In theory only. [Vol. 3, no. 7]
Michigan Music Theory Society., Bowling Green State University. College of Musical Arts.

Page  [unnumbered] in theory only journal of the michigan music theory society INDEX OF MUSIC THEORY IN THE UNITED STATES 1955 - 1970 Richmond Browne, Supervising Editor page Foreword ------------------------------------------------------ ii Introduction -------------------------------------------------iii Index of Authors -------------------------------------------- 1 Index of Subjects ------------------------------------------- 111 Index of Pieces --------------------------------------------- 127 Index of Theorists ------------------------------------------ 160 Quintuple Issue October, 1977 - February, 1978 Volume 3, Nos. 7 - 11 Ann Arbor, Michigan Copyright Michigan Music Theory Society and Richmond Browne 1978

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Page  i Marion A. Guck Charles J. Smith David Carlson Stephen M. Gryc Charles T. Horton Claire Boge Co-Editors Associate Editors Business Manager Marianne Kielian EDITORIAL/PRODUCTION STAFFS: Assistant Business Manager Stefan Ehrenkreutz, Hugh Hendrickson, Linda Hormes, Judy Tsou In Theory Only is published monthly by the Michigan Music Theory Society, an organization of graduate students at The University of Michigan. Subscriptions are $8.50 a year; single copies are $0.85 each (some back issues are available). Subscriptions will usually begin with the current issue. Foreign rates somewhat higher. Photocopy reprints of all out-of-print back issues, as well as microfilms of complete Volumes, are available from Xerox University Microfilms (300 North Zeeb Road, Ann Arbor, Michigan 48106). Index of Music Theory in the United States 1955-1970 (ITO 3/7-11) is available to non-subscribers for $7.50. Address all communications to: In Theory Only School of Music The University of Michigan Ann Arbor, Michigan 48109 SPECIAL STAFF for the compilation of this Index: Richmond Browne David Carlson Marion A. Guck Charles T. Horton Charles J. Smith Claire Boge Sandra C. Browne Edwin Hantz Linda Hormes Supervising Editor Compilers/Indexers Compilers All rights reserved. No part of this Index may be reproduced in any form or by any means without prior permission in writing from the copyright holders.

Page  ii ii FOREWORD This special issue of In Theory Only is a comprehensive index designed for use by scholars doing research in all areas of music theory. Of course, all indexes of this sort must seem faulty. If too large, they direct the user to useless items. If too narrowly drawn, they omit just the article sought. This Index is deliberately on the narrow side, and so will have surely failed to list some noticeable items. Things of undeniable value -- some textbooks, musicological descriptions, reviews not addressing the theoretical content of the subject item -- have been excluded. Errors of omission or commission should be reported to the Editors of In Theory Only; a list of additions and corrections will be published in due time. This Editor and ITO have plans for expanding the present volume in the near future. 1970 to 1980 will be indexed; c. 1935 to 1955 is also contemplated; widening the coverage to include items in English published outside the United States also seems feasible. The nicest part of any project is writing the acknowledgments! The original author list was created in 1970 by myself, Edwin Hantz, and Sandra C. Browne, under a fellowship and grant from The University of Michigan Horace H. Rackham School of Graduate Studies. In 1978 the list was revised under my supervision, and the subject, piece, and theorist cross-indexing created by ITO Editors David Carlson, Marion Guck, Charles Horton, and Charles Smith. I will happily omit the usual disclaimer. Since I did not proofread the final copy, I am not responsible for typos and the like, but will cheerfully accept credit (only of an avuncular sort) for the work displayed herein! rb

Page  iii In Theory Only 3/7-11 iii INTRODUCTION This Index is in four parts. Part 1, the main-entry list, is an author index of books, articles, dissertations, reports, reviews, etc. Part 2 is a subject index for this list. Part 3 is an index of pieces analyzed, both in part and comprehensively. Part 4 is an index of historical theorists whose work is discussed. Entries include writings explicating terms or concepts used in musical discourse, analyses which probe beneath the surface characteristics of pieces, and some materials of so-called technical music theory (e.g. orchestration, notation, or figured-bass realization). However, we avoid general delineations of literatures or styles as well as characterizations of composers' outputs, unless theoretically exceptional. Hence, there are few ostensible histories or life-andwork studies included. Many ethnomusicology and musicology papers which address theoretical issues are included, as are some critical essays in more popular periodicals. (We make no claim, however, that we are familiar enough with the ethnological, the historical, or the critical literatures to have found all of the theoretical writings therein.) The Index also includes many studies of the history of theory. Aesthetics and philosophy papers which deal explicitly with music are included, as well as musically relevant general books on aesthetics. Papers on acoustics and psychology which deal with the perception of musical sounds and with theories of music are included, as well as some general books on acoustics. Some theory pedagogy material is included, as well as textbooks on harmony, counterpoint, etc.; all such texts are marked with an asterisk (*). Although no sight-singing texts, anthologies of music for analysis, or music fundamentals texts are included, many reviews of such books are included (and indexed under the PEDAG subject category). We include many reviews from music journals of books not listed, as well as extensive or detailed reviews of musical studies in non-music sources. Some unpublished dissertations, published technical reports, and prefaces to facsimile editions of treatises are included. The Index is limited to materials published between 1955 and 1970, as determined by the publication date for books, the cover date for periodical material, and the completion date for dissertations and theses. Reprints of earlier materials are included. Except for a few multi-volume publications extending beyond 1970, no information as to post-1970 publication (e.g. reprints or later editions) is given. Books and journal articles are included if actually published in the U.S., as are, e.g., Oxford University Press books published in New York. (We have stretched this point by including all the relevant publications of the American Institute of Musicology, whether from Dallas or Rome.) Many reviews of foreign books in U.S. journals are included.

Page  iv iv Introduction Part 1: Author Index (Main Entries) Entries are arranged alphabetically by author, in the following order: Articles/books/dissertations/reports; Moderated discussions; Comments; Letters; Replies; Reviews; Pre-1955 writings commented on by other authors; Cross-references to other entries; Multiple-author entries. Two hypothetical entries, with explanatory notes: *1 Schneider, Irving.2 (1)3 A General Introduction to the Theory of Humps.4 Summy, 1964.5 NS6[COGNTN, FORM; Bach; Schenker]7 8- rev. Bronte, C. (3)/JMT.9 2 (2)3 "A Motivic Connection between Beethoven's 'Waldstein' Sonata and Wuthering Heights".4 JASA 55/7 (Feb59): 335-469.5 [METHOD, SERIAL;; CPEBach]7 8- trans. C. Dickens and D. P. Gumby. - repr. in M. Proust, ed., Computers and the Art of Flower Arranging (McGraw-Hill, 1970). - corn. Bronte, C. (2), Schneider (4); Bronte, E. (5).9 1 A preceding asterisk, if this entry is intended as a text (i.e. if it is so described by the author, or contains exercises). 2 The author(s)'s name(s). 3 A number in parentheses identifying the particular entry by that author ("(1)" is omitted for authors with only one entry). 4 Title. 5 Publication information (see lists of abbreviations below). 6 NS = this entry was not seen by the compilers and was indexed from reviews, title, etc. (some subjects or other data may be followed by question marks). 7 In square brackets, a list of (in this order): Subjects covered (in alphabetical order); Composers whose piece(s) are analyzed (only those composers whose names do not appear elsewhere in the entry are listed here, however -- thus "Beethoven" is not repeated for Schneider (2) above);

Page  v In Theory Only 3/7-11 v Theorists whose work is discussed (if not mentioned elsewhere in the entry). (A double semicolon (;;) may be used to emphasize that a theorist who was also a composer is listed as a theorist - see Schneider (2) above.) 8 Information about translators/editors, reprints, reviews, and comments upon the entry: Reviews are followed by an abbreviation of the publishing journal; Replies to a comment are listed with that comment, separated by commas instead of semicolons. 9 Cross-references to other entries, listed under Bronte, C.; Schneider; and so forth. Each of any set of multiple authors is cross-referenced from an entry under the author's name to the work to which he or she contributed (which is indexed under the "first" author's name). Translators of historical editions of theory treatises are cross-referenced (such editions are listed under the editor, if the editor and translator are different). Most translators, editors, preface-writers, or compilers of more recent works are not cross-referenced, however. Main Entry Keys Journals: ADD = American Doctoral Dissertations CM = Current Musicology CMS = College Music Society Symposium CompArtHum = Computers in the Arts and Humanities DA = Dissertation Abstracts ElMusR = Electronic Music Review JAAC = Journal of Aesthetics and Art Criticism JAES = Journal of the Audio Engineering Society JAMS = Journal of the American Musicological Society JASA = Journal of the Acoustical Society of America JMT = Journal of Music Theory JRME = Journal of Research in Music Education JuilR = Juilliard Review MQ = Musical Quarterly MEJ = Music Educators Journal MD = Musica Disciplina NOTES = Music Library Association NOTES PASUC = Proceedings of the American Society of University Composers PNM = Perspectives of New Music

Page  vi vi Introduction Publishers: Names of publishers and universities are given in abbreviated form throughout. A few publishers have been given special abbreviations: AIM = Dallas & Rome: American Institute of Musicology Appleton = New York: Appleton-Century-Crofts, Inc. Brown = Dubuque, Iowa: William C. Brown, Inc. Broude = New York: Broude Bros. Colorado CMP = Colorado Springs: Colorado College Music Press Dover = New York: Dover Publications, Inc. Doubleday = Garden City, N.J.: Doubleday and Co., Inc. Harcourt = New York: Harcourt, Brace and World Holt = New York: Holt, Rinehart and Winston, Inc. InstMedM = Brooklyn: Institute of Medieval Music Norton = New York: W. W. Norton & Co., Inc. Prentice-Hall = Englewood Cliffs, N.J.: Prentice-Hall, Inc. Summy = Evanston, Ill.: Summy-Birchard Publishing Co. UCalP = Berkeley and Los Angeles: University of California Press Note also the following abbreviations: C = College DM = Department of Music LC# = Library of Congress microfilm call number P = Press SM = School of Music UM# = University Microfilms (Ann Arbor) order number (for dissertations listed in DA without a UM#, use LC# to order) UR# = University of Rochester Press microcard copy no. (Tilton, Union List.. Series: CCMPT = Colorado College Music Press Translations (Colorado CMP) CSM = Corpus Scriptorum Musicorum (AIM) MS = Musicological Studies (InstMedM) MSD = Musicological Studies and Documents (AIM) MTT = Music Theorists in Translation (InstMedM) General Abbreviations: annot. = annotated/annotater; com. = comment(s) on this entry by; excpt. = excerpt(s); pb. = paperback; repr. = reprinted; rev. = reviewed by/review; rvsd. = revised Other standard abbreviations (ed., trans., and so on) are also used.

Page  vii In Theory Only 3/7-11 vii Subject Headings: (More complete descriptions of the range of each category are given in the subject index.) ACOUST = Acoustics ALEA = Aleatory CHORD = Chordal Analysis (with respect to functional tonali CHROM = Chromaticism COGNTN = Cognition, Perception COMPUT = Computers CPTMED = Medieval Counterpoint CPTREN = Renaissance Counterpoint CPTSP = Species Counterpoint CPTTON = Tonal Counterpoint CPT20 = 20th-century Counterpoint ELECT = Electronic Music FIGBASS = Figured/Thorough Bass FORM = Form, Problems of Text-setting FORTE = Forte's Theory of Sets and Set-complexes HST-THRY = History of Theory (general studies) INFLEC = Inflection (Dynamics, Texture, Space, etc.) INFO = Information Theory JAZZ LINEAR = Linear Analyses (not necessarily Schenkerian) LING = Linguistics, Music as a Language LOGIC = Logical/Formal Systems METHOD = Analytical Methodology MODAL = Modality MONOPH = Monophony (including chant) MOTIV = Motivic Analyses NONWEST = Non-Western Music NOTAT = Notation ORCH = Orchestration, Instrument Characteristics/Techniques PEDAG = Theory Pedagogy PERF = Performance Problems, Contributions of the Performer PHEN = Phenomenology PHIL = Philosophy/Aesthetics PTONAL = Post-Tonal Systems, Non-Traditional Tonal Systems RHYTHM (including Meter, Accent, Time) SCHENKER = Schenker's Theories, Linear Analyses in a Tonal SERIAL = Serial Analyses/Systems, Ordered Sets SETS = Unordered Sets SKETCH = Sketchbook Studies SOCIOL = Sociology of Music/Theory/Composition STYLE = Theory of Style TONAL = Theory of Tonality ty) Context Parts 2, 3, and 4: Subject, Piece, and Theorist Indexes References to published books are italicized. References to texts are preceded by asterisks. Reviews and comments are indexed under no subject categories, pieces, or theorists unless they are especially thorough or detailed, or unless they touch on new subjects.

Page  viii viii Introduction What could be examined by the indexers was limited largely to what was available in The University of Michigan Libraries. Materials not seen are indexed insofar as possible from reviews or titles. Most dissertations are indexed from abstracts published in Dissertation Abstracts. Subject index: Indexing is according to the 42 subject categories listed above. Note that several of these (intentionally broad) categories overlap to some extent, e.g. SCHENKER and LINEAR, SERIAL and MOTIV, FORTE and SETS, and TONAL and CHORD. Subject indexing is necessarily more subjective at the boundaries of such category pairs; users of the Index should familiarize themselves with the descriptions of the categories given in the Subject index. No subject indexing is provided for the portion of historical treatises dealing in a straightforward manner with Medieval/Renaissance notions of the basics of music (i.e. the monochord, hexachords, the Guidonian hand, intervals, etc.). Piece index: The smallest musical unit recognized is the piece; no sub-headings are provided for individual movements, arias, etc. In cases where the notion of "piece" is unclear, we have applied our intuitions. An entry is indexed under a composer's name alone if it includes a more general discussion of compositional strategy with brief references to a large number of pieces, or (for not-seen material) an analysis of some unidentified piece(s) by this composer. All anonymous pieces (chant, motets, etc.) are listed together under "Anonymous". Note that the segment of any one piece actually dealt with in an entry may be very short. Theorist index: This is an index of theorists whose works were first published (for the most part) before 1955. (Discussions of writings by contemporary theorists are referenced as comments after the entries commented on. Note also that there are special subject categories for discussions of Forte's set theory and Schenker's theories.) Ancient Greek and Arabic theorists are not indexed individually, but under "Greek theory" and "Arab theory" respectively. Since we have, no doubt, not been entirely consistent in catching all references to more unfamiliar theorists, anyone who is researching relatively obscure theorists is advised to consult the general HST-THRY subject category, as well as any references under those theorists' names in the Theorist index. dc/mag/cth/cjs

Page  1 In Theory Only 3/7-11 1 PART 1: Author Index Anonymous. "A Glossary of the Elements of Graphic Analysis". Music Forum 1 (67): 260-268. [LINEAR, METHOD, NOTAT, SCHENKER; Mendelssohn] Abelson, Robert P. Review: Farnsworth. JMT 2/2 (Nov58): 260-263. Adkins, Cecil D. "The Theory and Practice of the Monochord". PhD diss., StUIowa, 1963. (LC# 64-3344; DA 24/11 (May64): 4723-4724) [ACOUST, HST-THRY; Greek thry] Adorno, Theodor W. "Richard Strauss" (2 parts). PNM 4/1 (FaWi65): 14-32, and 4/2 (SpSu66): 113-129. - trans. Samuel and Shierry Weber. Ahnell, Emil G. "The Concept of Tonality in the Operas of Jean-Philippe Rameau". PhD diss., UIllinois, 1957. (UM# 25,188; LC# Mic 58-4366; DA 18/2 (Feb58): 605-606) Albersheim, Gerhard. (1) "Mind and Matter in Music". JAAC 22/3 (Sp64): 289-294. [ALEA, PHIL].* (2) "The Sense of Space in Tonal and Atonal Music". JAAC 19/1 (Fa60): 17-30. [PHIL, TONAL] Aldrich, Putnam. (1) "On the Interpretation of Bach's Trills". MQ 49/3 (Jul63): 289-310. [HST-THRY, NOTAT, PERF]. (2) Rhythm in Seventeenth-Century Italian Monody. Norton, 1966. [HST-THRY, NOTAT, RHYTHM; Brunelli] -rev. Burrows (3)/JAMS; Collins (6)/NOTES; Gushee (2.)/JMT. _. (3) "'Rhythmic Harmony' as Taught by Johann Philipp Kirnberger". In Robbins Landon/Chapman: [?]. NS[RHYTHM?] Aliferis, James. "The Aliferis Music Achievement Tests" (Comment on Kraehenbuehl (2)). JMT 2/2 (Nov58): 237-238. - com. Kraehenbuehl (1)., and John E. Stecklein. "Measurement of Music Achievement at College Entrance". Journal of Applied Psychology 39/4 (Aug55): 263-272. [COGNTN, PEDAG] -com. Kraehenbuehl (2), Aliferis, Kraehenbuehl (1). Allen, David. "Octave Discriminability of Musical and Non-musical Subjects". Psychonomic Science 7/12 (25Apr67): 421-422. [COGNTN] Ames, Van Meter. "What Is Music?". JAAC 26/2 (Wi67): 241-249. [PHIL] Anderson, Steven. Review: Leo Kraft, A New Approach to Ear Training (Norton, 1967); and Paul Schwartz, Hearing Music with Understanding (Educational Methods, 1968). JMT 13/1 (Sp69): 152-155. [PEDAG]

Page  2 Author Index (Andrews) Andrews, H. K. The Technique of Byrd's Vocal Polyphony. NY: Oxford UP, 1966. [CPTREN, MODAL] - rev. Kenney (2)/NOTES. Anthony, Donald B. "A General Concept of Musical Time with Special Reference to Certain Developments in the Music of Anton Webern". PhD diss., StanfordU, 1968. (LC# 68-11,265; DA 29/3 (Sep68): 922-A) [METHOD, PHIL, RHYTHM] Apel, Willi. (1) Gregorian Chant. Bloomington: UIndianaP, 1958. [MODAL, MONOPH, NOTAT] - rev. Velimirovic (2)/JAMS; Weakland (2)/NOTES.. (2) The Notation of Polyphonic Music 900-1600. 5th ed., Cambridge: Medieval Academy of America, 1961. (1st ed., 1941) [HST-THRY, NOTAT, RHYTHM; Anon. Ad organum, Anon. IV, Bermudo, Franco, Gafurius, Garlandia, Glareanus, Handlo, Jacobus, Jerome, Lambert, Morley, Muris, Odington, Prosdocimus, Ramos, Riemann, Tinctoris, Vitry] Appleton, Jon H. (1) "Reevaluating the Principle of Expectation in Electronic Music". PNM 8/1 (FaWi69): 106-111. [COGNTN, ELECT, INFO]. (2) Review: Gurney. NOTES 24/1 (Sep67): 37-38. Archibald, Bruce. (1) "Harmony in the Early Works of Alban Berg". PhD diss., HarvardU, 1965. (ADD 64-5: 168) NS[PTONAL?]. (2) "The Harmony of Berg's 'Reigen'". PNM 6/2 (SpSu68): 73-91. - excpt. of Archibald (1)? [MOTIV, PTONAL] S(3) Review: Bassett (1). NOTES 25/1 (Sep68): 43-44. Arnold, Franck T. The Art of Accompaniment from a Thorough-bass, as Practised in the XVIIth & XVIIIth Centuries. 2 vols. repr. ed., Dover, 1965. (orig. ed., 1931) [FIGBASS, HST-THRY, PERF; CPEBach, Banchieri, Blow, Caccini, Daube, Gasparini, Geminiani, Heinichen, Keller, Kellner, Kirnberger, Locke, Marpurg, Mattheson, Niedt, Ortiz, Praetorius, Saint Lambert, Schr~ter, GMTelemann, GPTelemann, Treiber, Turk, Werckmeister] - intro. Denis Stevens. Asenjo, F. G. (1) "The Aesthetics of Igor Stravinsky". JAAC 26/3 (Sp68): 297-305. [ELECT, PHIL]. (2) "A Phenomenological Analysis of Stravinsky's Threni". Forum (UHouston) 4/1 (63): [?]. NS[PHEN]. (3) "Polarity and Atonalism". JAAC 25/1 (Fa66): 47-52. [PTONAL] Ashford, Theodore H. A. "An Investigation of Programmed Instruction in the Fundamentals of Music Theory". PhD diss., NorthwesternU, 1965. (LC# 65-12,043; DA 26/6 (Dec65): 3387) [PEDAG]. See Kobrin/Ashford.

