Article Index

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

Vol. 2 (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
Making Music Absolute - Part 2: History

Alexandra Monchick
The Craft of Paul Hindemith's Electronic Compositions

Vol. 26 (2020)


*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


*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)
*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)

*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)
*Irna Priore, The Origins of Incontri Musicali
*George Harne, Distinguishing theory from practice: habitusscientia 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)
*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

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

*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)
*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

*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)
*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)
*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

*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)
*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

*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)
*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

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

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

Vol. 14 (2007)
* 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)
* 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

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

Vol. 12 (2005)
* 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)
* 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)
* 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

* Ralph Lorenz, Review of Schubert's Modal Counterpoint

Vol. 9 (2001)
* 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

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

Vol. 8 (1994)
* 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

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

Vol. 7 (1993)
* 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

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

Vol. 6 (1992)
* 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)
* 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)
* 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

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

Vol. 3 (1988)
* 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

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

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

Vol. 2 (1987)
* 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

* W. T. Atcherson, Handwörterbuch der musikalischen Terminologie

Vol. 1 (1985)
* 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