Current Issue (Volume 14, Number 1, March 2008)

Article: Golan Gur (Ludwig Maximilian University and Humboldt University) Body, Forces, and Paths: Metaphor and Embodiment in Jean-Philippe Rameau’s Conceptualization of Tonal Space

Article: Felix F. Diergarten (Musikhochschule Freiburg) “At times even Homer nods off”: Heinrich Christoph Koch’s Polemic against Joseph Haydn

Article: William Rothstein (Queens College and CUNY Graduate Center) Common-tone Tonality in Italian Romantic Opera: An Introduction

Commentary: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks One More Time: A Response to Eight Responses

Commentary: Roger Mathew Grant (University of Pennsylvania) Hysteria at the Musical Surface

Commentary: Eric Wen (Curtis Institute of Music) Commentary on Samuel Ng’s review of Peter H. Smith’s Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet

Review: David B. Easley (Florida State University) Review of Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge and London: Harvard University Press, 2003)

Review: David Nicholls (University of Southampton) Review of Ray Allen and Ellie M. Hisama, eds., Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American Music (Rochester: University of Rochester Press, 2007)

Review: Jonathan Pieslak (The City College of New York) Review of Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003)

Volume 13, Number 4, December 2007

• Article: Julian Hook (Indiana University) Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory
• Article: Jeannie Ma. Guerrero (Eastman School of Music) Francesco's Dream: Musical Logic in Landini's Three-Voice Ballate
• Article: Peter A. Martens (Texas Tech University) Glenn Gould's "Constant Rhythmic Reference Point":
  Communicating Pulse in Bach's Goldberg Variations, 1955 and 1981
• Article: Jacob Reed and Matthew Bain (Ohio State University) A Tetrahelix Animates Bach: Revisualization of David Lewin's Analysis of the Opening of the F# Minor Fugue from WTC I
• Article: Matt L. BaileyShea (Eastman School of Music) Filleted Mignon: A New Recipe for Analysis and Recomposition
• Article: Deborah Mawer (Lancaster University) Exploring Complementation in Bartók's Third Quartet
• Review: Samuel Ng (Louisiana State University) Review of Peter H. Smith, Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet (Bloomington: Indiana University Press, 2005)

Volume 13, Number 3, September 2007

• Article: Fernando Benadon (American University) A Circular Plot for Rhythm Visualization and Analysis
• Article: Scott Murphy (University of Kansas) Considering Network Recursion and Bartók’s “Fourths”
• Article: Adam Ricci (University of North Carolina at Greensboro) The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3
• Article: Mark Sallmen (University of Toronto) Listening to the Music Itself: Breaking Through the Shell of Elliott Carter’s “In Genesis”
• Commentary: Matthew W. Butterfield (Franklin & Marshall College) Response to Fernando Benadon
• Commentary: Gretchen Foley (University of Nebraska-Lincoln) The Efficacy of K-Nets in Perlean Theory
• Commentary: Henry Klumpenhouwer (University of Alberta) Reconsidering Klumpenhouwer Networks: a Response
• Commentary: Catherine Losada (University of Cincinnati College-Conservatory of Music) K-nets and Hierarchical Structural Recursion: Further Considerations
• Commentary: Catherine Nolan (University of Western Ontario) Thoughts on Klumpenhouwer Networks and Mathematical Models: The Synergy of Sets and Graphs
• Commentary: Shaugn O'Donnell (The City College and Graduate Center, CUNY) Embracing Relational Abundance
• Commentary: Philip Stoecker (Oberlin College Conservatory) Without a Safety (k)-Net
• Commentary: Dmitri Tymoczko (Princeton University) Recasting K-nets
• Review: Jeff Perry (Louisiana State University) Review of Anthony K. Brandt, Sound Reasoning: A New Way to Listen

Volume 13, Number 2, June 2007

• Article: Michael Buchler (Florida State University) Reconsidering Klumpenhouwer Networks
• Article: Amanda Stringer Sauer (Florida State University) Cognitive Dissonance and the Performer’s Inner Conflict: A New Perspective on the First Movement of Beethoven’s Op. 101
• Commentary: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) and Matthias Pasdzierny (Universität der Künste Berlin) Sprechstimme Reconsidered Once Again: '... though Mrs. Stiedry is never in pitch'
• Review: Gabe Fankhauser and Jennifer Sterling Snodgrass (Appalachian State University) Review of Ralph Turek, Theory for Today's Musician (New York: McGraw-Hill, 2007)
• Review: Bruce Quaglia (University of Utah) Reviews of Neil Lerner and Joseph Straus, editors, Sounding Off: Theorizing Disability in Music (New York: Routledge, 2006) and Joseph Straus, “Normalizing the Abnormal: Disability in Music and Music Theory” in Journal of the American Musicological Society 59, no. 1 (2006)

Volume 13, Number 1, March 2007

• Article: Gregory J. Marion (University of Saskatchewan) Debussy and Recollection: trois aperçu
• Article: Christoph Neidhöfer (McGill University) Bruno Maderna's Serial Arrays
• Article: Diane Urista (Oberlin College) Chopin’s Prelude in C Major Revisited: Integrating Sound and Symbol
• Commentary: Jeff Perry (Louisiana State University) Music Theory as Conversation
• Commentary: Fernando Benadon (American University) Commentary on Matthew W. Butterfield's "The Power of Anacrusis"
• Commentary: Daniel G Barolsky (Lawrence University) The Performer as Analyst
• Review: Kimberly A. Francis (University of North Carolina at Chapel Hill) Review of Maureen Carr, Multiple Masks: Neoclassicism in Stravinsky’s Works on Greek Subjects (Lincoln: University of Nebraska Press, 2002)