Page  3 In Theory Only 3/7-11 Atcherson, W. T. (1) "Modal Theory of 16th-century German Theorists". PhD diss., IndianaU, 1960. (LC# Mic 60-6280; DA 21/9 (Mar61): 2736-2737) [HST-THRY, MODAL; Glareanus, Hoffmann]. (2) "Theory Accommodates Practice: Confinalis Theory in Renaissance Music Treatises". JAMS 23/2 (Su70): 326-330. [MODAL; Agricola, Bernard, Cochlaeus, Coclico, Dressier, Faber, Glareanus, Hucbald, Jacobus, Jerome, Oridryus] * AtKisson, Harold F. Basic Counterpoint. NY: McGraw-Hill, 1956. -rev. Loach (2)/JMT. [CPTREN, CPTTON] Attneave, Fred. "Stochastic Composition Processes". JAAC 17/4 (Jun59): 503-510. [ALEA, INFO, PHIL] Augst, Bertrand. "Descartes' Compendium on Music". Journal of the History of Ideas 26/1 (JanMar65): 119-132. [PHIL] Aulabaugh, Alan R. "An Analytical Study of Performance Problems in the Keyboard Sonatas of F. J. Haydn". PhD diss., StUIowa, 1958. (LC# Mic 58-1602; DA 18/6 (Jun58): 2160) [PERF;; CPEBach, LMozart, Quantz] Austin, William W. (1) Music in the Twentieth Century: From Debussy through Stravinsky. Norton, 1966. [Bart6k, Debussy, Webern] - rev. Swift (3)/JMT; Wuorinen (7)/PNM (com. on rev. Craig, Wuorinen (5)).. (2) "Toward an Analytical Appreciation". In Austin, ed., Debussy, Prelude to "The Afternoon of a Faun" (Norton, 1970): 71-96. (Norton Critical Score ed.) [MOTIV]. (3) "Webern and the Tradition of the Symphony". In Moldenhauer: 78-85. ___. (4) Review: Zuckerkandl (1). JAMS 14/1 (Sp61): 88-89. Babbitt, Milton. (1) "Concerto for Violin & Orchestra, Op. 36". In The Music of Arnold Schoenberg Vol. 1 (Columbia Records (M2L 279/M2S 679), 1963): [13-15]. [SERIAL] -repr. in Boretz/Cone. -cqm. Perle (2), Babbitt (15). _. (2) "Edgard Var-se: A Few Observations of His Music". PNM 4/2 (SpSu66): 14-22. [INFLEC, MOTIV, RHYTHM, SETS]. (3) "An Introduction [to the Issue]". JMT 7/1 (Sp63): [2 unnumbered pp.]. [ELECT]. (4) "An Introduction to the Music". In Schoenberg, Moses and Aaron (Columbia Records (K3L-241, [1957?]): [4-6]. [SERIAL] - repr. in Boretz/Cone.. (5) "An Introduction to the R.C.A. Synthesizer". JMT 8/2 (Wi64): 251-265. [ELECT]

Page  4 Author Index (Babbitt) Babbitt, Milton. (6) "[On Relata I]". In Hines: 11-38. [INFLEC, ORCH, PERF, PHIL, SERIAL] - repr. in PNM 9/1 (FaWi70): 1-22.. (7) "Remarks on the Recent Stravinsky". PNM 2/2 (SpSu64): 35-55. [PTONAL, SERIAL] -repr. in Boretz/Cone. * (8) "Schoenberg, Das Buch der hangenden Garten, Opus 15 for Voice and Piano". Son-Nova Records (2), [1964?]. - repr. in Boretz/Cone..(9) "Set Structure as a Compositional Determinant". JMT 5/1 (Apr61): 72-94. [METHOD, SERIAL, SETS; Schoenberg] ___. (10) "The Structure and Function of Music Theory: I". CMS 5 (Fa65): 49-60. [METHOD, PHIL, SCHENKER, SERIAL, TONAL]. (11) "Twelve-Tone Invariants as Compositional Determinants". MQ 46/2 (Apr60): 246-259. [METHOD, SERIAL, SETS; Webern] - repr. in Lang (2). - com. Powell, M. (2).. (12) "Twelve-Tone Rhythmic Structure and the Electronic Medium". PNM 1/1 (Fa62): 49-79. [ELECT, RHYTHM, SERIAL] - com. Browne (6); Forte (17).. (13) "The Use of Computers in Musicological Research". PNM 3/2 (SpSu65): 74-83. [COMPUT] - repr. in Conference on the Use of Computers in Humanistic Research -- Rutgers and IBM (IBM, 1966).. (14) "Who Cares if You Listen?". High Fidelity 8/2 (Feb58): 38-40, 126-127. [PHIL, SOCIOL] - repr. in Schwartz, E./Childs.. (15) Reply to Perle (2). PNM 2/1 (FaWi63): 127-132.. (16) Review: Spinner (2). JuilR 7/3 (Fa60): 25.,interview. See Fowler., panel. See Westergaard (7). Babitz, Sol, ed./trans. (1) "Giuseppe Tartini, Treatise on Ornamentation". JRME 4/2 (Fa56): 75-102. [PERF], ed./trans. (2) Giuseppe Tartini, Treatise on the Ornaments of Music. LA: Early Music Laboratory, 1970. NS[PERF]. (3) Letter: "Notes Inigales" (Comment on Neumann, F. (2)). JAMS 20/3 (Fa67): 473-476. * Backus, John. (1) The Acoustical Foundations of Music. Norton, 1969. [ACOUST, INFLEC] - rev. Randall (5)/PNM; Slawson (2)/JMT; Slawson (3)/PNM.. (2) "Pseudo-Science in Music". JMT 4/2 (Nov60): 221-232. [ACOUST, RHYTHM; Schillinger] (3) "Die Reihe -- A Scientific Evaluation". PNM 1/1 (Fa62): 160-171. [ACOUST] -com. Forte (17); Perle (12).

Page  5 In Theory Only 3/7-11 Bailey, Marshall. "Duodecuple Notation". American Composers Alliance Bulletin 10/3 (Sep62): 12-14. [NOTAT, SERIAL] Bakeman, Roger. See Selleck/Bakeman. Baker, Robert A. "A Statistical Analysis of the Harmonic Practice of the 18th and Early 19th Centuries...". DMA diss., UIllinois, 1963. (LC# 63-5069; DA 24/8 (Feb64): 3364) [CHORD, INFO]. See Hiller/Baker (1) - (3). Bakst, James. "The Proper Nature of a Course in Harmony". JMT 3/2 (Nov59): 285-292. [PEDAG, PHIL] Barbour, J. Murray. (1) "The Principles of Greek Notation". JAMS 13/1-3 (60): 1-17. [NOTAT], intro. (2) Robert Smith, Harmonics Or The Philosophy Of Musical Sound (facs. ed., NY: Da Capo, 1966). [ACOUST]. (3) Comment on Olson/Belar. JASA 34/1 (Jan62): 128-129.. (4) Review: Jacobi (1); and facs. eds. of 4 Rameau treatises (Broude, 1965). NOTES 25/2 (Dec68): 241-242.. (5) Review: Lloyd. NOTES 22/2 (Wi65/66): 397-398.. (6) Review: Martin Vogel, Die Enharmonik der Griechen (DUsseldorf, 1963). NOTES 20/4 (Fa63): 629-631. [ACOUST]. See Kuttner., and Fritz A. Kuttner. (1) Meantone Temperament in Theory and Practice. NY: Musurgia Records, 1958. NS[ACOUST] - rev. Will (1)/JMT., and. (2) The Theory and Practice of Just Intonation. NY: Musurgia Records, 1958. NS[ACOUST] - rev. Will (1)/JMT. Barkin, Elaine. (1) "Lawrence K. Moss: Three Rilke Songs from 'Das Stundenbuch' (1963)". PNM 6/1 (FaWi67): 144-152. [FORM, PTONAL, SERIAL, SETS]. (2) Letter: Comment on Westergaard (3). PNM 5/1 (FaWi66): 170. [SERIAL; Babbitt]. (3) Review: Brindle (4). MQ 55/1 (Jan69): 125-131.. (4) Review: Anthony Payne, Schoenberg (London, 1968). PNM 8/1 (FaWi69): 139-141. Barlow, Wayne. (1) "Electronic Music and Music Education". ElMusR 6 (Apr68): 40-43. [ELECT, INFLEC]. (2) Review: Acoustique Musicale [collection of monographs] (Paris, 1959). JMT 5/2 (Nov61): 321-325. [ACOUST]. (3) Review: Benade. JMT 6/1 (Sp62): 139-142.

Page  6 6 Author Index (Baron) Baron, John H. 462-474. "Monody: A Study in Terminology". MQ 54/4 (Oct68): (HST-THRY; Caccini, F4tis, Kiesewetter, Martini, Riemann] Bartolozzi, Bruno. "Proposals for Changes in Musical Notation". JMT 5/2 (Nov61): 297-301. [NOTAT] - trans. Brooks Shepard. Basart, Ann Phillips. Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music. UCalP, 1961. [ALEA, ELECT, SERIAL] - rev. Coover (2)/JMT; Newlin (1)/NOTES. * Bassett, Leslie. (1) Manual of Sixteenth-Century Counterpoint. Appleton, 1967. [CPTREN] - rev. Archibald (3)/NOTES.. (2) Review: Green, D. (1). JMT 9/2 (Wi65): 318-319. Batstone, Philip. (1) "Multiple Order Functions in Twelve-Tone Music". PhD diss., PrincetonU, 1965. (LC# 65-13,125; DA 26/7 (Jan66): 3993) [SERIAL] (2) "Musical Analysis as Phenomenology". PNM 7/2 (SpSu69): 94-110. [COGNTN, METHOD, PHEN, RHYTHM, SCHENKER; Webern] Bauer-Mengelberg, Stefan, and Melvin Ferentz. Tone Rows". PNM 3/2 (SpSu65): 93-103. - com. Lewin, D. (13). "On Eleven-Interval Twelve[COMPUT, SERIAL] Baumgartner, H. Leroy. (1) Review: H. K. Andrews, An Introduction to the Technique of Palestrina (London, 1958). JMT 4/1 (Apr60): 109-112. [CPTREN]. (2) Review: Alvin Bauman and Charles W. Walton, Elementary Musicianship (Prentice-Hall, 1959); Adele T. Katz and Ruth Halle Rowen, Hearing -- Gateway to Music (Summy, 1959); and Howard A. Murphy and Robert A. Melcher, Music for Study (Prentice-Hall, 1960). JMT 4/2 (Nov60): 253-255. [PEDAG] * (3) Review: Berry (1). JMT 10/2 (Wi66): 365-369.. (4) Review: Norman; and Peter Wishart, Harmony (London, 1957). JMT 1/2 (Nov57): 214-218. [PEDAG] * Baxter, William H., Jr. Basic Studies in Music. Boston: Allyn & Bacon, 1968. NS [CHORD, TONAL] - rev. Whittenberg (2)/JMT. Beach, David. (1) "Analysis Symposium: Beethoven, Piano Sonata in C, Op. 53, Mvt. II". JMT 13/2 (Wi69): 188-203. [LINEAR, SCHENKER, SKETCH] 0 (2) (Sp67). (3) "The Functions of the Six-Four Chord in Tonal Music". JMT 11/1: 2-31. [CHORD, HST-THRY, SCHENKER; Beethoven, Brahms; Albrechtsberger, Fetis, Hauptmann, Heinichen, Helmholtz, Kirnberger, Marpurg, Rameau, Riemann, Sorge, GWeber] "A Schenker Bibliography". JMT 13/1 (Sp69): 2-37. [(SCHENKER] 0 (4) Review: Brye. JMT 10/1 (Sp66): 172-174.

Page  7 In Theory Only 3/7-11 Beach, David. (5) Review: Shir-Cliff/Jay/Rauscher. JMT 9/2 (Wi65): 309-313. Bean, Calvert. "Information Theory Applied to the Analysis of a Particular Formal Process in Tonal Music...". DMA diss., UIllinois, 1961. (LC# 61-4254; DA 22/6 (Dec61): 2022-2023) [INFO; Beethoven -rvsd. excpt. pub. as Hiller/Bean. Berg, Hindemith, Mozart]. See Hiller/Bean. Beardsley, Monroe C. "The Meaning of Music". In Aesthetics: Problems in the Philosophy of Criticism (Harcourt, 1958): 318-366. [PHIL] Beauchamp, James W. A Computer System for Time-Variant Harmonic Analysis and Synthesis of Musical Tones. Technical Report #15, UIllinois Exper. Music Studio, 1967. [ACOUST, COMPUT, ELECT] - rvsd. pub. as article in von Foerster/Beauchamp: 19-62. - com. Howe (1).. See Hiller/Beauchamp. Becker, Judith. "The Anatomy of a Mode". Ethnomusicology 13/2 (May69): 267-279. [METHOD, MODAL, STYLE] Behrman, David. "What Indeterminate Notation Notates". PNM 3/2 (SpSu65): 58-73. [INFLEC, NOTAT, RHYTHM] Bekesy, Georg von. "Improved Musical Dynamics by Variation of Apparent Size of Sound Source". JMT 14/2 (Wi70): 141-164. [ACOUST, COGNTN] Belar, Herbert. See Olson/Belar. Benade, Arthur H. Horns, Strings and Harmony. Doubleday, 1960. - rev. Barlow (3)/JMT. [ACOUST] Berard, Wilford W. "The Eleventh and Thirteenth Partials". JMT 5/1 (Apr61): 95-107. [ACOUST] - com. Ricks. Berger, Arthur. (1) "Aaron Copland's 'Piano Fantasy'". JuilR 5/1 (Wi57/58): 13-27. [SERIAL] _ (2) "New Linguistic Modes and the New Theory". PNM 3/1 (FaWi64): 1-9. [METHOD].* (3) "Problems of Pitch Organization in Stravinsky". PNM 2/1 (FaWi63): 11-42. [PTONAL, SETS] - repr. in Boretz/Cone. Bergquist, Peter. (1) "Mode and Polyphony around 1500: Theory and Practice". Music Forum 1 (67): 99-161. [CPTREN, LINEAR, METHOD, MODAL, SCHENKER, TONAL; Agricola, "Aron", Brumel, Josquin; Aron] __, trans. (2) Pietro Aaron, Toscanello in Music. 3 vols. ColoradoCMP, 1970. (CCMPT #4) [ACOUST, CPTREN, MODAL]

Page  8 Author Index (Bergquist) Bergquist, Peter. (3) "The Theoretical Writings of Pietro Aaron". PhD diss., ColumbiaU, 1964. (LC# 65-7496; DA 27/12 (Jun67): 4275-A) [ACOUST, CPTREN, MODAL]. (4) Review: Pietro Aaron, Trattato della natura.. (facs. 1525 ed., Broude, 1966). NOTES 23/3 (Mar67): 529-530. [MODAL]. (5) Review: Daniels (1). CM 1 (Sp65): 97-100.. (6) Review: Marco/Palisca. NOTES 27/1 (Sep70): 41-42.. (7) Review: Miller, C. (3); and Young. JAMS 23/1 (Sp70): 144-150.. (8) Review: Slatin. Council for Research in Music Education Bulletin 16 ([Sp69]): 40-43. Bergsma, William. "L[iterature] & M[aterials] Revisited". JuilR 2/3 (Fa55): 29-36. [PEDAG] Berleant, Arnold. "Music as Sound and Idea" (Comment on Carpenter (3); and Crocker (5)). CM 6 (68): 95-100. [FORM, PHIL] - cor. Carpenter (4). * Berry, Wallace. (1) Form in Music. Prentice-Hall, 1966. [FORM, MOTIV] - rev. Baumgartner (3)/JMT.. (2) Review: Cooper, G./Meyer, L. NOTES 20/1 (Wi62/63): 60-61.. (3) Review: Jacobi (4). NOTES 17/3 (Jun60): 404-405. Binkerd, Gordon W. (1) "The Professional Music Theorist -- His Habits and Training" (Comment on Kraehenbuehl (4)). JMT 4/1 (Apr60): 77-79. [PEDAG]. (2) Review: Piston (2). JAMS 8/2 (Su55): 138-140. Binkley, Timothy. "Langer's Logical and Ontological Modes" (incl. comments on Langer (1), (2), and (4)). JAAC 28/4 (Su70): 455-464. [PHIL, RHYTHM; Bartok] Blacking, John. "Tonal Organization in the Music of Two Venda Initiation Schools". Ethnomusicology 14/1 (Ja70): 1-56. [LING, METHOD, NONWEST] Blum, Fred. (1) "Another Look at the Montpellier Organum Treatise". MD 13 (59): 15-24. [CPTMED] S(2) "Santayana's Music Aesthetics". JAMS 11/1 (Sp58): 20-28. [FORM, PHIL]. (3) "Susanne Langer's Musical Aesthetics" (incl. comments on Langer (1)? and (4)?). PhD diss., StUIowa, 1959. (LC# Mic 59-3786; DA 20/3 (Sep59): 1037) [LING, PHIL]. (4) Review: Mitchell, D. NOTES 23/4 (Jun67): 742-743. Boatwright, Howard. (1) "Analysis Symposium: Mozart, Menuetto in D (K. 355/594a)". JMT 10/1 (Sp66): 22-31. [MOTIV] - com. Jackson (1). (2) "Contemporary Tone-Structures" (Comment on Forte (9)). JMT 2/1 (Apr58): 85-92. [ACOUST]. (3) "The Crisis in Theory Teaching". CMS 5 (Fa65): 42-48. [METHOD, PEDAG]

