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H. Kretzschmar: ‘Anregungen zur Förderung musikalischer Hermeneutik’,
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R. Mayrhofer: Die organische Harmonielehre (Berlin, 1908)
A. Schering: ‘Die Lehre von der musikalischen Figuren’,
KJb, 21 (1908), 106–14
M. Chop: Ludwig van Beethovens Symphonien: geschichtlich und musikalisch Analysiert (Leipzig, 1910)
P. Coindreau: Analyse des dix-sept quatuors de Beethoven (Paris, 1910)
E. Prout: Analysis of J.S. Bach’s Forty-Eight Fugues (Das Wohltemperirte Clavier), ed. L.B. Prout (London, 1910)
H. Schenker: Johann Sebastian Bach: Chromatische Fantasia und Fuge: kritische Ausgabe mit Anhang (Vienna, 1910, rev. 2/1969 by O. Jonas; Eng. trans., 1984)
G. Adler: Der Stil in der Musik, i: Prinzipien und Arten des musikalischen Stils (Leipzig, 1911, 2/1929/R; rev. 1919/Ras Methode der Musikgeschichte)
I. Krohn: ‘Über die Methode der musikalischen Analyse’,
IMSCRIV: London 1911, 250–58
H. Leichtentritt: Musikalische Formenlehre (Leipzig, 1911, 3/1927/R; Eng. trans., 1951 as Musical Form)
A. Schering: Musikalische Bildung und Erziehung zum musikalischen Hören (Leipzig, 1911, 4/1924)
A. Schoenberg: Harmonielehre (Vienna, 1911, 3/1922; Eng. trans., abridged, 1948)
A. Schering: ‘Das kolorierte Orgelmadrigal des Trecento’,
SIMG, 13 (1911–12), 172–204
M. Lussy: La sonate pathétique de L. van Beethoven, op.13, rhythmée et annotée, ed. A. Dechevrens (Paris, 1912)
H. Schenker: Beethovens neuente Sinfonie: eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur (Vienna, 1912/R; Eng. trans., 1992)
A.B. Marx: Musikalische Schriften über Tondichter und Tonkunst, ed. L. Hirschberg (Hildburghausen, 1912–22)
C. von Ehrenfels: Richard Wagner und seine Apostaten (Vienna, 1913)
E. Kurth: ‘Die Jugendopern Glucks bis “Orfeo”’,
SMw, 1 (1913), 193–277
E. Kurth: Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme (Berne, 1913/R)
H. Schenker: Die letzen fünf Sonaten Beethovens [‘Erläuterungsausgaben’] (Vienna, 1913–21, 2/1971–2 by O. Jonas)
H. Erpf: Der Begriff der musikalischen ‘Form’ (Stuttgart, 1914)
A. Halm: Die Symphonie Anton Bruckners (Munich, 1914, 2/1923/R)
A. Schering: ‘Zur Grundlegung der musikalischen Hermeneutik’, Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 9 (1914), 168–75
W. Fischer: Zur Entwicklungsgeschichte des Wiener klassischen Stils (Habilitationsschrift, U. of Vienna, 1915); extracts in
SMw, iii (1915), 24–84
H. Gál: ‘Die Stileigentümlichkeiten des jungen Beethoven’,
SMw, 4 (1916), 58–115
E. Kurth: Grundlagen des linearen Kontrapunkts: Einführung in Stil und Technik von Bachs melodischer Polyphonie (Berne, 1917, 5/1956/R)
E. Kurth: ‘Zur Motivbildung Bachs’,
BJb1917, 80–136
R. Lach: ‘Der Inhaltsproblem in der Musikästhetik: ein Beitrag der musikalischen Hermeneutik’, Festschrift Hermann Kretzschmar (Leipzig, 1918/R), 74–9
P. Linke: Grundfragen der Wahrnehmungslehre (Munich, 1918, 2/1929)
E. Sapir: ‘Representative Music’,
MQ, 4 (1918), 161–7
G. Becking: ‘“Hören” und “Analysieren” (über Riemanns Beethoven-Analysen)’,
ZMw, 1 (1918–19), 587–603
H. Riemann: Ludwig van Beethovens sämtliche Klavier-Solosonaten: ästhetische und formal- technische Analyse mit historischen Notizen (Berlin, 1918–19, 4/1920)
E. Bücken: ‘Anton Reicha als Theoretiker’,
ZMw, 2 (1919–20), 156–69
E. Kurth: Romantische Harmonik und ihre Krise in Wagners ‘Tristan’ (Berne, 1920, 2/1923/R)
R. Schlösser: ‘Der Stufenweg rechts und das Umrahmungsmotiv’, Bayreuther Blätter, 43 (1920), 28–31
W.R. Spalding: Music: an Art and a Language (Boston and New York, 1920)
S. Anheisser: ‘Das Vorspiel zu “Tristan und Isolde” und seine Motivik: ein Beitrag zur Hermeneutik des Musikdramas Wagners’,
ZMw, 3 (1920–21), 257–304
G. Becking: Studien zu Beethovens Personalstil: das Scherzothema (Leipzig, 1921)
H. Schenker, ed.: Der Tonwille: Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst (Vienna, 1921–4)
A.O. Lorenz: Gedanken und Studien zur musikalischen Formgebung in R. Wagners ‘Ring des Nibelungen’ (diss., U. of Frankfurt, 1922)
H. Mersmann: Kulturgeschichte der Musik in Einzeldarstellungen, i: Beethoven: die Synthese der Stile (Berlin, 1922)
W. Werker: Studien über die Symmetrie im Bau der Fugen und die motivische zusammengehörigkeit der Präludien und Fugen des ‘Wohltemperierten Klaviers’ von Johann Sebastian Bach (Leipzig, 1922/R)
E. Bücken and P. Mies: ‘Grundlagen, Methoden und Aufgaben der musikalischen Stilkunde’,
ZMw, 5 (1922–3), 219–25
A.O. Lorenz: ‘Die formale Gestaltung des Vorspiels zu Tristan und Isolde’,
ZMw, 5 (1922–3), 546–57
H. Mersmann: ‘Versuch einer Phänomenologie der Musik’,
ZMw, 5 (1922–3), 226–69
H. Grabner: Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich, 1923, 2/1930)
K. Jeppesen: Palestrinastil med särligt henblik paa dissonansbehandlingen (Copenhagen, 1923; Eng. trans., 1927, 2/1946/R as The Style of Palestrina and the Dissonance)
A. Schmitz: Beethovens ‘Zwei Prinzipe’: ihre Bedeutung für Themen- und Satzbau (Berlin, 1923)
R. Steglich: ‘Das c-moll-Präludium aus dem ersten Teil des Wohltemperierten Klaviers J.S. Bachs’,
BJb1923, 1–11
E. Stein: Praktischer Leitfaden zu Schönbergs Harmonielehre (Vienna, 1923)
W. Werker: Die Matthäus-Passion (Leipzig, 1923)
G. Becking: ‘Über ein dänisches Schul-Liederbuch: über Mitbewegungen und Gestaltanalyse’,
ZMw, 6 (1923–4), 100–19
E. Bücken: ‘Der galante Stil: eine Skizze seiner Entwicklung’,
ZMw, 6 (1923–4), 418–30
A. Lorenz: ‘Betrachtungen über Beethovens Eroica-Skizzen’,
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A. Lorenz: Das Geheimnis der Form bei Richard Wagner (Berlin, 1924–33)
H. Besseler: ‘Grundfragen des musikalischen Hörens’,
JbMP1925, 35–52; repr. in Aufsätze zur Musikästhetik und Musikgeschichte, ed. P. Gulke (Leipzig, 1978), 28–53
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W. Engelsmann: ‘Die Sonatenform Beethovens: Probleme in der Klaviersonate As-Dur opus 110’, Neue-Musik-Zeitung, 46 (1925), 203–6, 222–5
E. Kurth: Bruckner (Berlin, 1925/R)
P. Mies: Die Bedeutung der Skizzen Beethovens zur Erkenntnis seines Stiles (Leipzig, 1925; Eng. trans., 1929/R)
C. Pieper: Musikalische Analyse: eine musikalische Formenlehre in der Form von Musteranalysen klassischer Tonstücke (Cologne, 1925)
H. Schenker: Beethoven: Fünfte Sinfonie: eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücks (Vienna, 1925/R) [orig. pubd in Der Tonwille (1921–4)]
A. Schering: ‘Bach und das Symbol’,
BJb1925, 40–63; BJb 1928, 119–37
L. Schiedermair: Der junge Beethoven (Leipzig, 1925/R)
H. Schenker: Das Meisterwerk in der Musik: ein Jahrbuch (Munich, 1925–30/R; Eng. trans., 1994–7) [incl. analyses of Mozart: Symphony no.40, ii, 105–59 and Beethoven: Symphony no.3, iii, 25–99]
H. Grabner: Lehrbuch der musikalischen Analyse (Leipzig, 1926)
A.O. Lorenz: ‘Das Finale in Mozarts Meisteropern’, Die Musik, 19 (1926–7), 621–32
G. Becking: Der musikalische Rhythmus als Erkenntnisquelle (Augsburg, 1928)
A.O. Halm: ‘Über den Wert musikalischer Analysen’, Die Musik, 21 (1928–9), 481–4
W. Karthaus: ‘Die musikalische Analyse’, Die Musik, 21 (1928–9), 264–71
W. Danckert: ‘Stil als Gesinnung’, Bärenreiter-Jb, 5 (1929), 24–32
R. von Ficker: ‘Primäre Klangformen’,
JbMP1929, 21–34
A. Schering: ‘Musikalische Analyse und Wertidee’,
JbMP1929, 9–20
W. Riezler: ‘Die Urlinie’, Die Musik, 22 (1929–30), 502–10
R. Steglich: Die elementare Dynamik des musikalischen Rhythmus (Leipzig, 1930)
B.F. Asaf′yev: Muzikal′naya forma kak protsess [Musical form as process] (Moscow, 1930–47, 2/1963 ed. E. Orlova, 3/1971; Ger. trans., 1976; Eng. trans., 1977)
W. Danckert: Personale Typen des Melodiestils (Kassel, 1931, enlarged 2/1932 as Ursymbole melodischer Gestaltung)
W. Engelsmann: Beethovens Kompositionspläne, dargestellt in den Sonaten für Klavier und Violine (Augsburg, 1931)
E. Kurth: Musikpsychologie (Berlin, 1931/R, 2/1947)
E. Schwebsch: Johann Sebastian Bach und die Kunst der Fuge (Stuttgart, 1931)
D.F. Tovey: A Companion to Beethoven’s Pianoforte Sonatas (London, 1931/R)
K. Westphal: ‘Analyse und Interpretation’, Die Musik, 24 (1931–2), 349–55
G. Becking: ‘Der musikalische Bau des Montenegrischen Volksepos’, Proceedings of the International Congress of Phonetic Sciences [I]: Amsterdam 1932 [Archives néerlandaises de phonétique expérimentale, viii–ix (1933)], 144–152; pubd separately (Harlem, n.d.)
F. Gennrich: Grundriss einer Formenlehre des mittelalterlichen Liedes (Halle, 1932/R)
G. de Saint-Foix: Les symphonies de Mozart (Paris, 1932; Eng. trans., 1947/R)
H. Schenker: Fünf Urlinie-Tafeln (Vienna, 1932, rev. 2/1969 by F. Salzer as Five Graphic Music Analyses)
J. Yasser: A Theory of Evolving Tonality (New York, 1932/R)
R. Stöhr, H. Gál and A. Orel: Formenlehre der Musik (Leipzig, 1933, 2/1954)
W. Danckert: Beiträge zur Bachkritik (Kassel, 1934)
O. Jonas: Das Wesen des musikalischen Kunstwerks (Vienna, 1934, rev. 2/1972 as Einführung in die Lehre Heinrich Schenkers; Eng. trans., 1982/Ras Introduction to the Theory of Heinrich Schenker)
K. Westphal: Der Begriff der musikalischen Form in der Wiener Klassik (Leipzig, 1934, 2/1971)
R.O. Morris: The Structure of Music (London, 1935)
F. Salzer: Sinn und Wesen der abendländischen Mehrstimmigkeit (Vienna, 1935)
R. von Tobel: Die Formenwelt der klassischen Instrumentalmusik (Berne, 1935)
W. Twittenhoff: Die musiktheoretischen Schriften Joseph Riepels (1709–1782): als Beispiel einer anschaulichen Musiklehre (Halle, 1935/R)
K. Westphal: ‘Barockes und klassisches Formhören’,
SMz, 75 (1935), 365–71
D.F. Tovey: Essays in Musical Analysis, i: Symphonies; ii: Symphonies (II), Variations and Orchestral Polyphony; iii: Concertos; iv: Illustrative Music; v: Vocal Music; vi: Supplementary Essays, Glossary, and Index (London, 1935–9/R)
P. Bogatïrev: ‘La chanson populaire du point de vue fonctionnel’, Travaux du Cercle linguistique de Prague, 6 (1936), 222
E. Schwarzmaier: Die Takt- und Tonordnung Josef Riepels (Wolfenbüttel, 1936/R)
P. Hindemith: Unterweisung im Tonsatz (Mainz, 1937, 2/1940; Eng. trans., 1942 as The Craft of Musical Composition, rev. 2/1945)
O. Jonas: ‘Ein Bach Präludium: ein Weg zum organischen Hören’, Der Dreiklang, no.1 (1937) 13–17; repr. in Musikerziehung, xx (1967), 205–9
O. Jonas: ‘Mozarts ewige Melodie, I–II’, Der Dreiklang, no.1 (1937), 84–92; repr. in Musikerziehung, xxx (1977), 118–21, 158–60
J.-G. Prod’homme: Les sonates pour piano de Beethoven (1782–1823): histoire et critique (Paris, 1937)
H. Mersmann: Musikhören (Potsdam, 1938, 2/1952)
G.W. Cooper: An Introduction to the Analysis of Certain Contemporary Harmonic Practices (diss., Harvard U., 1939)
A. Gabeaud: Guide pratique d’analyse musicale (Paris, 1940)
A. Schering: Das Symbol in der Musik (Leipzig, 1941)
J. Schillinger: The Schillinger System of Musical Composition, ed. L. Dowling and A. Shaw (New York, 1941, 3/1946/R)
D.F. Tovey: A Musician Talks (London, 1941/R)
A. Schoenberg: Models for Beginners in Composition (Los Angeles, 1942, enlarged 2/1943, rev. 3/1972 by L. Stein)
O. Messiaen: Technique de mon langage musical (Paris, 1944; Eng. trans., 1956)
D.F. Tovey: Essays in Musical Analysis: Chamber Music, ed. H.J. Foss (London, 1944/R)
D.F. Tovey: Musical Articles from the Encyclopaedia Britannica [14th edn.], ed. H.J. Foss (London, 1944/R as The Forms of Music)
A.T. Katz: Challenge to Musical Tradition: a New Concept of Tonality (New York and London, 1945/R)
M. Weingart: ‘Etude du langage parlé suivi du point de vue musical avec considération particulière du Tchèque’, Travaux du Cercle linguistique de Copenhague, 1 (1945), 172
H. Federhofer: ‘Die Musiktheorie Heinrich Schenkers’,
SMz, 87 (1947), 265
W. Koch: ‘Inhaltliche oder formale Analyse? (Zur Krise des musikalischen Hörens)’, Musica, 1 (1947), 192–5
M. McMullin: ‘The Symbolic Analysis of Music’,
MR, 8 (1947), 25–35
E. Oster: ‘The Fantaisie-Impromptu: a Tribute to Beethoven’, Musicology, 1 (1947), 407–29; repr. in Beach (1983), 189–207
L.G. Ratner: Harmonic Aspects of Classic Form (diss., U. of California, Berkeley, 1947); see also
JAMS, ii (1949), 159–68
N. Slonimsky: Thesaurus of Scales and Melodic Patterns (New York, 1947)
K. von Fischer: Die Beziehungen von Form und Motiv in Beethovens Instrumentalwerken (Strasbourg, 1948, 2/1972)
M.E. Brockhoff: ‘Zur Methodik der musikwissenschaftlichen Analyse’,
IMSCRIV: Basle 1949, 80–82
B.H. Bronson: ‘Mechanical Help in the Study of Folk Song’, Journal of American Folklore, 62 (1949), 81–6
K. Jeppesen: ‘Zur Kritik der klassischen Harmonielehre’,
IMSCRIV: Basle 1949, 23–34
M. Mann: ‘Schenker’s Contribution to Music Theory’,
MR, 10 (1949), 3–26
Newman: Wagner Nights (London, 1949/R)
E. Oster: ‘The Dramatic Character of the Egmont Overture’, Musicology, 2 (1949), 269–85; repr. in Beach (1983), 209–22
A. Sychra: ‘Lidová písěn s hlediska semiologického’ [Folksong from the semiological angle], Slovo a slovesnost, 11 (1948–9), 7–23; Fr. trans. in Musique en jeu, no.10 (1973), 12–33
H.B. Buys: ‘Gestallensymboliek en diminutietechniek’, Mens en melodie, 5 (1950), 321–4
H. Federhofer: Beiträge zur musikalischen Gestaltanalyse (Graz, 1950)
H. Grabner: Musikalische Werkbetrachtung (Stuttgart, 1950)
A. Schmitz: Die Bildlichkeit der wortgebundenen Musik Johann Sebastian Bachs (Mainz, 1950/R)
A. Schoenberg: Style and Idea, ed. D. Newlin (New York, 1950, enlarged 2/1975 by L. Stein)
F. Smend: Johann Sebastian Bach bei seinem Namen gerufen (Kassel, 1950, 3/1966)
J. Kerman: ‘Counsel for the Defense [of Tovey]’, Hudson Review, 3 (1950–51), 438–46
J. Chailley: Traité historique d’analyse musicale (Paris, 1951, rev. 2/1977 as Traité historique d’analyse harmonique; Eng. trans., 1986)
E. Ratz: Einführung in die musikalische Formenlehre: über Formprinzipien in den Inventionen und Fugen J.S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens (Vienna, 1951, 3/1973)
R. Réti: The Thematic Process in Music (New York, 1951/R)
W. Braun: Johann Mattheson und die Aufklärung (diss., U. of Halle, 1952)
S. Levarie: Mozart’s Le nozze di Figaro: a Critical Analysis (Chicago, 1952/R)
M. d’Ollone: Le langage musicale (Paris, 1952)
J. Rufer: Die Komposition mit zwölf Tönen (Berlin, 1952; Eng. trans., 1954, rev. 2/1969/R)
F. Salzer: Structural Hearing: Tonal Coherence in Music (New York, 1952, 2/1962) [review by M. Babbitt in
JAMS, v (1952), 260–65]
J.N. David: Die Jupiter-Symphonie: eine Studie über die thematisch-melodischen Zusammenhänge (Göttingen, 1953, 4/1960)
C.T. Davie: Musical Structure and Design (London, 1953/R)
V.H. Talley: ‘A Critique of Musical Analysis’,
JAMS, 6 (1953), 87 only
A. Schoenberg: Structural Functions of Harmony (London, 1954, rev. 2/1969 by L. Stein)
M. Babbitt: ‘Some Aspects of Twelve-Tone Composition’, The Score, no.12 (1955), 53–61
A. Feil: Satztechnische Fragen in den Kompositionslehren von F.E. Niedt, J. Riepel und H. Chr. Koch (Heidelberg, 1955)
A. Forte: Contemporary Tone-Structures (New York, 1955)
E. Lendvai: Bartók stilusa [Bartók's style] (Budapest, 1955; rev. Eng. trans., 1971/R as Béla Bartók: an analysis of his Muisc)
E. Ratz: ‘Zum Formproblem bei Gustav Mahler: eine Analyse des ersten Satzes der IX. Symphonie’,
Mf, 8 (1955), 169–77
A.A. Reformatsky: ‘Rech′i muzïka v penii’ [Musical speech in song], Voprosï kul′turï rechi, ed. S.I. Ozegov (Moscow, 1955), 1, 172–99
G. Rochberg: The Hexachord and its Relation to the Twelve-Tone Row (Bryn Mawr, PA, 1955)
M. Ruhnke: Joachim Burmeister: ein Beitrag zur Musiklehre um 1600 (Kassel, 1955)
R. Guldenstein: ‘Synthetische Analyse’,
SMz, 96 (1956), 205–7
H. Keller: ‘KV503: the Unity of Contrasting Themes and Movements’,
MR, 17 (1956), 48–58, 120–29
L.B. Meyer: Emotion and Meaning in Music (Chicago, 1956)
A.A. Moles: ‘Informationstheorie der Musik’, Nachrichtentechnische Fachberichte, 3 (1956), 47–55
R.C. Pinkerton: ‘Information Theory and Melody’, Scientific American, 194 (1956), 77–8, 80, 82, 84, 86
L.G. Ratner: ‘Eighteenth-Century Theories of Musical Period Structure’,
MQ, 42 (1956), 439–54
E. Ratz: ‘Zum Formproblem bei Gustav Mahler: eine Analyse des Finales der VI. Symphonie’,