Volume 12, Number 4, December 2006

• Article: David Neumeyer (University of Texas at Austin) The Contredanse, Classical Finales, and Caplin’s Formal Functions
• Article: Matthew W. Butterfield (Franklin & Marshall College) The Power of Anacrusis: Engendered Feeling in Groove-Based Musics
• Article: Adrian P. Childs (University of Georgia) Structural and Transformational Properties of All-Interval Tetrachords

Volume 12, Number 3, October 2006

• Article: Ross W. Duffin (Case Western University) Just Intonation in Renaissance Theory and Practice
• Article: James William Sobaskie (Hofstra University) Contextual Drama in Bach
• Commentary: Maureen A. Carr (The Pennsylvania State University) "Who's on First?": Response to David H. Smyth's review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)
• Review: Tim S. Pack (University of Oregon) Review of Syntagma musicum III, by Michael Praetorius, translated and edited by Jeffery T. Kite-Powell (New York and Oxford: Oxford University Press, 2004)
• Review: Melissa Ursula Dawn Goldsmith (Nicholls State University) Review of Tim J. Anderson, Making Easy Listening: Material Culture and Postwar American Recording, Commerce and Mass Culture Series (Minneapolis and London: University of Minnesota Press, 2006)

Volume 12, Number 2, May 2006

• Article: Yosef Goldenberg (Hebrew University of Jerusalem) A Musical Gesture of Growing Obstinacy
• Article: Scott Murphy (University of Kansas) The Major Tritone Progression in Recent Hollywood Science Fiction Films
• Article: Ronald Woodley (University of Central England, Birmingham Conservatoire) Sharp Practice in the Later Middle Ages: Exploring the Chromatic Semitone and its Implications
• Review: David H. Smyth (Louisiana State University) Review of Stravinsky's Histoire du soldat: A Facsimile of the Sketches, edited by Maureen A. Carr (Middleton, Wisconsin: A-R Editions, 2005)

Volume 12, Number 1, February 2006

• Article: Eliot Ghofur Woodruff (University of Canterbury) Metrical Phase Shifts in Stravinsky's The Rite of Spring
• Article: Avior Byron (Royal Holloway, University of London and Bar-Ilan University) The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered
• Article: Jeannie Ma. Guerrero (Eastman School of Music) Serial Intervention in Nono's Il canto sospeso
• Article: Guy Capuzzo (University of North Carolina at Greensboro) Pat Martino's The Nature of the Guitar: An Intersection of Jazz Theory and Neo-Riemannian Theory
• Review: Peter Schubert (McGill University) Review of David Yearsley, Bach and the Meanings of Counterpoint (Cambridge: Cambridge University Press, 2002)

Volume 11, Number 4, October 2005

• Article: Luis-Manuel Garcia (University of Chicago) On and On: Repetition as Process and Pleasure in Electronic Dance Music
• Article: Allan F. Moore (University of Surrey) The Persona-Environment Relation in Recorded Song
• Article: Dmitri Tymoczko (Princeton University) Voice Leadings as Generalized Key Signatures
• Review: Mark Spicer (City University of New York) Review of Walter Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul
  (New York and Oxford: Oxford University Press, 2001)

Volume 11, Number 3, September 2005

• Article: Lori Burns (University of Ottawa) Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong
• Article: Thomas M. Fiore (University of Chicago) and Ramon Satyendra (University of Michigan) Generalized Contextual Groups
• Article: Daphne Leong and David Korevaar (University of Colorado at Boulder) The Performer's Voice: Performance and Analysis in Ravel's Concerto pour la main gauche

Volume 11, Number 2, June 2005

• Article: Stefan Eckert (Northwestern University) "So, you want to write a Minuet?" -- Historical Perspectives in Teaching Theory
• Article: Art Samplaski, Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling
• Review: Burdette Green (Ohio State University) Review of Rebecca Herissone, Music Theory in Seventeenth-Century England (Oxford: Oxford University Press, 2000)
• Review: Daniel Harrison (Yale University) Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge: Cambridge University Press, 2003)

Volume 11, Number 1, March 2005

Special Issue on Performance and Analysis: Views from Theory, Musicology, and Performance

• Article: Robert Hatten (Indiana University) Introduction (to the Special Issue on Performance and Analysis)
• Article: Nicholas Cook (University of London) Prompting Performance: Text, Script, and Meaning in Bryn Harrison's être-temps
• Article: William Rothstein (CUNY Graduate Center) Like Falling off a Log: Rubato in Chopin’s Prelude in A-flat Major, Op. 28 No. 17
• Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Virtuosity in Babbitt’s Lonely Flute
• Article: Elizabeth McNutt (University of Colorado at Boulder) A Postscript on Process
• Article: Janet Schmalfeldt (Tufts University) Response (to the Special Issue on Performance and Analysis)
• Article: Daphne Leong and Elizabeth McNutt (University of Colorado at Boulder) Response to Janet Schmalfeldt's Response
• Review: Robert Hatten (Indiana University) Review of Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002)
• Review: Peter Kaminsky (University of Connecticut) Review of Beatlestudies 3: Proceedings of the BEATLES 2000 Conference (Jyväskylä, Finland: University of Jyväskylä Press, 2001)

