-105, Volume XXX, No.1, 1977

– ROESNER (E. H.), The Origins of W, pp.337-380, Volume XXIX, No.3, 1976

  • Jürg Stenzl. Repertorium der liturgischen Musikhandschriften der Diözesen Sitten, Lausanne und Genf., Vol. 1: Diözese Sitten., pp.141-145, Volume XXX, No.1, 1977

– ROSAND (E.), “Ormindo Travestito” in Erismena, pp.268-291, Volume XXVIII, No.2, 1975

  • Barbara Strozzi, virtuosissima cantatrice: The Composer’s Voice, pp.241-281, Volume XXXI, No.2, 1978
  • Seneca and the Interpretation of L’Incoronazione di Poppea, pp.34-71, Volume XXXVIII, No.1, 1985
  • Nino Pirrotta, Music and Culture in Italy, pp.389-395, Volume XXXIX, No.2, 1986

– ROSE (G.), Agazzari and the Improvising Orchestra, pp.382-393, Volume XVIII, No.3, 1965

  • A New Purcell Source, pp.230-234, Volume XXV, No.2, 1972

– ROSE (S.), Histories of Heinrich Schütz, by Bettina Varwing, pp.551-556, Volume 66 No.2, 2013

– ROSEN (C.), Mozart’s Piano Concertos: Text, Context, Interpretation, edited by Neal Zaslaw, pp.373-384, Volume 51, No.2, 1998

– ROSEN (D.), Gioachino Rossini, L’Italiana in Algeri: Dramma giocoso per musica in due atti di Angelo Anelli, edited by Azio Corghi, pp.502-512, Volume XLIV, No.3, 1991

– ROSENGARD SUBOTNIK (R.), Adorno’s Diagnosis of Beethoven’s Late Style: Early Symptom of a Fatal Condition, pp.242-275, Volume XXIX, No.2, 1976

  • Edward W. Said, Musical Elaborations, pp.476-485, Volume XLVI, No.3, 1993

– ROSOW (L.), Lallemand and Durand: Two Eighteenth-Century Music Copyists at the Paris Opéra, pp.142-163, Volume XXXIII, No.1, 1980

  • From Destouches to Berton: Editorial Responsibility at the Paris Opéra, pp.285-309, Volume XL, No.2, 1987
  • André Cardinal Destouches, Issé: pastorale héroïque, Robert Fajon, ed., pp.548-557, Volume XL, No.3, 1987
  • André Campra, Le Carnaval de Venise: Comeédie lyrique ; Marc-Antoine Charpentier, Music for Molière’s Comedies ; George Houle, Le Ballet de Fâcheux : Beauchamp’s Music for Molière’s Comedy; and Joseph-François Salomon, Médée et Jason: Tragédie en musique, pp.126-136, Volume XLVIII, No.1, 1995

– ROTHENBERG (D. J.), The Marian Symbolism of Spring, ca. 1200-ca. 1500: Two Case Studies, pp.319-398, Volume 59, No.2, 2006

  • The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival, by Andrew Kirkman, pp.873-877, Volume 66, No.3, 2013

– Rousseau in 2013: Afterthoughts on a Tercentenary, pp.251-296, Volume 66, No.1. 2013

– RUBIN (J. E.), American Klezmer: Its Roots and Offshoots, edited by Mark Slobin, pp.238-253, Volume 60, No.1, 2007

– RUBSAMEN (W. H.), The Earliest French Lute Tablature, pp.286-299, Volume XXI, No.3, 1968

– RUMPH (S.), Music as Thought: Listening to the Symphony in the Age of Beethoven, by Mark Evan Bonds, pp.221-224, Volume 61, No.1, 2008

  • Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies, pp.497-558, Volume 68, No.3, 2015

– RUPPRECHT (P.), The Stravinsky Legacy, by Jonathan Cross, pp.498-507, Volume 56, No.2, 2003

  • Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction, by Heather Wiebe, pp.698-702, Volume 68, No.3, 2015

– RUSHTON (J.), W. A. Mozart, by Hermann Abert, translated by Stewart Spencer, edited by Cliff Eisen; and Wolfang Amadeus Mozart: A Biography, by Piero Melograni, translated by Lydia G. Cochrane, pp.625-632, Volume 61, No.3, 2008

– RUSSANO HANNING (B.), Apologia Pro Ottavio Rinuccini, pp.240-262, Volume XXVI, No.2, 1973

  • Robert Donington, The Rise of Opera, pp.316-322, Volume XXXVI, No.2, 1983
  • Claude V. Palisca, Humanism in Italian Renaissance Musical Thought, pp.337-343, Volume XL, No.2, 1987

– RUSSELL (T. A.), A Poetic Key to a Pre-Guidonian Palm and the Echemata, pp.109-118, Volume XXXIV, No.1, 1981

– SAAVEDRA (L.), Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan, pp.99-150, Volume 69, No.1, 2015

– SACHS (C.), An Editorial, pp.3-6, Volume II, No.1, 1949

  • A Strange Medieval Scale, pp.169-170, Volume II, No.3, 1949
  • Alfred Einstein (1880-1952), p.3, Volume V, No.1, 1952
  • Otto Gombosi, p.3, Volume VIII, No.1, 1955
  • Primitive and Medieval Music: A Parallel, pp.43-49, Volume XIII, 1960

– SACHS (J.), Authentic English and French Editions of J. N. Hummel, pp.203-229, Volume XXV, No.2, 1972

– SAFFLE (M.), Selected Letters, by Franz Listz, translated and edited by Adrian Williams, pp.159-164, Volume 53, No.1, 2000

– SALOP (A.), Jacob Obrecht and the Early Development of Harmonic Polyphony, pp.288-309, Volume XVII, No.3, 1964

– SANDERS (E. H.), Duple rhythm and alternate third mode in the 13th century, pp.249-291, Volume XV, No.3, 1962

  • Peripheral Polyphony of the 13th century, pp. 261-287, Volume XVII, No.3, 1964
  • The Early Motets of Philipe de Vitry, pp.24-45, Volume XXVIII, No.1, 1975
  • Consonance and Rhythm in the Organum of the 12th and 13th Centuries, pp.264-286, Volume XXXIII, No.2, 1980
  • Conductus and Modal Rhythm, pp.439-469, Volume XXXVIII, No.3, 1985

