Index of articles and reviews published in THEORIA, since vol. 1

Vol. 28 (2024)

Jan Miyake, The Evolution and Roots of the Imaginary Continuo

James S. MacKay, Haydn’s Compositional Gradus ad Parnassum: Fuxian Counterpoint in his Symphonic Finales

Stephanie Venturino, Beyond the Rhine: Harmonic Dualism in Vincent  d’Indy’s Cours de composition musicale

Papers presented at the Conference Identity in Music Theory and History,

New Oleans, November 2022:

August Sheehy, Introduction – Music Theory's Identity Crisis

Brian Fairley, The Texture of a Nation: Politics and Polyphony in the Caucasus

Eshantha Joseph Peiris, Music Theory and Identity Politics in Post-Independence Sri Lanka                                

Patrick Domico and Lucy Liu, Composing Refuge: Nikolay Medtner as Theorist

Kristin M. Franseen , “An autobiographical interest for which there is no real warranty”: Gossip and Biography in Rosa Newmarch’s Public Music Theory and Musicology

Andrew J. Chung, Tuning, Temperament, and the Acoustics of Anthropological Difference

Frank Heidlberger, Antoine Reicha’s Music Theory and the Question of Identity

Peter A. Martens, Isaac Vossius: Biography of a Music Theorist(?), or, Gate-crashing Versus Gate-keeping in the Late Seventeenth Century           

Vol. 27 (2022)

Kevin Korsyn, Remembering Benito V. Rivera (1936-2020)

Neil Newton, Implications of Modal Mixture and Borrowing

Matthew Santa, Understanding Ritornello Form in the Op. 6 Concertos of G. F. Handel

Bryan Parkhurst, Making Music Absolute - Part 1: Theory and Making Music Absolute - Part 2: History

Alexandra Monchick, The Craft of Paul Hindemith's Electronic Compositions

Vol. 26 (2020)

Articles

*Chun-Yan Tse, Erroneous Discourses on Tuning Theories between China and the West: The Kangxi 14-tone System
*Caleb Mutch, Pedagogy and Authority in Sixteenth-Century German Music Theory Textbooks

Russian Music Theory Panel, SMT 2018:

*Ellen Bakulina, Theories of Harmonic Function in Russia: An Introduction to Three Essays
*Philip Ewell, Harmonic Functionalism in Russian Music Theory: A Primer
*Ellen Bakulina, The “Brigade Textbook:” Disseminating the Riemannian Legacy in the Russian-Soviet Theoretical Tradition
*Christopher Segall, Expanding Harmonic Function: Yuri Kholopov's Twelve-Step System

Reviews

*Karen Cook, Review of Music and the moderni, 1300-1350: The ars nova in Theory and Practice
*Clémence Destribois, Review of Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples

Vol. 25 (2018)

Articles:
*Jeffrey Levenberg: Petrus Mondoreus' “Prismatic” Rediscovery of Ancient Chinese Cyclic Tunings
*Gilad Rabinovitch: Daniel Jelensperger's (1830) Views on Harmonic Impressions, Key Finding, and Statistical Learning
*Amy Engelsdorfer: Johann Bernhard Logier and the Musikwissenschaft of Harmony in His System of the Science of Music and Practical Composition
*Rodney Garrison: Schenker's Elucidations on Unfolding Compound Voices from Der Tonwille 6 (1923) to Der freie Satz (1935)

Review:
*Graham Phipps: Review of Arnold Schoenberg's Models for Beginners in Composition, ed. Gordon Root - Providing an Opportunity to examine Schoenberg's Teaching Method

Vol. 24 (2017)

*Jonathan Service: The Twelve Tones in Meiji Japan: Common Denominator or Source of Difference?
*Damian Blättler: Strategies in Additive Harmonic Theory
*SMT Panel, Vancouver 2016 - Between Music Theory and Music History - Carl Dahlhaus on the History of Music Theory
*Jan Philipp Sprick: On the Implicit and Explicit Reception of Dahlhaus's “Was heisst Geschichte der Musiktheorie”
*Frank Heidlberger: “Was heisst Geschichte der Musiktheorie” - Dahlhaus's Essay and Its Methodological Impact
*Nathan John Martin: Dahlhaus's “Was heisst Geschichte der Musiktheorie”: Between Kuhn and Weber
*Thomas Christensen: Dahlhaus and the Origins of the Origin
*Stefano Mengozzi: The History of Music Theory after Dahlhaus's Studies on the Origin of Hamrmonic Tonality: On the Relationship between Musical Concepts and Musical Phenomena
*Gesine Schröder: Theorists and Theory Teachers. Carl Dahlhaus and Music Theory at German-Speaking Conservatories
*Stephen Hinton: Response