Volume 10, Number 4, December 2004

• Article: Walter T. Everett (University of Michigan) Making Sense of Rock's Tonal Systems
• Article: Yayoi Uno Everett (Emory University) Parody with an Ironic Edge: Dramatic Works by Kurt Weill, Peter Maxwell Davies, and Louis Andriessen
• Article: Robert Gauldin (Eastman School of Music) Tragic Love and Musical Memory
• Commentary: Eric L. Wen (Curtis Institute of Music) More on Sharp ^4 to Natural ^4: Further thoughts on Frank Samarotto's article "Sublimating Sharp ^4: An Exercise in Schenkerian Energetics"
• Review: Nicola Dibben (University of Sheffield) Review of Lawrence M. Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis (New York: Oxford University Press, 2002)
• Review: John L. Snyder (University of Houston) Review of Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge: Cambridge University Press, 2002)

Volume 10, Number 3, September 2004

• Article: Clinton Callender (Florida State University) Continuous Transformations
• Article: Nick Collins (University of Cambridge) An Algorithm for the Direct Generation of Set Class Representatives in Any Pitch Class Space
• Article: Frank Samarotto (Indiana University) Sublimating Sharp ^4: An Exercise in Schenkerian Energetics
• Commentary: Bret Aarden and Paul T. von Hippel (Ohio State University) Rules for Chord Doubling (and Spacing): A Reply To Wibberley
• Commentary: Roger Wibberley (Goldsmiths University of London) Models for Chord Doubling (and Spacing): Which Ones Don't We Need?
• Review: Damian Espinosa (University of Chicago) Review of Annette Richards, The Free Fantasia and the Musical Picturesque. New Perspectives in Music History and Criticism
• Review: Edward D. Latham (Temple University) Binary Oppositions in Arnold Whittall's Exploring Twentieth-Century Music: Tradition and Innovation (Cambridge University Press, 2003) and Their Implications for Analysis

Volume 10, Number 2, June 2004

• Article: Bret Aarden and Paul T. von Hippel (Ohio State University) Rules for Chord Doubling (and Spacing): Which Ones Do We Need?
• Article: Lori Burns (University of Ottawa) and Alyssa Woods (University of Michigan) Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem
• Article: Art Samplaski, Interval-Classes and Psychological Space
• Review: Kenneth Gloag (Cardiff University) Review of David Clarke, The Music and Thought of Michael Tippett: Modern Times and Metaphysics (Cambridge: Cambridge University Press, 2001)
• Review: Rob Haskins (University of New Hampshire) Review of The Cambridge Companion to John Cage, ed. David Nicholls (Cambridge: Cambridge University Press, 2002)

Volume 10, Number 1, January 2004

• Article: Janet Schmalfeldt (Tufts University) Coming Home
• Article: Roger Wibberley (Goldsmiths University of London) Quid non ebrietas dissignat? Willaert's didactic demonstration of Syntonic tuning
• Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: A Sixteenth-Century Composer's Soundscape
• Article: Roger Wibberley (Goldsmiths University of London) Syntonic Tuning: Creating a Model for Accurate Electronic Playback
• Review: Richard Bass (University of Connecticut) Review of David Kopp, Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002
• Review: Michelle E. Hakanson (University of Oregon) Review of Carol J. Oja, Making Music Modern: New York in the 1920s. New York: Oxford University Press, 2000

Volume 9, Number 4, October 2003

• Article: Richard Cohn (University of Chicago) A Tetrahedral Graph of Tetrachordal Voice-Leading Space
• Article: Nancy Rogers and Michael Buchler (Florida State University) Square Dance Moves and Twelve-Tone Operators: Isomorphisms and New Transformational Models

Volume 9, Number 3, August 2003

• Article: Tuire Kuusi (Sibelius Academy) The Role of Set-Class Identity in the Estimation of Chords
• Article: Robert W. Peck (Louisiana State University) Klein-Bottle Tonnetze
• Article: Diane J. Urista (Oberlin College) Beyond Words: The Moving Body as a Tool for Musical Understanding
• Review: Robert W. Peck (Louisiana State University) A Review of the 2003 American Mathematical Society Spring Southeastern Section Conference, Special Session on Mathematical Techniques in Musical Analysis

Volume 9, Number 2, July 2003

• Article: Alfred Cramer (Pomona College) The Harmonic Function of the Altered Octave in Early Atonal Music of Schoenberg and Webern: Demonstration Using Auditory Streaming
• Article: Peter Silberman (University of Rochester) Post-Tonal Improvisation in the Aural Skills Classroom
• Review: Judy Lochhead (SUNY at Stony Brook) Review of Ellie M. Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon

Volume 9, Number 1, March 2003

Special Issue: The SMT Twenty-Fifth Anniversary Banquet Lectures

• Article: Richmond Browne, The Deep Background of our Society
• Article: Allen Forte (Yale University) The Founding of the Society for Music Theory
• Article: William Hussey, Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich
• Article: Elizabeth Sayrs (University of Saskatchewan) Narrative, Metaphor, and Conceptual Blending in "The Hanging Tree"
• Article: Mary Wennerstrom (Indiana University) SMT at 25: A View from the Balance Sheet
• Commentary: Henkjan Honing (University of Amsterdam) Some Comments on the Relation Between Music and Motion
• Review: Jeffrey Perry (Louisiana State University) Review of M. J. Grant, Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe

Volume 8, Number 4, December 2002

• Article: Kevin Holm-Hudson (University of Kentucky) Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of "Superstar"
• Article: Rebecca Leydon (Oberlin College) Towards a Typology of Minimalist Tropes
• Review: Olli Väisälä (Sibelius Academy) Review of Timothy L. Jackson and Veijo Murtomäki, eds. Sibelius Studies (Cambridge: Cambridge University Press, 2001)