– SAUNDERS (S.), The Hapsburg court of Ferdinand II and the Messa, Magnificat et Iubilate Deo a Sette Chori Concertati con le Trombe (1621) of Giovanni Valentini, pp.359-403, Volume XLIV, No.3, 1991

– SAVILLE (E. C.), “L’Abate” Clari and the Continuo Madrigal, pp.128-140, Volume XI, No.2-3, 1958

– SCHAFER (H. A.), A. Peter Brown, Joseph Haydn’s Keyboard Music: Sources and Style, pp.148-156, Volume XLIII, No.1, 1990

– SCHEIDE (W. H.), Luther and Bach’s Cantata 50, pp.36-39, Volume IV, No.3, 1951

– SCHERZINGER (M.), Decentering Music: A Critique of Contemporary Musical Research, by Kevin Korsyn, pp.777-785, Volume 59, No.3, 2006

– SCHMELZ (P. J.), Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union, pp.139-208, Volume 58, No.1, 2005

  • Alfred Schnittke’s Nagasaki: Soviet Nuclear Culture, Radio Moscow, and the Global Cold War, pp.413-474, Volume 62, No.2, 2009

– SCHMIDT (C. B.), Antonio Cesti’s Il pomo d’or: A Reexamination of a Famous Hapsburg Court Spectacle, pp.381-412, Volume XXIX, No.3, 1976

  • An Episode in the History of Venetian Opera: The Tito Commission (1665-6), pp.442-466, Volume XXXI, No.3, 1978
  • Jane Glover, Cavalli, pp.196-200, Volume XXXIII, No.1, 1980
  • Spire Pitou, The Paris Opéra, pp.385-393, Volume XXXVIII, No.2, 1985

– SCHNEIDER (D. E.), Béla Bartók and Turn-of-the-Century Budapest, by Judit Frigyesi, pp.183-191, Volume 53, No.1, 2000

  • Sounding Authentic: The Rural Miniature and Musical Modernism, by Joshua S. Walden, pp.834-838, Volume 67, No.3, 2014

– SCHRADE (L.), Yvonne Rokseth: In Memoriam, pp.171-174, Volume II, No.3, 1949

– SCHROEDER (D. P.), Alban Berg and Peter Altenberg: Intimate Art and the Aesthetics of Life, pp.261-294, Volume XLVI, No.2, 1993

– SCHUBERT (P. N.), Hidden Forms in Palestrina’s First Book of Four-Voice Motets, pp.483-556, Volume 60, No.3, 2007

– SCHULENBERG (D.), C.P.E. Bach, Collected Works for Solo Keyboard, ed. Darrell Berg, pp.105-112, Volume XL, No.1, 1987

  • Toccaten: BWV 910-916, by Johann Sebastian Bach, edited by Peter Wollny; Sechs kleine Praeludien: BWV 933-938. Einzeln überlieferte Klavierwerke I: Praeludium BWV 92; Fantasie BWV 917, 918, 922; Praeludium und Fuge BWV 894, 895, 896, 923/951, 951a; Chromatische Fantasie und Fuge BWV 903, 903a; Fantasie und Fuge BWV 904, 906, 944; Fuge BWV 946, 948, 949, 950, 952, 959; Fughetta BWV 961; Sonate BWV 967, by Johann Sebastian Bach, edited by Uwe Wolf; and Bearbeitungen fremder Werke: Concerti BWV 972-987, 592a; Sonaten BWV 956, 966; Fuga BWV 954, by Johann Sebastian Bach, edited by Karl Heller, pp.353-365, Volume 55, No.2, 2002
  • The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century, by Bruce Haynes, pp.169-178, Volume 63, No.1, 2010

– SCHWARZ (B.), Albert Dunning, Pietro Antonio Locatelli, pp.157-161, Volume XXXVI, No.1, 1983

– SCOTT (A. B.), The Beginnings of Fauxbourdon: A New Interpretation, pp.345-363, Volume XXIV, No.3, 1971

– SEATON (D.), A Draft fort he Exposition of the First Movement of Mendelssohn’s „Scotch“ Symphony, pp.129-135, Volume XXX, No.1, 1977

  • Friedhelm Krummacher, Mendelssohn-der Komponist: Studien zur Kammarmusik für Streicher, pp.356-360, Volume XXXII, No.2, 1979

– SEAY (A.), The Dialogus Johannis Ottobi Anglici in arte musica, pp.86-100, Volume VIII, No.2, 1955

  • Florence: The City of Hothby and Ramos, pp.193-195, Volume IX, No.3, 1956
  • The 15th-Century Cappella at Santa Maria del Fiore in Florence, pp.45-55, Volume XI, No.1, 1958
  • Two Datable Chansons from an Attaingnant Print, pp.326-328, Volume XXVI, No.2, 1973
  • Rudolf Gerber, Ludwig Finscher, Wolfgang Dömling, eds., Der Mensuralkodex des Nikolaus Apel (Ms. 1494 der Universitätsbibliothek Leipzig), pp.517-521, Volume XXXI, No.3, 1978

– SEDWICK (B. F.), Opera Errors, pp.48-51, Volume VII, No.1, 1954

– SEEBASS (T.), Reinhold Hammerstein, Tanz und Musik des Todes; Erwin Koller, Totentanz, pp.329-334, Volume XXXV, No.2, 1982

– SEEGER (C.), The Arts in International Relations, pp.36-43, Volume II, No.1, 1949

  • Systematic Musicology: Viewpoints, Orientations, and Methods, pp.240-248, Volume IV, No.3, 1951
  • On the Mood of a Music-Logic, pp.224-261, Volume XIII, 1960

– SELDEN (M. S.), Klaus Hortschansky, Parodie und Entlehnung im Schaffen Christoph Willibald Glucks, pp.148-151, Volume XXIX, No.1, 1976

– SELFRINDGE-FIELD (E.), Addenda to Some Baroque Biographies, pp.236-240, Volume XXV, No.2, 1972

  • David Cope, Computers and Musical Style, pp.535-545, Volume XLV, No.3, 1992

– SERWER (H.), Handel Opera Studies, pp.352-361, Volume XLV, No.2, 1992

– SHAPIRO (A. D.), Julian Mates, America’s Musical Stage, pp.565-574, Volume XL, No.3, 1987

– SHELDON (D. A.), The Transition from Trio to Cembalo-Obbligato Sonata in the works of J. G. and C. H. Graun, pp.395-413, Volume XXIV, No.3, 1971