Page  9 In Theory Only 3/7-11 9 * Boatwright, Howard. (4) Introduction to the Theory of Music. Norton, 1956. NS[CHORD?, MODAL, MONOPH] - rev. Tischler (6)/NOTES; White, J./JMT. __. (5) "Ives' Quarter-Tone Impressions". PNM 3/2 (SpSu65): 22-31.. (6) Review: Culver. JMT 1/2 (Nov57): 223-224.. (7) Review: Forte (4). JMT 1/1 (Mar57): 112-118. - com. Forte (9), Boatwright (2). ___. (8) Review: Hanson, H. JAMS 17/3 (Fa64): 408-413., ed./annot. See Ives (2). Bobbitt, Richard. "The Physical Basis of Intervallic Quality and Its Application to the Problem of Dissonance". JMT 3/2 (Nov59): 173-207. - cor. Temperley. [ACOUST] Boehm, Laszlo. Modern Music Notation. NY: G. Schirmer, 1961. [NOTAT, ORCH] Boomsliter, Paul C., and Warren Creel. (1) "Extended Reference: An Unrecognized Dynamic in Melody". JMT 7/1 (Sp63): 2-22. [ACOUST, COGNTN]. (2) "The Long Pattern Hypothesis in Harmony and Hearing". JMT 5/1 (Apr61): 2-31. [ACOUST, COGNTN] ___ (3) "Ratio Relationships in Melody". JASA 34/9 (Sp62): 1276-1277. [ACOUST] Boretz, Benjamin. (1) "Composing with Electronics: Sensitive Mirrors for Subtle Echoes". PASUC 5 (70): 76-82. [ELECT, INFLEC, PHIL] ___ (2) "The Construction of Musical Syntax (I)". PNM 9/1 (FaWi70): 23-42. [LOGIC, METHOD, PHIL, PTONAL, SERIAL, SETS, TONAL] - repr. of excpt. of Boretz (6). ___ (3) "Conversation with Charles Wuorinen". Contemporary Music Newsletter 3/7-8 (NovDec69): 4-8. [PHIL] ___ (4) "Conversation with Elliott Carter". PNM 8/2 (SpSu70): 1-22. [INFLEC, ORCH, PHIL, RHYTHM] - excpt. in Contemporary Music Newsletter 2/7-8 (NovDec68): 1-4. ___ (5) "Current Chronicle" (Sessions). MQ 47/2 (Jul61): 386-396. [SERIAL] _. (6) "Meta-Variations: Studies in the Foundations of Musical Thought..." (incl. comments on Johnston (2); Kassler (4); and Mitchell, W. (5)). PhD diss., PrincetonU, 1970. (LC# 71-1584; [DA 31/12 (Jun71): 6643-A]) [LINEAR, LING, LOGIC, METHOD, MOTIV, NONWEST, PHIL, PTONAL, RHYTHM, SCHENKER, SETS, STYLE, TONAL; Brahms, Schoenberg, Stravinsky, Wagner, Webern] - excpts. repr. as Boretz (7) and (22); Boretz (21); Boretz (2). ____. (7) "Meta-Variations: Studies in the Foundations of Musical Thought (I)" (incl. comments on Johnston (2); and Kassler (4)). PNM 8/1 (FaWi69): 1-74. [LING, LOGIC, METHOD, NONWEST, PHIL, STYLE] -repr. of excpt. of Boretz (6); excpt. repr. as Boretz (22). - com. Johnston (4), Boretz (23).

Page  10 10 Author Index (Boretz) Boretz, Benjamin. (8) "Music" (Cage and the Avant-garde). Nation 194/5 (3Feb62): 107-108. [ALEA, PHIL] S(9) "Music" (Carter and Babbitt). Nation 196/14 (6Apr63): 294-296. * (10) "Music" (Carter Piano Concerto). Nation 204/14 (3Apr67): 445-446. _ (11) "Music" (Copland). Nation 195/15 (10Nov62): 202-204. [SERIAL] * (12) "Music" (Criticism). Nation 206/9 (26Feb68): 283-285. [PHIL] * (13) "Music" (Darmstadt and Performers). Nation 196/11 (16Mar63): 233-236. [ALEA, PERF, PHIL] ___ (14) "Music" (Hindemith). Nation 198/5 (27Jan64): 104-106. ___ (15) "Music" (Ruggles). Nation 202/10 (7Mar66): 278-280.. (16) "Music" (The Standard Repertory). Nation 194/11 (17Mar62): 242-244. [NOTAT, PERF, PHIL; Beethoven] ___ (17) "Music: Stravinsky's Abraham and Isaac". Nation 200/2 (llJan65): 39-40.. (18) "Music" (Wagner). Nation 198/2 (6Jan64): 37-39. _. (19) "Nelson Goodman's Languages of Art from a Musical Point of View" (Comment on Goodman). Journal of Philosophy 67/16 (20Aug70): 540-552. [METHOD, NOTAT, PHIL]. (20) "A Note on Discourse and Contemporary Musical Thought". PNM 4/2 (SpSu66): 76-80. [METHOD] ___ (21) "Sketch of a Musical System (Meta-Variations, Part II)". PNM 8/2 (SpSu70): 49-111. [COGNTN, LOGIC, METHOD, PERF, PHIL, RHYTHM, SETS] - repr. of excpt. of Boretz (6). ___. (22) "The Theoretical Character of Musical Entities" (incl. comment on Johnston (2)). PASUC 3 (Apr68): 22-31. [METHOD, PHIL] - excpt. from Boretz (6) and (7). - com. Johnston (4), Boretz (23). * (23) Reply to Johnston (4). PNM 9/1 (FaWi70): 156-157. [COGNTN]. (24) Review: Perle (11). PNM 1/2 (Sp63): 125-136. [Schoenberg], and Edward T. Cone, ed. Perspectives on Schoenberg and Stravinsky. Princeton UP, 1968. - incl. Babbitt (1), (4), (7), (8); Berger (3); Cone (10); Craft (1); Lewin, D. (8), (11); Schoenberg (1); Spies (4), (5), (6); and Watkins. Borris, Siegfried. "Structural Analysis of Webern's Symphony Op. 21". In Glowacki: 231-242. [SERIAL] - trans. Ursula Klein. Bortolotto, Mario. "New Music at Palermo". PNM 2/2 (SpSu64): 159-163. - trans. David Burrows. [ALEA] Boulez, Pierre. (1) "Alea". PNM 3/1 (FaWi64): 42-53. [ALEA] - trans. David Noakes and Paul Jacobs.

Page  11 In Theory Only 3/7-11 11 Boulez, Pierre. (2) "'At the ends of fruitful land...' (Paul Klee)". Die Reihe 1 (58): 19-29. [ELECT, INFLEC, RHYTHM]. (3) "'Sonate, que me veux-tu?'". PNM 1/2 (Sp63): 32-44. [Boulez] - trans. David Noakes and Paul Jacobs.. (4) "Toward a Technology". In Notes of an Apprenticeship (NY: Knopf, 1968). (orig. Fr. ed., 1966) [RHYTHM, SERIAL; Stravinsky] - trans. Herbert Weinstock. Bower, Calvin M. "Boethius' The Principle of Music: An Introduction, Translation and Commentary". PhD diss., PeabodyC, 1967. (LC# 67 -15,005; DA 28/6 (Dec67): 2279-A) [HST-THRY] Boyden, David D. "The Missing Italian Manuscript of Tartini's Traite des Agremens". MQ 46/3 (Jul60): 315-328. Boykan, Martin. (1) "Andrew Imbrie: Third Quartet". PNM 3/1 (FaWi64): 139-146. [PTONAL]. (2) "Current Chronicle" (Fine). MQ 48/3 (Jul62): 385-387. [SERIAL]. (3) "Elliott Carter and the Postwar Composers". PNM 2/2 (SpSu64): 125-128. [PHIL, PTONAL]. (4) "'Neoclassicism' and Late Stravinsky". PNM 1/2 (Sp63): 155-169. [CPT20, PTONAL, SERIAL]. (5) "Seymour Shifrin: Satires of Circumstance". PNM 5/1 (FaWi66): 163-169. [FORM, SETS]. (6) "The Webern Concerto Revisited" (Comment on Jones, J.). PASUC 3 (Apr68): 74-85. [ORCH, RHYTHM, SETS]. (7) Letter: Comment on Kresky (1). PNM 7/2 (SpSu69): 190. -com. Kresky (2)., panel. See Westergaard (7). Bradshaw, Merrill K. "Tonal Structure in the Early Works of Anton Webern..". DMA diss., UIllinois, 1962. (LC# 62-6106; DA 24/2 (Aug63): 763) [CHORD, CHROM, LINEAR, PTONAL, SCHENKER, TONAL] Bragard, Roger, ed. Jacobus of Liege, Speculum Musicae. 7 vols. AIM, (v. 1) 1955; (v. 2) 1961; (v. 3) 1963; (v. 4) 1965; (v. 5) 1968; [(v. 6) 1973; (v. 7)?]. (CSM #3) - rev. (v. 1) Kirby (2)/JAMS; (v. 1) Waite, W. (2)/NOTES. Branning, Howell P. "Audition Preferences of Trained and Untrained Ears on Hearing Melodic and Harmonic Intervals when Tuned in Just Intonation or Pythagorean Ratios". DMA diss., UTexas, 1967. (LC# 68-4242; DA 28/10 (Apr68): 4197-A) [ACOUST, COGNTN] Brant, Henry. "Space as an Essential Aspect of Musical Composition". In Schwartz, E./Childs: 223-242. [INFLEC] Brelet, Gisele. "Music and Silence". In Langer (3): 103-121. (orig. Fr. ed., 1946) [PHIL, RHYTHM]

Page  12 12 Author Index (Brender) Brender, Maurita P., and Ronald F. Brender. "Computer Transcription and Analysis of Mid-Thirteenth Century Musical Notation". JMT 11/2 (Wi67): 198-221. [COMPUT, HST-THRY, LING, NOTAT] Brindle, Reginald Smith. (1) "Current Chronicle" (Berio). MQ 44/1 (Jan58): 95-101. ___. (2) "Current Chronicle" (Nono). MQ 47/2 (Apr61): 247-255. [RHYTHM, SERIAL]. (3) "Monteverdi's G Minor Mass: An Experiment in Construction". MQ 54/3 (Jul68): 352-360. [MOTIV] *. (4) Serial Composition. NY: Oxford UP, 1966. [CPT20, ORCH, - rev. Barkin (3)/MQ; Fennelly (5)/JMT; Ross/NOTES. PTONAL, SERIAL] Briner, Andres. "A New Comment on Tonality by Paul Hindemith". JMT 5/1 (Apr61): 109-112. [TONAL] - trans. of excpt. of Hindemith (Ger. ed.). Brink, Paul R. "The Archicembalo of Nicola Vicentino". PhD diss., OhioStU, 1966. (LC# 67-2420; DA 27/9 (Mar67): 3071-A) [ACOUST] Broder, Nathan, ed. Mozart Symphony in G minor, K. 550. Norton, 1967. (Norton Critical Score ed.) - incl. Heuss; Jalowetz; and excpt, from Schoenberg (4). Brook, Barry S., ed. Musicology and the Computer: Musicology 1966-2000: A Practical Program (Three Symposia). NY: CUNY Press, 1970. - incl. Forte (12); Gould/Logemann; Jackson/Bernzott (2). Brooks, F. P., Jr., A. L. Hopkins, Jr., P. G. Neumann, and W. V. Wright. "An Experiment in Musical Composition". IRE Transactions on Electronic Computers EC-6/3 (Sep57): 175-182. [COMPUT, INFO] - addendum in IRE Trans. on El. Comp. EC-7/1 (Mar58): 60. Brown, Earle. "Form in New Music". Source #1, 1/1 (Jan67): 49-51. [ALEA, FORM] Brown, Howard Mayer. Review: Reilly (2). JAMS 20/2 (Su67): 300-302. Brown, Robert B. "The Early Atonal Music of Anton Webern: Sound Material and Structure". PhD diss., BrandeisU, 1965. (LC# 65-14,414; DA 27/5 (Nov66): 1391-1392-A) [PTONAL] Brown, Samuel E., Jr. "New Evidence of Isomelic Design in Dufay's Isorhythmic Motets". JAMS 10/1 (Sp57): 7-13. [RHYTHM] Browne, Richmond. (1) "Billy Jim Layton: Dance Fantasy". PNM 4/1 (FaWi65): 161-170., moderator. (2) "Discussion: Theater Music". PASUC 3 (Apr68): 37-61. [PERF, PHIL] - panel: Barney Childs, Ben Johnston, Salvatore Martirano, Roy Travis.. (3) Review: Forte/Kuhn; and Worner. JMT 8/1 (Sp64): 127-129.

Page  13 In Theory Only 3/7-11 13 Browne, Richmond. (4) Review: Graves; and Swindale. JMT 7/1 (Sp63): 140-142.. (5) Review: Kent (1); and Reed/Harder. JMT 9/2 (Wi65): 332-333.. (6) Review: Perspectives of New Music (1/1) (Comments on Babbitt (12); Cone (10); and Lewin, D. (12)). JMT 7/2 (Wi63): 262 -265. Brin, Herbert. (1) "Against Plausibility". PNM 2/1 (FaWi63): 43-50. [PHIL]. (2) "From Musical Ideas to Computers and Back". In Lincoln, H.: 23-36. [COMPUT]. (3) "Infraudibles". In von Foerster/Beauchamp: 117-121. [COMPUT, PHIL]. (4) "On the Conditions under Which Computers Would Assist a Composer in Creating Music of Contemporary Relevance and Significance". PASUC 1 (Apr66): 30-37. [COMPUT, PHIL] * Brye, Joseph. Basic Principles of Music Theory. NY: Ronald Press, 1965. - rev. Beach (4)/JMT. NS[CHORD] Buchanan, Herbert H. "A Key to Schoenberg's Erwartung, Op. 17". JAMS 20/3 (Fa67): 434-449. [MOTIV, PTONAL] Buelow, George J. (1) "Heinichen's Treatment of Dissonance". JMT 6/2 (Wi62): 216-274. [CPTTON, FIGBASS] _. (2) "Johann David Heinichen's Der General-Bass in der Composition: A Critical Study with Annotated Translation of Selected Chapters". PhD diss., NYU, 1961. (LC# 62-3312; DA 23/3 (Sep62): 1034-1035) [FIGBASS; Agazzari, CPEBach, Bianciardi, Delair, Gasparini, Locke, Mattheson, Penna, Praetorius, GSabbatini, Saint Lambert]. (3) Thorough-Bass Accompaniment according to Johann David Heinichen. UCalP, 1966. [FIGBASS, PERF; Gasparini, Kellner, Mattheson, Saint Lambert] - rev. Churgin (2)/JAMS; Cohen, Alb. (5)/JMT; Donington (2)/NOTES. Bugg, Eugene G. "A Criticism of Leibniz's Theory of Consonance". JAAC 21/4 (Su63): 467-472. [ACOUST, HST-THRY, PHIL] - first pub. with several missing paragraphs in JAAC 20/3 (Sp62): 295-299. Bukofzer, Manfred F. (1) "The Baroque in Music History". JAAC 14/2 (Dec55): 152-156. [STYLE] ____. (2) Review: William G. Waite, The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice (Yale UP, 1954). NOTES 12/2 (Mar55): 232-236. [CPTMED, RHYTHM] Bunger, Richard. " [Notational Problems]". PASUC 5 (70): 15-22. [NOTAT] Burge, David. "Toward a Higher Standard of Performance". PASUC 3 (Apr68): 64-73. [PERF, SOCIOL]

Page  14 14 Author Index (Burke) Burke, James R. "A Study of Theories of Non-Chord Tones Pertaining to the Music of the Period ca. 1650 to ca. 1875" (incl. comments on Piston (1)?; and Sessions (5)). PhD diss., IndianaU, 1963. (LC# 64 -5443; DA 24/12 (Jun64): 5347) [HST-THRY; Bevin, Butler, Catel, Descartes, Fetis, Goetschius, Hauptmann, Hindemith, Holden, Malcolm, Ouseley, Playford, Prout, Reicha, Riemann, Rimsky-Korsakov, Schenker, Schoenberg, Simpson, Toch] Burkhart, Charles. (1) "Gerdine's General Theory of Music" (Comment on Gerdine). JMT 2/2 (Nov58): 252. S(2) Review: Farnsworth. JMT 2/2 (Nov58): 263-264. Burrows, David L., ed. (1) Francesco Gasparini, The Practical Harmonist at the Harpsichord. New Haven: Yale SM, 1963. (Music Theory Translation Series #1) [FIGBASS, PERF] - trans. Frank S. Stillings. - rev. Haydon (2)/JAMS; Mitchell, W. (7)/JMT.. (2) "On Patricia Carpenter's 'The Musical Object'" (Comment on Carpenter (3)). CM 5 (67): 112-115. [PHIL] S(3) Review: Aldrich (2). JAMS 20/2 (Su67): 295-297. S(4) Review: Jacobi (3). JAMS 15/3 (Fa62): 369. Burton, Martin C. "The Relationship between Musical Concepts and English Nomenclature 1400-1850". PhD diss., EastmanSM, 1956. (ADD 56-7: 132) [HST-THRY] Busoni, Ferruccio. "Sketch of a New Esthetic of Music". In Three Classics in the Aesthetic of Music (Dover, 1962): 73-102. (orig. ed., 1911) - trans. T. Baker. [PHIL, PTONALI - excpt. repr. in Schwartz, E./Childs: 4-16. Buttram, Joe Beck. "The Influence of Selected Factors on Interval Identification". PhD diss., UKansas, 1967. (LC# 68-569; DA 28/7 (Jan67): 2707-A) [COGNTN] Byrt, John. "Notes Inegales -- Some Misconceptions?" (Comment on Neumann, F. (2)). JAMS 20/3 (Fa67): 476-480. [Loulie] Cacioppo, George, panel. See Finney, R. (3). Cage, John. (1) "Experimental Music: Doctrine". Composer 1/1 (Su69): 43-47. [PHIL] - excpt. from Cage (3). (2) "Interview with Roger Reynolds, 1962" (Comment on Cage (3)). Generation (Ann Arbor) [?] (62): [?]. - repr. in C. F. Peters Co., John Cage Catalog (1962): 45-52; and in Schwartz, E./Childs.