Volume 8, Number 3, October 2002

• Article: Murray Dineen (University of Ottawa) Figured Bass and Modulation: The Wiener-Tonschule of Joseph Preindl
• Article: Ciro G. Scotto (Eastman School of Music) Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb
• Review: Guy Capuzzo (Texas Tech University) Review of Robert D. Morris, Class Notes for Advanced Atonal Music Theory (Lebanon, N.H.: Frog Peak Music, 2001)

Volume 8, Number 2, August 2002

• Article: Vincent P. Benitez (Bowling Green State University) Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera, Saint François d’Assise
• Commentary: Robert Cantrick (Buffalo State College, SUNY) Commentary on Nicholas Cook, "Theorizing Musical Meaning," Music Theory Spectrum 23/2 (2001)
• Commentary: Nicholas Cook (University of Southampton) Reply to Cantrick
• Review: Harald Krebs (University of Victoria) Review of David Ferris, Schumann's Eichendorff Liederkreis and the Genre of the Romantic Cycle. New York: Oxford University Press, 2000.
  

Volume 8, Number 1, February 2002

• Article: Alan Dodson (University of Western Ontario) Performance and Hypermetric Transformation: An Extension of the Lerdahl-Jackendoff Theory
• Review: Bruce Quaglia (University of Utah) Review of Bryan Simms, The Atonal Music of Arnold Schoenberg 1908-1923 (New York: Oxford, 2000)

Volume 7, Number 6, December 2001

• Article: Mark J. Butler (Indiana University) Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music
• Review: Walter T. Everett (University of Michigan) Review of Richard Middleton, ed., Reading Pop: Approaches to Textual Analysis in Popular Music

Volume 7, Number 5, October 2001

• Article: Berthold Hoeckner (University of Chicago) Poet's Love and Composer's Love
• Review: John Novak (Northern Illinois University) Review of Amanda Bayley, ed., The Cambridge Companion to Bartók
• Review: Jay Rahn (York University) Conference Report: Symposium on Neo-Riemannian Theory, State University of New York at Buffalo, July 20-21, 2001

Volume 7, Number 4, July 2001

• Article: David Huron (Ohio State University) What is a Musical Feature? Forte's Analysis of Brahms's Opus 51, No. 1, Revisited
• Review: Jonathan Walker (Cambridge University) Review of Adam Krims, Rap Music and the Poetics of Identity, Cambridge University Press, 2000

Volume 7, Number 3, May 2001

• Article: Robert A. Wannamaker (York University) Structure and Perception in Herma by Iannis Xenakis

Volume 7, Number 2, April 2001

• Article: Nicholas Cook (University of Southampton) Between Process and Product: Music and/as Performance

Volume 7, Number 1, January 2001

• Article: Gretchen G. Horlacher (Indiana University) Bartók's "Change of Time": Coming Unfixed
• Article: John Roeder (University of British Columbia) Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartók's "With Drums and Pipes"

Volume 6, Number 5, November 2000

• Article: Jeffrey Perry (Louisiana State University) The Ladder of Evolution and Musical Progress
• Review: David Carson Berry (Yale University) Review of Philip Furia, Irving Berlin: A Life In Song. New York: Schirmer Books, 1998.

Volume 6, Number 4, October 2000

• Article: Daniel Harrison (University of Rochester) Tolling Time
• Review: Frank Samarotto (University of Cincinnati) "The Body that Beats": Review of Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999.

Volume 6, Number 3, August 2000

Special Issue: Plenary Session from the 2000 Meeting of the New England Conference of Music Theorists

• Article: Joseph Dubiel (Columbia University) Analysis, Description, and What Really Happens
• Article: Allen Forte (Yale University) Responses to Plenary Session Papers, NECMT 2000
• Article: Ellie M. Hisama (Brooklyn College and the Graduate Center, CUNY) Life Outside the Canon? A Walk on the Wild Side
• Article: Peter M. Kaminsky (University of Connecticut) Revenge of the Boomers: Notes on the Analysis of Rock Music
• Article: Gary S. Karpinski (University of Massachusetts, Amherst) Lessons from the Past: Music Theory Pedagogy and the Future
• Article: Patrick McCreless (Yale University) Music Theory and Historical Awareness

Volume 6, Number 2, May 2000

• Article: Michael Tenzer (University of British Columbia) Theory and Analysis of Melody in Balinese Gamelan
• Commentary: Raymond Monelle (University of Edinburgh) Martinez's Concept of "Intrinsic Semiosis" (Commentary on Martinez, MTO 6.1)
• Review: Yrjo Heinonen, Review of Walter Everett, The Beatles as Musicians: Revolver Through the Anthology. New York: Oxford University Press, 1999

Volume 6, Number 1, January 2000

Special Issue: Plenary Session at the Society for Music Theory's 22nd meeting in Atlanta (November 13, 1999)