  • Continuity in composing the American Cross-Cultural: Eichheim, Cowell, and Japan, pp.465-540, Volume 61, No.3, 2008

– SHELEMAY (K. K.), Musical Communities: Rethinking the Collective in Music, pp.349-390, Volume 64, No.2, 2011


– SHEPPARD (W. A.), An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood, pp.303-358, Volume 54, No.2, 2001

  • Wagner and Cinema, edited by Jeongwon Joe and Sander L. Gilman, pp.444-455, Volume 64, No.2, 2011

– SHERMAN (B. D.), Playing with History: The Historical Approach to Musical Performance, by John Butt, pp.482-488, Volume 59, No.2, 2006

– SHERMAN (C. H.), Manfred Hermann Schmid, Mozart und die Salzburger Tradition. Vol. I: Textteil. Vol II: Notenteil, pp.335-338, Volume XXX, No.2, 1977

– SHERMAN DICKINSON (G.), Analogical Relations in Musical Pattern, pp.262-269, Volume XIII, 1960

– SHERR (R.), New Archival Data Concerning the Chapel of Clement VII, pp.472-478, Volume XXIX, No.3, 1976

  • The Pubblications of Guglielmo Gonzaga, pp.118-125, Volume XXXI, No.1, 1978
  • Allan Atlas, ed., The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C.G.XIII.27). Part I: Commentary. Part II: Transcriptions, pp.510-516, Volume XXXI, No.3, 1978
  • Martin Staehelin, Die Messen Heinrich Isaacs, pp.144-149, Volume XXXIV, No.1, 1981
  • Verdelot in Florence, Coppini in Rome, and the Singer “La Fiore”, pp.402-411, Volume XXXVII, No.2, 1984
  • Arthur Jacobs, Arthur Sullivan: A Victorian Musician, pp.637-643, Volume XXXVIII, No.3, 1985
  • Illibata Dei Virgo Nutrix and Josquin’s Roman Style, pp.434-464, Volume XLI, No.3, 1988
  • Bonfire Songs: Savonarola’s Musical Legacy, by Patrick Macey, pp.525-532, Volume 55, No.3, 2002

– SHERWOOD (G.), Charles Ives and “Our National Malady”, pp.555-584, Volume 54, No.3, 2001

  • Ives and Neurasthenia: A Response to Stuart Feder, pp.641-643, Volume 54, No.3, 2001


– SHILOAH (A.), The Arabic Concept of Mode, pp.19-42, Volume XXXIV, No.1, 1981

– SHREFFLER (A. C.), “Mein Weg Geht Jetzt Vorüber“: the Vocal Origins of Webern’s Twelve-Tone Composition, pp.275-339, Volume XLVII, No.2, 1994

  • Socialist Realism and Music, edited by Mikuláš Bek, Geoffrey Chew, and Petr Macek; Zwischen Macht und Freiheit: Neue Musik in der DDR, edited by Michael Berg, Albrecht von Massow, and Nina Noeske; Musik zwischen Emigration und Stalismus: Russische Komponiste in den 1930er und 1940er Jahren, edited by Friedrich Geiger and Eckhard John; and Nationale Musik im 20. Jahrhundert: Kompositorische und soziokulturelle Aspekte del Musikgeschichte zwischen Ost- und Westeuropa; Konferenzbericht Leipzig 2002, edited by Helmut Loos and Stefan Keym, pp.453-463, Volume 60, No.2, 2007

– SIGNELL (K.), Ella Zonis, Classical Persian Music: An Introduction, pp.532-534, Volume XXVII, No.3, 1974

  • Béla Bartók, Turkish Folk Music from Asia Minor; A. Adnan Saygun, Béla Bartók’s Folk Music Research in Turkey, pp.382-384, Volume XXXI, No.2, 1978
  • Music Notation Software, pp.136-148, Volume XLIV, No.1, 1991

– SILBER (J.), Mendelssohn and his Reformation Symphony, pp.310-336, Volume XL, No.2, 1987

– SILBIGER (A.), The Roman Frescobaldi Tradition, c.1640-1670, pp.42-87, Volume XXXIII, No.1, 1980

  • Michelangelo Rossi and his Toccate e Correnti, pp.18-38, Volume XXXVI, No.1, 1983
  • Frederick Hammond, Girolamo Frescobaldi, pp. 593-603, Volume XXXVII, No.3, 1984
  • Recent Editions of Early Keyboard Music, pp.172-188, Volume XLII, No.1, 1989

– SIMON (E. J.), The Double Exposition in the Classic Concerto, pp.111-118, Volume X, No.2, 1957

  • A Royal Manuscript: Ensemble Concertos of J. C. Bach, pp.161-177, Volume XII, No.2-3, 1959

– SIMONSON (M.), Dancing the Future, Performing the Past: Isadora Duncan and Wagnerism in the American Imagination, pp.511-556, Volume 65, No.2, 2012

– SIMPSON (C. M.), Bertrand Harris Bronson, The Traditional Tunes of the Child Ballads. Vol. IV: Ballads 245-299, pp.159-161, Volume XXVI, No.1, 1973

– SISMAN (E. R.), Musical Aesthetics in the Eighteenth and Early-Nineteenth Centuries, ed. Peter le Huray and James Day, pp.565-577, Volume XXXV, No.3, 1982

  • Haydn’s Theater Symphonies, pp.292-352, Volume XLIII, No.2, 1990
  • James Webster, Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music,293-305, Volume XLVIII, No.2, 1995
  • Haydn’s Solar Poetics: The Tageszeiten Symphonies and Enlightenment Knowledge, pp.5-104, Volume 66, No.1, 2013

– SITES (C.), More on Marcello’s Satire, pp.141-148, Volume XI, No.2-3, 1958

– SLAVIN (D.), Oxford, Bodleian Library, MS. Canon. Misc. 213, with introduction and inventory by David Fallows, pp.170-176, Volume 52, No.1, 1999

– SLENK (H.), The Music School of Hubert Waelrant, pp.157-167, Volume XXI, No.2, 1968

– SLIM (H. C.), Keyboard music at Castell’Arquato by an early madrigalist, pp.35-47, Volume XV, No.1, 1962

  • Dosso Dossi’s Allegory at Florence about Music, pp.43-98, Volume XLIII, No.1, 1990
  • Lessons with Stravinsky: The Notebook of Earnest Andersson (1878-1943), pp.323-412, Volume 62, No.2, 2009

