Current List of Published Articles by Volume
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VOLUME ONE, No.1, SPRING 1987
"Trends and Issues in Music Theory Teaching," Editorial
"Richard Pierre ("Pete") DeLone," Allen Winold
"Connections in Modulation," Joseph Swain
"Unity and Contrast in Mozart," Lisa Hanford
"Overall Structure and Design in a Variation Form," Anne Marie de Zeeuw
"On Teaching Composition," Thomas Benjamin
"Arrangement as Analysis," Nicholas Cook
"A Comparison of Synthesized and Acoustic Sound Sources in Lower Division Theory Courses," W. Kenton Bales and Roger E. Foltz
Review: "Robert Gauldin, A Practical Approach to Sixteenth-Century Counterpoint,"Thomas Christensen
Review: "Guides to Better Classroom Teaching: A Review of Three Books and Additional Possibilities," L. Dee Fink
Top
VOLUME ONE, No.2, FALL 1987
"Comprehensive Musicianship at San Diego State University," David Ward-Steinman
"Derivational Analysis Step by Step," Arthur Komar
"Pedagogical Aspects of Chromaticism in 16th- and 18th-Century Counterpoint," Robert Gauldin
"Textural Constructions in Music," Monte Tubb
"Phrase and Cadence: A Study of Terminology and Definition," Ann Blombach
"Harmony and Integrated Theory: Four Recent Texts," Mary Wennerstrom
Review: "Thomas Benjamin, Counterpoint in the Style of J.S. Bach," Theodore O. Johnson
Top
VOLUME TWO, No. 1, SPRING 1988
"Sightsinging at New England Conservatory of Music," Lyle Davidson, Larry Scripp and Joan Meyaard
"Putting Skills to Work: An Aural Analysis Project," Gary Potter
"Creative Sightsinging," H. Lee Riggins and Howard Irving
"The Guide-Tone Method: An Approach to Harmonic Diction," Jay Rahn and James R. McKay
"Acquiring Aural Interval Identification Skills: Random Vs. Ordering Grouping," Ann K. Blombach and Regina T. Parrish
"Music Theory Software for the Macintosh," Bruce B. Campbell
Review: "John A. Sloboda, The Musical Mind: The Cognitive Psychology of Music," Elizabeth West Marvin
Review: "William Toutant, Functional Harmony," Joseph Rivers
Top
VOLUME TWO, No. 2, FALL 1988
"Voice Leading in Mozart's Figures Basses for Attwood," Rosalie Athol Schellhous
"Teaching Voice Leading in Tonal Music," Lisa Hanford Hallsz
"Solmization with the Guidonian Hand: A Historical Introduction to Modal Counterpoint," Rosemary Killan
"Five Recent Sightsinging Texts," Gary S. Karpinski
"Comparative Analytical Systems: A Review of Three Books," Michael R. Rogers
Review: "Barton K. Bartle, Computer Software in Music and Music Education," Charles G. Boody
"Report on the First Institute for Music Theory Pedagogy Studies," Roger E. Foltz and Gary Wittlich
"What is an Interval?" William Thomson
Top
VOLUME THREE, No. 1, SPRING 1989
"Schenker Pedagogy," H. Lee Riggins and Gregory Proctor
"The Analytical Process: A Practical Demonstration," David Beach
"A Selected Bibliography of Source Materials for Music-Theoretical Systems," James Bennighof
"A Critique of Current Theoretical Practice: Terminological Miscues," Gary Danchenka
"Ear Training and Integrated Aural Skills: Three Recent Texts," Gary S. Karpinski
Top
VOLUME THREE, No. 2, FALL 1989
"The Undergraduate Core Music Curriculum at Indiana University," Mary H. Wennerstrom
"Flexibility in the Theory Classroom: Strategies for the Management of Diversity," David A. Damschroder
"Teaching Theory as Composition," Thomas Benjamin
"Using Species Counterpoint in the Undergraduate Theory Curriculum," David L. Mancini
"Using Bloom's Taxonomy to Develop an Approach to Analysis," James Caldwell
"Explaining Inversion in 20th-Century Theory," Laura L. Gingerich
"Report on the Institute for Music Theory Pedagogy Studies II," Roger E. Foltz and Alice M. Lanning
Top
VOLUME FOUR, No. 1, SPRING 1990
"Towards a Pedagogy of Gestural Rhythm," Roger Graybill
"Suggestions for Teaching a Course in Music Listening," Robert Trotter
"Identifying Successful Dictation Strategies," Gary Potter
"Critical Thinking for Composers," Paul Paccione
"Sound Thinking," Michael Houlahan and Philip Tacka
"One Step Up: A Lesson from Pop Music," Justin London
"Why Doesn't Anyone Play Bars 1-11 of Tristan in Tempo?" Ira Braus
Top
VOLUME FOUR, No. 2, FALL 1990
"Musicianship at Northwestern," John Buccheri
"Harmonic Function and the Motion of the Bassline," Reed J. Hoyt
"A Model for Music Perception and its Implications in Melodic Dictation," Gary S. Karpinski
"Send Help! Aural Skills Instruction in U.S. Colleges and Universities," Randall G. Pembrook and H. Lee Riggins
"Sequential Order for the Preparation, Presentation, Practice and Evaluation of Rhythmic and Melodic Concepts," Michael Houlahan and Philip Tacka
"Listening to Mozart: Perceptual Differences Among Musician," Rita Aiello, J.S. Tanaka and Wayne C. Winborne