• Article: Kofi Agawu (Princeton University) Response to 1999 SMT International Plenary Session
• Article: Willie Anku (University of Ghana) Circles and Time: A Theory of Structural Organization of Rhythm in African Music
• Article: José Luis Martinez (Pontifícia Universidade Católica de São Paulo) Semiotics and the Art Music of India
• Article: Nicolas Meeus (University of Paris Sorbonne) Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions
• Article: Danuta Mirka (Music Academy, Poland) The Structural Role of Timbre and Texture in the Music of Penderecki
• Review: J. Daniel Jenkins (University of Louisville) Review of David Schiff, The Music of Elliott Carter. 2nd ed. Ithaca: Cornell University Press, 1998.
• Review: Jeffrey Perry (Louisiana State University) Review of Allen Forte, The Atonal Music of Anton Webern. New Haven: Yale University Press, 1999.
• Review: Robert Rawlins (Rowan University) Review of Mark Levine, The Jazz Theory Book. Petaluma, Calif.: Sher Music, 1995.
• Review: Roger Vetter (Grinnell College) Review of Michelle Kisliuk, Seize the Dance: BaAka Musical Life and the Ethnography of Performance. New York: Oxford University Press, 1998.
• International Report: Tamara W. Roemjantsew (Utrecht School of the Arts) Report on Two Conferences in the Netherlands

Volume 5, Number 4, September 1999

• Review: David A. Damschroder (University of Minnesota) Review of Joseph N. Straus, ed, Unfoldings: Essays in Schenkerian Theory and Analysis (Oxford: Oxford University Press, 1999)
• Review: Ludger Hofmann-Engl (Keele University) Review of W.B. Hewlett & E. Selfridge-Field, eds., Melodic Similarity: Concepts, Procedures, and Applications (Cambridge, Massachusetts: MIT Press, 1999).
• Review: David Perrott (Northwestern University) Review of Laurent Fichet, Les theories scientifiques de la musique (Paris: Librairie philosophique J. Vrin, 1996).
• Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Eleanor Selfridge-Field, Beyond MIDI: the Handbook of Musical Codes (Cambridge, Mass.: MIT Press, 1997).
• International Report: Tess James (University of East London) Review of Zbigniew Preisner, Requiem for My Friend

Volume 5, Number 3, May 1999

• Article: Timothy Koozin (University of Houston) On Metaphor, Technology, and Schenkerian Analysis
• Review: James Buhler (Carleton College) Review of Roger Scruton, The Aesthetics of Music
• Review: David Temperley (Ohio State University) Review of Joseph Swain, Musical Languages
• International Report: Tore Eriksson (University of Lund) Four Swedish Dissertations in Music Theory

Volume 5, Number 2, March 1999

• Article: Stephen Soderberg (Library of Congress) White Note Fantasy, Part II: A Few Hypertonal Variations
• Review: Diane Luchese (Ohio State University) Review of Anthony Pople, Messiaen: Quatuor pour la fin du Temps
• Review: Peter J. Raschke (Northwestern University) Review of Music-Theory Web Sites for the Beginner

Volume 5, Number 1, January 1999

• Article: Jack F. Boss (University of Oregon) "Schenkerian-Schoenbergian Analysis" and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1
• International Report: Tess James (University of East London) Hans Rott (1858-1884) -- the missing link between Bruckner and Mahler
• International Report: Panos Vlagopoulos (Ionion State University) Report on the First Symposium On Computer and Music in Corfu, Greece (23-25 October 1998)

Volume 4, Number 6, November 1998

• Article: Jay Rahn (York University) Practical Aspects of Marchetto's Tuning
• Review: Floyd Grave (Rutgers University) Review of William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York and Oxford: Oxford University Press, 1998)

Volume 4, Number 5, September 1998

• Article: Roger Wibberley (Goldsmiths University of London) J.S. Bach's Prelude and Fugue in E Flat (BWV 522,1/2): An Inspiration of the Heart?
• International Report: Tess James (University of East London) Celibidache and Bruckner

Volume 4, Number 4, July 1998

• Article: David B. Lewin (Harvard University) The D major Fugue Subject from WTC II: Spatial Saturation?
• Article: Kenneth P. Scholtz, Algorithms for Mapping Diatonic Keyboard Tunings and Temperaments
• Review: John Roeder (University of British Columbia) Review of Christopher F. Hasty, Meter as Rhythm (New York/Oxford: Oxford University Press, 1997)

Volume 4, Number 3, May 1998

• Article: Stephen Soderberg (Library of Congress) White Note Fantasy
• Review: Stefano Mengozzi (University of Chicago) Review of Lionel Pike, Hexachords in Late-Renaissance Music (Aldershot: Ashgate, 1998)
• International Report: Panos Vlagopoulos (Ionion State University) Music Theory In Greece

Volume 4, Number 2, March 1998

Special Issue: Plenary Session, "Music Theory: Practices and Prospects." November 1, 1998

• Article: Richard Cohn (University of Chicago) Music Theory's New Pedagogability
• Article: Joel Lester (Mannes College of Music) How Theorists Relate To Musicians
• Article: Judith I. Lochhead (SUNY at Stony Brook) Retooling the Technique
• Article: Patrick McCreless (University of Texas at Austin) Music Theory as Community: A Perspective from the Late '90's
• Article: Robert D. Morris (Eastman School of Music) Introduction to Panorama of Music Theory, 1987-97
• Article: Janet Schmalfeldt (Tufts University) On Keeping the Score
• Article: Joseph N. Straus (The Graduate Center, CUNY) SMT 1997 Plenary Session: Introductory Remarks
• Review: Wayne Alpern (City University of New York) "Will the Real Anton Webern Please Stand Up?": Anne C. Shreffler, Webern and the Lyric Impulse (Oxford, Oxford University Press: 1994)