– SLOBIN (M.), Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music, by Klára Móricz, pp.261-265, Volume 64, No.1, 2011

– SLONIMSKY (N.), The Changing Styles of Soviet Music, pp.236-255, Volume III, No.3, 1950

– SMALL (A. M.), The Partnership between Music and Modern Acoustics, pp.102-106, Volume II, No.2, 1949

– SMART (M. A.), Ruth A. Solie, ed., Musicology and Difference: Gender and Sexuality in Music Scholarship, pp.541-549, Volume XLVII, No.3, 1994

  • In Praise of Convention: Formula and Experiment in Bellini’s Self-Borrowings, pp.25-68, Volume 53, No.1, 2000

– SMILES (J. E.), Directions for Improvised Ornamentation in Italian Method Books of the Late Eighteenth Century, pp.495-509, Volume XXXI, No.3, 1978

– SMITH (C.), Jazz Cultures, by David Ake; Going for Jazz: Musical Pratices and American Ideology, by Nicholas Gebhardt, pp.476-488, Volume 58, No.2, 2005

– SMITH (D. A.), On the Origin of the Chitarrone, pp.440-462, Volume XXXII, No.3, 1979

– SMITH (D. A.) – ELDER (L.), Marianne Bröcker, Die Drehleier: Ihr Bau und ihre Geschichte. 2 vols., pp.143-145, Volume XXIX, No.1, 1976

– SMITH (J. L.), Music and Late Elizabethan Politics: The Identities of Oriana and Diana, pp.507-558, Volume 58, No.3, 2005

– SMITH (M.), International Encyclopedia of Dance, founding editor Selma Jeanne Cohen, managing editor Elizabeth Aldrich, pp.174-191, Volume 54, No.1, 2001

– SMITH (N. E.), Tenor Repetition in the Notre Dame Organa, pp.329-351, Volume XIX, No.3, 1966

  • Interrelationships Among the Alleluias of the Magnus liber organi, pp.175-202, Volume XXV, No.2, 1972
  • Hans Tischler, ed., The Earliest Motets (to circa 1270), pp.169-186, Volume XXXIX, No.1, 1986

– SMITHER (H. E.), The Latin Dramatic Dialogue and the Nascent Oratorio, pp.403-433, Volume XX, No.3, 1967

– SNYDER (K. J.), Dietrich Buxtehude’s Studies in Learned Counterpoint, pp.544-564, Volume XXXIII, No.3, 1980

– SOLIE (R. A.), Wendy Steiner, ed., The Sign in Music and Literature, pp.328-335, Volume XXXVI, No.2, 1983

  • Philip Brett, Elizabeth Wood, and Gary C. Thomas, eds., Queering the Pitch: The New Gay and Lesbian Musicology, pp.311-323, Volume XLVIII, No.2, 1995

– SOLIE (R. A.) – SPELMAN (E. V.), Peter Kivy, The Corded Shell, and Sound and Semblance, pp.191-199, Volume XXXIX, No.1, 1986

– SOLOMON (M.), Charles Ives: Some Questions of Veracity, pp.443-470, Volume XL, No.3, 1987

– SORCE KELLER (M.), Antonio Serravezza, ed., La sociologia della musica; and Walter Salmen, ed., The Social Status of the Professional Musician, pp.199-205, Volume XXXIX, No.1, 1986

– SOUTHERN (E.), Foreign Music in German Manuscripts of the 15th Century, pp.258-285, Volume XXI, No.3, 1968

  • Musical Practices in Black Churces of Philadelphia and New York, ca. 1800-1844, pp.296-312, Volume XXX, No.2, 1977

– SPARKS (E. H.), The Motets of Antoine Busnois, pp.216-226, Volume VI, No.3, 1953

– SPEER (K.), The Organ Verso in Iberian Music to 1700, pp.189-199, Volume XI, No.2-3, 1958

– SPITZER (J.) – ZASLAW (N.), Improvised Ornamentation in Eighteenth-Century Orchestras, pp.524-577, Volume XXXIX, No.3, 1986

– STADELMAN (J.), The Music of Ruth Crawford Seeger, by Joseph N. Straus, pp.634-643, Volume 52, No.3, 1999

– STAEHELIN (M.), Edward E. Lowinsky, ed., The Medici Codex of 1518 (Monuments of Renaissance Music, 3-5), pp.575-587, Volume XXXIII, No.3, 1980

– STARR (L.), Ruth Crawford Seeger: A composer’s Search form American Music, by Judith Tick, pp.383-388, Volume 52, No.2, 1999

  • Making Music Modern: New York in the 1920s, by Carol J. Oja, pp.734-740, Volume 56, No.3, 2003

– STAUFFER (G. B.), Hans Lenneberg, Witnesses and Scholars: Studies in Musical Biography, and Kerala J. Snyder, Dieterich Buxtehude: Organist in Lübeck, pp.657-668, Volume XLII, No.3, 1989

  • Bach and the Meanings of Counterpoint, by David Yearsley, pp.710-717, Volume 58, No.3, 2005

– STEBLIN (R.), The newly discovered Hochenecker portrait of Beethoven (1819): “Das Ähnlichste Bildnis Beethovens”, pp.468-505, Volume XLV, No.3, 1992

– STEEGE (B.), Janáček’s Chronoscope, pp.647-688, Volume 64, No.3, 2011

– STEIN (L. K.), Manuel Carlos de Brito, Opera in Portugal in the Eighteenth Century, pp.332-343, Volume XLIV, No.2, 1991

– STEINBERG (M. P.), The Twisted Muse: Musicians and Their Music in the Third Reich, by Michael H. Kater, pp.643-646, Volume 52, No.3, 1999

– STEINER (R.), Some Questions about the Gregorian Offertories and their Verses, pp.162-181, Volume XIX, No.2, 1966

  • The Prosulae of the MS Paris, Bibliothèque Nationale, F. Lat. I I I 8, pp.367-393, Volume XXII, No.3, 1969
  • Some Melismas for Office Responsories, pp.108-131, Volume XXVI, No.1, 1973
  • Hendrick van der Werf, The Chansons of the Troubadours and Trouvères: A Study of the Melodies and Their Relation to the Poems, pp.488-490, Volume XXVI, No.3, 1973
  • Solange Corbin, Die Neumen, pp.555-561, Volume XXXII, No.3, 1979