Vol. 23 (2016)

* Nathan John Martin: Rousseau, Rameau, and the Leçons de musique
* Abigail Shupe The Unintended Consequences of Rameau's Génération harmonique
* Maryam Moshaver: Rameau, the Subjective Body, and the Forms of Theoretical Representation
* David Thurmaier: “Perhaps I'd better go back to Mr. Jadassohn” - Charles Ives's Harmonic Training in Late Nineteenth-Century America

Vol. 22 (2015)

*Solomon Guhl-Miller: The Imperfect Rhythmic Modes of Anonymous IV: Deciphering His Sixth Mode(s)
*Roger Matthew Grant: Rousseau's Solfège Polemic
*Justin Lavacek: Mozart's Harmonic Design in the Secco Recitatives
*Daphne Tan: Beyond Energetics: Gestalt Psychology in Ernst Kurth's Musikpsychologie
*Scott Gleason: Princeton Theory's Problematic of Solipsism
*Karen M. Cook: Review of The Ars Musica, attributed to Magister Lambertus/Aristoteles

Vol. 21 (2014)
Articles:
*Irna Priore, The Origins of Incontri Musicali
*George Harne, Distinguishing theory from practice: habitus, scientia and musical cognition in the Speculum musicae
*Aleksandra Vojcic, Henri Lefebvre and Elements of Rhythmanalysis
*Peter Pesic, Max Planck's writings on Music: Translation and Commentary

Vol. 20 (2013)
Articles:
*Michael Maschi, Theory as Practica Reconsidered: The Theoretical Study of Tonality and the Practical Study of Harmony in French Harmonie Pratique
*Matthew Arndt, Schenker and Schoenberg on the Eye of the Genius
*Timothy Cochran, Messiaen and the Composer's Eye: Analyzing Debussy in the Traité

Review:
*Benjamin Dobbs, Review of: Peter Sjökvist (ed.), The Music Theory of Harald Vallerius

Responses:
*Gregory Barnett, Sixteenth-century Modal Theory and Renaissance Ideologies: A Response to Kyle Adams
*Kyle Adams, Music Theory and its Purposes: A Response to Gregory Barnett

Vol. 19 (2012)
Articles:
*Daniel Arthurs, Reconsidering Marchetto's Division of the Whole Tone
*Kyle Adams, Mode Is Real: A Re-examination of Polyphonic Modality
*Jeffrey De Thorne, Hugo Riemann and the Monochromatic Klang of Orchestration

Edition:
*Charlotte Cross, The Second Manuscript T37.08 at the Arnold Schoenberg Center,
*Part I: Problems of Identity and Dating
*Part II: Edition and English Translation

Vol. 18 (2011)
Articles:
*Felix Diergarten, Romantic Thoroughbass. Music Theory between Improvisation, Composition and Performance.
*Christine Amos Linial, Milhaud's Compositional Techniques and the 1920s Polytonality Debate.
* Irna Priore, Theories of Histories of Serialism: Terminology, Aesthetics, and Practice in Post-War Europe - as Viewed by Luciano Berio.
*Richard Hermann, Early Serialisms in the US: Aspects of Theory, History, Analysis and Reception.
*Bruce Quaglia, Intertextual Relationships in Wuorinen and Stravinsky.
*Robert Morris, Response to Hermann, Priore, and Quaglia.
*Inessa Bazayev, Review of Kahan's In Search of New Scales.

Vol. 17(2009)
Articles:
*Hellmut Federhofer: Periodization of Western Polyphony (translated by John Rothgeb)
*John Snyder: Pitch and Pitch relationships in Musicae artis disciplina: Letter Notation, Species, and Contour theory
*David Stern: Thomas Morley and the Teaching of Modal Composition in the Renaissance

Reviews:
*Graham Phipps: Review of: Frederick Stocken, Simon Sechter's Fundamental Bass Theory as a Guide to the Compositional Practice of Anton Bruckner
*Stephen Slottow: Review of: Michiel Schuijer, Analysing Atonal Music. Pitch Class Set Theory and its Contexts

Vol. 16 (2009)
Articles:
*James MacKay, Into the Composer's Workshop: Pre-Compositional Planning and Contrapuntal Design in William Byrd's Imitative Points
*Ildar Khannanov, Revisiting Russian Music Theory: Victor Bobrovsky's Functional Foundations of Musical Form

Edition:
*Kenneth Smith, Sébastien de Brossard's Entry for Cadenza in the Manuscript Draft of His Dictionnaire, F-Pn n.a.f. 5269, ff. 88r - 91r:
*Timothy McKinney, Errata in the article "Affectus mire hercules ubique expressit: Heinrich Glarean on Text and Tone in Josquin's Planxit autem David”

