MUSIC THEORY SPECTRUM

MUSIC THEORY SPECTRUM

PER.GB. 15

 

-AGAWU (K.), Christopher Hatch and David W. Bernstein, eds. Music Theory and the Exploration of the Past, Vol. 17 (1995), n. 2, p. 268-274

-AGMON (E.), Reply to Erkki Huovinen, Vol. 28 (2006), n. 1, p. 132

  • Erkki Huovinen, Pitch-Class Constellations: studies in the Perception of Tonal Centricity. Finnish Musicological Society: Tuku, 2002, Vol. 26 (2004), n. 1, p. 131-143
  • Functional Harmony Revisited: A Prototype-Theoreric Approach, Vol. 17 (1995), n. 2, p. 196-214
  • Pitches (Pitch Classes) and Their Intervals are (Sets of) Numbers, Vol. 30 (2009), n. 1, p. 153-156

-ALEGANT (B.), A Model for the Pitch Structure of Webern’s Op. 23 No. 1, “Das dunkle Herz”, Vol. 13 (1991), n. 2, p. 127-146

  • Unveiling Schoenberg’s op. 33b, Vol. 18 (1996), n. 2, p. 143-166

-ALEGANT (B.), Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music, Vol. 23 (2001), n. 1, p. 1-40

-ANSON-CARTWRIGHT (M.), Carl Schachter. Unfoldings: Essays in Schenkerian Theory and Analysis, Vol. 23 (2001), n. 2, p. 242-247

  • Chromatic Features of Eb-Major Works of the Classical Period, Vol. 22 (2000), n. 2, p. 177

-AUNER (J.H.), In Schoenberg’s Workshop: Aggregates and Referential Collections in Die glückliche Hand, Vol. 18 (1996), n. 1, p. 77-105

-BAILEYSHEA (M.), Remaking the Song: Operatic Visions and Revisions from Handel to Berio. By Roger Parker. Berkeley: University of California Press, 2006, xii + 165 pages, Vol. 31 (2009), n. 1, p. 175-182

-BAIN (J.), “Messy Structure”? Multiple Tonal Centers in the Music of Machaut, Vol. 30 (2008), n. 2, p. 195-238

-BARNETT (G.), Cristle Collins Judd, Reading Renaissance Music Theory: Hearing with the Eyes, Vol. 25 (2003), n. 1, p. 137-141

-BASS (R.), Enharmonic Position Finding and the Resolution of Seventh Chords in Chromatic Music, Vol. 29 (2007), n. 1, p. 73-100

  • Half-Diminished Functions and Transformations in Late Romantic Music, Vol. 23 (2001), n. 1, p. 41-60

-BEACH (D.), Bach’s Partita No. 1 in Bb, BWV 825: Schenker’s Unpublished Sketches with Commentary and Alternative Readings, Vol. 30 (2008), n. 1, p. 1-34

  • Schubert’s Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure, Vol. 15 (1993), n. 1, p. 1-18

-BENADON (F.), Time Warps in Early Jazz, Vol. 31 (2009), n. 1, p. 1-25

-BERNARD (J.W.), Allan F. Moore, The Beatles: Sgt. Pepper’s Lonely Hearts Club Band, and Walter Everett, The Beatles as Musicians: “Revolver” through the “Anthology”, Vol. 25 (2003), n. 2, p. 375-382

  • Ligeti’s Restoration of Interval and Its Significance for His Later Works, Vol. 21 (1999), n.1, p. 1-31
  • Zones of Impingment: Two Movements from Bartók’s Music for Strings, Percussion, and Celesta, 25 (2003), n. 1, p. 3-34

-BERNSTEIN (D.W.), James Pritchett. The Music of John Cage, Vol. 18 (1996), n. 2, p. 265-273

-BIAMONTE (N.), Triadic Modal and Pentatonic Patterns in Rock Music, Vol. 32 (2010), n. 2, p. 95-110

-BIRINGER (G.), Robert Gauldin, Harmonic Practice in Tonal Music, Vol. 20 (1998), n. 1, p. 152-159

-BLASIUS (L.D.), Allen S. Weiss, ed., Experimental Sound and Radio, Vol. 26 (2004), n. 1, p. 149-163