– STEINHARDT (M.), Louise Cuyler, The Emperor Maximilian I and Music, pp.139-140, Volume XXVIII, No.1, 1975

– STEVENS (D.), Further Light on Fulgens praeclara, pp.1-11, Volume IX, No.1, 1956

– STEVENS (J. R.), An 18th-Century Description of Concerto first-movement form, pp.85-95, Volume XXIV, No.1, 1971

  • Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form, pp.25-60, Volume XXVII, No.1, 1974
  • Wye Jamison Allnbrook, Rhythmic Gesture in Mozart, pp.393-399, Volume XXXVIII, No.2, 1985

– STEVENSON (R.), The First Dated Mention of the Sarabande, pp.29-31, Volume V, No.1, 1952

  • Cristóbal De Morales (ca. 1500-53): A Fourth-Centenary Biography, pp.3-42, Volume VI, No.1, 1953
  • Vicente Lusitano: New Light on his Career, pp.72-77, Volume XV, No.1, 1962
  • The Bogotá music archive, pp.292-316, Volume XV, No.3, 1962
  • The First New World Composers: Fresh Data from Peninsular Archives, pp.95-106, Volume XXIII, No.1,1970
  • America’s First Black Music Historian, pp.383-404, Volume XXVI, No.3, 1973
  • Charles Jacobs, Francisco Correa de Arauxo, pp.140-142, Volume XXVIII, No.1, 1975

– STINSON (R.), The Neumeister Collection of Chorale Preludes; Christoph Wolff, ed., Orgelchoräle der Neumeister-Sammlung, pp.352-361, Volume XL, No.2, 1987

– STOCK (J. P. J.), In the Course of Performance: Studies in the World of Musical Improvisation, edited by Bruno Nettl with Melinda Russel, pp.507-514, Volume 56, No.2, 2003

– STOLBA (K. M.), Evidence for Quartets by John Antes, American-Born Moravian Composer, pp.565-574, Volume XXXIII, No.3, 1980

– STOMNE SELDEN (M.), Napoleon and Cherubini, pp.110-115, Volume VIII, No.2, 1955

  • Early Roots of Russian Opera, pp.206-211, Volume XV, No.2, 1962

– STRAS (L.), Music and the Myth of Arcadia in Renaissance Italy, by Giuseppe Gerbino, pp.863-867, Volume 65, No.3, 2012

– STRAUS (J. N.), Normalizing the Abnormal: Disability in Music and Music Theory, pp.113-184, Volume 59, No.1, 2006

– STREET (J.), Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde, by Bernard Gendron, pp.472-476, Volume 58, No.2, 2005

– STROHM (R.), Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550, pp.485-490, Volume XLVIII, No.3, 1995

  • Handel as Orpheus: Voice and Desire in the Chamber Cantatas, by Ellen T. Harris, pp.217-222, Volume 60, No.1, 2007

– STRUNK (O.), The Antiphons of the Oktoechos, pp.50-67, Volume XIII, 1960

– Studying the Lied: Hermeneutic Traditions and the Challenge of Performance, pp.543-582, Volume 67, No.2, 2014

– SUMNER (F.), Haydn and Kirnberger: A Documentary Report, pp.530-539, Volume XXVIII, No.3, 1975

– SUN (C.), Draw a Straight Line and Follow It: The Music and Mysticism of La Monte Young, by Jeremy Grimshaw, pp.318-322, Volume 66, No.1, 2013

– SUSCHITZKY (A.), French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style, by Steven Heubner, pp.636-642, Volume 53, No.3, 2000

– SUTHERLAND (D. A.), A Second Corteccia Manuscript in the Archives of Santa Maria del Fiore, pp.79-85, Volume XXV, No.1, 1972

– SUTTON (J.), The Music of J. B. Besard’s Novus Partus, 1617, pp.182-204, Volume XIX, No.2, 1966

– SWACK (J. R.), On the Origins of the Sonate Auf Concertenart, pp.369-414, Volume XLVI, No.3, 1993

– SWAIN (J. P.), Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music, pp.196-205, Volume XXXVII, No.1, 1984

– SWAN (A. J.),  Harmonizations of the Old Russian Chants, pp.83-86, Volume II, No.2, 1949

– SWERDLOW (N.), “Musica Dicitur a Moys, Quod est Aqua”, pp.3-9, Volume XX, No.1, 1967

– SWITTEN (M.), Hendrik van der Werf, The Extant Troubadour Melodies, pp.381-388, Volume XXXIX, No.2, 1986

– SYMES (C.), The Musical Sounds of Medieval French Cities: Players, Patrons, and Politics, by Gretchen Peters, pp.825-828, Volume 67. No.3, 2014

– TADLOCK (R. J.), Alessandro Striggio, Madrigalist, pp.29-40, Volume XI, No.1, 1958

– TALBOT (M.), Arcangelo Corelli: “New Orpheus of Our Times”, by Peter Allsop, pp.532-538, Volume 55, No.3, 2002

– TANAY (D.), Medieval Music and the Art of Memory, by Anna Maria Busse Berger, pp.653-661, Volume 60, No.3, 2007

– TARUSKIN (R.), Opera and Drama in Russia: The Case of Serov’s Judith, pp.74-117, Volume XXXII, No.1, 1979

  • Russian Folk Melodies in The Rite of Spring, pp. 501-543, Volume XXXIII, No.3, 1980
  • Chernomor to Kashchei: Harmonic Sorcery; or, Stravinsky’s “Angle”, pp.72-142, Volume XXXVIII, No.1, 1985
  • Antoine Busnoys and the L’Homme Armé Tradition, pp.255-293, Volume XXXIX, No.2, 1986
  • Nikolai Lvov and Ivan Prach, A Collection of Russian Folk Song. Edited by Malcolm Hamrick Brown with an introduction and appendices by Margarita Mazo, pp.162-174, Volume XLIII, No.1, 1990
  • Kevin Korsyn, “Towards a New Poetics of Musical Influence”; and Joseph N. Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition, pp.114-138, Volume XLVI, No.1, 1993

– TAUSIG (B.), British Library Sounds. ; Ethnographic Video for Instruction and Analysis. Ruth M. Stone and Lester Monts, Directors., pp.476-487, Volume 68, No.2, 2015