Mf, 9 (1956), 156–71; repr. in T.W. Adorno and others:Gustav Mahler (Tübingen, 1966), 90–141; Eng. trans. in
MR, xxix (1968), 34–48
R. Réti: ‘The Role of Duothematicism in the Evolution of Sonata Form’,
MR, 17 (1956), 110–19
G. Springer: ‘Language and Music: Parallels and Divergences’, For Roman Jakobson, ed. M. Halle and others (The Hague, 1956), 504–13
R. Traimer: ‘Zum Problem der musikalischen Werkanalyse’,
NZM, Jg.117 (1956), 621–3
H. Keller: ‘A Slip of Mozart’s: its Analytical Significance’, Tempo, no.42 (1956–7), 12–15
L.B. Meyer: ‘Meaning in Music and Information Theory’, Journal of Aesthetics and Art Criticism, 15 (1956–7), 412–24; repr. as Music, the Arts and Ideas (Chicago, 1967), chap.1
V. Zuckerkandl: Sound and Symbol, i: Music and the External World, ii: Man the Musician (Princeton, NJ, 1956–73)
J.N. David: Die zweistimmigen Inventionen von Johann Sebastian Bach (Göttingen, 1957)
H. Degen: Handbuch der Formenlehre (Regensburg, 1957)
H. Keller: ‘Functional Analysis: its Pure Application’,
MR, 18 (1957), 202–6; see also xxi (1960), 73–6, 237–9
H. Keller: ‘The Musical Analysis of Music’, The Listener (29 Aug 1957)
H. Keller: ‘Wordless Analysis’, London Musical Events, 12/12 (1957), 26–7
J. LaRue: ‘A System of Symbols for Formal Analysis’,
JAMS, 10 (1957), 25–8; see also xix (1966), 403–8
L.G. Ratner: Music: the Listener’s Art (New York, 1957, 3/1977)
H. Keller: ‘Knowing Things Backwards’, Tempo, no.46 (1957–8), 14–20
E. Coons and D. Kraehenbuehl: ‘Information as a Measure of Structure in Music’,
JMT, 2 (1958), 127–61
H. Federhofer: ‘Die Funktionstheorie H. Riemanns und die Schichtenlehre H. Schenkers’,
IMSCRVII: Cologne 1958, 183–4
R. Francès: La perception de la musique (Paris, 1958, 2/1972; Eng. trans., 1988)
W. Fucks: Mathematische Analyse der Formalstruktur von Musik (Cologne, 1958)
L.A. Hiller: On the Use of a High-Speed Electronic Digital Computer for Musical Composition (diss., U. of Illinois, 1958)
H. Keller: ‘The Home-Coming of Musical Analysis’,
MT, 99 (1958), 657–8
H. Keller: ‘Wordless Functional Analysis: the First Year’,
MR, 19 (1958), 192–200
H. Lenneberg: ‘Johann Mattheson on Affect and Rhetoric in Music’,
JMT, 2 (1958), 47–84, 193–236
A.A. Moles: Théorie de l’information et perception esthétique (Paris, 1958, 2/1972; Eng. trans., 1966)
B. Nettl: ‘Some Linguistic Approaches to Musical Analysis’,
JIFMC, 10 (1958), 37–41
R. Réti: Tonality, Atonality, Pantonality: a Study of some Trends in Twentieth Century Music (London and New York, 1958/R, 2/1960)
W.H. Reynolds: ‘Unity in Music’,
JMT, 2 (1958), 97; see also reply by W. Gettel, 240; iii (1959), 140–47
Roland-Manuel: ‘L’analyse musicale: langage, styles et formes’, Précis de musicologie, ed. J. Chailley (Paris, 1958), 332–7
J.E. Youngblood: ‘Style as Information’,
JMT, 2 (1958), 24–35
D. Kraehenbuehl and E. Coons: ‘Information as a Measure of Experience of Music’, Journal of Aesthetics and Art Criticism, 17 (1958–9), 510–22
J. Chailley: ‘Essai sur les structures mélodiques’,
RdM, 44 (1959), 139–75
D. Cooke: The Language of Music (Oxford, 1959/R)
M. van Crevel, ed.: Jacob Obrecht: Opera omnia, i/6: Missa ‘Sub tuum presidium’ (Amsterdam, 1959); Opera omnia, i/7: Missa ‘Maria Zart’ (Amsterdam, 1964)
J.N. David: Die dreistimmigen Inventionen von Johann Sebastian Bach (Göttingen, 1959)
H. Eimert: ‘Debussy’s “Jeux”’, Die Reihe, 5 (1959), 5–22; Eng. trans. in Die Reihe, v (1961), 3–20
A. Forte: ‘Schenker’s Conception of Musical Structure’,
JMT, 3 (1959), 1–30; repr. in Yeston (1977), 3–37
D. Lewin: ‘Intervallic Relations between Two Collections of Notes’,
JMT, 3 (1959), 298–301
F.B. Mâche: ‘Connaissance des structures sonores’,
ReM, no.244 (1959), 17–25
W. Meyer-Eppler: Grundlagen und Anwendungen der Informationstheorie (Berlin, 1959, 2/1969)
G. Rochberg: ‘The Harmonic Tendency of the Hexachord’,
JMT, 3 (1959), 208–30
N. Ruwet: ‘Contradictions du langage sériel’,
RBM, 13 (1959), 83–97; repr. in Langage, musique, poésie (Paris, 1972), 23–40
R. Travis: ‘Towards a New Concept of Tonality’,
JMT, 3 (1959), 257–84; see reply by E. Oster, iv (1960), 85–98
L. Treitler: ‘Harmonic Procedure in the Fourth Quartet of Béla Bartók’,
JMT, 3 (1959), 292–8
A. Walker: ‘Unconscious Motivation in the Composing Process’,
MR, 20 (1959), 277–81
M. Babbitt: ‘Twelve-Tone Invariants as Compositional Determinants’,
MQ, 46 (1960), 246–59; repr. in Problems of Modern Music, ed. P.H. Lang (New York, 1960), 108–21
E.T. Cone: ‘Analysis Today’,
MQ, 46 (1960), 172–88; repr. in Problems of Modern Music, ed. P.H. Lang (New York, 1960), 34–50
G.W. Cooper and L.B. Meyer: The Rhythmic Structure of Music (Chicago, 1960)
C. Dahlhaus: ‘Zur Kritik musiktheoretischer Allgemeinprinzipien’, Musikalische Zeitfragen, 9 (1960), 68
H. Hanson: Harmonic Materials of Modern Music: Resources of the Tempered Scale (New York, 1960)
H. Keller: ‘The Principles of Composition (I)’, The Score, no.26 (1960), 35–45
H. Keller: ‘Wordless Functional Analysis: the Second Year and Beyond’,
MR, 21 (1960), 73–6, 237–9
D. Lewin: ‘The Intervallic Content of a Collection of Notes’,
JMT, 4 (1960), 98–101
A.B. Lord: The Singer of Tales (Cambridge, MA, 1960/R)
Q.R. Nordgren: ‘A Measure of Textural Patterns and Strengths’,
JMT, 4 (1960), 19–31
J. Nordmark: ‘New Theories of Form and the Problem of Thematic Identities’,
JMT, 4 (1960), 210–17
A. Webern: Der Weg zur neuen Musik (Vienna, 1960, 2/1963; Eng. trans., 1963) [lectures]
E. Ansermet: Les fondements de la musique dans la conscience humaine (Neuchâtel, 1961)
M. Babbitt: ‘Set Structure as a Compositional Determinant’,
JMT, 5 (1961), 72–94
C. Bean: Information Theory Applied to the Analysis of a Particular Formal Process in Tonal Music (diss., U. of Illinois, 1961)
P. Benary: Die deutsche Kompositionslehre des 18. Jahrhunderts (Leipzig, 1961)
I. Bengtsson: ‘On Relationships between Tonal and Rhythmic Structures in Western Multipart Music’,
STMf, 43 (1961), 49–76
A. Forte: The Compositional Matrix (Baldwin, NY, 1961/R)
H. Goldschmidt: ‘Zur Methodologie der musikalischen Analyse’,
BMw, 3/4 (1961), 3–30
D. Martino: ‘The Source Set and its Aggregate Formations’,
JMT, 5 (1961), 224–79
E. Oster: ‘Register and the Large-Scale Connection’,
JMT, 5 (1961), 54–71; repr. in Yeston (1977), 54
G. Rochberg: ‘Set Structure as a Compositional Determinant’,
JMT, 5 (1961), 72–94
J.E. Cohen: ‘Information Theory and Music’, Behavioural Science, 7 (1962), 137–63
J.N. David: Das wohltemperierte Klavier: der Versuch einer Synopsis (Göttingen, 1962)
H. Federhofer: ‘Johann Joseph Fux als Musiktheoretiker’, Hans Albrecht in Memoriam, ed. W. Brennecke and H. Haase (Kassel, 1962), 109–15
G. Goewey and J. Kucaba: Understanding Musical Form (Dubuque, IA, 1962)
R. Jakobson: ‘Musikwissenschaft und Linguistik (1932)’, Selected Writings, 1 (Monton, 1962, 2/1971)
E. Karkoschka: ‘Musik und Semantik’, Melos, 32 (1962), 252–9
W. Kolneder: ‘Visuelle und auditive Analyse’, Der Wandel des musikalischen Hörens (Berlin, 1962, 2/1965), 57–66
J. LaRue: ‘On Style Analysis’,
JMT, 6 (1962), 91–107
H. Lemacher and H. Schröder: Formenlehre der Musik (Cologne, 1962, 2/1968/R; Eng. trans., rev. 1967 by R. Kolben)
G. Madell: ‘Thematic Unity and the Language of Music’,
MR, 23 (1962), 30–33
W. Meyer-Eppler: ‘Informationstheoretische Probleme der musikalischen Kommunikationen’, Die Reihe, 8 (1962), 7–10; Eng. trans. in Die Reihe, viii (1968), 7–10
A. Palm: ‘Mozart und Haydn in der Interpretation Momignys’,
GfMKB: Kassel 1962, 187–95
G. Perle: Serial Composition and Atonality: an Introduction to the Music of Schoenberg, Berg, and Webern (Berkeley and London, 1962, 6/1991)
L.G. Ratner: Harmony: Structure and Style (New York, 1962)
L. Stein: Structure and Style: the Study and Analysis of Musical Forms (Evanston, IL, 1962, enlarged 2/1979) [see also companion book Anthology of Musical Forms (Evanston, IL, 1962)]
A. Walker: A Study in Musical Analysis (London, 1962)
A. Forte: ‘Context and Continuity in an Atonal Work: a Set-Theoretic Approach’,
PNM, 1/2 (1962–3), 72–82
M. Kassler: ‘A Sketch of the Formalized Use of Languages for the Assertion of Music’,
PNM, 1/2 (1962–3), 83–94
A. Palm: ‘Mozarts Streichquartett d-moll, KV421, in der Interpretation Momignys’,
MJb 1962–3, 256–79
P. Westergaard: ‘Some Problems in Rhythmic Theory and Analysis’,
PNM, 1/1 (1962–3), 180–91; repr. in Perspectives on Contemporary Music Theory, ed. B. Boretz and E.T. Cone (New York, 1972), 226–37
R. Donington: Wagner’s ‘Ring’ and its Symbols: the Music and the Myth (London, 1963, enlarged 3/1974/R)
P. Rummenhöller: Moritz Hauptmann als Theoretiker: eine Studie zum erkenntniskritischen Theoriebegriff in der Musik (Wiesbaden, 1963)
I. Xenakis: Musiques formelles: nouveaux principes formels de composition musicale (Paris, 1963, 2/1981; Eng. trans., enlarged 1971 as Formalized Music: Thought and Mathematics in Composition, 2/1992)
R. Zapirov: Kibernetika i muzïka (Moscow, 1963); Eng. trans. in
PNM, vii/2 (1968–9), 115–54
M. Babbitt: ‘Remarks on Recent Stravinsky’,
PNM, 2/2 (1963–4), 35–55; repr. in Perspectives on Schoenberg and Stravinsky, ed. B. Boretz and E.T. Cone (Princeton, NJ, 1968, 2/1972), 165–85
A. Berger: ‘Problems of Pitch Organization in Stravinsky’,
PNM, 2/1 (1963–4), 11–42
K. Stockhausen: Texte, i: Texte zur elektronischen und instrumentalen Musik; ii: Texte zu eigenen Werken, zur Kunst anderer, Aktuelles; iii: Texte zur Musik, 1963–70; iv: Texte zur Musik, 1970–77, ed. D. Schnebel (Cologne, 1963–78, 2/1975)
P. Boulez: Penser la musique aujourd’hui (Paris, 1964/R; Eng. trans., 1971)
A. Forte: ‘A Theory of Set-Complexes for Music’,
JMT, 8 (1964), 136–83; see also discussion, ix (1965), 163–71
H. Heckmann: ‘Neue Methoden der Verarbeitung musikalischer Daten’,
Mf, 17 (1964), 381–3
L.A. Hiller: Informationstheorie und Computermusik,
DBNM, 8 (1964)
R. Kluge: ‘Definition der Begriffe Gestalt und Intonation’,
BMw, 6 (1964), 85–100
C. Lévi-Strauss: Le cru et le cuit (Paris, 1964; Eng. trans., 1969/Ras The Raw and the Cooked), esp. 14–32
G. Saint-Guirons: ‘Quelques aspects de la musique considerée d’un point de vue linguistique (recherche d’une analyse musicale distinctive)’, Etudes de linguistique appliquée, 3 (1964), 12
H.E. Smither: ‘The Rhythmic Analysis of 20th-Century Music’,
JMT, 8 (1964), 54–88
J. Tenney: Meta (+) Hodos: a Phenomenology of Twentieth Century Musical Materials and an Approach to the Study of Form (New Orleans, 1964, rev. 2/1986/Red. L. Plansky)
R.E. Tyndall: Musical Form (Boston, 1964/R)
F. Winckel: ‘Die informationstheoretische Analyse musikalischer Strukturen’,
Mf, 17 (1964), 1–14
M. Babbitt: ‘The Structure and Functions of Music Theory I’, College Music Symposium, 5 (1965), 49–60; repr. in Perspectives on Contemporary Music Theory, ed. B. Boretz and E.T. Cone (New York, 1972), 10–21
C. Dahlhaus: ‘Über das Analysieren neuer Musik: zu Schoenbergs Klavierstücken op.11, 1 und op.33a: Fortschritt und Rückbildung in der deutschen Musikerziehung’, Vorträge der 6. Bundesschulmusikwoche: Bonn 1965, 224–36
C. Deliège: ‘La musicologie devant le structuralisme’, L’arc, no.26 (1965), 45
A. Forte: ‘The Domain and Relations of Set-Complex Theory’,
JMT, 9 (1965), 173–80
W. Fucks and J. Lauter: Exaktwissenschaftliche Musikanalyse (Cologne, 1965)
H. Kaufmann: ‘Fortschritt und Reaktion in der Lehre Heinrich Schenkers’,
NZM, Jg.126 (1965), 5–9; Das Orchester, xiii (1965), 44
Hermann Keller: Das Wohltemperierte Klavier von J.S. Bach (Kassel, 1965; Eng. trans., 1976)
W. Kolneder: ‘Zur Geschichte der Analyse musikalischer Kunstwerke’,
SMz, 105 (1965), 68–73
L. Knopoff: ‘Some Technological Advances in Musical Analysis’, IFMC Conference: Budapest 1964 [
SMH, vii (1965)], 301–7
J. Selleck and R. Bakeman: ‘Procedures for the Analysis of Form: two Computer Applications’,
JMT, 9 (1965), 281–93
R. Teitelbaum: ‘Intervallic Relations in Atonal Music’,
JMT, 9 (1965), 72–127
R. Travis: ‘Directed Motion in Schoenberg and Webern’,
PNM, 4/2 (1965–6), 85–9
W. Berry: Form in Music: an Examination of Traditional Techniques of Musical Structure and their Application in Historical and Contemporary Styles (Englewood Cliffs, NJ, 1966, 2/1986)
H. Boatwright and E. Oster: ‘Analysis Symposium’,
JMT, 10 (1966), 18–53 [analysis of Mozart, K355]
P. Boulez: Relevés d’apprenti, ed. P. Thévenin (Paris, 1966; Eng. trans., 1968, 1991)
R.L. Crocker: A History of Musical Style (New York, 1966)
C. Deliège: ‘Approche d’une sémantique de la musique’,
RBM, 20 (1966), 21–42
K.-E. Eicke: Der streit zwischen Adolf Bernhard Marx und Gottfried Wilhelm Fink um die Kompositionslehre (Regensburg, 1966)
A. Forte: ‘A Program for the Analytic Reading of Scores’,
JMT, 10 (1966), 330–64
A. Forte: ‘Computer-Implemented Analysis of Musical Structure’, Computer Applications in Music: Morgantown, WV, 1966, 29–42
L.A. Hiller and C. Bean: ‘Information Theory Analyses of Four Sonata Expositions’,
JMT, 10 (1966), 96–137
W. Keller: ‘Heinrich Schenkers Harmonielehre’, Beiträge zur Musiktheorie des 19. Jahrhunderts, ed. M. Vogel (Regensburg, 1966), 203–32
R. Kluge: ‘Volksliedanalyse und -systematisierung mit Hilfe eines Rechenautomaten’,
GfMKB: Leipzig 1966, 458–66
M. McLean: ‘A New Method of Melodic Interval Analysis as Applied to Maori Chant’,
EthM, 10 (1966), 174–90
D. Mensteli Hsu: ‘Ernst Kurth and his Concept of Music as Motion’,
JMT, 10 (1966), 2–17
J. Rothgeb: ‘Some Uses of Mathematical Concepts in Theories of Music’,
JMT, 10 (1966), 200–215
P. Rummenhöller: ‘Der dialektische Theoriebegriff: zur Verwicklichung Hegelschen Denkens in Moritz Hauptmanns Musiktheorie’,
GfMKB: Leipzig 1966, 387–91
N. Ruwet: ‘Méthodes d’analyse en musicologie’,
RBM, 20 (1966), 65–90; repr. in Langage, musique, poésie (Paris, 1972); Eng. trans. in
MAn, vi (1987), 3–36
P. Schaeffer: Traité des objets musicaux: essai interdisciplines (Paris, 1966)
E. Seidel: ‘Die Harmonielehre Hugo Riemanns’, Beiträge zur Musiktheorie des 19. Jahrhunderts, ed. M. Vogel (Regensburg, 1966), 39–92
W. Thomson: ‘The Problem of Music Analysis and Universals’ College Music Symposium, 6 (1966), 89–107
L. Treitler: ‘Music Analysis in an Historical Context’, College Music Symposium, 6 (1966), 75–88
A. Walker: An Anatomy of Musical Criticism (London, 1966)
J. Baur: ‘Über Anton Weberns “Bagatellen für Steichquartett”’, Neue Wege der musikalischen Analyse, ed. R. Stephan (Berlin, 1967), 62–8
P. Bergquist: ‘Mode and Polyphony around 1500: Theory and Practice’, Music Forum, 1 (1967), 99–161
S. Borris: ‘Probleme der traditionellen Harmonielehre’, Probleme des musiktheoretischen Unterrichts, ed. R. Stephan (Berlin, 1967), 23
H.A. Brockhaus: ‘Probleme der musikalischen Analyse’,
MG, 17 (1967), 433–46
C. Dahlhaus: ‘Zur Rhythmik in Beethovens Diabelli-Variationen’; ‘Schoenbergs Lied “Streng ist uns das Glück und Spröde”’, Neue Wege der musikalischen Analyse, ed. R. Stephan (Berlin, 1967), 18, 45–52
A. Daniélou: Sémantique musicale (essai de psychologie auditive) (Paris, 1967, 2/1978)
K.G. Fellerer: Klang und Struktur in der abendländischen Musik (Cologne, 1967)
R. Harweg: ‘Sprache und Musik’, Poetica, 1 (1967), 390 [see also ibid, 556 and ii (1968), 433]; Eng. trans. of orig. article in Foundations of Language, iv (1968), 270
M. Kassler: A Trinity of Essays: toward a Theory that is the Twelve-Note Class System; toward Development of a Constructive Tonality Theory based on Writing by Heinrich Schenker; toward a Simple Programming Language for Musical Information Retrieval (diss., Princeton U., 1967)
K. Kropfinger: ‘Zur thematischen Funktion der langsamen Einleitung bei Beethoven’, Colloquium amicorum: Joseph Schmidt-Görg, ed. S. Kross and H. Schmidt (Bonn, 1967), 197–216
J. LaRue: ‘Two Problems in Musical Analysis: the Computer Lends a Hand’, Computers in Humanistic Research, ed. E.A. Bowles (Englewood Cliffs, NJ, 1967), 194–203
Z. Lissa: ‘Hegel und das Problem der Formintegration in der Musik’, Festschrift für Walter Wiora, ed. L. Finscher and C.-H. Mahling (Kassel, 1967), 112–19
L.B. Meyer: Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture (Chicago, 1967)
