Music Theory Online

Article	Citations
George Walker’s Piano Music	9
Review of Amy Cimini, Wild Sound: Maryanne Amacher and the Tenses of Audible Life (Oxford University Press, 2022)	8
Between Half and Perfect Cadences	4
Reimagining Formal Functions in Post-Tonal Music	4
Disco Culture and the Ritual Journey in the Soviet 1980s	3
	3
Harmonic “Quality” and Set-Class Structure	3
“Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail	3
Female Subjectivities in the Words, Music, and Images of Progressive Metal	3
“Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha	3
	2
Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho	2
Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès	2
Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”	2
	2
Macroharmonic Progressions through the Discrete Fourier Transform	2
Commentary	2
Pentatonic Xuangong 旋宮 Transformations in Chinese Music	2
Intersubjectivity and Shared Dynamic Structure in Narrative Imaginings to Music	2
The Many Paths of Decolonization	2
Koizumi Fumio on Nuclear Tones	2
Was Mesopotamian Tuning Diatonic? A Parsimonious Answer	1
Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971	1
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Musical Eschatology in Contemporary Christian Worship Songs	1

On the Ubọ-Aka of the Igbo	1
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Flexible Ostinati, Groove, and Formal Process in Craig Taborn’sAvenging Angel	1
Review of Malawey, Victoria,A Blaze of Light in Every Word: Analyzing the Popular Singing Voice(Oxford University Press, 2020)	1
Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2	1
The Origins of Syncopation in Brazilian Music	1
Embedded Music Theory	1
Schubert’s Large-Scale Sentences	1
	1
Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”	1
Translation of Dobri Hristov’s “Metric and Rhythmic Fundamentals of Bulgarian Folk Music”	1
Commentary	1
A Bevy of Biases	1
A Cognitive Basis for Choosing a Solmization System	0
Music from Plant Biosignals	0
Three Audiovisual Correspondences in the Main Title forVertigo	0
Commentary	0
Review of Matthew Santa, Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Music (Routledge, 2020)	0
Developing Musical Imagery	0
Report	0
Alanis Morissette’s Voices	0
Introduction	0
	0
Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020)	0
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On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”	0
Commentary	0
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Commentary	0
Conference Report	0
Onset and Contiguity	0
Prosodic Dissonance	0
Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)	0
Vocal Production, Mimesis, and Social Media in Bedroom Pop	0
Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe	0
Response to Trevor de Clercq’s “Some Proposed Enhancements to the Operationalization of Prominence	0
The Poetics and Politics of Ambiguity	0
Review of John Paul Ito, Focal Impulse Theory: Musical Expression, Meter, and the Body (Indiana University Press, 2020)	0
Reassessing the Plagal Cadence in Byrd and Morley	0
Referents in the Palimpsests of Jazz	0
Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni	0
Returning to the Continuum	0
Sometimes the Music Wins	0
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015	0
Windows into Beethoven’s Lessons in Bonn: Kirnberger’sDie wahren Grundsätze zum Gebrauch der Harmonie(1773) and Vogler’sGründe der Kuhrpfälzischen Tonschule in Beyspielen(1776/1778)	0
Rethinking Topic Theory	0
Commentary	0
Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)	0
Diversity in Music Corpus Studies	0
Brahmsian Articulation	0