– TAWA (N.), Harold E. Cook, Shaker Music: A Manifestation of American Folk Culture, pp.156-159, Volume XXVIII, No.1, 1975

– TEMPERLEY (N.), John Playford and the Metrical Psalms, pp.331-378, Volume XXV, No.3, 1972

  • The Old Way2 of Singing: Its Origins and Development, pp.511-544, Volume XXXIV, No.3, 1981
  • The Complete Works of William Billings, Volume III, pp.179-186, Volume XLI, No.1, 1988
  • American Sacred Music Imprints 1698-1810: A Bibliography, by Allen Perdue Britton and Irving Lowens and completed by Richard Crawford, pp.123-131, Volume XLV, No.1, 1992

– THOMAS (D. A.), Monstrous Opera: Rameau and the Tragic Tradition, by Charles Dill, pp.363-369, Volume 52, No.2, 1999

– THOMPSON (W. F.),  Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures and The Analysis and Cognition of Melodic Complexity, pp.127-145, Volume XLIX, No.1, 1996

– TICK (J.), Ruth Crawford’s “Spiritual Concept”: the Sound-ideals of an Early America Modernist, pp.221-261, Volume XLIV, No.2, 1991

  • The Cambridge History of American Music, edited by David Nicholls, pp.721-733, Volume 56, No.3, 2003

– TIRRO (F.), Constructive Elements in Jazz Improvisation, pp.285-305, Volume XXVII, No.2, 1974

  • Charles Hamm, Bruno Nettl, and Ronald Byrnside, Contemporary Music and Music Cultures, pp.562-564, Volume XXVIII, No.3, 1975

– TISCHLER (H.), A Propos the Notation of the Parisian Organa, pp.1-8, Volume XIV, No.1, 1961

  • Jürg Stenzl, Die vierzig Clausulae der Handschrift Paris Bibliothèque nationale latin 15139, pp.107-108, Volume XXV, No.1, 1972
  • The Earliest Lute Tablature?, pp.100-103, Volume XXVII, No.1, 1974
  • Apropos of a Newly Discovered Organum, pp.515-526, Volume XXVIII, No.3, 1975
  • Hans-Herbert S. Räkel, Die musikalische Erscheinungsform der Trouvèrespoesie; Hendrik van der Werf, ed., Monumenta modica medii aevi XI: Trouvère-Melodien I, pp.335-339, Volume XXXII, No.2, 1979

– TITCOMB (C.), The Josquin acrostic re-examined, pp.47-60, Volume XVI, No.1, 1963

– TODD (R. L.), The London Pianoforte School 1766-1860: Clementi, Dussek, Cramer, Field, Pinto, Sterndale Bennett, and Other Masters of the Pianoforte, edited by Nicholas Temperley, pp.128-136, Volume XLIV, No.1, 1991

– TOLIVER (B.), Eco-ing in the Canyon: Ferde Grofé’s Grand Canyon Suite and the Transformation of Wilderness, pp.325-368, Volume 57, No.2, 2004

– TOMLINSON (G.), Ancora su Ottavio Rinuccini, pp.351-356, Volume XXVIII, No.2, 1975

  • Madrigal, Monody, and Monteverdi’s “Via Naturale alla Immitatione”, pp.60-108, Volume XXXIV, No.1, 1981
  • Maria Rika Maniates, Mannerism in Italian Music and Culture, pp.552-557, Volume XXXIV, No.3, 1981
  • Twice Bitten, Thrice Shy: Monteverdi’s “finta” Finta Pazza, pp.303-311, Volume XXXVI, No.2, 1983
  • Ideologies of Aztec Song, pp.343-379, Volume XLVIII, No.3, 1995

– TOSCANI (C.), La traviata: Melodramma in Three Acts, by Giuseppe Verdi, libretto by Francesco Maria Piave, edited by Fabrizio Della Seta (translated by Pierpaolo Polzonetti), pp.214-226, Volume 58, No.1, 2005


– TREITLER (L.), The Polyphony of St. Martial, pp.29-42, Volume XVII, No.1, 1964

  • Tone System in the Secular Works of Guillaume Dufay, pp.131-169, Volume XVIII, No.2, 1965
  • “Centonate” Chant: Übles Flickwerk or E pluribus unus?, pp.1-23, Volume XXVIII, No.1, 1975
  • The Early History of Music Writing in the West, pp.237-279, Volume XXXV, No.2, 1982
  • Joseph Kerman, Contemplating Music: Challenges to Musicology, pp.375-402, Volume XLII, No.2, 1989

– TSOU (J. S.), Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau, pp.447-453, Volume 60, No.2, 2007

– TSUGE (G.), Mark Slobin, Music in the Culture of Northern Afganistan, pp.539-541, Volume XXX, No.3, 1977

– TUCKER (M.), Representing Jazz, edited by Krin Gabbard; and Jazz Among the Discourses, edited by Krin Gabbard, pp.131-148, Volume 51, No.1, 1998

– TUCKER (S.), U.S. Music Studies in a “Moment of Danger”, pp.703-708, Volume 63, No.3, 2011

– TUNBRIDGE (L.), Frieda Hempel and the Historical Imagination, pp.437-474, Volume 66, No.2, 2013

– TURNBULL (E.), Thomas Tudway and the Harleian Collection, pp.203-207, Volume VIII, No.3, 1955

– TUSA (M. C.), The Unknown Florestan: the 1805 version of  “In des Lebens Frühlingstagen”, pp.175-220, Volume XLVI, No.2, 1993

– TYLER (L. L.), “Commerce and Poetry Hand in Hand”: Music in American Department Stores, 1880-1930, Volume XLV, No.1, 1992

– TYSON (A.), Notes on five of Beethoven’s Copyist, pp. 439-471, Volume XXIII, No.3, 1970

  • The Problem of Beethoven’s “First” Leonore Overture, pp.292-334, Volume XXVIII, No.2, 1975
  • The Mozart Fragments in the Mozarteum, Salzburg: A Preliminary Study of their Chronology and their Significance, pp.471-510, Volume XXXIV, No.3, 1981
  • Notes on the Composition of Mozart’s Così fan tutte, pp.356-401, Volume XXXVII, No.2, 1984

