Volume Index [Author Index]

Current Issue (Volume 26, Number 2, June 2020)

Article: Kyle Adams (Indiana University) Harmonic, Syntactic, and Motivic Parameters of Phrase in Hip-Hop

Article: Gurminder K. Bhogal (Wellesley College) Orchestral Tissue, Subordinate Arabesques, and Turning Inward in Maurice Ravel’s Boléro

Article: Ragnhild Brøvig-Hanssen, Bjørnar E. Sandvik (University of Oslo), and Jon Marius Aareskjold-Drecker (University of Agder) Dynamic Range Processing and Its Influence on Perceived Timing in Electronic Dance Music

Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Music Theory and the White Racial Frame

Article: Jonathan Guez (The College of Wooster) Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert

Article: Kyle Hutchinson (University of Toronto) Retrospective Time and the Subdominant Past: Tonal Hermeneutics in Contemporary Broadway Megamusicals

Article: Noah Kahrs (Eastman School of Music) Consonance, Dissonance, and Formal Proportions in Two Works by Sofia Gubaidulina

Article: Ji Yeon Lee (University of Houston) Climax Building in Verismo Opera: Archetype and Variants

Article: Joshua Banks Mailman (Columbia University) Portmantonality and Babbitt’s Poetics of Double Entendre

Article: Judith Ofcarcik (Fort Hays State University) Multi-Strand Musical Narratives: An Introduction

Article: Gilad Rabinovitch (Florida State University) Reimagining Historical Improvisation: An Analysis of Robert Levin’s Fantasy on Themes by W. A. Mozart, October 29, 2012

Article: Brent Yorgason and Jeff Lyon (Brigham Young University) Fanfare as Fulcrum: A Pivotal Event in Max Steiner’s Theme for Warner Brothers

Volume 26, Number 1, March 2020

Article: Oliver Chandler (Anglia Ruskin University) “Octatonic” Voice Leading and Diatonic Function in the Allegro molto from Elgar’s String Quartet in E minor, op. 83

Oliver Chandler (Anglia Ruskin University) “Octatonic” Voice Leading and Diatonic Function in the from Elgar’s String Quartet in E minor, op. 83 Article: Martin Clayton (Durham University) Theory and Practice of Long-form Non-isochronous Meters: The Case of the North Indian rūpak tāl

Martin Clayton (Durham University) Theory and Practice of Long-form Non-isochronous Meters: The Case of the North Indian Article: David Heetderks (University of North Texas) What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period

David Heetderks (University of North Texas) What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period Article: Cora S. Palfy (Elon University) Formal Reminiscence Space and Memory in Sufjan Stevens’s Storytelling

Cora S. Palfy (Elon University) Formal Reminiscence Space and Memory in Sufjan Stevens’s Storytelling Article: Derek Remeš (Lucerne University of Applied Sciences and Arts) Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade

Derek Remeš (Lucerne University of Applied Sciences and Arts) Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade Review: Dmitri Tymoczko (Princeton University) Review-Essay on Fred Lerdahl’s Composition and Cognition (University of California Press, 2019)

Dmitri Tymoczko (Princeton University) Review-Essay on Fred Lerdahl’s (University of California Press, 2019) Report: Fred Everett Maus (University of Virginia) LGBTQ+ Lives in Professional Music Theory

Volume 25, Number 4, December 2019

Article: Jennifer P. Beavers (The University of Texas at San Antonio) Beyond Mere Novelty: Timbre as Primary Structural Marker in Ravel’s Piano Concerto in G Major

Jennifer P. Beavers (The University of Texas at San Antonio) Beyond Mere Novelty: Timbre as Primary Structural Marker in Ravel’s Article: Barbara Bleij (Conservatorium van Amsterdam) Three Multifaceted Compositions by Wayne Shorter: “E.S.P.,” “Infant Eyes,” and “Virgo”

Barbara Bleij (Conservatorium van Amsterdam) Three Multifaceted Compositions by Wayne Shorter: “E.S.P.,” “Infant Eyes,” and “Virgo” Article: Ben Duinker (McGill University) Plateau Loops and Hybrid Tonics in Recent Pop Music

Ben Duinker (McGill University) Plateau Loops and Hybrid Tonics in Recent Pop Music Article: Philip Ewell (Hunter College and CUNY Graduate Center) On the Russian Concept of Lād, 1830–1945

Philip Ewell (Hunter College and CUNY Graduate Center) On the Russian Concept of Lād, 1830–1945 Article: Patrice Nicolas (Université de Moncton) Challenging Some Misconceptions about the Règle de l’octave

Patrice Nicolas (Université de Moncton) Challenging Some Misconceptions about the Review: Judy Lochhead (Stony Brook University) Review-Essay on Suzannah Clark and Alexander Rehding, eds., Music in Time: Phenomenology, Perception, Performance (Harvard University Press, 2016)

Judy Lochhead (Stony Brook University) Review-Essay on Suzannah Clark and Alexander Rehding, eds., (Harvard University Press, 2016) Report: Timothy Koozin (University of Houston) Conference Report: “Come Together: Fifty Years of Abbey Road”

Volume 25, Number 3, September 2019

Article: Andrew Conklin (University of the Pacific) Writing Wrong Notes: Chromatic Clashes in the Music of Tune-Yards

Andrew Conklin (University of the Pacific) Writing Wrong Notes: Chromatic Clashes in the Music of Tune-Yards Article: Elizabeth Medina-Gray (Ithaca College) Analyzing Modular Smoothness in Video Game Music

Elizabeth Medina-Gray (Ithaca College) Analyzing Modular Smoothness in Video Game Music Article: Garrett Michaelsen (University of Massachusetts Lowell) Making “Anti-Music”: Divergent Interactional Strategies in the Miles Davis Quintet’s The Complete Live at the Plugged Nickel 1965

Garrett Michaelsen (University of Massachusetts Lowell) Making “Anti-Music”: Divergent Interactional Strategies in the Miles Davis Quintet’s Review: John Turci-Escobar (The University of Texas at Austin) Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016)

John Turci-Escobar (The University of Texas at Austin) Review-essay of Kacey Link and Kristin Wendland, (Oxford, 2016) Essay: Nathan John Martin (University of Michigan) History for Theorists

Volume 25, Number 2, July 2019

Article: Sean Atkinson (Texas Christian University) Soaring Through the Sky: Topics and Tropes in Video Game Music

Sean Atkinson (Texas Christian University) Soaring Through the Sky: Topics and Tropes in Video Game Music Article: Chelsea Burns (University of Texas at Austin) “Together Again,” but We Keep On Crying: Buck Owens, Tom Brumley, and the Pedal Steel Guitar, 1964

Chelsea Burns (University of Texas at Austin) “Together Again,” but We Keep On Crying: Buck Owens, Tom Brumley, and the Pedal Steel Guitar, 1964 Article: Richard Plotkin (University at Buffalo) Chord Proximity, Parsimony, and Analysis with Filtered Point-Symmetry

Richard Plotkin (University at Buffalo) Chord Proximity, Parsimony, and Analysis with Filtered Point-Symmetry Article: Sean R. Smither (Rutgers University) Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz

Sean R. Smither (Rutgers University) Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz Article: David Temperley (Eastman School of Music) Uniform Information Density in Music

David Temperley (Eastman School of Music) Uniform Information Density in Music Article: John W. Turner (High Point University) Performing Cultural Hybridity in Isang Yun’s Glissées pour violoncelle seul (1970)

John W. Turner (High Point University) Performing Cultural Hybridity in Isang Yun’s (1970) Review: Cara Stroud (Michigan State University) Review of Lori Burns and Serge Lacasse, eds., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2018)

Volume 25, Number 1, May 2019

Article: Valentina Bertolani (University of Calgary) Improvisatory Exercises as Analytical Tool: The Group Dynamics of the Gruppo di Improvvisazione Nuova Consonanza

Valentina Bertolani (University of Calgary) Improvisatory Exercises as Analytical Tool: The Group Dynamics of the Gruppo di Improvvisazione Nuova Consonanza Article: Andrew J. Chung (Yale University) What is Musical Meaning? Theorizing Music as Performative Utterance

Andrew J. Chung (Yale University) What is Musical Meaning? Theorizing Music as Performative Utterance Article: John Link (William Paterson University) Harmony in Elliott Carter’s Late Music

John Link (William Paterson University) Harmony in Elliott Carter’s Late Music Article: C. Catherine Losada (University of Cincinnati) Middleground Structure in the Cadenza to Boulez’s Éclat

C. Catherine Losada (University of Cincinnati) Middleground Structure in the Cadenza to Boulez’s Article: David M. Pearson (Lehman College) Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music

David M. Pearson (Lehman College) Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music Article: Laurence Sinclair Willis (McGill University) Comprehensibility and Ben Johnston’s String Quartet No. 9

Laurence Sinclair Willis (McGill University) Comprehensibility and Ben Johnston’s String Quartet No. 9 Essay: Philip A. Ewell (Hunter College and CUNY Graduate Center) Introduction to the Symposium on Kendrick Lamar’s To Pimp a Butterfly

Philip A. Ewell (Hunter College and CUNY Graduate Center) Introduction to the Symposium on Kendrick Lamar’s Essay: Robin Attas (Queen’s University) Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s To Pimp A Butterfly

Robin Attas (Queen’s University) Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s Essay: Noriko Manabe (Temple University) We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem

Noriko Manabe (Temple University) We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem Essay: Mitchell M. Ohriner (University of Denver) Lyric, Rhythm, and Non-alignment in the Second Verse of Kendrick Lamar’s “Momma”

Mitchell M. Ohriner (University of Denver) Lyric, Rhythm, and Non-alignment in the Second Verse of Kendrick Lamar’s “Momma” Essay: John J Mattessich (Indiana University) This Flow Ain’t Free: Generative Elements in Kendrick Lamar’s To Pimp a Butterfly

John J Mattessich (Indiana University) This Flow Ain’t Free: Generative Elements in Kendrick Lamar’s Essay: James Bungert (Rocky Mountain College) “I got a bone to pick”: Formal Ambivalence and Double Consciousness in Kendrick Lamar’s “King Kunta”

Volume 24, Number 4, December 2018

Article: Clément Canonne (Centre National de la Recherche Scientifique) Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work

Clément Canonne (Centre National de la Recherche Scientifique) Rehearsing Free Improvisation? An Ethnographic Study of Free Improvisers at Work Article: Denis B. Collins (The University of Queensland) Horizontal-Shifting Counterpoint and Parallel-Section Constructions in Contrapuncti 8 and 11 from J. S. Bach’s Art of Fugue

Denis B. Collins (The University of Queensland) Horizontal-Shifting Counterpoint and Parallel-Section Constructions in Contrapuncti 8 and 11 from J. S. Bach’s Article: Edward Klorman (McGill University) Koch, Carpani, and Momigny: Theorists of Agency in the Classical String Quartet?