"The Americanization of Schenker Pedagogy?" William Rothstein
Top
VOLUME FIVE, No. 1, SPRING 1991
"A Comparison of Pedagogical Resources in Solmization Systems," Timothy A. Smith
"A Harmony-Based Heuristic Model for Use in an Intelligent Tutoring System," John William Schaffer
"Logo as a Medium for Exploring Atonal Theory," J. Kent Williams
"A Phenomenalogical Approach for Teaching 20th-Century Music Analysis," Gregory Danner
"Teaching Set Theory in the Undergraduate Core Curriculum," David Mancini
Top
VOLUME FIVE, No. 2, FALL 1991
"Some Problems and Resources of Music Theory," David Lewen
"Analysis and Performance of the Flute Sonatas of J.S. Bach: A Sample Lesson Plan," Cynthia Folio
"Pitch-Class Poker," Lora L. Gingerich
"Contextual Ear Training," Paula Telesco
"Review of Ralph Turek, The Elements of Music," Kenneth Stephenson
"Review of Three 20th-Century Texts," Joel Phillips
Top
VOLUME SIX 1992
"An Alternative Approach to Aural Training," Kate Covington
"Solfege Drills," Daniel Kazez
"Report on the 1992 CMS Institute," Michael R. Rogers
"Cantus Firmi for Species Counterpoint: Catalog and Characteristics," John Hanson
"Teaching with Westergaard's Counterpoint Rules," Fred Everett Maus
"Remedial Theory Courses for Underprepared Students," Isabel Baker and Anthony Kosar
"Keyboard Harmony: A Courseware System," Naphtali Wagner
"1992 Bibliography," Mary Wennerstrom
"The Americanization of Solmization: A Response to Timothy A. Smith," by Micheal Houlahan and Philip Tacka
"The Liberation of Solmization: Searching for Common Ground," Timothy A. Smith
Top
VOLUME SEVEN 1993
"A Systematic Approach to Invariance in Twelve-Tone Music," Timothy R. McKinney
"Music Analysis: Purposes, Paradigms, and Problems," Allen Winold
"Difficulty Factors in Melodic Perception," Jeffrey L. Gillespie
"Interval and Scale-Degree Strategies in Melodic Perception," William E. Lake
"Scale-Degree Function: A Theory of Expressive Meaning and its Application to Aural Skills Pedagogy," Steve Larson
"The Power of Prose: Writing in the Undergraduate Music Theory Curriculum," Deron L. McGee
"Harnessing Technology to Open the Mind: Beyond Drill and Practice for Aural Skills," Charles Lord
Review: "The Musician's Guide to Perception and Cognition by David Butler," Elizabeth West Marvin
Review: "Ear Training for 20th-Century Music by Michael L. Friedmann," William Thomson
"1993 Bibliography"
Top
VOLUME EIGHT 1994
"Mid-Bar Downbeat in Bach's Keyboard Music," Charles Burkhart
"Chopin's Prelude in D Major, Op. 28, No. 5: Anaysis and Performance," Carl Schachter
"Intrinsic Motivation: The Relation of Analysis to Performance in Undergraduate Music Theory Instruction," Elizabeth West Marvin
"Theory Pedagogy: An Experiential Approach," Thomas Benjamin
"Recommendations for Atonal Music Pedagogy in General: Recognizing and Hearing Set-Classes in Particular," Robert D. Morris
"Cooperative Learning in the Music Theory Classroom," Lawrence M. Zbikowski and Charles K. Long
"Three Introductory Miniatures for an Undergraduate 20th-Century Analysis Course," Craig Cummings
"An ExSPRT Systems Approach to the Assessment of Students Needing Remediation in Music Theory," Tomothy A. Smith
Review: "Jazz Theory Texts: An Overview," Gary Potter
Review: "Modal and Tonal Counterpoint: From Josquin to Stravinsky by Harold Owen," David L. Mancini
"Continuing the Dialogue: The Potential of Relative Solmization for the Music Theory Curriculum at the College Level," Micheal Houlahan and Philip Tacka
"Ending the Dialogue: Imaginary Solutions are No Solution," Timothy A. Smith
"1994 Bibliography"
Top
VOLUME NINE 1995
"Enhancing Sight-Singing Skills Through Reflective Writing: A New Approach to the Undergraduate Theory Curriculum," Lyle Davidson, Larry Scripp, and Alan Fletcher
"Research on Tonal Perception and Memory: What Implications for Music Theory Pedagogy?" Elizabeth West Marvin
"Uses of the Harmonic 6/5 in 16th-Century Style Counterpoint," John Hanson
"A Species-Counterpoint Method Leading to Tonal Four-Part Writing," Ken Stephenson
Review: "The Music Kit (Third Edition) by Tom Manoff," Rosemary Killam
"Some Uses of Diatonic Interval Cycles for Recognizing Chord Inversion," David Pacun
"Corrections/Additions to Volume 8 (1994): Charles Burkhart, Craig Cummings"
"1995 Bibliography"
Top
VOLUME TEN 1996
"In Memoriam: Gail Boyd de Stwolinski," Alice Lanning
"Takadimi: A Beat-Oriented System of Rhythm Pedagogy," Richard Hoffman, William Pelto, and John W. White
"A Psychological Addendum to Takadimi: A Beat-Oriented System of Rhythm Pedagogy," Justin London
"A Strict Use of Analytic Notation," Steve Larson