Page  15 In Theory Only 3/7-11 15 Cage, John. (3) Silence: Lectures and Writings. Middletown: Wesleyan UP, 1961. [ALEA, PHIL] - rev. Hollander (2)/PNM. - corn. Cage (2); Kostelanetz (2). - excpt. repr. as Cage (1).. (4) A Year from Monday. Middletown: Wesleyan UP, 1967. [ALEA] - rev. Maren/PNM.. See Kostelanetz (1)., and Lejaren A. Hiller, Jr. "HPSCHD". Source #4, 2/2 (Jul68): 10-19. [ALEA, COMPUT] Cannon, Beekman C. Review: Moldenhauer. JMT 11/2 (Wi67): 292-294. Cantrell, Byron, intro. See Krall/Liebling. Carapetyan, Armen, ed. (Anonymous), Notitia del valore delle Note de Canto Misurato (A 14th-Century Treatise in the Vernacular). AIM, 1957. (CSM #5) Carpenter, Patricia. (1) "But What about the Reality and Meaning of Music?". In S. Hook, ed., Art and Philosophy (NYU Press, 1966): 289-306. [LING, PHIL] ___. (2) "Musical Form Regained" (Comment on Stambaugh). Journal of Philosophy 62/2 (21Jan65): 36-48. [FORM, PHIL, RHYTHM] ___. (3) "The Musical Object". CM 5 (67): 56-87. [FORM, PHEN, PHIL] - com. Berleant, Treitler (5), Carpenter (4); Burrows (2); Cone (14); Hall, R. L.; Maniates (1); Rowen; Stambler. _. (4) Reply to Berleant; and Treitler (5). CM 6 (68): 116-126. [FORM, PHEN, PHIL] Carter, Elliott. (1) "The Case of Mr. Ives". PNM 2/2 (SpSu64): 27-29. (orig. pub. in Modern Music, 1939) [PERF] ___. (2) "Current Chronicle" (Sessions). MQ 45/3 (Jul59): 375-381. [LING, MOTIV] _. (3) "Expressionism and American Music". PNM 4/1 (FaWi65): 1-13. [PHIL] ___. (4) "Letter from Europe". PNM 1/2 (Sp63): 195-205. [ALEA, SERIAL, SOCIOL] _. (5) "The Milieu of the American Composer". PNM 1/1 (Fa62): 149 -151. [SOCIOL] ___. (6) "Shop Talk by an American Composer". MQ 46/2 (Apr60): 189-201. [SERIAL, SETS; Carter, Ives] - repr. in Lang (2); and in Schwartz, E./Childs. - com. Powell, M. (2). ___. (7) "[Untitled]". In Hines: 40-61. [ORCH, RHYTHM, SETS, SOCIOL; Carter] ___. (8) Letter: [Artificial Temporal Divisions]. JMT 7/2 (Wi63): 270-273. [NOTAT]

Page  16 16 Author Index (Carter) Carter, Elliott, interview. See Boretz (4). Cary, Tristram. "Superserialismus -- Is There a Cure?". ElMusR 4 (Oct67): 7-9. [PHIL] Caswell, Austin B., ed./trans. (1) Benigne de Bacilly, A Commentary upon the Art of Proper Singing. InstMedM, 1968. (MTT #7) [PERF] - rev. Duckles/NOTES. S(2) "The Development of 17th-Century French Vocal Ornamentation and Its Influence upon Late Baroque Ornamentation-Practice: A Commentary upon the Art of Proper Singing, and Particularly with Regard to French Vocal Music by B4nigne de Bacilly". PhD diss., UMinnesota, 1964. (LC# 65-7835; DA 26/12 (Jun66): 7353-7354) [PERF]. (3) Review: Jean Antoine B4rard, L'art du chant (facs. 1755 ed., Broude, 1967). NOTES 26/2 (Dec69): 267-268. [PERF] Cavell, Stanley. "Music Discomposed". In Must We Mean What We Say? (NY: Scribner's, 1969): 180-212. [ALEA, PERF, PHIL] - repr. from Capitan and Merrill, ed., Art, Mind, and Religion (UPittsburgh Press, 1967). Cazden, Norman. (1) "How to Compose Non-Music" (Sequel to Cazden (6)). JMT 5/2 (Nov61): 287-296. [NOTAT] - com. Middleton (2). S(2) "Musical Intervals and Simple Number Ratios". JRME 7/2 (Fa59): 197-220. [ACOUST, HST-THRY, PHIL]. (3) "The Principle of Direction in the Motion of Similar Tonal Harmonies". JMT 2/2 (Nov58): 162-192. [CHORD, PHIL, TONAL]. (4) "Pythagoras and Aristoxenos Reconciled". JAMS 11/2-3 (SuFa58): 97-105. [ACOUST]. (5) "Sensory Theories of Musical Consonance". JAAC 20/3 (Sp62): 301-319. [ACOUST, COGNTN; Helmholtz] - com. Hipple, Cazden (7). S(6) "Staff Notation as a Non-Musical Communication Code". JMT 5/1 (Apr61): 113-128. [NOTAT] - see also Cazden (1).. (7) Letter: Reply to Hipple. JAAC 21/2 (Wi62): 212-215. S(8) Review: Jacques Chailley, Expliquer l'harmonie? (Lausanne, 1967). JMT 12/1 (Sp68): 119-159. [ACOUST, METHOD] Chadabe, Joel. "Performing Problems". PASUC 2 (Apr67): 42-44. [ALEA, PERF] Chailley, Jacques. "Elmuahym et Elmuarifa". In Tischler (2): 61-62. - in French. [Anon. IV, Arab thry] Chalmers, John. Review: Mandelbaum. CM 5 (67): 138-142. Charles, Daniel. "Entr'Acte: 'Formal' or 'Informal' Music?". MQ 51/1 (Jan65): 144-165. [ALEA, FORM, PHIL] - repr. in Lang (1).

Page  17 In Theory Only 3/7-11 17 Chase, Gilbert. Review: Meyer, L. (5). NOTES 25/2 (Dec68): 225-227. Chavez, Carlos. Musical Thought. Cambridge: Harvard UP, 1961. [FORM, LING, PHIL, RHYTHM, SOCIOL] - rev. Lyon/JAAC; Stevens, H. (2)/JMT. Cheetham, John E. "Quasi-Serial Techniques in the Late Piano Works of Alexander Scriabin" (part 1 of a 3-part essay). DMA diss., UWashington, 1969. (LC# 69-20,212; DA 30/9 (Mar70): 3968-A) [SERIAL] Chenette, Louis F. "Music Theory in the British Isles during the Enlightenment". PhD diss., OhioStU, 1967. (LC# 68-2965; DA 28/9 (Mar68): 3696-A) [HST-THRY; Antoniotto, Birchenska, Blow, Butler, Holden, Holder, Keller, Lampe, Locke, Mace, Malcolm, FNorth, RNorth, Pasquali, Pepusch, Playford, Salmon, Simpson, Smith, Turner, Voss, Wallis] Chernoff, Lionel. "The Determination of All Possible HexachordGenerated, Twelve-Tone Rows Characterized by Bisymmetric Configurations of All the Simple Intervals". PhD diss., CatholicU, 1968. (Studies in Music #33) (LC# 69-9092; DA 30/1 (Jul69): 354-A) [SERIAL] Childs, Barney. (1) "Articulation in Sound Structures: Some Notes Toward an Analytic". Texas Studies in Literature and Language 8/3 (Fa66): 423-445. NS[LING?]. (2) "The Beginning of the Apocalypse?" (Comment on Meyer, L. (2)). Kulchur (New York) 4/15 (Fa64): 48-56. [ALEA, PHIL]. (3) "Ben Johnston: Quintet for Groups". PNM 7/1 (FaWi68): 110-121. [PHIL]. (4) "Indeterminacy and Theory: Some Notes". Composer 1/1 (Su69): 15-34. [ALEA, FORM, PHIL]. (5) "[Notational Problems]". PASUC 5 (70): 31-36. [NOTAT], panel. See Browne (2). Chou Wen-Chung. (1) "'Open Rather Than Bounded'". PNM 5/1 (FaWi66): 1-6. [ELECT; Varese]. (2) "Single Tones as Musical Entities: An Approach to Structured Deviations in Tonal Characteristics". PASUC 3 (Apr68): 86-97. [INFLEC, NONWEST] Chrisman, Richard A. "A Theory of Axis-Tonality for Twentieth-Century Music". PhD diss., YaleU, 1969. (LC# 70-2708; DA 30/9 (Mar70): 3968-3969-A) [FORTE, METHOD, PTONAL, SETS; Bart6k, Berg, Scriabin, Stravinsky, Webern] * Christ, William, Richard DeLone, Vernon Kliewer, Lewis Rowell, and William Thomson. Materials and Structure of Music. 2 vols (with workbooks). Prentice-Hall, 1966/1967. [CHORD, CHROM, CPTTON, FORM, MOTIV, PTONAL, SERIAL, TONAL] - rev. Kreter/NOTES; Nelson, Pa./JMT.

Page  18 18 Author Index (Churgin) Churgin, Bathia. (1) "Francesco Galeazzi's Description (1796) of Sonata Form". JAMS 21/2 (Su68): 181-199. [FORM, HST-THRY].(2) Review: Buelow (3). JAMS 21/3 (Fa68): 393-396. Chusid, Martin. "Analysis". In Chusid, ed., Schubert Symphony in B minor ("Unfinished") (Norton, 1968): 71-87. (Norton Critical Score ed.) Citkowitz, Israel. "And Now, Basic Music". PNM 2/2 (SpSu64): 29-31. (orig. pub. in Modern Music, 1944) [PEDAG;; Hindemith, Schoenberg] Citron, Jack P. "MUSPEC". In Lincoln, H.: 97-111. [COMPUT] Clark, Melville, Jr., and David Luce. "Intensities of Orchestral Instrument Scales Played at Prescribed Dynamic Markings". JAES 13/2 (Apr65): 151-157. [ACOUST, INFLEC] Clark, Melville, Jr., and Paul Milner. "Dependence of Timbre on Tonal Loudness Produced by Musical Instruments". JAES 12/1 (Jan64): 28-31. [ACOUST, INFLEC] Clark, Melville, Jr., Paul Robertson, and David Luce. "A Preliminary Experiment on the Perceptual Basis for Musical Instrument Families". JAES 12/3 (Jul64): 199-203. [ACOUST, INFLEC] Clark, Robert Charles. (1) "Total Control and Chance in Musics: A Philosophical Analysis". JAAC 28/3 (Sp70): 355-360. [ALEA, PHIL].(2) "Total Control and Chance in Musics, Part II: Reflections on Criticism and Judgment". JAAC 29/1 (Fa70): 43-46. [ALEA, PHIL] Clark, Robert K. "A Program for the Real-Time Generation of Musical Sounds". JAES 14/1 (Jan66): 21-29. [COMPUT] Clarke, Henry Leland. (1) "The Abuse of the Semitone in Twelve-Tone Music". MQ 45/3 (Jul59): 295-301. [SERIAL]. (2) "Musical Scales Ad Hoc and Ad Hominem". JAAC 18/4 (Jun60): 472-474. [PHIL, PTONAL]. (3) Review: Ives (2). MQ 50/1 (Jan64): 101-103. Clarkson, Austin. Review: Ponte (1); Seay (8); and Seay (10). JMT 12/2 (Wi68): 281-289. Clifton, Thomas. (1) "An Application of Goethe's Concept of Steigerung tJ the Morphology of Diminution". JMT 14/2 (Wi70): 165-189. [LINEAR, PHEN, SCHENKER; Mozart]. (2) "Training in Music Theory: Process and Product". JMT 13/1 (Sp69): 38-65. [LING, METHOD, PEDAG, PHIL] ~ (3) "Types of Ambiguity in Schoenberg's Tonal Compositions". PhD diss., StanfordU, 1966. (LC# 66-14,641; DA 27/7 (Jan67): 2169-A) [CHROM, PHIL] (4) "Types of Symmetrical Relations in Stravinsky's A Sermon, a Narrative, and a Prayer". PNM 9/1 (FaWi70): 96-112. [RHYTHM, SERIAL, SETS]

Page  19 In Theory Only 3/7-11 19 Clifton, Thomas. (5) Review: Wallace Berry and Edward Chudacoff, Eighteenth-Century Imitative Counterpoint: Music for Analysis (Appleton, 1969). JMT 14/1 (Sp70): 133-135. [CPTTON]. (6) Review: Pike (3) (incl. comment on Pike (1)). JMT 14/2 (Wi70): 237-246. [PHEN] Clough, John. (1) "Computer Music and Group Theory". PASUC 4 (69): 10-19. [COMPUT, SETS]. (2) "Indirect Chromaticism in the Renaissance". JMT 3/1 (Apr59): 147-150. [CHROM]. (3) "The Leading Tone in Direct Chromaticism: From Renaissance to Baroque". JMT 1/1 (Mar57): 2-21. [CHORD, CHROM, MODAL, STYLE, TONAL]. (4) "Pitch-Set Equivalence and Inclusion (A Comment on Forte's Theory of Set-Complexes)" (Comment on Forte (14)). JMT 9/1 (Sp65): 163-171. [FORTE, METHOD, SETS] - com. Forte (6).. (5) "TEMPO: A Composer's Programming Language". PNM 9/1 (FaWi70): 113-125. [COMPUT, ELECT]. (6) Review: Marquis. JMT 9/2 (Wi65): 313-315.. (7) Review: Procter (1). JMT 1/2 (Nov57): 220-221. Cogan, Robert. (1) "Toward a Theory of Timbre: Verbal Timbre and Musical Line in Purcell, Sessions, and Stravinsky". PNM 8/1 (FaWi69): 75-81 (+ 6 unnumbered pp.). [INFLEC, LING, METHOD, NOTAT]. (2) Review: James G. Carlsen, Melodic Perception: A Program for Self-Instruction (McGraw-Hill, 1965). JMT 9/2 (Wi65): 315-317. [PEDAG]. (3) Review: Hodeir (2). PNM 1/2 (Sp63): 148-154., panel. See Westergaard (7)., and Pozzi Escot. "Wilfrid Mellers' Trial, and Ours" (Review of Mellers, Music in a New Found Land (London, 1964)). PNM 4/1 (FaWi65): 152-160. [Var;se] Cohen, Albert, ed./trans. (1) Etienne Loulie, Elements or Principles of Music. InstMedM, 1965. (MTT #6) - rev. Howell (2)/JMT. __. (2) "Etienne Loulie as a Music Theorist". JAMS 18/1 (Sp65): 70-72., ed./trans. (3) Guillaume-Gabriel Nivers, Treatise on the Composition of Music. InstMedM, 1961. (MTT #3) ____. (4) "Survival of Renaissance Thought in French Theory 1610-1670: A Bibliographical Study". In LaRue (1): 82-95. NS[HST-THRY]. (5) Review: Buelow (3). JMT 11/2 (Wi67): 281-285. Cohen, Alexander. "Pitch-Intensity Relationship for Pure and Complex Tones". PhD diss. (Psychology), PennsylvaniaStU, 1959. (LC# Mic 59-5099; DA 20/8 (Feb60): 3365-3366) [ACOUST, COGNTN, INFLEC]

Page  20 20 Author Index (Cohen) Cohen, Dalia. "Patterns and Frameworks of Intonation [found in the Liturgical Music as Practiced by Christian Arabs in Israel]". JMT 13/1 (Sp69): 66-92. [ACOUST, NONWEST] Cohen, David. (1) "Music from the 'Radical Center'" (review of recordings). PNM 3/1 (FaWi64): 131-135. [Binkerd]. (2) "The Princeton Seminar in Advanced Musical Studies", JMT 4/2 (Nov60): 218-220. [ELECT]. (3) "Yet Another Sound Generation Program". PASUC 4 (69): 20-22. [COMPUT] Cohen, Joel E. "Information Theory and Music". Behavioral Science 7/2 (Apr62): 137-163. [COMPUT, INFO, PHIL, RHYTHM, STYLE] * Coker, Jerry. Improvising Jazz. Prentice-Hall, 1964. [CHORD, JAZZ, PERF, RHYTHM] Coker, Wilson. (1) "The Roots of Musical Meaning with Special Reference to Leonard B. Meyer's Theory..." (incl. comment on Meyer, L. (1)). DMA diss., UIllinois, 1965. (LC# 65-7086; DA 26/6 (Dec65): 3388-3389) [PHIL]. (2) Review: Langer (2). JMT 2/1 (Apr58): 115-116. Cole, Malcolm S. (1) "Sonata-Rondo: The Formulation of a Theoretical Concept in the 18th and 19th Centuries". MQ 55/2 (Apr69): 180-192. [FORM, HST-THRY; Choron, Czerny, Dommer, Koch, Lafage, Marx, Reicha]. (2) "A Study in Contrast" (Philip Batstone, A Mother Goose Primer, and Alden Ashforth, The Unquiet Heart). PNM 9/1 (FaWi70): 143-146. [ORCH] Coleman, Mina P. Music and Aesthetics. rvsd. ed., Brown, 1967. (orig. ed.,?) NS[PHIL] Collins, Michael B. (1) "Notes Inegales: A Re-examination" (Comment on Neumann, F. (2)). JAMS 20/3 (Fa67): 481-485. [HST-THRY, NOTAT, PERF, RHYTHM; Loulie, Quantz]. (2) "The Performance of Coloration, Sesquialtera, and Hemiolia (1450-1750)". PhD diss., StanfordU, 1963. (LC# 64-1598; DA 24/8 (Feb64): 3364-3365) [HST-THRY, NOTAT, PERF, RHYTHM; Zarlino] - rev. Hills/CM (com. on rev. Collins (5)).. (3) "The Performance of Sesquialtera and Hemiolia in the 16th Century". JAMS 17/1 (Sp64): 5-28. [CPTREN, HST-THRY, NOTAT, PERF, RHYTHM; Agricola, Aron, Banchieri, Beringer, Finck, Gafurius, Glareanus, Picerli, Pisa, Tigrini, Tinctoris, Vanneo, Vulpius, Zacconi, Zarlino]. (4) "The Performance of Triplets in the 17th and 18th Century". JAMS 19/3 (Fa66): 281-328. [HST-THRY, NOTAT, PERF, RHYTHM; Agricola, CPEBach, Banner, Bononcini, Correa, L5hlein, Lorente, Marpurg, Mattheson, LMozart, Printz, Quantz, Sulzer, TUrk]

