Submissions from 2024
Review: How Sonata Forms: A Bottom-Up Approach to Musical Form, Jan Miyake
Sins of the Father: Schenker, Schenkerism and Ewell's On Music Theory, Bryan J. Parkhurst
Prosodic Dissonance, Eron Smith
Submissions from 2022
Reassessing the Plagal Cadence in Byrd and Morley, Megan Kaes Long
Submissions from 2021
The Oxford Handbook of Critical Concepts in Music Theory, Antares Boyle, Rebecca Leydon, Paul Sherrill, and Jeffrey Swinkin
Dance as Music in George Balanchine's Concerto Barocco, Kara Yoo Leaman
Musical Techniques in Balanchine's Jazzy Bach Ballet, Kara Yoo Leaman
Submissions from 2020
Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century, Megan Kaes Long
What Do Signatures Signify?: The Curious Case of Seventeenth-Century English Key, Megan Kaes Long
Pitch, Tone, and Note, Bryan J. Parkhurst
Review: Composing Capital: Classical Music in the Neoliberal Era, Bryan J. Parkhurst
Submissions from 2019
Review: Les Pecheurs de perles, Andrew Pau
Submissions from 2018
A Critical Companion to Medieval Motets, Jared C. Hartt
Review: Art Rethought: The Social Practices of Art, Bryan J. Parkhurst
Submissions from 2016
Dallapiccola's Second Thoughts: the Epilogue to the Concerto per la notte di Natale dell'anno 1956, Brian Alegant
Submissions from 2015
Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler, Megan Kaes Long
Submissions from 2014
Review: The Art of Grafted Song: Citation and Allusion in the Age of Machaut, Jared C. Hartt
Submissions from 2008
Listen up!: Thoughts on iPods, sonata form, and analysis without score, Brian Alegant
Submissions from 2007
On the Nature of Structural Framing, Brian Alegant
Submissions from 2006
Octatonicism in Luigi Dallapiccola's Twelve-note Music, Brian Alegant and John Levey
Submissions from 2004
Taking Stock of Collections: A Strategy for Teaching the Analysis of Post-tonal Music, Brian Alegant
Submissions from 2002
Inside the cadenza of Schoenberg's piano concerto, Brian Alegant
Having Your Cake and Eating It Too: The Property of "Reflection" in Twelve-tone Rows (or, further extensions on the Mallalieu Complex), Brian Alegant and Marcus Lofthouse
Submissions from 2001
Cross-partitions As Harmony and Voice Leading in Twelve-tone Music, Brian Alegant
On the nature of enlargement, Brian Alegant
Submissions from 1999
Counting Treasures: The Enumeration and Analysis of Musical Collections, Brian Alegant
When Even Becomes Odd: A Partitional Approach to Inversion, Brian Alegant
Submissions from 1996
Unveiling Schoenberg's op. 33b, Brian Alegant
Submissions from 1991
A Model for the Pitch Structure of Webern's Op. 23 No. 1, "Das dunkle Herz", Brian Alegant
Submissions from 1988
The Even Partitions in Twelve-tone Music, Robert D. Morris and Brian Alegant