-BLOCK (S.), “Bemsha Swing”: The Transformation of a Bebop Classic to Free Jazz, Vol. 19 (1997), n. 2, p. 206-231

-BLUM (S.), Kofi Agawu, African Rhythm, a Northen Ewe Perspective, Vol. 20 (1998), n. 2, p. 305-310

-BOONE (G.M.), Marking Mensural Time, Vol. 22 (2000), n. 1, p. 1-43

-BOWEN (J.A.), David Epstein, Shaping Time: Music, the Brain, and Performance, Vol. 20 (1998), n. 2, p. 311-318

-BRAUNSCHWEIG (K.), Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber. By Jairo Moreno, Bloomington: Indiana University Press, 2004, 236 + viii pp., Vol. 30 (2008), n. 1,p. 169-180

  • Suzannah Clark and Alexander Rehding, ed., Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, Vol. 25 (2003), n. 1, p. 142-151

-BRIBITZER-STULL (M.), The Ab-C-E Complex: The Origin and Function of Chromatic Major Third Collections in Nineteenth-Century Music, Vol. 28 (2006), n. 2, p. 167-190

-BROWER (C.), Memory and the Perception of Rhythm, Vol. 15 (1993), n.1, p. 19-35

-BROWN (M.), Schenker Studies, edited by Hedi Siegel Trends in Schenkerian Research, edited by Allen Cadwallader, Vol. 13 (1991), n. 2, p. 265-273

  • Tonality and Form in Debussy’s Prélude à “L’Après-midi d’un faune”, 15 (1993), n. 2, p. 127-143

-BROWN (M.), DEMPSTER (D.), HEADLAM (D.), The #IV (bV) Hypothesis: Testing the Limits of Schenker’s Theory of Tonality, Vol. 19 (1997), n. 2, p. 155-183

-BROWN (S.C.), Dual Interval Space in Twentieth-Century Music, Vol. 25 (2003), n. 1, p. 35-58

-BROYLES (M.), Heinrich Schenker. Beethoven’s Ninth Symphony, translated and edited by John Rothgeb, Vol. 16 (1994), n. 1, p. 139-143

-BUCHLER )M.), Modulation as a Dramatic Agent in Frank Loesser’s Broadway Songs, Vol. 30 (2008), n. 1, p. 35-60

-BURNETT (H.), & O’DONNEL (S.), Linear Ordering of the Chromatic Aggregate in Classical Symphonic Music, Vol. 18 (1996), n.1, p.22-50

-BURNS (L.), J.S. Bach’s Mixolydian Chorale Harmonizations, Vol. 15 (1993), n. 2, p. 144-172

-BURSTEIN (L.P.), Unraveling Schenker’s Concept of the Auxiliary Cadence, Vol. 27 (2005), n. 2, p. 159-186

-BURTON (D.), Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg. By Christopher Morris. Cambridge: Cambridge University Press, 2002, 219 + xi pp., Vol. 30 (2008), n. 1, p. 181-188

-CAPUZZO (G.), Neil Young and the Poetics of Energy. By William Eichard. Bloomington and Indianapolis: Indiana University Press, 2005, 260 + vii pp, Vol. 30 (2008), n. 2, p. 366-381

  • Neo-Riemannian Theory and the Analysis of Pop-Rock Music, Vol. 26 (2004), n. 2, p. 177-200
  • Sectional Tonality and Sectional Centricity in Rock Music, Vol. 31 (2009), n. 1, p. 157-174

-CAREY (N.), W.A. Mathieu. Harmonic Experience, Vol. 24 (2002), n. 1, p. 121-134

-CARPENTER (P.), William Thomson. Schoenberg’s Error, Vol. 15 (1991), n. 2, p. 286-299

-CARR (M.A.), Jonathan Cross, The Stravinsky Legacy, Cambridge: Cambridge University Press, 1998, Vol. 29 (2007), n. 1, p. 126-134

-CARTER (C.), Stravinsky’s “Special Sense”: The Rhetorical Use of Tonality in The Rake’s Progress, Vol. 19 (1997), n. 1, p. 55-80

-CHERLIN (M.), Dialectical Opposition in Schoenberg’s Music and Thought, Vol. 22 (2000), n. 1, p. 157-176