Edward Klorman (McGill University) Koch, Carpani, and Momigny: Theorists of Agency in the Classical String Quartet? Article: Crystal A. Peebles (Ithaca College) Editorial Markings as Analysis in Bach’s Partita No. 1 for Solo Violin , “Corrente”

Crystal A. Peebles (Ithaca College) Editorial Markings as Analysis in Bach’s , “Corrente” Article: Paul Sherrill (University of Utah) Susanna’s “Deh vieni”

Paul Sherrill (University of Utah) Susanna’s “Deh vieni” Article: Caitlyn Trevor and David Huron (The Ohio State University) Animated Performance: ‘Better’ Music Means Larger Motions

Caitlyn Trevor and David Huron (The Ohio State University) Animated Performance: ‘Better’ Music Means Larger Motions Article: Allison Wente (Elon University) Queue the Roll: Taylorized Labor Practices and Music of the Machine Age

Allison Wente (Elon University) Queue the Roll: Taylorized Labor Practices and Music of the Machine Age Review: Aleksandra Drozzina (Louisiana State University) Review of Gavin Dixon, ed., Schnittke Studies (Routledge, 2017)

Aleksandra Drozzina (Louisiana State University) Review of Gavin Dixon, ed., (Routledge, 2017) Essay: Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) European Perspectives on Recent Tonal Theories, their Models, and Analytical Tools

Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) European Perspectives on Recent Tonal Theories, their Models, and Analytical Tools Essay: Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) Conditional Asymmetry and Spontaneous Asymmetry of Harmonic Progressions: The Changing Status of the Directional Tendency of Root Progressions in Madrigal Cycles from Verdelot to Monteverdi (c. 1530–1638)

Christophe Guillotel-Nothmann (Institut de Recherche en Musicologie) Conditional Asymmetry and Spontaneous Asymmetry of Harmonic Progressions: The Changing Status of the Directional Tendency of Root Progressions in Madrigal Cycles from Verdelot to Monteverdi (c. 1530–1638) Essay: Karst de Jong (Royal Conservatoire Den Haag and Escola Superior de Música de Catalunya) and Thomas Noll (Escola Superior de Música de Catalunya) Fundamental Bass and Real Bass in Dialogue: Tonal Aspects of the Structural Modes

Karst de Jong (Royal Conservatoire Den Haag and Escola Superior de Música de Catalunya) and Thomas Noll (Escola Superior de Música de Catalunya) Fundamental Bass and Real Bass in Dialogue: Tonal Aspects of the Structural Modes Essay: Nicolas Meeùs (Institut de Recherche en Musicologie) Harmonic Vectors and the Constraints of Tonality

Nicolas Meeùs (Institut de Recherche en Musicologie) Harmonic Vectors and the Constraints of Tonality Essay: Ariane Jeßulat (Universität der Künste Berlin) Parsimonious Voice Leading and the Stimmführungsmodelle

Ariane Jeßulat (Universität der Künste Berlin) Parsimonious Voice Leading and the Essay: Hugues Seress (Institut de Recherche en Musicologie) Polarization, Modal Orientation, and Voice Leading: Interaction between Hierarchical Levels of Tonal Structure in Dohnányi’s op. 26

Hugues Seress (Institut de Recherche en Musicologie) Polarization, Modal Orientation, and Voice Leading: Interaction between Hierarchical Levels of Tonal Structure in Dohnányi’s op. 26 Essay: Jan Philipp Sprick (Hochschule für Musik und Theater Hamburg) Sequences: Between Affirmation and Destruction of Tonality

Jan Philipp Sprick (Hochschule für Musik und Theater Hamburg) Sequences: Between Affirmation and Destruction of Tonality Essay: Michael Polth (Institut für Musikforschung Mannheim) The Individual Tone and Musical Context in Albert Simon’s Tonfeldtheorie

Volume 24, Number 3, September 2018

Article: Joshua D. Albrecht (The University of Mary Hardin-Baylor) Expressive Meaning and the Empirical Analysis of Musical Gesture: The Progressive Exposure Method and the Second Movement of Beethoven’s Pathétique Sonata

Joshua D. Albrecht (The University of Mary Hardin-Baylor) Expressive Meaning and the Empirical Analysis of Musical Gesture: The Progressive Exposure Method and the Second Movement of Beethoven’s Pathétique Sonata Article: Brian C. Black (The University of Lethbridge) Schubert’s Development of Harmonic Motives in his Early String Quartets

Brian C. Black (The University of Lethbridge) Schubert’s Development of Harmonic Motives in his Early String Quartets Article: Orit Hilewicz (Eastman School of Music) Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee

Orit Hilewicz (Eastman School of Music) Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee Article: Olivia R. Lucas (Victoria University of Wellington) “So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen

Olivia R. Lucas (Victoria University of Wellington) “So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s Article: Jason D. K. Noble (McGill University) What Can the Temporal Structure of Auditory Perception Tell Us about Musical “Timelessness”?

Jason D. K. Noble (McGill University) What Can the Temporal Structure of Auditory Perception Tell Us about Musical “Timelessness”? Review: Craig Comen (University of Virginia) Review of Daniel Chua, Beethoven & Freedom (Oxford University Press, 2017), and Naomi Waltham-Smith, Music and Belonging Between Revolution and Restoration (Oxford University Press, 2017)

Craig Comen (University of Virginia) Review of Daniel Chua, (Oxford University Press, 2017), and Naomi Waltham-Smith, (Oxford University Press, 2017) Review: Benjamin K. Wadsworth (Kennesaw State University) Review of David Damschroder, Tonal Analysis: A Schenkerian Perspective (W.W. Norton, 2017)

Benjamin K. Wadsworth (Kennesaw State University) Review of David Damschroder, (W.W. Norton, 2017) Essay: Eugene Montague (The George Washington University) Introduction: Agency and Musical Performance

Eugene Montague (The George Washington University) Introduction: Agency and Musical Performance Essay: Tami Gadir (University of Oslo) Understanding Agency from the Decks to the Dance Floor

Tami Gadir (University of Oslo) Understanding Agency from the Decks to the Dance Floor Essay: Rolfe Inge Godøy (University of Oslo) Motor Constraints Shaping Musical Experience

Rolfe Inge Godøy (University of Oslo) Motor Constraints Shaping Musical Experience Essay: Roger C. Graybill (New England Conservatory) Facilitative Agency in Performance

Roger C. Graybill (New England Conservatory) Facilitative Agency in Performance Essay: Edward Klorman (McGill University) Performers as Creative Agents; or, Musicians Just Want To Have Fun

Edward Klorman (McGill University) Performers as Creative Agents; or, Musicians Just Want To Have Fun Essay: Lawrence M. Zbikowski (University of Chicago) Performing Agency: A Response

Lawrence M. Zbikowski (University of Chicago) Performing Agency: A Response Report: Daphne Leong (University of Colorado Boulder) SMT’s Interest Groups: A Synopsis

Daphne Leong (University of Colorado Boulder) SMT’s Interest Groups: A Synopsis Report: Grant Sawatzky (University of British Columbia) Fifth Conference on Analytical Approaches to World Music, and Eighth Folk Music International Workshop

Volume 24, Number 2, June 2018

Article: Joseph R. Jakubowski (Washington University in St. Louis) Spectral Meter: Dramatizing Entrainment and Communicating Form in Gérard Grisey’s Vortex Temporum I (1994–96)

Joseph R. Jakubowski (Washington University in St. Louis) Spectral Meter: Dramatizing Entrainment and Communicating Form in Gérard Grisey’s (1994–96) Article: Kendra Preston Leonard (Humble, TX) Musical Mimesis in Orphans of the Storm

Kendra Preston Leonard (Humble, TX) Musical Mimesis in Article: Henry Martin (Rutgers University-Newark) Four Studies of Charlie Parker's Compositional Processes

Henry Martin (Rutgers University-Newark) Four Studies of Charlie Parker's Compositional Processes Article: Christopher Wm. White (University of Massachusetts, Amherst) Feedback and Feedforward Models of Musical Key

Christopher Wm. White (University of Massachusetts, Amherst) Feedback and Feedforward Models of Musical Key Article: Inessa Bazayev (Louisiana State University) Introduction: Prokofiev at 125

Inessa Bazayev (Louisiana State University) Introduction: Prokofiev at 125 Article: Inessa Bazayev (Louisiana State University) An Octatonic History of Prokofiev’s Compositional Oeuvre

Inessa Bazayev (Louisiana State University) An Octatonic History of Prokofiev’s Compositional Oeuvre Article: Deborah Rifkin (Ithaca College) Visualizing Peter: The First Animated Adaptations of Prokofiev’s Peter and the Wolf

Deborah Rifkin (Ithaca College) Visualizing Peter: The First Animated Adaptations of Prokofiev’s Article: Christopher Segall (University of Cincinnati) Prokofiev’s Symphony no. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords

Christopher Segall (University of Cincinnati) Prokofiev’s Symphony no. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords Review: Nancy Murphy (University of Houston) Review of The Cambridge Companion to the Singer-Songwriter, ed. Katherine Williams and Justin A. Williams (Cambridge University Press, 2016)

Volume 24, Number 1, March 2018

Article: Inessa Bazayev (Louisiana State University) Scriabin’s Atonal Problem

Inessa Bazayev (Louisiana State University) Scriabin’s Atonal Problem Article: Christine Boone (University of North Carolina Asheville) Gendered Power Relationships in Mashups

Christine Boone (University of North Carolina Asheville) Gendered Power Relationships in Mashups Article: Nathan Pell (The Graduate Center, City University of New York) Key Profiles in Bruckner’s Symphonic Expositions: “Ein Potpourri von Exaltationen”?

Nathan Pell (The Graduate Center, City University of New York) Key Profiles in Bruckner’s Symphonic Expositions: “Ein Potpourri von Exaltationen”? Article: Peter N. Schubert (McGill University) Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet

Peter N. Schubert (McGill University) Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet Article: Gretchen Horlacher (Indiana University) Stepping Out: Hearing Balanchine

Gretchen Horlacher (Indiana University) Stepping Out: Hearing Balanchine Article: Steven Rings (University of Chicago) Music’s Stubborn Enchantments (and Music Theory’s)

Steven Rings (University of Chicago) Music’s Stubborn Enchantments (and Music Theory’s) Article: Michael Tenzer (University of British Columbia) Chasing the Phantom: Features of a Supracultural New Music

Michael Tenzer (University of British Columbia) Chasing the Phantom: Features of a Supracultural New Music Review: Michael Baker (University of Kentucky) Review of Eric Wen, Structurally Sound: Seven Musical Masterworks Deconstructed (Dover Publications, 2017)

Michael Baker (University of Kentucky) Review of Eric Wen, (Dover Publications, 2017) Review: Trevor de Clercq (Middle Tennessee State University) Review of Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (University of Michigan Press, 2017)

Trevor de Clercq (Middle Tennessee State University) Review of Christopher Doll, (University of Michigan Press, 2017) Review: Don Traut (University of Arizona) Review of Severine Neff, Maureen Carr, and Gretchen Horlacher, eds., with John Reef, The Rite of Spring at 100 (Indiana University Press, 2017)

Volume 23, Number 4, December 2017

Article: Drake Andersen (The Graduate Center, CUNY) “What can they have to do with one another?”: Approaches to Analysis and Performance in John Cage’s Four 2

Drake Andersen (The Graduate Center, CUNY) “What can they have to do with one another?”: Approaches to Analysis and Performance in John Cage’s Article: Ellen Bakulina (University of North Texas) Canons as Hypermetrical Transitions in Mozart

Ellen Bakulina (University of North Texas) Canons as Hypermetrical Transitions in Mozart Article: Ben Duinker (McGill University) and Hubert Léveillé Gauvin (The Ohio State University) Changing Content in Flagship Music Theory Journals, 1979–2014

Ben Duinker (McGill University) and Hubert Léveillé Gauvin (The Ohio State University) Changing Content in Flagship Music Theory Journals, 1979–2014 Article: Dorottya Fabian (University of New South Wales Australia) Analyzing Difference in Recordings of Bach’s Violin Solos with a Lead from Gilles Deleuze