– VAGET (H. R.), Poisoned Arrows: Wagner, Hitler, “und kein Ende”: Nietzsche and Wagner: A Lesson in Subjugation, by Joachim Köhler; Wagner’s Hitler: The Prophet and His Disciple, by Joachim Köhler; Richard Wagners “Das Judentum in der Musik”: Eine kritische Dokumentation als Beitrag zur Geschichte des Antisemitismus, by Jens Malte Fischer; and The Ring of Myths: The Israelis, Wagner, and the Nazis, by Na’ama Sheffi, pp.661-677, Volume 54, No.3, 2001

– VAN DER WERF (H.), H 159, Montpellier: Tonary of St. Bénigne of Dijon. Finn Egeland Hansen, ed., pp.363-365, Volume XXXI, No.2, 1978

  • Chanter m’estuet: Songs of the Trouvères,ed. Samuel N. Rosenberg and Hans Tischler, pp.539-554, Volume XXXV, No.3, 1982

– VAN WYE (B.), Gregorian Influences in French Organ Music before the Motu proprio, pp.1-24, Volume XXVII, No.1, 1974

  • Ritual Use of the Organ in France, pp.287-325, Volume XXXIII, No.2, 1980

– VELIMIROVIĆ (M.), Constantin Floros, Universale Neumenkunde, 3 vols., pp.479-483, Volume XXV, No.3, 1972

  • Recent Publications on Byzantine Chant, pp.143-148, Volume XLIII, No.1, 1990

– VERBA (C.), Catherine Kintzler, Jean-Philippe Rameau, pp.169-178, Volume XXXVIII, No.1, 1985

– VERBA (E. C.), The Development of Rameau’s Thoughts on Modulation and Chromatics, pp.69-91, Volume XXVI, No.1, 1973

  • Rameau’s Views on Modulation and Their Background in French Theory, pp.467-479, Volume XXXI, No.3, 1978

– VETTER (R.), African Rhythm: A Northern Ewe Perspective, by Kofi Agawu, pp.158-163, Volume 51, No.1. 1998

– VILLEGAS VÉLEZ (D.), MP3: The Meaning of a Format, by Jonathan Sterne, pp.239-244, Volume 68, No.1, 2015

– VINTON (J.), Bartók on his own music, pp.232-243, Volume XIX, No.2, 1966

– VON GLAHN (D.), American Women and the Nature of Identity, pp.399-403, Volume 64, No.2, 2011

  • Orpheus in Manhattan: William Schuman and the Shaping of America’s Musical Life, by Steve Swayne, pp.891-898, Volume 65, No.3, 2012

– WADE (B. C.), Willem Adriaansz, The Kumiuta and Danmono Traditions of Japanese Koto Music, pp.149-152, Volume XXVIII, No.1, 1975

– WAITE (W.G.), Discantus, Copula, Organum, pp.77-87, Volume V, No.2, 1952

  • The Abbreviation of the Magnus Liber, pp.147-158, Volume XIV, No.2, 1961
  • Leo Schrade, pp.3-4, Volume XVIII, No.1, 1965

– WAEBER (J.), Jean-Jacques Rousseau’s “unité de mélodie”, pp.79-144, Volume 62, No.1, 2009

– WAGSTAFF (G.), Imposing Harmony : Music and Society in Colonial Cuzco, bu Geoffrey Baker, pp.652-658, Volume 63, No.3, 2010

– WAI LING (C.), Olivier Messiaen: Music, Art and Literature edited by Christopher Dingle and Nigel Simeone; and Messiaen Studies, edited by Robert Sholl, pp.392-401, Volume 63, No.2, 2010

– WALDEN (J. S.), « An Essential Expression of the People » : Interpretations of Hasidic Song in the composition and Performance History of Ernest Bloch’s Baal Shem, pp.777-820, Volume 65, No.3, 2012

– WALDOFF (J.), Antonio Salieri and Viennese Opera, by John A. Rice; and The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment, by Mary Hunter, pp.547-562, Volume 55, No.3, 2002

– WALKER (T.), Ciaccona and Passacaglia: Remarks on their Origin and Early History, pp.300-320, Volume XXI, No.3, 1968

– WALKING (A. R.), The Masque of Actaeon and the Antimasque of Mercury: Dance, Dramatic Structure, and Tragic Exposition in Dido and Aeneas, pp.191-242, Volume 63, No.2, 2010

– WALLS (P.), Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850-1900, by David Milsom, pp.501-507, Volume 59, No.2, 2006

– WALSER (R.), The Poetics of Rock: Cutting Tracks, Making Records, by Albin J. Zak III, pp.253-257, Volume 60, No.1, 2007

– WALTERS ROBERTSON (A.), Benedicamus Domino: The Unwritten Tradition, pp.1-62, Volume XLI, No.1, 1988

  • The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet, pp.537-630, Volume 59, No.3, 2006

– WALTON (B.), The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms, by William Weber, pp.239-244, Volume 64, No.1, 2011


– WARD (J.), The “Dolfull Domps”, pp.111-121, Volume IV, No.2, 1951

  • The Use of Borrowed Material in 16th-Century Instrumental Music, pp.88-98, Volume V, No.2, 1952
  • Music for A Handefull of Pleasant Delites, pp.151-180, Volume X, No.3, 1957
  • The Lute Music of MS Royal Appendix 58, pp.117-125, Volume XIII, 1960
  • Apropos The British Broadside Ballad and its Music, pp.28-86, Volume XX, No.1, 1967
  • The Morris Tune, pp.294-331, Volume XXXIX, No.2, 1986

-WARD (T. R.), Martin Just, Der Mensuralkodex Mus. ms. 40021 der Staatsbibliothek Preussischer Kulturbesitz Berlin: Untersuchungen zum Repertoire einer deutschen Quelle des 15. Jahrhunderts. 2 vols., pp.524-531, Volume XXX, No.3, 1977

– WARFIELD (P.), The March as Musical Drama and the Spectacle of John Philip Sousa, pp.289-318, Volume 64, No.2, 2011

–  WARWICK (J.),  I Wanna Be Me: Rock Music and the Politics of Identity, by Theodore Gracyk; and Disruptive Divas: Feminism, Identity and Popular Music, by Lori Burns and Mélisse Lafrance, pp.702-712, Volume 57, No.3, 2004

– WATERMAN (R. A.), “Hot” Rhythm in Negro Music, pp.24-37, Volume I, No.1, 1948

– WATHEY (A.), The Marriage of Edward III and the Transmission of French Motets to England, pp.1-29, Volume XLV, No.1, 1992

– WATKINS (H.), Schoenberg’s Interior Designs, pp.123-206, Volume 61, No.1, 2008

  • Musical Ecologies of Place and Placelessness, pp.404-408, Volume 64, No.2, 2011

– WEAKLAND (R.), The Rhythmic modes and medieval Latin drama, pp.131-146, Volume XIV, No.2, 1961

– WEBER (W.), The Intellectual Origins of Musical Canon in Eighteenth-Century England, pp.488-520, Volume XLVII, No.3, 1994

– WEBSTER (J.), Toward a History of Viennese Chamber Music in the Early Classical Period, pp.212-247, Volume XXVII, No.2, 1974

  • Ludwig Finscher, Studien zur Geschichte des Streichquartetts. Vol. I: Die Entstehung des klassischen Streichquartetts: Von den Vorformen zur Grundlegung durch Joseph Haydn, pp.543-549, Volume XXVIII, No.3, 1975
  • Violoncello and Double Bass in the Chamber Music of Haydn and his Viennese Contemporaries, 1750-1780, Volume XXIX, No.3, 1976

– WEEKS CHAPMAN (C.), Printed Collections of Polyphonic Music Owned by Ferdinand Columbus, pp.34-84, Volume XXI, No.1, 1968

– WEELOCK (G. A.), The Free Fantasia and the Musical Picturesque, by Annette Richards, pp.401-409, Volume 57, No.2, 2004

– WEGMAN (R. C.), Different Strokes for Different Folks? On Tempo and Diminution in Fifteenth-Century Music, pp.461-506, Volume 53, No.3, 2000

– WEISS (P.), Dating the “Trout” Quintet, pp.539-548, Volume XXXII, No.3, 1979

  • Verdi and the Fusion of Genres, pp.138-156, Volume XXXV, No.1, 1982
  • John Rosselli, The Opera Industry in Italy from Cimarosa to Verdi, pp.557-565, Volume XL, No.3, 1987

– WELLS (E. A.), Jerome Kern, by Stephen Banfield; Oklahoma! The Making of an American Musical, by Tim Carter; Sigmund Romberg, by William A. Everett; and Frank Loesser, by Thomas L. Riis, pp.159-168, Volume 63, No.1, 2010

– WENK (A. B.), Edward T. Cone, The Composer’s Voice, pp.490-492, Volume XXIX, No.3, 1976

– WERNER (E.), The Mathematical Foundation of Philippe de Vitri’s Ars nova, pp.128-132, Volume IX, No.2, 1956

  • “If I speak in the tongues of men…” St. Paul’s Attitude Toward Music, pp.18-23, Volume XIII, 1960
  • International Inventory of Musical Sources (RISM). Ser. B IX, Vol.2: Hebrew Writings concerning Music in Manuscripts and Printed Books from Geonic Times up to 1800, pp.522-524, Volume XXX, No.3, 1977

– WHITESELL (L.), Britten’s Dubious Trysts, pp.637-694, Volume 56, No.3, 2003

  • Listening to the Sirens: Musical Technologies of Queer Identity from Homer to “Hedwig”, by Judith A. Peraino, pp.647-652, Volume 60, No.3, 2007

– WHITING (S. M.), Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna, by Derek B. Scott, pp.730-736, Volume 64, No.3, 2011

– WHITTALL (A.), The Cambridge History of Western Music Theory, edited by Thomas Christensen, pp.645-651, Volume 57, No.3, 2004

– WIEBE (H.), The Cambridge Companion to Elgar, edited by Daniel M. Grimley and Julian Rushton; Edward Elgar and His World, edited by Byron Adams; Edward Elgar and the Nostalgic Imagination, by Matthew Riley; Edward Elgar, Modernist, by J. P. E. Harper-Scott, pp.231-243, Volume 62, No.1, 2009

– WIENANDT (E.), Perino Fiorentino and His Lute Pieces, pp.2-13, Volume VIII, No.1, 1955

  • David Kellner’s Lautenstücke, pp.29-38, Volume X, No.2, 1957

– WIENPAHL (R.W.), Modal Usage in Masses of the Fifteenth Century, pp.37-52, Volume V, No.1, 1952

  • Zarlino, The Senario, and Tonality, pp.27-41, Volume XII, No.1, 1959

– WIERZBICKI (J.), The Hollywood Career of Gershwin’s Second Rhapsody, pp.133-186, Volume 60, No.1, 2007


– WILBOURNE (E.), Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body, pp.1-44, Volume 63, No.1, 2010


– WILLIAMS (E. V.), Dimitri E. Conomos, Byzantine Trisagia and Cheroubika of the Fourteenth and Fifteenth Centuries: A Study of Late Byzantine Liturgical Chant, pp.148-150, Volume XXX, No.1, 1977

  • Reinhold Hammerstein, Macht und Klang: Tönende Automaten als Realität und Fiktion in der alten und mittelalterlichen Welt, pp.166-169, Volume XLI, No.1, 1988

– WILLIAMS (G. W.), Charleston Church Music 1562-1833, pp.35-40, Volume VII, No.1, 1954

  • Jacob Eckhard and his Choirmaster’s Book, pp.41-47, Volume VII, No.1, 1954

– WILLIAMS (P.), Laurence Dreyfus, Bach’s Continuo Group, pp.349-355, Volume XLI, No.2, 1988

– WILLIAMS (S. F.), Bawdy Songbooks of the Romantic Period, edited by Patrick Spedding and Paul Watt, pp.871-880, Volume 65, No.3, 2012

– WILLIAMS (S. J.), Vocal Scoring in the Chanson of Machaut, pp.251-257, Volume XXI, No.3, 1968

– WILLIER (S.), Rhythmic Variants in Early Manuscript Versions of Caccini’s Monodies, pp.481-497, Volume XXXVI, No.3, 1983

– WILSON (B.), Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Richard Sherr, pp.368-374, Volume 54, No.2, 2001

– WINESANKER (M.), Opera, 1750-1800, pp.87-96, Volume II, No.2, 1949

– WINTER (R. S.), Ludwing van Beethoven: Ein Skizzenbuch zu den Diabelli-Variationen und zur Missa Solemnis, SV 154, pp.135-138, Volume XXVIII, No.1, 1975

  • Otto Zickenheiner, Untersuchungen zur Credo-Fuge der Missa Solemnis von Ludwig van Beethoven, pp.186-194, Volume XLI, No.1, 1988
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