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Past Issues:
Vol. I/1: January
1981, Vol. I/2: October 1981, Vol. II\1: January
1982 (in one volume)
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Deborah O'Grady
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Toru Takemitsu's Valeria
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John
Felder
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The Structural
Function of Wind Role Transformations in Equivalences
by
J.C. Eloy
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Scott Makeig
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Means,
Meaning and Music: Pythagoras, Archytas and Plato
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Jeri Kotani
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Comprehensibility
and Function in Webern's Six
Pieces for Orchestra
Op. 6
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Thomas
Amos
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Isometrics
and the Origin of Modal Systems: A Brief Experimental Inquiry
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John MacKay
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Some
Comments on the Visual/Spatial Analogy in Studies of the Perception of
Musical Texture
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Jan Jarvlepp
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Pitch
and Texture Analysis of Ligeti's Lux
Aeterna
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George Arasimowicz
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Luigi
Dallapiccola's Canti
di Prigonia
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Robert Strizich
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Notation
in Elliot Carter's Double
Concerto
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Vol. III/1: April
1985
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David Evan Jones
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Concerning
Orchestration in Webern's Concerto Op.24
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Deborah Kavash
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An
Introduction to Extended Vocal Techniques: Some Compositional Aspects and
Performance Problems
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Larry Polansky
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History
and the Word: Form and Tonality in Schoenberg's Phantasy
for Violin and Piano Accompaniment
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Gerald Gabel
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Compositional
Uses of the Crossing Phenomenon in Recent Music
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Vol. III/2:
Fall-Winter 1985-1986
Vol. IV/1:
Spring/Summer 1986
Vol. IV/2:
Spring/Summer 1987-1988
Vol. V/1:
Spring/Summer 1989
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Barney
Childs
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Aporia as Parataxis
or "I had one of them once, but the wheels came off."
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Paul Paccione
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Time-Space
Synthesis: The Relationship of the Grid to Twentieth-Century Music
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Will Ogdon
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How
Tonality Functions in Webern's Opus 9, nr. 1 and 4.
|
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Timothy J. Buell
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The
Harmonic Language of Stravinsky' Abraham and Isaac
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Cynthia Folio
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Unity
and Pluralism in Selected Works of Joseph Schwantner
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Igor
Korneitchouk
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New
Applications for Loudspeakers in an Acoustical Space: A Composer's
Perspective on Alternative Loudspeaker Placement
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Vol. V/2: Fall
1991
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Robert Strizich
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Texture
in Post-World War II Music
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Brent Heisinger
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Compositional
Devices in Steve Reich's Octet
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David Loucky
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Contemporary
Notation and Limited Indeterminacy: Roger Reynolds' "... From Behind the
Unreasoning Mask"
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Marc Beaulieu
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Cyclical
Structures and Linear Voice-Leading in the Music of Ivan Wyschnegradsky
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Ezra
Simms
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Harmonic
Ordering in Quintet
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Tom North
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A
Technical Explanation of Theme and Variations: A Computer Music Work
Utilizing the Network Compositional Algorithm
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Vol. VI/1: Fall
1992
Vol. VI/2: Summer
1993
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Robert
Rollin
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On
Words, Music and Voices
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Michael
Friedmann
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Motive,
Meter and Row: Conflicting Imperatives to the Performer in Schoenberg's Klavierstück, op.33b
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Robert Maggio
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A
Source of Richness in the Main Themes of Samuel Barber's Violin Concerto and Piano Concerto: Hierarchical
Conflict and the Implication Realization Model
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Robert Erickson
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The
Musical System of Archytas
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Robert Erickson
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LOOPS:
An Informal Timbral Experiment
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John MacKay
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On
the Recent Music of Robert Erickson
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Vol. VII/1: Summer
1994
Vol. VII/2: Summer
1995
Vol. VIII/1: Summer
1996
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John Cage / Maureen Mary
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Letters:
the brief love of John Cage for Pauline Schindler, 1934-35
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Robert Rollin
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A
Conversation with Karel Husa
in Honor of his 75th Birthday
|
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Nancy Lee Harper
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Rodolfo
Halffter and the Superposiciones of Manuel de Falla
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John MacKay
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Series,
Form and Function: Aspects of Tonal Form in the Twelve-Tone Music of
Schoenberg and Webern
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Murray Dineen
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Schoenberg's
Vergangenes op. 16 no. 2,: Social Critique
and Analysis
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Vol. VIII/2:
Spring/Summer 1997
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Jorge Peixinho
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Canto
de Amore e de Morte:
Introduction and Essay in Morphological Interpretation
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John MacKay
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The
Concerto for Harp and Instrumental Ensemble of
Jorge Peixinho
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Gil Miranda
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Libera Me by Constança Capedeville
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Joao Rafael
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The
Fertile Development: An Analysis of Wandlungen of Emmanuel Nunes
|
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Chris Howard
|
Completing
the Circle: Bengt Hambræus's
Concerto for Piano and Orchestra
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Laraine Olson Waters
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Bengt Hamræus's Livre
d'Orgue:
An Exploration of the French Classic Tradition and Beyond
|
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Anton Rovner
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An
Interview with Daniel Goode
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Vol. IX/1:
Spring/Summer 1998
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Anton Machleder
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Serialism and Poetry
in Reginald Smith Brindle’s El Polifemo
de Oro
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Helena Santana
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Terretêktorh:
Space and Timbre, Timbre and Space
|
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Rosário Santana
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Musical
Discourse and Rhythm in Elliott Carter
|
|
Brenda Ravenscroft
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The
Anatomy of a Song: Text and Texture in Elliott Carter's "O Breath"
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Marina Lupishko
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A Pupil of Webern in the USSR: The Writings of
Philip Herschkowitz (1906-1989)
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Vol. IX/2:
Spring/Summer 1999
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Erick Parris
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An
Analysis of Piece for Solo Cello: A Semiotic Approach
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David Pope
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Diverse
Compositional Techniques in Yusef Lateef's African
American Epic Suite
"First Movement - The African as Non-American"
|
|
Christien Ledroit
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Sergio
Barrosso's Íreme: An Examination of the Music, the
Ceremony and Its Representation
|
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Christien Ledroit
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trilogy by alcides lanza
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|
alcides lanza
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Varèse: looking for
the new....
|
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Eleanor F. Trawick
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Order,
Progression, and Time in the Music of Messiaen
|
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Ross Feller
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Slippage
and Strata in Brian Ferneyhough's Terrain
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Vol. X/1: Summer
2000
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Patrick
Cardy, Per Broman, Angelo Emmanouelides,
Hope Lee
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Bengt Hambraeus
1928 - 2000 Laus Deo!:
Some Reminiscences
|
|
Bengt Hambraeus
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Between
Ivory Tower and Shopping Mall
|
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Per
Broman
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Bengt Hambraeus and the Canadian Dream
|
|
John MacKay
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"Les
Jeux Sont Faits!" : Ensemble Strategies and Historical
"Borrowing" in the Music of Bengt Hambraeus
|
|
Olga Malyshko
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The
Evolution of the 6/3 and its Relationship to Other Dissonance Formations in
the English Conductus
|
|
Kevin Holm-Hudson
|
Just
Intonation and Indian Aesthetic in Terry Riley's The Harp of New Albion
|
|
Timothy J. Bowlby
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The
Influence of Bach's Well-Tempered
Clavier on the Opp.34 and
87 Piano Pieces of Dmitry Shostakovich
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Vol. X/2:
Spring/Summer 2001
Vol. XI/1:
Spring/Summer 2002
Vol. XI/2:
Spring/Summer 2003
Vol. XII/1:
Spring/Summer 2004
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Paul
Paccione
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The
Ecology of Listening: How We Experience Sound
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John W. White
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Analyzing Free Improvisation: Orgeon’s “Taos” and the Negotiation
of Metric
Coherence
|
|
Robert Rollin
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Viktor
Ullmann’s The
Emperor of Atlantis
(1943): An Opera Composed in Terezin
Concentration Camp
|
|
Eva Mantzourani
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Tonal
Influences and the Reinterpretation of Classical Forms in the
Twelve-Note
Works of Nikos Skalkottas
|
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William Pfaff
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When
Lilacs Last in the Dooryard Bloom’d
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Martin Kutnowski
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Dementia
and Voice Leading in “The Sentry” from Peter Maxwell
Davies’s
Eight Songs for Mad King Songs
for Mad King
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|
Robert
Rollin
|
A
Conversation with Multifaceted Film Composer Johnterryl
Plumeri
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Vol. XII/2:
Spring/Summer 2005
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Marina Lupishko
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Stravinsky and Russian Poetic Folklore
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Edward D. Latham
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Reuniting
the Muses: Cross-Disciplinary Analysis of Debussy’s
Pelléas and “L’après
midi d’un faune
|
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John MacKay
|
The Games of Jeux:
On Debussy’s Intrigue of Motive, Proportion and Narrative
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Eduardo Larín
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“Waves”
in Debussy’s Jeux
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Vol. XIII/1: Spring/Summer
2006
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Friedmann Arthur Sallis
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Segmenting the Labyrinth: Sketch Studies and the Scala Enigmatica
in the Finale of Luigi Nono’s Quando
stanno morendo, Diario Polacco n.2 (1982)
|
|
Angela Ida de Benedictis
|
Can Text Itself
Become Music? :
On the Text-Music Relationship in Luigi Nono’s
Compositions
of the Early 1960s
|
|
Bruce Mather
|
Poème
du Délire
|
|
John Cole
|
An Introduction to
Jo Kondo’s Sen no ongaku Music of
1973 to 1980
|
Vol.
XIII/2: Spring/Summer 2007
|
Marina Lupishko
|
The Rejoicing Discovery
Revisited: Re-accentuation on Russian Folklore and Stravinsky's Music
|
|
Jeffrey Brukman
|
Kárpáti's "Mistuning Theory
Reconsidered in the Context of Bártok's
"Supradiatonicism" and Friedrich
Hartmann's Fully-Chromaticized Scales
|
|
Craig Cummings
|
Compositional Techniques in Karel Husa's Early Serial
Works Poème and Mosaïques
|
|
John MacKay
|
Form and
Moment: Will Ogdon's String Quartet #3
|
|
Alfred Fisher
|
God's, Girls and Depravity: Some Reflections on Lawrence Kramer's Opera and Modern Culture
|
|
Sylvia Smith
|
Family Portraits: "Delbert
(great-grandfather)" and Self Interview on the Thirtieth year of Smith Publications and Sonic
Art Editions
|
Vol.
XIV/1:
Spring/Summer 2008
Vol.
XIV/2:
Spring/Summer 2009
|
Thomas D. Svatos
|
A Clash over Julietta: the Martinů/Nejedlý Political Conflict and Twentieth-Century
Czech Critical Culture
|
|
Matthew Greenbaum
|
Dialectic
in Miniature: Arnold Schoenberg’s
Sechs Kleine Klavierstücke Opus 19
|
|
Marina Lupishko
|
Stravinsky's Bayka (1915-16): Prose or
Poetry?
|
|
Sundar Subramanian
|
Pitch Structures in Reginald Smith Brindle’s El Polifemo de Oro
|
|
Jean-Louis Leleu
|
Rhythmic Cells and Organic
Development: The Function of Harmonic
Fields in Movement IIIb of Livre pour quatuor
by Pierre Boulez
|
|
John MacKay
|
Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI
|
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