W.J. Mitchell: ‘The Tristan Prelude: Techniques and Structure’, Music Forum, 1 (1967), 162–203
D. de la Motte: ‘Reform der Formenlehre?’, Probleme des musiktheoretischen Unterrichts, ed. R. Stephan (Berlin, 1967), 30–39
R. Réti: Thematic Patterns in Sonatas of Beethoven, ed. D. Cooke (London, 1967/R)
J. Rothgeb: ‘Some Ordering Relationships in the Twelve-Tone System’,
JMT, 11 (1967), 176–97
P. Rummenhöller: Musiktheoretisches Denken im 19. Jahrhundert: Versuch einer Interpretation erkenntnistheoretischer Zeugnisse in der Musiktheorie (Regensburg, 1967)
N. Ruwet: ‘Musicologie et linguistique’, Revue internationale des sciences sociales, 19 (1967), 85–93
N. Ruwet: ‘Quelques remarques sur le rôle de la répétition dans la syntaxe musicale’, To Honor Roman Jakobson (The Hague, 1967), 1693–703
F. Salzer: ‘Tonality in Early Medieval Polyphony: towards a History of Tonality’, Music Forum, 1 (1967), 35–98
N. Schiødt and B. Svejgaard: ‘Application of Computer Techniques to the Analysis of Byzantine Sticherarion Melodies’, Elektronische Datenverarbeitung in der Musikwissenschaft, ed. H. Heckmann (Regensburg, 1967), 187–201
A. Schoenberg: Fundamentals of Musical Composition, ed. G. Strang and L. Stein (London, 1967)
I. Spink: An Historical Approach to Musical Form (London, 1967)
R. Stephan, ed.: Neue Wege der musikalischen Analyse: acht Betrachtungen von L.U. Abraham, J. Baur, C. Dahlhaus, H. Kaufmann und R. Stephan (Berlin, 1967)
R. Stephan, ed.: Versuche musikalischer Analysen: sieben Beiträge von P. Benary, S. Borris, D. de la Motte, H. Enke, H.-P. Raiss und R. Stephan (Berlin, 1967)
W. Stockmeier: Musikalische Formprinzipien: Formenlehre (Cologne, 1967, 2/1973)
P.A. Tove, L. Ejdesjö and A. Svärdström: ‘Frequency and Time Anaysis of Polyphonic Music’,
JASA, 41 (1967), 1265–71
V. Tsukkerman: ‘Vidï tselostnogo analiza’ [Aspects of integrated musical analysis],
SovM (1967), no.4, pp.100–06
B. Archibald: ‘The Harmony of Berg’s “Reigen”’,
PNM, 6/2 (1967–8), 73–91
E.T. Cone: ‘Beyond Analysis’,
PNM, 6/1 (1967–8), 33–51; see responses by D. Lewin, vii/2 (1968–9), 59–69, and Cone,
PNM, 6/1 (1967–8), 70–72
E. Regener: ‘Layered Music-Theoretic Systems’,
PNM, 6/1 (1967–8), 52–62
A. Whittall: ‘Post-Twelve-Note Analysis’,
PRMA, 94 (1967–8), 1–17
T.W. Adorno: Berg: der Meister des kleinsten Übergangs (Vienna, 1968; Eng. trans., 1991)
P. Barbaud: La musique, discipline scientifique: introduction élémentaire à l’étude des structures musicales (Paris, 1968)
B. Churgin: ‘Francesco Galeazzi’s Description (1796) of Sonata Form’,
JAMS, 21 (1968), 181–99
E.T. Cone: Musical Form and Musical Performance (New York, 1968) [see also commentary by Cone, Music Theory Spectrum, vii (1985), 149–58]
U. Eco: La struttura assente (Milan, 1968; enlarged Eng. trans., 1976 as A Theory of Semiotics)
R.F. Erickson: ‘Musical Analysis and the Computer’,
JMT, 12 (1968), 240–63
W. Fucks: ‘Über formale Struktureigenschaften musikalischer Partituren’, Experimentelle Musik: Berlin 1968, 33–58
M. Henze: Studien zu den Messenkompositionen Johannes Ockeghems (Berlin, 1968)
M. Hughes, L. Moss and C. Schachter: ‘Analysis Symposium: Moments Musicals op.94, Franz Schubert’,
JMT, 12 (1968), 184–239; see also xiii (1969), 128–39, 218–29; repr. in Yeston (1977), 141–201
J. Kerman: ‘Verdi’s Use of Recurring Themes’, Studies in Music History: Essays for Oliver Strunk, ed. H.S. Powers (Princeton, NJ, 1968/R), 495–510
A. Lomax: Folk Song Style and Culture (Washington DC, 1968/R)
D. de la Motte: Musikalische Analyse (Kassel, 1968/R) [with critical commentary by C. Dahlhaus]
E. Ratz: ‘Über die Bedeutung der funktionellen Formenlehre für die Erkenntnis des Wohltemperierten Klaviers’,
Mf, 21 (1968), 17–29
L. Richter: ‘Schoenbergs Harmonielehre und die “freie Atonalität”’,
DJbM, 13 (1968), 43–71
F. Ritzel: Die Entwickung der “Sonatenform” im musiktheoretischen Schrifttum des 18. und 19. Jahrhunderts (Wiesbaden, 1968)
J. Rohwer: ‘Zur Analyse neuer Musik’,
Mf, 21 (1968), 69–73
C. Seeger: ‘Factorial Analysis of the Song as an Approach to the Formation of a Unitary Field Theory’,
JIFMC, 20 (1968), 33–9
F.J. Smith: ‘Vers une phénoménologie du son’, Revue de métaphysique et de morale, 3 (1968), 328
T. Winograd: ‘Linguistics and the Computer Analysis of Tonal Harmony’,
JMT, 12 (1968), 2–49
P. Batstone: ‘Musical Analysis as Phenomenology’,
PNM, 7/2 (1968–9), 94–110
J. LaRue: ‘Fundamental Considerations in Style Analysis’, Notes, 25 (1968–9), 447–62
P. Aldrich: ‘An Approach to the Analysis of Renaissance Music’,
MR, 30 (1969), 1–21
S. Arom: ‘Essai d’une notation des monodies à des fins d’analyse’,
RdM, 55 (1969), 172–216
D.W. Beach: ‘Analysis Symposium’,
JMT, 13 (1969), 188–203 [analysis of Beethoven, op.53]
R. Brinkman: Arnold Schönberg: Drei Klavierstücke Op.11: Studien zur frühen Atonalität bei Schönberg (Wiesbaden, 1969)
H.A. Brockhaus: ‘Probleme des Kategoriensystems’,
BMw, 11 (1969), 245–57
M. Cole: ‘Momigny’s Analysis of Haydn’s Symphony no.103’,
MR, 30 (1969), 261–84
M. Cole: ‘Sonata-Rondo: the Formulation of a Theoretical Concept in the 18th and 19th Centuries’,
MQ, 55 (1969), 180–92
C. Dahlhaus: ‘Wagners dramatisch-musikalischer Formbegriff’, Verdi-Wagner: Rome 1969 [
AnMc, no.11 (1972)], 290–301
H. Engel: ‘Thematische Satzverbindungen zyklischer Werke bis zur Klassik’, Musa - mens - musici: in Gedenken an Walther Vetter, ed. H. Wegener (Leipzig, 1969), 109–38
R.F. Erickson: ‘A General-Purpose System for Computer Aided Musical Studies’,
JMT, 13 (1969), 276–94
H. Kaufmann: ‘Zur Problematik der Werkgestalt in der Musik des 18. Jahrhunderts’,
NZM, Jg.130 (1969), 290–96
H.B. Lincoln: ‘The Computer and Music Research: Prospects and Problems’, Council for Research in Music Education Bulletin, no.18 (1969), 1–9
B. Lindblom and J. Sundberg: ‘Towards a Generative Theory of Melody’, Speech Transmission Labratory: Quarterly Progress and Status Report, 4 (1969), 53–86
J. Mainka: ‘Frühe Analysen zweier Stücke aus dem Wohltemperierten Klavier’, Musa – mens – musici: im Gedenken an Walther Vetter, ed. H. Wegener (Leipzig, 1969), 177–83 [essays by J.A.P. Schulz, 1773]
R.M. Mason: ‘An Encoding Algorithm and Tables for the Digital Analysis of Harmony’,
JRME, 17 (1969), 286–300, 369–87
R.P. Morgan: The Delayed Structural Downbeat and its Effect on the Tonal and Rhythmic Structure of Sonata Form Recapitulation (diss., Princeton U., 1969)
F.R. Noske: Forma formans: een structuuranalytische methode, toegepast op de instrumentale muziek van Jan Pieterszoon Sweelinck (Amsterdam, 1969) [incl. Eng. summary]; Eng. trans., rev. in
IRASM, vii (1976), 43–62
F. Salzer and C. Schachter: Counterpoint in Composition: the Study of Voice Leading (New York, 1969)
K.H. Wörner: Das Zeitalter der thematischen Prozesse in der Geschichte der Musik (Regensburg, 1969)
B. Boretz: ‘Meta-Variations: Studies in the Foundations of Musical Thought (I)’,
PNM, 8/1 (1969–70), 1–74; ‘II: Sketch of a Musical System’, viii/2 (1969–70), 49–111; ‘III: Analytic Fallout (I)’, xi/1 (1972–3), 146–223; ‘IV: Analytic Fallout (II)’, xi/2 (1972–3), 156–203
W. Braun: ‘Musiktheorie im 17./18. Jahrhundert als “öffentliche” Angelegenheit’, Über Musiktheorie, ed. F. Zaminer (Cologne, 1970), 37–47
J. Brincker: ‘Statistical Analysis of Music: an Application of Information Theory’,
STMf, 52 (1970), 53–7
T. Clifton: ‘An Application of Goethe’s Concept of Steigerung to the Morphology of Diminution’,
JMT, 14 (1970), 166–89
R.F.P. Erickson: Rhythmic Problems and Melodic Structure in Organum purum: a Computer-Assisted Study (diss., Yale U., 1970)
A. Feil: ‘Abmessung (und Art) der Einschnitte: Rhythmus in Beethoven’s Satzbau’,
GfMKB: Bonn 1970, 33–7
G. George: Tonality and Musical Structure (London and New York, 1970)
F.E. Hansen: ‘Musikalsk analyse ved hjaelp af modeller’,
STMf, 52 (1970), 50–53
J. LaRue: Guidelines for Style Analysis (New York, 1970, 2/1992); see also ‘The Quadrant Framework for Style Analysis in Music’, College Music Symposium, xxi (1981), 40–47
H.B. Lincoln, ed.: The Computer and Music (Ithaca, NY, 1970), esp. 115–295 [incl. analyses of works, ethnomusicological analyses, and studies in stylistic analysis]
B. Lindblom and J. Sundberg: ‘Towards a Generative Theory of Melody’,
STMf, 52 (1970), 71–81
L. Lockwood: ‘A Stylistic Investigation of the Masses of Josquin Desprez with the Aid of the Computer: a Progress Report’, Musicology and the Computer, ed. B.S. Brook (New York, 1970), 19–27
L. Lockwood: ‘The Autograph of the First Movement of Beethoven’s Sonata for Violoncello and Pianoforte, Opus 69’, Music Forum, 2 (1970), 1–109
H. Meyer: ‘Analytische und/oder hermeneutische Werkbetrachtung?’, Musica [Kassel], 24 (1970), 346–8
W.J. Mitchell: ‘The Prologue to Orlando di Lasso's Prophetiae Sibyllarum’, Music Forum, 2 (1970), 264–73
H. de la Motte-Haber: ‘Typologien musikalischen Verhaltens: ein Überblick’, Music Forum, 2 (1970), 136–9
Novack: ‘Fusion of design and Tonal order in Mass and Motet: Josquin Desprez and Heinrich Isaac’, Music forum, 2 (1970), 187–263
A. Pike: A Phenomenological Analysis of Musical Experience and other Related Essays (New York, 1970)
H. Pousseur: Fragments théoriques I sur la musique expérimentale (Brussels, 1970)
L.G. Ratner: Classic Music: Expression, Form, and Style (New York and London, 1970/R)
E. Ratz: ‘Analyse und Hermeneutik in ihrer Bedeutung für die Interpretation Beethovens’,
ÖMz, 25 (1970), 756–66; Eng. trans. in
MAn, iii (1984), 243–54
H.G. Rohrer: Musikalische Stylanalyse auf der Grundlage eines Modelles für Lernprozesse (Berlin, 1970)
J. Rohwer: Die harmonischen Grundlagen der Musik (Kassel, 1970)
H. Rösing: Probleme und neue Wege der Analyse von Instrumenten- und Orchesterklängen (Vienna, 1970)
C. Schachter: ‘Landini’s Treatment of Consonance and Dissonance: a Study of Fourteenth-Century Counterpoint’, Music Forum, 2 (1970), 130–86
I. Supičić: ‘Matter and Form in Music’,
IRASM, 1 (1970), 149–58
W. Thomson: ‘Style Analysis: or the Perils of Pigeonholes’,
JMT, 14 (1970), 191–208
R. Travis: ‘Tonal Coherence in the First Movement of Bartók’s Fourth String Quartet’, Music Forum, 2 (1970), 298–371
B. Boretz: ‘The Construction of a Musical Syntax’,
PNM, 9/1 (1970–71), 23–42; ix/2–x/1 (1971), 232–70
B. Vermazen: ‘Information Theory and Musical Value’, Journal of Aesthetics and Art Criticism, 29 (1970–71), 367–70
J. Blacking: ‘Deep and Surface Structures in Venda Music’,
YIFMC, 3 (1971), 91–108
N. Böker-Heil: ‘Ein algebraisches Modell des Durmoll tonalen Systems’, Kongress für Musiktheorie I: Stuttgart 1971, 64–104
E. Budde: Anton Weberns Lieder Op.3: Untersuchungen zur frühen Atonalität bei Webern (Wiesbaden, 1971)
A. Clarkson and E. Laufer: ‘Analysis Symposium: Brahms op.105/1’,
JMT, 15 (1971), 2–57
D. Cohen: ‘Palestrina Counterpoint: a Musical Expression of Unexcited Speech’,
JMT, 15 (1971), 84–111
T. Kneif: ‘Bedeutung, Struktur, Gegenfigur: zur Theorie des musikalischen “Meinens”’,
IRASM, 2 (1971), 213–29
A.J. Komar: Theory of Suspensions: a Study of Metrical and Pitch Relations in Tonal Music (Princeton, NJ, 1971)
O.E. Laske: ‘An Acoulogical Performance Model for Music’, Electronic Music Reports, no.4 (1971), 31–64
H. Lefebvre: ‘Musique et sémiologie’, Musique en jeu, no.4 (1971), 52–62
J. Lester: A Theory of Atonal Prolongations as Used in an Analysis of the Serenade, op.24, by Arnold Schoenberg (diss., U. of Michigan, Ann Arbor, 1971)
H.C. Longuet-Higgins and M. Steedman: ‘On Interpreting Bach’, Machine Intelligence, 6 (1971), 221–41
F.B. Mâche: ‘Méthodes linguistiques et musicologie’, Musique en jeu, no.5 (1971), 75–91
J.-J. Nattiez: ‘Lexique des termes linguistiques’, Musique en jeu, no.5 (1971), 93–8 [incl. bibliography of musical semiology]
J.-J. Nattiez: ‘Situation de la sémiologie musicale’, Musique en jeu, no.5 (1971), 3–18
P. Nielsen: Den musikalske formanalyse: fra A.B. Marx’ ‘Kompositionslehre’ til vore dages strukturanalyse (Copenhagen, 1971)
D. Osmond-Smith: ‘Music as Communication: Semiology or Morphology?’,
IRASM, 2 (1971), 108–11
L. Rappoport, A. Sokhor and Yu. Kholopov, eds.: Teoreticheskiye problemï muzïkal′nïkh form i zhanrov [Theoretical problems of musical form and genre] (Moscow, 1971)
D. Rexroth: Arnold Schönberg als Theoretiker der tonalen Harmonik (Bonn, 1971)
C. Rosen: The Classical Style: Haydn, Mozart, Beethoven (London and New York, 1971, enlarged 3/1997 with sound disc)
J. Rothgeb: ‘Design as a Key to Structure in Tonal Music’,
JMT, 15 (1971), 230–53
A. Salop: Studies in the History of Musical Style (Detroit, 1971)
W. Seidel: ‘Moritz Hauptmanns organische Lehre: Tradition, Inhalt und Geltung ihrer Prämisse’,
IRASM, 2 (1971), 243–66
S.W. Smoliar: A Parallel Processing Model of Music Structures (diss., MIT, 1971)
I. Supičić: ‘Expression and Meaning in Music’,
IRASM, 2 (1971), 193–212
I. Xenakis: Musique, architecture (Paris, 1971, 2/1976)
A. Pike: ‘The Perceptual Aspects of Motivic Structure in Music’, Journal of Aesthetics and Art Criticism, 30 (1971–2), 79–81
B. Alphonce: ‘The Invariance Matrix as an Analytical Tool’,
IMSCRXI: Copenhagen 1972, 1, 228–35
M. Babbitt: ‘Contemporary Music Composition and Music Theory as Contemporary Intellectual History’, Perspectives in Musicology, ed. B.S. Brook, E.O.D. Downes and S. van Solkema (New York, 1972), 151–84
I.D. Bent: ‘Current Methods in Stylistic Analysis: Summary of Remarks’,
IMSCRXI: Copenhagen 1972, 1, 43–5
N. Böker-Heil: ‘Musikalische Stilanalyse und Computer: einige grundsätzliche Erwägungen’, ‘Der Zustand polyphoner Strukturen: ein Beispiel automatischer Stilbeschreibung’,
IMSCRXI: Copenhagen 1972, 1, 45–50, 108–20
V. Chenoweth: Melodic Perception and Analysis: a Manual on Ethnic Melody (Ukarumpa, Papua New Guinea, 1972)
L. Crickmore: ‘The Musical Gestalt’,
MR, 33 (1972), 285–91
F. Delalande: ‘L’analyse des musiques électro-acoustiques’, Musique en jeu, no.8 (1972), 50–56
H.H. Eggebrecht: ‘Zur Methode der musikalischen Analyse’, Erich Doflein Festschrift, ed. L.U. Abraham (Mainz, 1972), 67–84
E. Helm: ‘The “Hamlet” Fantasy and the Literary Element in C.P.E. Bach’s Music’,
MQ, 58 (1972), 277–96
O.E. Laske: ‘On Musical Strategies with a View to a Generative Theory of Music’, Interface, 1 (1972), 111–25
J. Maegaard: Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schoenberg (Copenhagen, 1972)
J.-J. Nattiez: ‘Is a Descriptive Semiotics of Music Possible?’, Language Sciences, no.23 (1972), 1–7
J.-J. Nattiez: ‘La linguistique: voie nouvelle pour l’analyse musicale?’, Cahiers canadiens de musique/Canada Music Book, no.4 (1972), 101; Eng. trans. in
IRASM, iv (1973), 53–67
P. Petrobelli: ‘Per un’esegesi della struttura drammatica del “Trovatore”’, Studi verdiani III: Milan 1972, 386–400; Eng. trans. in
MAn, i (1982), 125–67
H. Pousseur: Musique, sémantique, société (Paris, 1972)
P. Rummenhöller: ‘Anmerkungen zur musikalischen Analyse’, Zeitschrift für Musiktheorie, 3/1 (1972), 2–4
N. Ruwet: Langage, musique, poésie (Paris, 1972) [incl. articles on music written 1959–67]
L. Treitler: ‘Methods, Style, Analysis’,
IMSCRXI: Copenhagen 1972, 1, 61–70
C. Wolff: ‘Towards a Methodology of Dialectic Style Consideration: Preliminary Terminological and Historical Considerations’,
IMSCRXI: Copenhagen 1972, 1, 74–80
A. Forte: ‘Sets and Nonsets in Schoenberg’s Atonal Music’,
PNM, 11/1 (1972–3), 43–64
R. Cooper: ‘Propositions pour un modèle transformationnel de description musicale’, Musique en jeu, no.10 (1973), 70–90
R. Court: ‘Musique, mythe, langage’, Musique en jeu, no.12 (1973), 45–58
A. Forte: ‘The Basic Interval Patterns’,
JMT, 17 (1973), 234–73
A. Forte: The Structure of Atonal Music (New Haven, CT, 1973)
G. Hausswald: Musikalische Stilkunde (Wilhelmshaven, 1973)
R. Jackson: ‘Music Theory: a Single or Multiple View?’, College Music Symposium, 13 (1973), 65–9
E. Karkoschka: ‘Über Exaktheit in Musikanalyse’, Zeitschrift für Musiktheorie, 4/2 (1973), 3–10
J. Kramer: ‘The Fibonacci Series in Twentieth-Century Music’,
JMT, 17 (1973), 110–48
A. Labussière: Codage des structures rythmo-mélodiques à partir de créations vocales (Paris, 1973)
O.E. Laske: Introduction to a Generative Theory of Music (Utrecht, 1973)