Dorottya Fabian (University of New South Wales Australia) Analyzing Difference in Recordings of Bach’s Violin Solos with a Lead from Gilles Deleuze Article: Matthew E. Ferrandino (University of Kansas) Voice Leading and Text-Music Relations in David Bowie’s Early Songs

Matthew E. Ferrandino (University of Kansas) Voice Leading and Text-Music Relations in David Bowie’s Early Songs Article: David L. Forrest (Texas Tech University) PL Voice Leading and the Uncanny in Pop Music

David L. Forrest (Texas Tech University) PL Voice Leading and the Uncanny in Pop Music Article: Thomas Johnson (The Graduate Center, CUNY) Tonality as Topic: Opening A World of Analysis for Early Twentieth-Century Modernist Music

Thomas Johnson (The Graduate Center, CUNY) Tonality as Topic: Opening A World of Analysis for Early Twentieth-Century Modernist Music Article: Robert Komaniecki (Indiana University) Analyzing Collaborative Flow in Rap Music

Robert Komaniecki (Indiana University) Analyzing Collaborative Flow in Rap Music Article: Robert L. Wells (University of Mary Washington) A Generalized Intervallic Approach to Metric Conflict in Liszt

Robert L. Wells (University of Mary Washington) A Generalized Intervallic Approach to Metric Conflict in Liszt Review: Wesley J. Bradford (University of Louisiana at Lafayette) Review of Yayoi Uno Everett, Reconfiguring Myth and Narrative in Contemporary Opera

Wesley J. Bradford (University of Louisiana at Lafayette) Review of Yayoi Uno Everett, Review: Laura Emmery (Emory University) Review of Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 (Oxford University Press, 2016)

Laura Emmery (Emory University) Review of Laurel Parsons and Brenda Ravenscroft, eds., (Oxford University Press, 2016) Review: Christoph Neidhöfer (McGill University) Review of Theodor W. Adorno, Kranichsteiner Vorlesungen , edited by Klaus Reichert and Michael Schwarz (Suhrkamp, 2014)

Christoph Neidhöfer (McGill University) Review of Theodor W. Adorno, , edited by Klaus Reichert and Michael Schwarz (Suhrkamp, 2014) Review: Gilad Rabinovitch (Georgia State University) Review of Massimiliano Guido, ed., Studies in Historical Improvisation from Cantare super Librum to Partimenti (Ashgate, 2017)

Volume 23, Number 3, September 2017

Article: Damian J. Blättler (Rice University) A Voicing-Based Model for Additive Harmony

Damian J. Blättler (Rice University) A Voicing-Based Model for Additive Harmony Article: James Bungert (Rocky Mountain College) A Tale of Three Schenkers: Analysis, Piano Pedagogy, and Performance of the Chopin Berceuse op. 57

James Bungert (Rocky Mountain College) A Tale of Three Schenkers: Analysis, Piano Pedagogy, and Performance of the Chopin Berceuse op. 57 Article: David Clarke (University of Newcastle upon Tyne) North Indian Classical Music and Lerdahl and Jackendoff’s Generative Theory – a Mutual Regard

David Clarke (University of Newcastle upon Tyne) North Indian Classical Music and Lerdahl and Jackendoff’s Generative Theory – a Mutual Regard Article: Trevor de Clercq (Middle Tennessee State University) Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991

Trevor de Clercq (Middle Tennessee State University) Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991 Article: Michael J. Puri (University of Virginia) Ravel’s Valses nobles et sentimentales and its Models

Michael J. Puri (University of Virginia) Ravel’s and its Models Article: Mark Richards (Florida State University) Tonal Ambiguity in Popular Music’s Axis Progressions

Mark Richards (Florida State University) Tonal Ambiguity in Popular Music’s Axis Progressions Review: Jonathan Guez (The College of Wooster) Review of Lorraine Byrne Bodley and Julian Horton, eds. Rethinking Schubert (Oxford University Press, 2016)

Jonathan Guez (The College of Wooster) Review of Lorraine Byrne Bodley and Julian Horton, eds. (Oxford University Press, 2016) Review: Brian D. Hoffman (Cincinnati, OH) Review of John Franceschina, Music Theory through Musical Theatre (Oxford University Press, 2015)

Brian D. Hoffman (Cincinnati, OH) Review of John Franceschina, (Oxford University Press, 2015) Review: Samantha M. Inman (Stephen F. Austin State University) Review of Justin Merritt and David Castro, Comprehensive Aural Skills: A Flexible Approach to Rhythm, Melody, and Harmony (Routledge, 2016) and Diane J. Urista, The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach (Oxford, 2016)

Samantha M. Inman (Stephen F. Austin State University) Review of Justin Merritt and David Castro, (Routledge, 2016) and Diane J. Urista, (Oxford, 2016) Review: Jonathan T. King (University of North Carolina - Asheville) Review of Diane Pecknold and Kristine M. McCusker, eds., Country Boys and Redneck Women: New Essays in Gender and Country Music (University Press of Mississippi, 2016)

Jonathan T. King (University of North Carolina - Asheville) Review of Diane Pecknold and Kristine M. McCusker, eds., (University Press of Mississippi, 2016) Review: Daphne Leong (University of Colorado Boulder) Review of Jeffrey Swinkin, Performative Analysis: Reimagining Music Theory for Performance (University of Rochester Press, 2016)

Daphne Leong (University of Colorado Boulder) Review of Jeffrey Swinkin, (University of Rochester Press, 2016) Review: Jason Yust (Boston University) Review of Emmanuel Amiot, Music through Fourier Space: Discrete Fourier Transform in Music Theory (Springer, 2016)

Jason Yust (Boston University) Review of Emmanuel Amiot, (Springer, 2016) Report: Jeffrey Perry (Louisiana State University) Conference Report: EuroMAC 9

Volume 23, Number 2, June 2017

Article: Matthew L. Boyle (Indiana University) Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics: Context, Translation, Commentary

Matthew L. Boyle (Indiana University) Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics: Context, Translation, Commentary Article: Mark Spicer (City University of New York) Fragile, Emergent, and Absent Tonics in Pop and Rock Songs

Mark Spicer (City University of New York) Fragile, Emergent, and Absent Tonics in Pop and Rock Songs Article: Anna Zayaruznaya (Yale University) Intelligibility Redux: Motets and the Modern Medieval Sound

Anna Zayaruznaya (Yale University) Intelligibility Redux: Motets and the Modern Medieval Sound Article: Vivian Luong (University of Michigan) Rethinking Music Loving

Vivian Luong (University of Michigan) Rethinking Music Loving Article: Marc Lafrance (Concordia University) and Lori Burns (University of Ottowa) Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna

Marc Lafrance (Concordia University) and Lori Burns (University of Ottowa) Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna Article: Maeve Sterbenz (Columbia University) Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video

Maeve Sterbenz (Columbia University) Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video Article: Marc E. Hannaford (Columbia University) Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers

Marc E. Hannaford (Columbia University) Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers Article: Rachel L. Lumsden (Florida State University) “You Too Can Compose”: Ruth Crawford’s Mentoring of Vivian Fine

Rachel L. Lumsden (Florida State University) “You Too Can Compose”: Ruth Crawford’s Mentoring of Vivian Fine Review: Brett Clement (Ball State University) Review of Brad Osborn, Everything in its Right Place: Analyzing Radiohead (Oxford University Press, 2016)

Brett Clement (Ball State University) Review of Brad Osborn, (Oxford University Press, 2016) Review: Roger Graybill (New England Conservatory) Review of Edward Klorman, Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge University Press, 2016)

Roger Graybill (New England Conservatory) Review of Edward Klorman, (Cambridge University Press, 2016) Report: Nicole Biamonte (McGill University) Conference Report: “A Summit of Creativity: A Celebration of the Fiftieth Anniversary of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band ”

Nicole Biamonte (McGill University) Conference Report: “A Summit of Creativity: A Celebration of the Fiftieth Anniversary of the Beatles’ ” Report: Gregory R. McCandless (Appalachian State University) Conference Report: “Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century”

Volume 23, Number 1, March 2017

Article: Robert C. Cook (University of Iowa) Nature’s Voice in Crumb’s An Idyll for the Misbegotten

Robert C. Cook (University of Iowa) Nature’s Voice in Crumb’s Article: Diego Cubero (University of North Texas) Inwardness and Inner Melodies in Brahms’s Piano Works

Diego Cubero (University of North Texas) Inwardness and Inner Melodies in Brahms’s Piano Works Article: Michael McClimon (Furman University) Transformations in Tonal Jazz: ii–V Space

Michael McClimon (Furman University) Transformations in Tonal Jazz: ii–V Space Article: James K. Palmer (University of British Columbia) Humorous Script Oppositions in Classical Instrumental Music

James K. Palmer (University of British Columbia) Humorous Script Oppositions in Classical Instrumental Music Article: Julie Pedneault-Deslauriers (University of Ottawa) The French Path: Early Major-Minor Theory from Jean Rousseau to Saint-Lambert

Julie Pedneault-Deslauriers (University of Ottawa) The French Path: Early Major-Minor Theory from Jean Rousseau to Saint-Lambert Article: Chris Stover (The New School) Time, Territorialization, and Improvisational Spaces

Chris Stover (The New School) Time, Territorialization, and Improvisational Spaces Article: David Temperley (Eastman School of Music) and Iris Ren (Utrecht University) Mediant Mixture and “Blue Notes” in Rock: An Exploratory Study

David Temperley (Eastman School of Music) and Iris Ren (Utrecht University) Mediant Mixture and “Blue Notes” in Rock: An Exploratory Study Review: Stephen Blum (CUNY Graduate Center) Review of Kofi Agawu, The African Imagination in Music (Oxford University Press, 2016)

Stephen Blum (CUNY Graduate Center) Review of Kofi Agawu, (Oxford University Press, 2016) Review: Daniel Villegas Vélez (Rutgers University) Review of Lawrence Kramer, The Thought of Music (University of California Press, 2016)

Volume 22, Number 4, December 2016

Article: Garreth P. Broesche (University of Houston) Glenn Gould, Spliced: Investigating the Filmmaking Analogy

Garreth P. Broesche (University of Houston) Glenn Gould, Spliced: Investigating the Filmmaking Analogy Article: Andrew J. Goldman (Columbia University) Improvisation as a Way of Knowing

Andrew J. Goldman (Columbia University) Improvisation as a Way of Knowing Article: Mark R. H. Gotham (University of Cambridge) and Iain A. D. Gunn (Bangor University) Pitch Properties of the Pedal Harp, with an Interactive Guide

Mark R. H. Gotham (University of Cambridge) and Iain A. D. Gunn (Bangor University) Pitch Properties of the Pedal Harp, with an Interactive Guide Article: Alexander Rehding (Harvard University) Instruments of Music Theory

Alexander Rehding (Harvard University) Instruments of Music Theory Article: Margaret E. Thomas (Connecticut College) Text and Temporality: Toward an Understanding of Rhythmic Irregularities in the Music of Tom Waits

Margaret E. Thomas (Connecticut College) Text and Temporality: Toward an Understanding of Rhythmic Irregularities in the Music of Tom Waits Review: Rowland Moseley (New York, NY) Review of Roger Mathew Grant, Beating Time & Measuring Music in the Early Modern Era (Oxford University Press, 2014)

Rowland Moseley (New York, NY) Review of Roger Mathew Grant, (Oxford University Press, 2014) Review: Boyd Pomeroy (University of Arizona) Review of Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, eds. Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (University of Rochester Press, 2015)

Boyd Pomeroy (University of Arizona) Review of Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, eds. (University of Rochester Press, 2015) Review: Chris Stover (The New School) Review of Judy Lochhead, Reconceiving Structure in Contemporary Music (Routledge, 2015)