Volume 4, Number 1, January 1998

• Article: Lawrence Zbikowski (University of Chicago) Metaphor and Music Theory: Reflections from Cognitive Science
• Review: Benedict Weisser (Oberlin College) Review of David Cope, Techniques of the Contemporary Composer
• International Report: Per F. Broman (University of Gothenburg) Report from the "Skagerack Network" Analysis Workshop at Lyseby Conference Center in Oslo, Norway, November 20-23, 1997

Volume 3, Number 5, September 1997

• Article: Alexander Brinkman and Elizabeth West Marvin (Eastman School of Music) Using the Tools to Teach the Tools: Teaching Multimedia Programming in Music Curricula
• Article: Dave Headlam (Eastman School of Music) Multimedia for Music Study on the Web: Director from Macromedia
• Article: Ann K. McNamee (Swarthmore College) Publishing and Pedagogy Using Multimedia on the World-Wide Web
• International Report: Richard Hermann (University of New Mexico) Reflexive Postmodern Anthropology Meets Musical "Modernism": Georgina Born's Rationalizing Culture. A Review of IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.

Volume 3, Number 4, July 1997

• Commentary: Rosemary Killam (University of North Texas) Response to Professor Morse's Open Letter (MTO 3.3)
• Commentary: Justin London (Carleton College) A Different Response to Killam (MTO 3.2, 3.3)
• Review: Larry Barnes (Transylvania University) Review of J. Kent Williams, Theories and Analyses of Twentieth-Century Music
• Review: William M. Marvin (Oberlin Conservatory) Review of Daniel Kazez, Rhythm Reading: Elementary Through Advanced Training
• International Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Third Triennial ESCOM Conference in Uppsala, Sweden, 7-12 June, 1997
• International Report: Wai-Ling Cheong (The Chinese University of Hong Kong) Theory Reception in China: Report on Journals of Central Conservatory and Shanghai Conservatory of Music
• International Report: Nicolas Meeus (University of Paris Sorbonne) Music Theory and Analysis in France and Belgium

Volume 3, Number 3, May 1997

• Article: Stephen A. Taylor (Illinois State University) Chopin, Pygmies, and Tempo Fugue: Ligeti's "Automne a Varsovie"
• Commentary: Ethan T. Haimo (University of Notre Dame) Linear Analysis--A Cure for Pitch-Class Set Analysis?: A Reply (MTO 3.2)
• Commentary: Michael William Morse (Trent University) To Rosemary Killam: An Open Letter and Reply (MTO 3.2)
• Review: Anthony Pople (Lancaster University) Review of David Epstein, Shaping Time: Music, the Brain, and Performance

Volume 3, Number 2, March 1997

• Article: Rosemary Killam (University of North Texas) Cognitive Dissonance: Should Twentieth-century Women Composers Be Grouped with Focault's Mad Criminals?
• Review: Edward D. Latham (Yale University) Review of Ethan Haimo's article, "Atonality Analysis, and the Intentional Fallacy," Music Theory Spectrum 18/2 (Fall, 1996)

Volume 3, Number 1, January 1997

• Article: Eytan Agmon (Bar-Ilan University) The Bridges that Never Were: Schenker on the Contrapuntal Origin of the Triad and Seventh Chord
• Review: Michael Friedmann (Yale University) Review of Nicolas Marstons' Beethoven's Piano Sonata in E, op. 109
• Review: Sarah Fuller (SUNY at Stony Brook) Review of Musica Enchiriadis and Scolica Enchiriadis, trans., with an Introduction and Notes, by Raymond Erickson, ed. Claude V. Palisca
• International Report: Andre M. Douw (Amsterdam School of the Arts) and Michiel C. Schuijer (University of Utrecht) Music Theory at the Amsterdam School of Music

Volume 2, Number 7, November 1996

• Article: Eric J. Isaacson (Indiana University) Issues in the Study of Similarity in Atonal Music
• Commentary: Roger Wibberley (Goldsmiths University of London) "Mode versus Ficta" in Context (response to Bent, MTO 2.6)
• Commentary: Channan Willner (The New York Public Library for the Performing Arts) Handel, the Sarabande, and Levels of Genre: A Reply to David Schulenberg (MTO 2.5)
• Review: Donna Brink Fox (Eastman School of Music) Review of Abeles, Harold; Hoffer, Charles; and Klotman, Robert. Foundations of Music Education, 2nd ed. New York: Schirmer Books
• Review: Jonathan Wild (McGill University) A Review of the Humdrum Toolkit: UNIX Tools for Musical Research, created by David Huron
• International Report: Gerold W. Gruber (University of Music and Dramatic Arts, Vienna, Austria) Review of the 3rd Congress for Music Theory, Vienna, Austria, May 10-12, 1996

Volume 2, Number 6, September 1996

• Article: Victor Grauer, Toward a Unified Theory of the Arts
• Commentary: Margaret Bent (All Souls College) Diatonic ficta Revisited: Josquin's Ave Maria in Context (MTO 2.5)
• Commentary: Jonathan Walker (Queen's University Belfast) Intonational Injustice: A Defense of Just Intonation in the Performance of Renaissance Polyphony
• Review: John Wm. Schaffer (University of Wisconsin-Madison) Review of Peter Castine's Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music
• International Report: Per F. Broman (Lulea University of Technology, Sweden) Report from the Three Seminars on Contemporary Music with Connection to the ISCM World Music Days in Copenhagen, 1996