  • Elliott Carter: Collected Essays and Lectures, 1937-1995, edited by Jonathan W. Bernard, Vol. 23 (2001), n. 1, p. 90-98
  • Jeanne Bamberger, Developing Musical Intuitions: A Project-Based Introduction to Making and Understanding Music, Vol. 25 (2003), n. 2, p. 383-387

-CHRISTENSEN (T.), Carl Dahlhaus. Studies on the Origin of Harmonic Tonality, translated by Robert O. Gjerdingen; Joel Lester. Between Mode and Keys: German Theory 1592-1802, Vol. 15 (1993), n. 1, p. 94-111

-CHUA (D.K.L.), David Yearsley: Bach and the Meanings of Counterpoint, Vol. 27 (2005), n. 1, p. 113-117

-CLOUGH (J.), DOUTHETT (J.), RAMANATHAN (N.) & ROWELL (L.), Early Indian Heptatonic Scales and Recent Diatonic Theory, Vol. 15 (1993), n. 1, p. 36-58

-CLOUGH (J.), ENGEBRETSEN (N.), & KOCHAVI (J.), Scales, Sets, and Interval Cycles: A Taxonomy, Vol. 21 (1999), n. 1, p. 74-104

-COHEN (D.E.), “The Imperfect Seeks Its Perfection”: Harmonic Progression, Directed Motion, and Aristotelian Physics, Vol. 23 (2001), n. 2, p. 139-169

-COHN (R.), Lawrence M. Zbikowski. Conceptualizing Music: Cognitive Structure, Theory, and Analysis New York: Oxford University Press 2002, Vol. 29 ( 2007), n. 1, p. 115-125

  • Weitzmann’s Regions, My Cicles, and Douthett’s Dancing Cubes, Vol. 22 (2000), n. 1, p. 89-103

-CONE (E.T.), Nicholas Cook. Music, Imagination, and Culture, Vol. 16 (1994), n. 1, p. 134-138

-COOK (C.), Chromatic Transformations in Nineteenth-Century Music. By David Kopp. Cambridge: Cambridge University Press, 2002, xiii + 275 pages, Vol. 32 (2010), n. 1, p. 79-88

-COOK  (N.), Review Essay: Putting the Meaning Back into Music, or Semiotics Revisited Robert Hatten. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretatio;  Eero Tarasti. A Theory of Musical Semiotics, Vol. 18 (1996), n. 1, p. 106-123

  • Theorizing Musical Meaning, Vol. 23 (2001), n. 2, p. 170-195

-COVACH (J.), Edward Lippman. A History of Western Musical Aesthetics; John Rahn, ed. Perspectives on Musical Aesthetics, Vol. 17 (1995), n. 2, p. 275-282

-COVINGTON (K.) & LORD (C.H.), Epistemology and Procedure in Aural Training: In Search of a Unification of Music Cognitive Theory with Its Applications, Vol. 16 (1994), n. 2, p. 159-170

-COX (A.), Michael Spitzer, Metaphor and Musical Thought, Vol. 28 (2006), n. 2, p. 291-298

-CRAMER (A.), Arnold Schoenberg. Coherence, Counterpoint, Instrumentation, Instruction in Form = Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre. Ed. Severine Neff; trans. by Charlotte M. Cross and Severine Neff. Arnold Schoenberg. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Ed. and trans. by Patricia Carpenter and Severine Neff., Vol. 19 (1997), n. 1, p. 87-92

  • Kathryn Bailey. “Composing with Tones”: A Musical Analysis of Schoenberg’s Op. 23 Pieces for Piano, vol. 27 (2005), n. 1, p. 118-127
  • Schoenberg’s Klangfarbenmelodie: A Principle of Early Atonal Harmony, Vol. 24 (2002), n. 1, p. 1-34

-CRICKMORE (L.), A Musical and Mathematical Context for CBS 1766, Vol. 30 (2008), n. 2, p. 327-228

-DARCY (W.), Analyzing Opera: Verdi and Wagner, edited by Carolyn Abbate and Roger Parker, Vol. 13 (1991), n. 2, p. 260-264

  • The Metaphysics of Annihilation: Wagner, Schopenhauer, and the Ending of the Ring, Vol. 16 (1994), n. 1, p. 1-40
  • William E. Chaplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, Vol. 22 (2000), n. 1, p. 122-125