"A Different Approach to Teaching Melodic Dissonance," Robert Gauldin
"CD-ROMs, HyperCard, and the Theory Curriculum: A Retrospective Review," Alexander R. Brinkman and Elizabeth West Marvin
Review: "The Norton CD-ROM MasterWorks: Interactive Music Guides for History, Analysis and Appreciation Vol. I by Daniel Jacobson and Timothy Koozin," Gary Wittlich
Review: "Listen and Sing by David Damschroder," Michael R. Rogers
Review: "A Guide to Books on College Teaching: An Update," L. Dee Fink
"1996 Bibliography"
Top
VOLUME ELEVEN 1997
"Tonal Markers, Melodic Patterns, and Musicianship Training Part I: Rhythm Reduction," Laurdella Foulkes-Levy
"Modality-based Aural Skills Pedagogy: Ear-training Strategies for Post-tonal and Non-Western Musics," Yayoi Uno Everett
"Alphabet Dictation: An Alternative Strategy for Ear Training," David Loberg Code
"Sight Singing Schubert: A Study in Solfege," Bruce Taggart
Review: "Sight Singing by Earl Henry," Timothy Smith
Review: "Theories and Analysis of Tweentieth-Century Music by J. Kent Williams," Richard Bass
"From The Classroom"
"Letters to the Editor"
Top
VOLUME TWELVE 1998
"Tonal Markers, Melodic Patterns, and Musicianship Training, Part II: Contour Reduction," Laurdella Foulkes-Levy
"The Use of Binary Logic and Processing to Enhance Learning and Instruction in the Undergraduate Theory Classroom," Rudi Marcozzi
"Some Guidelines for Writing Temporally Equidistant Three-Voice Canons in Sixteenth-Century Style," Steven Strunk
"Rheinberger, Boulanger, and the Art of Teaching Composition," E. Douglas Bomberger
"Evaluating Student Work Using Models Derived from Those Used in Nationally Administered Examinations," Joel Phillips
"Teaching Pitch Internalization Processes," Edward Klonoski
Conference Report
"Developing the Musical Ear," J. Kent Williams
From The Classroom
"A Different Species of Counterpoint," Justin London
Top
VOLUME THIRTEEN 1999
"Predictive Validity of the 'Ready or Not' System for the Assessment of Students Needing Remediation in Music Theory," Timothy A. Smith
"Teaching Harmonic Rhythm," Joseph P. Swain
"The Evaluation and Design of an Undergraduate Music Theory Placement Exam," Barbara Murphy
"Part Writing, Prose Writing: An Investigation of Writing-to-Learn in the Music Theory Classroom," Bruce C. Kelly
Review: "MusicCog/99: A Workshop Symposium in Music Cognition," Edward Klonoski
Review: "Society for Music Perception and Cognition Conference," James Mathes
Contributors
Guidelines for Contributors
Top
VOLUME FOURTEEN 2000
"To Doh or Not To Doh: The Comparative Effectiveness of Sightsinging Syllable Systems," Mary Jo Lorek & Randall G. Pembrook
Review: Michael R. Rogers
Response: Mary Jo Lorek & Randall G Pembrook
"Competing Analyses as Pedagogical Strategy and Hugo Wolf's Das verlassene Mägdlein," Gordon Sly
"Welcome to Theory Camp! More Than Simple Remediation," Jeff Gillespie
"Modelling Professoinal Practice in Music Analysis with Computing," David Walker & William Renwick
"Teaching Ear Training Using Medieval and Renaissance Music," Ralph Lorenz & Richard Devore
Review: Allen Cadwallader & David Gagné: "Analysis of Tonal Music: A Schenkerian Approach," Marianne Wheeldon
Review: Gary Karpinski: "Aural Skills Acquisition," David Butler
Review: "Aural Skills, Pedagogy, and Computer Assisted Instruction: Past, Present, and Future," Deron McGee
Review: "MUSICOG 2001 at Ohio State," David Temperly
Contributors
Guidelines for Contributors
Top
VOLUME FIFTEEN 2001
"No Simple Pieces: Curricular Coherence, Row Combination, Classroom Vocalization, and the Trio from Schoenberg's Suite for Piano, Op. 25," Mark Sallmen
"Melodic Dictation ScoringMethods: An Explanatory Study," Jeff Gillespie
"Rethinking the Teaching of Minor Scales and Keys," Paula Telesco
"An Intersection of Counterpoint and Harmony," Robert Gauldin
Review: Miguel A. Roig-Froncolí: "Harmony in Context," Ken Stephenson
Contributors
Errata
Guidelines for Contributors
Top
VOLUME SIXTEEN 2002
"On Teaching Simultaneous Inversions (Mirror Counterpoint) in Tonal Music," David Carson Berry
"Approach Strong Deliveress! from George Crumb's Apparition: A Case Study in Analysis and Performance of Post-Tonal Music," Richard Bass
"An Aural Skills Approach to Context and Modulation in Tonal Music," Timothy S. Cutler
Contributors
Guidelines for Contributors
Top
VOLUME SEVENTEEN 2003
"Applying Traditional and Proportional Aspects of Form to Atonal Music," Daniel J. Arthurs
"Contention in the Classroom: Encouraging Debate and Alternate Readings in the Undergraduate Theory Class," Matthew Bribitzer-Stull
"Some Personal Reflections on Past Methods of Teaching and What They Can Tell Us About Current and Future Initiatives," Robert Gauldin