Volume 22, Number 3, September 2016

Article: Kyle Adams (Indiana University) Playing with Beats and Playing with Cats: Meow the Jewels , Remixes, and Reinterpretations

Kyle Adams (Indiana University) Playing with Beats and Playing with Cats: , Remixes, and Reinterpretations Article: Janet Bourne (Bates College) Perceiving Irony in Music: The Problem in Beethoven’s String Quartets

Janet Bourne (Bates College) Perceiving Irony in Music: The Problem in Beethoven’s String Quartets Article: Trevor de Clercq (Middle Tennessee State University) Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music

Trevor de Clercq (Middle Tennessee State University) Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music Article: Peter Kaminsky (University of Connecticut–Storrs) Listening to Performers’ Writings and Recordings: An Analysis of Debussy’s “Colloque sentimental”

Peter Kaminsky (University of Connecticut–Storrs) Listening to Performers’ Writings and Recordings: An Analysis of Debussy’s “Colloque sentimental” Article: Lasse Laursen (The Royal Academy of Music, Aarhus) Orchestration Strategies in Simon Steen-Andersen’s Double Up

Lasse Laursen (The Royal Academy of Music, Aarhus) Orchestration Strategies in Simon Steen-Andersen’s Article: Scott Murphy (University of Kansas) Cohn’s Platonic Model and the Regular Irregularities of Recent Popular Multimedia

Scott Murphy (University of Kansas) Cohn’s Platonic Model and the Regular Irregularities of Recent Popular Multimedia Article: Benjamin Givan (Skidmore College) Rethinking Interaction in Jazz Improvisation

Benjamin Givan (Skidmore College) Rethinking Interaction in Jazz Improvisation Article: Paul Steinbeck (Washington University in St. Louis) Talking Back: Performer-Audience Interaction in Roscoe Mitchell’s “Nonaah”

Paul Steinbeck (Washington University in St. Louis) Talking Back: Performer-Audience Interaction in Roscoe Mitchell’s “Nonaah” Article: René Rusch (University of Michigan) and Keith Salley (Shenandoah University) Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins

René Rusch (University of Michigan) and Keith Salley (Shenandoah University) Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins Review: Mary I. Arlin (Ithaca College) Review of L. Poundie Burstein and Joseph N. Straus, Concise Introduction to Tonal Harmony (W. W. Norton, 2016)

Mary I. Arlin (Ithaca College) Review of L. Poundie Burstein and Joseph N. Straus, (W. W. Norton, 2016) Review: Denise Von Glahn (Florida State University) Review of Matthew McDonald, Breaking Time’s Arrow: Experiment and Expression in the Music of Charles Ives (Indiana University Press, 2014)

Volume 22, Number 2, June 2016

Article: Richard Cohn (Yale University) A Platonic Model of Funky Rhythms

Richard Cohn (Yale University) A Platonic Model of Funky Rhythms Article: Scott J. Hanenberg (University of Toronto) Rock Modulation and Narrative

Scott J. Hanenberg (University of Toronto) Rock Modulation and Narrative Article: Samuel Reenan (Eastman School of Music) and Richard Bass (University of Connecticut) Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music

Samuel Reenan (Eastman School of Music) and Richard Bass (University of Connecticut) Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music Review: Justin Lavacek (University of North Texas) Review of Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge University Press, 2015)

Justin Lavacek (University of North Texas) Review of Anna Zayaruznaya, (Cambridge University Press, 2015) Review: Megan Kaes Long (Oberlin College Conservatory of Music) Review of Ruth I. DeFord, Tactus, Mensuration, and Rhythm in Renaissance Music (Cambridge University Press, 2015)

Megan Kaes Long (Oberlin College Conservatory of Music) Review of Ruth I. DeFord, (Cambridge University Press, 2015) Review: L. Poundie Burstein (Hunter College and the Graduate Center of the City University of New York) Review of Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory , ed. Joseph N. Straus (Oxford University Press, 2016)

L. Poundie Burstein (Hunter College and the Graduate Center of the City University of New York) Review of Carl Schachter, , ed. Joseph N. Straus (Oxford University Press, 2016) Review: David Temperley (Eastman School of Music) Review of Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory , ed. Joseph N. Straus (Oxford University Press, 2016)

David Temperley (Eastman School of Music) Review of Carl Schachter, , ed. Joseph N. Straus (Oxford University Press, 2016) Essay: Daniel Barolsky (Beloit College) and Edward Klorman (Queens College and Graduate Center, CUNY; and The Juilliard School) Performance and Analysis Today: New Horizons

Daniel Barolsky (Beloit College) and Edward Klorman (Queens College and Graduate Center, CUNY; and The Juilliard School) Performance and Analysis Today: New Horizons Essay: Benjamin Binder (Duquesne University) Art and Science, Beauty and Truth, Performance and Analysis?

Benjamin Binder (Duquesne University) Art and Science, Beauty and Truth, Performance and Analysis? Essay: Daphne Leong (University of Colorado Boulder) Analysis and Performance, or wissen, können, kennen

Daphne Leong (University of Colorado Boulder) Analysis Performance, or Essay: Peter Martens (Texas Tech University) Ways of Knowing the Body, Bodily Ways of Knowing

Peter Martens (Texas Tech University) Ways of Knowing the Body, Bodily Ways of Knowing Essay: Fabio Morabito (King’s College London) The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis?

Fabio Morabito (King’s College London) The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis? Essay: John Rink (University of Cambridge) Response

John Rink (University of Cambridge) Response Essay: Janet Schmalfeldt (Tufts University) Response

Volume 22, Number 1, March 2016

Article: Aaron Carter-Ényì (Ohio State University) Contour Recursion and Auto-Segmentation

Aaron Carter-Ényì (Ohio State University) Contour Recursion and Auto-Segmentation Article: Kate Heidemann (Colby College) A System for Describing Vocal Timbre in Popular Song

Kate Heidemann (Colby College) A System for Describing Vocal Timbre in Popular Song Article: Mark Richards (Florida State University) Film Music Themes: Analysis and Corpus Study

Mark Richards (Florida State University) Film Music Themes: Analysis and Corpus Study Commentary: Jennifer Sterling Snodgrass (Appalachian State University) Integration, Diversity, and Creativity: Reflections on the “Manifesto” from the College Music Society

Jennifer Sterling Snodgrass (Appalachian State University) Integration, Diversity, and Creativity: Reflections on the “Manifesto” from the College Music Society Review: Robin Attas (Elon University) Review of Ron Moy, Authorship Roles in Popular Music: Issues and Debates (Routledge, 2015)

Robin Attas (Elon University) Review of Ron Moy, (Routledge, 2015) Review: Trevor de Clercq (Middle Tennessee State University) Review of Ralf von Appen, André Doehring, Dietrich Helms, and Allan Moore, eds. Song Interpretation in 21st-Century Pop Music (Ashgate, 2015)

Trevor de Clercq (Middle Tennessee State University) Review of Ralf von Appen, André Doehring, Dietrich Helms, and Allan Moore, eds. (Ashgate, 2015) Review: Patrick McCreless (Yale University) Review of Thomas Christensen, The Work of Music Theory (Ashgate, 2014)

Volume 21, Number 4, December 2015

Article: Andrew I. Aziz (Florida State University) The Evolution of Chopin’s Sonata Forms: Excavating the Second Theme Group

Andrew I. Aziz (Florida State University) The Evolution of Chopin’s Sonata Forms: Excavating the Second Theme Group Article: Laurel Parsons (North Vancouver, BC) Dyslexia and Post-Secondary Aural Skills Instruction

Laurel Parsons (North Vancouver, BC) Dyslexia and Post-Secondary Aural Skills Instruction Article: Keith Salley (Shenandoah Conservatory) On Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg

Keith Salley (Shenandoah Conservatory) On Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg Article: Michael Schachter (University of Michigan) Structural Levels in South Indian Music

Michael Schachter (University of Michigan) Structural Levels in South Indian Music Article: Jason Yust (Boston University) Voice-Leading Transformation and Generative Theories of Tonal Structure

Jason Yust (Boston University) Voice-Leading Transformation and Generative Theories of Tonal Structure Review: Joe Argentino (Memorial University of Newfoundland) Review of Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge University Press, 2014)

Joe Argentino (Memorial University of Newfoundland) Review of Jack Boss, (Cambridge University Press, 2014) Review: William M. Marvin (Eastman School of Music) Review of Markus Neuwirth and Pieter Bergé, eds., What Is A Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire (Leuven University Press, 2015)

William M. Marvin (Eastman School of Music) Review of Markus Neuwirth and Pieter Bergé, eds., (Leuven University Press, 2015) Review: Jan Miyake (Oberlin College and Conservatory) Review of Ian Bent, David Bretherton, and William Drabkin, eds. Heinrich Schenker: Selected Correspondence (Boydell Press, 2014)

Jan Miyake (Oberlin College and Conservatory) Review of Ian Bent, David Bretherton, and William Drabkin, eds. (Boydell Press, 2014) Review: JW Turner (High Point University) Review of Markand Thakar, Looking for the “Harp” Quartet: An Investigation into Musical Beauty (University of Rochester Press, 2011)

JW Turner (High Point University) Review of Markand Thakar, (University of Rochester Press, 2011) Report: Joseph Kraus (Florida State University) Report on the Second Congress of the Russian Society for the Theory of Music

Volume 21, Number 3, September 2015

Article: Emmanuel Amiot (Perpignan University) and Gilles Baroin (Université de Toulouse, France) Old and New Isometries between Pc sets in the Planet-4D Model

Emmanuel Amiot (Perpignan University) and Gilles Baroin (Université de Toulouse, France) Old and New Isometries between Pc sets in the Planet-4D Model Article: Jack F. Boss (University of Oregon) “Away with Motivic Working?” Not So Fast: Motivic Processes in Schoenberg’s op. 11, no. 3

Jack F. Boss (University of Oregon) “Away with Motivic Working?” Not So Fast: Motivic Processes in Schoenberg’s op. 11, no. 3 Article: Vasili Byros (Northwestern University) Prelude on a Partimento: Invention in the Compositional Pedagogy of the German States in the Time of J. S. Bach

Vasili Byros (Northwestern University) Prelude on a Partimento: Invention in the Compositional Pedagogy of the German States in the Time of J. S. Bach Article: Michael Callahan (Michigan State University) Teaching and Learning Undergraduate Music Theory at the Keyboard: Challenges, Solutions, and Impacts

Michael Callahan (Michigan State University) Teaching and Learning Undergraduate Music Theory at the Keyboard: Challenges, Solutions, and Impacts Article: Lydia Goehr (Columbia University) Does it Matter Where We Begin? Or, On the Art of Preparation and Preluding

Lydia Goehr (Columbia University) Does it Matter Where We Begin? Or, On the Art of Preparation and Preluding Article: Alan Howard (University of Cambridge) Compositional Strategies in Purcell’s Second Three-Part Fantazia

Alan Howard (University of Cambridge) Compositional Strategies in Purcell’s Second Three-Part Fantazia Article: Mariusz Kozak (Columbia University) Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models

Mariusz Kozak (Columbia University) Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models Article: Stefan Caris Love (University of Massachusetts Amherst) Historical Hypermetrical Hearing: Cycles and Schemas in the String-Quartet Minuet

Stefan Caris Love (University of Massachusetts Amherst) Historical Hypermetrical Hearing: Cycles and Schemas in the String-Quartet Minuet Article: Andrew Pau (Oberlin Conservatory of Music) “Sous le rythme de la chanson”: Rhythm, Text, and Diegetic Performance in Nineteenth-Century French Opera