Page  21 In Theory Only 3/7-11 21 Collins, Michael B. (5) Reply to Hills. CM 5 (67): 128-130.. (6) Review: Aldrich (2). NOTES 22/4 (Su66): 1215-1216. Colucci, Matthew J. "A Comparative Study of Contemporary Musical Theories in Selected Writings of Piston, Krenek and Hindemith" (incl. comments on Krenek (13)?; and Piston (1)?). PhD diss., UPennsylvania, 1957. (UM# 23,583; LC# Mic 57-4230; DA 17/11 (Nov57): 2628-2629) Cone, Edward T. (1) "Analysis Today". MQ 46/2 (Apr60): 172-188. [CHORD, LINEAR, METHOD, MOTIV, RHYTHM; Beethoven, Schoenberg, Sessions, Wagner, Webern] - repr. in Lang (2). - com. Powell, M. (2).. (2) "Beyond Analysis". PNM 6/1 (FaWi67): 33-51. [METHOD, PHIL, SERIAL, TONAL; Schoenberg] - com. Lewin, D. (2), Cone (17).. (3) "A Budding Grove". PNM 3/2 (SpSu65): 38-46. [METHOD]. (4) "Conversation with Aaron Copland". PNM 6/2 (SpSu68): 57-72.. (5) "Conversation with Roger Sessions". PNM 4/2 (SpSu66): 29-46. [PEDAG, SERIAL, TONAL; Schoenberg]. (6) "Music: A View from Delft". MQ 47/4 (Oct61): 439-453. [FORM, PHIL, RHYTHM, SERIAL]. (7) Musical Form and Musical Performance. Norton, 1968. [CHORD, FORM, LINEAR, MOTIV, PERF, PHIL, RHYTHM, STYLE; Bach, Beethoven, Brahms, Chopin, Haydn, Mozart]. (8) "Music Theory as a Humanistic Discipline". JuilR 5/1 (Wi57/58): 3-12. [METHOD, PEDAG, PHIL]. (9) "On the Structure of Ich folge dir". CMS 5 (Fa65): 77-87. [LINEAR, RHYTHM, SCHENKER; Bach]. (10) "Stravinsky: The Progress of a Method". PNM 1/1 (Fa62): 18-26. [LINEAR, ORCH, PTONAL, SERIAL, TONAL] - repr. in Boretz/Cone. - cor. Browne (6).. (11) "Toward the Understanding of Musical Literature". PNM 4/1 (FaWi65): 141-151. [PEDAG, PHIL]. (12) "The Uses of Convention: Stravinsky and His Models". MQ 48/3 (Jul62): 287-299. [FORM, SERIAL; Haydn] - repr. in Lang (3).. (13) "Webern's Apprenticeship". MQ 53/1 (Jan67): 39-52. [CHROM, MOTIV]. (14) "What Is a Composition?" (Comment on Carpenter (3); and Crocker (5)). CM 5 (67): 101-107. [FORM, PHIL] - com. Crocker (6).. (15) "Words into Music: The Composer's Approach to the Text". In Northrop Frye, ed., Sound and Poetry: English Institute Essays 1956 (NY: Columbia UP, 1957): 3-15. [FORM]

Page  22 22 Author Index (Cone) Cone, Edward T. (16) Letter: Comment on Westergaard (2). PNM 1/2 (Sp63): 206-210. [RHYTHM; Mozart]. (17) Reply to Lewin, D. (2). PNM 7/2 (SpSu69): 70-72. [METHOD, PHIL] ___. (18) Review: Reinhold Brinkmann, Arnold Schbnberg, Drei KlavierstUcke Op. 11: Studien zur frUhen Atonalitat bei Schbnberg (Wiesbaden, 1969). NOTES 27/2 (Dec70): 267-268.. (19) Review: Ferguson (2). NOTES 26/2 (Dec69): 258-260. S(20) Review: White, E. PNM 5/2 (SpSu67): 155-161. [METHOD; Stravinsky] Connor, Aiken O. "The Perception of Music Intervals: The Theory of Property Arrays". EdD diss., UPacific, 1967. (LC# 67-17,374; DA 28/8 (Feb68): 3206-3207-A) [COGNTN, INFO] Cooke, Deryck. The Language of Music. NY: Oxford UP, 1959. [FORM, INFLEC, LING, MOTIV, PHIL, RHYTHM, TONAL; Mozart] - rev. Gauss (1)/JAAC; Pratt (3)/NOTES; Zuckerkandl (3)/JMT. - com. Lessing? Cooke, Francis Judd. Review: Krenek (6). JMT 4/1 (Apr60): 112-116. Cookson, Frank B. (1) Review: Robert W. Ottman, Music for Sight Singing (2nd ed., Prentice-Hall, 1967). JMT 1/1 (Mar57): 101-102. [PEDAG]. (2) Review: Howard Shanet, Learn to Read Music (Simon & Schuster, 1956). JMT 1/1 (Mar57): 102-103. [PEDAG] Coolidge, Arlan R. Review: Comprehensive Musicianship (MENC, 1965); and Experiments in Musical Creativity (MENC, 1966). JMT 10/2 (Wi66): 383-394. [PEDAG] Coons, Edgar. See Kraehenbuehl/ Coons., and David Kraehenbuehl. "Information as a Measure of Structure in Music". JMT 2/2 (Nov58): 127-161. [INFO, METHOD] * Cooper, Grosvenor W. Learning to Listen: A Handbook for Music. UChicagoP, 1957. [CHORD, FORM, ORCH, STYLE] -rev. Griswold/JMT; Schevill/JAAC. *, and Leonard B. Meyer. The Rhythmic Structure of Music. UChicagoP, 1960; pb. ed., 1963. [LINEAR, METHOD, RHYTHM; Beethoven, Brahms, Chopin, Debussy, Schoenberg, Wagner] - rev. Berry (2)/NOTES; Kohs (2)/JMT; Tischler (7)/JAMS. - corn. Pierce, A. Cooper, Kenneth, and Julius Zsako, trans./pref. "Muffat's Observations on the Lully Style of Performance". MQ 53/2 (Apr67): 220-245. [PERF] Coover, James B. (1) "Music Theory in Translation: A Bibliography". JMT 3/1 (Apr59): 70-96. [HST-THRY] - "Supplement, 1958-1969". JMT 13/2 (Wi69): 230-248.

Page  23 In Theory Only 3/7-11 23 Coover, James B. (2) Review: Basart. JMT 6/2 (Wi62): 316-317.. (3) Review: Joseph Smits van Waesberghe, ed., RISM, Part II, Vol. I: The Theory of Music from the Carolingian Era up to 1400 (Munich, 1961). JMT 6/2 (Wi62): 314-315. [HST-THRY] Cope,David H. (1) Review: Reed/Leach. Composer 1/2 (Fa69): 56-57.. (2) Review: Schwartz, E./Childs. Composer 2/1 (Jun70): 4-5. Copland, Aaron. (1) Copland on Music. Doubleday, 1960. [NOTAT, PHIL, - repr. of 1944-59 articles, incl. Copland (3). RHYTHM, SOCIOL] - rev. Jones, C./MQ.. (2) Music and Imagination. repr. ed., NY: New World Library of World Literature, 1959. (orig. ed., 1952) [ORCH, PERF, PHIL, RHYTHM, SOCIOL] - excpt. "The Creative Mind and the Interpretative Mind", repr. in Schwartz, E./Childs: 147-159.. (3) The Pleasures of Music (An Address). Durham: UNew Hampshire, 1959. [PHIL] - repr. as article in Copland (1)., interview. See Cone (4). Corso, John F. "Absolute Judgments of Musical Tonality". JASA 29/1 (Jan57): 138-144. [COGNTN]. See Saldanha/Corso. Coulter, Fred. "Simplification of Complex Musical Structures". PASUC 2 (Apr67): 45-47. [PERF, RHYTHM] - com. Wuorinen (4). Cowan, Denis. "Morphology and Value in Music". PhD diss., UChicago, 1960. (ADD 60-1: 137) NS[PHIL] Cowell, Henry. New Musical Resources. repr. ed., NY: Something Else Press, 1969. (orig. ed., 1930) [ACOUST, CPT20, INFLEC, - pref./annot. Joscelyn Godwin. PTONAL, RHYTHM] - excpt. repr. in Schwartz, E./Childs: 135-145., and Sidney Cowell. Charles Ives and His Music. NY: Oxford UP, 1955. - rev. Frankenstein/MQ; Goldman (2)/NOTES. Cowell, John R. "Difference Beating, Overtones, and Timbres: A Basis for Contemporary Harmony and Instrumentation...". DMA diss., UWashington, 1966. (LC# 66-11,986; DA 28/1 (Jul67): 250-A) [ACOUST] Cowell, Sidney. See Cowell, H./Cowell, S. Craft, Robert. (1) "Five Pieces for Orchestra, Op. 16". In The Music of Arnold Schoenberg Vol. 3 (Columbia Records (M2L 309/M2S 709), 1965): 5-20. [MOTIV] - repr. in Boretz/Cone.

Page  24 24 Author Index (Craft) Craft, Robert. (2) "The Rite of Spring: Genesis of a Masterpiece". PNM 5/1 (FaWi66): 20-36. [SKETCH] Craig, Dale A. Letter: Comment on Wuorinen (7). PNM 6/1 (FaWi67): 156-157. - com. Wuorinen (5). Crane, Frederick. "A Study of Theoretical Writings on Musical Form to ca. 1460". PhD diss., StUIowa, 1960. (LC# Mic 60-5645; DA 21/7 (Jan61): 1962) [FORM, HST-THRY; Afflighem, Aurelian, Burmeister, Egidus, Engelbert, Guido, Jacobus, Koch, Muris, Odington, Prosdocimus, psHucbald, Sommacampagna, Tinctoris, Tunstede], and Judith Fiehler. "Numerical Methods of Comparing Musical Styles". In Lincoln, H.: 209-222. [STYLE] Creel, Warren. See Boomsliter/Creel (1) - (3). Creston, Paul. Principles of Rhythm. NY: F. Colombo, 1964. NS[RHYTHM] Crocker, Richard L. (1) "Aristoxenus and Greek Mathematics". In LaRue (1): [?]. NS. (2) "Discant, Counterpoint, and Harmony". JAMS 15/1 (Sp62): 1-21. [ACOUST, CPTMED, HST-THRY; Anon. XI, Gafurius, Garlandia, Lambert, Monachus, Rameau, Zarlino]. (3) "Musica Rhythmica and Musica Metrica in Antique and Medieval Theory". JMT 2/1 (Apr58): 2-23. [HST-THRY, RHYTHM; Cassiodorus, Guido]. (4) "Pythagorean Mathematics and Music" (2 parts). JAAC 22/2 (Wi63): 189-198, and 22/3 (Sp64): 325-335. [ACOUST, HST-THRY] S(5) "Some Reflections on the Shape of Music". CM 5 (67): 50-56. [FORM, PHIL] -com. Berleant; Cone (14), Crocker (6); Novack (3); Rowen; and Stambler.. (6) Reply to Cone (14). CM 6 (68): 114-115. [PHIL] (7) Review: J. R. Carroll, trans./ed., An Applied Course in Gregorian Chant (Gregorian Inst. of Am., 1956). JMT 1/2 (Nov57): 221-222. [MONOPH, PEDAG]. (8) Review: Lowinsky (4). JMT 6/1 (Sp62): 142-153. Crumb, George. "Peter Westergaard: Variations for Six Players". PNM 3/2 (SpSu65): 152-159. [SERIAL] Culver, Charles A. Musical Acoustics. 4th ed., McGraw-Hill, 1956. (1st ed., 1941) [ACOUST] - rev. Boatwright (6)/JMT. Currier, Donald. Review: Tischler (5). JMT 11/2 (Wi67): 295-304.

Page  25 In Theory Only 3/7-11 25 Dalglish, William E. "The Hocket in Medieval Polyphony". MQ 55/3 (Jul69): 344-363. [CPTMED] Dallapiccola, Luigi. "Words and Music in Nineteenth-Century Italian Opera". PNM 5/1 (FaWi66): 121-133. [FORM; Verdi] * Dallin, Leon. Techniques of Twentieth Century Composition. Brown, 1957; 2nd ed., 1964. [PTONAL, SERIAL] - rev. England (1)/JMT. Daniels, Arthur. (1) "The De musica libri VII of Francisco de Salinas". PhD diss., USC, 1962. (LC# 62-6046; DA 23/6 (Dec62): 2163-2164) - rev. Bergquist (5)/CM. [ACOUST]. (2) "Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas" (2 parts). JMT 9/1 (Sp65): 2-51, and 9/2 (Wi65): 234-280. [ACOUST]. (3) Review: Fontaine (2). NOTES 24/3 (Mar68): 497-498.. (4) Review: Friedheim (1). NOTES 23/3 (Mar67): 533-535.. (5) Review: Lippman (2). JMT 9/2 (Wi65): 320-327.. (6) Review: Mann (2); and Mann (3). NOTES 23/4 (Jun67): 744-745.. (7) Review: Middleton (1). NOTES 24/3 (Mar68): 493-495.. (8) Review: Serly. NOTES 23/1 (Sep66): 50-52. Darrell, R. D. Review: Erickson, Ro. (1). NOTES 12/3 (Jun55): 438-439. David, Hans T. "Mozartean Modulations". MQ 42/2 (Apr56): 193-212. [FORM, HST-THRY, TONAL; CPEBach, Heinichen] - repr. in P. H. Lang, ed., The Creative World of Mozart (Norton, 1963). Davie, Cedric Thorpe. Musical Structure and Design. repr. ed., Dover, 1966. (orig. ed., 1953) [FORM] Davis, Beverly Jeanne. "Antoine de Bertrand: A View into the Aesthetics of Music in Sixteenth Century France". JAAC 21/2 (Wi62): 189-200. [HST-THRY, PHIL] Davis, Ferdinand, ed./trans. Andre Gedalge, Treatise on the Fugue. Norman: UOklahomaP, 1965. [CPTTON] *, and Donald Lybbert. The Essentials of Counterpoint. Norman,: UOklahomaP, 1969. [CPTSP, CPTTON] Dawney, Michael. (1) Review: Reti (1). JMT 12/2 (Wi68): 313-315.. (2) Review: Reti (1). NOTES 25/2 (Dec68): 238-239. DeLone, Richard. See Christ/DeLone/Kliewer/Rowell/Thomson. Dennis, Lawrence. Review: Walker (1). Journal of Aesthetic Education 3/1 (Jan69): 124-125.

Page  26 26 Author Index (De Selincourt) De Selincourt, Basil. "Music and Duration". In Langer (3): 152-160. (orig. ed., 1920) [PHIL] Des Marais, Paul. "Aaron Copland's Nonet". PNM 1/1 (Fa62): 176-179. Deutsch, Diana. (1) "Music Recognition". Psychological Review 76/3 (May69): 300-307. [COGNTN]. (2) "Tones and Numbers: Specificity of Interference in Immediate Memory". Science 168/3939 (26Jun70): 1604-1605. [COGNTN] DeVoto, Mark. (1) "Alban Berg's Picture-Postcard Songs". PhD diss., PrincetonU, 1967. (LC# 67-13,487; DA 28/5 (Nov67): 1836-A) [MOTIV] ___. (2) "Some Notes on the Unknown Altenberg Lieder". PNM 5/1 (FaWi66): 37-74. [MOTIV] - addendum in PNM 5/1 (FaWi66): 170-171. ___. (3) Review: Perle (11). NOTES 26/1 (Sep69): 26-27. Dickinson, A. E. F. Bach's Fugal Works: With an Account of Fugue Before and After Bach. NY: Pitman, 1956. [CHORD, CPTTON, MOTIV] - rev. Porter, Q./JMT. Dickinson, George S. (1) "Aesthetic Pace in Music". JAAC 15/3 (Mar57): 311-321. [PHIL]. (2) "Analogical Relations in Musical Pattern". JAAC 17/1 (Sep58): 77-84. [FORM, PHIL] - repr. in JAMS 13/1-3 (60): 262-269. S(3) A Handbook of Style in Music. Poughkeepsie: VassarC, 1965. [STYLE] -repr. ed., NY: Da Capo, 1969 (with intro. by Joan Stambaugh). Dittmer, Luther, ed./trans. (1) Anonymous IV, De mensuris et discantu (c. 1275). InstMedM, 1959. (MTT #1) [RHYTHM] - rev. Knapp (2)/JMT; Reaney (6)/JAMS; Tischler (8)/NOTES., ed./trans. (2) Robert de Handlo, Rules Concerning Mensural Music and Notation (Regulae cum maximis Mg. Franconis... (1326)). InstMedM, 1959. (MTT #2) [RHYTHM] - rev. Knapp (2)/JMT; Reaney (6)/JAMS; Tischler (8)/NOTES. Divilbiss, J. L. "The Real-Time Generation of Music with a Digital Computer". JMT 8/1 (Sp64): 99-111. [COMPUT] Dockstader, Tod. Review: Source. MQ 54/4 (Oct68): 549-553. [NOTAT, PHIL] Dodge, Charles. "The Composition of Changes and Its Computer Performance". DMA diss., ColumbiaU, 1970. (LC# 71-6164; [DA 31/9 (Mar71): 4816-A]) [COMPUT, INFLEC] Dolmetsch, Arnold. The Interpretation of the Music of the 17th and 18th Centuries. repr. ed., Seattle: UWashingtonP, 1969. (orig. ed., 1915) [HST-THRY, PERF, RHYTHM; CPEBach, Geminiani, Mace, Marpurg, Morley, Muffat, Playford, Praetorius, Quantz, Rameau, Simpson, Turk]