L.B. Meyer: Explaining Music: Essays and Explorations (Berkeley, 1973)
C. Miereanu: ‘“Textkomposition”: voie zéro de l’écriture musicale’, Musique en jeu, no.13 (1973), 49–73
J.-J. Nattiez: ‘Analyse musicale et sémiologie: le structuralisme de Lévi-Strauss’, Musique en jeu, no.12 (1973), 59–79
J.-J. Nattiez: ‘Trois modèles linguistiques pour l’analyse musicale’, Musique en jeu, no.10 (1973), 3–11
J.-J. Nattiez and L. Hirbour-Paguette: ‘Analyse musicale et sémiologie: à propos du Prélude de “Pelléas”’, Musique en jeu, no.10 (1973), 42–67
W.-A. Schultz: ‘Anmerkungen zur Stilanalyse’,
Mf, 26 (1973), 241–3
E.C. Verba: ‘The Development of Rameau’s Thoughts on Modulation and Chromatics’,
JAMS, 26 (1973), 69–91
A. Goehr: ‘The Theoretical Writings of Arnold Schoenberg’,
PRMA, 100 (1973–4), 85–96
D.W. Beach: ‘The Origins of Harmonic Analysis’,
JMT, 18 (1974), 274–306
H. Beck: Methoden der Werkanalyse in Musikgeschichte und Gegenwart (Wilhelmshaven, 1974)
E.T. Cone: The Composer’s Voice (Berkeley, 1974)
P. Faltin and H.-P. Reinecke: Musik und Verstehen: Aufsätze zur semiotischen Theorie, Ästhetik und Soziologie der musikalischen Rezeption (Cologne, 1974)
T. Fay: ‘Context Analysis of Musical Gestures’,
JMT, 18 (1974), 124–51
S.E. Gilbert: ‘An Introduction to Trichordal Analysis’,
JMT, 18 (1974), 338–62
D. Hayes: ‘Rameau’s “nouvelle méthode”’,
JAMS, 27 (1974), 61–74
G. Henneberg: Theorien zur Rhythmik und Metrik in der Musik der Wiener Klassik (Tutzing, 1974); repr. in
Mf, xxvi (1973), 507–9
S. Keil: ‘Zum Begriff “Struktur” in der Musik’, Musica[Kassel], 28 (1974), 324–8
M. Porten: Zum Problem der Form bei Debussy: Untersuchungen am Beispiel der Klavierwerke (Munich, 1974)
N. Ruwet: ‘Théorie et méthodes dans les études musicales’, Musique en jeu, no.17 (1974), 11–36
A. Schering: Vom Wesen der Musik: ausgewählte Aufsätze, ed. K.M. Komma (Stuttgart, 1974)
W.-A. Schultz: Die freien Formen in der Musik des Expressionismus und Impressionismus (Hamburg, 1974)
S.W. Smoliar: ‘Process Structuring and Music Theory’,
JMT, 18 (1974), 309–35
J.R. Stevens: ‘Theme, Harmony and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form’,
JAMS, 27 (1974), 25–60
R. Travis and A. Forte: ‘Analysis Symposium: Webern, Orchestral Pieces (1913), Movement I (“Bewegt”)’,
JMT, 18 (1974), 2–43; continuation by E. Barkin,
JAMS, 27 (1974), xix (1975), 47–64
L. Treitler: ‘Homer and Gregory: the Transmission of Epic Poetry and Plainchant’,
MQ, 60 (1974), 333–72
J.A. Vertrees: ‘Mozart’s String Quartet K.465: the History of a Controversy’,
CMc, no.17 (1974), 96–114
M. Wagner: Die Harmonielehren der ersten Hälfte des 19. Jahrhunderts (Regensburg, 1974)
G.E. Wittlich: ‘Interval Set Structure in Schoenberg’s op.11, no.1’,
PNM, 13/1 (1974–5), 41–56
W. Berry and others: ‘Analysis Symposium: Mozart Symphony no.40’, In Theory Only, 1/7 (1975), 8–36
W. Braun: ‘Kretzschmars Hermeneutik’, Beiträge zur musikalischen Hermeneutik, ed. C. Dahlhaus (Regensburg, 1975), 33–9
C. Dahlhaus: ‘Some Models of Unity in Musical Form’,
JMT, 19 (1975), 2–30
R. Erickson: Sound Structure in Music (Berkeley, 1975)
D. Lidov: On Musical Phrase (Montreal, 1975)
J. Molino: ‘Fait musical et sémiologie de la musique’, Musique en jeu, no.17 (1975), 37–62
J.A. Moorer: On the Segmentation and Analysis of Continuous Musical Sound by Digital Computer (diss., Stanford U., 1975)
J.-J. Nattiez: ‘Densité 21.5’ de Varèse: essai d’analyse sémiologique (Montreal, 1975); Eng. trans. in
MAn, i (1982), 243–340
E. Sanders: ‘The Early Motets of Philippe de Vitry’,
JAMS, 28 (1975), 24–45
A. Schoenberg: Style and Idea: Selected Writings, ed. L. Stein (London and New York, 1975/R)
W. Seidel: Über Rhythmustheorien der Neuzeit (Berne, 1975)
U. Siegele: Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs (Stuttgart, 1975)
J.-M. Vaccaro: ‘Proposition d’analyse pour une polyphonie vocale’,
RdM, 61 (1975), 35–8
A.B. Wenk: Analyses of Twentieth-Century Music, 1940–1970 (Ann Arbor, 1975; see also suppl. 1976, 2/1984)
A. Whittall: ‘Tonality and the Whole-Tone Scale in the Music of Debussy’,
MR, 36 (1975), 261–71
G.E. Wittlich: ‘Sets and Ordering Procedures in Twentieth-Century Music’, Aspects of Twentieth-Century Music, ed. G.E. Wittlich (Englewood Cliffs, NJ, 1975), 388–476
M. Yeston: ‘Rubato and the Middleground’,
JMT, 19 (1975), 286–301
J. Kerman: ‘Tovey’s Beethoven’, American Scholar (1975–6), wint., 795; repubd in Beethoven Studies 2, ii, ed. A. Tyson (London, 1977), 172–200
P. Andraschke: Gustav Mahlers IX Symphonie: Kompositionsprozess und Analyse (Wiesbaden, 1976)
N.K. Baker: ‘Heinrich Koch and the Theory of Melody’,
JMT, 20 (1976), 1–48
D.W. Beach: ‘Segmental Invariance and the Twelve-Tone System’,
JMT, 20 (1976), 157–184
W.E. Benjamin: ‘Interlocking Diatonic Collections as a Source of Chromaticism in Late Nineteenth-Century Music’, In Theory Only, 1/11–12 (1976), 31–51
L. Bernstein: The Unanswered Question (Cambridge, MA, 1976, 2/1992 as 6 video cassettes)
W. Berry: Structural Functions in Music (Englewood Cliffs, NJ, 1976/R)
R.D. Cogan and P. Escot: Sonic Design: the Nature of Sound and Music (Englewood Cliffs, NJ, 1976/R)
J. Jiránek: ‘Observations on the Theory and Historical and Contemporary Practice of Musical Analysis’,
HV, 13 (1976), 106–21
R. Kamien: ‘Aspects of the Recapitulation in Beethoven Piano Sonatas’, Music Forum, 4 (1976), 195–235
M. Kassler: ‘The Decidability of Languages that Assert Music’,
PNM, 14/2–xv/1 (1976), 249–51 [Babbitt issue]
E.B. Kohs: Musical Form: Studies in Analysis and Synthesis (Boston, 1976)
J.-H. Lederer: ‘Zu Hindemiths Idee einer Rhythmen- und Formenlehre’,
Mf, 29 (1976), 21–36
D. Loeb: ‘An Analytic Study of Japanese Koto Music’, Music Forum, 4 (1976), 335–93
H.C. Longuet-Higgins: ‘Perception of Melodies’, Nature, 263 (1976), 646–53; repr. in Machine Models of Music, ed. S.M. Schwanauer and D.A. Levitt (Cambridge, MA, 1993), 471–95
R.P. Morgan: ‘Dissonant Prolongation: Theoretical and Compositional Precedents’,
JMT, 20 (1976), 49–91
J.-J. Nattiez: Fondements d’une sémiologie de la musique (Paris, 1976)
C. Schachter: ‘Rhythm and Linear Analysis: a Preliminary Study’, Music Forum, 4 (1976), 281–334
H. Schenker: ‘A Contribution to the Study of Ornamentation’, [trans. Hedi Siegel], Music Forum, 4 (1976), 1–140
H. Schenker: ‘The Largo of J.S. Bach’s Sonata No. 3 for Unaccompanied Violin [BWV 1005]’, Music Forum, 4 (1976), 141–59
W. Seidel: Rhythmus: ein Begriffsbestimmung (Darmstadt, 1976)
G. Stefani: ‘Analisi, semiosi, semiotica’,
RIM, 11 (1976), 106–25
M. Yeston: The Stratification of Musical Rhythm (New Haven, CT, 1976)
J. Dunsby: ‘Schoenberg’s Premonition, op.22, no.4, in Retrospect’, Journal of the Arnold Schoenberg Institute, 1 (1976–7), 137–49
S.W. Smoliar and others: ‘A LISP-Based System for the Study of Schenkerian Analysis’, Computers and the Humanities, 10 (1976–7), 21–32
R. Barthes: Image – Music – Text, ed. and trans. S. Heath (New York, 1977/R)
W.E. Benjamin: ‘Tonality without Fifths: Remarks on the First Movement of Stravinsky’s Concerto for Piano and Wind Instruments’, In Theory Only, 2/11–12 (1977), 53–70; iii/2 (1977–8), 9–31
I.D. Bent: ‘Analytical Thinking in the First Half of the Nineteenth Century’, Modern Musical Scholarship: Oxford 1977, 151–66
N. Böker-Heil: ‘Computer-Simulation eines musikalischen Verstehensprozesses’,
IMSCRXII: Berkeley 1977, 324–30
R. Chrisman: ‘Describing Structural Aspects of Pitch-Sets Using Successive-Interval Arrays’,
JMT, 21 (1977), 1–28
P. Faltin: ‘Musikalische Syntax: ein Beitrag zum Problem des musikalischen Sinngehaltes’,
AMw, 34 (1977), 1–19
I. Godt: ‘Motivic Integration in Josquin’s Motets’,
JMT, 21 (1977), 264–92
A. Goehr: ‘Schoenberg’s “Gedanke” Manuscript’, Journal of the Arnold Schoenberg Institute, 2 (1977), 4–25
M. Guck: ‘Symmetrical Structures in op. 19/2’, In Theory Only, 2/10 (1977), 29–34
M. Kassler: ‘Transferring a Tonality Theory to a Computer’,
IMSCRXII: Berkeley 1977, 339–47
A. Keiler: ‘The Syntax of Prolongation I’, In Theory Only, 3/5 (1977), 3
F. Lerdahl and R. Jackendoff: ‘Toward a Formal Theory of Tonal Music’,
JMT, 21 (1977), 111–71
D. Lewin: ‘A Label-Free Development for Pitch-Class Systems’,
JMT, 21 (1977), 29–48
D. Lewin: ‘Forte’s Interval Vector, my Interval Function, and Regener’s Common-Note Function’,
JMT, 21 (1977), 194–237
E. Narmour: Beyond Schenkerism: the Need for Alternatives in Music Analysis (Chicago, 1977)
G. Perle: Twelve-Tone Tonality (Berkely, 1977, rev. and enlarged 2/1996)
M.J. Steedman: ‘The Perception of Musical Rhythm and Metre’, Perception, 6 (1977), 555–71
P.C. van den Toorn: ‘Some Characteristics of Stravinsky’s Diatonic Music, II’,
PNM, 15/2 (1977), 58–95
M. Yeston, ed.: Readings in Schenker Analysis and other Approaches (New Haven, CT, 1977)
E. Antokoletz: ‘Principles of Pitch Organization in Bartók’s Fourth String Quartet’, In Theory Only, 3/6 (1977–8), 3–22
R. Bailey: ‘The Structure of the Ring and its Evolution’,
19CM, 1 (1977–8), 48–61
I.D. Bent and J. Morehen: ‘Computers in the Analysis of Music’,
PRMA, 104 (1977–8), 30–46
D. Starr and R. Morris: ‘A General Theory of Combinatoriality and the Aggregate I’,
PNM, 16/1 (1977–8), 3–35
R. Swift: ‘1-XII-99: Tonal Relationships in Schoenberg’s Verklärte Nacht’,
19CM, 1 (1977–8), 3–14
A.B. Wenk: ‘The Composer as Poet in “Das Lied von der Erde”’,
19CM, 1 (1977–8), 33–47
M. Baroni: Proposal for a Grammar of Melody: the Bach Chorales (Montreal, 1978)
W.E. Benjamin: ‘Pour les sixtes: an Analysis’,
JMT, 22 (1978), 253–90
W. Berry: ‘Rhythmic Accelerations in Beethoven’,
JMT, 22 (1978), 177–236
C. Burkhart: ‘Schenker’s “Motivic Parallelisms”’,
JMT, 22 (1978), 145–75
K. Covington: ‘A Theory of Dissonance in the Fourteenth Century’, Indiana Theory Review, 2/1 (1978), 29–40
C. Dahlhaus: ‘Der rhetorische Formbegriff H. Chr. Kochs und die Theorie der Sonatenform’,
AMw, 35 (1978), 155–77
C. Dahlhaus: ‘Formenlehre und Gattungstheorie bei A.B. Marx’, Heinrich Sievers zum 70. Geburtstag, ed. R. Jakoby and G. Katzenberger (Tutzing, 1978), 29–35
C. Dahlhaus: ‘Satz und Periode: zur Theorie der musikalischen Syntax’, Zeitschrift für Musiktheorie, 9/2 (1978), 16–26
A. Forte: ‘Schoenberg’s Creative Evolution: the Path to Atonality’,
MQ, 64 (1978), 133–76
A. Forte: The Harmonic Organization of ‘The Rite of Spring’ (New Haven, CT, 1978)
R. Gauldin: ‘A Labyrinth of Fifths: the Last Movement of Beethoven’s Eighth Symphony’, Indiana Theory Review, 1/3 (1978), 4–11
M.A. Guck: ‘The Functional Relations of Chords: a Theory of Musical Intuitions’, In Theory Only, 4/6 (1978), 29–42
A.O. Halm: Von Form und Sinn der Musik: gesammelte Aufsätze, ed. S. Schmalzriedt (Wiesbaden, 1978)
G. Henneberg: ‘Heinrich Christoph Kochs Analysen von Instrumentalwerken Joseph Haydns’, Haydn-Studien, 4/2 (1978), 105–12
J. Jiránek: ‘Dramatické rysy Janáčkova klavírního stylu’ [Dramatic traits in Janáček’s writing for the piano],
OM, 10 (1978), 139–48; repr. in Muzikologické etudy (Prague, 1981), 88–100; Ger. trans. in
AMw, xxxix (1982), 179–97
A. Keiler: ‘Bernstein’s “the Unanswered Question” and the Problem of Musical Competence’,
MQ, 64 (1978), 195–222
A. Keiler: ‘The Empiricist Illusion: Narmour’s Beyond Schenkerism’,
PNM, 17/1 (1978), 161–95
L. Laskowski, ed.: Heinrich Schenker: an Annotated Index to his Analyses of Musical Works (New York, 1978)
J. Lester: ‘The Recognition of Major and Minor Keys in German Theory: 1680-1730’,
JMT, 22 (1978), 65–103
D. Linthicum: ‘Verdi’s “Falstaff” and Classical Sonata Form’,
MR, 39 (1978), 39–53
H.C. Longuet-Higgins: ‘The Perception of Music’, Interdisciplinary Science Review, 3 (1978), 143
R.P. Morgan: ‘The Theory and Analysis of Tonal Rhythm’,
MQ, 64 (1978), 435–73
F. Neumann: Musikalische Syntax und Form im Liederzyklus ‘Die schöne Müllerin’ von Franz Schubert: eine morphologische Studie (Tutzing, 1978)
F. Schleiermacher: ‘The Hermeneutics: Outline of the 1819 Lectures’, New Literary History, 10 (1978), 1–17
U. Siegele: Bachs theologischer Formbegriff und das Duett F-dur (Neuhausen, 1978)
D. Starr and R. Morris: ‘A General Theory of Combinatoriality and the Aggregate, II’,
PNM, 16/2 (1978), 50–84
E. Tarasti: Myth and Music: a Semiotic Approach to the Aesthetics of Myth in Music, especially that of Wagner, Sibelius and Stravinsky (Helsinki, 1978)
E.C. Verba: ‘Rameau’s Views on Modulation and their Background in French Theory’,
JAMS, 31 (1978), 467–79
G.J. Buelow: ‘The Concept of “Melodielehre”: a Key to Classic Style’,
MJb1978–9, 182–95
P. Johnson: ‘Symmetrical Sets in Webern’s op.10, no.4’,
PNM, 17/1 (1978–9), 219–29
S. Levarie: ‘Key Relations in Verdi’s Un ballo in maschera’,
19CM, 2 (1978–9), 143–7
R.P. Morgan: ‘Dissonant Prolongations, Perfect Fifths, and Major Thirds in Stravinsky’s Piano Concerto’, In Theory Only, 4/4 (1978–9), 3–7
B. Trowell: ‘Proportion in the Music of Dunstable’,
PRMA, 105 (1978–9), 100–141
J. Webster: ‘Schubert’s Sonata Form and Brahms’s First Maturity’,
19CM, 2 (1978–9), 18–35; iii (1979–80), 52–71
D. Baumann: Die dreistimmige italienische Lied-Satztechnik im Trecento (Baden-Baden, 1979)
D.W. Beach: ‘Pitch Structure and the Analytic Process in Atonal Music: an Interpretation of the Theory of Sets’, Music Theory Spectrum, 1 (1979), 7–22
D.W. Beach and T. Jurgen: ‘The True Principles for the Practice of Harmony by Johann Phillip Kirnberger: a Translation’,
JMT, 23 (1979), 163–225
W.E. Benjamin: ‘Ideas of Order in Motivic Music’, Music Theory Spectrum, 1 (1979), 23–34
E. Budde: ‘Arnold Schoenbergs Monodrama Erwartung: Versuch einer Analyse der ersten Szene’,
AMw, 36 (1979), 1–20
R. Chrisman: ‘Anton Webern’s Six Bagatelles for String Quartet, op.9: the Unfolding of Intervallic Successions’,
JMT, 23 (1979), 81–122
J. Clough: ‘Aspects of Diatonic Sets’,
JMT, 23 (1979), 45–61
D. Epstein: Beyond Orpheus: Studies in Musical Structure (Cambridge, MA, 1979)
P.A. Evans: The Music of Benjamin Britten (London, 1979, 3/1996)
P. Faltin: Phänomenologie der musikalischen Form: eine experimental-psychologische Untersuchung zur Wahrnehmung des musikalischen Materials und der musikalischen Syntax (Wiesbaden, 1979)
R. Gauldin: ‘Wagner’s Parody Technique: “Träume” and the “Tristan” Love Duet’, Music Theory Spectrum, 1 (1979), 35–42
F.K. Grave: ‘Abbé Vogler and the Study of Fugue’, Music Theory Spectrum, 1 (1979), 43–66
M. Imberty: Entendre la musique: sémantique psychologique de la musique (Paris, 1979)
D. Jarman: The Music of Alban Berg (Berkeley and London, 1979)
J.C. Kassler: The Science of Music in Britain, 1714–1830 (New York, 1979)
A. Lessem: Music and Text in the Works of Arnold Schoenberg (Ann Arbor, 1979)
J. Lester: ‘Articulation of Tonal Structures as a Criterion for Analytic Choices’, Music Theory Spectrum, 1 (1979), 67–79
E. Morin: Essai de stylistique comparée: les variations de William Byrd et John Tompkins sur ‘John come kiss me now’ (Montreal, 1979)
D. Neumeyer: ‘Liszt’s Sonetto 104 del Petrarca: the Romantic Spirit and Voiceleading’, Indiana Theory Review, 2/2 (1979), 2–22
K.-O. Plum: Untersuchungen zu Heinrich Schenkers Stimmführungsanalyse (Regensburg, 1979)
J. Rahn: ‘Logic, Set Theory, Music Theory’, College Music Symposium, 19/1 (1979), 114–27
B.V. Rivera: ‘Harmonic Theory in Musical Treatises of the Late Fifteenth and Early Sixteenth Centuries’, Music Theory Spectrum, 1 (1979), 80–95
L. Rowell: ‘Aristoxenus on Rhythm’,
JMT, 23 (1979), 63–79
M.V. Sandresky: ‘The Continuing Concept of the Platonic-Pythagorean System and its Application to the Analysis of Fifteenth-Century Music’, Music Theory Spectrum, 1 (1979), 107–20
W. Schenkman: ‘Fixed Ideas and Recurring Patterns in Berlioz’s Melody’,
MR, 40 (1979), 25–48
F.J. Smith: The Experiencing of Musical Sound: Prelude to a Phenomenology of Music (New York, 1979)
J. Tenney and L. Polansky: ‘Temporal Gestalt Perception in Music’,
JMT, 23 (1979), 205–41
P. Tunstall: ‘Structuralism and Musicology: an Overview’,
CMc, no.27 (1979), 51–64; repr. in Ethnomusicological Theory and Method, ed. K.K. Shelemay (New York, 1990), 279–92
H. Wilcox and P. Escot: ‘A Musical Set Theory’, Theory and Practice, 4/2 (1979), 17–37