Andrew Pau (Oberlin Conservatory of Music) “Sous le rythme de la chanson”: Rhythm, Text, and Diegetic Performance in Nineteenth-Century French Opera Article: Gilad Rabinovitch (Georgia State University) and Johnandrew Slominski (Eastman School of Music) Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation

Gilad Rabinovitch (Georgia State University) and Johnandrew Slominski (Eastman School of Music) Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation Article: Hamish J. Robb (Victoria University of Wellington) Imagined, Supplemental Sound in Nineteenth-Century Piano Music: Towards a Fuller Understanding of Musical Embodiment

Hamish J. Robb (Victoria University of Wellington) Imagined, Supplemental Sound in Nineteenth-Century Piano Music: Towards a Fuller Understanding of Musical Embodiment Review: Timothy K. Chenette (Utah State University) Review of Ronald Woodley (director), Johannes Tinctoris: Complete Theoretical Works (http://earlymusictheory.org/Tinctoris/)

Timothy K. Chenette (Utah State University) Review of Ronald Woodley (director), (http://earlymusictheory.org/Tinctoris/) Review: Akane Mori (University of Hartford) Review of Maureen Carr, After the Rite: Stravinsky’s Path to Neoclassicism (1914–25) (Oxford, 2014)

Akane Mori (University of Hartford) Review of Maureen Carr, (Oxford, 2014) Review: Daphne Tan (Indiana University) Review of Eric Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (Oxford University Press, 2005; paperback, 2011)

Volume 21, Number 2, June 2015

Article: Richard Burke (submitted by L. Poundie Burstein) (Hunter College and the Graduate Center, CUNY) “That Awkward Scale”: Verdi, Puccini, and the Scala enigmatica

Richard Burke (submitted by L. Poundie Burstein) (Hunter College and the Graduate Center, CUNY) “That Awkward Scale”: Verdi, Puccini, and the Article: Gilad Cohen (Ramapo College of New Jersey) Expansive Form in Pink Floyd’s “Dogs”

Gilad Cohen (Ramapo College of New Jersey) Expansive Form in Pink Floyd’s “Dogs” Article: Robert Gjerdingen and Janet Bourne (Northwestern University) Schema Theory as a Construction Grammar

Robert Gjerdingen and Janet Bourne (Northwestern University) Schema Theory as a Construction Grammar Article: Mark Gotham (University of Cambridge) Meter Metrics: Characterizing Relationships Among (Mixed) Metrical Structures

Mark Gotham (University of Cambridge) Meter Metrics: Characterizing Relationships Among (Mixed) Metrical Structures Article: David J. Heetderks (Oberlin Conservatory) Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock

David J. Heetderks (Oberlin Conservatory) Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock Article: Wing Lau (University of Oregon) Composing Declamation: Notated Meter Changes in Brahms’s Lieder

Wing Lau (University of Oregon) Composing Declamation: Notated Meter Changes in Brahms’s Lieder Article: Timothy R. Mastic (University of Oregon) Normative Wit: Haydn’s Recomposed Recapitulations

Timothy R. Mastic (University of Oregon) Normative Wit: Haydn’s Recomposed Recapitulations Review: Daniel K. L. Chua (University of Hong Kong) Review of Mark Evan Bonds, Absolute Music: The History of an Idea (Oxford, 2014)

Daniel K. L. Chua (University of Hong Kong) Review of Mark Evan Bonds, (Oxford, 2014) Review: John Covach (University of Rochester) Review of Robert Freeman, The Crisis of Classical Music in America: Lessons from the Life in the Education of Musicians (Rowman & Littlefield, 2014)

John Covach (University of Rochester) Review of Robert Freeman, (Rowman & Littlefield, 2014) Review: Robert S. Hatten (University of Texas at Austin) Review of Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford University Press, 2014).

Volume 21, Number 1, March 2015

Article: Brett G. Clement (Ball State University) Scale Systems and Large-Scale Form in the Music of Yes

Brett G. Clement (Ball State University) Scale Systems and Large-Scale Form in the Music of Yes Article: Philip Duker (University of Delaware) and Anna Gawboy (Ohio State University) Hacking the Music Theory Classroom: Standards-Based Grading, Just-in-Time Teaching, and the Inverted Class

Philip Duker (University of Delaware) and Anna Gawboy (Ohio State University) Hacking the Music Theory Classroom: Standards-Based Grading, Just-in-Time Teaching, and the Inverted Class Article: David B. Easley (Oklahoma City University) Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83)

David B. Easley (Oklahoma City University) Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) Article: Katelyn Horn and David Huron (Ohio State University) On the Changing Use of the Major and Minor Modes 1750–1900

Katelyn Horn and David Huron (Ohio State University) On the Changing Use of the Major and Minor Modes 1750–1900 Article: Matthew T. Hough (Wagner College) Elements of Style in Three Demo Recordings by Stevie Nicks

Matthew T. Hough (Wagner College) Elements of Style in Three Demo Recordings by Stevie Nicks Article: Bruce W. Quaglia (University of Utah) Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum

Bruce W. Quaglia (University of Utah) Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum Article: Jessica E. Stankis (Allan Hancock College) Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme

Jessica E. Stankis (Allan Hancock College) Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme Review: Hali A. Fieldman (University of Missouri-Kansas City) Review of Evan Jones, Matthew Shaftel, and Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2014)

Hali A. Fieldman (University of Missouri-Kansas City) Review of Evan Jones, Matthew Shaftel, and Juan Chattah, (Oxford, 2014) Review: Landon Morrison (McGill University) Review of Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice (Oxford, 2014)

Landon Morrison (McGill University) Review of Brian Kane, (Oxford, 2014) Review: Keith Salley (Shenandoah Conservatory) Review of Joe Mulholland and Tom Hojnacki, The Berklee Book of Jazz Harmony (Berklee Press, 2013) and Dariusz Terefenko, Jazz Theory: From Basic to Advanced Study (Routledge, 2014)

Volume 20, Number 4, December 2014

Article: Matthew L. BaileyShea (Eastman School of Music) From Me To You: Dynamic Discourse in Popular Music

Matthew L. BaileyShea (Eastman School of Music) From Me To You: Dynamic Discourse in Popular Music Article: Blair Johnston (Indiana University) Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works

Blair Johnston (Indiana University) Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works Article: Beate Kutschke (University of Leipzig) Music and Other Sign Systems

Beate Kutschke (University of Leipzig) Music and Other Sign Systems Article: Victoria Malawey (Macalester College) Strophic Modification in Songs by Amy Beach

Victoria Malawey (Macalester College) Strophic Modification in Songs by Amy Beach Article: Robert S. Hatten (University of Texas at Austin) Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze

Robert S. Hatten (University of Texas at Austin) Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Article: David Kopp (Boston University) On Performing Chopin’s Barcarolle

David Kopp (Boston University) On Performing Chopin’s Barcarolle Article: Harald Krebs (University of Victoria) Treading Robert Schumann’s New Path: Understanding Declamation in the Late Lieder through Analysis and Recomposition

Harald Krebs (University of Victoria) Treading Robert Schumann’s New Path: Understanding Declamation in the Late Lieder through Analysis and Recomposition Review: Joshua Albrecht (University of Mary Hardin-Baylor) Review of Elizabeth Margulis, On Repeat: How Music Plays the Mind (Oxford, 2013)

Joshua Albrecht (University of Mary Hardin-Baylor) Review of Elizabeth Margulis, (Oxford, 2013) Review: Dave Headlam (Eastman School of Music) Review of Bryan R. Simms, ed., Pro Mundo, Pro Domo: The Writings of Alban Berg (Oxford, 2014)

Dave Headlam (Eastman School of Music) Review of Bryan R. Simms, ed., (Oxford, 2014) Review: Joseph Kraus (Florida State University) Review of David Beach, Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form (Routledge, 2012), and accompanying Teacher’s Manual (PDF format)

Volume 20, Number 3, September 2014

Article: Mattias Lundberg (Uppsala University) “To Let it Be Without Pretense”: Canon, Fugue, and Imitation in Progressive Rock 1968–1979

Mattias Lundberg (Uppsala University) “To Let it Be Without Pretense”: Canon, Fugue, and Imitation in Progressive Rock 1968–1979 Article: Adriana Ponce (Illinois Wesleyan University) Form, Diversity, and Lack of Fulfillment in the First Movement of Schumann’s Fantasie op. 17

Adriana Ponce (Illinois Wesleyan University) Form, Diversity, and Lack of Fulfillment in the First Movement of Schumann’s op. 17 Article: Jordan B. L. Smith (Queen Mary University of London) and Isaac Schankler (University of Southern California) Listening as a Creative Act: Meaningful Differences in Structural Annotations of Improvised Performances

Jordan B. L. Smith (Queen Mary University of London) and Isaac Schankler (University of Southern California) Listening as a Creative Act: Meaningful Differences in Structural Annotations of Improvised Performances Review: Henry Hope (Madgalen College) Review of Virtual Library of Musicology (ViFaMusik), (http://www.vifamusik.de)

Henry Hope (Madgalen College) Review of Virtual Library of Musicology (ViFaMusik), (http://www.vifamusik.de) Review: René Rusch (McGill University) Review of Lauri Suurpää, Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle (Indiana University Press, 2014)

René Rusch (McGill University) Review of Lauri Suurpää, Winterreise: (Indiana University Press, 2014) Review: Anna Stephan-Robinson (West Liberty University) Review of Leigh Van Handel, Music Theory Skill Builder (Oxford University Press, 2013)

Anna Stephan-Robinson (West Liberty University) Review of Leigh Van Handel, (Oxford University Press, 2013) Review: Lauri Suurpää (Sibelius Academy) Review of Heather Platt and Peter H. Smith, eds., Expressive Intersections in Brahms: Essays in Analysis and Meaning (Indiana University Press, 2012)

Lauri Suurpää (Sibelius Academy) Review of Heather Platt and Peter H. Smith, eds., (Indiana University Press, 2012) Essay: Inessa Bazayev (Louisiana State University) and Ellon D. Carpenter (Arizona State University) Introduction: Russian Theoretical Thought Rediscovered and Reevaluated

Inessa Bazayev (Louisiana State University) and Ellon D. Carpenter (Arizona State University) Introduction: Russian Theoretical Thought Rediscovered and Reevaluated Essay: Ellen Bakulina (City University of New York) The Concept of Mutability in Russian Theory

Ellen Bakulina (City University of New York) The Concept of Mutability in Russian Theory Essay: Inessa Bazayev (Louisiana State University) The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory

Inessa Bazayev (Louisiana State University) The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory Essay: Zachary A. Cairns (University of Missouri - St. Louis) A Glimpse at Iuriĭ Kholopov’s Garmonicheskiĭ analiz

Zachary A. Cairns (University of Missouri - St. Louis) A Glimpse at Iuriĭ Kholopov’s Essay: Philip A. Ewell (Hunter College) The Parameter Complex in the Music of Sofia Gubaidulina

Philip A. Ewell (Hunter College) The Parameter Complex in the Music of Sofia Gubaidulina Essay: Christopher Segall (University of Cincinnati) Sergei Taneev’s Vertical-Shifting Counterpoint: An Introduction

Christopher Segall (University of Cincinnati) Sergei Taneev’s Vertical-Shifting Counterpoint: An Introduction Essay: Daniil Zavlunov (Stetson University) The “tselostnyĭ analiz” (holistic analysis) of Zuckerman and Mazel

Volume 20, Number 2, June 2014

Article: Nicole Biamonte (McGill University) Formal Functions of Metric Dissonance in Rock Music