-DAY-O’CONNELL (J.), Debussy, Pentatonicism, and the Tonal Tradition, Vol. 31 (2009), n. 2, p. 225-261

  • The Rise of ˇ6, Vol. 24 (2002), n. 1, p. 35-67

-de ZEEUW (A.M.), Deborah Mawer, Darius Milhaud: Modality and Structure in Music of the 1920s; Neil Minturn, The Music of Sergei Prokofiev, Vol. 22 (2000), n. 2, p. 271-275

-DeBELLIS (M.), Schenkerian Theory’s Empiricist Image, Vol. 32 (2010), n. 2, p. 111-120

-DINEEN (M.), Music as Philosophy: Adorno and Beethoven’s Late Style. By Micheal Spitzer. Bloomingtoon: Indiana University Press, 2006, xiv + 392 pages, Vol. 31 (2009), n. 2, p. 368-371

  • Schoenberg’s Modulatory Calculations: Wn Fonds 21 Berg 6/III/66 and Tonality, Vol. 27 (2005), n. 1, p. 97-112
  • William Thomson. Tonality in Music: A Generative Theory, Vol. 23 (2001), n. 2, p. 248-250

-DOMEK (R.), Baroque Counterpoint. By Peter Schubert and Christopher Neidhöfer. Upper Saddle River, NJ: Pearson Prentice Hall, 2006, ix + 374 pages, Vol. 31 (2009), n. 1, p. 183-191

-DON (G.W.), Brilliant Colors Provocatively Mixed: Overtone Structures in the Music of Debussy, Vol. 23 (2001), n. 2, p. 61-73

-DOUGHERTY (P.), Is Language a Music?: Writings on Musical Form and Signification. By David Lidov. Bloomington: Indiana University Press, 2005, x + 256 pages, Vol.31 (2009), n. 2, p. 372-377

-DUNSBY (J.), Music Theory in Concept and Practice, edited by James M. Baker, David W. Beach, and Jonathan W. Bernard, Vol. 20 (1999), n. 1, p. 105-109

-ECKERT (S.), Markus Waldura. Von Rameau und Riepel zu Koch. Zum Zusammenhang zwischen theoretischen Ansatz, Kadenzlehre und Periodenbegriff in der Musiktheorie des 18.Jahrhuderts; Claudia Maurer Zenck. Vom Takt: Überlegungen zur Theorie und kompositorischen Praxis im ausgehenden 18. und 19.Jahrhundert, Vol. 27 (2005), n. 2, p. 319-327

-ERLMANN (V.), À propos Kofi Agawu’s Representing African Music, Vol. 26 (2004), n. 2, p. 291

-EVERETT (Y.U.), A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steedy Dan, Vol. 26 (2004), n. 2, p. 201-236

  • Adam Krims. Rap Music and the Poetics of identity, Vol. 24 (2002), n. 2, p. 259-272
  • Signification of Parody and the Grotesque in György Ligeti’s Le Grand Macabre, Vol. 31 (2009), n. 1, p. 26-56

-FERRI (J.), David Carson Berry, A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices, Hillsdale, NY: Pendragon, 2004, Vol. 29 (2007), n. 1, p. 135-139

-FERRIS (D.), C.P.E. Bach and the Art of Strange Modulation, Vol. 22 (1999), n. 1, p. 60-88

-FIELDMAN (H.), Harmony in Context. By Miguel Roig-Francoli. New York: McGraw-Hill, 2003, xvi + 920 pp; The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. By Steven G. Laitz. New York: Oxford University Press, 2003, xxii + 714 pp; The Musician’s Guide to Theory and Analysis. By Jane Paper Clendinning, and Elizabeth West Marvin. New York: W.W. Norton & Co., 2005, xxxi + 759 pp., Vol. 30 (2008), n. 2, p. 361-365

-FORREST (D.), Prolongation in the Choral Music of Benjamin Britten, Vol. 32 (2010), n. 1, p. 1-25

-FORTE (A.), An Octatonic Essay by Webern: No. 1 of the Six Bagatelles for String Quartet, Op. 9, Vol. 16 (1994), n. 2, p. 171-195