Page  27 In Theory Only 3/7-11 27 Donington, Robert. (1) Comment on Neumann, F. (2). JAMS 19/1 (Sp66): 112-114. - cor. Neumann, F. (4).. (2) Review: Buelow (3). NOTES 23/4 (Jun67): 730-732.. (3) Review: Alfred Rubeli, ed./trans., Giuseppe Tartini, Traktat iber die Musik... (Dusseldorf, 1967). NOTES 24/4 (Jun68): 718. Donovan, Richard. Review: Eino Roiha, On the Theory and Technique of Contemporary Music (Helsinki, 1956). JMT 1/2 (Nov57): 229-232. [PTONAL] Dorn, Gerhardt G. "Harmonic Mutation as a Function of Stimulus Intensity". PhD diss., NTexasStC, 1955. (UM# 14,370; LC# Mic 55-1690; DA 15/12 (Dec55): 2540-2541) [ACOUST, COGNTN, INFLEC, INFO, ORCH;; Hindemith] * Doubleday, Ellen. (1) Counterpoint (French School). Boston: Branden Press, 1967. NS[CPTTON?] *. (2) Two-part Writing. Boston: Branden Press, 1967. NS[CPTTON?] Drager, Hans Heinz. "The Concept of a 'Tonal Body'". In Langer (3): 174-185. (orig. Germ. ed., 1952) [INFLEC, PHIL] Drew, James. "Information, Space, and a New Time-Dialectic". JMT 12/1 (Sp68): 86-103. [PHIL, RHYTHM] Druckman, Jacob. "Stravinsky's Orchestral Style". JuilR 4/2 (Sp57): 10-19. [ORCH] Duckles, Vincent. Review: Caswell (1). NOTES 26/3 (Mar70): 527-528. Edwards, Allen F., III. "Willi Reich's Alban Berg: Some Biographical and Critical Considerations" (Review of Reich, Alban Berg (London, 1965)). PNM 4/2 (SpSu66): 157-160. [SERIAL] Edwards, Arthur C. The Art of Melody. NY: Philosophical Library, 1956. [COGNTN, PHIL] - rev. Hill, Ri. (1)/NOTES; Hughes, C./JAAC; Perle (14)/JAMS. Egan, John B. "Marin Mersenne, Traite de l'Harmonie Universelle: Critical Translation of the Second Book". PhD diss., IndianaU, 1962. (LC# 62-5029; DA 23/6 (Dec62): 2164-2165) Eimert, Herbert. (1) "A Change of Focus". Die Reihe 2 (58): 29-36. - trans. Leo Black. [SERIAL]. (2) "The Composer's Freedom of Choice". Die Reihe 3 (59): 1-9. - trans. Leo Black. [METHOD, PHIL, SERIAL]. (3) "Debussy's 'Jeux'". Die Reihe 5 (61): 3-20. - trans. Leo Black. [FORM, INFLEC, MOTIV]. (4) "Interval Proportions". Die Reihe 2 (58): 93-99. - trans. Leo Black. [SETS, SERIAL; Webern]

Page  28 28 Author Index (Eimert) Eimert, Herbert. (5) "What Is Electronic Music?". Die Reihe 1 (58): 1-10. [ELECT, PHIL, SERIAL] Ejdesjo, L. See Tove/Ejdesjo/Svardstrom. Ellinwood, Leonard. Review: Smits van Waesberghe (1). NOTES 12/4 (Sep55): 600-602. Ellsworth, Oliver B. "The Berkeley Manuscript (olim Phillipps 4450): A Compendium of Fourteenth-Century Music Theory". 2 vols. PhD diss., Berkeley, 1969. (LC# 70-13,044; DA 31/2 (Aug70): 783-A) [ACOUST, HST-THRY; Boethius, Jacobus, Muris] Elston, Arnold. (1) "Some Rhythmic Practices in Contemporary Music". MQ 42/3 (Jul56): 318-329. [RHYTHM; Bart6k, Stravinsky, Webern]. (2) "Some Views of Webern's Op. 6, No. 1: The Formal Structure of Opus 6, No. I". PNM 6/1 (FaWi67): 63-66. England, Nicholas. (1) Review: Dallin. JMT 2/1 (Apr58): 107-112.. (2) Review: William Lovelock, The Rudiments of Music (London, 1957). JMT 1/2 (Nov57): 212-214. [PEDAG, TONAL] Epperson, Gordon. The Musical Symbol: A Study of the Philosophic Theory of Music. Ames: lowaSt UP, 1967. [HST-THRY, LING, PHIL, - rev. Shields/JAAC. RHYTHM; Hanslick] Epstein, David. (1) "Irving Fine: Symphony (1962)". PNM 3/2 (SpSu65): 160-164. [SERIAL]. (2) "Schoenberg's Grundgestalt and Total Serialism: Their Relevance to Homophonic Analysis". PhD diss., PrincetonU, 1968. (LC# 69-2738; DA 29/9 (Mar69): 3168-3169-A) [FORM, PHIL, SERIAL; Beethoven] Erickson, Raymond. (1) "A General-purpose System for Computer Aided Musical Studies". JMT 13/2 (Wi69): 276-294. [COMPUT].(2) "Musical Analysis and the Computer: A Report on Some Current Approaches and the Outlook for the Future" (incl. comments on Forte (3); and Lefkoff (3)). CompArtHum 3/2 (Nov68): 87-104. [COMPUT] - rvsd. repr. as "Music Analysis and the Computer", JMT 12/2 (Wi68): 240-263. S(3) "Rhythmic Problems and Melodic Structure in Organum Purum: A Computer-Assisted Study". 3 vols. PhD diss., YaleU, 1970. (LC# 71 -16,231; [DA 31/12 (Jun71): 6645-6646-A]) [COMPUT, CPTMED, HST-THRY, RHYTHM; Leonin] Erickson, Robert. (1) The Structure of Music, A Listener's Guide: A Study of Music in Terms of Melody and Counterpoint. NY: Noonday Press, 1955; pb. ed., 1957. [CPTREN, CPTTON, CPT20] - rev. Darrell/NOTES; Seay (16)/JMT.. (2) "Time-Relations". JMT 7/2 (Wi63): 174-192. [COGNTN, RHYTHM; Erickson]

Page  29 In Theory Only 3/7-11 29 Erickson, Robert. (3) "Varese, 1924-1937: Sound-Ikon". Composer 1/3 (Wi69): 144-149. [INFLEC] Eschman, Karl. (1) Changing Forms in Modern Music. 2nd ed., Boston: EC Schirmer, 1968. (1st ed., 1945) [FORM, PTONAL; Hauer]. (2) Teaching Music Theory. Boston: EC Schirmer, 1965. [PEDAG] Escot, Pozzi. See Cogan/Escot. Esper, Erwin. "Max Meyer and the Psychology of Music". JMT 10/2 (Wi66): 182-199. [COGNTN) Essays on Music in Honor of Archibald Thompson Davison by His Associates. Cambridge: HarvardU DM, 1957. - incl. Hewitt; LaRue (2); Mishkin; and Piston (3). Evans, Peter. "Copland on the Serial Road: An Analysis of Connotations". PNM 2/2 (SpSu64): 141-149. [SERIAL] Falck, Myron R. "Seventeenth-Century Contrapuntal Theory in Germany: Part One, A Study of Selected Seventeenth-Century German Contrapuntal Treatises; Part Two, Three Treatises of Christoph Bernhard in English Translation". PhD diss., EastmanSM, 1965. (LC# 66-3810; DA 27/6 (Dec66): 1849-1850-A) [CPTREN, CPTTON, HST-THRY; Bernhard, Bononcini, Criger, Herbst, Sweelinck] Farmer, Henry G. Al-Farabi's Arabic-Latin Writings on Music. NY: Hinrichsen, 1965. NS Farnsworth, Paul R. The Social Psychology of Music. NY: Dryden Press, and Holt, 1958; 2nd ed., Ames: lowaSt UP, 1969. -rev. Abelson/JMT; Burkhart (2)/JMT. [COGNTN, LING, PHIL, SOCIOL] Federhofer, Helmut, ed./intro. Georg Muffat, Essay on Thorough Bass. AIM, 1961. (MSD #4) [FIGBASS] - Eng. intro. to Germ. text. Feldman, Morton. "Between Categories". Composer 1/2 (Fa69): 73-77. [PHIL] Felton, James. "Criticism and the Critic". JuilR 3/2 (Sp56): 37-44. [PHIL, SERIAL] Fennelly, Brian. (1) "A Descriptive Language for the Analysis of Electronic Music". PNM 6/1 (FaWi67): 79-95. [ELECT, INFLEC, METHOD, NOTAT]. (2) "A Descriptive Notation for Electronic Music". PhD diss., YaleU, 1968. (LC# 69-8343; DA 29/11 (May69): 4037-A) [ELECT, INFLEC, METHOD, NOTAT]. (3) "Donald Martino: Parisonatina al'Dodecafonia (1964)". PNM 8/1 (FaWi69): 133-135. [SERIAL] - addendum in PNM 8/2 (SpSu70): 158.

Page  30 30 Author Index (Fennelly) Fennelly, Brian. (4) "Structure and Process in Webern's Opus 22". JMT 10/2 (Wi66): 300-328. [MOTIV, RHYTHM, SERIAL, SETS]. (5) Review: Brindle (4). JMT 11/2 (Wi67): 288-291. Ferand, Ernest T. "What Is Res Facta?". JAMS 10/3 (Fa57): 141-150. [CPTREN, HST-THRY, PERF; Tinctoris] Ferentz, Melvin. See Bauer-Mengelberg/Ferentz. Ferguson, Donald N. (1) Music as Metaphor: The Elements of Expression. Minneapolis: UMinnesotaP, 1960 [FORM, PHIL] - rev. Haydon (3)/JMT; Meyer, L. (9)/JAMS; Pratt (3)/NOTES. - com. Hansen?. (2) The Why of Music: Dialogues in an Unexplored Region of Appreciation. Minneapolis: UMinnesotaP, 1969. [PHIL] - rev. Cone (19)/NOTES; Schwadron (2)/JAesEd. Ferretti, Ercolino. (1) "The Computer as a Tool for the Creative Musician". In Computers and the Humanities? (YaleUP, 1965): 109-112. [COMPUT]. (2) "Some Research Notes on Music with the Computer". PASUC 1 (Apr66): 38-41. [ACOUST, COMPUT] Ferris, Joan. "The Evolution of Rameau's Harmonic Theories". JMT 3/2 (Nov59): 231-256. [ACOUST, TONAL] Fiehler, Judith. See Crane/Fiehler. Finney, Charles H. "British Theorists of the Nineteenth Century". PhD diss., EastmanSM, 1957. (ADD 56-7: 133) NS[HST-THRY] Finney, Ross Lee. (1) Analysis and the Creative Process: An Address. Scripps College Bulletin 33/2 (Feb59). [PHIL, SERIAL; Finney]. (2) "Webern's Opus 6, No. 1". PNM 6/1 (FaWi67): 74. [PTONAL], moderator. (3) "Discussion: Mixed-Media Composition". PASUC 3 (68): 123-145. [PERF, SOCIOL] - panel: George Cacioppo, Edwin London, Salvatore Martirano., panel. See Westergaard (7). Fiore, Mary E. (1) "The Formation and Structural Use of Vertical Constructs in Selected Serial Compositions". PhD diss., IndianaU, 1963. (LC# 64-5450; DA 25/1 (Jul64): 519-520) [SERIAL]. (2) "Webern's Use of Motive in the Piano Variations". In Lincoln, H.: 115-122. [COMPUT, MOTIV] Fischer, Irwin. See Roberts, S./Fischer, I. Fischer, Richard S. "Brahms' Technique of Motive Development in His Sonata in D Minor, Opus 108 for Piano and Violin". AMD diss., UArizona, 1964. (LC# 64-8763; DA 25/4 (Sep64): 1956) [MOTIV]

Page  31 In Theory Only 3/7-11 31 Fish, Arnold. Review: Paul Harder, Basic Materials in Music Theory: A Programed Course (Allyn & Bacon, 1965). JMT 9/2 (Wi65): 330-331. [PEDAG] Fitch, John R. "An Instructional Design Using Selected Contemporary Compositional Practices as the Basis for a Beginning Theory Course". AMD diss., UArizona, 1970. (LC# 70-20,697; DA 31/5 (Nov70): 2419-2420-A) [PEDAG] Fletcher, Stanley. (1) "Music Reading Reconsidered as a Code-Learning Problem". JMT 1/1 (Mar57): 76-96. [LING, NOTAT, PEDAG] - com. Warner. S(2) "On the Nature and Value of Theoretical Training, A Forum: For the Performer" (See Kraehenbuehl (3)). JMT 3/1 (Apr59): 38-49. [PEDAG, PERF, PHIL] Flindell, Edwin F. "The Achievements of the Notre Dame School". PhD diss., UPennsylvania, 1959. (LC# Mic 59-4614; DA 20/6 (Dec59): 2323) [HST-THRY, RHYTHM; Anon. IV] Fokker, Adriaan D. "Wherefore, and Why? Questions Relating to New Music" Die Reihe 8 (68): 68-79. [ALEA, RHYTHM, SERIAL] - com. Koenig (2). * Fontaine, Paul H. (1) Basic Formal Structures in Music. Appleton, 1967. - rev. Thomson (5)/NOTES; White, J. D./JMT. NS[FORM] *. (2) Proficiency in Counterpoint: A College Workbook. Appleton, 1967. NS[CPTTON] - rev. Daniels (3)/NOTES; Whittenberg (3)/JMT. * Foote, Arthur W., and Walter R. Spalding. Modern Harmony in Its Theory and Practice. repr. ed., Summy, 1959. (orig. ed., 1905) [CHORD] Forrester, Donald W. "Pablo Nasarre's Fragmentos Musicos: Translation and Commentary". EdD diss., UGeorgia, 1969. (LC# 70-10,186; DA 30/12 (Jun70): 5468-A) Forte, Allen. (1) "Bartok's 'Serial' Composition". MQ 46/2 (Apr60): 233-245. [LINEAR, SERIAL, SETS] - repr. in Lang (2). - com. Powell, M. (2).. (2) The Compositional Matrix. Baldwin: MTNA, 1961. [LINEAR, SCHENKER, SKETCH, TONAL; Beethoven; Heinichen] - rev. Jones, G. (4)/NOTES; Trotter (2)/JMT.. (3) "Computer-Implemented Analysis of Musical Structure". In Lefkoff (2): 31-42. [COMPUT] - corn. Erickson, Ra. (2).. (4) Contemporary Tone Structures. NY: ColumbiaU TeachersC, 1955. [CPT20, LINEAR, METHOD; Bart6k, Copland, Hindemith, Milhaud, Schoenberg, Sessions, Stravinsky] - rev. Boatwright (7)/JMT (com. on rev. Forte (9), Boatwright (2)); Liv in g ston/NOTES.

Page  32 32 Author Index (Forte) Forte, Allen. (5) "Context and Continuity in an Atonal Work: A SetTheoretic Approach". PNM 1/2 (Sp63): 72-82. [PTONAL, SETS; Schoenberg] ___. (6) "The Domain and Relations of Set-Complex Theory" (Reply to Clough (4)). JMT 9/1 (Sp65): 173-180. ___. (7) "Music and Computing: The Present Situation". CompArtHum 2/1 (Sep67): 32-35. [COMPUT] - rvsd. repr. in AFIPS Conference Proceedings 31 ([?]): 327-329. ___. (8) "A Program for the Analytic Reading of Scores". JMT 10/2 (Wi66): 330-364. [COMPUT, FORTE, SETS] ___. (9) "A Review in Our Issue of March 1957" (Comment on Boatwright (7)). JMT 1/2 (Nov57): 201-205. [SCHENKER] - com. Boatwright (2).. (10) "The Role of the Study of Music Theory in the Development of Musical Understanding". In Comprehensive Musicianship: The Foundation for College Education in Music (Washington: CMP/MENC, 1965): 37-41. [PEDAG]. (11) "Schenker's Conception of Musical Structure". JMT 3/1 (Apr59): 1-30. [CPT20, LINEAR, PEDAG, PHIL, RHYTHM, SCHENKER, TONAL; Debussy, Handel, Schumann]. (12) "The Structure of Atonal Music: Practical Aspects of a Computer-Oriented Research Project". In Brook: 10-18. [COMPUT, FORTE, SETS; Webern]. (13) Syntax-based Analytical Reading of Musical Scores. Project MAC Technical Report #39, 1967. NS[COMPUT, SETS] _ (14) "A Theory of Set-Complexes for Music". JMT 8/2 (Wi64): 136-183. [FORTE, METHOD, SETS; Webern] - com. Clough (4), Forte (6). *. (15) Tonal Harmony in Concept and Practice (with workbook: Forte/Kuhn). Holt, 1962. [CHORD, CHROM, FIGBASS, TONAL] - rev. Haggh (3)/JMT; Novack (2)/PNM; Sapp/CMS. - com. Kudlawiec.. (16) Review: Hodeir (2). JMT 5/1 (Apr61): 144-147.. (17) Review: Perspectives of New Music (1/1) (incl. comments on Babbitt (12); Backus (3); Krenek (9); Rosen, C. (1); and Stockhausen (2)). JAMS 17/1 (Sp64): 110-113. *, and Alfred B. Kuhn. Workbook in Harmonic Composition (workbook to Forte (15)). Holt, 1963. - rev. Browne (3)/JMT; Jones, G. (5)/NOTES. Foss, Lukas. (1) "The Changing Composer-Performer Relationship: A Monologue and a Dialogue". PNM 1/2 (Sp63): 45-53. [NOTAT, PERF] - repr. in Schwartz, E./Childs.. (2) "Work-Notes for Echoi". PNM 3/1 (FaWi64): 54-61. * Fotine, Larry. Theory and Techniques of Twelve-Tone Composition. Sepulvade: PolyTone Music, 1967. [CPT20, SERIAL]