Nicole Biamonte (McGill University) Formal Functions of Metric Dissonance in Rock Music Article: Bryan Christian (Duke University) Combination-Tone Class Sets and Redefining the Role of les Couleurs in Claude Vivier’s Bouchara

Bryan Christian (Duke University) Combination-Tone Class Sets and Redefining the Role of in Claude Vivier’s Article: Massimiliano Guido and Peter Schubert (McGill University) Unpacking the Box in Frescobaldi’s Ricercari of 1615

Massimiliano Guido and Peter Schubert (McGill University) Unpacking the Box in Frescobaldi’s Ricercari of 1615 Article: Dora A. Hanninen (University of Maryland) Asking Questions / Making Music: Listening, Analysis, and Cage

Dora A. Hanninen (University of Maryland) Asking Questions / Making Music: Listening, Analysis, and Cage Article: Joseph N. Straus (Graduate Center, City University of New York) Total Voice Leading

Joseph N. Straus (Graduate Center, City University of New York) Total Voice Leading Article: Michael K. Trinastic (Durham, NC) Dissonant Harmony and “Seed-Tones”: Organicism in the Piano Music of Dane Rudhyar

Michael K. Trinastic (Durham, NC) Dissonant Harmony and “Seed-Tones”: Organicism in the Piano Music of Dane Rudhyar Article: Jonathan Wild (McGill University) Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory

Jonathan Wild (McGill University) Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory Review: David Heetderks (Oberlin Conservatory) Review of S. Alexander Reed, Assimilate: A Critical History of Industrial Music (Oxford University Press, 2013)

David Heetderks (Oberlin Conservatory) Review of S. Alexander Reed, (Oxford University Press, 2013) Report: Edward Klorman (Queens College, CUNY) “Musical Form: Mapping the Territories”: A Conference Report

Volume 20, Number 1, March 2014

Article: Rainer Polak (Cologne University of Music and Dance) and Justin London (Carleton College) Timing and Meter in Mande Drumming from Mali

Rainer Polak (Cologne University of Music and Dance) and Justin London (Carleton College) Timing and Meter in Mande Drumming from Mali Article: Robert Willey (Ball State University) Introduction to the MTO Nancarrow Symposium

Robert Willey (Ball State University) Introduction to the Nancarrow Symposium Article: Helena Bugallo (Basel, Switzerland) Harmonic and Non-Harmonic Temporal Structures in Nancarrow’s Study No. 47 for Player Piano

Helena Bugallo (Basel, Switzerland) and Temporal Structures in Nancarrow’s Study No. 47 for Player Piano Article: Clifton Callender (Florida State University) Performing the Irrational: Paul Usher’s Arrangement of Nancarrow’s Study No. 33, Canon 2: \(\sqrt{2}\)

Clifton Callender (Florida State University) Performing the Irrational: Paul Usher’s Arrangement of Nancarrow’s Study No. 33, Canon 2: \(\sqrt{2}\) Article: Dominic Murcott (Trinity Laban Conservatoire of Music and Dance) Tomorrow’s Music On Yesterday’s Machines: In Search of an ‘Authentic’ Nancarrow Performance

Dominic Murcott (Trinity Laban Conservatoire of Music and Dance) Tomorrow’s Music On Yesterday’s Machines: In Search of an ‘Authentic’ Nancarrow Performance Article: Julie A. Nemire (Western Michigan University) Convergence Points in Conlon Nancarrow’s Tempo Canons

Julie A. Nemire (Western Michigan University) Convergence Points in Conlon Nancarrow’s Tempo Canons Article: Margaret E. Thomas (Connecticut College) Conlon Nancarrow, “Hot” Jazz, and the Principle of Collective Improvisation

Margaret E. Thomas (Connecticut College) Conlon Nancarrow, “Hot” Jazz, and the Principle of Collective Improvisation Article: Robert Willey (Ball State University) The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers

Robert Willey (Ball State University) The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Article: Kyle Gann (Bard College) Outside the Feedback Loop: A Nancarrow Keynote Address

Kyle Gann (Bard College) Outside the Feedback Loop: A Nancarrow Keynote Address Article: Lee Rothfarb (University of California, Santa Barbara) Early History

Lee Rothfarb (University of California, Santa Barbara) Early History Article: Eric J. Isaacson (Indiana University) MTO at the Leading Edge

Eric J. Isaacson (Indiana University) at the Leading Edge Article: Timothy Koozin (University of Houston) Evolving Content and Design

Timothy Koozin (University of Houston) Evolving Content and Design Article: Matthew Shaftel (Florida State University) Demographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory

Matthew Shaftel (Florida State University) Demographics, Analytics, and Trends: The Shifting Sands of an Online Engagement with Music Theory Article: Kris P. Shaffer (University of Colorado-Boulder) A Proposal for Open Peer Review

Kris P. Shaffer (University of Colorado-Boulder) A Proposal for Open Peer Review Review: Andrew Aziz (Brown University) Review of William Caplin, Analyzing Classical Form: An Approach for the Classroom (Oxford University Press, 2013)

Andrew Aziz (Brown University) Review of William Caplin, (Oxford University Press, 2013) Review: Stephen C. Brown (Northern Arizona University) Review of Paolo Susanni and Elliott Antokoletz, Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles (Routledge, 2012)

Stephen C. Brown (Northern Arizona University) Review of Paolo Susanni and Elliott Antokoletz, (Routledge, 2012) Review: Robert Willey (Ball State University) Review of Jürgen Hocker; Steven Lindberg trans., Encounters With Conlon Nancarrow (Lexington Books, 2012)

Volume 19, Number 4, December 2013

Article: Gregory J. Decker (Bowling Green State University) Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’s Rodelinda

Gregory J. Decker (Bowling Green State University) Pastorals, Passepieds, and Pendants: Interpreting Characterization Through Aria Pairs in Handel’s Article: Frank Lehman (Tufts University) Hollywood Cadences: Music and the Structure of Cinematic Expectation

Frank Lehman (Tufts University) Hollywood Cadences: Music and the Structure of Cinematic Expectation Article: Steven Rings (University of Chicago) A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009

Steven Rings (University of Chicago) A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 Article: René Rusch (McGill University) Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”: The Role of Jazz Improvisation in the Transformation of an Intertext

René Rusch (McGill University) Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”: The Role of Jazz Improvisation in the Transformation of an Intertext Review: Zachary Bernstein (City University of New York, Graduate Center) Review of Dora Hanninen, A Theory of Music Analysis: On Segmentation and Associative Organization (University of Rochester Press, 2012)

Zachary Bernstein (City University of New York, Graduate Center) Review of Dora Hanninen, (University of Rochester Press, 2012) Review: Christopher Endrinal (Florida Gulf Coast University) Review of Allan Moore, Song Means: Analyzing and Interpreting Recorded Popular Song (Ashgate, 2012)

Christopher Endrinal (Florida Gulf Coast University) Review of Allan Moore, (Ashgate, 2012) Review: Mary Wennerstrom (Indiana University) Review of Matthew Bribitzer-Stull, Anthology for Analysis and Performance (Oxford University Press, 2014)

Mary Wennerstrom (Indiana University) Review of Matthew Bribitzer-Stull, (Oxford University Press, 2014) Report: Philip A. Ewell (Hunter College and CUNY Graduate Center) Conference Report: Inaugural Meeting of the Russian Society for Music Theory (OTM)

Volume 19, Number 3, September 2013

Article: Christine Boone (Indiana State University) Mashing: Toward a Typology of Recycled Music

Christine Boone (Indiana State University) Mashing: Toward a Typology of Recycled Music Article: Michael R. Callahan (Michigan State University) Sentential Lyric-Types in the Great American Songbook

Michael R. Callahan (Michigan State University) Sentential Lyric-Types in the Great American Songbook Article: Murray Dineen (University of Ottawa) Species Counterpoint with a Moveable Tenor (SCAMET): Comparing Species Counterpoint and Polyphonic Music Without a Cantus Firmus

Murray Dineen (University of Ottawa) Species Counterpoint with a Moveable Tenor (SCAMET): Comparing Species Counterpoint and Polyphonic Music Without a Article: Cristle Collins Judd (Bowdoin College) “To Discourse Learnedly” and “Compose Beautifully”: Thoughts on Gioseffo Zarlino, Theory, and Practice

Cristle Collins Judd (Bowdoin College) “To Discourse Learnedly” and “Compose Beautifully”: Thoughts on Gioseffo Zarlino, Theory, and Practice Article: Drew F. Nobile (The University of Chicago) Interval Permutations

Drew F. Nobile (The University of Chicago) Interval Permutations Article: Bryan J. Parkhurst (University of Michigan) Fraught with Ought: An Outline of an Expressivist Meta‐Theory

Bryan J. Parkhurst (University of Michigan) Fraught with Ought: An Outline of an Expressivist Meta‐Theory Review: Matt BaileyShea (University of Rochester) Review of Michael L. Klein and Nicholas Reyland, eds., Music and Narrative since 1900 (Indiana University Press, 2013) and Peter Kivy, Antithetical Arts: On the Ancient Quarrel between Literature and Music (Clarendon Press, 2009)

Matt BaileyShea (University of Rochester) Review of Michael L. Klein and Nicholas Reyland, eds., (Indiana University Press, 2013) and Peter Kivy, (Clarendon Press, 2009) Review: Christopher Brody (Indiana University) Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012)

Christopher Brody (Indiana University) Review of Matthew Dirst, (Cambridge University Press, 2012) Review: Suzannah Clark (Harvard University) Review of Susan Wollenberg, Schubert’s Fingerprints: Studies in the Instrumental Works (Ashgate, 2011)

Suzannah Clark (Harvard University) Review of Susan Wollenberg, (Ashgate, 2011) Review: Dmitri Tymoczko (Princeton University) Review of Michael Cuthbert, Music21: a Toolkit for Computer-aided Musicology (http://web.mit.edu/music21/)

Dmitri Tymoczko (Princeton University) Review of Michael Cuthbert, (http://web.mit.edu/music21/) Essay: John Covach (University of Rochester) To MOOC or Not To MOOC?