-FOURNIER (K.), Listening Awry: Music and Alterity in German Culture. By David Schwarz. Minneapolis: University of Minnesota Press, 2006, xxii + 216 pages, Vol. 32 (2010), n. 2, p. 180-184

-FRANCK (P.), “A Fallacious Concept”: Invertible Counterpoint at the Twelfht within the Ursatz, Vol. 32 (2010), n. 2, p. 121-144

-FRITTS (L.), Andrew Mead. An Introduction to the Music of Milton Babbitt; Milton Babbitt. “The Function of Set Structure in the Twelve-Tone System”, Vol. 19 (1997), n. 1, p. 93-103

-FULLER (S.), Graeme M. Boone, Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay, Vol. 23 (2001), n. 1, p. 99-107

  • Joachim Burmeister. Musical Poetics, translated by Benito V. Rivera; Franchino Gaffurio. The Theory of Music, translated by Walter Kurt Kreyszig, Vol. 17 (1995), n. 1, p. 119-123

-GAGNÉ (D.) & SIEGEL (H.), Heinrich Schenker. The Art of Performance, Vol. 24 (2002), n. 1, p. 135-141

-GALAND (J.), Form, Genre, and Style in the Eighteenth-Century Rondo, Vol. 17 (1995), n. 1, p. 27-52

  • Some Eighteenth-Century Ritornello Scripts and Their Nineteenth-Century Revivals, Vol. 30 (2008), n. 2, p. 239-282

-GARCIA (L.M.), Perlman, Marc. 2004, Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory, Berkeley and Los Angeles, CA: University of California Press, Vol. 29 (2007), n. 2, p. 247-253

-GAULDIN (R.), Reference and Association in the Vier Lieder, Op. 2, of Alban Berg, Vol. 21 (1999), n. 1, p. 32-42

  • The Theory and Practice of Chromatic Wedge Progressions in Romantic Music, Vol. 26 (2004), n. 1, p. 1-22

-GILLESPIE (M.), Echo and Reverb: Fabricating Space in Popular Music Recording, 1900-1960. By Peter Doyle. Middletown, Connecticut: Wesleyan University Press, 2005, vii + 293 pages, Vol. 32 (2010), n. 1, p. 89-92

-GJERDINGEN (R.O.), David Temperley. The Cognition of Basic Musical Structures, Vol. 26 (2004), n. 2, p. 336-340

-GOLLIN (E.), From Tonoi to Modi: A Transformational Perspective, Vol. 26 (2004), n. 1, p. 119-130

  • Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók, Vol. 29 (2007), n. 2, p. 143-176
  • Near-Maximally-Distributed cycles and an Instance of Transformational Recursion in Bartók’s Etude Op. 18, No. 1, Vol. 30 (2008), n. 1, p. 139-151

-GOPINATH (S.), Regula Burckhardt Quereshi, editor. Music and Marx: Ideas, Practice, Politics, Vol. 27 (2005), n. 2, p. 308-318

-GOSMAN (A.), Rameau and Zarlino: Polemics in the Traité de l’harmonie, Vol. 22 (2000), n. 1, p. 44-59

-GREEN (M.D.), Mathis Lussy’s Traité de l’expression musicale as a Window into Performance Practice, Vol. 16 (1994), n. 2, p. 196-216

-GUCK (M.A.), Analysis as Interpretation: Interaction, Intentionality, Invention, Vol. 28 (2006), n. 2, p. 191-210

  • Analytical Fictions, Vol. 16 (1994), n. 217-230

-GUERRERO (J.MA.), Non-Conventional Planer Designs in the Works of Nono and Tintoretto, Vol. 32 (2010), n. 1, p. 26-43

-HAAR (J.), Jessie Ann Owens, Composers at Work: The Craft of Musical Composition, 1450-1600, Vol. 21 (1999), n. 2, p. 294-301

-HAIMO (E.), Atonality, Analysis, and the Intentional Fallacy, Vol. 18 (1996), n. 2, p. 167-199

-HALL (P.), Joseph N. Straus, The Music of Ruth Crawford Seeger, Vol. 21 (1999), n. 1, p. 129-130

-HANNINEN (D.A.), A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition, Vol. 25 (2003), n. 1, p. 59-98