Vol. 15 (2008)
Articles:
*John Haines, Proprietas and Perfectio in Thirteenth-Century Music Theory
*Jeffrey Brukman, The relevance of Friedrich Hartmann's fully-chromaticised scales with regard to Bartók's Fourteen Bagatelles, Op. 6

Edition:
*Paul Mathews, Anatomie et physiologie de l'orchestre by Delius and Papus: A Translation and Commentary

Review:
*Vera Micznik, Approaches to Meaning in Music, ed. by Byron Almén and Edward Pearsall, Indiana University Press, 2006

Vol. 14 (2007)
Articles:
* Kyle Adams, Theories of Chromaticism from the Late Sixteenth to the Early Eighteenth Century
* David Beach, Georg Andreas Sorge--Genealogia allegorica intervallorum octavae diatono-chromaticae. Translation and Edition
* Stefan Eckert, Einschnitt, Absatz, and Cadenz--The Description of Galant Syntax in Joseph Riepel's Anfangsgruende zur musicalischen Setzkunst
* Markus Waldura, Musical Rhetoric and the Modern Concept of Musical Period--A New Perspective on 18th Century German Theories of Musical Periodicity. Part Two
* Graham Phipps, Die Erscheinungen and Brahms--A Critical Essay on Peter H. Smith's Expressive Forms in Brahms's Instrumental Music

Vol. 13 (2006)
Articles:
* Markus Waldura, Musical Rhetoric and the Modern Concept of Musical Period--A New Perspective on 18th-Century German Theories of Musical Periodicity. Part One
* Christoph Hust, On the Methods, Goals, and Limitations of Music Analysis. The Haydn Lectures of Peter Cornelius
* Nora Engebretsen, The Music of the Future and The End of Art--C. F. Weitzmann's "Geschichte der Harmonie und ihrer Lehre"
* Edward Gollin, Some Further Notes on the History of the Tonnetz
* Nico Schüler, Towards a History and Evaluation of Statistical and Information-Theoretical Analysis of Melodic Incipits

Review:
* Peter Kaminsky, Engaging Music--Essays in Music Analysis, edited by Deborah Stein, Oxford: Oxford University Press 2005

Vol. 12 (2005)
Articles:
* James McKay, Linear Issues in the Harmony Treatises of Rameau and Kirnberger
* Byron Almén, Musical "Temperament": Theorists and the Functions of Music Analysis
* Benjamin Whitcomb, Reinventing the Ear--Twentieth-Century Theories of Pitch Perception and the Coincidence Theory of Consonance
* Lauri Surpää, Title, Structure and Rhetoric in the Second Movement of Mozart's Piano Concerto K. 488

Vol. 11 (2004)
Articles:
* Timothy McKinney, “Affectus mire hercules ubique expressit” Heinrich Glarean on Text and Tone in Jos­quin's Planxit autem
* Deborah Burton, Padre Martini's Preface to his Esemplare, Part II: An Original Translation
* Kheng Keow Koay, A Reflection of Moment Form in Sofia Gubaidu­lina's String Quartet No. 3

Vol. 10 (2003)
Articles:
* Gene J. Cho, Quest and the Discovery of the Equal Temperament
* Russell E Murray, The Theorist as Critical Listener: Pietro Pontio's Nine Cause di Varietà
* Klaus-Jürgen Sachs, Index to the Treatises of Pietro Pontio
* Matthew Riley, Ernst Kurth's Bach: Musical Linearity and Expressionist Aesthetics

Review:
* Ralph Lorenz, Review of Schubert's Modal Counterpoint

Vol. 9 (2001)
Articles:
* Mark J. Butler, De Grammatica et Musica: Grammatical Analogies in Medieval Music Treatises and Their Applications in Gregorian Chant
* Allen Scott, Bobization and Bebization: Two Alternative Solmization Systems of the Early Seventeenth Century
* Paul Murphy, Thoroughbass Accompaniment in the Rigorous Spanish Style and the Italian Style: José de Torres's Reglas generals (1702, 1736)
* Joe Brumbeloe, Implication of Modulation for Temporal Organization in Selected Eighteenth-Century Theoretical Sources

Reviews:
* Karl Braunschweig, Review of Dietrich Bartel's Musica Poetica
* Mark McFarland, Review of Jonathan Cross's The Stravinsky Legacy

Vol. 8 (1994)
Articles:
* Robert N. Freeman, Johann Georg Albrechtsberger's 26 canoni aperti dei varii autori: The Edition
* Denis Collins, Canon and Music Pedagogy 1500-1800
* Sandra Pinegar, On Rhythmic Modes
* Charlotte M. Cross, Schoenberg's Earliest Thoughts on the Theory of Composition: A Fragment from c. 1900

Review:
* Janna Saslaw, Music Theory and the Exploration of the Past

Vol. 7 (1993)
Articles:
* David E. Cohen, Metaphysics, Ideology, Discipline: Consonance, Dissonance, and the Foundations of Western Polyphony
* Joel Lester, Composition Made Easy: Bontempi's Nova methodus of 1660
* Denis Collins, Zarlino and Berardi as Teachers of Canon
* Graham H. Phipps, The “Nature of Things” and the Evolution of Nineteenth-Century Musical Style: An Essay on Carl Dahlhaus's Studies on the Origin of Harmonic Tonality

Review:
* Jane Piper Clendinning, Composition Theory in the Eighteenth Century by Joel Lester

Vol. 6 (1992)
Articles:
* Ian Bent, History of Music Theory: Margin or Center?
* David Bernstein, Schoenberg Contra Riemann: Stufen, Regions, Verwandtschaft, and the Theory of Tonal Function
* Dave Headlam Fritz, Heinrich Klein's “Die Grenze der Halbtonwelt” and Die Maschine.
* Robert Snarrenberg, Schenker's Sense of Concealment
* Luann R. Dragone, François Campion's Treatise on Accompaniment: A Translation and Commentary

Vol. 5 (1990-1991)
Articles:
* Richard Semmens, Sauveur and the Absolute Frequency of Pitch
* Timothy A. Johnson, Solmization in English Treatises Around the Turn of the Seventeenth Century: A Break from Modal Theory
* Norman L. Wick, An Historical Approach to Six-Four Chords
* Janna Saslaw, Gottfried Weber and Multiple Meaning

Vol. 4 (1989)
Articles:
* Benito Rivera, Zarlino's Approach to Counterpoint Modified and Transmitted by Seth Calvisius
* Lee Rothfarb, Ernst Kurth's Die Voraussetzungen der theoretischen Harmonik and the Beginnings of Music Psychology
* David Bernstein, Georg Capellen on Tristan und Isolde: Analytical Systems in Conflict at the Turn of the Twentieth Century
* Jim Levy, Joseph Amiot and Enlightenment Speculation of the Origin of Pythagorean Tuning in China
* Roger Graybill, Sonata Form and Reicha's Grande Coupe Binaire of 1814
* Mary C. Tilton, The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo

Review:
* Paul A. Laprade, Treatise on Harpsichord Tuning by Jean Denis, translated by Vincent J. Panetta

Vol. 3 (1988)
Articles:
* Kevin Korsyn, Schenker and Kantian Epistemology
* Harald Krebs, Schenker's Changing View of Rameau: A Comparison of Remarks in Harmony, Counterpoint, and “Rameau of Beethoven?”
* William Renwick, Brackets and Beams in Schenker's Graphic Notation

Translations:
* William Pastille, The Spirit of Music Technique
* Wayne Petty, Haydn: Sonata in E-flat Major

Review:
* William Pastille, Strict Counterpoint and Free Composition: Review/ Essay on the Rothgeb/Thym translation of Schenker's Kontrapunkt

Vol. 2 (1987)
Articles:
* David Lewin, Concerning the Inspired Revelation of F.-J. Fétis
* P. Murray Dineen, Schoenberg's Concept of Neutralization
* Jane Piper Clendinning, Zarlino and the Helicon of Ptolemy: A Translation with Commentary of Book III, Chapter III of Gioseffo Zarlino's Sopplimenti Musicali
* Elizabeth West Marvin, Tonpsychologie and Musikpsychologie: Historical Perspectives on the Study of Music Perception
* Richard Devore, Nineteenth-Century Harmonic Dualism in the United States

Review:
* W. T. Atcherson, Handwörterbuch der musikalischen Terminologie

Vol. 1 (1985)
Articles:
* William E. Caplin, Hugo Riemann's Theory of “Dynamic Shading”: A Theory of Musical Meter?
* Floyd K. Grave, Metrical Displacement and the Compound Measure in Eighteenth-Century Theory and Practic
* Russell E. Murray, Jr., The Influence of the Cantus Firmus on Modal Structure in the Masses of Antoine Brumel
* Mindy D. Horowitz, Modulation and the Tonoi according to Aristides Quintilianus
* Daniel Werts, The Musical Circle of Johannes Mattheson
* Mark McCune, Hugo Riemann's “Ueber Tonalität”: A Translation