"Scanning Bass Patterns: A Middleground Path to Analysis," David Pacun
Review: Joseph N. Straus: "Elements of Music," Michael Buchler
Contributors
Guidelines for Contributors
Top
VOLUME EIGHTEEN 2004
Announcement of the de Stwolinski Prize
"Applying Traditional and Proportional Aspects of Form to Atonal Music," Daniel J. Arthurs
"Taking Stock of Collections: A Strategy for Teaching the Analysis of Post-Tonal Music," Brian Alegant and Gordon Sly
"The Importance of License in the Pedagogy of Model Composition, Past and Present," Matthew Bailey-Shea
"Popular Music as a Pedagogical Resource for Musicianship: Contextual Listening, Prolongations, Mediant Relationships, and Musical Form," Stuart Folse
"Thinking in Sound: A Qualitative Study of Metaphores for Pitch Perception," Kathy A. Thompson
"Music Theory and the Liberal Arts," Theodore K. Mathews
"The New Music Curricululum in Texas Public Colleges and Universities: Causes, Components, and Challenges," Teresa Davidian
Conference Roport: Eighth International Conference on Music Perception and Cognition, Nancy Rogers
Contributors
Guidelines for Contributors
Top
VOLUME NINETEEN 2005
"Poetry Analysis in the Music Classroom: Wilfred Owen and Britten's War Requiem," Byron Almén
"Developing the Analytical Point of View: The Musical 'Agent'," Gordon Sly
"Cycling Through Polyrhythms," Nick Rissman
"D.A. Kolb's Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material," Michael Lively
"The Teaching of Harmony and Composition in the French Conservatoire in the Nineteenth Century: The Importance and Influence of Reicha and Fétis," Gloria Toplis
"Some Challenges in Teaching American-Based Harmony in French," Roxanne Prevost
Errata for Volume 18
Contributors
Guidelines for Contributors
Top
VOLUME TWENTY 2006
"Teaching Phrase Rhythm through Minuets from Haydn's String Quartets," Ryan McClelland
"Studying Perle's Motivic Processes Through Contour Transformation," Gretchen C. Foley
"Developing Aural Skills: It's Not Just A Game," Deborah Rifkin and Diane Urista
"Sound Experiments: The Use of Four-Voice Writing in the Study of Twentieth-Century Music," Mark Sallmen
"Understanding Sonata Form through Model Composition," Sylvia Parker
"Striking the Right Chord (or applying first aid to the wrong one) in the Day of a Theory Teacher," Dorothy Payne
"A Comparative Review of The Complete Musician by Stephen G. Laitz, Harmony in Context by Miguel Roig-Froncolí, and A Musician's Guide to Theory by Jane Piper Clendinning and Elizabeth West Marvin," Don Traut
Letter to the Editor: On Teaching Voice Leading from Perpetual Principles, David Huron
Contributors
Guidelines for Contributors
Top
VOLUME TWENTY-ONE 2007
Announcement of the de Stwolinski Prize
"Absolute Pitch Perception and the Pedagogy of Relative Pitch," Elizabeth West Marvin
"Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach," Nora Engebretsen and Per F. Broman
"Forks in the Road: Teaching Scarlatti's Sonata in C Major (K. 159, Longo 104)," Stephen Slottow
"Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation," Keith Salley
"Inspired Accidents: Spontaneous Invention in Musical Performance (Master Teacher Column)," Michael Rogers
"Listen Up!: Thoughts on iPods, Sonata Form and Analysis without Score," Brian Alegant
"Engaging Music: Essays in Music Analysis, ed. Deborah Stein," Reviewed by Gordon Sly
"Reply to Ryan McClelland's Article 'Teaching Phrase Rhythm through Minuets from Haydn's String Quartets,' vol. 20, 2006," Miguel A. Roig-Froncolí
Contributors
Guidelines for Contributors
Top
VOLUME TWENTY-TWO 2008
Bruce Benward Student Analysis Competition
"The Liability of Labels," Mary H. Wennerstrom
"Maximal Evenness as Conceptual Apparatus for a Course on Post-Tonal Theory and Analysis," Adam Ricci
"Pedagogic Applications of Fourier Analysis and Spectrographs in the Music Theory Classroom," John Latartara
"Elements Associated with Success in the First-Year Music Theory and Aural-Skills Curriculum," M. Rusty Jones and Martin Bergee
"Teaching Fugue à la Handel: Lessons for Princess Anne ," Pamela L. Poulin
"A Comparison of Four Sight-Singing and Aural-Skills Textbooks: Two New Approaches and Two Classic Texts in New Editions," Reviewed by William Marvin
"Listen Up!: Thoughts on iPods, Sonata Form, and Analysis without Score," Brian Alegant
"Postscript to 'Absolute Pitch Perception and the Pedagogy of Relative Pitch' (JMTP vol. 21, 2007)," Elizabeth W. Marvin
Contributors
Guidelines for Contributors
Top
VOLUME ONE, No.1, SPRING 1987
"Trends and Issues in Music Theory Teaching," Editorial
"Richard Pierre ("Pete") DeLone," Allen Winold
"Connections in Modulation," Joseph Swain
"Unity and Contrast in Mozart," Lisa Hanford