Volume 2, Number 5, July 1996

• Article: Roger Wibberley (Goldsmiths University of London) Josquin's Ave Maria: Musica Ficta versus Mode
• Commentary: David L. Schulenberg (University of North Carolina at Chapel Hill) Commentary on Channan Willner: "More on Handel and the Hemiola" (MTO 2.3)
• Review: Jane Clendinning (Florida State University) Review/Article of Miguel A. Roig-Francoli's Article "Harmonic and Formal Processes in Ligeti's Net-Structure Compositions," Music Theory Spectrum 17/2 (Fall, 1995), 242-267.
• International Report: Peter Castine (Technical University of Berlin) Review of "The Beginnings of Serial Music," Berlin, Germany, June 20-25, 1996

Volume 2, Number 4, May 1996

• Article: Kofi Agawu (Yale University) Analyzing Music Under the New Musicological Regime
• Article: Eytan Agmon (Bar-Ilan University) Beethoven's Op. 81a and the Psychology of Loss
• Commentary: Josh Mailman, The Aims of Music Theory and Neurath's Boat: A Reply to Jonathan Walker and Matthew Brown (MTO 2.2)
• Commentary: Jonathan Walker (Queen's University Belfast) The Deconstruction of Musicology: Poison or Cure?
• Review: Nancy M. Berman (McGill University) Review of Glenn Watkins, Pyramids at the Louvre, Harvard University Press, 1994

Volume 2, Number 3, March 1996

• Article: Channan Willner (The New York Public Library for the Performing Arts) More on Handel and the Hemiola: Overlapping Hemiolas
• Commentary: Eytan Agmon (Bar-Ilan University) Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb (MTO 2.1)
• Review: Douglas Dempster (Eastman School of Music) Review of Peter Kivy's The Fine Art of Repetition
• International Report: Peter Castine (Technical University of Berlin) Review of John Cage Symposium (Berlin, Germany)

Volume 2, Number 2, March 1996

• Article: Matthew Brown (Louisiana State University) Adrift on Neurath's Boat: The Case for a Naturalized Music Theory
• Article: Scott Burnham (Princeton University) Theorists and "The Music Itself"
• Article: Joseph Dubiel (Columbia University) On Getting Deconstructed
• Article: Marion Guck (Washington University) Music Loving, Or the Relationship with the Musical Work
• Article: Patrick McCreless (University of Texas at Austin) Contemporary Music Theory and the New Musicology: An Introduction

Volume 2, Number 1, January 1996

• Article: Richard Littlefield (Baylor University) The Silence of the Frames
• Commentary: John Rothgeb (Binghamton University) Eytan Agmon on Functional Theory
• Review: Judy Lochhead (SUNY at Stony Brook) Review of Embodied Voices: Representing female vocality in western culture edited by Leslie C. Dunn and Nancy A. Jones. Cambridge University Press, 1994
• Review: Patrick McCreless (University of Texas at Austin) Review of Jean-Jacques Nattiez, Wagner Androgyne: A Study in Interpretation (Princeton: Princeton University Press, 1993)

Volume 1, Number 6, November 1995

• Article: William Pastille (St. John's College) Schenker's Value-Judgments
• Review: Matthew S. Royal (University of Western Ontario) Review of Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures (Chicago: University of Chicago Press, 1990) and The Analysis and Cognition of Melodic Complexity (Chicago: University of Chicago Press, 1992).

Volume 1, Number 5, September 1995

• Article: John Covach (University of North Carolina at Chapel Hill) Schoenberg's Turn to an "Other" World
• Article: Pieter C. van den Toorn (University of California, Santa Barbara) A Response to Richard Taruskin's "A Myth of the Twentieth Century"
• Commentary: Brian Robison (Cornell University) Category Structures and Fuzzy Sets (response to Lawrence Zbikowski) (MTO 1.4)
• Commentary: Lawrence Zbikowski (University of Chicago) Response to Robison, "Category Structures and Fuzzy Sets" (MTO 1.5)
• Review: Peter N. Schubert (McGill University) Review of Musical Poetics by Joachim Burmeister. Translated, with Introduction and Notes, by Benito V. Rivera. Edited by Claude V. Palisca (New Haven and London: Yale University Press, 1993).

Volume 1, Number 4, July 1995

• Article: David Loberg Code (Western Michigan University) Listening for Schubert's 'Doppelgaengers'
• Article: Lawrence Zbikowski (University of Chicago) Theories of Categorization and Theories of Music
• Commentary: Thomas R. Demske (Yale University) Response to Richard Hermann (MTO 1.3)
• Review: John Cuciurean (SUNY Buffalo) Review of Mark Lindley's and Ronald Turner-Smith's Mathematical Models of Musical Scales: A New Approach.

Volume 1, Number 3, May 1995

• Article: Timothy Johnson (Mount Holyoke College) The Computer Presentation of Musical Research: A Case Study
• Article: David Kopp (Brandeis University) On the Function of Function
• Commentary: Thomas R. Demske (Connecticut College) Response to Parncutt (MTO 1.3)
• Commentary: Richard Hermann (University of New Mexico) Response to Demske (MTO 1.2)
• Commentary: Justin London (Carleton College) Misreading Meyer: A Reply to Cochrane (MTO 1.1)
• Commentary: Richard Parncutt (Keele University) Response to Demske (MTO 1.2)
• Commentary: William Rothstein (Oberlin College) The Tristan Chord in Historical Context: A Response to John Rothgeb (MTO 1.1)
• Review: Stephen Smoliar (National University of Singapore) Book Review: Robert Cogan, New Images of Musical Sound

Volume 1, Number 2, March 1995

• Article: Thomas R. Demske (Connecticut College) On Considering a Computational Model of Similarity Analysis
• Commentary: Allen Forte (Yale University) Tristan Redux: Comments on John Rothgeb's Article on the Tristan Chord in MTO 1.1 (MTO 1.1)