Page  33 In Theory Only 3/7-11 33 Fowler, Charles. "An Interview with Milton Babbitt". MEJ 55/3 (Nov68): 57-61, 127-133. [ELECT] Fox, Charles Warren. "Barbireau and Barbingant: A Review" (of Bernhard Meier, ed., Jacobus Barbireau, Opera Omnia (AIM, 1954-57)). JAMS 13/1-3 (60): 79-101. [CPTREN; Schanppecher] Frank, Paul L. "Wilhelm Dilthey's Contribution to the Aesthetics of Music". JAAC 15/4 (Jun57): 477-480. [PHIL] Frankenstein, Alfred. Review: Cowell, H./Cowell, S. MQ 41/2 (Apr55): 253-256. French, Richard F. (1) Review: Perspectives of New Music (1/1 and 1/2). MQ 50/1 (Jan64): 107-113. [METHOD, SOCIOL]. (2) Review: Edith Weber, ed., Debussy et 1'evolution de la musique au XXe siecle (Paris, 1965). JMT 10/1 (Sp66): 168-171. [PHIL] * Friedheim, Philip. (1) First-Year Harmony (with workbook). NY: Free Press, 1966. [CHORD, TONAL] - rev. Daniels (4)/NOTES; McGaughey/JMT.. (2) "Rhythmic Structure in Schoenberg's Atonal Compositions". JAMS 19/1 (Sp66): 59-72. [RHYTHM]. (3) "Tonality and Structure in the Early Works of Schoenberg". PhD diss., NYU, 1963. (LC# 64-6464; DA 26/3 (Sep65): 1685-1686) [CHROM, FORM] Friedman, Elliott. "Tonality in the Music of Harry Partch". Composer 2/1 (Jun70): 17-24. [ACOUST] Fucks, Wilhelm. "Mathematical Analysis of Formal Structure of Music". IRE Transactions on Information Theory IT-8/5 (Sep62): S224-S228. [INFO] Fuller, Ramon. (1) "An Information Theory Analysis of Anton Webern's Symphonie, Opus 21...". DMA diss., UIllinois, 1965. (LC# 65 -7098; DA 27/5 (Nov66): 1394-1395-A) [INFO, SERIAL]. (2) "Toward a Theory of Webernian Harmony, via Analysis with a Digital Computer". In Lincoln, H.: 123-131. [COMPUT, PTONAL]. See Hiller/Fuller. Gabura, A. James. (1) "Computer Analysis of Musical Style". ACM Proceedings, 20th National Conference (Aug65): 303-314. [COMPUT]. (2) "Music Style Analysis by Computer". In Lincoln, H.: 223-276. [COMPUT, INFO, STYLE, TONAL] Gaburo, Kenneth. (1) "Current Chronicle" (Petrassi). MQ 42/4 (Oct56): 530-533. [SERIAL]

Page  34 34 Author Index (Gaburo) Gaburo, Kenneth. (2) "Studies in Pitch Symmetry in Twentieth Century Music...". DMA diss., UIllinois, 1962. (LC# 62-6136; DA 24/2 (Aug63): 765-766) [PTONAL, SERIAL, SETS; Bart6k, Stravinsky] Gamer, Carlton. (1) "Deep Scales and Difference Sets in Equal-Tempered Systems". PASUC 2 (Apr67): 113-122. [ACOUST, PTONAL, TONAL]. (2) "Some Combinatorial Resources of Equal-Tempered Systems". JMT 11/1 (Sp67): 32-59. [ACOUST, METHOD, PTONAL, TONAL] Garland, Charles. Review: Maurice Lieberman, Ear-Training and SightSinging (Norton, 1959). JMT 3/2 (Nov59): 315-316. [PEDAG] Gauss, Charles E. (1) Review: Cooke, D.; Zuckerkandl (1); R. Frances, La Perception de la Musique (Paris, 1958); and Lazare Saminsky, Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics (The Hague, 1957). JAAC 19/2 (Wi60): 230-232. [PHIL]. (2) Review: Portnoy (1). JAAC 22/4 (Su64): 483.. (3) Review: Zuckerkandl (2). JAAC 16/2 (Dec57): 286-287. Gebauer, Victor. "Choral Music Analysis: A Suggested Adaptation of Jan LaRue's Timeline" (Comment on LaRue (6)). Student Musicologists at Minnesota 3 (68/9): 51-65. [METHOD] George, Graham. (1) "The Structure of Dramatic Music 1607-1909". MQ. 52/4 (Oct66): 465-482. [FORM, TONAL]. (2) Tonality and Musical Structure. NY: Praeger, 1970. [CHROM, FORM, TONAL] Gerdine, Leigh. "A General Theory of Music". JMT 2/1 (Apr58): 104-106. - com. Burkhart (1). [HST-THRY, STYLE] Gerschefski, Edwin. Review: Lieberman, M. (2). JMT 1/2 (Nov57): 218-219. Gettel, William D. "Analysis and Elementary Harmony" (Comment on Reynolds, W. (2)). JMT 2/2 (Nov58): 240-249. [CHORD, LINEAR, PEDAG, RHYTHM, TONAL; Bach] - com. Reynolds, W. (1); Komar (2). Ghent, Emmanuel. "Programmed Signals to Performers: A New Compositional Resource". PNM 6/1 (FaWi67): 96-106. [ELECT, PERF, RHYTHM] Gilbert, Steven E. (1) "The Trichord: An Analytic Outlook for TwentiethCentury Music". PhD diss., YaleU, 1970. (LC# 70-25,269; DA 31/6 (Dec70): 2956-A) [FORTE, SETS; pieces analyzed not listed in abstract] (2) "The Twelve-Tone System of Carl Ruggles: A Study of the Evocations for Piano". JMT 14/1 (Sp70): 68-91. [FORTE, SERIAL, SETS] Gilles, Andr6. "L'anonyme III de Coussemaker, Scriptores III". MD 15 (61): 27-38. [Vitry] - in French, text of treatise in Latin. - repr. in Reaney/Gilles/Maillard.

Page  35 In Theory Only 3/7-11 35 Gilles, Andre, ed. See Reaney/Gilles: III; and Reaney/Gilles/Maillard., and Gilbert Reaney. "A New Source for the Ars Nova of Philippe de Vitry". MD 12 (58): 59-66. [NOTAT, RHYTHM] - repr. in Reaney/Gilles/Maillard. Girdlestone, Cuthbert, trans. See Jacobi (3). Glasow, Glenn L. "Variation as Formal Design and Twelve-Tone Procedure in the Third String Quartet by Arnold Schoenberg...". DMA diss., UIllinois, 1967. (LC# 68-8088; DA 28/12 (Jun68): 5089-5090-A) [FORM, SERIAL] Glowacki, John, ed. Paul A. Pisk: Essays in His Honor. Austin: UTexasP, 1966. - incl. Borris; Hoppin; Morgan, D.; and Riseling. * Goetschius, Percy. The Homophonic Forms of Musical Composition. repr. ed., St. Clair Shores: Scholarly Press, 1969; and AMS Press, 1970. (orig. ed., 1898) [FORM] * Goldman, Richard Franko. (1) Harmony in Western Music. Norton, 1965. - rev. Green, D. (2)/JMT. [CHORD, CHROM, STYLE, TONAL]. (2) Review: Cowell, H./Cowell, S. NOTES 12/2 (Mar55): 217-218.. (3) Review: Piston (2). NOTES 12/3 (Jun55): 437-438. Goode, Daniel. (1) Letter: Comment on Travis (1). PNM 6/1 (FaWi67): 158. [Schoenberg] - com. Travis (5).. (2) Letter: Comment on Wuorinen (1). PNM 5/2 (SpSu67): 170-171. - cor. Wuorinen (6). [METHOD] Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. (esp. pp. 127-192) [NOTAT, PHIL] - com. Boretz (19). Gordon, Barbara P. Review: Horsley (1). NOTES 24/2 (Dec67): 270-272. Gossett, Philip. Review: Jean-Philippe Rameau, Observations sur notre instinct pour la musique (facs. 1754 ed., Broude, 1967). NOTES 26/3 (Mar70): 528-529. Gottlieb, Jack. "Leonard Bernstein: Kaddish Symphony". PNM 4/1 (FaWi65): 171-175. Gotuski, Dragutin. "The Third Dimension of Poetic Expression -or Language and Harmony". MQ 55/3 (Jul69): 372-383. [HST-THRY, LING, PHIL] Gould, Murray J. Review: Lefkoff (2). CompArtHum 2/5 (May68): 262-263., and George W. Logemann. "ALMA: Alphameric Language for Music Analysis". In Brook: 57-90. [COMPUT] Graves, William L., Jr. Twentieth Century Fugue: A Handbook. Washington: Catholic UP, 1962. [CPT20] - rev. Browne (4)/JMT.

Page  36 36 Author Index (Gredinger) Gredinger, Paul. "Serial Technique". Die Reihe 1 (58): 38-44. [SERIAL] Green, Burdette L. "The Harmonic Series from Mersenne to Rameau: An Historical Study of Circumstances Leading to Its Recognition and Application in Music". PhD diss., OhioStU, 1969. (LC# 70-6786; DA 30/10 (Apr70): 4478-A) [ACOUST, HST-THRY] * Green, Douglass M. (1) Form in Tonal Music: An Introduction to Analysis. Holt, 1965. (FORM] - rev. Bassett (2)/JMT; Kroeger/NOTES.. (2) Review: Goldman (1). JMT 10/1 (Sp66): 164-168. Green, George. Review: Siegmeister. NOTES 23/3 (Mar67): 535-536. Greene, David B. "Schubert's 'Winterreise': A Study in the Aesthetics of Mixed Media". JAAC 29/2 (Wi70): 181-193. [FORM, PHIL] Grimm, C. Hugo. Letter: Comment on Marco (1). JAMS 12/1 (Sp59): 101-102. [FORM, MOTIV; Haydn] Griswold, Thomas. Review: Cooper, G. JMT 3/1 (Apr59): 165-166. Gruber, Albion. (1) "Evolving Tonal Theory in Seventeenth-Century France". PhD diss., EastmanSM, 1969. (LC# 69-19,779; DA 30/6 (Dec69): 2559-A) [HST-THRY, MODAL; Caus, Descartes, La Voye-Mignot, Loulid, Masson, Mersenne, Parran, Zarlino] S(2) "Mersenne and Evolving Tonal Theory". JMT 14/1 (Sp70): 36-67. [ACOUST, TONAL] Gruneberg, R. "Humor in Music". Philosophy and Phenomenological Research 30/1 (Sep69): 122-125. [PHIL] Gurney, Edmund. The Power of Sound. repr. ed., NY: Basic Books, 1966. (orig. ed., 1880) [FORM, PHIL] - rev. Appleton (2)/NOTES. Gushee, Lawrence A. (1) "The Musica Disciplina of Aurelian of Re4me: A Critical Text and Commentary". 2 vols. PhD diss., YaleU, 1963. (LC# 64-11,873; DA 26/4 (Oct65): 2251-2252) [MODAL]. (2) Review: Aldrich (2). JMT 11/1 (Sp67): 117-133.. (3) Review: Haggh (1). JAMS 17/3 (Fa64): 395-400.. (4) Review: Ponte (1). NOTES 26/1 (Sep69): 36-37.. (5) Review: Young. JMT 14/1 (Sp70): 127-132. Gustin, Molly. (1) "A Theory of Roots". JMT 6/2 (Wi62): 178-198. [ACOUST, MODAL, RHYTHM, TONAL]. (2) "Tonality". PhD diss., IndianaU, 1961. (LC# Mic 60-6953; DA 22/1 (Jul61): 281) [ACOUST, RHYTHM, TONAL] - rvsd. repr. as Gustin (3).

Page  37 In Theory Only 3/7-11 37 Gustin, Molly. (3) Tonality. NY: Philosophical Library, 1969. - rvsd. repr. of Gustin (2). NS[ACOUST, RHYTHM, TONAL] - rev. Komar (3)/PNM. Haar, James E. "Musica Mundana: Variations on a Pythagorean Theme" PhD diss., HarvardU, 1961. (ADD 60-1: 137) NS[HST-THRY, PHIL] Haenselman, Carl F. "Harmonic Rhythm in Selected Works of the Latter Half of the Nineteenth Century". PhD diss., IndianaU, 1966. (LC# 66-14,828; DA 28/1 (Jul67): 250-A) [COGNTN, RHYTHM] Haggh, Raymond H., trans./intro./annot. (1) Hugo Riemann, History of Music Theory, Books I and II: Polyphonic Theory to the Sixteenth Century. Lincoln: UNebraskaP, 1962; 2nd printing, 1966. [ACOUST, CPTMED, CPTREN, HST-THRY, MODAL, NOTAT, RHYTHM] - rvsd. repr. of Haggh (2). - trans. from 1920 Germ. ed. - rev. Gushee (3)/JAMS; Rowell/JMT. (2) "Hugo Riemann's 'Geschichte der Musiktheorie im IX.-XIX. Jahrhundert', Books I and II: A Translation with Commentary and Annotated Bibliography". PhD diss., IndianaU, 1961. (LC# 61-4440; DA 22/4 (Oct61): 1203-1204) [see Haggh (1)] - rvsd. repr. as Haggh (1).. (3) Review: Forte (15). JMT 7/1 (Sp63): 137-140. Hall, Robert L. "Music as the Form of the World" (Comment on Carpenter (3)). CM 6 (68): 105-110. [FORM, PHEN, PHIL] Hall, Robert W. "On Hanslick's Supposed Formalism in Music". JAAC 25/4 (Su67): 433-436. [PHIL] Hallmark, Rufus. "An Unknown English Treatise of the 16th Century". JAMS 22/2 (Su69): 273-274. [Gafurius] Hamm, Charles. Review: Sparks. MQ 50/1 (Jan64): 103-107. Hammond, Frederick F. (1) "The Summa de Speculatione Musicae of Walter Odington: A Critical Edition and Commentary". PhD diss., YaleU, 1965. (LC# 65-9679; DA 26/4 (Oct65): 2253) _, ed. (2) Walter Odington, De Speculatione Musicae. AIM, 1970. (CSM #14) Hansell, Sven Hostrup. "The Cadence in 18th-century Recitative". MQ 54/2 (Apr68): 228-248. [HST-THRY, PERF; CPEBach, Fux, Gasparini, Heinichen] Hansen, Forest W. "Music, Feeling, and Meaning: A Study of Four Theories" (incl. comments on Ferguson (1)?; Langer (1) and (4)?; Meyer, L. (1)?; and Zuckerkandl (2)?). PhD diss. (Philosophy), Johns HopkinsU, 1967. (LC# 70-14,814; DA 31/3 (Sep70): 1321-A) [PHIL]

Page  38 38 Author Index (Hanslick) Hanslick, Eduard. The Beautiful in Music. repr. ed., NY: Liberal Arts Press, 1957. [PHIL] - ed./intro. Morris Weitz. - trans. Gustav Cohen. - excpts. extensively repr. in aesthetics anthologies. - for com. see Hanslick in theorist index. Hanson, Howard. Harmonic Materials of Modern Music: Resources of the Tempered Scale. Appleton, 1960. [CPT20, PTONAL, SETS] - rev. Boatwright (8)/JAMS; Mitchell, W. (8)/JMT; Slonimsky (1)/NOTES; Winham (3)/PNM. Hanson, Jens L. "An Operational Approach to Theory of Rhythm". PhD diss., YaleU, 1969. (LC# 70-2738; DA 30/9 (Mar70): 3972-3973-A) [COMPUT, RHYTHM] Harbinson, Denis. "Consonance and Dissonance in the Old Corpus of the Montpellier Motet Manuscript". MD 22 (68): 5-13. [CPTMED; Franco] * Harder, Paul. (1) Harmonic Materials in Tonal Music: A Programmed Course. 2 vols. Boston: Allyn & Bacon, 1968. [CHORD, TONAL] - rev. Whittenberg (4)/JMT.. (2) Review: Bruce Benward, Sightsinging Complete (Brown, 1965). JMT 11/1 (Sp67): 164-165. [PEDAG]. (3) Review: Bruce Benward, Teacher's Dictation Manual in Ear Training and Workbook in Ear Training (Brown, 1961); and Jerry H. Bilik, Learning to Hear: A Manual for Ear-Training (UMichiganP, 1965). JMT 11/1 (Sp67): 160-163. [PEDAG]. See Reed/Harder. Harman, R. Alec, ed. Thomas Morley, A Plain and Easy Introduction to Practical Music. 2nd ed., Norton, 1963. (1st ed., 1952) [CPTREN, RHYTHM] Harrell, Jean G. "Issues of Music Aesthetics". JAAC 23/2 (Wi64): 197-206. [PHIL; Hanslick] Harrison, Frank LI. "Faburden in Practice" (Comment on Trowell). MD 16 (62): 11-34. [CPTREN; Anon. Lansdowne, Anon. Scottish] Harriss, Ernest C. "Johann Mattheson's Der vollkommene Capellmeister: A Translation and Commentary". PhD diss., PeabodyC, 1969. (LC# 70 -7632; DA 30/11 (May70): 5016-A) Hartman, James B. "A Gestalt Theory of Musical Perception". PhD diss. (Philosophy), NorthwesternU, 1959. (LC# Mic 59-4803; DA 20/6 (Dec59): 2332) [COGNTN, PHIL, SCHENKER] Haubenstock-Ramati, Roman. "Notation -- Material and Form". PNM 4/1 (FaWi65): 39-44. [ELECT, FORM, NOTAT, PERF] - trans. Katherine M. Freeman.