A. Winold: ‘Competence and Performance in Language and Music’, Indiana Theory Review, 2/3 (1979), 13–30
H. Brown and D. Butler: ‘Diatonic Trichords as Minimal Tonal Cue-Cells.’, In Theory Only, 5/6 (1979–80), 39–55
R. Browne: ‘Tonal Implications of the Diatonic Set.’, In Theory Only, 5/6 (1979–80), 3–21
D. Lewin: ‘Some New Constructs Involving Abstract PC-Sets, and Probabilistic Applications’,
PNM, 18 (1979–80), 433–44
R. Morris: ‘A Similarity Index for Pitch-Class Sets’,
PNM, 18 (1979–80), 445–60
J. Rahn: ‘Relating Sets’,
PNM, 18 (1979–80), 483–98
J.M. Baker: ‘Scriabin’s Implicit Tonality’, Music Theory Spectrum, 2 (1980), 1–18
K. Berger: ‘Tonality and Atonality in the Prologue to Orlando di Lasso’s Prophetiae Sibyllarum: some Methodological Problems in Analysis of Sixteenth-Century Music’,
MQ, 66 (1980), 484–504
P. Bergquist: ‘The First Movement of Mahler’s Tenth Symphony: an Analysis and Examination of the Sketches’, Music Forum, 5 (1980), 335–94
W. Berry: ‘On Structural Levels in Music’, Music Theory Spectrum, 2 (1980), 19–45
A.R. Brinkman: ‘The Melodic Process in Johann Sebastian Bach’s “Orgelbüchlein”’, Music Theory Spectrum, 2 (1980), 46–73
C. Burkhart: ‘The Symmetrical Source of Webern’s Opus 5, No. 4’, Music Forum, 5 (1980), 317–34
W.E. Caplin: ‘Harmony and Meter in the Theories of Simon Sechter’, Music Theory Spectrum, 2 (1980), 74–89
R. Cogan: ‘Tone Color: The New Understanding’, Sonus, 1/1 (1980), 3–24
C. Dahlhaus: ‘Cantabile und thematischer Prozess: der Übergang zum Spätwerk in Beethovens Klaviersonaten’,
AMw, 37 (1980), 81–98
J. Dunsby: ‘Heinrich Schenker and the Free Counterpoint of Strict Composition’,
RMARC, 16 (1980), 140–48
J. Dunsby: ‘Schoenberg on Cadence’, Journal of the Arnold Schoenberg Institute, 4 (1980), 41–9
A. Forte: ‘Aspects of Rhythm in Webern’s Atonal Music’, Music Theory Spectrum, 2 (1980), 90–109
I. Godt: ‘Renaissance Paraphrase Technique: a Descriptive Tool’, Music Theory Spectrum, 2 (1980), 110–18
F.K. Grave: ‘Abbé Vogler’s Theory of Reduction’,
CMc, no.29 (1980), 41–69
R. Hatten: ‘An Approach to Ambiguity in the Opening of Beethoven’s String Quartet, op.59, no.3’, Indiana Theory Review, 3/3 (1980), 28–35
D. Heartz: ‘The Great Quartet in Mozart’s Idomeneo’, Music Forum, 5 (1980), 233–56
J. Jiránek: ‘Semantische Analyse der Musik’,
AMw, 37 (1980), 187–205
J. Kerman: ‘How we Got into Analysis, and How to Get Out’, Critical Inquiry, 7 (1980), 311–31; repr. in Write all these Down: Essays on Music (Berkeley, 1994), 12–32
J. Lester: ‘Simultaneity Structures and Harmonic Functions in Tonal Music’, In Theory Only, 5/5 (1980), 3–28
D. Lewin: ‘On Generalized Intervals and Transformations’,
JMT, 24 (1980), 243–51
P. Mast: ‘Brahms’s Study, Octaven u. Quinten u. A., with Schenker’s Commentary Translated’, Music Forum, 5 (1980), 1–196
R.S. Parks: ‘Pitch Organization in Debussy: Unordered Sets in “Brouillards”’, Music Theory Spectrum, 2 (1980), 119–34
G. Perle: The Operas of Alban Berg, i: Wozzeck (Berkeley, 1980); ii:Lulu (Berkeley, 1985)
J. Rahn: Basic Atonal Theory (New York, 1980/R)
B.V. Rivera: German Music Theory in the Early 17th Century: the Treatises of Johannes Lippius (Ann Arbor, 1980)
C. Rosen: Sonata Forms (New York, 1980, 2/1988)
J. Rothgeb: ‘Chopin’s C-minor Nocturne, op.48, no.1, First Part: Voice Leading and Motivic Content’, Theory and Practice, 5/2 (1980), 26–31
F. Salzer: ‘The Variation Movement of Mozart’s Divertimento K. 563’, Music Forum, 5 (1980), 257–316
C. Schachter: ‘Rhythm and Linear Analysis: Durational Reduction’, Music Forum, 5 (1980), 197–232
R. Schneider: Semiotik der Musik: Darstellung und Kritik (Munich, 1980)
J. Thym: ‘Text-Music Relationships in Schumann’s “Frühlingsfahrt”’, Theory and Practice, 5/2 (1980), 7–25
C. Wintle: ‘Schoenberg’s Harmony: Theory and Practice’, Journal of the Arnold Schoenberg Institute, 4 (1980), 50–68
T. Christensen: ‘The Schichtenlehre of Hugo Riemann’, In Theory Only, 6/4 (1980–81), 37–44
W. Kindermann: ‘Dramatic Recapitulation in Wagner’s Götterdämmerung’,
19CM, 4 (1980–81), 101–12
L. Kramer: ‘The Mirror of Tonality: Transitional Features of Nineteenth-Century Harmony’,
19CM, 4 (1980–81, 191–208
D. Lewin: ‘On Harmony and Meter in Brahms’s op.76, no.8’,
19CM, 4 (1980–81, 261–65
M.R. Rogers: ‘Rehearsings: Chopin, Prelude in A Minor, op.28, no.2’,
19CM, 4 (1980–81, 245–50
K.R. Schwarz: ‘Steve Reich: Music as a Gradual Process, I’,
PNM, 19 (1980–81), 373–92
R.A. Solie: ‘The Living Work: Organicism and Musical Analysis’,
19CM, 4 (1980–81), 147–56
R.L. Todd: ‘Liszt, Fantasy and Fugue for Organ on “Ad nos, ad salutarem undam”’,
19CM, 4 (1980–81), 250–61
M. Baroni: ‘Sulla nozione di grammatica musicale’,
RIM, 16 (1981), 240–70; Eng. trans. in
MAn, ii (1983), 175–208
S. Bérard with J.-P. Holstein: Musique, langage vivant: analyse d’oeuvres musicales des XVIIe et XVIIIe siècles (Paris, 1981)
J.W. Bernard: ‘Pitch/Register in the Music of Edgar Varèse’, Music Theory Spectrum, 3 (1981), 1–25
R. Browne, ed.: Music Theory: Special Topics (New York, 1981)
R. Browne: ‘Tonal Implications of the Diatonic Set’, In Theory Only, 5/6–7 (1981), 3–21
R.D. Cogan: Sonic Design: Practice and Problems (Englewood Cliffs, NJ, 1981)
C. Dahlhaus: ‘E.T.A. Hoffmans Beethoven-Kritik und die Aesthetik der Erhabenen’,
AMw, 38 (1981), 79–92
E. Derr: ‘The Two-Part Inventions: Bach’s Composers’ Vademecum’, Music Theory Spectrum, 3 (1981), 26–48
D. Deutsch and J. Feroe: ‘The Internal Representation of Pitch Sequences in Tonal Music’, Psychological Reports, 88/6 (1981), 503–22
J. Dunsby: Structural Ambiguity in Brahms: Analytical Approaches to Four Works (Ann Arbor, 1981)
J. Dunsby and J. Stopford: ‘The Case for a Schenkerian Semiotic’, Music Theory Spectrum, 3 (1981), 49–53
H. Federhofer: Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker (Vienna, 1981)
A. Forte: ‘The Magical Kaleidoscope: Schoenberg’s First Atonal Masterwork, op.11, no.1’, Journal of the Arnold Schoenberg Institute, 5 (1981), 127–68
M.A. Guck: ‘Musical Images as Musical Thoughts: the Contribution of Metaphor to Analysis’, In Theory Only, 5/5 (1981), 29–42
C. Hasty: ‘Segmentation and Process in Post-Tonal Music’, Music Theory Spectrum, 3 (1981), 54–73
A.R. Keiler: ‘Music as Metalanguage: Rameau’s Fundamental Bass’, Music Theory: Special Topics, ed. R. Browne (New York, 1981), 83–100
H. Keller: ‘Schoenberg’s Return to Tonality’, Journal of the Arnold Schoenberg Institute, 5 (1981), 2–21
R. Kelterborn: Zum Beispiel Mozart: ein Beitrag zur musikalischen Analyse (Basle, 1981)
J. Kerman: The Masses and Motets of William Byrd (Berkeley, 1981)
O.E. Laske: Music and Mind: an Artificial Intelligence Perspective (San Fransisco, 1981)
F. Lerdahl and R. Jackendoff: ‘On the Theory of Grouping and Meter’,
MQ, 67 (1981), 479–506
D. Lewin: ‘A Way into Schoenberg’s Opus 15, Number 7’, In Theory Only, 6/1 (1981), 3–24
D. Lewin: ‘Some Investigations into Foreground Rhythmic and Metric Patterning’, Music Theory: Special Topics, ed. R. Browne (New York, 1981), 101–37
C. Lewis: ‘Tonal Focus in Atonal Music: Berg’s op.5/3’, Music Theory Spectrum, 3 (1981), 84–97
C. Lord: ‘Intervallic Similarity Relations in Atonal Set Analysis’,
JMT, 25 (1981), 91–111
C. Marti: ‘Zur Kompositionstechnik von Igor Strawinsky: das Petit concert aus der Histoire du soldat’,
AMw, 38 (1981), 93–109
W. Ogdon: ‘How Tonality Functions in Schoenberg’s Opus 11, Number 1’, Journal of the Arnold Schoenberg Institute, 5 (1981), 169–81
R.S. Parks: ‘Harmonic Resources in Bartók’s “Fourths”’,
JMT, 25 (1981), 245–74
E.R. Phillips: ‘Pitch Structures in a Selected Repertoire of Early German Chorale Melodies’, Music Theory Spectrum, 3 (1981), 98–116
J. Rahn: ‘Ockeghem’s Three-Section Motet “Salve Regina”: Problems in Coordinating Pitch and Time Constructs’, Music Theory Spectrum, 3 (1981), 117–31
C. Schachter, D. Epstein and W.E. Benjamin: ‘Review Symposium: Schenker, “Free Composition”’,
JMT, 25 (1981), 115–73
W. Schenkman: ‘Mattheson’s “Forty-Eight” and their Commentaries’,
MR, 42 (1981), 9–21
B. Shamgar: ‘On Locating the Retransition in Classic Sonata Form’,
MR, 42 (1981), 130–43
W. Slawson: ‘The Color of Sound: a Theoretical Study in Musical Timbre’, Music Theory Spectrum, 3 (1981), 132–41
C.J. Smith: ‘Prolongations and Progressions as Musical Syntax’, Music Theory: Special Topics, ed. R. Browne (New York, 1981), 139–74
W. Steinbeck: ‘“Ein wahres Spiel mit musikalischen Form”: zum Scherzo Ludwig van Beethoven’,
AMw, 38 (1981), 194–226
G.E. Wittlich: ‘Compositional Premises in Schubert’s Opus 94, Number 6’, In Theory Only, 5/8 (1981), 31–43
E.T. Cone: ‘Schubert’s Promissory Note: an Exercise in Musical Hermeneutics’,
19CM, 5 (1981–2), 233–41; repr. in Schubert: Critical and Analytical Studies, ed. W. Frisch (Lincoln, NE, 1986), 11–30
W. Frisch: ‘Brahms, Developing Variation, and the Schoenberg Critical Tradition’,
19CM, 5 (1981–2), 215–32
K.R. Schwarz: ‘Steve Reich: Music as a Gradual Process, II’,
PNM, 20 (1981–82), 225–86
T.W. Adorno: ‘On the Problem of Musical Analysis’,
MAn, 1 (1982), 169–87
C. Ayrey: ‘Berg’s “Scheideweg”: Analytical Issues in op.2/ii’,
MAn, 1 (1982), 189–202
J.M. Baker: ‘Coherence in Webern’s Six Pieces for Orchestra, op.6’, Music Theory Spectrum, 4 (1982), 1–27
M. Baroni and others: ‘A Grammar for Melody: Relationships between Melody and Harmony’, Musical Grammars and Computer Analysis: Modena 1982, 201–18
W.E. Benjamin: ‘Models of Underlying Tonal Structure: How Can they be Abstract, and How Should they be Abstract’, Music Theory Spectrum, 4 (1982), 28–50
T. Christensen: ‘The Schichtenlehre of Hugo Riemann’, In Theory Only, 6/4 (1982), 37–44
R.D. Cogan: ‘Stravinsky’s Sound: a Phonological View: Stravinsky the Progressive’, Sonus, 2/2 (1982), 1–25
L. Davidson: ‘The Structure of Lassus’ Motets a2 (1577)’, Sonus, 2/2 (1982), 71–90
W. Drabkin: ‘Characters, Key Relations and Tonal Structure in “Il Trovatore”’,
MAn, 1 (1982), 143–53
P. Escot: ‘Towards a Theoretical Concept: Non-Linearity in Webern’s op.11/1’, Sonus, 3/1 (1982), 18–29
H. Federhofer: ‘Fux’s “Gradus ad Parnassum” as Viewed by Heinrich Schenker’, Music Theory Spectrum, 4 (1982), 66–75
A. Forte and S.E. Gilbert: Introduction to Schenkerian Analysis (New York, 1982) [see also Instructors Manual for Introduction to Schenkerian Analysis (New York, 1982)]
C.M. Joseph: ‘Structural Coherence in Stravinsky’s “Piano-Rag-Music”’, Music Theory Spectrum, 4 (1982), 76–91
H. Keller: ‘Epilogue/Prologue: Criticism and Analysis’,
MAn, 1 (1982), 9–31
O.E. Laske: ‘KEITH: a Rule System for Making Music-Analytical Discoveries’, Musical Grammars and Computer Analysis: Modena 1982, 165–99
J.M. Levy: Beethoven’s Compositional Choices: the Two Versions of Opus 18, No. 1, First Movement (Philadelphia, 1982)
D. Lewin: ‘A Formal Theory of Generalized Tonal Functions’,
JMT, 26 (1982), 23–60
D. Lewin: ‘An Example of Serial Technique in Early Webern’, Theory and Practice, 7/1 (1982), 40–43
D. Lewin: ‘On Extended Z-Triples’, Theory and Practice, 7/1 (1982), 38–9
D. Lewin: ‘Vocal Meter in Schoenberg’s Atonal Music: with a Note on a Serial Hauptstimme’, In Theory Only, 6/4 (1982), 12–36
L.B. Meyer: ‘Process and Morphology in the Music of Mozart’,
JM, 1 (1982), 67–94
R.P. Morgan: ‘Theory, Analysis, and Criticism’,
JM, 1 (1982), 15–18
J.-J. Nattiez: ‘An Analysis of Debussy’s Syrinx’, Toronto Semiotic Circle, 4 (1982), 1–35
J.-J. Nattiez: ‘Varèse’s Density 21.5: a Study in Semiological Analysis’,
MAn, 1 (1982), 243–340
D. Neumeyer: ‘Organic Structure and the Song Cycle: another Look at Schumann’s “Dichterliebe”’, Music Theory Spectrum, 4 (1982), 92–105
R. Pascall: ‘Organicist Meditations’,
MAn, 1 (1982), 112–15
P. Petrobelli, W. Drabkin and R. Parker: ‘Verdi’s “Il trovatore”: a Symposium’, 125–67 [3 articles]
C. Roads: ‘An Overview of Music Representations’, Musical Grammars and Computer Analysis: Modena 1982, 7–38
D. Rostan: ‘Set Design and Formal Symmetry in Stravinsky’s “The Flood”’, Sonus, 2/2 (1982), 26–40
C. Schachter: ‘Beethoven’s Sketches for the First Movement of op.14, no.1: a Study in Design’,
JMT, 26 (1982), 1–21
B.R. Simms: ‘Line and Harmony in the Sketches of Schoenberg’s “Seraphita”, op.22, no.1’,
JMT, 26 (1982), 291–312
E.R. Sisman: ‘Small and Expanded Forms: Koch’s Model and Haydn’s Music’,
MQ, 68 (1982), 444–75
L. Solomon: ‘The List of Chords, their Properties and Use in Analysis’, Interface, 11/2 (1982), 61–107
J. Straus: ‘A Principle of Voice Leading in the Music of Stravinsky’, Music Theory Spectrum, 4 (1982), 106–24
J.N. Straus: ‘Stravinsky’s Tonal Axis’,
JMT, 26 (1982), 261–90
H. Tischler: ‘A Propos Meter and Rhythm in the Ars Antiqua’,
JMT, 26 (1982), 313–29
L. Treitler: ‘“To Worship That Celestial Sound”: Motives for Analysis’,
JM, 1 (1982), 153–70
J. Viret: ‘Mélodie und “Gestalt”: pour une nouvelle approche de l’analyse mélodique’,
IRASM, 13 (1982), 39–53
E. Wen: ‘A Disguised Reminiscence in the First Movement of Mozart’s G Minor Symphony’,
MAn, 1 (1982), 55–71
A. Whittall: ‘Music Analysis as Human Science?: “Le sacre du printemps” in Theory and Practice’,
MAn, 1 (1982), 33–54
A. Whittall: The Music of Britten and Tippett: Studies in Themes and Techniques (Cambridge, 1982, 2/1990)
R.S. Winter: Compositional Origins of Beethoven’s opus 131 (Ann Arbor, 1982)
C. Wintle: ‘Analysis and Performance: Webern’s Concerto op.24/II’,
MAn, 1 (1982), 73–99
D. Lewin: ‘Auf dem Flusse: Image and Background in a Schubert Song’,
19CM, 6 (1982–3), 47–59; repr. in Schubert: Critical and Analytical Studies, ed. W. Frisch (Lincoln, NE, 1986), 126–52
D. Lewin: ‘Transformational Techniques in Atonal and Other Music Theories’,
PNM, 21 (1982–3), 312–71
R. Parker: ‘Levels of Motive Definition in Verdi’s Ernani’,
19CM, 6/2 (1982–3), 141–50
J. Pasler: ‘Debussy, “Jeux”: Playing with Time and Form’,
19CM, 60–75
J. Reise: ‘Late Skriabin: some Principles Behind the Style’,
19CM, 220–31
V.K. Agawu: ‘The Musical Language of “Kindertotenlieder” no.2’,
JM, 2 (1983), 81–93
W. Arlt: ‘Zur Handhabung der “inventio” in der deutschen Musiklehre des frühen achtzehnten Jahrhunderts’, New Mattheson Studies, ed. G.J. Buelow and H.J. Marx (Cambridge, 1983), 371–92
J.M. Baker: ‘Schenkerian Analysis and Post-Tonal Music’, Aspects of Schenkerian Theory, ed. D.W. Beach (New Haven, CT, 1983), 53–86
M. Baroni: ‘The Concept of Musical Grammar’,
MAn, 2 (1983), 175–208
D.W. Beach: ‘A Recurring Pattern in Mozart’s Music’,
JMT, 27 (1983), 1–29
D.W. Beach, ed.: Aspects of Schenkerian Theory (New Haven, CT, 1983), esp. 1–38
J.W. Bernard: ‘Spatial Sets in Recent Music of Elliott Carter’,
MAn, 2 (1983), 5–34
W. Berry: ‘Text and Music in the Alto Rhapsody’,
JMT, 27 (1983), 239–53
G.J. Buelow: ‘Johann Mattheson and the Invention of the “Affektenlehre”’, New Mattheson Studies, ed. G.J. Buelow and H.J. Marx (Cambridge, 1983), 393–407
C. Burkhart: ‘Schenker’s Theory of Levels and Musical Performance’, Aspects of Schenkerian Theory, ed. D.W. Beach (New Haven, CT, 1983), 95–112
A. Cadwallader: ‘Motivic Unity and Integration of Structural Levels in Brahms’s B Minor Intermezzo, op.119, no.1’, Theory and Practice, 8/2 (1983), 5–24
W. Caplin: ‘Tonal Function and Metrical Accent: a Historical Perspective’, Music Theory Spectrum, 5 (1983), 1–14
P. Carpenter: ‘“Grundgestalt” as Tonal Function’, Music Theory Spectrum, 5 (1983), 15–38
G. Chew: ‘The Spice of Music: Towards a Theory of the Leading Note’,
MAn, 2 (1983), 35–53
M. Chion: Guide des objets sonores: Pierre Schaeffer et la recherche musicale (Paris, 1983)
T. Clifton: Music as Heard: a Study in Applied Phenomenology (New Haven, CT, 1983)
S. Davis: ‘H.C. Koch, the Classic Concerto, and the Sonata-Form Retransition’,
JM, 2 (1983), 45–61
J. Dunsby: ‘Music and Semiotics: the Nattiez Phase’,
MQ, 69 (1983), 27–43
A. Forte: ‘Foreground Rhythm in Early Twentieth-Century Music’,
MAn, 2 (1983), 239–68; repr. in Early Twentieth-Century Music, ed. J. Dunsby (Oxford, 1993), 132–47
A. Forte: ‘Motive and Rhythmic Contour in the Alto Rhapsody’,
JMT, 27 (1983), 255–71
A. Forte: ‘Motivic Design and Structural Levels in the First Movement of Brahms’s String Quartet in C Minor’,
MQ, 69 (1983), 471–502; repr. in Brahms II: Biographical, Documentary, and Analytical Studies, ed. M. Musgrave (Cambridge, 1987), 165–96
R. Gauldin: ‘The Cycle-7 Complex: Relations of Diatonic Set Theory in the Evolution of Ancient Tonal Systems’, Music Theory Spectrum, 5 (1983), 39–55
R. Groth: Die französische Kompositionslehre des 19. Jahrhunderts (Wiesbaden, 1983)
R. Hanson: ‘Webern’s Chromatic Organisation’,
MAn, 2 (1983), 135–49
W.G. Harbinson: ‘Rhythmic Structure in Schoenberg’s “Jane Grey”’, Journal of the Arnold Schoenberg Institute, 7 (1983), 222–37
R. Howat: ‘Bartók, Lendvai and the Principles of Proportional Analysis’,
MAn, 2 (1983), 69–95
R. Howat: Debussy in Proportion: a Musical Analysis (Cambridge, 1983)
J. Hunkemöller: ‘Bartók analysiert seine “Musik für Saiteninstrumente, Schlagzeug und Celesta”,
AMw, 40 (1983), 147–63
R. Kamien: ‘Aspects of Motivic Elaboration in the Opening Movement of Haydn’s Piano Sonata in C-sharp Minor [Hob.XVI:36]’, Aspects of Schenkerian Theory, ed. D.W. Beach (New Haven, CT, 1983), 77–93
W. Kinderman: ‘Das “Geheimnis der Form” in Wagners “Tristan und Isolde”’,
AMw, 40 (1983), 174–88
E. Lendvai: The Workshop of Bartók and Kodály (Budapest, 1983)
F. Lerdahl and R. Jackendoff: A Generative Theory of Tonal Music (Cambridge, MA, 1983)
D. Lewin: ‘An Interesting Global Rule for Species Counterpoint’, In Theory Only, 6/8 (1983), 19–44
P. McCreless: ‘Ernst Kurth and the Analysis of the Chromatic Music of the Late Nineteenth Century’, Music Theory Spectrum, 5 (1983), 56–75
G.D. McQuere, ed.: Russian Theoretical Thought in Music (Ann Arbor, 1983)
E.W. Marvin: ‘The Structural Role of Complementation in Webern’s Orchestral Pieces’, Music Theory Spectrum, 5 (1983), 76–88
R. Morris: ‘Combinatoriality without the Aggregate’,
PNM, 21 (1982–3), 432–86
M. Musgrave: ‘Brahms’s First Symphony: Thematic Coherence and its Secret Origin’,
MAn, 2 (1983), 117–33
J.-J. Nattiez: Tétralogies: Wagner, Boulez, Chéreau (Paris, 1983)
C.V. Palisca: ‘The Genesis of Mattheson’s Style Classification’, New Mattheson Studies, ed. G.J. Buelow and H.J. Marx (Cambridge, 1983), 409–23
A. Pople: ‘Skryabin’s Prelude, op.67, no.1: Sets and Structure’,
MAn, 2 (1983), 151–73
J. Rothgeb: ‘Thematic Content: a Schenkerian View’, Aspects of Schenkerian Analysis, ed. D.W. Beach (New Haven, CT, 1983), 39–60
J. Rushton: The Musical Language of Berlioz (Cambridge, 1983)
F. Salzer: ‘Heinrich Schenker and Historical Research: Monteverdi’s Madrigal “Oimè, se tanto amate”’, Aspects of Schenkerian Analysis, ed. D.W. Beach (New Haven, CT, 1983), 135–52
C. Schachter: ‘Motive and Text in Four Schubert Songs’, Aspects of Schenkerian Analysis, ed. D.W. Beach (New Haven, CT, 1983), 61–76
C. Schachter: ‘The First Movement of Brahms’s Second Symphony: the Opening Theme and its Consequences’,
MAn, 2 (1983), 55–68
W. Schenkman: ‘Rhythmic Motifs as Key to Beethoven’s Characteristic Phrase Structure’,
MR, 44 (1983), 186–93
J. Schmalfeldt: Berg’s Wozzeck: Harmonic Language and Dramatic Design (London and New Haven, CT, 1983)
J.R. Stevens: ‘Georg Joseph Vogler and the “Second Theme” in Sonata Form’,
JM, 2 (1983), 278–304
E. Tarasti: ‘Pour une narratologie de Chopin’,
IRASM, 14 (1983), 53–75
C. Taylor: ‘The Hindemith Theories: a Revaluation of Premise and Purpose’,
MR, 44 (1983), 246–62
P.C. van den Toorn: The Music of Igor Stravinsky (New Haven, CT, 1983)
C.H. Treibitz: ‘Substance and Function in Concepts of Musical Structure’,
MQ, 69 (1983), 209–26
R. Wason: ‘Schenker’s Notion of Scale-Step in Historical Perspective: Non-Essential Harmonies in Viennese Fundamental Bass Theory’,
JMT, 27 (1983), 49–73
A. Whittall: ‘Wagner’s Great Transition?: from “Lohengrin” to “Das Rheingold”’,
MAn, 2 (1983), 269–80
A. Whittall: ‘Webern and Atonality: the Path from the Old Aesthetic’,
MT, 124 (1983), 733–7
W.E. Benjamin: ‘A Theory of Musical Meter’, Music Perception, 1 (1983–4), 355–413
D. Lewin: ‘Amfortas’s Prayer to Titurel and the Role of D in “Parsifal”: the Tonal Spaces of the Drama and the Enharmonic C-flat/B’,
19CM, 7 (1983–4), 336–49 [special issue]
A. Newcomb: ‘Once More Between Absolute and Program Music: Schumann’s Second Symphony’,
19CM, 7 (1983–4), 233–50
W. Thomson: ‘Functional Ambiguity in Musical Structures’, Music Perception, 1 (1983–4), 3–27
C. Wintle: ‘Humpty Dumpty’s Complaint: Tovey Revalued’, Soundings[Cardiff], 11 (1983–4), 14–45
V.K. Agawu: ‘Structural “Highpoints” in Schumann’s Dichterliebe’,
MAn, 3 (1984), 159–80
E. Antokoletz: The Music of Béla Bartók: a Study of Tonality and Progression in Twentieth-Century Music (Berkeley, 1984)
W.B. Bailey: Programmatic Elements in the Works of Schoenberg (Ann Arbor, 1984)
D. Beach: ‘Motive and Structure in the Andante Movement of Mozart’s Piano Sonata K.545’,
MAn, 3 (1984), 227–36
I. Bent: ‘The “Compositional Process” in Music Theory 1713–1850’,
MAn, 3 (1984), 29–55
A. Cadwallader: ‘Schenker’s Unpublished Graphic Analysis of Brahms’s Intermezzo op.117, no.2: Tonal Structure and Concealed Motivic Repetition’, Music Theory Spectrum, 6 (1984), 1–13
W. Caplin: ‘Moritz Hauptmann and the Theory of Suspensions’,
JMT, 28 (1984), 251–69
R.D. Cogan: New Images of Musical Sound (Cambridge, MA, 1984)
C. Dahlhaus: ‘Ästhetische Prämissen der “Sonatenform” bei Adolf Bernhard Marx’,
AMw, 41 (1984), 73–85
C. Dahlhaus: Die Musiktheorie im 18. und 19. Jahrhundert, i: Grundzüge einer Systematik (Darmstadt, 1984)
J. Dunsby: ‘A Bagatelle on Beethoven’s WoO 60’,
MAn, 3 (1984), 57–68
P. Escot: ‘The Gothic Cathedral and Hidden Geometry of St. Hildegard’, Sonus, 5/1 (1984), 14–31
L. Ferrara: ‘Phenomenology as a Tool for Musical Analysis’,
MQ, 70 (1984), 355–73
W. Frisch: Brahms and the Principle of Developing Variation (Berkeley, 1984)
F.K. Grave: ‘Common-Time Displacement in Mozart’,
JM, 3 (1984), 423–42
C.F. Hasty: ‘Phrase Formation in Post-Tonal Music’,
JMT, 28 (1984), 167–90
M. Hyde: ‘A Theory of Twelve-Tone Meter’, Music Theory Spectrum, 6 (1984), 14–51
J.P. Lambert: ‘Eighteenth-Century Harmonic Theory in Concept and Practice: Kollmann’s Analysis of J.S. Bach’s Chromatic Fantasy’, In Theory Only, 8/3 (1984), 11–29
O.E. Laske: ‘Understanding Musical Listening Procedurally’, Sonus, 5/1 (1984), 61–71
D. Leech-Wilkinson: ‘Machaut’s “Rose, lis” and the Problem of Early Music Analysis’,
MAn, 3 (1984), 9–28
W.S. Newman: ‘Yet Another Major Beethoven Forgery by Schindler?’,
JM, 3 (1984), 397–423
C. Noden-Skinner: ‘Tonal Ambiguity in the Opening Measures of Selected Works by Chopin’, College Music Symposium, 24 (1984), 28–34
G. Perle: ‘Scriabin’s Self-Analysis’,
MAn, 3 (1984), 101–22
G.H. Phipps: ‘Tonality in Webern’s Cantata I’,
MAn, 3 (1984), 125–58
R. Rastall: ‘Vocal Range and Tessitura in Music from York Play 45’,
MAn, 3 (1984), 181–99
E. Ratz: ‘Analysis and Hermeneutics, and Their Significance for the Interpretation of Beethoven’,
MAn, 3 (1984), 243–54
B.V. Rivera: ‘The Seventeenth-Century Theory of Triadic Generation and Invertibility and its Application in Contemporaneous Rules of Composition’, Music Theory Spectrum, 6 (1984), 63–78
S. Schmalzriedt: ‘Charakter und Drama: zur historischen Analyse von Haydnschen und Beethovenschen Sonatensätzen’,
AMw, 42 (1984), 37–66
L. Thaler: Organische Form in der Musiktheorie des 19. und beginnenden 20. Jahrhunderts (Munich, 1984)
G. Wagner: ‘Anmerkungen zur Formtheorie Heinrich Christoph Kochs’,
AMw, 41 (1984), 86–112
P. Wilson: ‘Concepts of Prolongation and Bartók’s Opus 20’, Music Theory Spectrum, 6 (1984), 79–89
W. Drabkin: ‘Felix-Eberhard von Cube and the North-German Tradition of Schenkerism’,
PRMA, 111 (1984–5), 180–207
A. Forte: ‘Middleground Motives in the Adagietto of Mahler’s Fifth Symphony’,
19CM, 8 (1984–5), 153–63
R. Kaplan: ‘Sonata Form in the Orchestral Works of Franz Liszt: the Revolutionary Reconsidered’,
19CM, 8 (1984–5), 142–52
W.A. Pastille: ‘Heinrich Schenker, Anti-Organicist’,
19CM, 8 (1984–5), 28–36
S. Arom: ‘De l’écoute a l’analyse des musiques centrafricaines’, Analyse musicale (1985), no.1, pp.35–9
W. Berry: ‘Metric and Rhythmic Articulation in Music’, Music Theory Spectrum, 7 (1985), 7–33
R. Browne: ‘The Dialectic of Good Continuation in Tonal Music’,
MAn, 4 (1985), 5–13
W. Caplin: ‘Hugo Riemann’s Theory of “Dynamic Shading”: a Theory of Musical Meter?’, Theoria [Denton, TX], 1 (1985), 1–24
E.T. Cone: ‘Musical Form and Musical Performance Reconsidered’, Music Theory Spectrum, 7 (1985), 149–58
W. Drabkin: ‘A Lesson in Analysis from Heinrich Schenker: the C-major Prelude from Bach’s Well-Tempered Clavier, Book I’,
MAn, 4 (1985), 241–58
W. Drabkin: ‘Beethoven and the Open String’,
MAn, 4 (1985, 15–28
D. Epstein: ‘Tempo Relations: a Cross-Cultural Study’, Music Theory Spectrum, 7 (1985), 34–71
H. Federhofer: Heinrich Schenker: nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection (Hildesheim, 1985)
A. Forte: ‘Pitch-Class Set Analysis Today’,
MAn, 4 (1985), 29–58
M.L. Friedmann: ‘A Methodology for the Discussion of Contour: its Application to Schoenberg’s Music’,
JMT, 29 (1985), 223–48
A. Goehr: ‘Schoenberg and Kraus: the Idea behind the Music’,
MAn, 4 (1985), 59–71
D. Headlam: ‘A Rhythmic Study of the Exposition in the Second Movement of Beethoven’s Quartet op.59, no.1’, Music Theory Spectrum, 7 (1985), 114–38
M. Hyde: ‘Musical Form and the Development of Schoenberg’s Twelve-Tone Method’,
JMT, 29 (1985), 85–143
C.C. Judd: ‘Some Problems of Pre-Baroque Analysis: an Examination of Josquin's Ave Maria … Virgo Serena’,
MAn, 4 (1985), 201–39
T. Kabisch: ‘Struktur und Form im Spätwerk Franz Liszts: das Klavierstück “Unstern” (1886)’,
AMw, 42 (1985), 178–99
H. Keller: ‘Functional Analysis of Mozart’s G-minor Quintet’,
MAn, 4 (1985), 73–94
J. Kerman: Contemplating Music (Cambridge, MA, 1985; as Musicology, London, 1985)
J.D. Kramer: ‘Studies of Time and Music: a Bibliography’, Music Theory Spectrum, 7 (1985), 72–106
H. Krebs: ‘The Background Level in Some Tonally Deviating Works of Franz Schubert’, In Theory Only, 8/8 (1985), 5–18
A. Lönn and E. Kjellberg, eds.: Analytica: Studies in the Description and Analysis of Music (Stockholm, 1985)
T. Mathiesen: ‘Rhythm and Meter in Ancient Greek Music’, Music Theory Spectrum, 7 (1985), 159–80
A. McNamee: ‘Bitonality, Mode, and Interval in the Music of Karol Szymanowski’,
JMT, 29 (1985), 61–84
A. McNamee: ‘The Role of the Piano Introduction in Schubert’s “Lieder”’,
MAn, 4 (1985), 95–106
J.-J. Nattiez: ‘The Concepts of Plot and Seriation Process in Music Analysis’,
MAn, 4 (1985), 107–18
D. Osmond-Smith: Playing on Words: a Guide to Luciano Berio’s ‘Sinfonia’ (London, 1985)
R.S. Parks: ‘Tonal Analogues as Atonal Resources and their Relation to Form in Debussy’s Chromatic Etude’,
JMT, 29 (1985), 33–60
J. Rushton: ‘The Overture to “Les Troyens”’,
MAn, 4 (1985), 119–44
J. Samson: The Music of Chopin (London, 1985)
J. Schmalfeldt: ‘On the Relation of Analysis to Performance: Beethoven’s Bagatelles op.126, nos.2 and 5’,
JMT, 29 (1985), 1–31
W. Slawson: Sound Color (Berkeley, 1985) [incl. 2 sound discs]
D.I. Stein: Hugo Wolf’s Lieder and Extensions of Tonality (Ann Arbor, 1985)
R. Wason: Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, 1985/R)
C. Wintle: ‘Kontra-Schenker: “Largo e mesto” from Beethoven’s op.10, no.3’,
MAn, 4 (1985), 145–82
V.K. Agawu: ‘Tonal Strategy in the First Movement of Mahler’s Tenth Symphony’,
19CM, 9 (1985–6), 222–33
L. Kramer: ‘Romantic Meaning in Chopin’s Prelude in A Minor’,
19CM, 9 (1985–6), 145–55
D. Lewin: ‘Music Theory, Phenomenology, and Modes of Perception’, Music Perception, 3 (1985–6), 327–92
G. Philipps: ‘The Logic of Tonality in Strauss’s Don Quixote: a Schoenbergian Evaluation’,
19CM, 9 (1985–6), 189–205
V.K. Agawu: ‘Mahler’s Tonal Strategies: a Study of the Song Cycles’,
JMR, 6 (1986), 1–47
J.M. Baker: The Music of Alexander Scriabin (New Haven, CT, 1986)
I. Bent: ‘Heinrich Schenker, Chopin and Domenico Scarlatti’,
MAn, 5 (1986), 131–49
P. Boulez: ‘Le système et l’idée’, InHarmoniques, no.1 (1986), 62–104
M. Brown: ‘The Diatonic and the Chromatic in Schenker’s Theory of Harmonic Relations’,
JMT, 30 (1986), 1–33
G.E. Conus: ‘Die metrotektonische Lösung des Problems der musikalischen Form’, Musiktheorie, 1 (1986), 83–95
C. Deliège: ‘L’analyse post-Schenkerienne: quand et pourquoi?’, Analyse musicale (1986), no.2, pp.12–20 [with Eng. summary]
W. Frisch, ed.: Schubert Critical and Analytical Studies (Lincoln, NE, 1986)
R.O. Gjerdingen: ‘The Formation and Deformation of Classic/Romantic Phrase Schemata’, Music Theory Spectrum, 8 (1986), 25–43
C. Hasty: ‘On the Problem of Succession and Continuity in Twentieth-Century Music’, Music Theory Spectrum, 8 (1986), 58–74
R. Kamien: ‘Subtle Enharmonic Relationships in Mozart’s Music’,
JMT, 30 (1986), 169–83
H. Keller: The Great Haydn Quartets: their Interpretation (New York and London, 1986)
M. Kielian-Gilbert: ‘Motive Transfer in Chopin’s A-minor Prelude’, In Theory Only, 9/1 (1986), 21–32
J. Lester: The Rhythms of Tonal Music (Carbondale, IL, 1986)
N. Marston: ‘Schenker and Forte Reconsidered: Beethoven’s Sketches for the Piano Sonata in E, op.109’,
19CM, 10 (1986–7), 24–42
J.-J. Nattiez: ‘La sémiologie musicale dix ans après’, Analyse musicale (1986), no.2, pp.22–33
D. Neumeyer: The Music of Paul Hindemith (New Haven, CT, 1986)
D. Puffett: ‘The Fugue from Tippett’s Second String Quartet’,
MAn, 5 (1986), 233–64
W. Rothstein: ‘The Americanization of Heinrich Schenker’, In Theory Only, 9/1 (1986), 5–17; repr. in Schenker Studies, ed. H. Siegel (New York, 1990), 192–203
C.J. Smith: ‘The Functional Extravagance of Chromatic Chords’, Music Theory Spectrum, 8 (1986), 94–139
A. Forte: ‘Liszt’s Experimental Idiom and Twentieth-Century Music’,
19CM, 10 (1986–7), 209–28; repr. in Music at the Turn of the Century, ed. J. Kerman (Berkeley, 1990), 93–114
R. Taruskin: ‘Chez Petrouchka: Harmony and Tonality chez Stravinsky’,
19CM, 10 (1986–7), 265–86; repr. in Music at the Turn of the Century, ed. J. Kerman (Berkeley, 1990), 71–92
V.K. Agawu: ‘Concepts of Closure and Chopin’s Opus 28’, Music Theory Spectrum, 9 (1987), 1–17
V.K. Agawu: ‘The Rhythmic Structure of West African Music’,
JM, 5 (1987), 400–418
D. Beach: ‘Motivic Repetition in Beethoven’s Piano Sonata Opus 110: Part I: the First Movement’, Intégral, 1 (1987), 1–29
D. Beach: ‘The First Movement of Mozart’s Piano Sonata in A-minor, K310: some Thoughts on Structure and Performance’,
JMR, 7 (1987), 157–79
J.W. Bernard: ‘Inaudible Structures, Audible Music: Ligeti’s Problem, and his Solution’,
MAn, 6 (1987), 207–36
J.W. Bernard: The Music of Edgard Varèse (New Haven, CT, 1987)
P. Boulez: ‘Timbre and Composition – Timbre and Language’,
CMR, 2/1 (1987), 161–71
G. Boyd: ‘Hauptmann’s Commentary on the Art of Fugue: a Translation’, Indiana Theory Review, 8/2 (1987), 45–66
W.E. Caplin: ‘The “Expanded Cadential Progression”: a Category for the Analysis of Classical Form’,
JMR, 7 (1987), 215–57
T. Christensen: ‘Schoenberg’s Opus 11, No.1: a Parody of Pitch Cells from Tristan’, Journal of the Arnold Schoenberg Institute, 10 (1987), 38–44
E.T. Cone: ‘On Derivation: Syntax and Rhetoric’,
MAn, 6 (1987), 237–55
N. Cook: A Guide to Musical Analysis (London and New York, 1987)
N. Cook: ‘Structure and Performance Timing in Bach’s C-minor Prelude (WTC I): an Empirical Study’,
MAn, 6 (1987), 257–72
I. Deliège: ‘Le parallélisme, support d’une analyse auditive de la musique: vers un modèle des parcours cognitifs de l’information musicale’, Analyse musicale (1987), no.6, pp.73–79
W. Everett: ‘Text-Painting in the Foreground and Middleground of Paul McCartney's Beatle Song, “She's Leaving Home”: a Musical Study of Psychological Conflict’, In Theory Only, 9/7 (1987), 5–21
S. Fuller: ‘Line, Contrapunctus and Structure in a Machaut Song’,
MAn, 6 (1987), 37–58
W. Kinderman: Beethoven’s Diabelli Variations (Oxford, 1987)
D. Lewin: Generalized Musical Intervals and Transformations (New Haven, CT, 1987)
E.W. Marvin and P.A. Laprade: ‘Relating Musical Contours: Extensions of a Theory for Contour’,
JMT, 31 (1987), 225–67
A. Mead: ‘“Tonal” Forms in Arnold Schoenberg’s Twelve-Tone Music’, Music Theory Spectrum, 9 (1987), 67–92
R.D. Morris: Composition with Pitch-Classes: a Theory of Compositional Design (New Haven, CT, 1987)
D. Neumeyer: ‘The Ascending Urlinie’,
JMT, 31 (1987), 275–303
D. Neumeyer: ‘The Three-Part Ursatz’, In Theory Only, 10/1–2 (1987), 3–29
D. Neumeyer: ‘The Urlinie from 8 as a Middleground Phenomenon’, In Theory Only, 9/5–6 (1987), 3–25
L. Roth: ‘Kirnberger’s Concept of Reductive Analysis’, In Theory Only, 9/8 (1987), 21–9
N. Ruwet: ‘Methods of Analysis in Musicology’,
MAn, 6 (1987), 3–36
C. Schachter: ‘Rhythm and Linear Analysis: Aspects of Meter’, Music Forum, 6/1 (1987), 1–59
R. Snarrenberg: ‘The Play of “Différance”: Brahms’s Intermezzo op.118 no.2’, In Theory Only, 10/3 (1987), 1–25
J.N. Straus: ‘The Problem of Prolongation in Post-Tonal Music’,
JMT, 31 (1987), 1–21
A. Whittall: ‘Webern and Multiple Meaning’,
MAn, 6 (1987), 333–53
D. Lewin: ‘Some Instances of Parallel Voice-Leading in Debussy’,
19CM, 11 (1987–8), 59–72
C. Lewis: ‘Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality’,
19CM, 11 (1987–8), 26–42; repr. in Music at the Turn of the Century, ed. J. Kerman (Berkeley, 1990), 15–32
A. Newcomb: ‘Schumann and Late Eighteenth-Century Narrative Strategies’,
19CM, 11 (1987–8), 164–74
S. Arom: ‘“Du pied a la main”: les fondements métriques des musiques traditionnelles d’Afrique Centrale’, Analyse musicale (1988), no.10, pp.16–22
N.K. Baker: ‘“Der Urstoff der Musik”: Implications for Harmony and Melody in the Theory of Heinrich Koch’,
MAn, 7 (1988), 3–30
J. Barraque: ‘La mer de Debussy, ou la naissance des formes ouvertes’, Analyse musicale (1988), no.12, pp.15–62
W.R. Bass: ‘Prokofiev’s Technique of Chromatic Displacement’,
MAn, 7 (1988), 197–214
D. Beach: ‘Motivic Repetition in Beethoven’s Piano Sonata op.110; Part II: the Trio of the Second Movement and the Adagio and Arioso’, Intègral, 2 (1988), 75–97
D. Beach: ‘The Fundamental Line from Scale Degree 8: Criteria for Evaluation’,
JMT, 32 (1988), 271–94
J.W. Bernard: ‘The Evolution of Elliott Carter’s Rhythmic Practice’,
PNM, 26/2 (1988), 164–203
A. Cadwallader: ‘Foreground Motivic Ambiguity: its Clarification at Middleground Levels in Selected Late Piano Pieces of Johannes Brahms’,
MAn, 7 (1988), 59–91
A. Cadwallader: ‘Prolegomena to a General Description of Motivic Relationships in Tonal Music’, Intègral, 2 (1988), 1–35
E. Cavett-Dunsby: ‘Mozart’s Codas’,
MAn, 7 (1988), 31–51
F.-E. von Cube: The Book of the Musical Artwork, trans. D. Neumeyer, G. Boyd and S. Harris (Lewiston, NY, 1988)
J. Dunsby and A. Whittall: Music Analysis in Theory and Practice (London and New Haven, CT, 1988)
D. Fanning: The Breath of the Symphonist: Shostakovich’s Tenth (London, 1988)
A. Forte: ‘Pitch-Class Set Genera and the Origin of Modern Harmonic Species’,
JMT, 32 (1988), 187–270
R.O. Gjerdingen: A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia, 1988)
R. Graybill: ‘Harmonic Circularity in Brahms’s F-major Cello Sonata: an Alternative to Schenker’s Reading in “Free Composition”’, Music Theory Spectrum, 10 (1988), 43–55
D. Harrison: ‘Some Group Properties of Triple Counterpoint and their Influence on Compositions by J.S. Bach’,
JMT, 32 (1988), 23–50
K. Korsyn: ‘Schenker and Kantian Epistemology’, Theoria [Denton, TX], 3 (1988), 1–58
J.D. Kramer: The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York and London, 1988)
C. Lewis: ‘Text, Time, and Tonic: Aspects of Patterning in the Romantic Cycle’, Intègral, 2 (1988), 37–73
N. Meeùs: ‘Le “Prelude a l’Après-midi d’un Faune”: une analyse harmonique’, Analyse musicale (1988), no.13, pp.81–7
G. Proctor and H.L. Riggins: ‘Levels and the Reordering of Chapters in Schenker’s “Free Composition”, Music Theory Spectrum, 10 (1988), 101–26
L.A. Rothfarb: Ernst Kurth as Theorist and Analyst (Philadelphia, 1988)
H. Schenker: ‘Haydn: Sonata in E-flat Major’, Theoria [Denton, TX], 3 (1988), 105–60
H. Schenker: ‘The Spirit of Musical Technique’, Theoria [Denton, TX], 3 (1988), 86–104
R. Wason: ‘Tonality and Atonality in Frederick Rzewski’s Variations on “The People United Will Never Be Defeated”’,
PNM, 26/1 (1988), 108–43
R. Parncutt: ‘Revision of Terhardt’s Psychoacoustic Model of the Root(s) of a Musical Chord’, Music Perception, 6 (1988–9), 65–94
C. Abbate and R. Parker, eds.: Analyzing Opera: Verdi and Wagner (Berkeley, 1989)
V.K. Agawu: ‘Schenkerian Notation in Theory and Practice’,
MAn, 8 (1989), 275–301
D. Bernstein: ‘Georg Capellen on “Tristan und Isolde”: Analytical Systems in Conflict at the Turn of the Twentieth Century’, Theoria [Denton, TX], 4 (1989), 34–62
W. Berry: Musical Structure and Performance (New Haven, CT, 1989)
M.G. Brown and D.J. Dempster: ‘The Scientific Image of Music Theory’,
JMT, 33 (1989), 65–106
S. Burnham: ‘The Role of Sonata Form in A.B. Marx’s Theory of Form’,
JMT, 33 (1989), 247–72
A. Cadwallader and W. Pastille: ‘Schenker’s High-Level Motives’,
JMT, 33 (1989), 119–48
E. Cavett-Dunsby: Mozart’s Variations Reconsidered: Four Case Studies (New York, 1989)
G. Chew: ‘The Perfections of Modern Music: Consecutive Fifths and Tonal Coherence in Monteverdi’,
MAn, 8 (1989), 247–73
D. Clarke: Language, Form, and Structure in the Music of Michael Tippett (New York, 1989)
D. Clarke: ‘Structural, Cognitive and Semiotic Aspects of the Musical Present’,
CMR, 3/1 (1989), 111–32
N. Cook: ‘Music Theory and “Good Comparison”: a Viennese Perspective’,
JMT, 33 (1989), 117–41
N. Cook: ‘Schenker’s Theory of Music as Ethics’,
JM, 7 (1989), 415–39
F. Delalande: ‘“La terrasse des audiences du clair de lune”: un essai d’analyse esthétique’, Analyse musicale (1989), no.16, pp.75–84
H. Federhofer: ‘Methoden der Analyse im Vergleich’, Musiktheorie, 4/1 (1989), 61–9
A. Forte: ‘“La terrasse des audiences du clair de lune”: approche motivique et linéaire’, Analyse musicale (1989), no.16, pp.23–9
R.O. Gjerdingen: ‘Meter as a Mode of Attending: a Network Simulation of Attentional Rhythmicity in Music’, Intègral, 3 (1989), 67–91
R. Graybill: ‘Sonata Form and Reicha’s “Grand coupe binaire” of 1814’, Theoria [Denton, TX], 4 (1989), 89–105
D.I.H. Harvey: The Later Music of Elliott Carter (New York, 1989)
R. Hatten: ‘Semiotic Perspectives on Issues in Music Cognition’, In Theory Only, 11/3 (1989), 1–11
M.M. Hyde: ‘Twentieth-Century Analysis during the Past Decade: Achievements and New Directions’, Music Theory Spectrum, 11/1 (1989), 35–9
D. Leech-Wilkinson: Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and his Contemporaries (New York, 1989)
F. Lerdahl: ‘Analyse de “La terrasse des audiences du clair de lune” de Debussy: les relations chromatiques comme moyen d’extension d’une théorie générative de la musique tonale’, Analyse musicale (1989), no.16, pp.54–60
J. Lester: Analytic Approaches to Twentieth-Century Music (New York, 1989)
J. Lester: Between Modes and Keys: German Theory, 1592-1802 (Stuyvesant, NY, 1989)
C. Lewis: ‘Into the Foothills: New Directions in Nineteenth-Century Analysis’, Music Theory Spectrum, 11/1 (1989), 15–23
M. Mesnage and A. Riotte: ‘Les Variations pour piano op.27 d’Anton Webern: approche cellulaire barraquéenne et analyse assistée par ordinateur’, Analyse musicale (1989), no.16, pp.41–67
L.B. Meyer: Style and Music: Theory, History, and Ideology (Philadelphia, 1989/R)
E. Narmour: ‘L’implication et la réalisation mélodique dans “La terrasse des audiences du clair de lune” de Debussy’, Analyse musicale (1989), no.16, pp.44–53
J.-J. Nattiez: ‘Reflections on the Development of Semiology in Music’,
MAn, 8 (1989), 21–75
D. Neumeyer: ‘Fragile Octaves, Broken Lines: on some Limitations in Schenkerian Theory and Practice’, In Theory Only, 11/3 (1989), 13–30
R.S. Parks: The Music of Claude Debussy (New Haven, CT, 1989)
A. Pople: Skryabin and Stravinsky, 1908-1914: Studies in Theory and Analysis (New York, 1989)
B.V. Rivera: ‘Studies in Analysis and History of Theory: Sixteenth and Seventeenth Centuries’, Music Theory Spectrum, 11/1 (1989), 24–8
L. Rothfarb: ‘Ernst Kurth’s “Die Voraussetzungen der theoretischen Harmonik” and the Beginnings of Music Psychology’, Theoria [Denton, TX], 4 (1989), 10–33
W. Rothstein: Phrase Rhythm in Tonal Music (New York and London, 1989)
D. Sheldon: Marpurg’s Thoroughbass and Composition Handbook: a Narrative Translation and Critical Study (Stuyvesant, NY, 1989)
A. Street: ‘Superior Myths, Dogmatic Allegories: the Resistance to Musical Unity’,
MAn, 8 (1989), 77–123
E. Tarasti: ‘L’analyse semiotique d’un prélude de Debussy: “La terrasse des audiences du clair de lune”’, Analyse musicale (1989), no.16, pp.67–74
L. Treitler: Music and the Historical Imagination (Cambridge, MA, 1989)
I.F. Waldbauer: ‘Riemann’s Periodization Revisited and Revised’,
JMT, 33 (1989), 333–92
R. Winter: ‘The Bifocal Close and the Evolution of the Viennese Classical Style’,
JAMS, 42 (1989), 275–337
W. Darcy: ‘“Creatio ex nihilo”: the Genesis, Structure, and Meaning of the Rheingold Prelude’,
19CM, 13 (1989–90), 79–100
R. Graybill: ‘Intervallic Transformation and Closure in the Music of Stravinsky’, Theory and Practice, 14–15 (1989–90), 13–34
T.L. Jackson: ‘Schoenberg’s op.14 Songs: Textual Sources and Analytical Perception’, Theory and Practice, 14–15 (1989–90), 35–58
J. Lochhead: ‘The Metaphor of Musical Motion: is there an Alternative?’, Theory and Practice, 14–15 (1989–90), 83–104
J.M. Baker: ‘The Limits of Tonality in the Late Music of Franz Liszt’,
JMT, 34 (1990), 145–74
J.M. Baker: ‘Voice-Leading in Post-Tonal Music: Suggestions for Extending Schenker’s Theory’,
MAn, 9 (1990), 177–200
D. Beach: ‘The Cadential Six-Four as Support for Scale-Degree Three of the Fundamental Line’,
JMT, 34 (1990), 81–99
J.P. Burkholder: ‘The Critique of Tonality in the Early Experimental Music of Charles Ives’, Music Theory Spectrum, 12/2 (1990), 203–23
A. Cadwallader, ed.: Trends in Schenkerian Research (New York, 1990)
N. Cook: Music, Imagination, and Culture (Oxford, 1990)
N. Cumming: ‘Metaphors of Space and Motion in the Linear Analysis of Melody’,
MMA, 17 (1990), 143–66
C. Dahlhaus: Studies on the Origin of Harmonic Tonality, trans. R.O. Gjerdingen (Princeton, NJ, 1990)
W. Darcy: ‘The Ursatz in Wagner, or: Was Wagner a Background Composer After All?’, Intègral, 4 (1990), 1–35
D.J. Dempster and M.G. Brown: ‘Evaluating Musical Analyses and Theories: Five Perspectives’,
JMT, 34 (1990), 247–80
J. Dubiel: ‘When You are a Beethoven: Kinds of Rules in Schenker’s Counterpoint’,
JMT, 34 (1990), 291–340
A. Forte: ‘A Major Webern Revision and its Implications for Analysis’,
PNM, 28/1 (1990), 224–55
A. Forte: ‘Musorgsky as Modernist: the Phantasmic Episode in Boris Godunov’,
MAn, 9 (1990), 3–45
M. Guertin: De la lecture à l’audition d’un texte musical: une étude des thèmes dans le Livre I des Préludes pour piano de Debussy (Montreal, 1990)
E. Haimo: Schoenberg’s Serial Odyssey: the Evolution of his Twelve-Tone Method, 1914-1928 (Oxford, 1990)
N.M. Hubbs: Musical Organicism and its Alternatives (diss., U. of Michigan, 1990)
E.J. Isaacson: ‘Similarity of Interval-Class Content Between Pitch-Class Sets: the IcVSIM Relation’,
JMT, 34 (1990), 1–28
L. Koblyakov: Pierre Boulez: a World of Harmony (Chur, 1990)
G.E. Konjus: ‘La solution métrotectonique du probléme de la forme musicale: aperçu d’un travail de recherche en musicologie’, Analyse musicale (1990), no.20, pp.37–40
L. Kramer: Music as Cultural Practice, 1800–1900 (Berkeley, 1990)
J.C. Kraus: ‘Mozart’s Chromatic Third Relations: Evidence from the Late Quartets and Quintets’,
JMR, 9 (1990), 229–54
J.P. Lambert: ‘Interval Cycles as Compositional Resources in the Music of Charles Ives’, Music Theory Spectrum, 12 (1990), 43–82
D. Leech-Wilkinson: Machaut’s Mass: an Introduction (Oxford, 1990)
D. Lewin: ‘Klumpenhouwer Networks and Some Isographies that Involve Them’, Music Theory Spectrum, 12 (1990), 83–120
A. Maisel: ‘Talent and Technique: George Gershwin's Rhapsody in Blue’, Trends in Schenkerian Research, ed. A. Cadwallader (New York, 1990), 51–70
P. McCreless: ‘Motive and Magic: a Referential Dyad in Parsifal’,
MAn, 9 (1990), 227–65
N. Meeùs: ‘Techniques modales dans l’harmonie des mazurkas de Chopin’, Analyse musicale (1990), no.21, pp.101–13
J. Molino: ‘Musical Fact and the Semiology of Music’,
MAn, 9 (1990), 105–55
E. Narmour: The Analysis and Cognition of Basic Melodic Structures: the Implication-Realization Model (Chicago, 1990)
J.-J. Nattiez: ‘Can One Speak of Narrativity in Music?’,
JRMA, 115 (1990), 240–57
J.-J. Nattiez: Musicologie générale et sémiologie (Paris, 1987; Eng. trans., 1990)
W.A. Pastille: ‘The Development of the Ursatz in Schenker’s Published Works’, Trends in Schenkerian Research, ed. A. Cadwallader (New York, 1990), 71–86
S.V. Protopopov: ‘Bauelemente der Musiksprache (Ėlementï stroyeniya muzïkal′noy rechi), Teil I, Moskau 1930’, Musiktheorie, 5/1 (1990), 67–74
M. Russ: ‘The Mysterious Thread in Musorgsky’s Nursery’,
MAn, 9 (1990), 47–65
T. Seedorf: ‘Leichtentritt, Busoni und die Formenlehre: zur Wandlung einer Konzeption’, Musiktheorie, 5/1 (1990), 27–37
H. Siegel, ed.: Schenker Studies (Cambridge, 1990), esp. 165–79
S.W. Smoliar: ‘Lewin’s Model of Musical Perception Reflected by Artificial Intelligence’, Computers in Music Research, 2 (1990), 1–38
J.N. Straus: Introduction to Post-Tonal Theory (Englewood Cliffs, NJ, 1990)
J.N. Straus: Remaking the Past: Musical Modernism and the Influence of Tonal Tradition (Cambridge, MA, 1990)
A. Whittall: ‘Resisting Tonality: Tippett, Beethoven and the Sarabande’,
MAn, 9 (1990), 267–86
A.W. Atlas: ‘Crossed Stars and Crossed Tonal Areas in Puccini’s Madama Butterfly’,
19CM, 14 (1990–91), 186–96
M. Kielian-Gilbert: ‘The Functional Differentiation of Harmonic and Transpositional Patterns in Liszt’s Consolation no.4’,
19CM, 14 (1990–91, 48–59
C. Abbate: Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, NJ, 1991)
J. Adrian: ‘The Function of the Apparent Tonic at the Beginning of Development Sections’, Intègral, 5 (1991), 1–53
V.K. Agawu: Playing with Signs: a Semiotic Interpretation of Classic Music (Princeton, NJ, 1991)
E. Agmon: ‘A Moment of Suspense in the Second Finale of Don Giovanni’, Theory and Practice, 16 (1991), 39–49
K. Bailey: The Twelve-Note Music of Anton Webern: Old Forms in a New Language (Cambridge, 1991)
M.E. Bonds: Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA, 1991)
R. Cohn: ‘Properties and Generability of Transpositionally Invariant Sets’,
JMT, 35 (1991), 1–32
M. DeBellis: ‘Conceptions of Musical Structure’, Midwest Studies in Philosophy, 16 (1991), 378–93
K. Delong: ‘Roads Taken and Retaken: Foreground Ambiguity in Chopin’s Prelude in A-flat, op.28, no.17’, Canadian University Music Review, 11/1 (1991), 34–49
L. Dreyfus: ‘The Hermeneutics of Lament: a Neglected Paradigm in a Mozartian Trauermusik’,
MAn, 10 (1991), 329–43
A. Forte: ‘Debussy and the Octatonic’,
MAn, 10 (1991), 125–69
M.A. Guck: ‘Two Types of Metaphoric Transfer’, Metaphor: a Musical Dimension, ed. J.C. Kassler (Sydney, 1991), 1–12
R. Hatten: ‘On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven’, Indiana Theory Review, 12/1–2 (1991), 75–98
N.M. Hubbs: ‘Schenker’s Organicism’, Theory and Practice, 16 (1991), 143–62
K. Korsyn: ‘Towards a New Poetics of Musical Influence’,
MAn, 10 (1991), 3–72
L. Kramer: ‘Musical Narratology: a Theoretical Outline’, Indiana Theory Review, 12/1–2 (1991), 141–62
H. Krebs: ‘Tonal and Formal Dualism in Chopin’s Scherzo, op.31’, Music Theory Spectrum, 13 (1991), 48–60
F.E. Maus: ‘Music as Narrative’, Indiana Theory Review, 12/1–2 (1991), 1–34
P. McCreless: ‘The Hermeneutic Sentence and other Literary Models for Tonal Closure’, Indiana Theory Review, 12/1–2 (1991), 35–73
J.-J. Nattiez: ‘Existe-t-il des relations entre les diverses méthodes d’analyse?’, Analisi musicale II: Trent 1991, 537–65
A. Pople: Berg: Violin Concerto (Cambridge, 1991)
L. Rothfarb, ed. and trans.: Ernst Kurth: Selected Writings (Cambridge, 1991)
