2008
Fournier, Karen, "Survival of the Fittest: An Evolutionary Model of Conceptual Change in Music Scholarship," College Music Symposium (forthcoming).
Hubbs, Nadine. Review essay on The Music and Art of Radiohead, edited by Joseph Tate, and Radiohead’s OK Computer, by Dai Griffiths. Popular Music 27.3 (2008): 516–18.
Hubbs, Nadine. Review of Bohemian Los Angeles and the Making of Modern Politics, by Daniel Hurewitz. American Historical Review 113.1 (2008): 860–61.
Satyendra, Ramon, "Montage, Tempo of Transformation, and Block Form in Ralph Shapey’s “Seven” for Two Pianos," Contemporary Music Review 27/4-5: 477-487 (2008).
2007
Everett, Walt, "Beyond the Palace: Casing the Promised Land." [A study of the theme of transcendence in the songs of Bruce Springsteen] Interdisciplinary Literary Studies 9/1 (Fall 2007), 81-94.
Everett, Walt, Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd edition. London: Routledge Press.
Everett, Walt, "Pitch Down the Middle." In Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd edition. London: Routledge Press, 2007: 111-174.
Everett, Walt, "Westergaard's Theory of Tonal Rhythm." In Theory Only 13/5-8 (June 2007), 35-53.
Hubbs, Nadine, "On the Uses of Shame and Gifts of a Bloodmobile: Musings from a Musical Queer Apprenticeship." In Gay Shame, ed. David M. Halperin and Valerie Traub. Chicago: University of Chicago Press (in press).
Hubbs, Nadine. Editor, “Queer Musical Orientalism,” by Philip Brett. Echo: A Music-Centered Journal (in press).
Satyendra, Ramon. "Musical Actions of Dihedral Groups,” co-authored with Alissa Krans and Thomas Fiore. American Mathematical Monthly (in press).
Vojcic, Aleksandra. "Understanding the Limping Meters: From Brass Band to Ligeti," in Principles of Music Composing, ed. Rimantas Janeliaukskas. Lithuanian Academy of Music and Theatre, 51-60.
2006
Everett, Walt, "New Drummer Ringo Starr." In Read the Beatles: Classic and New Writings on the Beatles, Their Legacy, and Why They Still Matter, ed. June Skinner Sawyer and Astrid Kirchherr. Penguin Books, 2006, pp. 292-95.
Everett, Walt, "Painting Their Room in a Colorful Way: The Beatles' Exploration of Timbre." In Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four. Ed. Kenneth Womack and Todd Davis. State University of New York Press, pp. 71-94.
Guck, Marion, “Analysis as Interpretation: Interaction, Intentionality, Invention," Music Theory Spectrum, 28/2 (Fall 2006): 191-209.
Hubbs, Nadine. Review essay on Queer Episodes in Music and Modern Identity, edited by Sophie Fuller and Lloyd Whitesell. Women and Music: A Journal of Gender and Culture 10 (2006): 80–88.
2005
Everett, Walt, "Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song." Journal of
Music Theory 48/1 (Spring 2005), pp. 25-68.
Fournier, Karen. "Cultural Capital as a Determinant of Trends in Music Research" Culture and Power: Culture and Society in the Age of Globalisation 10: 191-202.
Hubbs, Nadine. Foreword to The Encyclopedia of American Music, Classical volume. (Professor Hubbs is also member of encyclopedia editorial board) (Facts on File).
Satyendra, Ramon, "Generalized Contextual Groups" (co-authored with Thomas Fiore). Music Theory Online, 11/3.
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2004
Everett, Walt, "Making Sense of Rock's Tonal Systems." Music Theory Online 10/4.
Everett, Walt, "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan." Music Theory Spectrum 26/2, 201-35.
Guck, Marion, "Dramatic Progression in Haydn, Sonata #46 in Ab, Adagio." In Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford), 180-190.
Hubbs, Nadine. The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity. (University of California Press).
Hubbs, Nadine, "Thomson, Virgil." In Encyclopedia of Lesbian, Gay, Bisexual, and Transgender History in America, ed. Marc Stein (Scribner).
Mead, Andrew, "'Learn to Draw Bob Hope!' Mort Drucker, Arnold Schoenberg and Twelve-Tone Music." In Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford), 36-49.
Mead, Andrew, "'One Man's Signal is Another Man's Noise': Personal Encounters with Aggregate Music." In The Pleasure of Modernist Music, ed. Arved Ashby (University of Rochester), 259-276.
Satyendra, Ramon,"An Informal Introduction to Lewin's Transformational Theory," Journal of Music Theory 48/1: 1-43.
Satyendra, Ramon, "Analyzing the Unity Within Contrasts: Chick Corea's 'Starlight'." In Engaging Music: Essays in Music Analysis, ed. Deborah Stein (Oxford), 50-64.
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2003
Korsyn, Kevin. Decentering Music: A Critique of Contemporary Musical Research. (Oxford University Press).
Mead, Andrew. The Writings of Milton Babbitt (ed. Stephen Peles, with Stephen Demski, Andrew Mead, and Joseph Straus) (Princeton University Press).
Petty, Wayne, "Brahms, Adolf Jensen, and the Multi-Movement Work." Music Analysis 22/1-2: 105-37.
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2002
Everett, Walt, "Sistemi tonali nelle Musiche Pop/Rock: Un'Introduzione." trans. R. Agostini, L. Marconi, and S. Mengozzi. Rivista di Analisi e Teoria Musicale, 79-114.
Everett, Walt, "Detroit and Memphis: The Soul of Revolver." In "Every Sound There Is": The Beatles' Revolver and the Transformation of Rock and Roll, ed. Derek Scott and Russ Reising (Ashgate Press), 25-57.
Mead, Andrew. Review of The Essays of Elliott Carter, ed. Jonathan Bernard. Theory and Practice 27: 99-114.
Satyendra, Ramon. "Relational Systems in the Study of Networks and Generalized Intervals." Indiana Theory Review 23/1-2: 133-152.
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2001
Everett, Walt. The Beatles as Musicians, The Quarry Men through Rubber Soul (Oxford University Press).
Everett, Walt, "The Future of Beatles Research." Beatlestudies 3, 25-44.
Everett, Walt. Review of Richard Middleton's Reading Pop, Music Theory Online 7/6.
Everett, Walt. "A True Story: The Expression of Troubling Societal Values in the Music of Postmodern Rock." Genre 34, 205-218.
Fournier, Karen. "Towards an Epistemological Model for Music Theory" (KF) Journal of Musicological Research 20/4: 391-411.
Mead, Andrew, "The Sweet Spot: What Composing Has Taught Me about Teaching Music Theory." Integral 14/15: 48-56.
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2000
Everett, Walt, ed. Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays. (Garland Press).
Everett, Walt (and John Covach), eds. American Rock and the Classical Music Tradition, special issue of Contemporary Music Review. (Harwood Press).
Everett, Walt (and John Covach), eds. Traditions, Institutions and American Popular Music, special issue of Contemporary Music Review (Harwood Press).
Everett, Walt. "Confessions from Blueberry Hell, or, Pitch Can Be a Sticky Substance." In Expression in Pop-Rock Music: A Collection of Criticial and Analytical Essays, ed. Walter Everett (Garland Press), 269-345.
Everett, Walt. "The Learned vs. the Vernacular in the Songs of Billy Joel." In American Rock and the Classical Music Tradition, special issue of Contemporary Music Review devoted to the relations between Concert and Popular Musics, ed. John Covach and Walt Everett (Harwood Press), 105-29.
Hubbs, Nadine. "A French Connection: Modernist Codes in the Musical Closet." GLQ: A Journal of Lesbian and Gay Studies, 6/3: 389-412.
Hubbs, Nadine. "The Imagination of Pop-Rock Criticism." In Expression in Pop-Rock Music: A Collection of Criticial and Analytical Essays, ed. Walter Everett (Garland Press), 3-29.
Hubbs, Nadine. Review article on Scars of Sweet Paradise: The Life and Times of Janis Joplin, by Alice Echols. Women and Music: A Journal of Gender and Culture 4: 71-75.
Hubbs, Nadine. Review article on "You Better Work!" Underground Dance Music in New York City, by Kai Fikentscher. Indiana Theory Review 21: 187-95.
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1999
Dapogny, James. Introductory historical-analytical essays for Jazz at Lincoln Center/Smithsonian Institution Essential Jazz Editions, under general editorship of Wynton Marsalis, of performances of "Black Bottom Stomp," "The Chant," and "Grandpa's Spells" by Jelly Roll Morton's Red Hot Peppers, and "Potato Head Blues" by Louis Armstrong's Hot Seven.
Everett, Walt. The Beatles as Musicians, Revolver through the Anthology. (Oxford University Press).
Everett, Walt. "'High Time' and Ambiguous Harmonic Function." In Perspectives on the Grateful Dead, ed. Rob Weiner (Greenwood Press), 119-125.
Korsyn, Kevin, "Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue." In Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford University Press), 55-72.
Mead, Andrew, "Milton Babbitt at Eighty." In Perspectives on American Music Since 1950, ed. James Heintze (Garland), 381-428.
Mead, Andrew, "Bodily Hearing: Physiological Metaphors and Musical Understanding." Journal of Music Theory 43/1: 1-20.
Petty, Wayne, "C. P. E. Bach and the Fine Art of Transposition." Schenker Studies 2, ed. Carl Schachter and Hedi Siegel (Cambridge), 49-66.
Petty, Wayne, "Chopin and the Ghost of Beethoven." 19th-Century Music 22/3: 281-99.
Petty, Wayne. "Koch, Schenker, and the Development Section of Sonata Forms by C. P. E. Bach." Music Theory Spectrum 21/2: 151-73.
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1998
Guck, Marion. "Analytical Fictions." In Music/Ideology: Resisting the Aesthetic, ed. Adam Krims and Henry Klumpenhouwer (Gordon & Breach), 157-177.
Hubbs, Nadine. "Opera and Classical Music." In The St. James Press Gay and Lesbian Almanac, ed. Neil Schlager (St. James Press), 432-34.
Mead, Andrew, "Shedding Scales: Understanding Intervals in Different Musical Contexts." Theory and Practice 22-23: 73-94.
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1997
Derr, Elwood, "Composing with Modules: Intersections of Musical Parlance in works of Johann Christian Bach and W. A. Mozart." Mozart-Jahrbuch.
Everett, Walt, "Swallowed by a Song: Paul Simon's Crisis of Chromaticism." In Understanding Rock, ed. John Covach and Graeme Boone (Oxford), 113-153.
Guck, Marion, "Two Types of Metaphoric Transference." In Music and Meaning, ed. Jenefer Robinson (Cornell), 201-212.
Guck, Marion, "Rigors of Subjectivity." Perspectives of New Music 35/2: 53-64.
Satyendra, Ramon, "Conceptualizing Expressive Chromaticism in Liszt's Music." Music Analysis 16/2: 219-52.
Satyendra, Ramon, "Liszt's Open Structures and the Romantic Fragment." Music Theory Spectrum 19/1: 184-205.
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1996
Dapogny, James. Review of Jelly Roll, Bix and Hoagy: Gennett Studios and the Birth of Recorded Jazz, by Richard Kennedy. American Music 14/2: 225-228.
Derr, Elwood, "Some Thoughts on the Design of Mozart's Opus 4 (the 'Subscription Concertos,' K. 413-415." In Mozart's Piano Concertos: Text, Context, Interpretation (Michigan University Press).
Guck, Marion,"Music Loving, Or the Relationship with the Piece." Music Theory Online 2.2; reprinted in Journal of Musicology 15/3 (1997): 343-52.
Hubbs, Nadine, "Music of the 'Fourth Gender': Morrissey and the Sexual Politics of Melodic Contour." In Bodies of Writing, Bodies in Performance, ed. Thomas Foster, Carol Siegel, and Ellen E. Berry. Genders 23 (New York University Press), 266-96.
Korsyn, Kevin, "Directional Tonality and Intertextuality." In The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs (Nebraska University Press), 45-83.
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1995
Everett, Walt,"The Beatles as Composers: The Genesis of Abbey Road, Side Two." In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester University Press), 172-228.
Mead, Andrew, "Twelve-Tone Composition and the Music of Elliott Carter." In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester University Press), 67-102.
Mead, Andrew. Review of "My Ends are My Beginnings" and "Soli e Duettini by Milton Babbitt." MLA Notes.
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1994
Everett, Walt, "An Update on the Current State of Schenkerian Research: Volumes Edited by Hedi Siegel and Allen Cadwallader,"Theory and Practice 19: 121-52.
Guck, Marion, "Analytical Fictions," Music Theory Spectrum 16/2: 217-30. Reprinted in Music/Ideology: Resisting the Aesthetic, ed. Adam Krims (Gordon & Breach, 1998).
Guck, Marion, "Rehabilitating the Incorrigible," In Theory, Analysis and Meaning in Music, ed. Anthony Pople (Cambridge), 57-73.
Guck, Marion, "A Woman's (Theoretical) Work," Perspectives of New Music 32/1: 28-43.
Hubbs, Nadine, "The 14th Annual New Music and Art Festival at BGSU: New Music on Its Own Terms." Perspectives of New Music 32/2: 304-15.
Hubbs, Nadine. Liner notes for Music for Brass & Organ (sound recording) (NH). The Galliard Brass Ensemble and Marilyn Mason, organ. Musical Heritage Society 513534T.
Korsyn, Kevin, "Brahms Research and Aesthetic Ideology," Music Analysis 12/1: 89-103.
Korsyn, Kevin. Review of Beethoven's Ninth Symphony, by Heinrich Schenker (KK). MLA Notes: 1426-28.
Korsyn, Kevin.Review of Wordless Rhetoric: Musical Form and the Metaphor of the Oration, by Mark Evan Bonds (KK). Music Theory Spectrum 16/1: 124-33.
Mead, Andrew, "The Role of Octave Equivalence in Elliott Carter's Recent Music," Sonus 14/2: 13-37.
Mead, Andrew, "Webern, Tradition, and 'Composing with Twelve Tones,'" Music Theory Spectrum 15/2: 173-204.
Mead, Andrew. An Introduction to the Music of Milton Babbitt. (Princeton University Press).
Petty, Wayne, "Cyclic Organization in Haydn's E-flat Sonata Hob. XVI:38," Theory and Practice 19: 31-55.
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1993
Derr, Ellwood, "Mozart's Sonata for Two Pianos as Exemplification of Compositional Precepts set forth by Mattheson and Kirnberger." In Kongreßbericht of the International Mozart Congress, Baden bei Wien (1991) (Tutzing, 1993).
Guck, Marion, "The Endless Round" (rejoinder to J. Bernard, "Cracked Octaves, Warped Perspectives," PNM 30/2), Perspectives of New Music 31/1: 306-14.
Guck, Marion, "Taking Notice: A Response to Kendall Walton," Journal of Musicology 11/1: 45-51.
Hubbs, Nadine. Review of A Guide to Schenkerian Analysis, by David Neumeyer and Susan Tepping. Intégral 7: 179-94.
Korsyn, Kevin, "Schenker's Organicism Reexamined," Intégral 7: 82-118.
Korsy,n, Kevin, "J. W. N. Sullivan and the Heiliger Dankgesang: Questions of Meaning in Late Beethoven," Beethoven Forum 2, ed. Christopher Reynolds (Nebraska), 133-74.
Korsyn, Kevin. Review of Style and Music: Theory, History, and Ideology, by Leonard B. Meyer (KK). Journal of the American Musicological Society 46/3: 469-75.
Mead, Andrew, "'The Key to the Treasure,'" Theory and Practice 18: 29-56.
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1992
Everett, Walt, "Voice Leading and Harmony as Expressive Devices in the Early Music of the Beatles: 'She Loves You,'" College Music Symposium 32: 19-37.
Guck, Marion, "Varèse Bound," Perspectives of New Music 30/2: 244-73.
Hubbs, Nadine, "Minimalism and Macroform," Contemporary Music Forum: Proceedings of the Bowling Green State University New Music & Art Festival 10: 15-22.
Mead, Andrew. Review Article: The Twelve-Note Music of Anton Webern by Kathryn Bailey. Intégral 6: 107-135.
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1991
Derr, Ellwood, "Mozart's Transfer of the Operatic fermata sospesa to his Piano-Concerto First Movements," Mozart-Jahrbuch 1991: 155-63.
Derr, Ellwood. Reviews of two recent editions of Handel's Op. 7 Organ Concertos. MLA Notes (Mar.).
Everett, Walt, "Voice Leading, Register and Self-Discipline in Die Zauberflöte," Theory and Practice 16: 103-26.
Everett, Walt, "Text-Painting in Mozart's Three Lieder (KV 596-598) of 14 January 1791," Mozart-Jahrbuch 1991: 201-05.
Guck, Marion, "Two Types of Metaphoric Transfer." In Metaphor–A Musical Dimension, ed. Jamie C. Kassler; Australian Studies in History, Philosophy & Social Studies in Music, vol. 1 (Paddington, NSW, Australia: The Currency Press), 1-12; reprinted by Gordon & Breach, 1994; republished as "Two Types of Metaphoric Transference" in Music and Meaning, ed. Jenefer Robinson (Cornell, 1997).
Hubbs, Nadine, "Schenker's Organicism," Theory and Practice 16: 143-62.
Korsyn, Kevin, "Towards a New Poetics of Musical Influence," Music Analysis 10/1-2: 3-72.
Mead, Andrew. Review Article: Composition with Pitch Classes: A Theory of Compositional Design by Robert Morris. Perspectives of New Music 29/1: 264-311.
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1990
Everett, Walt, "Grief in Winterreise: A Schenkerian Perspective," Music Analysis 9/2: 157-75.
Korsyn, Kevin. Review of Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. Eugene Narmour and Ruth Solie. The Musical Times (March): 148-49.
Korsyn, Kevin. Review of Music: A View from Delft, by Edward T. Cone. The Musical Times (Jan.): 36.
Mead, Andrew, "Twelve-Tone Organizational Strategies: An Analytical Sampler," Intégral 3: 93-169.
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1989
Derr, Ellwood, "Handel's Use of Scarlatti's 'Essercizi per Gravicembalo' in his Opus 6." In Göttinger Händel-Beiträge III (Bärenreiter).
Guck, Marion, "Beethoven as Dramatist," College Music Symposium 29: 8-18.
Korsyn, Kevin, "Tovey's Analyses Reconsidered," The Musical Times (Aug.): 472-74.
Korsyn, Kevin. Review of Archduke Rudolph: Beethoven's Patron, Pupil, and Friend, by Susan Kagan. The Musical Times (Nov.): 681-82.
Korsyn, Kevin. Review of Beethoven Essays, by Maynard Solomon. The Musical Times (July): 407-09.
Mead, Andrew, "A Survey of Atonal and Twelve-Tone Theoretical Writings," Music Theory Spectrum 11/1: 40-47.
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1988
Dapogny, James. Biographical-critical articles on Elmer Schoebel and Sippie Wallace. In The Jazz Grove, ed. Barry Kernfeld (Macmillan).
Derr, Ellwood, "Bach's Six Organ Sonatas and Their Corelli Data-Base," The Diapason (Jan. - Feb.).
Derr, Ellwood, "Brahms' Op. 38: Ein Beitrag zur Kunst der Komposition mit Entlehnten Stoffen." In Brahms-Kongress Wien 1983 (Tutzingg: Hans Schneider).
Korsyn, Kevin, "Schenker and Kantian Epistemology," Theoria 3: 1-58.
Mead, Andrew. Review of Words About Music by Milton Babbitt. Journal of Music Theory 32/2: 366-78.
Mead, Andrew, "Some Implications of the Pitch-Class/Order Number Isomorphism Inherent in the Twelve-Tone System, Part 1," Perspectives of New Music 26/2: 96-163.
Petty, Wayne, "Translation of 'Haydn: Sonata in E-flat major [Hob. XVI:52]' by Heinrich Schenker (from Der Tonwille 3)," Theoria 3: 105-60.
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1987
Derr, Ellwood, "Bach's Sonata in G, BWV 530/i, and its Vivaldi Data-Base," The Diapason (Sept.).
Derr, Ellwood, "Thematic Material by Kuhnau in Handel's Resurrezione and Opus 1," In Bericht über die internationale wissenschaftliche Konferenz 'Georg Friedrich Händel,' 1985 (Leipzig: Deutscher Verlag für Musik).
Everett, Walt, "Text-Painting in the Foreground and Middleground of Paul McCartney's Beatle Song, 'She's Leaving Home': A Musical Study of Psychological Conflict," In Theory Only 9/7: 5-21.
Hubbs, Nadine, "Is There a Feminist Music Theory?" Co-written with Robert Snarrenberg and Mauro Botelho. In Theory Only 9/8: 3-4.
Mead, Andrew, "About About Time's Time: A Survey of Milton Babbitt's Recent Rhythmic Practice," Perspectives of New Music 25: 182-235.
Mead, Andrew, "'Tonal' Forms in Arnold Schoenberg's Twelve-Tone Music," Music Theory Spectrum 9: 67-92.
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1986
Derr, Ellwood, "A Foretaste of the Borrowings from Haydn in Beethoven's Op. 2," Internationaler Joseph Haydn Kongress Wien 1982 (Henle).
Derr, Ellwood, "Händel und Telemann: Resonanz und Entlehnungen," In Bericht über den Internationalen Musikwissenschaftlichen Kongreß Stuttgart 1985 (Bärenreiter).
Everett, Walt, "Fantastic Remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia,'" The Musical Quarterly 72/3: 360-93.
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1985
Dapogny, James, "Jelly Roll Morton and Ragtime." In Ragtime: Its History, Composers, and Music, ed. John Hasse (Schirmer Books).
Derr, Ellwood, "Concertante Passages in Keyboard Realizations in Handel: Some Guidelines," The Diapason (Sept.).
Derr, Ellwood, "A Deeper Examination of Mozart's 1-2-4-3 Theme and its Strategic Deployment," In Theory Only (Jan.).
Derr, Ellwood, "Sein erstes überlieftes Instrumental Werk: Zur Erstveröffentlichung von Claude Debussys frühem Klaviertrio," Neue Zeitschrift für Musik (Dec.).
Mead, Andrew, "Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music," Perspectives of New Music 24/1: 120-57.
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1984
Derr, Ellwood, "Beethoven's Long-Term Memory of C. P. E. Bach's Rondo in E Flat, W. 61/1 (1787), as manifest in the Variations in E Flat for Piano, Op. 35 (1802)," The Musical Quarterly.
Derr, Ellwood, "Handel's Procedures for Composing with Materials from Telemann's 'Harmonischer Gottes-Dienst' in 'Solomon.'" In Göttinger Händel-Beiträge, I (Bärenreiter).
Guck, Marion, "A Flow of Energy: Density 21.5," Perspectives of New Music 23/1: 334-47.
Guck, Marion, "A Question of Integration." In "Reflections on Music Theory," ed. Marianne Kielian-Gilbert and Marion A. Guck. Perspectives of New Music 22: 580-83.
Mead, Andrew, "Pitch Structure in Elliott Carter's String Quartet #3," Perspectives of New Music 22: 31-60. Reprinted as "Le Troisième Quatour à Cordes, Structures des hauteurs," trans. Hubert Guery, in Entretemps 4 (Juin 1987).
Mead, Andrew, "Pedagogically Speaking" Manifestations of Pitch-Class Order," In Theory Only 8/1: 23-32.
Mead, Andrew, "Recent Developments in the Music of Milton Babbitt," The Musical Quarterly 70: 310-31.
Mead, Andrew. Review of The Music of Elliott Carter by David Schiff. MLA Notes 43/3: 544-47.
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1983
Mead, Andrew, "Detail and the Array in Milton Babbitt's My Complements to Roger," Music Theory Spectrum 5: 89-109.
Mead, Andrew, "Pedagogically Speaking: A Practical Method for Dealing with Unordered Pitch-Class Collections," In Theory Only 7/5-6: 54-62.
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1982
Dapogny, James, Ferdinand "Jelly Roll" Morton: The Collected Piano Music. Analytical collected edition of original transcriptions (G. Schirmer and Smithsonian Institution).
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1981
Dapogny, James. Biographical-critical articles on Bix Beiderbecke, Bunny Berigan, The Dorseys, Bud Freeman, Earl Hines, Billie Holiday, Eddie Lang, Fud Livingston, Miff Mole, Red Nichols, Don Redman, Jimmy Rushing, Pee Wee Russell, Chick Webb. In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Macmillan). Many reprinted in The Jazz Grove, ed. Barry Kernfeld (Macmillan, 1988).
Derr, Ellwood, "Bach's Composers' Vademecum: The Two-Part Inventions," Music Theory Spectrum 3.
Derr, Ellwood. Ten articles, including: list of works (with numerous original contributions) and bibliography for Johann Christian Bach; article (with worklist and bibliography) on the late 18th-century French composer and violinist the Chevalier de St. George (ED). In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Macmillan). Revised version of the Christian Bach information appears in The New Grove Bach Family (Macmillan, 1983; updated German version, Laaber, 1994).
Guck, Marion, "Musical Images as Musical Thoughts: The Contribution of Metaphor to Analysis," In Theory Only 5/5: 29-43.
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1978
Guck, Marion, "The Functional Relations of Chords: A Theory of Musical Intuitions," In Theory Only 4/6: 29-41.
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1977
Derr, Ellwood, "Zur Zierpraxis im späten 18. Jahrhundert," Österreichische Musik-Zeitschrift.
Guck, Marion, "Comment: Symmetrical Structures in Op. 19/2" (on D. Stein, "Voice Leading and Overall Structure in an Atonal Work," ITO 2/7). In Theory Only 2/10: 29-34.
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1976
Guck, Marion, "Analysis Symposium: Brahms's 'Der Tod, das ist die kühle Nacht," In Theory Only 2/6: 27-34.
Guck, Marion, "Exempli Gratia: The Case of the Chimerical Cadence" (on Chopin, Prelude in B Minor, Op. 28/6), In Theory Only 2/5: 30-34.
Guck, Marion, "Comment: On Avoiding Culture Shock" (on S. Dunn, "Music and Ideology: The Philadelphia Orchestra Experience," ITO 1/11-12),In Theory Only 2/1-2: 44-45.
Guck, Marion, "Exempli Gratia: What You Hear is What You Get" (on Stravinsky, Three Songs from William Shakespeare, No. 1), In Theory Only 2/1-2: 51-54.
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1975
Guck, Marion, "Tracing Debussy's ' . . . Des pas sur la neige': Insights into the Methodology of Sketch-Rejection," In Theory Only 1/5: 4-8.
Guck, Marion, "Some Comments about Prejudicial Qualifiers," In Theory Only 1/3: 17-18.
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