-HARRISON (D.), Heads and Tails: Subject Play in Bach’s Fugues, Vol. 30 (2008), n. 1, p. 152-163

  • Supplement to the Theory of Augmented-Sixth Chords, Vol. 17 (1995), n. 2, p. 170-195

-HASTY (C.F.), Just in Time for More Dichotomies – A Hasty Response, Vol. 21 (1999), n. 2, p. 275-293

-HATTEN (R.S.), Herald Krebs. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann, Vol. 24 (2002), n. 2, p. 273-282

-HEADLAM (D.), Allen Forte, The Atonal Music of Anton Webern, Vol. 22 (2000), n. 2, p. 246-257

  • David Gable and Robert P. Morgan, eds. Alban Berg: Historical and Analytical Perspectives; Theodore Adorno. Alban Berg: Master of the Smallest Link, translated with introduction and annotation by Juliane Brand and Christopher Hailey, Vol. 15 (1993), n. 2, p. 273-285
  • Perle’s Cyclic Sets and Klumpenhouwer Networks: A Response, Vol. 24 (2002), n. 2, p. 246-256

-HEINEMANN (S.), Pitch-Class Set Multiplication in Theory and Practice, Vol. 20 (1998), n. 1, p. 72-96

-HEPOKOSKI (J.) & DARCY (W.), The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition, Vol. 19 (1997), n. 2, p. 115-154

-HISAMA (E.), Bell Yung and Helen Rees, ed. Understanding Chrles Seeger, Pioneer in American Musicology, Vol. 24 (2002), n. 1, p. 142-149

-HOECKNER (B.), Daniel K.L. Chua, The “Galitzin” Quartets of Beethoven; Robert Samuels, Mahler’s Sixth Symphony: A Study in Musical Semiotics, Vol. 21 (1999), n. 1, p. 122-128

-HOFFMAN (E.), Curtis Roads. Microsound, Vol. 27 (2005), n. 2, p. 328-335

-HOOK (J.L.), Cross-Type Transformations and the Path Consistency Condition, Vol. 29 (2007), n. 1, p. 1-40

  • Rhythm in the Music of Messiaen: an Algebraic Study and an Application in the Turangalîla Symphony, Vol. 20 (1998), n. 1, p. 97-120

-HORLACHER (G.), Running in Place: Sketches and Superimposition in Stravinsky’s Music, Vol. 23 (2001), n. 2, p. 196-216

-HORTON (J.), Derrick Puffett on Music, ed. Kathryn Bailey Puffett, Vol. 27 (2005), n. 1, p. 128

-HOYT (P.A.), Review-Essay: Haydn’s New Incoherence James Webster. Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Gretchen A. Wheelock. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. Elaine  R. Sisman. Haydn and the Classical Variation. Ethan Haimo. Haydn’s Symphonic Forms: Essays in Compositional Logic, Vol. 19 (1997), n. 2, p. 264-284

-HUNT (G.G.), David Lewin and Valhalla Revisited: New Approaches to Motivic Corruption in Wagner’s Ring Cyrcle, Vol. 29 (2007), n. 2, p. 177-196

-HUOVINEN (E.), Two Arguments for the Mental Reality of Diatonicism: A Reply to Eytan Agmon, Vol. 28 (2006), n. 1, p. 141-160

-HURON (D.) & OMMEN (A.), An Empirical Study of Syncopation in American Popular Music, 1890-1939, Vol. 28 (2006), n. 2, p. 211-232

-HYDE (M.M.), Neoclassic and Anachronistic Impulses in Twentieth-Century Music, Vol. 18 (1996), n. 2, p. 200-235

-HYER (B.), Scott Burnham, Beethoven Hero, Vol. 20 (1998), n. 1, p. 121-136

-IVANOVITCH (R.), Recursive/Discursive: Variation and Sonata in the Andante of Mozart’s String Quartet in F, K. 590, Vol. 32 (2010), n. 2, p. 145-164

-JENNI (D.M.), Lewis Rowell. Music and Musical Thought in Early India. Vol. 19 (1997), n. 1, p. 104-106

-JOHNSON (E.), Joël-François Durand in the Mirror Land. Edited by Jonathan Bernard. Seattle: University of Washington Press, 2005, xii + 266 pages, Vol. 31 (2009), n. 2, p. 378-385

-JOHNSON (S.), Philip Rupprecht. Britten’s Musical Language, Vol. 27 (2005), n. 1, p. 138-145

-JOHNSON (T.A.), Chromatic Quotations of Diatonic Tunes in Songs of Charles Ives, Vol. 18 (1996), n. 2, p. 236-261

-KAMIEN (R.) & WAGNER (N.), Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions, Vol. 19 (1997), n. 1, p. 1-12

-KAMINSKY (P.), Ravel’s Late Music and the Problem of “Polytonality”, Vol. 26 (2004), n. 2, p. 237-264

-KANG (Y.), Théorie et analyse musicales 1450-1650: Music Theory and Analysis. Edited by Anne-Emmanuelle Ceulemans and Bonnie J. Blackburn, Vol. 27 (2005), n. 1, p. 146-152

-KAPLAN (R.), Daniel Harrison. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents, Vol. 18 (1996), n. 1, p. 124-133

-KARL (G.), Structuralism and Musical Plot, Vol. 19 (1997), n. 1, p. 13-34

-KIELIAN-GILBERT (M.), Pieter van den Toorn, Stravinsky and “The Rite of Spring”: The Beginnings of a Musical Language, Vol. 13 (1991), n. 2, p. 252-259

-KINDERMAN (W.), Warren Darcy. Wagner’s Das Rheingold, Vol. 19 (1997), n. 1, p. 81-86

-KLEIN (M.), Barbara R. Barry, The Philosopher’s Stone: Essays in the Transformation of Musical Structure, Vol. 25 (2003), n. 1, p. 152-160

  • Chopin’s Fourth Ballade as Musical Narrative, Vol. 26 (2004), n. 1, p. 23-56

-KLUMPENHOUWER (H.), In Order to Stay Asleep as Observers: The Nature and Origins of Anti-Cartesianism in Lewin’s Generalized Musical Intervals and Transformations, Vol. 28 (2006), n. 277

-KORSYN (K.), Mark Evan Bonds. Wordless Rhetoric: Musical Form and the Metaphor of the Oration, Vol. 16 (1994), n. 1, p. 124-133

-KREBS (H.), Charles Fisk, Returning Cycles: Context for the Interpretation of Schubert’s Impromptus and Last Sonatas, Vol. 25 (2003), n. 2, p. 388-400

  • Robert Schumann’s Metrical Revisions, Vol. 19 (1997), n. 1, p. 35-54

-KRESKY  (J.), “Urban Legends” for Music Theorists, Vol. 25 (2003), n. 1, p. 121-126

-KRUMHANSL (C.L.), Music Psychology and Music Theory: Problems and Prospects, Vol. 17 (1995), n. 1, p. 53-80

-LAI (E.) & LITTLEFIELD (R.), Ian Bent, ed. Music Analysis in the Nineteenth Century, Vol. 19 (1997), n. 2, p. 285-296

-LAMBERT (P.), David Lewin. Musical Form and Transformation: 4 Analytic Essays, Vol. 16 (1994), n. 2, p. 286-289

  • Isographies and Some Klumpenhouwer Networks They Involve, Vol. 24 (2002), n. 2, p. 165-195

-LARSON (S.), Allen Forte, The American Popular Ballad of the Golden Era, 1924-1950; Steven E. Gilbert, The Music of Gershwin ; Henry Martin, Charlie Parker and Thematic Improvisation, Vol. 21 (1999), n. 1, p. 110-121

  • Schenkerian Analysis of Modern Jazz: Questions About Method, Vol. 20 (1998), n. 2, p. 209-241

-LEACH (E.E.), Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression, Vol. 28 (2006), n. 1, p. 1-22

-LERDAHL (F.), Two Ways in Which Music Relates to the World, Vol. 25 (2003), n. 2, p. 367-374

-LESTER (J.), An Analysis of Lully from circa 1700, Vol. 16 (1994), n. 1, p. 41-61

-LETTS (M.T.), Lori Burns and Mélisse Lafrance, Disruptive Divas: Feminism, Identity & Popular Music, Vol. 26 (2004), n. 2, p. 329-335

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