The Functions of Continuous Processes in Contemporary Electronic Dance Music	0
Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free	0
Commentary	0
Romantic Periods	0
War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”	0
Switching the Backbeat	0
Buffy Sainte-Marie’s Self-Expressive Voice	0
Global Philosophy of Music	0
Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice	0
On the Tonic Added-Sixth Chord in Jazz	0
Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches	0
Review of David Temperley,The Musical Language of Rock(Oxford University Press: 2018)	0
The Melodic Organization ofThe Rite of Spring	0
Giving Voice to a Foxtrot from Auschwitz-Birkenau	0
A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception	0
“Feel the Emptiness”	0
Commentary	0
Review of Megan Kaes Long,Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century(Oxford University Press, 2020)	0
Review of Here for the Hearing: Analyzing the Music in Musical Theater, ed. Michael Buchler and Gregory J. Decker	0
Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”	0
“At One End of the Endless Universe”	0
Commentary	0
Mid-Exposition Modal Contrast and Francesco Galeazzi’s “Characteristic Passage”	0
8-Bit Affordances: Jun Chikuma’s Soundtrack toFaxanadu	0
Translation of Shin Eun-Joo’s “Two Theories of Ujo and Pyeongjo in Pansori: Comparing Baek Daewoong’s an	0
Encoding Post-Spectral Sound	0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel	0
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The Logic of Six-Based Minor for Harmonic Analyses of Popular Music	0
Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021)	0
Philosophizing Time in Sinitic Opera	0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre	0
Melody on the Threshold in Spectral Music	0
Post-Recapitulatory Organization in Beethoven’s Early Sonata-Rondo Finales	0
The Common Cold	0
What Are the Truly Aural Skills?	0
Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1	0
Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy	0
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Emotional Tones and Emotional Texts	0
Introduction	0
Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan	0
Material Connections	0
Willaert’s Elusive Counterpoint Explained	0
Who is Allowed to Be a Music Theorist? Sarah Mary Fitton and Conversations on Harmony (1855)	0
Rethinking Aural Skills Instruction through Cognitive Research	0
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Some Proposed Enhancements to the Operationalization of Prominence	0
The Turn in the Finale of Mahler’s Ninth Symphony as Allusion to Wagner’s Parsifal	0
Emergent Modality	0
Analyzing Vocal Placement in Recorded Virtual Space	0
Performing Meter	0
Music Theory’s Visceral Turn: A Review of Roger Matthew Grant,Peculiar Attunements: How Affect Theory Turned Musical(New York: Fordham University Press, 2020)	0
Billy Joel’s Enharmonic Duplicity	0
Gestural Temporality in Sciarrino’s Recitativo oscuro	0
Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music	0
Metric Modes and Fluid Meter in Mande Drumming Music	0
Public Music Theory’s Neoliberal Learning Outcomes	0
Cadential Melodies	0
Teleology in Verse–Prechorus–Chorus Form, 1965–2020	0
Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10	0
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Translation of Martha Ulhôa de Tupinamba’s “Métrica derramada	0
Commentary	0
Music as Language of the Upper Realm: A Translation of Li Tsing-chu’s A General Treatise on Music (1930/1933)	0
Commentary	0
Reimagining Organicism	0
Extending the Parallel Multiple-Analysis Processor	0
Analyzing Vocables in Rap	0
A Survey of the Impact of COVID-19 on Music Theorists	0
Conference report	0
The Pen as Camera	0
Reconstructing the Paris Conservatory’sCours d’Harmonie1812–1844: Discipline, Sources, Theory, and Method	0
A General Method For Composing a Canon Against a Cantus Firmus Using Sergei Taneev’s Double-Shifting Counterpoint	0
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Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)	0
Gusti Putu Madé Geria’s Theory for Balinese Gamelan	0
A Thread of Recitative Ruffs	0
Melodic Organization and Sequential Ordering of Galant Schemata	0
Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses	0

Rebonds: Structural Affordances, Negotiation, and Creation	0
Gestural Perspectives on Popular-Music Performance	0
Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music	0
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet	0
Out of the Blue	0
TheTechneof YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers	0
Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)	0
Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder	0
Mixture Strategies	0
Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)	0
Archival Research in Music	0
Performing Analysis, Performing Metal	0
Julián Carrillo, Laws of Musical Metamorphosis, and the Landscape of Early Atonal Thought	0
Hands, Fingers, Strings, and Bows	0
Commentary	0
Analyzing the Beat in Metrically Consonant Popular Songs	0
Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II	0
An Idiom of Melodic-Harmonic Divorce	0
Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony inBarton Fink	0
Sociable Musicopoetics in Vijay Iyer and Mike Ladd’s In What Language	0
Anne Teresa De Keersmaeker’sViolin Phaseand the Experience of Time, or Why Does Process Music Work?	0
Xenakis’ Sieve Theory	0
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Talking Scores and the Dismediation of Music Notation	0
Formal Functions of Drum Patterns in Post-Millennial Pop Songs, 2012–2021	0