Volume 19, Number 2, June 2013

Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) “On the System of Stravinsky’s Harmony” by Yuri Kholopov: Translation and Commentary

Philip A. Ewell (Hunter College and CUNY Graduate Center) “On the System of Stravinsky’s Harmony” by Yuri Kholopov: Translation and Commentary Article: Gregory R. McCandless (Full Sail University) Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater

Gregory R. McCandless (Full Sail University) Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater Review: Mark Gotham (University of Cambridge) Review of Godfried Toussaint, The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? (CRC Press, 2013)

Mark Gotham (University of Cambridge) Review of Godfried Toussaint, (CRC Press, 2013) Review: J. Daniel Jenkins (University of South Carolina) Review of Guy Capuzzo, Elliott Carter’s What Next?: Communication, Cooperation, and Separation (University of Rochester Press, 2012)

J. Daniel Jenkins (University of South Carolina) Review of Guy Capuzzo, What Next?: (University of Rochester Press, 2012) Review: Rebecca Leydon (Oberlin Conservatory) Review of Matthew Brown, Debussy Redux: The Impact of his Music on Popular Culture (Indiana University Press, 2012)

Rebecca Leydon (Oberlin Conservatory) Review of Matthew Brown, (Indiana University Press, 2012) Essay: August Sheehy (University of Chicago) and Paul Steinbeck (Washington University in St. Louis) Introduction: Theorizing Improvisation (Musically)

August Sheehy (University of Chicago) and Paul Steinbeck (Washington University in St. Louis) Introduction: Theorizing Improvisation (Musically) Essay: Julie E. Cumming (McGill University) Renaissance Improvisation and Musicology

Julie E. Cumming (McGill University) Renaissance Improvisation and Musicology Essay: Roger Moseley (Cornell University) Entextualization and the Improvised Past

Roger Moseley (Cornell University) Entextualization and the Improvised Past Essay: Bruno Nettl (University of Illinois at Urbana‐Champaign) Contemplating the Concept of Improvisation and Its History in Scholarship

Bruno Nettl (University of Illinois at Urbana‐Champaign) Contemplating the Concept of Improvisation and Its History in Scholarship Essay: Laudan Nooshin (City University London) Beyond the Radif : New Forms of Improvisational Practice in Iranian Music

Laudan Nooshin (City University London) Beyond the : New Forms of Improvisational Practice in Iranian Music Essay: August Sheehy (University of Chicago) Improvisation, Analysis, and Listening Otherwise

August Sheehy (University of Chicago) Improvisation, Analysis, and Listening Otherwise Essay: Paul Steinbeck (Washington University in St. Louis) Improvisational Fictions

Paul Steinbeck (Washington University in St. Louis) Improvisational Fictions Essay: George E. Lewis (Columbia University) Critical Responses to “Theorizing Improvisation (Musically)”

George E. Lewis (Columbia University) Critical Responses to “Theorizing Improvisation (Musically)” Report: Daniel Barolsky (Beloit College) Conference Report: “Performance Studies Network Second International Conference”

Daniel Barolsky (Beloit College) Conference Report: “Performance Studies Network Second International Conference” Report: John Koslovsky (Conservatorium van Amsterdam / Utrecht University) Conference Report: “Fifth International Schenker Symposium”

Volume 19, Number 1, March 2013

Article: Joe R. Argentino (McMaster University) Tripartite Structures in Schoenberg’s A Survivor from Warsaw

Joe R. Argentino (McMaster University) Tripartite Structures in Schoenberg’s Article: Jessie Fillerup (University of Richmond) Eternity in Each Moment: Temporal Strategies in Ravel’s “Le Gibet”

Jessie Fillerup (University of Richmond) Eternity in Each Moment: Temporal Strategies in Ravel’s “Le Gibet” Article: Nathan D. Hesselink (University of British Columbia) Radiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation

Nathan D. Hesselink (University of British Columbia) Radiohead’s “Pyramid Song”: Ambiguity, Rhythm, and Participation Article: Anabel Maler (University of Chicago) Songs for Hands: Analyzing Interactions of Sign Language and Music

Anabel Maler (University of Chicago) Songs for Hands: Analyzing Interactions of Sign Language and Music Article: René Rusch (McGill University) Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80

René Rusch (McGill University) Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80 Article: Peter Schubert and Marcelle Lessoil-Daelman (McGill University) What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance

Peter Schubert and Marcelle Lessoil-Daelman (McGill University) What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance Review: Arnie Cox (Oberlin Conservatory of Music) Review of Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music (Indiana University Press, 2012)

Arnie Cox (Oberlin Conservatory of Music) Review of Steve Larson, (Indiana University Press, 2012) Review: August Sheehy (University of Chicago) Review of Elliott Antokoletz and Marianne Wheeldon eds., Rethinking Debussy (Oxford University Press, 2011)

August Sheehy (University of Chicago) Review of Elliott Antokoletz and Marianne Wheeldon eds., (Oxford University Press, 2011) Review: Alan Theisen (Mars Hill College) Review of Brian Alegant, The Twelve-Tone Music of Luigi Dallapiccola (University of Rochester Press, 2010)

Volume 18, Number 4, December 2012

Article: Timothy K. Chenette (University of Massachusetts Amherst) Hearing Counterpoint Within Chromaticism: Analyzing Harmonic Relationships in Lassus’s Prophetiae Sibyllarum

Timothy K. Chenette (University of Massachusetts Amherst) Hearing Counterpoint Within Chromaticism: Analyzing Harmonic Relationships in Lassus’s Article: Philip A. Ewell (Hunter College and CUNY Graduate Center) Rethinking Octatonicism: Views from Stravinsky’s Homeland

Philip A. Ewell (Hunter College and CUNY Graduate Center) Rethinking Octatonicism: Views from Stravinsky’s Homeland Article: Yosef Goldenberg (The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance) The Interruption-Fill and Corollary Procedures

Yosef Goldenberg (The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance) The Interruption-Fill and Corollary Procedures Article: Eugene Montague (The George Washington University) Instrumental Gesture in Chopin’s Étude in A-Flat Major, Op. 25, No. 1

Eugene Montague (The George Washington University) Instrumental Gesture in Chopin’s Étude in A-Flat Major, Op. 25, No. 1 Article: Rob Schultz (University of Massachusetts Amherst) Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith

Rob Schultz (University of Massachusetts Amherst) Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith Article: Joseph N. Straus (Graduate Center, City University of New York) Three Stravinsky Analyses: Petrushka , Scene 1 (to Rehearsal No. 8); The Rake’s Progress , Act III, Scene 3 (“In a foolish dream”); Requiem Canticles , “Exaudi”

Joseph N. Straus (Graduate Center, City University of New York) Three Stravinsky Analyses: , Scene 1 (to Rehearsal No. 8); , Act III, Scene 3 (“In a foolish dream”); , “Exaudi” Article: Benjamin K. Wadsworth (Kennesaw State University) Directional Tonality in Schumann’s Early Works

Benjamin K. Wadsworth (Kennesaw State University) Directional Tonality in Schumann’s Early Works Review: Chelsea Burns (University of Chicago) Review of Michael Tenzer and John Roeder, eds., Analytical and Cross-Cultural Studies in World Music (Oxford University Press, 2011)

Chelsea Burns (University of Chicago) Review of Michael Tenzer and John Roeder, eds., (Oxford University Press, 2011) Review: Jonathan Kochavi (Swarthmore College) Review of Edward Gollin and Alexander Rehding eds., The Oxford Handbook of Neo-Riemannian Theories (Oxford University Press, 2011)

Jonathan Kochavi (Swarthmore College) Review of Edward Gollin and Alexander Rehding eds., (Oxford University Press, 2011) Review: David Thurmaier (Florida Gulf Coast University) Review of Vincent P. Benitez, The Words and Music of Paul McCartney: The Solo Years (Praeger, 2010); Ian Inglis, The Words and Music of George Harrison (Praeger, 2010); and Ben Urish and Ken Bielen, The Words and Music of John Lennon (Praeger, 2007)

Volume 18, Number 3, September 2012

Festschrift for Steve Larson

Article: Stephen Rodgers (University of Oregon) and Henry Martin (Rutgers University) Guest Editors’ Introduction: “The More Questions, The Better”

Stephen Rodgers (University of Oregon) and Henry Martin (Rutgers University) Guest Editors’ Introduction: “The More Questions, The Better” Article: Matthew L. BaileyShea (University of Rochester) Musical Forces and Interpretation: Some Thoughts on a Measure in Mahler

Matthew L. BaileyShea (University of Rochester) Musical Forces and Interpretation: Some Thoughts on a Measure in Mahler Article: Robert S. Hatten (University of Texas at Austin) Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model

Robert S. Hatten (University of Texas at Austin) Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model Article: David J. Heyer (University of Oregon) Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach

David J. Heyer (University of Oregon) Applying Schenkerian Theory to Mainstream Jazz: A Justification for an Orthodox Approach Article: Stefan C. Love (University of Chicago) “Possible Paths”: Schemata of Phrasing and Melody in Charlie Parker’s Blues

Stefan C. Love (University of Chicago) “Possible Paths”: Schemata of Phrasing and Melody in Charlie Parker’s Blues Article: Henry Martin (Rutgers University-Newark) Charlie Parker and “Honeysuckle Rose”: Voice Leading, Formula, and Motive

Henry Martin (Rutgers University-Newark) Charlie Parker and “Honeysuckle Rose”: Voice Leading, Formula, and Motive Article: Mark McFarland (Georgia State University) Schenker and the Tonal Jazz Repertory: A Response to Martin

Mark McFarland (Georgia State University) Schenker and the Tonal Jazz Repertory: A Response to Martin Article: Alison Hood (National University of Ireland Maynooth) Ambiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 22

Alison Hood (National University of Ireland Maynooth) Ambiguity of Tonal Meaning in Chopin’s Prelude op. 28, no. 22 Article: Gary S. Karpinski (University of Massachusetts Amherst) Ambiguity: Another Listen

Gary S. Karpinski (University of Massachusetts Amherst) Ambiguity: Another Listen Article: Keith Waters (University of Colorado Boulder) Other Good Bridges: Continuity and Debussy’s “Reflets dans l’eau”

Keith Waters (University of Colorado Boulder) Other Good Bridges: Continuity and Debussy’s “Reflets dans l’eau” Article: Steve Larson (University of Oregon) Expressive Meaning and Musical Structure, Chapter 1 of Schenkerian Analysis: Pattern, Form, and Expressive Meaning

Steve Larson (University of Oregon) Expressive Meaning and Musical Structure, Chapter 1 of Review: Vasili Byros (Northwestern University) Review of Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice (Oxford University Press, 2012)

Vasili Byros (Northwestern University) Review of Giorgio Sanguinetti, (Oxford University Press, 2012) Review: Kristina Muxfeldt (Indiana University) Review of Suzannah Clark, Analyzing Schubert (Cambridge University Press, 2011)

Kristina Muxfeldt (Indiana University) Review of Suzannah Clark, (Cambridge University Press, 2011) Review: Robert Peck (Louisiana State University) Review of Steven Rings, Tonality and Transformation (Oxford University Press, 2011)

Robert Peck (Louisiana State University) Review of Steven Rings, (Oxford University Press, 2011) Review: Jason Yust (Boston University) Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, 2012)

Volume 18, Number 2, June 2012

Article: David K. Blake (SUNY-Stony Brook) Timbre as Differentiation in Indie Music

David K. Blake (SUNY-Stony Brook) Timbre as Differentiation in Indie Music Article: Anna M. Gawboy (Ohio State University) and Justin Townsend (Northeastern University) Scriabin and the Possible

Anna M. Gawboy (Ohio State University) and Justin Townsend (Northeastern University) Scriabin and the Possible Article: Blair Johnston (Indiana University) Between Romanticism and Modernism and Postmodernism: George Crumb’s Black Angels

Blair Johnston (Indiana University) Between Romanticism and Modernism and Postmodernism: George Crumb’s Article: Rebecca Leydon (Oberlin College) Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime

Rebecca Leydon (Oberlin College) Clean as a Whistle: Timbral Trajectories and the Modern Musical Sublime Review: Kyle Fyr (University of Northern Colorado) Review of Timothy Johnson, John Adams’s “Nixon in China”: Musical Analysis, Historical and Political Perspectives (Ashgate, 2011)

Kyle Fyr (University of Northern Colorado) Review of Timothy Johnson, (Ashgate, 2011) Review: Dave Headlam (Eastman School of Music) Review of Patricia Hall, Berg’s “Wozzeck” (Oxford University Press, 2011)

Dave Headlam (Eastman School of Music) Review of Patricia Hall, (Oxford University Press, 2011) Review: Mariusz Kozak (University of Chicago) Review of Evan Jones ed., Intimate Voices: The Twentieth Century String Quartet (Rochester University Press, 2009)

Mariusz Kozak (University of Chicago) Review of Evan Jones ed., (Rochester University Press, 2009) Review: Gordon Sly (Michigan State University) Review of David Damschroder, Harmony in Schubert (Cambridge University Press, 2010)