Volume 1, Number 1, January 1995

• Article: Richard J. Cochrane (University of Wales College of Cardiff) The Phases of Fire
• Article: John Rothgeb (Binghamton University) The Tristan Chord: Identity and Origin
• Commentary: Richard J. Cochrane (University of Wales College of Cardiff) The Idea of Four Minutes and Thirty-Three Seconds: Response to John Covach (MTO 0.11)
• Commentary: John Covach (University of North Texas) Musical Worlds and the Metaphysics of Analysis
• Commentary: Adam Krims (University of Alberta) On the Fear of Losing Our Tools (A Response to Joseph N. Straus) (MTO 1.1)
• Commentary: Stephen Smoliar (National University of Singapore) Musical Objects: Response to John Covach (MTO 0.11)
• Commentary: Joseph N. Straus (The Graduate Center, CUNY) Post-structuralism and Music Theory: A Response to Adam Krims (MTO 0.11)
• International Report: David Clampitt (SUNY Buffalo) Report: An International Symposium of Music and Mathematics (Bucharest, Romania)

Volume 0, Number 11, November 1994

• Article: John Covach (University of North Texas) Destructuring Cartesian Dualism in Musical Analysis
• Article: Adam Krims (University of Alberta) Bloom, Post-Structuralism(s), and Music Theory

Volume 0, Number 10, September 1994

• Article: William Renwick (McMaster University) "A Subject of Four Notes": William Crotch's Experiment in Motivic Saturation
• Article: Brian Robison (Cornell University) Modifying Interval-Class Vectors of Large Collections to Reflect Registral Proximity Among Pitches
• Commentary: Jay Rahn (York University) Reply to Smoliar's "Mathematical Logic" (MTO 0.9, 0.10)
• Commentary: Stephen Smoliar (National University of Singapore) Mathematical Logic: Response to Jay Rahn (MTO 0.9, 0.10)

Volume 0, Number 9, July 1994

• Article: Henry Klumpenhouwer (University of Alberta) Some Remarks on the Use of Riemann Transformations
• Article: Jay Rahn (York University) From Similarity to Distance; From Simplicity to Complexity; From Pitches to Intervals; From Description to Causal Explanation

Volume 0, Number 8, May 1994

• Article: Robert Judd, Composers, Performers and Notation: Solo Music Notations in Europe, 1500-1700
• Article: Rosemary Killam (University of North Texas) Feminist Theories--Process and Continua

Volume 0, Number 7, March 1994

• Article: Bo H. Alphonce (McGill University) Dissonance and Schumann's Reckless Counterpoint
• Commentary: James Harley (McGill University) Commentary on Stephen Smoliar (MTO 0.6)
• Commentary: Richard Littlefield (Baylor University) Commentary on John Roeder (MTO 0.5)
• International Report: Reinhard Kopiez (Technische Universitaet Berlin) Report on the Jahrestagung der Deutschen Gesellschaft fuer Musikpsycologie (DGM), Muenster, 10-12 September, 1993, trans. Richard Parncutt

Volume 0, Number 6, January 1994

• Article: Stephen Smoliar (National University of Singapore) Computers Compose Music, But Do We Listen?
• Commentary: David B. Lewin (Harvard University) Commentary on Roeder (MTO 0.5)
• Commentary: John Roeder (University of British Columbia) Response to Commentaries (on his MTO 0.5 article)
• Commentary: Stephen Smoliar (National University of Singapore) Commentary on Roeder (MTO 0.5)
• International Report: Richard Parncutt (McGill University) Review of the 1993 Conference of the Society for Music Perception and Cognition

Volume 0, Number 5, November 1993

• Article: John Roeder (University of British Columbia) Toward a Semiotic Evaluation of Music Analyses

Volume 0, Number 4, September 1993

• Article: Ann K. McNamee (Swarthmore College) Grazyna Bacewicz's Second Piano Sonata (1953): Octave Expansion and Sonata Form

Volume 0, Number 3, June 1993

• Article: Mark Lindley and Ronald Turner-Smith, An Algebraic Approach to Mathematical Models of Scales
• Commentary: Robert Judd, Commentary on Justin London (MTO 0.2)
• Commentary: Joel Lester (City University of New York) Commentary on Justin London (MTO 0.2)
• Commentary: Justin London (Carleton College) Commentary on Justin London (MTO 0.2)
• Commentary: Richard Parncutt (McGill University) Commentary on Justin London (MTO 0.2)
• Commentary: Stephen Smoliar (National University of Singapore) Commentary on Justin London (MTO 0.2)

Volume 0, Number 2, April 1993

• Article: Justin London (Carleton College) Loud Rests and Other Strange Metric Phenomena (or, Meter as Heard)
• Commentary: Robert Judd, Commentary on Neumeyer (MTO 0.1)
• Commentary: Robert Kosovsky (City University of New York) Commentary on Neumeyer (MTO 0.1)
• Commentary: David Neumeyer (Indiana University) Commentary on Neumeyer (MTO 0.1)
• Commentary: Shaugn O'Donnell (Queens College / CUNY) Commentary on Neumeyer (MTO 0.1)
• Commentary: Stephen Smoliar (National University of Singapore) Commentary on Neumeyer (MTO 0.1)

Volume 0, Number 1, February 1993

• Article: David Neumeyer (Indiana University) Schoenberg at the Movies: Dodecaphony and Film