"Overall Structure and Design in a Variation Form," Anne Marie de Zeeuw
"On Teaching Composition," Thomas Benjamin
"Arrangement as Analysis," Nicholas Cook
"A Comparison of Synthesized and Acoustic Sound Sources in Lower Division Theory Courses," W. Kenton Bales and Roger E. Foltz
Review: "Robert Gauldin, A Practical Approach to Sixteenth-Century Counterpoint,"Thomas Christensen
Review: "Guides to Better Classroom Teaching: A Review of Three Books and Additional Possibilities," L. Dee Fink
Top
VOLUME ONE, No.2, FALL 1987
"Comprehensive Musicianship at San Diego State University," David Ward-Steinman
"Derivational Analysis Step by Step," Arthur Komar
"Pedagogical Aspects of Chromaticism in 16th- and 18th-Century Counterpoint," Robert Gauldin
"Textural Constructions in Music," Monte Tubb
"Phrase and Cadence: A Study of Terminology and Definition," Ann Blombach
"Harmony and Integrated Theory: Four Recent Texts," Mary Wennerstrom
Review: "Thomas Benjamin, Counterpoint in the Style of J.S. Bach," Theodore O. Johnson
Top
VOLUME TWO, No. 1, SPRING 1988
"Sightsinging at New England Conservatory of Music," Lyle Davidson, Larry Scripp and Joan Meyaard
"Putting Skills to Work: An Aural Analysis Project," Gary Potter
"Creative Sightsinging," H. Lee Riggins and Howard Irving
"The Guide-Tone Method: An Approach to Harmonic Diction," Jay Rahn and James R. McKay
"Acquiring Aural Interval Identification Skills: Random Vs. Ordering Grouping," Ann K. Blombach and Regina T. Parrish
"Music Theory Software for the Macintosh," Bruce B. Campbell
Review: "John A. Sloboda, The Musical Mind: The Cognitive Psychology of Music," Elizabeth West Marvin
Review: "William Toutant, Functional Harmony," Joseph Rivers
Top
VOLUME TWO, No. 2, FALL 1988
"Voice Leading in Mozart's Figures Basses for Attwood," Rosalie Athol Schellhous
"Teaching Voice Leading in Tonal Music," Lisa Hanford Hallsz
"Solmization with the Guidonian Hand: A Historical Introduction to Modal Counterpoint," Rosemary Killan
"Five Recent Sightsinging Texts," Gary S. Karpinski
"Comparative Analytical Systems: A Review of Three Books," Michael R. Rogers
Review: "Barton K. Bartle, Computer Software in Music and Music Education," Charles G. Boody
"Report on the First Institute for Music Theory Pedagogy Studies," Roger E. Foltz and Gary Wittlich
"What is an Interval?" William Thomson
Top
VOLUME THREE, No. 1, SPRING 1989
"Schenker Pedagogy," H. Lee Riggins and Gregory Proctor
"The Analytical Process: A Practical Demonstration," David Beach
"A Selected Bibliography of Source Materials for Music-Theoretical Systems," James Bennighof
"A Critique of Current Theoretical Practice: Terminological Miscues," Gary Danchenka
"Ear Training and Integrated Aural Skills: Three Recent Texts," Gary S. Karpinski
Top
VOLUME THREE, No. 2, FALL 1989
"The Undergraduate Core Music Curriculum at Indiana University," Mary H. Wennerstrom
"Flexibility in the Theory Classroom: Strategies for the Management of Diversity," David A. Damschroder
"Teaching Theory as Composition," Thomas Benjamin
"Using Species Counterpoint in the Undergraduate Theory Curriculum," David L. Mancini
"Using Bloom's Taxonomy to Develop an Approach to Analysis," James Caldwell
"Explaining Inversion in 20th-Century Theory," Laura L. Gingerich
"Report on the Institute for Music Theory Pedagogy Studies II," Roger E. Foltz and Alice M. Lanning
Top
VOLUME FOUR, No. 1, SPRING 1990
"Towards a Pedagogy of Gestural Rhythm," Roger Graybill
"Suggestions for Teaching a Course in Music Listening," Robert Trotter
"Identifying Successful Dictation Strategies," Gary Potter
"Critical Thinking for Composers," Paul Paccione
"Sound Thinking," Michael Houlahan and Philip Tacka
"One Step Up: A Lesson from Pop Music," Justin London
"Why Doesn't Anyone Play Bars 1-11 of Tristan in Tempo?" Ira Braus
Top
VOLUME FOUR, No. 2, FALL 1990
"Musicianship at Northwestern," John Buccheri
"Harmonic Function and the Motion of the Bassline," Reed J. Hoyt
"A Model for Music Perception and its Implications in Melodic Dictation," Gary S. Karpinski
"Send Help! Aural Skills Instruction in U.S. Colleges and Universities," Randall G. Pembrook and H. Lee Riggins
"Sequential Order for the Preparation, Presentation, Practice and Evaluation of Rhythmic and Melodic Concepts," Michael Houlahan and Philip Tacka
"Listening to Mozart: Perceptual Differences Among Musician," Rita Aiello, J.S. Tanaka and Wayne C. Winborne
"The Americanization of Schenker Pedagogy?" William Rothstein
Top
VOLUME FIVE, No. 1, SPRING 1991
"A Comparison of Pedagogical Resources in Solmization Systems," Timothy A. Smith
"A Harmony-Based Heuristic Model for Use in an Intelligent Tutoring System," John William Schaffer
"Logo as a Medium for Exploring Atonal Theory," J. Kent Williams
"A Phenomenalogical Approach for Teaching 20th-Century Music Analysis," Gregory Danner
"Teaching Set Theory in the Undergraduate Core Curriculum," David Mancini
Top
VOLUME FIVE, No. 2, FALL 1991
"Some Problems and Resources of Music Theory," David Lewen
"Analysis and Performance of the Flute Sonatas of J.S. Bach: A Sample Lesson Plan," Cynthia Folio
"Pitch-Class Poker," Lora L. Gingerich
"Contextual Ear Training," Paula Telesco
"Review of Ralph Turek, The Elements of Music," Kenneth Stephenson
"Review of Three 20th-Century Texts," Joel Phillips
Top
VOLUME SIX 1992
"An Alternative Approach to Aural Training," Kate Covington
"Solfege Drills," Daniel Kazez
"Report on the 1992 CMS Institute," Michael R. Rogers
"Cantus Firmi for Species Counterpoint: Catalog and Characteristics," John Hanson
"Teaching with Westergaard's Counterpoint Rules," Fred Everett Maus
"Remedial Theory Courses for Underprepared Students," Isabel Baker and Anthony Kosar
"Keyboard Harmony: A Courseware System," Naphtali Wagner
"1992 Bibliography," Mary Wennerstrom
"The Americanization of Solmization: A Response to Timothy A. Smith," by Micheal Houlahan and Philip Tacka
"The Liberation of Solmization: Searching for Common Ground," Timothy A. Smith
Top
VOLUME SEVEN 1993
"A Systematic Approach to Invariance in Twelve-Tone Music," Timothy R. McKinney
"Music Analysis: Purposes, Paradigms, and Problems," Allen Winold
"Difficulty Factors in Melodic Perception," Jeffrey L. Gillespie
"Interval and Scale-Degree Strategies in Melodic Perception," William E. Lake
"Scale-Degree Function: A Theory of Expressive Meaning and its Application to Aural Skills Pedagogy," Steve Larson
"The Power of Prose: Writing in the Undergraduate Music Theory Curriculum," Deron L. McGee
"Harnessing Technology to Open the Mind: Beyond Drill and Practice for Aural Skills," Charles Lord
Review: "The Musician's Guide to Perception and Cognition by David Butler," Elizabeth West Marvin
Review: "Ear Training for 20th-Century Music by Michael L. Friedmann," William Thomson
"1993 Bibliography"
Top
VOLUME EIGHT 1994
"Mid-Bar Downbeat in Bach's Keyboard Music," Charles Burkhart
"Chopin's Prelude in D Major, Op. 28, No. 5: Anaysis and Performance," Carl Schachter
"Intrinsic Motivation: The Relation of Analysis to Performance in Undergraduate Music Theory Instruction," Elizabeth West Marvin
"Theory Pedagogy: An Experiential Approach," Thomas Benjamin
"Recommendations for Atonal Music Pedagogy in General: Recognizing and Hearing Set-Classes in Particular," Robert D. Morris
"Cooperative Learning in the Music Theory Classroom," Lawrence M. Zbikowski and Charles K. Long
"Three Introductory Miniatures for an Undergraduate 20th-Century Analysis Course," Craig Cummings
"An ExSPRT Systems Approach to the Assessment of Students Needing Remediation in Music Theory," Tomothy A. Smith
Review: "Jazz Theory Texts: An Overview," Gary Potter
Review: "Modal and Tonal Counterpoint: From Josquin to Stravinsky by Harold Owen," David L. Mancini
"Continuing the Dialogue: The Potential of Relative Solmization for the Music Theory Curriculum at the College Level," Micheal Houlahan and Philip Tacka
"Ending the Dialogue: Imaginary Solutions are No Solution," Timothy A. Smith
"1994 Bibliography"
Top
VOLUME NINE 1995
"Enhancing Sight-Singing Skills Through Reflective Writing: A New Approach to the Undergraduate Theory Curriculum," Lyle Davidson, Larry Scripp, and Alan Fletcher
"Research on Tonal Perception and Memory: What Implications for Music Theory Pedagogy?" Elizabeth West Marvin
"Uses of the Harmonic 6/5 in 16th-Century Style Counterpoint," John Hanson
"A Species-Counterpoint Method Leading to Tonal Four-Part Writing," Ken Stephenson
Review: "The Music Kit (Third Edition) by Tom Manoff," Rosemary Killam
"Some Uses of Diatonic Interval Cycles for Recognizing Chord Inversion," David Pacun
"Corrections/Additions to Volume 8 (1994): Charles Burkhart, Craig Cummings"
"1995 Bibliography"
Top
VOLUME TEN 1996
"In Memoriam: Gail Boyd de Stwolinski," Alice Lanning
"Takadimi: A Beat-Oriented System of Rhythm Pedagogy," Richard Hoffman, William Pelto, and John W. White
"A Psychological Addendum to Takadimi: A Beat-Oriented System of Rhythm Pedagogy," Justin London
"A Strict Use of Analytic Notation," Steve Larson
"A Different Approach to Teaching Melodic Dissonance," Robert Gauldin
"CD-ROMs, HyperCard, and the Theory Curriculum: A Retrospective Review," Alexander R. Brinkman and Elizabeth West Marvin
Review: "The Norton CD-ROM MasterWorks: Interactive Music Guides for History, Analysis and Appreciation Vol. I by Daniel Jacobson and Timothy Koozin," Gary Wittlich
Review: "Listen and Sing by David Damschroder," Michael R. Rogers
Review: "A Guide to Books on College Teaching: An Update," L. Dee Fink
"1996 Bibliography"
Top
VOLUME ELEVEN 1997
"Tonal Markers, Melodic Patterns, and Musicianship Training Part I: Rhythm Reduction," Laurdella Foulkes-Levy
"Modality-based Aural Skills Pedagogy: Ear-training Strategies for Post-tonal and Non-Western Musics," Yayoi Uno Everett
"Alphabet Dictation: An Alternative Strategy for Ear Training," David Loberg Code
"Sight Singing Schubert: A Study in Solfege," Bruce Taggart
Review: "Sight Singing by Earl Henry," Timothy Smith
Review: "Theories and Analysis of Tweentieth-Century Music by J. Kent Williams," Richard Bass
"From The Classroom"
"Letters to the Editor"
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VOLUME TWELVE 1998
"Tonal Markers, Melodic Patterns, and Musicianship Training, Part II: Contour Reduction," Laurdella Foulkes-Levy
"The Use of Binary Logic and Processing to Enhance Learning and Instruction in the Undergraduate Theory Classroom," Rudi Marcozzi
"Some Guidelines for Writing Temporally Equidistant Three-Voice Canons in Sixteenth-Century Style," Steven Strunk
"Rheinberger, Boulanger, and the Art of Teaching Composition," E. Douglas Bomberger
"Evaluating Student Work Using Models Derived from Those Used in Nationally Administered Examinations," Joel Phillips
"Teaching Pitch Internalization Processes," Edward Klonoski
Conference Report
"Developing the Musical Ear," J. Kent Williams
From The Classroom
"A Different Species of Counterpoint," Justin London
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VOLUME THIRTEEN 1999
"Predictive Validity of the 'Ready or Not' System for the Assessment of Students Needing Remediation in Music Theory," Timothy A. Smith
"Teaching Harmonic Rhythm," Joseph P. Swain
"The Evaluation and Design of an Undergraduate Music Theory Placement Exam," Barbara Murphy
"Part Writing, Prose Writing: An Investigation of Writing-to-Learn in the Music Theory Classroom," Bruce C. Kelly
Review: "MusicCog/99: A Workshop Symposium in Music Cognition," Edward Klonoski
Review: "Society for Music Perception and Cognition Conference," James Mathes
Contributors
Guidelines for Contributors
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VOLUME FOURTEEN 2000
"To Doh or Not To Doh: The Comparative Effectiveness of Sightsinging Syllable Systems," Mary Jo Lorek & Randall G. Pembrook
Review: Michael R. Rogers
Response: Mary Jo Lorek & Randall G Pembrook
"Competing Analyses as Pedagogical Strategy and Hugo Wolf's Das verlassene Mägdlein," Gordon Sly
"Welcome to Theory Camp! More Than Simple Remediation," Jeff Gillespie
"Modelling Professoinal Practice in Music Analysis with Computing," David Walker & William Renwick
"Teaching Ear Training Using Medieval and Renaissance Music," Ralph Lorenz & Richard Devore
Review: Allen Cadwallader & David Gagné: "Analysis of Tonal Music: A Schenkerian Approach," Marianne Wheeldon
Review: Gary Karpinski: "Aural Skills Acquisition," David Butler
Review: "Aural Skills, Pedagogy, and Computer Assisted Instruction: Past, Present, and Future," Deron McGee
Review: "MUSICOG 2001 at Ohio State," David Temperly
Contributors
Guidelines for Contributors
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VOLUME FIFTEEN 2001
"No Simple Pieces: Curricular Coherence, Row Combination, Classroom Vocalization, and the Trio from Schoenberg's Suite for Piano, Op. 25," Mark Sallmen
"Melodic Dictation ScoringMethods: An Explanatory Study," Jeff Gillespie
"Rethinking the Teaching of Minor Scales and Keys," Paula Telesco
"An Intersection of Counterpoint and Harmony," Robert Gauldin
Review: Miguel A. Roig-Froncolí: "Harmony in Context," Ken Stephenson
Contributors
Errata
Guidelines for Contributors
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VOLUME SIXTEEN 2002
"On Teaching Simultaneous Inversions (Mirror Counterpoint) in Tonal Music," David Carson Berry
"Approach Strong Deliveress! from George Crumb's Apparition: A Case Study in Analysis and Performance of Post-Tonal Music," Richard Bass
"An Aural Skills Approach to Context and Modulation in Tonal Music," Timothy S. Cutler
Contributors
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VOLUME SEVENTEEN 2003
"Applying Traditional and Proportional Aspects of Form to Atonal Music," Daniel J. Arthurs
"Contention in the Classroom: Encouraging Debate and Alternate Readings in the Undergraduate Theory Class," Matthew Bribitzer-Stull
"Some Personal Reflections on Past Methods of Teaching and What They Can Tell Us About Current and Future Initiatives," Robert Gauldin
"Scanning Bass Patterns: A Middleground Path to Analysis," David Pacun
Review: Joseph N. Straus: "Elements of Music," Michael Buchler
Contributors
Guidelines for Contributors
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VOLUME EIGHTEEN 2004
Announcement of the de Stwolinski Prize
"Applying Traditional and Proportional Aspects of Form to Atonal Music," Daniel J. Arthurs
"Taking Stock of Collections: A Strategy for Teaching the Analysis of Post-Tonal Music," Brian Alegant and Gordon Sly
"The Importance of License in the Pedagogy of Model Composition, Past and Present," Matthew Bailey-Shea
"Popular Music as a Pedagogical Resource for Musicianship: Contextual Listening, Prolongations, Mediant Relationships, and Musical Form," Stuart Folse
"Thinking in Sound: A Qualitative Study of Metaphores for Pitch Perception," Kathy A. Thompson
"Music Theory and the Liberal Arts," Theodore K. Mathews
"The New Music Curricululum in Texas Public Colleges and Universities: Causes, Components, and Challenges," Teresa Davidian
Conference Roport: Eighth International Conference on Music Perception and Cognition, Nancy Rogers
Contributors
Guidelines for Contributors
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VOLUME NINETEEN 2005
"Poetry Analysis in the Music Classroom: Wilfred Owen and Britten's War Requiem," Byron Almén
"Developing the Analytical Point of View: The Musical 'Agent'," Gordon Sly
"Cycling Through Polyrhythms," Nick Rissman
"D.A. Kolb's Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material," Michael Lively
"The Teaching of Harmony and Composition in the French Conservatoire in the Nineteenth Century: The Importance and Influence of Reicha and Fétis," Gloria Toplis
"Some Challenges in Teaching American-Based Harmony in French," Roxanne Prevost
Errata for Volume 18
Contributors
Guidelines for Contributors
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VOLUME TWENTY 2006
"Teaching Phrase Rhythm through Minuets from Haydn's String Quartets," Ryan McClelland
"Studying Perle's Motivic Processes Through Contour Transformation," Gretchen C. Foley
"Developing Aural Skills: It's Not Just A Game," Deborah Rifkin and Diane Urista
"Sound Experiments: The Use of Four-Voice Writing in the Study of Twentieth-Century Music," Mark Sallmen
"Understanding Sonata Form through Model Composition," Sylvia Parker
"Striking the Right Chord (or applying first aid to the wrong one) in the Day of a Theory Teacher," Dorothy Payne
"A Comparative Review of The Complete Musician by Stephen G. Laitz, Harmony in Context by Miguel Roig-Froncolí, and A Musician's Guide to Theory by Jane Piper Clendinning and Elizabeth West Marvin," Don Traut
Letter to the Editor: On Teaching Voice Leading from Perpetual Principles, David Huron
Contributors
Guidelines for Contributors
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VOLUME TWENTY-ONE 2007
Announcement of the de Stwolinski Prize
"Absolute Pitch Perception and the Pedagogy of Relative Pitch," Elizabeth West Marvin
"Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach," Nora Engebretsen and Per F. Broman
"Forks in the Road: Teaching Scarlatti's Sonata in C Major (K. 159, Longo 104)," Stephen Slottow
"Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation," Keith Salley
"Inspired Accidents: Spontaneous Invention in Musical Performance (Master Teacher Column)," Michael Rogers
"Listen Up!: Thoughts on iPods, Sonata Form and Analysis without Score," Brian Alegant
"Engaging Music: Essays in Music Analysis, ed. Deborah Stein," Reviewed by Gordon Sly
"Reply to Ryan McClelland's Article 'Teaching Phrase Rhythm through Minuets from Haydn's String Quartets,' vol. 20, 2006," Miguel A. Roig-Froncolí
Contributors
Guidelines for Contributors
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VOLUME TWENTY-TWO 2008
Bruce Benward Student Analysis Competition
"The Liability of Labels," Mary H. Wennerstrom
"Maximal Evenness as Conceptual Apparatus for a Course on Post-Tonal Theory and Analysis," Adam Ricci
"Pedagogic Applications of Fourier Analysis and Spectrographs in the Music Theory Classroom," John Latartara
"Elements Associated with Success in the First-Year Music Theory and Aural-Skills Curriculum," M. Rusty Jones and Martin Bergee
"Teaching Fugue à la Handel: Lessons for Princess Anne ," Pamela L. Poulin
"A Comparison of Four Sight-Singing and Aural-Skills Textbooks: Two New Approaches and Two Classic Texts in New Editions," Reviewed by William Marvin
"Listen Up!: Thoughts on iPods, Sonata Form, and Analysis without Score," Brian Alegant
"Postscript to 'Absolute Pitch Perception and the Pedagogy of Relative Pitch' (JMTP vol. 21, 2007)," Elizabeth W. Marvin
Contributors
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