Gordon Sly (Michigan State University) Review of David Damschroder, (Cambridge University Press, 2010) Report: Heather Platt (Ball State University) “Brahms in the New Century”: A Conference Report

Volume 18, Number 1, April 2012

Analyzing Performance

Article: Nicholas Cook (University of Cambridge) Introduction: Refocusing Theory

Nicholas Cook (University of Cambridge) Introduction: Refocusing Theory Article: Daniel Barolsky (Beloit College) and Peter Martens (Texas Tech University) Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I)

Daniel Barolsky (Beloit College) and Peter Martens (Texas Tech University) Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I) Article: Alan Dodson (University of British Columbia) Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’s Kreisleriana , Op. 16, No. 2

Alan Dodson (University of British Columbia) Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’s , Op. 16, No. 2 Article: Daniel Leech-Wilkinson (King's College London) Compositions, Scores, Performances, Meanings

Daniel Leech-Wilkinson (King's College London) Compositions, Scores, Performances, Meanings Article: Peter Martens (Texas Tech University) Tactus in Performance: Constraints and Possibilities

Peter Martens (Texas Tech University) in Performance: Constraints and Possibilities Article: Mitchell S. Ohriner (Shenandoah University) Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin’s Mazurkas

Mitchell S. Ohriner (Shenandoah University) Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin’s Mazurkas Article: Michael Schutz and Fiona Manning (McMaster University) Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures

Michael Schutz and Fiona Manning (McMaster University) Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures Review: Gregory J. Decker (Bowling Green State University) Review of Andrew Davis, “Il Trittico,” “Turandot,” and Puccini’s Late Style (Indiana University Press, 2010)

Gregory J. Decker (Bowling Green State University) Review of Andrew Davis, (Indiana University Press, 2010) Review: Clare Sher Ling Eng (Belmont University) Review of Peter Kaminsky ed., Unmasking Ravel: New Perspectives on the Music (University of Rochester Press, 2011)

Clare Sher Ling Eng (Belmont University) Review of Peter Kaminsky ed., (University of Rochester Press, 2011) Review: Andrew D. Robbie (Harvard University) Review of Brian Hulse and Nick Nesbitt eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Ashgate, 2010)

Andrew D. Robbie (Harvard University) Review of Brian Hulse and Nick Nesbitt eds., (Ashgate, 2010) Review: Chris Stover (The New School for Jazz and Contemporary Music) Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet: 1965–68 (Oxford University Press, 2011)

Volume 17, Number 4, December 2011

Article: Julian Hook (Indiana University) How to Perform Impossible Rhythms

Julian Hook (Indiana University) How to Perform Impossible Rhythms Article: Mark Sallmen (University of Toronto) Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation

Mark Sallmen (University of Toronto) Exploring Tetrachordal Voice-Leading Spaces Within and Around the MORRIS Constellation Article: David Temperley (Eastman School of Music) Scalar Shift in Popular Music

David Temperley (Eastman School of Music) Scalar Shift in Popular Music Review: Michael Cherlin (University of Minnesota) Review of Sabine Feisst, Schoenberg’s New World: The American Years (Oxford University Press, 2011)

Michael Cherlin (University of Minnesota) Review of Sabine Feisst, (Oxford University Press, 2011) Review: Thomas Christensen (The University of Chicago) Review of Lee Rothfarb, August Halm: A Critical and Creative Life in Music (University of Rochester Press, 2009)

Thomas Christensen (The University of Chicago) Review of Lee Rothfarb, (University of Rochester Press, 2009) Review: Miguel J. Ramirez (Clarksville, TN) Review of Dermot Gault, The New Bruckner: Compositional Development and the Dynamics of Revision (Ashgate, 2011)

Miguel J. Ramirez (Clarksville, TN) Review of Dermot Gault, (Ashgate, 2011) Review: Andrew Westerhaus (The University of Chicago) Review of Gretchen Horlacher, Building Blocks: Repetition and Continuity in the Music of Stravinsky (Oxford University Press, 2011)

Andrew Westerhaus (The University of Chicago) Review of Gretchen Horlacher, (Oxford University Press, 2011) Essay: Karen M. Bottge (University of Kentucky) Reading Adorno’s Reading of the Rachmaninov Prelude in C-sharp Minor: Metaphors of Destruction, Gestures of Power

Volume 17, Number 3, October 2011

Spcial Issue: (Per)Form in(g) Rock

Article: Nicole Biamonte (McGill University) Introduction

Nicole Biamonte (McGill University) Introduction Article: Jay Summach (Yale University) The Structure, Function, and Genesis of the Prechorus

Jay Summach (Yale University) The Structure, Function, and Genesis of the Prechorus Article: Christopher Doll (Rutgers, The State University of New Jersey) Rockin’ Out: Expressive Modulation in Verse-Chorus Form

Christopher Doll (Rutgers, The State University of New Jersey) Rockin’ Out: Expressive Modulation in Verse-Chorus Form Article: Brad Osborn (DePauw University) Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres

Brad Osborn (DePauw University) Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres Article: Timothy Koozin (University of Houston) Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach

Timothy Koozin (University of Houston) Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach Article: Christopher Endrinal (University of Massachusetts, Lowell) Burning Bridges: Defining the Interverse in the Music of U2

Christopher Endrinal (University of Massachusetts, Lowell) Burning Bridges: Defining the Interverse in the Music of U2 Article: Robin Attas (University of British Columbia) Sarah Setting the Terms: Defining Phrase in Popular Music

Robin Attas (University of British Columbia) Sarah Setting the Terms: Defining Phrase in Popular Music Article: Drew F. Nobile (CUNY Graduate Center) Form and Voice Leading in Early Beatles Songs

Drew F. Nobile (CUNY Graduate Center) Form and Voice Leading in Early Beatles Songs Article: Mark Spicer (Hunter College and the Graduate Center, CUNY) (Per)Form in(g) Rock: A Response

Mark Spicer (Hunter College and the Graduate Center, CUNY) (Per)Form in(g) Rock: A Response Review: Julian Hook (Indiana University) Review of Dmitri Tymoczko, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford University Press, 2011)

Julian Hook (Indiana University) Review of Dmitri Tymoczko, (Oxford University Press, 2011) Review: Harald Krebs (University of Victoria) Review of Danuta Mirka, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (Oxford University Press, 2009)

Harald Krebs (University of Victoria) Review of Danuta Mirka, (Oxford University Press, 2009) Review: Seth Monahan (Eastman School of Music) Review of Janet Schmalfeldt: In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford University Press, 2011)

Seth Monahan (Eastman School of Music) Review of Janet Schmalfeldt: (Oxford University Press, 2011) Review: Samuel Ng (College-Conservatory of Music, University of Cincinnati) Review of Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative (Ashgate, 2010)

Volume 17, Number 2, July 2011

Article: Arnie Cox (Oberlin Conservatory of Music) Embodying Music: Principles of the Mimetic Hypothesis

Arnie Cox (Oberlin Conservatory of Music) Embodying Music: Principles of the Mimetic Hypothesis Article: David J. Heetderks (University of Michigan) A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City

David J. Heetderks (University of Michigan) A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Article: Jennifer Iverson (University of Iowa) Creating Space: Perception and Structure in Charles Ives’s Collages

Jennifer Iverson (University of Iowa) Creating Space: Perception and Structure in Charles Ives’s Collages Article: Steven Jan (University of Huddersfield) Music, Memory and Memes in the Light of Calvinian Neuroscience

Steven Jan (University of Huddersfield) Music, Memory and Memes in the Light of Calvinian Neuroscience Article: Stanley V. Kleppinger (University of Nebraska-Lincoln) Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano

Stanley V. Kleppinger (University of Nebraska-Lincoln) Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano Review: Jeremy Grall (University of Alabama at Birmingham) Review of Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music (Oxford University Press, 2009)

Jeremy Grall (University of Alabama at Birmingham) Review of Charles M. Atkinson, (Oxford University Press, 2009) Review: Justin London (Carleton College) Review of Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010)

Justin London (Carleton College) Review of Yonatan Malin, (Oxford University Press, 2010) Essay: Emily J. Adamowicz (University of Western Ontario) Subjectivity and Structure in Milton Babbitt’s Philomel

Emily J. Adamowicz (University of Western Ontario) Subjectivity and Structure in Milton Babbitt’s Essay: Zachary Bernstein (The Graduate Center, City University of New York) Duplicated Subdivisions in Babbitt’s It Takes Twelve to Tango

Zachary Bernstein (The Graduate Center, City University of New York) Duplicated Subdivisions in Babbitt’s Essay: Daphne Leong (University of Colorado-Boulder) Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths

Daphne Leong (University of Colorado-Boulder) Webs and Snares: Multiple References in Babbitt’s and Essay: Ciro Scotto (University of South Florida) What Do I Hear Now, Groupwise ?

Ciro Scotto (University of South Florida) What Do I Hear Now, ? Essay: Martin Kutnowski (St. Thomas University) How Register Tells the Story in Scriabin’s Op. 22, No. 2

Volume 17, Number 1, April 2011

Article: Sean Atkinson (University of Texas at Arlington) Canons, Augmentations, and Their Meaning in Two Works by Steve Reich

Sean Atkinson (University of Texas at Arlington) Canons, Augmentations, and Their Meaning in Two Works by Steve Reich Article: David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya) Modes, the Height-Width Duality, and Handschin’s Tone Character

David Clampitt (The Ohio State University) and Thomas Noll (Escola Superior de Musica de Catalunya) Modes, the Height-Width Duality, and Handschin’s Tone Character Article: Stacey Davis (University of Texas at San Antonio) Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bach’s Unaccompanied String Works

Stacey Davis (University of Texas at San Antonio) Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bach’s Unaccompanied String Works Article: Melissa E. Hoag (Oakland University) Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick” (op. 57, no. 4)

Melissa E. Hoag (Oakland University) Brahms’s “Great Tragic Opera”: Melodic Drama in “Ach, wende diesen Blick” (op. 57, no. 4) Article: Patrick McCreless (Yale University) Ownership, In Music and Music Theory

Patrick McCreless (Yale University) Ownership, In Music and Music Theory Article: Robert W. Peck (Louisiana State University) A GAP Tutorial for Transformational Music Theory

Robert W. Peck (Louisiana State University) A GAP Tutorial for Transformational Music Theory Article: Stephen Rodgers (University of Oregon) Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel

Stephen Rodgers (University of Oregon) Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel Article: David Temperley (Eastman School of Music) The Cadential IV in Rock

David Temperley (Eastman School of Music) The Cadential IV in Rock Commentary: Michael Fitzpatrick (University of Western Ontario) Models and Music Theory: Reconsidering David Lewin’s Graph of the 3-2 Cohn Cycle

Michael Fitzpatrick (University of Western Ontario) Models and Music Theory: Reconsidering David Lewin’s Graph of the 3-2 Cohn Cycle Review: Mark Carlson (University of California, Los Angeles) Review of Alexandra Pierce, Deepening Musical Performance through Movement (Indiana University Press, 2007)

Mark Carlson (University of California, Los Angeles) Review of Alexandra Pierce, (Indiana University Press, 2007) Review: Patrick Tuck (University of the Cumberlands) Review of Kent D. Cleland and Mary Dobrea-Grindahl, Developing Musicianship Through Aural Skills: A Holistic Approach to Sight-Singing and Ear-Training (Routledge, 2010)

Volume 16, Number 4, December 2010

Rhythm: Africa and Beyond

Article: James Burns (Binghamton University) Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora

James Burns (Binghamton University) Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora