AdlerHM
FétisB
PraetoriusSM, iii
RiemannL12 (C. Dahlhaus)
F. Gaffurius: Theorica musice (Milan, 1492/R); Eng. trans. by W.K. Kreyszig (New Haven, CT, 1993)
G. Dressler: Praecepta musicae poeticae (MS, D-MAl, 1563); pr. by B. Engelke, Geschichtsblätter für Stadt und Land Magdeburg, xlix–l (1914–15), 213–50
P. Pontio: Ragionamento di musica (Parma, 1588); ed. S. Clercx (Kassel, 1959)
J. Burmeister: Hypomnematum musicae poeticae (Rostock, 1599)
J. Burmeister: Musica autoschediastike (Rostock, 1601)
J. Burmeister: Musica poetica (Rostock, 1606/R; Eng. trans., 1993)
J. Lippius: Synopsis musicae novae omnino verae atque methodicae universae (Strasbourg, 1612); ed. and trans. B.V. Rivera (Colorado Springs, CO, 1977)
P. Cerone: El melopeo y maestro (Naples, 1613/R)
J. Mattheson: Das neu-eröffnete Orchestre (Hamburg, 1713)
J.-P. Rameau: Traité de l』harmonie réduite à ses principes naturels (Paris, 1722; Eng. trans., 1737); ed. and trans. P. Gossett (New York, 1971)
J.J. Fux: Gradus ad Parnassum (Vienna, 1725, 2/1742/R; partial Eng. trans., 1943 as Steps to Parnassus: the Study of Counterpoint, rev. 2/1965 as The Study of Counterpoint)
J.D. Heinichen: Der General-Bass in der Composition, oder Neue und gründliche Anweisung (Dresden, 1728/R; partial Eng. trans., 1966)
J. Mattheson: Kern melodischer Wissenschaft (Hamburg, 1737/R)
J.-P. Rameau: Génération harmonique, ou Traité de musique théoretique et pratique (Paris, 1737); ed. and trans. in D. Hayes: Rameau’s 『Génération harmonique』 (diss., Stanford U., 1974)
J.A. Scheibe: Der critische Musikus (Hamburg, 1738–40, 2/1745/R)
J. Mattheson: Der vollkommene Capellmeister (Hamburg, 1739/R; Eng. trans., 1981)
J. le R. D』Alembert: Elémens de musique théorique et practique, suivant les principes de M. Rameau (Paris, 1752/R, enlarged 2/1762, 3/1772)
J. Riepel: Anfangsgründe zur musikalischen Setzkunst, i: De Rhythmopoeia (Regensburg, 1752, 2/1754); ii: Grundregeln zur Tonkunst insgemein (Frankfurt, 1755); iii: Gründliche Erklaerung der Tonordnung (Frankfurt, 1757); iv: Erlaeuterung der betrueglichen Tonordnung (Augsburg, 1765); v: Unentbehrliche Anmerkungen zum Contrapunct (Regensburg, 1768)
J.P. Kirnberger: Der allezeit fertige Polonoisen- und Menuettencomponist (Berlin, 1757)
F.W. Marpurg: Systematische Einleitung in die musikalische Setzkunst, nach den Lehrsätzen des Herrn Rameau (Leipzig, 1757) [trans. of D』Alembert, 1752]
J.P. Kirnberger: Die Kunst des reinen Satzes in der Musik, aus sicheren Grundsätzen hergeleitet (Berlin, 1771–9/R, 2/1793; Eng. trans., 1982 as The Art of Strict Musical Composition)
J.G. Sulzer: Allgemeine Theorie der schönen Künste (Leipzig, 1771–4, enlarged 3/1786–7 by F. von Blankenburg, 4/1792–9/R) [musical articles by Sulzer, Kirnberger and Schulz]
J.P. Kirnberger: Die wahren Grundsätze zum Gebrauch der Harmonie … als ein Zusatz zu der Kunst des reinen Satzes in der Musik (Berlin and Königsberg, 1773/R, 2/1793) [written by J.A.P. Schulz under Kirnberger’s supervision]
G.J. Vogler: Tonwissenschaft und Tonsetzkunst (Mannheim, 1776/R)
H.C. Koch: Versuch einer Anleitung zur Composition, i (Rudolstadt, 1782/R; ii–iii (Leipzig, 1787–93/R; partial Eng. trans., 1995)
F. Galeazzi: Elementi teorico-pratici di musica (Rome, 1791–6; Eng. trans., i, 1969 by A. Frascarelli)
A.F.C. Kollmann: An Essay on Musical Harmony (London, 1796, 2/1817)
A.F.C. Kollmann: An Essay on Practical Musical Composition (London, 1799/R, 2/1812)
A. Reicha: Practische Beispiele: ein Beitrag zur Geistescultur des Tonsetzers (Vienna, 1803)
A. Kollmann: A New Theory of Musical Harmony (London, 1806, 2/1823)
J.-J. de Momigny: Cours complet d』harmonie et de composition (Paris, 1806)
E.T.A. Hoffman: [Review of Beethoven’s Fifth Symphony], AMZ, xii (1809–10), 630ff, 652ff
J.F. Herbart: Psychologische Bemerkungen zur Tonlehre (Königsberg, 1811)
G.J. Vogler: System für den Fugenbau als Einleitung zur harmonischen Gesang-Verbindungs-Lehre (Offenbach, 1811)
A. Reicha: Traité de mélodie (Paris, 1814, 2/1832)
A. Reicha: Cours de composition musicale, ou Traité complet et raisonné d』harmonie pratique (Paris, 1816–18; Eng. trans., 1854/R)
G. Weber: Versuch einer geordneten Theorie der Tonsetzkunst (Mainz, 1817–21, 3/1830–32; Eng. trans., 1851)
J.-J. de Momigny: La seule vraie théorie de la musique (Paris, 1821/R)
A. Reicha: Traité de haute composition musicale (Paris, 1824–5)
J.B. Logier: System der Musik-Wissenschaft und der praktischen Komposition (Berlin, 1827; Eng. trans., 1827/R, rev., enlarged by C. Stein, 1888/Ras Logier’s Comprehensive Course in Music, Harmony, and Practical Composition)
H.J.B. Birnbach: Der vollkommene Komponist (Berlin, 1832–46)
A. Reicha: Art du compositeur dramatique, ou Cours complet de composition vocale (Paris, 1833)
C. Czerny, ed.: Vollständiges Lehrbuch der musikalischen Composition … von A. Reicha (Vienna, 1834) [trans. of Reicha, 1814, 1816–18, 1824–5]
H. Berlioz: [reviews of Beethoven’s symphonies], RGMP, iv (1837), 121 [no.3]; v (1838), 33 [nos.1, 2, 4 and 5], 47 [no.6], 64 [no.7], 75 [no.8], 96 [no.9]; all repr. in A travers chants (Paris, 1862; Eng. trans., 1913–18; Eng. trans., 1975), 17–62
A.B. Marx: Die Lehre von der musikalischen Komposition, praktisch-theoretisch, i (Leipzig, 1837, rev. 9/1887, 10/1903; Eng. trans., 1852); ii (Leipzig, 1838, 7/1890); iii (Leipzig, 1845, 5/1879); iv (Leipzig, 1847, 5/1888; Eng. trans., 1910) [revs. of 1887–90 by H. Riemann]
M. Hauptmann: Erläuterungen zu Johann Sebastian Bachs 『Kunst der Fuge』 (Leipzig, 1841, 4/1929)
A.B. Marx: Die alte Musiklehre im Streit mit unserer Zeit (Leipzig, 1841)
A.D. Ulïbïshev [Oulibicheff]: Nouvelle biographie de Mozart suive d』un aperçu sur l』histoire générale de la musique et de l』analyse des principales oeuvres de Mozart (Moscow, 1843)
J.C. Lobe: Compositions-Lehre, oder Umfassende Theorie von der thematischen Arbeit (Weimar, 1844)
C. Czerny: School of Practical Composition (London, c1849/R; Ger. orig., c1849–50)
J.C. Lobe: Lehrbuch der musikalischen Komposition, i: Von der ersten Elementen der Harmonielehre an bis zur vollständigen Komposition des Streichquartetts und aller Arten von Klavierwerken; ii: Die Lehre von der Instrumentation; iii: Lehre von der Fuge, dem Kanon und dem doppelten Kontrapunkte; iv:Die Oper (Leipzig, 1850–67, many later edns)
W. von Lenz: Beethoven et ses trois styles: analyses des sonates de piano suives de l』essai d』un catalogue critique, chronologique et anecdotique de l』oeuvre de Beethoven (St Petersburg, 1852/R); ed. M.D. Calvocoressi (Paris, 1909/R)
E.F.E. Richter: Die Grundzüge der musikalischen Formen und ihre Analyse (Leipzig, 1852)
M. Hauptmann: Die Natur der Harmonik und der Metrik (Leipzig, 1853, 2/1873; Eng. trans., 1888/R)
S. Sechter: Die Grundsätze der musikalischen Komposition (Leipzig, 1853–4)
E. von Elterlein [E. Gottschald]: Beethoven’s Symphonien nach ihren idealen Gehalt, mit besonderer Rücksicht auf Haydn, und die neueren Mozart Symphoniker (Dresden, 1854, 3/1870; Eng. trans., 1893)
E. Hanslick: Vom Musikalisch-Schönen (Leipzig, 1854/R, 16/1966; Eng. trans., 1891/R); ed. D. Strauss (Mainz, 1990); ed. and Eng. trans. G. Payzant (Indianapolis, IN, 1986)
A.B. Marx: Die Musik des neunzehnten Jahrhunderts und ihre Pflege (Leipzig, 1855, 2/1873; Eng. trans., 1854)
E. von Elterlein [E. Gottschald]: Beethovens Clavier-Sonaten für Freunde der Tonkunst erläutert (Leipzig, 1856, 4/1875; Eng. trans., 1875, 6/1903)
A.D. Ulïbïshev [Oulibicheff]: Beethoven: ses critiques et ses glossateurs (Leipzig, 1857)
A.B. Marx: Ludwig van Beethoven: Leben und Schaffen (Berlin, 1859/R, 6/1908)
F.L.S. Dürenberg: Die Symphonien Beethovens und anderer berühmter Meister … analysiert und zum Verständnisse erläutert (Leipzig, 1863)
J.C. Lobe: Katechismus der Compositionslehre (Leipzig, 1863/R, 2/1871, rev. 7/1902; Eng. trans., 1874)
A.B. Marx: Anleitung zum Vortrag Beethovenscher Klavierwerke (Berlin, 1863, 5/1912; Eng. trans., 1895)
G. Nottebohm: Ein Skizzenbuch von Beethoven (Leipzig, 1865, rev. 2/1924/Rby P. Mies; Eng. trans., 1979)
M. Hauptmann: Die Lehre von der Harmonik, ed. O Paul (Leipzig, 1868, 2/1873)
G. Nottebohm: Beethoveniana (Leipzig, 1872/R, 2/1925)
H. Riemann: Über das musikalische Hören (diss., U. of Göttingen, 1873); pubd as Musikalische Logik (Leipzig, 1874)
M. Lussy: Traité de l』expression musicale: accents, nuances et mouvements dans la musique vocale et instrumentale (Paris, 1874, 8/1904; Eng. trans., 1885)
H. von Wolzogen: Thematischer Leitfaden durch die Musik zu Richard Wagners Festspiel 『Der Ring des Nibelungen』 (Leipzig, 1876, 4/1878 as Erläuterungen zu R. Wagners Nibelungendrama; Eng. trans., 1882, 3/1888)
O. Hostinskr: Das Musikalisch-Schöne und das Gesammtkunstwerk vom Standpunkte der formalen Aesthetik (Leipzig, 1877)
H. Riemann: Musikalische Syntaxis: Grundriss einer harmonischen Satzbildungslehre (Leipzig, 1877/R)
H. von Wolzogen: Thematischer Leitfaden durch die Musik von Richard Wagners Tristan (Leipzig, 1880, 4/1911; Eng. trans., 1902)
C. Mayrberger: 『Die Harmonik Richard Wagners an den Leitmotiven des Vorspiels zu Tristan und Isolde erläutert』, Bayreuther Blätter, iv (1881), 169–80
H. von Wolzogen: Thematischer Leitfaden durch die Musik von Richard Wagners Parsifal (Leipzig, 1882, 21/1914; Eng. trans., 1904)
E. von Hagen: Beiträge zur Einsicht in das Wesen der Wagnerschen Kunst: gesammelte Aufsätze (Berlin, 1883)
M. Lussy: Le rythme musicale: son origine, sa fonction et son accentuation (Paris, 1883, 4/1911; Eng. trans., abridged, 1908)
H. Riemann: Der Ausdruck in der Musik (Leipzig, 1883)
S. Jadassohn: Musikalische Kompositionslehre (Leipzig, 1883–9)
H. Riemann: Musikalische Dynamik und Agogik: Lehrbuch der musikalischen Phrasierung (Hamburg, 1884)
G. Adler: 『Umfang, Methode und Ziel der Musikwissenschaft』, VMw, i (1885), 5–20
T. Helm: Beethovens Streichquartette: Versuch einer technischen Analyse dieser Werke im zusammenhange mit ihren geistigen Gehalt (Leipzig, 1885, 3/1921/R)
G. Adler: 『Die Wiederholung und Nachahmung in der Mehrstimmigkeit』, VMw, ii (1886), 271–346
H. Kretzschmar: Führer durch den Konzertsaal, i (Leipzig, 1887, rev. 7/1932 by F. Noack and H. Botstiber); ii/1 (Leipzig, 1888, 5/1921); ii/2 (Leipzig, 1890, rev. 5/1939 by H. Schnoor)
G. Nottebohm: Zweite Beethoveniana, ed. E. Mandyczewski (Leipzig, 1887)
H. Riemann: Systematische Modulationslehre als Grundlage der musikalischen Formenlehre (Hamburg, 1887)
J. Schalk: 『Das Gesetz der Tonalität』, Bayreuther Blätter, xi (1888), 192–7, 381–7; xii (1889), 191–8; xiii (1890), 65–70
A.J. Goodrich: Complete Musical Analysis (Cincinnati, 1889)
H. Riemann: Katechismus der Kompositionslehre (Musikalische Formenlehre) (Leipzig, 1889, 3/1905 as Grundriss der Kompositionslehre, 4/1910)
H. Riemann: Katechismus des Generalbass-Spiels (Leipzig, 1889)
H. Riemann: Katechismus der Harmonie- und Modulationslehre (Leipzig, 1890, 9/1923–4 as Handbuch der Harmonielehre)
H. Riemann and C. Fuchs: Katechismus der Phrasierung (Praktische Anleitung zum Phrasieren) (Leipzig, 1890, 2/1900 as Vademecum der Phrasierung, 8/1912 as Handbuch der Phrasierung; Eng. trans., 1890)
H. Riemann: Katechismus der Fugen-Komposition, i–ii (Leipzig, 1890–91, 2/1906–7, 3/1914 as Handbuch der Fugen-Komposition; Eng. trans., 1893/R); iii (Leipzig, 1894, 2/1917 as Handbuch der Fugen-Komposition)
F. Koegel: 『Der Bau des Tristandramas』, Bayreuther Blätter, xv (1892), 257–74
H. Riemann: Vereinfachte Harmonielehre, oder Die Lehre von den tonalen Funktionen der Akkorde (London and New York, 1893, 2/1903; Eng. trans., 1896)
W.H. Hadow: Studies in Modern Music (London, 1893–5, many later edns incl. 1926/R)
E. Prout: Musical Form (London, 1893–7/R)
A. Ernst: 『Die Übereinstimmung der einzelnen Szenen in den Dramen Wagners』, Bayreuther Blätter, xvii (1894), 234–39
P. Goetschius: Models of the Principal Musical Forms (Boston, 1894)
E. Prout: Applied Forms (London, 1895/R)
H. Riemann: Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik, i (Frankfurt, 1895/R); ii–iii (Leipzig, 1900–01/R)
C. von Ehrenfels: 『Die musikalische Architektonik』, Bayreuther Blätter, xix (1896), 257–63
G. Grove: Beethoven and his Nine Symphonies (London, 1896, 3/1898/R)
W.H. Hadow: Sonata Form (London, 1896/R)
H. Riemann: Geschichte der Musiktheorie im IX.–XIX. Jahrhundert, iii: Die Harmonielehre (Leipzig, 1898, 2/1921/R; Eng. trans., ed. W.C. Mickelsen, 1977)
M. Arend: 『Harmonische Analyse des Tristanvorspiels』, Bayreuther Blätter, xxiv (1901), 160–69
C. Hynais: Die Harmonik Richard Wagners in Bezug auf die Fundamentaltheorie Sechters (Vienna, 1901)
C. Mey: Musik als tönende Weltidee (Leipzig, 1901)
C. Capellen: 『Harmonik und Melodik bei R. Wagner』, Bayreuther Blätter, xxv (1902), 3–23
H. Kretzschmar: 『Anregungen zur Förderung musikalischer Hermeneutik』, JbMP 1902, 45–66; JbMP 1905, 73–86; also in Gesammelte Aufsätze aus den Jahrbüchen der Musikbibliothek Peters, i (Leipzig, 1911), 168–92; ii (Leipzig, 1911), 280–93
H. Riemann: Grosse Kompositionslehre, i: Der homophone Satz (Berlin, 1902, 2/1912); ii: Der polyphone Satz (Berlin, 1903, 2/1912); iii: Der Orchestersatz und der dramatische Gesangstil (Berlin, 1913)
M. Lussy: L』anacrouse dans la musique moderne (Paris, 1903)
H. Riemann: Beethovens Streichquartette (Berlin, 1903)
H. Riemann: System der musikalischen Rhythmik und Metrik (Leipzig, 1903/R)
H. Schenker: Ein Beitrag zur Ornamentik als Einführung zu Ph. Em. Bachs Klavierwerken (Vienna, 1903, 2/1908/R); Eng. trans. in Music Forum, iv (1976), 1–140
G. Adler: Richard Wagner: Vorlesungen (Leipzig, 1904, 2/1923)
P. Goetschius: Lessons in Music Form: a Manual of Analysis (New York, 1904/R)
K. Grunsky: 『Wagner als Sinfoniker』, Richard Wagner-Jb 1906, 227–44
J.-G. Prod』homme: Les symphonies de Beethoven (1800–1827) (Paris, 1906/R, 3/1909)
H. Schenker: Neue musikalische Theorien und Phantasien, i: Harmonielehre (Stuttgart, 1906/R; Eng. trans., 1954/R as Harmony); ii/1: Kontrapunkt I: Cantus firmus und zweistimmiger Satz (Vienna, 1910/R); ii/2: Kontrapunkt II: Drei- und mehrstimmiger Satz (Vienna, 1922/R; Eng. trans., ed. J. Rothgeb, New York and London, 1987); iii: Der freie Satz (Vienna, 1935, 2/1956; Eng. trans., 1979 as Free Composition)
E. Ergo: 『Über Wagners Melodik und Harmonik』, Bayreuther Blätter, xxx (1907), 125–36, 181–94, 270–81; xxxi (1908), 33–47
K. Grunsky: 『Vorspiel und I. Akt von 「Tristan und Isolde」』, Richard Wagner-Jb 1907, 207–84
R. Mayrhofer: Psychologie des Klanges: und die daraus hervorgehende, theoretisch-praktische Harmonielehre (Leipzig, 1907)
S. Macpherson: Form in Music: with Special Reference to the Designs of Instrumental Music (London and New York, 1908, rev. 2/1915/R) [see also Studies in Phrasing and Form, ii (London, 1912)]
R. Mayrhofer: Die organische Harmonielehre (Berlin, 1908)
A. Schering: 『Die Lehre von der musikalischen Figuren』, KJb, xxi (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』, IMSCR IV: 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, xiii (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, i (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, ix (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, iv (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』, BJb 1917, 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, iv (1918), 161–7
G. Becking: 『「Hören」 und 「Analysieren」 (über Riemanns Beethoven-Analysen)』, ZMw, i (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, ii (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, xliii (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, iii (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, v (1922–3), 219–25
A.O. Lorenz: 『Die formale Gestaltung des Vorspiels zu Tristan und Isolde』, ZMw, v (1922–3), 546–57
H. Mersmann: 『Versuch einer Phänomenologie der Musik』, ZMw, v (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』, BJb 1923, 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, vi (1923–4), 100–19
E. Bücken: 『Der galante Stil: eine Skizze seiner Entwicklung』, ZMw, vi (1923–4), 418–30
A. Lorenz: 『Betrachtungen über Beethovens Eroica-Skizzen』, ZMw, vii (1924–5), 409–22
A. Lorenz: Das Geheimnis der Form bei Richard Wagner (Berlin, 1924–33)
H. Besseler: 『Grundfragen des musikalischen Hörens』, JbMP 1925, 35–52; repr. in Aufsätze zur Musikästhetik und Musikgeschichte, ed. P. Gulke (Leipzig, 1978), 28–53
F. Cassirer: Beethoven und die Gestalt: ein Kommentar (Stuttgart, 1925)
W. Engelsmann: 『Die Sonatenform Beethovens: Probleme in der Klaviersonate As-Dur opus 110』, Neue-Musik-Zeitung, xlvi (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』, BJb 1925, 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, xix (1926–7), 621–32
G. Becking: Der musikalische Rhythmus als Erkenntnisquelle (Augsburg, 1928)
A.O. Halm: 『Über den Wert musikalischer Analysen』, Die Musik, xxi (1928–9), 481–4
W. Karthaus: 『Die musikalische Analyse』, Die Musik, xxi (1928–9), 264–71
W. Danckert: 『Stil als Gesinnung』, Bärenreiter-Jb, v (1929), 24–32
R. von Ficker: 『Primäre Klangformen』, JbMP 1929, 21–34
A. Schering: 『Musikalische Analyse und Wertidee』, JbMP 1929, 9–20
W. Riezler: 『Die Urlinie』, Die Musik, xxii (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, xxiv (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, lxxv (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, vi (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, i (1945), 172
H. Federhofer: 『Die Musiktheorie Heinrich Schenkers』, SMz, lxxxvii (1947), 265
W. Koch: 『Inhaltliche oder formale Analyse? (Zur Krise des musikalischen Hörens)』, Musica, i (1947), 192–5
M. McMullin: 『The Symbolic Analysis of Music』, MR, viii (1947), 25–35
E. Oster: 『The Fantaisie-Impromptu: a Tribute to Beethoven』, Musicology, i (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』, IMSCR IV: Basle 1949, 80–82
B.H. Bronson: 『Mechanical Help in the Study of Folk Song』, Journal of American Folklore, lxii (1949), 81–6
K. Jeppesen: 『Zur Kritik der klassischen Harmonielehre』, IMSCR IV: Basle 1949, 23–34
M. Mann: 『Schenker’s Contribution to Music Theory』, MR, x (1949), 3–26
Newman: Wagner Nights (London, 1949/R)
E. Oster: 『The Dramatic Character of the Egmont Overture』, Musicology, ii (1949), 269–85; repr. in Beach (1983), 209–22
A. Sychra: 『Lidová písěn s hlediska semiologického』 [Folksong from the semiological angle], Slovo a slovesnost, xi (1948–9), 7–23; Fr. trans. in Musique en jeu, no.10 (1973), 12–33
H.B. Buys: 『Gestallensymboliek en diminutietechniek』, Mens en melodie, v (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, iii (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, vi (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, viii (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), i, 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, xcvi (1956), 205–7
H. Keller: 『KV503: the Unity of Contrasting Themes and Movements』, MR, xvii (1956), 48–58, 120–29
L.B. Meyer: Emotion and Meaning in Music (Chicago, 1956)
A.A. Moles: 『Informationstheorie der Musik』, Nachrichtentechnische Fachberichte, iii (1956), 47–55
R.C. Pinkerton: 『Information Theory and Melody』, Scientific American, cxciv (1956), 77–8, 80, 82, 84, 86
L.G. Ratner: 『Eighteenth-Century Theories of Musical Period Structure』, MQ, xlii (1956), 439–54
E. Ratz: 『Zum Formproblem bei Gustav Mahler: eine Analyse des Finales der VI. Symphonie』, Mf, ix (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, xvii (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, xv (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, xviii (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, xii/12 (1957), 26–7
J. LaRue: 『A System of Symbols for Formal Analysis』, JAMS, x (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, ii (1958), 127–61
H. Federhofer: 『Die Funktionstheorie H. Riemanns und die Schichtenlehre H. Schenkers』, IMSCR VII: 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, xcix (1958), 657–8
H. Keller: 『Wordless Functional Analysis: the First Year』, MR, xix (1958), 192–200
H. Lenneberg: 『Johann Mattheson on Affect and Rhetoric in Music』, JMT, ii (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, x (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, ii (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, ii (1958), 24–35
D. Kraehenbuehl and E. Coons: 『Information as a Measure of Experience of Music』, Journal of Aesthetics and Art Criticism, xvii (1958–9), 510–22
J. Chailley: 『Essai sur les structures mélodiques』, RdM, xliv (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, v (1959), 5–22; Eng. trans. in Die Reihe, v (1961), 3–20
A. Forte: 『Schenker’s Conception of Musical Structure』, JMT, iii (1959), 1–30; repr. in Yeston (1977), 3–37
D. Lewin: 『Intervallic Relations between Two Collections of Notes』, JMT, iii (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, iii (1959), 208–30
N. Ruwet: 『Contradictions du langage sériel』, RBM, xiii (1959), 83–97; repr. in Langage, musique, poésie (Paris, 1972), 23–40
R. Travis: 『Towards a New Concept of Tonality』, JMT, iii (1959), 257–84; see reply by E. Oster, iv (1960), 85–98
L. Treitler: 『Harmonic Procedure in the Fourth Quartet of Béla Bartók』, JMT, iii (1959), 292–8
A. Walker: 『Unconscious Motivation in the Composing Process』, MR, xx (1959), 277–81
M. Babbitt: 『Twelve-Tone Invariants as Compositional Determinants』, MQ, xlvi (1960), 246–59; repr. in Problems of Modern Music, ed. P.H. Lang (New York, 1960), 108–21
E.T. Cone: 『Analysis Today』, MQ, xlvi (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, ix (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, xxi (1960), 73–6, 237–9
D. Lewin: 『The Intervallic Content of a Collection of Notes』, JMT, iv (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, iv (1960), 19–31
J. Nordmark: 『New Theories of Form and the Problem of Thematic Identities』, JMT, iv (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, v (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, xliii (1961), 49–76
A. Forte: The Compositional Matrix (Baldwin, NY, 1961/R)
H. Goldschmidt: 『Zur Methodologie der musikalischen Analyse』, BMw, iii/4 (1961), 3–30
D. Martino: 『The Source Set and its Aggregate Formations』, JMT, v (1961), 224–79
E. Oster: 『Register and the Large-Scale Connection』, JMT, v (1961), 54–71; repr. in Yeston (1977), 54
G. Rochberg: 『Set Structure as a Compositional Determinant』, JMT, v (1961), 72–94
J.E. Cohen: 『Information Theory and Music』, Behavioural Science, vii (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, i (Monton, 1962, 2/1971)
E. Karkoschka: 『Musik und Semantik』, Melos, xxxii (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, vi (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, xxiii (1962), 30–33
W. Meyer-Eppler: 『Informationstheoretische Probleme der musikalischen Kommunikationen』, Die Reihe, viii (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, i/2 (1962–3), 72–82
M. Kassler: 『A Sketch of the Formalized Use of Languages for the Assertion of Music』, PNM, i/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, i/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, ii/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, ii/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, viii (1964), 136–83; see also discussion, ix (1965), 163–71
H. Heckmann: 『Neue Methoden der Verarbeitung musikalischer Daten』, Mf, xvii (1964), 381–3
L.A. Hiller: Informationstheorie und Computermusik, DBNM, viii (1964)
R. Kluge: 『Definition der Begriffe Gestalt und Intonation』, BMw, vi (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, iii (1964), 12
H.E. Smither: 『The Rhythmic Analysis of 20th-Century Music』, JMT, viii (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, xvii (1964), 1–14
M. Babbitt: 『The Structure and Functions of Music Theory I』, College Music Symposium, v (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, ix (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, cv (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, ix (1965), 281–93
R. Teitelbaum: 『Intervallic Relations in Atonal Music』, JMT, ix (1965), 72–127
R. Travis: 『Directed Motion in Schoenberg and Webern』, PNM, iv/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, x (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, xx (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, x (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, x (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, x (1966), 174–90
D. Mensteli Hsu: 『Ernst Kurth and his Concept of Music as Motion』, JMT, x (1966), 2–17
J. Rothgeb: 『Some Uses of Mathematical Concepts in Theories of Music』, JMT, x (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, xx (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, vi (1966), 89–107
L. Treitler: 『Music Analysis in an Historical Context』, ibid., 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, i (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, xvii (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, i (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, i (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, xi (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, xix (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, i (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, xli (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, vi/2 (1967–8), 73–91
E.T. Cone: 『Beyond Analysis』, PNM, vi/1 (1967–8), 33–51; see responses by D. Lewin, vii/2 (1968–9), 59–69, and Cone, ibid., 70–72
E. Regener: 『Layered Music-Theoretic Systems』, PNM, vi/1 (1967–8), 52–62
A. Whittall: 『Post-Twelve-Note Analysis』, PRMA, xciv (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, xxi (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, xii (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, xii (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, xxi (1968), 17–29
L. Richter: 『Schoenbergs Harmonielehre und die 「freie Atonalität」』, DJbM, xiii (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, xxi (1968), 69–73
C. Seeger: 『Factorial Analysis of the Song as an Approach to the Formation of a Unitary Field Theory』, JIFMC, xx (1968), 33–9
F.J. Smith: 『Vers une phénoménologie du son』, Revue de métaphysique et de morale, iii (1968), 328
T. Winograd: 『Linguistics and the Computer Analysis of Tonal Harmony』, JMT, xii (1968), 2–49
P. Batstone: 『Musical Analysis as Phenomenology』, PNM, vii/2 (1968–9), 94–110
J. LaRue: 『Fundamental Considerations in Style Analysis』, Notes, xxv (1968–9), 447–62
P. Aldrich: 『An Approach to the Analysis of Renaissance Music』, MR, xxx (1969), 1–21
S. Arom: 『Essai d』une notation des monodies à des fins d』analyse』, RdM, lv (1969), 172–216
D.W. Beach: 『Analysis Symposium』, JMT, xiii (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, xi (1969), 245–57
M. Cole: 『Momigny’s Analysis of Haydn’s Symphony no.103』, MR, xxx (1969), 261–84
M. Cole: 『Sonata-Rondo: the Formulation of a Theoretical Concept in the 18th and 19th Centuries』, MQ, lv (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, xiii (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, iv (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, xvii (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, viii/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, lii (1970), 53–7
T. Clifton: 『An Application of Goethe’s Concept of Steigerung to the Morphology of Diminution』, JMT, xiv (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, lii (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, lii (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, ii (1970), 1–109
H. Meyer: 『Analytische und/oder hermeneutische Werkbetrachtung?』, Musica [Kassel], xxiv (1970), 346–8
W.J. Mitchell: 『The Prologue to Orlando di Lasso's Prophetiae Sibyllarum』, Music Forum, ii (1970), 264–73
H. de la Motte-Haber: 『Typologien musikalischen Verhaltens: ein Überblick』, ibid., 136–9
Novack: 『Fusion of design and Tonal order in Mass and Motet: Josquin Desprez and Heinrich Isaac』, Music forum, ii (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, xxv (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, ii (1970), 130–86
I. Supičić: 『Matter and Form in Music』, IRASM, i (1970), 149–58
W. Thomson: 『Style Analysis: or the Perils of Pigeonholes』, JMT, xiv (1970), 191–208
R. Travis: 『Tonal Coherence in the First Movement of Bartók’s Fourth String Quartet』, Music Forum, ii (1970), 298–371
B. Boretz: 『The Construction of a Musical Syntax』, PNM, ix/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, xxix (1970–71), 367–70
J. Blacking: 『Deep and Surface Structures in Venda Music』, YIFMC, iii (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, xv (1971), 2–57
D. Cohen: 『Palestrina Counterpoint: a Musical Expression of Unexcited Speech』, JMT, xv (1971), 84–111
T. Kneif: 『Bedeutung, Struktur, Gegenfigur: zur Theorie des musikalischen 「Meinens」』, IRASM, ii (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, vi (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』, ibid., 93–8 [incl. bibliography of musical semiology]
J.-J. Nattiez: 『Situation de la sémiologie musicale』, ibid., 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, ii (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, xv (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, ii (1971), 243–66
S.W. Smoliar: A Parallel Processing Model of Music Structures (diss., MIT, 1971)
I. Supičić: 『Expression and Meaning in Music』, IRASM, ii (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, xxx (1971–2), 79–81
B. Alphonce: 『The Invariance Matrix as an Analytical Tool』, IMSCR XI: Copenhagen 1972, i, 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』, IMSCR XI: Copenhagen 1972, i, 43–5
N. Böker-Heil: 『Musikalische Stilanalyse und Computer: einige grundsätzliche Erwägungen』, 『Der Zustand polyphoner Strukturen: ein Beispiel automatischer Stilbeschreibung』, IMSCR XI: Copenhagen 1972, i, 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, xxxiii (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, lviii (1972), 277–96
O.E. Laske: 『On Musical Strategies with a View to a Generative Theory of Music』, Interface, i (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, iii/1 (1972), 2–4
N. Ruwet: Langage, musique, poésie (Paris, 1972) [incl. articles on music written 1959–67]
L. Treitler: 『Methods, Style, Analysis』, IMSCR XI: Copenhagen 1972, i, 61–70
C. Wolff: 『Towards a Methodology of Dialectic Style Consideration: Preliminary Terminological and Historical Considerations』, ibid., 74–80
A. Forte: 『Sets and Nonsets in Schoenberg’s Atonal Music』, PNM, xi/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, xvii (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, xiii (1973), 65–9
E. Karkoschka: 『Über Exaktheit in Musikanalyse』, Zeitschrift für Musiktheorie, iv/2 (1973), 3–10
J. Kramer: 『The Fibonacci Series in Twentieth-Century Music』, JMT, xvii (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, xxvi (1973), 241–3
E.C. Verba: 『The Development of Rameau’s Thoughts on Modulation and Chromatics』, JAMS, xxvi (1973), 69–91
A. Goehr: 『The Theoretical Writings of Arnold Schoenberg』, PRMA, c (1973–4), 85–96
D.W. Beach: 『The Origins of Harmonic Analysis』, JMT, xviii (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, xviii (1974), 124–51
S.E. Gilbert: 『An Introduction to Trichordal Analysis』, JMT, xviii (1974), 338–62
D. Hayes: 『Rameau’s 「nouvelle méthode」』, JAMS, xxvii (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], xxviii (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, xviii (1974), 309–35
J.R. Stevens: 『Theme, Harmony and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form』, JAMS, xxvii (1974), 25–60
R. Travis and A. Forte: 『Analysis Symposium: Webern, Orchestral Pieces (1913), Movement I (「Bewegt」)』, JMT, xviii (1974), 2–43; continuation by E. Barkin, ibid., xix (1975), 47–64
L. Treitler: 『Homer and Gregory: the Transmission of Epic Poetry and Plainchant』, MQ, lx (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, xiii/1 (1974–5), 41–56
W. Berry and others: 『Analysis Symposium: Mozart Symphony no.40』, In Theory Only, i/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, xix (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, xxviii (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, lxi (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, xxxvi (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, xix (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, xx (1976), 1–48
D.W. Beach: 『Segmental Invariance and the Twelve-Tone System』, JMT, xx (1976), 157–184
W.E. Benjamin: 『Interlocking Diatonic Collections as a Source of Chromaticism in Late Nineteenth-Century Music』, In Theory Only, i/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, xiii (1976), 106–21
R. Kamien: 『Aspects of the Recapitulation in Beethoven Piano Sonatas』, Music Forum, iv (1976), 195–235
M. Kassler: 『The Decidability of Languages that Assert Music』, PNM, xiv/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, xxix (1976), 21–36
D. Loeb: 『An Analytic Study of Japanese Koto Music』, Music Forum, iv (1976), 335–93
H.C. Longuet-Higgins: 『Perception of Melodies』, Nature, cclxiii (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, xx (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, iv (1976), 281–334
H. Schenker: 『A Contribution to the Study of Ornamentation』, [trans. Hedi Siegel], Music Forum, iv (1976), 1–140
H. Schenker: 『The Largo of J.S. Bach’s Sonata No. 3 for Unaccompanied Violin [BWV 1005]』, Music Forum, iv (1976), 141–59
W. Seidel: Rhythmus: ein Begriffsbestimmung (Darmstadt, 1976)
G. Stefani: 『Analisi, semiosi, semiotica』, RIM, xi (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, i (1976–7), 137–49
S.W. Smoliar and others: 『A LISP-Based System for the Study of Schenkerian Analysis』, Computers and the Humanities, x (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, ii/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』, IMSCR XII: Berkeley 1977, 324–30
R. Chrisman: 『Describing Structural Aspects of Pitch-Sets Using Successive-Interval Arrays』, JMT, xxi (1977), 1–28
P. Faltin: 『Musikalische Syntax: ein Beitrag zum Problem des musikalischen Sinngehaltes』, AMw, xxxiv (1977), 1–19
I. Godt: 『Motivic Integration in Josquin’s Motets』, JMT, xxi (1977), 264–92
A. Goehr: 『Schoenberg’s 「Gedanke」 Manuscript』, Journal of the Arnold Schoenberg Institute, ii (1977), 4–25
M. Guck: 『Symmetrical Structures in op. 19/2』, In Theory Only, ii/10 (1977), 29–34
M. Kassler: 『Transferring a Tonality Theory to a Computer』, IMSCR XII: Berkeley 1977, 339–47
A. Keiler: 『The Syntax of Prolongation I』, In Theory Only, iii/5 (1977), 3
F. Lerdahl and R. Jackendoff: 『Toward a Formal Theory of Tonal Music』, JMT, xxi (1977), 111–71
D. Lewin: 『A Label-Free Development for Pitch-Class Systems』, JMT, xxi (1977), 29–48
D. Lewin: 『Forte’s Interval Vector, my Interval Function, and Regener’s Common-Note Function』, JMT, xxi (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, vi (1977), 555–71
P.C. van den Toorn: 『Some Characteristics of Stravinsky’s Diatonic Music, II』, PNM, xv/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, iii/6 (1977–8), 3–22
R. Bailey: 『The Structure of the Ring and its Evolution』, 19CM, i (1977–8), 48–61
I.D. Bent and J. Morehen: 『Computers in the Analysis of Music』, PRMA, civ (1977–8), 30–46
D. Starr and R. Morris: 『A General Theory of Combinatoriality and the Aggregate I』, PNM, xvi/1 (1977–8), 3–35
R. Swift: 『1-XII-99: Tonal Relationships in Schoenberg’s Verklärte Nacht』, 19CM, i (1977–8), 3–14
A.B. Wenk: 『The Composer as Poet in 「Das Lied von der Erde」』, 19CM, i (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, xxii (1978), 253–90
W. Berry: 『Rhythmic Accelerations in Beethoven』, JMT, xxii (1978), 177–236
C. Burkhart: 『Schenker’s 「Motivic Parallelisms」』, JMT, xxii (1978), 145–75
K. Covington: 『A Theory of Dissonance in the Fourteenth Century』, Indiana Theory Review, ii/1 (1978), 29–40
C. Dahlhaus: 『Der rhetorische Formbegriff H. Chr. Kochs und die Theorie der Sonatenform』, AMw, xxxv (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, ix/2 (1978), 16–26
A. Forte: 『Schoenberg’s Creative Evolution: the Path to Atonality』, MQ, lxiv (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, i/3 (1978), 4–11
M.A. Guck: 『The Functional Relations of Chords: a Theory of Musical Intuitions』, In Theory Only, iv/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, iv/2 (1978), 105–12
J. Jiránek: 『Dramatické rysy Janáčkova klavírního stylu』 [Dramatic traits in Janáček’s writing for the piano], OM, x (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, lxiv (1978), 195–222
A. Keiler: 『The Empiricist Illusion: Narmour’s Beyond Schenkerism』, PNM, xvii/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, xxii (1978), 65–103
D. Linthicum: 『Verdi’s 「Falstaff」 and Classical Sonata Form』, MR, xxxix (1978), 39–53
H.C. Longuet-Higgins: 『The Perception of Music』, Interdisciplinary Science Review, iii (1978), 143
R.P. Morgan: 『The Theory and Analysis of Tonal Rhythm』, MQ, lxiv (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, x (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, xvi/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, xxxi (1978), 467–79
G.J. Buelow: 『The Concept of 「Melodielehre」: a Key to Classic Style』, MJb 1978–9, 182–95
P. Johnson: 『Symmetrical Sets in Webern’s op.10, no.4』, PNM, xvii/1 (1978–9), 219–29
S. Levarie: 『Key Relations in Verdi’s Un ballo in maschera』, 19CM, ii (1978–9), 143–7
R.P. Morgan: 『Dissonant Prolongations, Perfect Fifths, and Major Thirds in Stravinsky’s Piano Concerto』, In Theory Only, iv/4 (1978–9), 3–7
B. Trowell: 『Proportion in the Music of Dunstable』, PRMA, cv (1978–9), 100–141
J. Webster: 『Schubert’s Sonata Form and Brahms’s First Maturity』, 19CM, ii (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, i (1979), 7–22
D.W. Beach and T. Jurgen: 『The True Principles for the Practice of Harmony by Johann Phillip Kirnberger: a Translation』, JMT, xxiii (1979), 163–225
W.E. Benjamin 『Ideas of Order in Motivic Music』, Music Theory Spectrum, i (1979), 23–34
E. Budde: 『Arnold Schoenbergs Monodrama Erwartung: Versuch einer Analyse der ersten Szene』, AMw, xxxvi (1979), 1–20
R. Chrisman: 『Anton Webern’s Six Bagatelles for String Quartet, op.9: the Unfolding of Intervallic Successions』, JMT, xxiii (1979), 81–122
J. Clough: 『Aspects of Diatonic Sets』, JMT, xxiii (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, i (1979), 35–42
F.K. Grave: 『Abbé Vogler and the Study of Fugue』, Music Theory Spectrum, i (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, i (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, ii/2 (1979), 2–22
K.-O. Plum: Untersuchungen zu Heinrich Schenkers Stimmführungsanalyse (Regensburg, 1979)
J. Rahn: 『Logic, Set Theory, Music Theory』, College Music Symposium, xix/1 (1979), 114–27
B.V. Rivera: 『Harmonic Theory in Musical Treatises of the Late Fifteenth and Early Sixteenth Centuries』, Music Theory Spectrum, i (1979), 80–95
L. Rowell: 『Aristoxenus on Rhythm』, JMT, xxiii (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, i (1979), 107–20
W. Schenkman: 『Fixed Ideas and Recurring Patterns in Berlioz’s Melody』, MR, xl (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, xxiii (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, iv/2 (1979), 17–37
A. Winold: 『Competence and Performance in Language and Music』, Indiana Theory Review, ii/3 (1979), 13–30
H. Brown and D. Butler: 『Diatonic Trichords as Minimal Tonal Cue-Cells.』, In Theory Only, v/6 (1979–80), 39–55
R. Browne: 『Tonal Implications of the Diatonic Set.』, ibid., 3–21
D. Lewin: 『Some New Constructs Involving Abstract PC-Sets, and Probabilistic Applications』, PNM, xviii (1979–80), 433–44
R. Morris: 『A Similarity Index for Pitch-Class Sets』, ibid., 445–60
J. Rahn: 『Relating Sets』, ibid., 483–98
J.M. Baker: 『Scriabin’s Implicit Tonality』, Music Theory Spectrum, ii (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, lxvi (1980), 484–504
P. Bergquist: 『The First Movement of Mahler’s Tenth Symphony: an Analysis and Examination of the Sketches』, Music Forum, v (1980), 335–94
W. Berry: 『On Structural Levels in Music』, Music Theory Spectrum, ii (1980), 19–45
A.R. Brinkman: 『The Melodic Process in Johann Sebastian Bach’s 「Orgelbüchlein」』, ibid., 46–73
C. Burkhart: 『The Symmetrical Source of Webern’s Opus 5, No. 4』, Music Forum, v (1980), 317–34
W.E. Caplin: 『Harmony and Meter in the Theories of Simon Sechter』, Music Theory Spectrum, ii (1980), 74–89
R. Cogan: 『Tone Color: The New Understanding』, Sonus, i/1 (1980), 3–24
C. Dahlhaus: 『Cantabile und thematischer Prozess: der Übergang zum Spätwerk in Beethovens Klaviersonaten』, AMw, xxxvii (1980), 81–98
J. Dunsby: 『Heinrich Schenker and the Free Counterpoint of Strict Composition』, RMARC, xvi (1980), 140–48
J. Dunsby: 『Schoenberg on Cadence』, Journal of the Arnold Schoenberg Institute, iv (1980), 41–9
A. Forte: 『Aspects of Rhythm in Webern’s Atonal Music』, Music Theory Spectrum, ii (1980), 90–109
I. Godt: 『Renaissance Paraphrase Technique: a Descriptive Tool』, ibid., 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, iii/3 (1980), 28–35
D. Heartz: 『The Great Quartet in Mozart’s Idomeneo』, Music Forum, v (1980), 233–56
J. Jiránek: 『Semantische Analyse der Musik』, AMw, xxxvii (1980), 187–205
J. Kerman: 『How we Got into Analysis, and How to Get Out』, Critical Inquiry, vii (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, v/5 (1980), 3–28
D. Lewin: 『On Generalized Intervals and Transformations』, JMT, xxiv (1980), 243–51
P. Mast: 『Brahms’s Study, Octaven u. Quinten u. A., with Schenker’s Commentary Translated』, Music Forum, v (1980), 1–196
R.S. Parks: 『Pitch Organization in Debussy: Unordered Sets in 「Brouillards」』, Music Theory Spectrum, ii (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, v/2 (1980), 26–31
F. Salzer: 『The Variation Movement of Mozart’s Divertimento K. 563』, Music Forum, v (1980), 257–316
C. Schachter: 『Rhythm and Linear Analysis: Durational Reduction』, Music Forum, v (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, v/2 (1980), 7–25
C. Wintle: 『Schoenberg’s Harmony: Theory and Practice』, Journal of the Arnold Schoenberg Institute, iv (1980), 50–68
T. Christensen: 『The Schichtenlehre of Hugo Riemann』, In Theory Only, vi/4 (1980–81), 37–44
W. Kindermann: 『Dramatic Recapitulation in Wagner’s Götterdämmerung』, 19CM, iv (1980–81), 101–12
L. Kramer: 『The Mirror of Tonality: Transitional Features of Nineteenth-Century Harmony』, ibid., 191–208
D. Lewin: 『On Harmony and Meter in Brahms’s op.76, no.8』, ibid., 261–65
M.R. Rogers: 『Rehearsings: Chopin, Prelude in A Minor, op.28, no.2』, ibid., 245–50
K.R. Schwarz: 『Steve Reich: Music as a Gradual Process, I』, PNM, xix (1980–81), 373–92
R.A. Solie: 『The Living Work: Organicism and Musical Analysis』, 19CM, iv (1980–81), 147–56
R.L. Todd: 『Liszt, Fantasy and Fugue for Organ on 「Ad nos, ad salutarem undam」』, ibid., 250–61
M. Baroni: 『Sulla nozione di grammatica musicale』, RIM, xvi (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, iii (1981), 1–25
R. Browne, ed.: Music Theory: Special Topics (New York, 1981)
R. Browne: 『Tonal Implications of the Diatonic Set』, In Theory Only, v/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, xxxviii (1981), 79–92
E. Derr: 『The Two-Part Inventions: Bach’s Composers』 Vademecum』, Music Theory Spectrum, iii (1981), 26–48
D. Deutsch and J. Feroe: 『The Internal Representation of Pitch Sequences in Tonal Music』, Psychological Reports, lxxxviii/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, iii (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, v (1981), 127–68
M.A. Guck: 『Musical Images as Musical Thoughts: the Contribution of Metaphor to Analysis』, In Theory Only, v/5 (1981), 29–42
C. Hasty: 『Segmentation and Process in Post-Tonal Music』, Music Theory Spectrum, iii (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, v (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, lxvii (1981), 479–506
D. Lewin: 『A Way into Schoenberg’s Opus 15, Number 7』, In Theory Only, vi/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, iii (1981), 84–97
C. Lord: 『Intervallic Similarity Relations in Atonal Set Analysis』, JMT, xxv (1981), 91–111
C. Marti: 『Zur Kompositionstechnik von Igor Strawinsky: das Petit concert aus der Histoire du soldat』, AMw, xxxviii (1981), 93–109
W. Ogdon: 『How Tonality Functions in Schoenberg’s Opus 11, Number 1』, Journal of the Arnold Schoenberg Institute, v (1981), 169–81
R.S. Parks: 『Harmonic Resources in Bartók’s 「Fourths」』, JMT, xxv (1981), 245–74
E.R. Phillips: 『Pitch Structures in a Selected Repertoire of Early German Chorale Melodies』, Music Theory Spectrum, iii (1981), 98–116
J. Rahn: 『Ockeghem’s Three-Section Motet 「Salve Regina」: Problems in Coordinating Pitch and Time Constructs』, ibid., 117–31
C. Schachter, D. Epstein and W.E. Benjamin: 『Review Symposium: Schenker, 「Free Composition」』, JMT, xxv (1981), 115–73
W. Schenkman: 『Mattheson’s 「Forty-Eight」 and their Commentaries』, MR, xlii (1981), 9–21
B. Shamgar: 『On Locating the Retransition in Classic Sonata Form』, MR, xlii (1981), 130–43
W. Slawson: 『The Color of Sound: a Theoretical Study in Musical Timbre』, Music Theory Spectrum, iii (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, xxxviii (1981), 194–226
G.E. Wittlich: 『Compositional Premises in Schubert’s Opus 94, Number 6』, In Theory Only, v/8 (1981), 31–43
E.T. Cone: 『Schubert’s Promissory Note: an Exercise in Musical Hermeneutics』, 19CM, v (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, v (1981–2), 215–32
K.R. Schwarz: 『Steve Reich: Music as a Gradual Process, II』, PNM, xx (1981–82), 225–86
T.W. Adorno: 『On the Problem of Musical Analysis』, MAn, i (1982), 169–87
C. Ayrey: 『Berg’s 「Scheideweg」: Analytical Issues in op.2/ii』, ibid., 189–202
J.M. Baker: 『Coherence in Webern’s Six Pieces for Orchestra, op.6』, Music Theory Spectrum, iv (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, iv (1982), 28–50
T. Christensen: 『The Schichtenlehre of Hugo Riemann』, In Theory Only, vi/4 (1982), 37–44
R.D. Cogan: 『Stravinsky’s Sound: a Phonological View: Stravinsky the Progressive』, Sonus, ii/2 (1982), 1–25
L. Davidson: 『The Structure of Lassus』 Motets a2 (1577)』, ibid., 71–90
W. Drabkin: 『Characters, Key Relations and Tonal Structure in 「Il Trovatore」』, MAn, i (1982), 143–53
P. Escot: 『Towards a Theoretical Concept: Non-Linearity in Webern’s op.11/1』, Sonus, iii/1 (1982), 18–29
H. Federhofer: 『Fux’s 「Gradus ad Parnassum」 as Viewed by Heinrich Schenker』, Music Theory Spectrum, iv (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, iv (1982), 76–91
H. Keller: 『Epilogue/Prologue: Criticism and Analysis』, MAn, i (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, xxvi (1982), 23–60
D. Lewin: 『An Example of Serial Technique in Early Webern』, Theory and Practice, vii/1 (1982), 40–43
D. Lewin: 『On Extended Z-Triples』, ibid., 38–9
D. Lewin: 『Vocal Meter in Schoenberg’s Atonal Music: with a Note on a Serial Hauptstimme』, In Theory Only, vi/4 (1982), 12–36
L.B. Meyer: 『Process and Morphology in the Music of Mozart』, JM, i (1982), 67–94
R.P. Morgan: 『Theory, Analysis, and Criticism』, ibid., 15–18
J.-J. Nattiez: 『An Analysis of Debussy’s Syrinx』, Toronto Semiotic Circle, iv (1982), 1–35
J.-J. Nattiez: 『Varèse’s Density 21.5: a Study in Semiological Analysis』, MAn, i (1982), 243–340
D. Neumeyer: 『Organic Structure and the Song Cycle: another Look at Schumann’s 「Dichterliebe」』, Music Theory Spectrum, iv (1982), 92–105
R. Pascall: 『Organicist Meditations』, MAn, i (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, ii/2 (1982), 26–40
C. Schachter: 『Beethoven’s Sketches for the First Movement of op.14, no.1: a Study in Design』, JMT, xxvi (1982), 1–21
B.R. Simms: 『Line and Harmony in the Sketches of Schoenberg’s 「Seraphita」, op.22, no.1』, ibid., 291–312
E.R. Sisman: 『Small and Expanded Forms: Koch’s Model and Haydn’s Music』, MQ, lxviii (1982), 444–75
L. Solomon: 『The List of Chords, their Properties and Use in Analysis』, Interface, xi/2 (1982), 61–107
J. Straus: 『A Principle of Voice Leading in the Music of Stravinsky』, Music Theory Spectrum, iv (1982), 106–24
J.N. Straus: 『Stravinsky’s Tonal Axis』, JMT, xxvi (1982), 261–90
H. Tischler: 『A Propos Meter and Rhythm in the Ars Antiqua』, ibid., 313–29
L. Treitler: 『「To Worship That Celestial Sound」: Motives for Analysis』, JM, i (1982), 153–70
J. Viret: 『Mélodie und 「Gestalt」: pour une nouvelle approche de l』analyse mélodique』, IRASM, xiii (1982), 39–53
E. Wen: 『A Disguised Reminiscence in the First Movement of Mozart’s G Minor Symphony』, MAn, i (1982), 55–71
A. Whittall: 『Music Analysis as Human Science?: 「Le sacre du printemps」 in Theory and Practice』, ibid., 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, i (1982), 73–99
D. Lewin: 『Auf dem Flusse: Image and Background in a Schubert Song』, 19CM, vi (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, xxi (1982–3), 312–71
R. Parker: 『Levels of Motive Definition in Verdi’s Ernani』, 19CM, vi/2 (1982–3), 141–50
J. Pasler: 『Debussy, 「Jeux」: Playing with Time and Form』, ibid, 60–75
J. Reise: 『Late Skriabin: some Principles Behind the Style』, ibid., 220–31
V.K. Agawu: 『The Musical Language of 「Kindertotenlieder」 no.2』, JM, ii (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, ii (1983), 175–208
D.W. Beach: 『A Recurring Pattern in Mozart’s Music』, JMT, xxvii (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, ii (1983), 5–34
W. Berry: 『Text and Music in the Alto Rhapsody』, JMT, xxvii (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, viii/2 (1983), 5–24
W. Caplin: 『Tonal Function and Metrical Accent: a Historical Perspective』, Music Theory Spectrum, v (1983), 1–14
P. Carpenter: 『「Grundgestalt」 as Tonal Function』, ibid., 15–38
G. Chew: 『The Spice of Music: Towards a Theory of the Leading Note』, MAn, ii (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, ii (1983), 45–61
J. Dunsby: 『Music and Semiotics: the Nattiez Phase』, MQ, lxix (1983), 27–43
A. Forte: 『Foreground Rhythm in Early Twentieth-Century Music』, MAn, ii (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, xxvii (1983), 255–71
A. Forte: 『Motivic Design and Structural Levels in the First Movement of Brahms’s String Quartet in C Minor』, MQ, lxix (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, v (1983), 39–55
R. Groth: Die französische Kompositionslehre des 19. Jahrhunderts (Wiesbaden, 1983)
R. Hanson: 『Webern’s Chromatic Organisation』, MAn, ii (1983), 135–49
W.G. Harbinson: 『Rhythmic Structure in Schoenberg’s 「Jane Grey」』, Journal of the Arnold Schoenberg Institute, vii (1983), 222–37
R. Howat: 『Bartók, Lendvai and the Principles of Proportional Analysis』, MAn, ii (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, xl (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, xl (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, vi/8 (1983), 19–44
P. McCreless: 『Ernst Kurth and the Analysis of the Chromatic Music of the Late Nineteenth Century』, Music Theory Spectrum, v (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, v (1983), 76–88
R. Morris: 『Combinatoriality without the Aggregate』, PNM, xxi (1982–3), 432–86
M. Musgrave: 『Brahms’s First Symphony: Thematic Coherence and its Secret Origin』, MAn, ii (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, ii (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』, ibid., 61–76
C. Schachter: 『The First Movement of Brahms’s Second Symphony: the Opening Theme and its Consequences』, MAn, ii (1983), 55–68
W. Schenkman: 『Rhythmic Motifs as Key to Beethoven’s Characteristic Phrase Structure』, MR, xliv (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, ii (1983), 278–304
E. Tarasti: 『Pour une narratologie de Chopin』, IRASM, xiv (1983), 53–75
C. Taylor: 『The Hindemith Theories: a Revaluation of Premise and Purpose』, MR, xliv (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, lxix (1983), 209–26
R. Wason: 『Schenker’s Notion of Scale-Step in Historical Perspective: Non-Essential Harmonies in Viennese Fundamental Bass Theory』, JMT, xxvii (1983), 49–73
A. Whittall: 『Wagner’s Great Transition?: from 「Lohengrin」 to 「Das Rheingold」』, MAn, ii (1983), 269–80
A. Whittall: 『Webern and Atonality: the Path from the Old Aesthetic』, MT, cxxiv (1983), 733–7
W.E. Benjamin: 『A Theory of Musical Meter』, Music Perception, i (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, vii (1983–4), 336–49 [special issue]
A. Newcomb: 『Once More Between Absolute and Program Music: Schumann’s Second Symphony』, ibid., 233–50
W. Thomson: 『Functional Ambiguity in Musical Structures』, Music Perception, i (1983–4), 3–27
C. Wintle: 『Humpty Dumpty’s Complaint: Tovey Revalued』, Soundings[Cardiff], xi (1983–4), 14–45
V.K. Agawu: 『Structural 「Highpoints」 in Schumann’s Dichterliebe』, MAn, iii (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, iii (1984), 227–36
I. Bent: 『The 「Compositional Process」 in Music Theory 1713–1850』, ibid., 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, vi (1984), 1–13
W. Caplin: 『Moritz Hauptmann and the Theory of Suspensions』, JMT, xxviii (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, xli (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, iii (1984), 57–68
P. Escot: 『The Gothic Cathedral and Hidden Geometry of St. Hildegard』, Sonus, v/1 (1984), 14–31
L. Ferrara: 『Phenomenology as a Tool for Musical Analysis』, MQ, lxx (1984), 355–73
W. Frisch: Brahms and the Principle of Developing Variation (Berkeley, 1984)
F.K. Grave: 『Common-Time Displacement in Mozart』, JM, iii (1984), 423–42
C.F. Hasty: 『Phrase Formation in Post-Tonal Music』, JMT, xxviii (1984), 167–90
M. Hyde: 『A Theory of Twelve-Tone Meter』, Music Theory Spectrum, vi (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, viii/3 (1984), 11–29
O.E. Laske: 『Understanding Musical Listening Procedurally』, Sonus, v/1 (1984), 61–71
D. Leech-Wilkinson: 『Machaut’s 「Rose, lis」 and the Problem of Early Music Analysis』, MAn, iii (1984), 9–28
W.S. Newman: 『Yet Another Major Beethoven Forgery by Schindler?』, JM, iii (1984), 397–423
C. Noden-Skinner: 『Tonal Ambiguity in the Opening Measures of Selected Works by Chopin』, College Music Symposium, xxiv (1984), 28–34
G. Perle: 『Scriabin’s Self-Analysis』, MAn, iii (1984), 101–22
G.H. Phipps: 『Tonality in Webern’s Cantata I』, ibid., 125–58
R. Rastall: 『Vocal Range and Tessitura in Music from York Play 45』, ibid., 181–99
E. Ratz: 『Analysis and Hermeneutics, and Their Significance for the Interpretation of Beethoven』, ibid., 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, vi (1984), 63–78
S. Schmalzriedt: 『Charakter und Drama: zur historischen Analyse von Haydnschen und Beethovenschen Sonatensätzen』, AMw, xlii (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, xli (1984), 86–112
P. Wilson: 『Concepts of Prolongation and Bartók’s Opus 20』, Music Theory Spectrum, vi (1984), 79–89
W. Drabkin: 『Felix-Eberhard von Cube and the North-German Tradition of Schenkerism』, PRMA, cxi (1984–5), 180–207
A. Forte: 『Middleground Motives in the Adagietto of Mahler’s Fifth Symphony』, 19CM, viii (1984–5), 153–63
R. Kaplan: 『Sonata Form in the Orchestral Works of Franz Liszt: the Revolutionary Reconsidered』, ibid., 142–52
W.A. Pastille: 『Heinrich Schenker, Anti-Organicist』, ibid., 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, vii (1985), 7–33
R. Browne: 『The Dialectic of Good Continuation in Tonal Music』, MAn, iv (1985), 5–13
W. Caplin: 『Hugo Riemann’s Theory of 「Dynamic Shading」: a Theory of Musical Meter?』, Theoria [Denton, TX], i (1985), 1–24
E.T. Cone: 『Musical Form and Musical Performance Reconsidered』, Music Theory Spectrum, vii (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, iv (1985), 241–58
W. Drabkin: 『Beethoven and the Open String』, ibid., 15–28
D. Epstein: 『Tempo Relations: a Cross-Cultural Study』, Music Theory Spectrum, vii (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, iv (1985), 29–58
M.L. Friedmann: 『A Methodology for the Discussion of Contour: its Application to Schoenberg’s Music』, JMT, xxix (1985), 223–48
A. Goehr: 『Schoenberg and Kraus: the Idea behind the Music』, MAn, iv (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, vii (1985), 114–38
M. Hyde: 『Musical Form and the Development of Schoenberg’s Twelve-Tone Method』, JMT, xxix (1985), 85–143
C.C. Judd: 『Some Problems of Pre-Baroque Analysis: an Examination of Josquin's Ave Maria … Virgo Serena』, MAn, iv (1985), 201–39
T. Kabisch: 『Struktur und Form im Spätwerk Franz Liszts: das Klavierstück 「Unstern」 (1886)』, AMw, xlii (1985), 178–99
H. Keller: 『Functional Analysis of Mozart’s G-minor Quintet』, MAn, iv (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, vii (1985), 72–106
H. Krebs: 『The Background Level in Some Tonally Deviating Works of Franz Schubert』, In Theory Only, viii/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, vii (1985), 159–80
A. McNamee: 『Bitonality, Mode, and Interval in the Music of Karol Szymanowski』, JMT, xxix (1985), 61–84
A. McNamee: 『The Role of the Piano Introduction in Schubert’s 「Lieder」』, MAn, iv (1985), 95–106
J.-J. Nattiez: 『The Concepts of Plot and Seriation Process in Music Analysis』, ibid., 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, xxix (1985), 33–60
J. Rushton: 『The Overture to 「Les Troyens」』, MAn, iv (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, xxix (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, iv (1985), 145–82
V.K. Agawu: 『Tonal Strategy in the First Movement of Mahler’s Tenth Symphony』, 19CM, ix (1985–6), 222–33
L. Kramer: 『Romantic Meaning in Chopin’s Prelude in A Minor』, ibid., 145–55
D. Lewin: 『Music Theory, Phenomenology, and Modes of Perception』, Music Perception, iii (1985–6), 327–92
G. Philipps: 『The Logic of Tonality in Strauss’s Don Quixote: a Schoenbergian Evaluation』, 19CM, ix (1985–6), 189–205
V.K. Agawu: 『Mahler’s Tonal Strategies: a Study of the Song Cycles』, JMR, vi (1986), 1–47
J.M. Baker: The Music of Alexander Scriabin (New Haven, CT, 1986)
I. Bent: 『Heinrich Schenker, Chopin and Domenico Scarlatti』, MAn, v (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, xxx (1986), 1–33
G.E. Conus: 『Die metrotektonische Lösung des Problems der musikalischen Form』, Musiktheorie, i (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, viii (1986), 25–43
C. Hasty: 『On the Problem of Succession and Continuity in Twentieth-Century Music』, ibid., 58–74
R. Kamien: 『Subtle Enharmonic Relationships in Mozart’s Music』, JMT, xxx (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, ix/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, x (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, v (1986), 233–64
W. Rothstein: 『The Americanization of Heinrich Schenker』, In Theory Only, ix/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, viii (1986), 94–139
A. Forte: 『Liszt’s Experimental Idiom and Twentieth-Century Music』, 19CM, x (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, x (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, ix (1987), 1–17
V.K. Agawu: 『The Rhythmic Structure of West African Music』, JM, v (1987), 400–418
D. Beach: 『Motivic Repetition in Beethoven’s Piano Sonata Opus 110: Part I: the First Movement』, Intégral, i (1987), 1–29
D. Beach: 『The First Movement of Mozart’s Piano Sonata in A-minor, K310: some Thoughts on Structure and Performance』, JMR, vii (1987), 157–79
J.W. Bernard: 『Inaudible Structures, Audible Music: Ligeti’s Problem, and his Solution』, MAn, vi (1987), 207–36
J.W. Bernard: The Music of Edgard Varèse (New Haven, CT, 1987)
P. Boulez: 『Timbre and Composition – Timbre and Language』, CMR, ii/1 (1987), 161–71
G. Boyd: 『Hauptmann’s Commentary on the Art of Fugue: a Translation』, Indiana Theory Review, viii/2 (1987), 45–66
W.E. Caplin: 『The 「Expanded Cadential Progression」: a Category for the Analysis of Classical Form』, JMR, vii (1987), 215–57
T. Christensen: 『Schoenberg’s Opus 11, No.1: a Parody of Pitch Cells from Tristan』, Journal of the Arnold Schoenberg Institute, x (1987), 38–44
E.T. Cone: 『On Derivation: Syntax and Rhetoric』, MAn, vi (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, vi (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, ix/7 (1987), 5–21
S. Fuller: 『Line, Contrapunctus and Structure in a Machaut Song』, MAn, vi (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, xxxi (1987), 225–67
A. Mead: 『「Tonal」 Forms in Arnold Schoenberg’s Twelve-Tone Music』, Music Theory Spectrum, ix (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, xxxi (1987), 275–303
D. Neumeyer: 『The Three-Part Ursatz』, In Theory Only, x/1–2 (1987), 3–29
D. Neumeyer: 『The Urlinie from 8 as a Middleground Phenomenon』, In Theory Only, ix/5–6 (1987), 3–25
L. Roth: 『Kirnberger’s Concept of Reductive Analysis』, In Theory Only, ix/8 (1987), 21–9
N. Ruwet: 『Methods of Analysis in Musicology』, MAn, vi (1987), 3–36
C. Schachter: 『Rhythm and Linear Analysis: Aspects of Meter』, Music Forum, vi/1 (1987), 1–59
R. Snarrenberg: 『The Play of 「Différance」: Brahms’s Intermezzo op.118 no.2』, In Theory Only, x/3 (1987), 1–25
J.N. Straus: 『The Problem of Prolongation in Post-Tonal Music』, JMT, xxxi (1987), 1–21
A. Whittall: 『Webern and Multiple Meaning』, MAn, vi (1987), 333–53
D. Lewin: 『Some Instances of Parallel Voice-Leading in Debussy』, 19CM, xi (1987–8), 59–72
C. Lewis: 『Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality』, ibid., 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』, ibid., 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, vii (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, vii (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, ii (1988), 75–97
D. Beach: 『The Fundamental Line from Scale Degree 8: Criteria for Evaluation』, JMT, xxxii (1988), 271–94
J.W. Bernard: 『The Evolution of Elliott Carter’s Rhythmic Practice』, PNM, xxvi/2 (1988), 164–203
A. Cadwallader: 『Foreground Motivic Ambiguity: its Clarification at Middleground Levels in Selected Late Piano Pieces of Johannes Brahms』, MAn, vii (1988), 59–91
A. Cadwallader: 『Prolegomena to a General Description of Motivic Relationships in Tonal Music』, Intègral, ii (1988), 1–35
E. Cavett-Dunsby: 『Mozart’s Codas』, MAn, vii (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, xxxii (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, x (1988), 43–55
D. Harrison: 『Some Group Properties of Triple Counterpoint and their Influence on Compositions by J.S. Bach』, JMT, xxxii (1988), 23–50
K. Korsyn: 『Schenker and Kantian Epistemology』, Theoria [Denton, TX], iii (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, ii (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, x (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], iii (1988), 105–60
H. Schenker: 『The Spirit of Musical Technique』, Theoria [Denton, TX], iii (1988), 86–104
R. Wason: 『Tonality and Atonality in Frederick Rzewski’s Variations on 「The People United Will Never Be Defeated」』, PNM, xxvi/1 (1988), 108–43
R. Parncutt: 『Revision of Terhardt’s Psychoacoustic Model of the Root(s) of a Musical Chord』, Music Perception, vi (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, viii (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], iv (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, xxxiii (1989), 65–106
S. Burnham: 『The Role of Sonata Form in A.B. Marx’s Theory of Form』, ibid., 247–72
A. Cadwallader and W. Pastille: 『Schenker’s High-Level Motives』, ibid., 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, viii (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, iii/1 (1989), 111–32
N. Cook: 『Music Theory and 「Good Comparison」: a Viennese Perspective』, JMT, xxxiii (1989), 117–41
N. Cook: 『Schenker’s Theory of Music as Ethics』, JM, vii (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, iv/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, iii (1989), 67–91
R. Graybill: 『Sonata Form and Reicha’s 「Grand coupe binaire」 of 1814』, Theoria [Denton, TX], iv (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, xi/3 (1989), 1–11
M.M. Hyde: 『Twentieth-Century Analysis during the Past Decade: Achievements and New Directions』, Music Theory Spectrum, xi/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, xi/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, viii (1989), 21–75
D. Neumeyer: 『Fragile Octaves, Broken Lines: on some Limitations in Schenkerian Theory and Practice』, In Theory Only, xi/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, xi/1 (1989), 24–8
L. Rothfarb: 『Ernst Kurth’s 「Die Voraussetzungen der theoretischen Harmonik」 and the Beginnings of Music Psychology』, Theoria [Denton, TX], iv (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, viii (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, xxxiii (1989), 333–92
R. Winter: 『The Bifocal Close and the Evolution of the Viennese Classical Style』, JAMS, xlii (1989), 275–337
W. Darcy: 『「Creatio ex nihilo」: the Genesis, Structure, and Meaning of the Rheingold Prelude』, 19CM, xiii (1989–90), 79–100
R. Graybill: 『Intervallic Transformation and Closure in the Music of Stravinsky』, Theory and Practice, xiv–xv (1989–90), 13–34
T.L. Jackson: 『Schoenberg’s op.14 Songs: Textual Sources and Analytical Perception』, ibid., 35–58
J. Lochhead: 『The Metaphor of Musical Motion: is there an Alternative?』, ibid., 83–104
J.M. Baker: 『The Limits of Tonality in the Late Music of Franz Liszt』, JMT, xxxiv (1990), 145–74
J.M. Baker: 『Voice-Leading in Post-Tonal Music: Suggestions for Extending Schenker’s Theory』, MAn, ix (1990), 177–200
D. Beach: 『The Cadential Six-Four as Support for Scale-Degree Three of the Fundamental Line』, JMT, xxxiv (1990), 81–99
J.P. Burkholder: 『The Critique of Tonality in the Early Experimental Music of Charles Ives』, Music Theory Spectrum, xii/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, xvii (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, iv (1990), 1–35
D.J. Dempster and M.G. Brown: 『Evaluating Musical Analyses and Theories: Five Perspectives』, JMT, xxxiv (1990), 247–80
J. Dubiel: 『When You are a Beethoven: Kinds of Rules in Schenker’s Counterpoint』, JMT, xxxiv (1990), 291–340
A. Forte: 『A Major Webern Revision and its Implications for Analysis』, PNM, xxviii/1 (1990), 224–55
A. Forte: 『Musorgsky as Modernist: the Phantasmic Episode in Boris Godunov』, MAn, ix (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, xxxiv (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, ix (1990), 229–54
J.P. Lambert: 『Interval Cycles as Compositional Resources in the Music of Charles Ives』, Music Theory Spectrum, xii (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, xii (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, ix (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, ix (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, cxv (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, v/1 (1990), 67–74
M. Russ: 『The Mysterious Thread in Musorgsky’s Nursery』, MAn, ix (1990), 47–65
T. Seedorf: 『Leichtentritt, Busoni und die Formenlehre: zur Wandlung einer Konzeption』, Musiktheorie, v/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, ii (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, ix (1990), 267–86
A.W. Atlas: 『Crossed Stars and Crossed Tonal Areas in Puccini’s Madama Butterfly』, 19CM, xiv (1990–91), 186–96
M. Kielian-Gilbert: 『The Functional Differentiation of Harmonic and Transpositional Patterns in Liszt’s Consolation no.4』, ibid., 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, v (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, xvi (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, xxxv (1991), 1–32
M. DeBellis: 『Conceptions of Musical Structure』, Midwest Studies in Philosophy, xvi (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, xi/1 (1991), 34–49
L. Dreyfus: 『The Hermeneutics of Lament: a Neglected Paradigm in a Mozartian Trauermusik』, MAn, x (1991), 329–43
A. Forte: 『Debussy and the Octatonic』, MAn, x (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, xii/1–2 (1991), 75–98
N.M. Hubbs: 『Schenker’s Organicism』, Theory and Practice, xvi (1991), 143–62
K. Korsyn: 『Towards a New Poetics of Musical Influence』, MAn, x (1991), 3–72
L. Kramer: 『Musical Narratology: a Theoretical Outline』, Indiana Theory Review, xii/1–2 (1991), 141–62
H. Krebs: 『Tonal and Formal Dualism in Chopin’s Scherzo, op.31』, Music Theory Spectrum, xiii (1991), 48–60
F.E. Maus: 『Music as Narrative』, Indiana Theory Review, xii/1–2 (1991), 1–34
P. McCreless: 『The Hermeneutic Sentence and other Literary Models for Tonal Closure』, ibid., 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, xvi (1991), 5–20
J.N. Straus: 『The 「Anxiety of Influence」 in Twentieth-Century Music』, JM, ix (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, xv (1991–2), 229–34
V.K. Agawu: 『Theory and Practice in the Analysis of the Nineteenth-Century Lied』, MAn, xi (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, xiv (1992), 125–49
A. Cadwallader and W. Pastille: 『Schenker’s High-Level Motives』, JMT, xxxvi (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, xxxvi (1992), 1–42
R. Cohn: 『The Autonomy of Motives in Schenkerian Accounts of Tonal Music』, Music Theory Spectrum, xiv (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, xxxvi (1992), 285–382
S. Fuller: 『Tendencies and Resolutions: the Directed Progression in Ars Nova Music』, JMT, xxxvi (1992), 229–58
J.J. Fux: 『Gradus ad Parnassum (1725): Concluding Chapters』, MAn, xi (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, xiv (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, xiv (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, lxxvi (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, xxxvi (1992), 259–84
L. Rothfarb: 『Hermeneutics and Energetics: Analytical Alternatives in the Early 1900s』 JMT, xxxvi (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, xxxvi (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, xvi (1992–3), 70–76
L. Kramer: 『Haydn’s Chaos, Schenker’s Order, or: Hermeneutics and Musical Analysis: Can They Mix?』, ibid., 3–17
D. Lewin: 『Some Notes on Analyzing Wagner: the Ring and Parsifal』, ibid., 49–58
E. Antokoletz: 『Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music: Bartók, Stravinsky, Scriabin and Albrecht』, MAn, xii (1993), 25–45
D. Beach: 『Schubert’s Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure』, Music Theory Spectrum, xv (1993), 1–18
M. Brown: 『Tonality and Form in Debussy’s 「Prélude à L』Après-midi d』un faune」』, Music Theory Spectrum, xv (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, xii (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, vii (1993), 82–118
J.P. Lambert: 『Toward a Theory of Chord Structure for the Music of Ives』, JMT, xxxvii (1993), 55–83
D. Lewin: 『A Metrical Problem in Webern’s op.27』, MAn, xii (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, xv (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, xii (1993), 241–65
J.S. Rink: 『Schenker and Improvisation』, JMT, xxxvii (1993), 1–54
D. Smyth: 『「Balanced Interruption」 and the Formal Repeat』, Music Theory Spectrum, xv (1993), 76–88
J. Stock: 『The Application of Schenkerian Analysis to Ethnomusicology: Problems and Possibilities』, MAn, xii (1993), 215–40
P.H. Smith: 『Liquidation, Augmentation, and Brahms’s Recapitulatory Overlaps』, 19CM, xvii (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, xxxviii (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, xiii (1994), 203–25
W.J. Darcy: 『The Metaphysics of Annihilation: Wagner, Schopenhauer, and the Ending of the Ring』, Music Theory Spectrum, xvi (1994), 1–40
A. Forte: 『An Octatonic Essay by Webern: Number 1 of the Six Bagatelles for String Quartet, op.9』, ibid., 171–95
M.A. Guck: 『Analytical Fictions』, ibid., 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, xvi (1994), 41–61
D. Lewin: 『A Tutorial on Klumpenhouwer Networks, using the Chorale in Schoenberg’s Opus 11, no.2』, JMT, xxxviii (1994), 79–101
A. Pople, ed.: Theory, Analysis, and Meaning in Music (Cambridge, 1994)
D. Puffett: 『Editorial: In Praise of Formalism』, MAn, xiii (1994), 3–5
J. Rink: 『Chopin’s Ballades and the Dialectic: Analysis in Historical Perspective』, ibid., 99–115
M. Scherzinger: 『The 「New Poetics」 of Musical Influence: a Response to Kevin Korsyn』, ibid., 298–309
P.H. Smith: 『Brahms and Schenker: a Mutual Response to Sonata Form』, Music Theory Spectrum, xvi (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, xiii (1994), 139–59
N. Dibben: 『The Cognitive Reality of Heirarchic Structure in Tonal and Atonal Music』, Music Perception, xii (1994–5), 1–25
J. Lester: 『Robert Schumann and Sonata Forms』, 19CM, xviii (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, xiv (1995), 27–47
I. Bent: 『Plato-Beethoven: a Hermeneutics for Nineteenth-Century Music?』, Indiana Theory Review, xvi (1995), 1–33
N. Boynton: 『Formal Combination in Webern’s Variations op.30』, MAn, xiv (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, xiv (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, xvii (1995), 170–95
B. Hyer: 『Reimag(in)ing Riemann』, JMT, xxxix (1995), 101–38
T.L. Jackson: 『Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky』, MAn, xiv (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, xvii (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, xxxix (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, xvi (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, xvii (1995), 149–69
M. Scherzinger: 『The Finale of Mahler’s Seventh Symphony: a Deconstructive Reading』, MAn, xiv (1995), 69–88
J. Schmalfeldt: 『Form as the Process of Becoming: the Beethoven-Hegelian Tradition and the 「Tempest」 Sonata』, Beethoven Forum, iv (1995), 37–71
J.N. Straus: The Music of Ruth Crawford Seeger (Cambridge, 1995)
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R. Bass: 『From Gretchen to Tristan: the Changing Role of Harmonic Sequences in the Nineteenth Century』, 19CM, xix (1995–6), 263–85
C.L. Krumhansl: 『A Perceptual Analysis of Mozart’s Piano Sonata K.282: Segmentation, Tension, and Musical Ideas』, Music Perception, xiii (1995–6), 401–32
F. Lerdahl: 『Calculating Tonal Tension』, ibid., 319–63
E. Narmour: 『Analyzing Form and Measuring Perceptual Content in Mozart’s Sonata K.282: a New Theory of Parametric Analogues』, ibid., 265–318
B. Alegant: 『Unveiling Schoenberg’s op.33b』, Music Theory Spectrum, xviii (1996), 143–66
J. Auner: 『In Schoenberg’s Workshop: Aggregates and Referential Collections in 「Die glückliche Hand」』, ibid., 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)
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H. Burnett and S. O』Donnell: 『Linear Ordering of the Chromatic Aggregate in Classical Symphonic Music』, Music Theory Spectrum, xviii (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, xv (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, xv (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』, ibid., 301–14
E. Haimo: 『Atonality, Analysis, and the Intentional Fallacy』, Music Theory Spectrum, xviii (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, xl (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, xvii/2 (1996), 21–61
D. Lewin: 『Cohn Functions』, JMT, xl (1996), 181–216
E. Pearsall: 『Multiple Hierarchies: Another Perspective on Prolongation』, Indiana Theory Review, xvii/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, xv (1996), 191–297
M. Spitzer: 『The Retransition as Sign: Listener-Orientated Approaches to Tonal Closure in Haydn’s Sonata-Form Movements』, JRMA, cxxi (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, xli (1997), 1–66
N. Cumming: 『The Subjectivities of 「Erbarme Dich」』, MAn, xvi (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, xix (1997), 1–12
S. Larson: 『The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning』, JMT, xli (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, xix (1997), 232–63
P.H. Smith: 『Brahms and Motivic 6/3 Chords』, MAn, xvi (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, xi (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, xli (1997), 193–225
A.P. Krims: 『Disciplining Deconstruction (For Music Analysis)』, 19CM, xxi (1997–8), 297–324
D. Temperley: 『An Algorithm for Harmonic Analysis』, Music Perception, xv (1997–8), 31–68
R. Van Egmond and D. Butler: 『Diatonic Connotations of Pitch-Class Sets』, ibid., 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, xii (1998)
J. Johnson: 『The Nature of Abstraction: Analysis and the Webern Myth』, MAn, xvii (1998), 267–80
C. Kennett: 『Segmentation and Focus in Set-Generic Analysis』, MAn, xvii (1998), 127–59
H. Klumpenhouwer: 『The Inner and Outer Automorphisms of Pitch-Class Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks』, Intègral, xii (1998)
D. Lewin: 『Some Ideas about Voice-Leading Between Pcsets』, JMT, xlii (1998), 15–72
R.P. Morgan: 『Symmetrical Form and Common Practice』, Music Theory Spectrum, xx (1998), 1–47
R.D. Morris: 『Voice Leading Spaces』, ibid., 175–208
R.S. Parks: 『Pitch-Class Set Genera: My Theory, Forte’s Theory』, MAn, xvii (1998), 206–26
P.J. Telesco: 『Enharmonicism and the Omnibus Progression in Classical-Era Music』, Music Theory Spectrum, xx (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, xviii (1999), 179–233
D. Puffett: 『Bruckner’s Way: the Adagio of the Ninth Symphony』』, MAn, xviii (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, xviii (1999), 307–45