C. Schachter: ‘The Adventures of an F-sharp: Tonal Narration and Exhortation in Donna Anna’s First-Act Recitative and Aria’, Theory and Practice, 16 (1991), 5–20
J.N. Straus: ‘The “Anxiety of Influence” in Twentieth-Century Music’,
JM, 9 (1991), 430–47
J. Webster: Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music (Cambridge, 1991)
R. Parker and A.W. Atlas: ‘A Key for Chi? Tonal Areas in Puccini’,
19CM, 15 (1991–2), 229–34
V.K. Agawu: ‘Theory and Practice in the Analysis of the Nineteenth-Century Lied’,
MAn, 11 (1992), 3–36
M. Balaban, K. Ebcioglu and O. Laske, eds.: Understanding Music with AI: Perspectives on Music Cognition (Cambridge, MA, 1992)
J. Boss: ‘Schoenberg’s op.22 Radio Talk and Developing Variation in Atonal Music’, Music Theory Spectrum, 14 (1992), 125–49
A. Cadwallader and W. Pastille: ‘Schenker’s High-Level Motives’,
JMT, 36 (1992), 119–48
E.T. Chafe: Monteverdi’s Tonal Language (New York, 1992)
T. Christensen: ‘The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory’,
JMT, 36 (1992), 1–42
R. Cohn: ‘The Autonomy of Motives in Schenkerian Accounts of Tonal Music’, Music Theory Spectrum, 14 (1992), 150–70
M. Everist, ed.: Music Before 1600 (Oxford, 1992)
A. Forte: ‘Concepts of Linearity in Schoenberg’s Atonal Music: a Study of the Opus 15 Song Cycle’,
JMT, 36 (1992), 285–382
S. Fuller: ‘Tendencies and Resolutions: the Directed Progression in Ars Nova Music’,
JMT, 36 (1992), 229–58
J.J. Fux: ‘Gradus ad Parnassum (1725): Concluding Chapters’,
MAn, 11 (1992), 209–43
C.C. Judd: ‘Josquin des Prez: Salve Regina (à5)’, Models of Musical Analysis: Music before 1600, ed. M. Everist (Oxford, 1992), 114–53
H. Klumpenhouwer: ‘The Cartesian Choir’, Music Theory Spectrum, 14 (1992), 15–37
J. Lester: Compositional Theory in the Eighteenth Century (Cambridge, MA, 1992)
R. Littlefield and D. Neumeyer: ‘Rewriting Schenker: Narrative – History – Ideology’, Music Theory Spectrum, 14 (1992), 38–65
S. Milstein: Arnold Schoenberg: Notes, Sets, Forms (Cambridge, 1992)
R. Monelle: Linguistics and Semiotics in Music (Philadelphia, 1992)
D. Montgomery: ‘The Myth of Organicism: From Bad Science to Great Art’,
MQ, 76 (1992), 17–66
E. Narmour: The Analysis and Cognition of Melodic Complexity: the Implication-Realization Model (Chicago, 1992)
D. Neumeyer and S. Tepping: A Guide to Schenkerian Analysis (Englewood Cliffs, NJ, 1992)
A. Newcomb: ‘Narrative Archetypes and Mahler's Ninth Symphony’, Music and Text, Critical Inquiries, ed. P. Scher (Cambridge, 1992), 118–36
L. Polansky, with R. Bassein: ‘Possible and Impossible Melody: some Formal Aspects of Contour’,
JMT, 36 (1992), 259–84
L. Rothfarb: ‘Hermeneutics and Energetics: Analytical Alternatives in the Early 1900s’
JMT, 36 (1992), 43–68
S.P. Scher, ed.: Music and Text: Critical Inquiries (Cambridge, 1992)
R.W. Wason and E.W. Marvin: ‘Riemann’s Ideen zu einer “Lehre von den Tonvorstellungen”: an Annotated Translation’,
JMT, 36 (1992), 69–117
P. Wilson: The Music of Béla Bartók (New Haven, CT, 1992)
S. Burnham and L. Kramer: ‘The Criticism of Analysis and the Analysis of Criticism’,
19CM, 16 (1992–3), 70–76
L. Kramer: ‘Haydn’s Chaos, Schenker’s Order, or: Hermeneutics and Musical Analysis: Can They Mix?’,
19CM, 16 (1992–3, 3–17
D. Lewin: ‘Some Notes on Analyzing Wagner: the Ring and Parsifal’,
19CM, 16 (1992–3, 49–58
E. Antokoletz: ‘Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music: Bartók, Stravinsky, Scriabin and Albrecht’,
MAn, 12 (1993), 25–45
D. Beach: ‘Schubert’s Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure’, Music Theory Spectrum, 15 (1993), 1–18
M. Brown: ‘Tonality and Form in Debussy’s “Prélude à L’Après-midi d’un faune”’, Music Theory Spectrum, 15 (1993), 127–43
T. Carter: ‘“An Air New and Grateful to the Ear”: the Concept of Aria in Late Renaissance and Early Baroque Italy’,
MAn, 12 (1993), 127–45
N. Cumming: ‘Music Analysis and the Perceiver: a Perspective from Functionalist Philosophy’,
CMc, no.54 (1993), 38–53
W. Darcy: Wagner’s Das Rheingold (Oxford, 1993)
J. Dunsby, ed.: Early Twentieth-Century Music (Oxford, 1993)
W. Frisch: The Early Works of Arnold Schoenberg, 1893–1908 (Berkeley, 1993)
C. Hatch and D. Bernstein, eds.: Music Theory and the Exploration of the Past (Chicago, 1993)
J. Hepokoski: Sibelius: Symphony No.5 (Cambridge, 1993)
K. Korsyn: ‘Schenker’s Organicism Reexamined’, Intègral, 7 (1993), 82–118
J.P. Lambert: ‘Toward a Theory of Chord Structure for the Music of Ives’,
JMT, 37 (1993), 55–83
D. Lewin: ‘A Metrical Problem in Webern’s op.27’,
MAn, 12 (1993), 343–54
D. Lewin: Musical Form and Transformation: 4 Analytic Essays (New Haven, CT, 1993)
N. Meeùs: Heinrich Schenker: une introduction (Brussels, 1993)
R. Morris: ‘New Directions in the Theory and Analysis of Musical Contour’, Music Theory Spectrum, 15 (1993), 205–28
V. Murtomäki: Symphonic Unity: the Development of Formal Thinking in the Symphonies of Sibelius (Helsinki, 1993)
J.-J. Nattiez: ‘Simha Arom and the Return of Analysis to Ethnomusicology’,
MAn, 12 (1993), 241–65
J.S. Rink: ‘Schenker and Improvisation’,
JMT, 37 (1993), 1–54
D. Smyth: ‘“Balanced Interruption” and the Formal Repeat’, Music Theory Spectrum, 15 (1993), 76–88
J. Stock: ‘The Application of Schenkerian Analysis to Ethnomusicology: Problems and Possibilities’,
MAn, 12 (1993), 215–40
P.H. Smith: ‘Liquidation, Augmentation, and Brahms’s Recapitulatory Overlaps’,
19CM, 17 (1993–4), 237–61
R. Atlas and M. Cherlin, eds.: Musical Transformation and Musical Intuition: Eleven Essays in Honor of David Lewin (Roxbury, MA, 1994)
R. Bass: ‘Models of Octatonic and Whole-Tone Interaction: George Crumb and his Predecessors’,
JMT, 38 (1994), 155–86
I. Bent: Music Analysis in the Nineteenth Century, i: Fugue, Form and Style (Cambridge, 1994); ii: Hermeneutic Approaches (Cambridge, 1994)
J. Cross: ‘Lines and Circles: on Birtwistle’s Punch and Judy and Secret Theatre’,
MAn, 13 (1994), 203–25
W.J. Darcy: ‘The Metaphysics of Annihilation: Wagner, Schopenhauer, and the Ending of the Ring’, Music Theory Spectrum, 16 (1994), 1–40
A. Forte: ‘An Octatonic Essay by Webern: Number 1 of the Six Bagatelles for String Quartet, op.9’, Music Theory Spectrum, 16 (1994), 171–95
M.A. Guck: ‘Analytical Fictions’, Music Theory Spectrum, 16 (1994), 217–30
M.A. Guck: ‘Rehabilitating the Incorrigible’, Theory, Analysis and Meaning in Music, ed. A. Pople (Cambridge, 1994), 57–73
D. Harrison: Harmonic Function in Chromatic Music: a Renewed Dualist Theory and an Account of its Precedents (Chicago, 1994)
R.S. Hatten: Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Bloomington, IN, 1994)
J. Lester: ‘An Analysis of Lully from circa 1700’, Music Theory Spectrum, 16 (1994), 41–61
D. Lewin: ‘A Tutorial on Klumpenhouwer Networks, using the Chorale in Schoenberg’s Opus 11, no.2’,
JMT, 38 (1994), 79–101
A. Pople, ed.: Theory, Analysis, and Meaning in Music (Cambridge, 1994)
D. Puffett: ‘Editorial: In Praise of Formalism’,
MAn, 13 (1994), 3–5
J. Rink: ‘Chopin’s Ballades and the Dialectic: Analysis in Historical Perspective’,
MAn, 13 (1994), 99–115
M. Scherzinger: ‘The “New Poetics” of Musical Influence: a Response to Kevin Korsyn’,
MAn, 13 (1994), 298–309
P.H. Smith: ‘Brahms and Schenker: a Mutual Response to Sonata Form’, Music Theory Spectrum, 16 (1994), 77–103
R. Snarrenberg: ‘Competing Myths: the American Abandonment of Schenker’s Organicism’, Theory, Analysis, and Meaning in Music, ed. A. Pople (Cambridge, 1994), 29–56
A. Whittall: ‘Comparatively Complex: Birtwistle, Maxwell Davies and Modernist Analysis’,
MAn, 13 (1994), 139–59
N. Dibben: ‘The Cognitive Reality of Heirarchic Structure in Tonal and Atonal Music’, Music Perception, 12 (1994–5), 1–25
J. Lester: ‘Robert Schumann and Sonata Forms’,
19CM, 18 (1994–5), 189–210
K. Agawu: African Rhythm: a Northern Ewe Perspective (Cambridge, 1995)
N.K. Baker and T. Christensen, eds.: Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge, 1995)
D. Beach: ‘Phrase Expansion: Three Analytical Studies’,
MAn, 14 (1995), 27–47
I. Bent: ‘Plato-Beethoven: a Hermeneutics for Nineteenth-Century Music?’, Indiana Theory Review, 16 (1995), 1–33
N. Boynton: ‘Formal Combination in Webern’s Variations op.30’,
MAn, 14 (1995), 193–220
D.K.L. Chua: The ‘Galitzin’ Quartets of Beethoven, opp.127, 132, 130 (Princeton, NJ, 1995)
N. Cook: ‘Heinrich Schenker, Polemicist: a Reading of the Ninth Symphony Monograph’,
MAn, 14 (1995), 89–105
D. Epstein: Shaping Time: Music, the Brain, and Performance (New York, 1995)
A. Forte: The American Popular Ballad of the Golden Era, 1924–1950 (Princeton, NJ, 1995)
S.E. Gilbert: The Music of Gershwin (New Haven, CT, 1995)
D. Harrison: ‘Supplement to the Theory of Augmented-Sixth Chords’, Music Theory Spectrum, 17 (1995), 170–95
B. Hyer: ‘Reimag(in)ing Riemann’,
JMT, 39 (1995), 101–38
T.L. Jackson: ‘Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky’,
MAn, 14 (1995), 3–25
M. Leman: Music and Schema Theory: Cognitive Foundations of Sytematic Musicology (Berlin, 1995)
D. Lewin: ‘Generalized Interval Systems for Babbitt’s Lists, and for Schoenberg’s String Trio’, Music Theory Spectrum, 17 (1995), 81–118
C. Mark: Early Benjamin Britten: a Study of Stylistic and Technical Evolution (New York, 1995)
C. Nolan: ‘Structural Levels and Twelve-Tone Music: a Revisionist Analysis of the Second Movement of Webern’s Piano Variations Opus 27’,
JMT, 39 (1995), 47–76
W. Renwick: Analyzing Fugue: a Schenkerian Approach (Stuyvesant, NY, 1995)
J. Rink, ed.: The Practice of Performance: Studies in Musical Interpretation (Cambridge, 1995)
L. Rothfarb: ‘Music Analysis, Cultural Morality, and Sociology in the Writings of August Halm’, Indiana Theory Review, 16 (1995), 171–96
R. Samuels: Mahler’s Sixth Symphony: a Study in Musical Semiotics (Cambridge, 1995)
C.E. Schachter: ‘The Triad as Place and Action’, Music Theory Spectrum, 17 (1995), 149–69
M. Scherzinger: ‘The Finale of Mahler’s Seventh Symphony: a Deconstructive Reading’,
MAn, 14 (1995), 69–88
J. Schmalfeldt: ‘Form as the Process of Becoming: the Beethoven-Hegelian Tradition and the “Tempest” Sonata’, Beethoven Forum, 4 (1995), 37–71
J.N. Straus: The Music of Ruth Crawford Seeger (Cambridge, 1995)
E. Tarasti, ed.: Musical Signification: Essays in the Semiotic Theory and Analysis of Music (Berlin, 1995)
R. Bass: ‘From Gretchen to Tristan: the Changing Role of Harmonic Sequences in the Nineteenth Century’,
19CM, 19 (1995–6), 263–85
C.L. Krumhansl: ‘A Perceptual Analysis of Mozart’s Piano Sonata K.282: Segmentation, Tension, and Musical Ideas’, Music Perception, 13 (1995–6), 401–32
F. Lerdahl: ‘Calculating Tonal Tension’, Music Perception, 13 (1995–6), 319–63
E. Narmour: ‘Analyzing Form and Measuring Perceptual Content in Mozart’s Sonata K.282: a New Theory of Parametric Analogues’, Music Perception, 13 (1995–6), 265–318
B. Alegant: ‘Unveiling Schoenberg’s op.33b’, Music Theory Spectrum, 18 (1996), 143–66
J. Auner: ‘In Schoenberg’s Workshop: Aggregates and Referential Collections in “Die glückliche Hand”’, Music Theory Spectrum, 18 (1996), 77–105
C. Ayrey and M. Everist, eds.: Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music (Cambridge, 1996)
I. Bent, ed.: Music Theory in the Age of Romanticism (Cambridge, 1996)
L.D. Blasius: Schenker’s Argument and the Claims of Music Theory (Cambridge, 1996)
H. Burnett and S. O’Donnell: ‘Linear Ordering of the Chromatic Aggregate in Classical Symphonic Music’, Music Theory Spectrum, 18 (1996), 22–50
S. Burnham: ‘A.B. Marx and the Gendering of Sonata Form’, Music Theory in the Age of Romanticism, ed. I. Bent (Cambridge, 1996), 163–86
R. Cohn: ‘Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions’,
MAn, 15 (1996), 9–40
J. Cross: ‘Birtwistle’s Secret Theatres’, Analytical Strategies and Musical Interpretation, ed. C. Ayrey and M. Everist (Cambridge, 1996), 207–25
W. Drabkin: ‘Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven’s Sonata op.26’,
MAn, 15 (1996), 149–89
J. Dunsby: ‘The Poetry of Debussy’s “En blanc et noir”’, Analytical Strategies and Musical Interpretation, ed. C. Ayrey and M. Everist (Cambridge, 1996), 149–68
D. Griffiths: ‘“So Who are You?”: Webern’s op.3, no.1’, Analytical Strategies and Musical Interpretation, ed. C. Ayrey and M. Everist (Cambridge, 1996), 301–14
E. Haimo: ‘Atonality, Analysis, and the Intentional Fallacy’, Music Theory Spectrum, 18 (1996), 167–99
D. Headlam: The Music of Alban Berg (New Haven, CT, 1996)
T.L. Jackson: ‘The Tragic Reversed Recapitulation in the German Classical Tradition’,
JMT, 40 (1996), 61–111
W. Kinderman and H. Krebs, eds.: The Second Practice of Nineteenth-Century Tonality (Lincoln, NE, 1996)
J.D. Kramer: ‘Postmodern Concepts of Musical Time’, Indiana Theory Review, 17/2 (1996), 21–61
D. Lewin: ‘Cohn Functions’,
JMT, 40 (1996), 181–216
E. Pearsall: ‘Multiple Hierarchies: Another Perspective on Prolongation’, Indiana Theory Review, 17/1 (1996), 37–66
D. Puffett: Debussy’s Ostinato Machine (Nottingham, 1996)
C.J. Smith: ‘Musical Form and Fundamental Structure: an Investigation of Schenker’s Formenlehre’,
MAn, 15 (1996), 191–297
M. Spitzer: ‘The Retransition as Sign: Listener-Orientated Approaches to Tonal Closure in Haydn’s Sonata-Form Movements’,
JRMA, 121 (1996), 11–45
J.M. Baker, D.W. Beach and J.W. Bernard, eds.: Music Theory in Concept and Practice (Rochester, NY, 1997)
R.L. Cohn: ‘Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations’,
JMT, 41 (1997), 1–66
N. Cumming: ‘The Subjectivities of “Erbarme Dich”’,
MAn, 16 (1997), 5–44
R. Gauldin: Harmonic Practice in Tonal Music (New York, 1997)
R. Kamien and N. Wagner: ‘Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions’, Music Theory Spectrum, 19 (1997), 1–12
S. Larson: ‘The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning’,
JMT, 41 (1997), 101–36
A.F. Moore: The Beatles: Sgt. Pepper's Lonely Hearts Club Band (Cambridge, 1997)
I. Quinn: ‘Fuzzy Extensions to the Theory of Contour’, Music Theory Spectrum, 19 (1997), 232–63
P.H. Smith: ‘Brahms and Motivic 6/3 Chords’,
MAn, 16 (1997), 175–217
R. Snarrenberg: Schenker’s Interpretive Practice (Cambridge, 1997)
J. Straus: ‘A Strategy of Large-Scale Organization in Stravinsky’s Late Music’, Intègral, 11 (1997)
A. Williams: New Music and the Claims of Modernity (Aldershot, 1997)
L. Zbikowski: ‘Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy’,
JMT, 41 (1997), 193–225
A.P. Krims: ‘Disciplining Deconstruction (For Music Analysis)’,
19CM, 21 (1997–8), 297–324
D. Temperley: ‘An Algorithm for Harmonic Analysis’, Music Perception, 15 (1997–8), 31–68
R. Van Egmond and D. Butler: ‘Diatonic Connotations of Pitch-Class Sets’, Music Perception, 15 (1997–8), 1–29
A. Cadwallader and D. Gagné: Analysis of Tonal Music: a Schenkerian Approach (Oxford, 1998)
M. Grabócz: ‘The Application of A.J. Greimas’s Structural Semantics to the Analysis of Sonata Form’, Intègral, 12 (1998)
J. Johnson: ‘The Nature of Abstraction: Analysis and the Webern Myth’,
MAn, 17 (1998), 267–80
C. Kennett: ‘Segmentation and Focus in Set-Generic Analysis’,
MAn, 17 (1998), 127–59
H. Klumpenhouwer: ‘The Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks’, Intègral, 12 (1998)
D. Lewin: ‘Some Ideas about Voice-Leading Between Pcsets’,
JMT, 42 (1998), 15–72
R.P. Morgan: ‘Symmetrical Form and Common Practice’, Music Theory Spectrum, 20 (1998), 1–47
R.D. Morris: ‘Voice Leading Spaces’, Music Theory Spectrum, 20 (1998), 175–208
R.S. Parks: ‘Pitch-Class Set Genera: My Theory, Forte’s Theory’,
MAn, 17 (1998), 206–26
P.J. Telesco: ‘Enharmonicism and the Omnibus Progression in Classical-Era Music’, Music Theory Spectrum, 20 (1998), 242–79
D.K.L. Chua: Absolute Music and the Construction of Meaning (Cambridge, 1999)
N. Cook: ‘At the Borders of Music Identity: Schenker, Corelli and the Graces’,
MAn, 18 (1999), 179–233
D. Puffett: ‘Bruckner’s Way: the Adagio of the Ninth Symphony’’,
MAn, 18 (1999), 5–99
C. Schachter: Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J.N. Straus (Oxford, 1999)
L. Zbikowski: ‘The Blossoms of “Trockne Blumen”: Music and Text in the Early Nineteenth Century’,
MAn, 18 (1999), 307–45
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