Page  39 In Theory Only 3/7-11 39 Hawkins, Sir John. A General History of the Science and Practice of Music. repr. (of 1853) ed., Dover, 1963. (orig. pub., 1776) [HST-THRY] Haydon, Glen. (1) "Music Theory and Music History". JMT 7/2 (Wi63): 249-255. [PEDAG, STYLE]. (2) Review: Burrows (1). JAMS 18/2 (Su65): 255-256.. (3) Review: Ferguson (1). JMT 5/1 (Apr61): 142-143.. (4) Review: Kuttner. MQ 42/3 (Jul56): 421-423.. (5) Review: Lowinsky (4). NOTES 19/2 (Mar62): 250-251. __.(6) Review: Parrish (2). MQ 44/3 (Jul58): 388-390. Hayes, Deborah. "Rameau's Theory of Harmonic Generation: An Annotated Translation and Commentary of Generation Harmonique by Jean-Philippe Rameau". PhD diss., StanfordU, 1968. (LC# 68-15,055; DA 29/5 (Nov68): 1557-A) Heard, Edmund B. "Alia Musica: A Chapter in the History of Medieval Music Theory". PhD diss., UWisconsin, 1966. (LC# 66-13,798; DA 28/3 (Sep67): 1094-A) [MODAL] * Heeremans, Harold. Sixteenth Century Counterpoint. NY: HW Gray, 1955. NS[CPTREN] Heiles, William H. "Rhythmic Nuance in Chopin Performances Recorded by Moriz Rosenthal, Ignaz Friedman, and Ignaz Jan Paderewski". DMA diss., UIllinois, 1964. (LC# 65-832; DA 25/8 (Feb65): 4741) [PERF, RHYTHM] Hein, Hilde. "Performance as an Aesthetic Category". JAAC 28/3 (Sp70): 381-386. [PERF, PHIL] Heiss, John C. (1) "For the Flute: A List of Double-Stops, TripleStops, Quadruple-Stops, and Shakes". PNM 5/1 (FaWi66): 139-141. [ORCH]. (2) "Some Multiple-Sonorities for Flute, Oboe, Clarinet, and Bassoon". PNM 7/1 (FaWi68): 136-142. [ORCH] Helm, E. Eugene. (1) "Six Random Measures of C. P. E. Bach". JMT 10/1 (Sp66): 139-151. [ALEA, CPTTON; Kirnberger, Marpurg]. (2) "The Vibrating String of the Pythagoreans". Scientific American 217/6 (Dec67): 92-104. [ACOUST, HST-THRY] Helm, Everett. Review: Die Reihe (#1 and #2). JMT 3/1 (Apr59): 155-160. Helmholtz, Hermann Ludwig. On the Sensations of Tone as a Physiological Basis for the Theory of Music. 2nd repr. ed., Dover, 1961. (1st Dover ed., 1954; repr. of 2nd Eng. ed., 1885; orig. Ger. ed., 1863) - trans. Alexander J. Ellis. [ACOUST, COGNTN, PHIL]

Page  40 40 Author Index (Henderson) Henderson, Robert V. "Solmization Syllables in Musical Theory, 1100 to 1600". PhD diss., ColumbiaU, 1969. (LC# 70-17,017; DA 31/3 (Sep70): 1309-1310-A) [HST-THRY; Guido] Henry, Otto W. "The Evolution of Idiomatic and Psychoacoustical Resources as a Basis for Unity in Electronic Music". PhD diss., TulaneU, 1970. (LC# 70-24,525; DA 31/6 (Dec70): 2957-A) [ACOUST, ELECT, INFLEC] Hensel, Herman R. "On Paul Hindemith's Harmonic Fluctuation Theory". DMA diss., UIllinois, 1964. (LC# 65-3596; DA 25/12 (Jun65): 7308-7309) [PTONAL] Herz, Gerhard. "Analysis". In Herz, ed., Bach Cantata No. 4 (Norton, 1967): 81-113. (Norton Critical Score ed.) Heuss, Alfred. "The Minor Second in Mozart's G minor Symphony". In Broder: 83-98. [MOTIV] - trans. Nathan Broder, from Jahrbuch der Musikbibliothek Peters fur 1933 (Leipzig, 1934). Heussenstamm, George. "The Perception of New Music". Composer 2/3 (Dec70): 59-62. [PHIL] Hewitt, Helen. "A Study in Proportions". In Essays on Music...: 69-81. [Morley, Tinctoris] Hibbard, William. "Charles Wuorinen: The Politics of Harmony". PNM 7/2 (SpSu69): 155-166 (+ 4 unnumbered pp.). [LING, RHYTHM, SERIAL] Hicken, Kenneth L. "Structure and Prolongation: Tonal and Serial Organization in the 'Introduction' of Schoenberg's Variations for Orchestra". PhD diss., Brigham YoungU, 1970. (LC# 71-8856; [DA 31/10 (Apr71): 5446-A]) [PTONAL] Higgens, Dick. "Boredom and Danger". Source #5, 3/1 (Jan69): 15-17. [COGNTN, PHIL] Hill, Richard S. (1) Review: Edwards, Ar.; and Smits van Waesberghe (2). NOTES 13/4 (Sep56): 646-648.. (2) Review: Meyer, L. (1); and Zuckerkandl (2). NOTES 14/2 (Mar57): 253-255. S(3) Review: Rochberg (2); and Josef Rufer, Composition with Twelve Notes Related Only to One Another (Macmillan, 1954). NOTES 12/2 (Mar55): 223-225.. (4) Review: Zuckerkandl (1). NOTES 17/2 (Mar60): 243-244. Hill, Robert E., Jr. See Sherman/Hill, Ro. Hiller, Lejaren A., Jr. (1) Analysis and Synthesis of Musical Sounds by Analog and Digital Techniques (An Interim Progress Report to the National Science Foundation). Urbana: UIllinois SM, 1Jan67. [COMPUT] (2) "Computer Music". Scientific American 201/6 (Dec59): 109-120. [COMPUT]

Page  41 In Theory Only 3/7-11 41 Hiller, Lejaren A., Jr. (3) "Electronic Synthesis of Microtonal Music". PASUC 2 (Apr67): 99-106. [ACOUST, ELECT] _ (4) Information Theory and Musical Analysis. Technical Report #5, UIllinois Exper. Music Studio, Jul62. (mimeo) NS[INFO]. (5) "Music Composed with Computers -- A HistoricaD Survey". In Lincoln, H.: 42-96. [COMPUT]. (6) "Programming a Computer for Musical Composition". In Lefkoff (2): 65-88. [COMPUT]. (7) "Some Comments on Computer Sound Synthesis". PASUC 1 (Apr66): 47-49. [COMPUT]. (8) "Some Compositional Techniques Involving the Use of Computers". In von Foerster/Beauchamp: 71-83. [COMPUT] - com. Howe (1).. See Cage/Hiller., and Robert A. Baker. (1) Computer Cantata: A Study in Composition Using the University of Illinois IBM 7090 and CSX-1 Electronic Digital Computers. Technical Report #8, UIllinois Exper. Music Studio, 1963. NS[COMPUT] - rvsd. repr. as Hiller/Baker (2)., and. (2) "Computer Cantata: A Study in Compositional Method". PNM 3/1 (FaWi64): 62-90. [COMPUT] - rvsd. repr. of Hiller/Baker (1). - corn. Perle (12)., and. (3) "Computer Music". In Harold Borko, ed., Computer Applications in the Behavioral Sciences (Prentice-Hall, 1962): 424-451. [COMPUT, INFO, STYLE], and Calvert Bean. "Information Theory Analyses of Four Sonata Expositions". JMT 10/1 (Sp66): 96-137. [INFO; Beethoven, Berg, - rvsd. excpt. of Bean. Hindemith, Mozart],and James W. Beauchamp. "Research in Music with Electronics". Science 150/3693 (80ct65): 161-169. [COMPUT, ELECT, INFO], and Ramon Fuller. "Structure and Information in Webern's Symphonie, Op. 21". JMT 11/1 (Sp67): 60-115. [INFO, METHOD, SERIAL], and Leonard M. Isaacson. (1) Experimental Music: Composition with an Electronic Computer. NY: McGraw-Hill, 1959. [COMPUT, PHIL] - excpt. repr. in K. M. Sayre and F. J. Crosson, ed., The Modeling of Mind: Computers and Intelligence (UNotre DameP, 1963). - rev. Livant/BehavSci; Westergaard (8)/JMT., and. (2) "Musical Composition with a High Speed Digital Computer". JAES 6/3 (Jul58): 154-160. [COMPUT] Hills, Arthur. Review: Collins (2). CM 5 (67): 123-128. - com. Collins (5). Hindemith, Paul. A Composer's World: Horizons and Limitations. repr. ed., Doubleday, 1961; and Gloucester: P. Smith, 1969. (orig. ed., 1952) [PERF, PHIL, SOCIOL] - trans. of excpt. of 1959 Ger. ed. in Briner. - excpt. repr. in Schwartz, E./Childs: 81-98.

Page  42 42 Author Index (Hines) Hines, Robert Stephan, ed. The Orchestral Composer's Point of View. Norman: UOklahomaP, 1970. - incl. Babbitt (6); Carter (7); Lutoslawski; and Schuller (2). Hipple, Walter J., Jr. Letter: Comment on Cazden (5). JAAC 21/2 (Wi62): 211-212. - com. Cazden (7). Hitchcock, H. Wiley. (1) "A Footnote on Webern's Variations" (Comment on Nelson, R. (3)). PNM 8/2 (SpSu70): 123-126. [SERIAL]. (2) "Vocal Ornamentation in Caccini's 'Nuove musiche'". MQ 56/3 (Jul70): 389-404. Hodeir, Andre. (1) The Forms of Music. NY: Walker, 1966. (orig. Fr. ed., 1961) [FORM] - trans. Noel Burch.. (2) Since Debussy: A View of Contemporary Music. NY: Grove Press, 1961. [SERIAL; Barraque, Bart6k, Berg, Boulez, - trans. Noel Burch. Messiaen, Schoenberg, Stravinsky, Webern] - rev. Cogan (3)/PNM; Forte (16)/JMT; Perle (15)/MQ. - com. Kostelanetz (2). Hodkinson, Sydney. "[Notational Problems]". PASUC 5 (70): 23-30. [NOTAT, PERF] Hoffmann, James A. "A Study of Tripartite Forms in the Compositions of Anton Webern...". DMA diss., UIllinois, 1963. (LC# 64-6082; DA 26/6 (Dec65): 3392) [FORM, SERIAL] Hoffmann, Richard. "Webern: Six Pieces, Opus 6 (1909)". PNM 6/1 (FaWi67): 75-78. Hollander, John. (1) "Notes on the Text of Philomel". PNM 6/1 (FaWi67): 134-141. [FORM]. (2) Review: Cage (3). PNM 1/2 (Sp63): 137-141. Homan, Frederic. (1) "Cadence in Gregorian Chant". PhD diss., IndianaU, 1961. (LC# 61-4448; DA 22/5 (Nov61): 1656) [MODAL, MONOPH]. (2) "Final and Internal Cadential Patterns in Gregorian Chant". JAMS 17/1 (Sp64): 66-77. [MODAL, MONOPH] Hood, Mantle. Review: Donald A. Lentz, The Gamelan Music of Java and Bali: An Artistic Anomaly Complementary to Primary Tonal Theoretical Systems (UNebraskaP, 1965). JMT 10/1 (Sp66): 153-156. [NONWEST] Hopkins, James F. "Ravel's Orchestral Transcription Technique...". PhD diss., PrincetonU, 1969. (LC# 69-18,167; DA 30/6 (Dec69): 2560-A) [ORCH] Hoppin, Richard H. "Tonal Organization in Music Before the Renaissance". In Glowacki: 25-37. [MODAL, TONAL]

Page  43 In Theory Only 3/7-11 43 * Horsley, Imogene. (1) Fugue: History and Practice (with workbook). NY: Free Press, 1966. [CPTREN, CPTTON, FORM, HST-THRY; Albrechtsberger, Banchieri, Bernhard, Bethizy, Denis, Diruta, Fetis, Fux, Kirnberger, Kollman, Marpurg, Martini, Masson, Mattheson, Morley, Nivers, Printz, Rameau, Reicha, Werckmeister, Zarlino] - rev. Gordon/NOTES; Lefkoff (4)/JMT.. (2) Review: Lippman (2). NOTES 22/3 (Sp66): 1035-1036.. (3) Review: Gioseffo Zarlino, Dimonstrationi harmoniche (facs. 1571 ed., Broude, 1965). NOTES 23/3 (Mar67): 519. [MODAL]. (4) Review: Gioseffo Zarlino, Le Institutioni harmoniche (facs. 1558 ed., Broude, 1965). NOTES 23/3 (Mar67): 515-519. [ACOUST, CPTREN, MODAL, PHIL, TONAL] Hoskins, William. "The Eastman Sight-Singing Manual" (Comment on Zlotnik). JMT 3/1 (Apr59): 150-154. [PEDAG] Hospers, John. "Meaning in Music". In Meaning and Truth in the Arts (repr. ed., Hamden: Archon Books, 1964): 78-98. (orig. ed., 1946) [PHIL] Houghton, Edward F. Review: Miller, C. (5). JAMS 20/2 (Su67): 292-295. Houle, George L. "The Musical Measure as Discussed by Theorists from 1650 to 1800". PhD diss., StanfordU, 1961. (LC# Mic 61-1230; DA 21/11 (May61): 3480) [HST-THRY, NOTAT, RHYTHM] Howe, Hubert S., Jr. (1) "The Chaotic State of Computer Music" (Review of von Foerster/Beauchamp; comment on Beauchamp; Hiller (8); Mathews/Rosler; and Pierce, J./Mathews). CompArtHum 4/4 (Mar70): 277-283. [COMPUT] - repr. in PNM 8/2 (SpSu70): 151-157.. (2) "A General View of Compositional Procedure in Computer Sound Synthesis". PASUC 3 (Apr68): 98-108. [COMPUT]. (3) "Introduction [Recent Developments in Electronic Music]". PASUC 4 (69): 8-9. [ELECT]. (4) "Music and Electronics: A Report". PNM 4/2 (SpSu66): 68-75. [COMPUT, ELECT]. (5) "Recent Recordings of Electronic Music" (Walter Carlos, Switched-On Bach (Columbia Records MS 7194); and Paul Beaver and Bernard J. Krause, The Nonesuch Guide to Electronic Music (Nonesuch HC-73018)). PNM 7/2 (SpSu69): 178-181. [ELECT] _ (6) "Some Combinational Properties of Pitch Structures". PNM 4/1 (FaWi65): 45-61. [COMPUT, SERIAL, SETS] Howell, Almonte C., Jr. (1) "Cabez6n: An Essay in Structural Analysis". MQ 50/1 (Jan64): 18-30. [MOTIV]. (2) Review: Cohen, Alb. (1). JMT 10/2 (Wi66): 372-375. Hsu, Dolores Menstell. "Ernst Kurth and His Concept of Music as Motion". JMT 10/1 (Sp66): 2-17. [COGNTN, PHIL]

Page  44 44 Author Index (Huff) Huff, Jay A., ed./trans./intro./annot. (1) Ad organum faciendum and Item de organo. InstMedM, 1969. (MTT #8) S_(2) "Linear Structures and Their Relation to Style in Selected Compositions by Igor Stravinsky". PhD diss., NorthwesternU, 1965. (LC# 65-12,105; DA 26/6 (Dec65): 3393) [LINEAR, STYLE] ___ (3) "Serial Control of Time Spans in the Last Movement of Webern's Op. 28". Composer 1/4 (Mar70): 175. [INFLEC, SERIAL] Hughes, Andrew. "Ugolino: The Monochord and Musica Ficta". MD 23 (69): 21-39. [ACOUST, PERF) Hughes, Charles. Review: Edwards, Ar. JAAC 15/4 (Jun57): 499. Hughes, Matt. "Analysis Symposium: Schubert, Moment Musical, Op. 94/1: A Quantitative Analysis". JMT 12/2 (Wi68): 188-213. [INFO] Hultberg, Warren E. "Sancta Maria's Libro Llamado Arte de Taher Fantasia: A Critical Evaluation". 2 vols. PhD diss., USC, 1964. (LC# 65-1277; DA 26/4 (Oct65): 2254) Hurwitz, Robert I. "An Investigation into the Perception of Root in Harmonic Intervals". PhD diss., IndianaU, 1970. (LC# 71-14,457; [DA 31/12 (Jun71): 6648-6649-A]) [ACOUST, COGNTN; Hindemith] Hutchings, Arthur. Review: Jacobi (4). JMT 5/2 (Nov61): 325-328. - addendum in JMT 6/2 (Wi62): 322. [HST-THRY; Day] Hutchinson, William R. (1) "Aesthetic and Musical Theory: An Aspect of Their Juncture". JAAC 24/3 (Sp66): 393-400. [METHOD, PHIL] ___. (2) "Implication, Closure and Interpolated Change as Exemplified in the Works of Frederic Chopin". PhD diss., UChicago, 1960. (ADD 59-60: 131) NS[COGNTN?, METHOD?] Imbrie, Andrew. (1) "Current Chronicle" (Elston). MQ 43/4 (Oct57): 527-533. [LINEAR, PTONAL]. (2) "A Grain of Salt". CMS 5 (Fa65): 36-41. [METHOD, PEDAG]. (3) "Roger Sessions: In Honor of His Sixty-fifth Birthday" (incl. comments on Sessions (5) and other early writings). PNM 1/1 (Fa62): 117-147. [LINEAR, PHIL, SERIAL] Isaacson, Leonard M. See Hiller/Isaacson (1) - (2). Isgro, Robert M. "The First and Second Practices of Monteverdi: Their Relation to Contemporary Theory". PhD diss., USC, 1968. (LC# 68 -17,029; DA 29/6 (Dec68): 1916-1917-A) [HST-THRY; Artusi] Ives, Charles. (1) "Essays Before a Sonata". In Three Classics in the Aesthetic of Music (Dover, 1962): 103-185. (orig. pub., 1920) [PHIL] - repr. in Ives (2).

Page  45 In Theory Only 3/7-11 45 Ives, Charles. (2) Essays Before a Sonata and Other Writings. Norton, 1962. [PHIL] - ed./annot. Howard Boatwright. - incl. repr. of Ives (1). - excpt. "Postface to 114 Songs" repr. in Schwartz, E./Childs: 128-133. - rev. Clarke (3)/MQ; Yellin/JAMS. Jackson, Roland. (1) "Further Observations on Mozart's Menuetto in D Major" (Comment on Boatwright (1)). JMT 11/2 (Wi67): 277-279. (CHORD]. (2) "Harmony before and after 1910: A Computer Comparison". In Lincoln, H.: 132-146. [COMPUT, STYLE; Scriabin]. (3) "The Inganni and the Keyboard Music of Trabaci". JAMS 21/2 (Su68): 204-208. [CPTREN, HST-THRY; Artusi]. (4) Review: Ian Spink, An Historical Approach to Musical Form (London, 1967). JMT 12/2 (Wi68): 309-313. [FORM], and Philip Bernzott. (1) "Harmonic Analysis with a Computer -- A Progress Report". ICRH Newsletter 1 (May66): [?]. NS[COMPUT] _, and. (2) "A Musical Input Language and a Sample Program for Musical Analysis". In Brook: 130-150. [COMPUT] Jacobi, Erwin R., ed./intro./annot. (1) The Complete Theoretical Works of Jean-Philippe Rameau. 6 vols. facs., AIM (v. 1-2) 1967; (v. 3) 1968; (v. 4-5) 1969; [(v. 6) 1972]. - rev. (v. 1) Barbour (4)/NOTES.. (2) "G. F. Nicolai's Manuscript of Tartini's Regole per ben suonar il Violino". MQ 47/2 (Apr61): 207-223. - trans. Willis Wager. ___ ed. (3) Giuseppe Tartini, Traite des Agrements de la Musique/ Abhandlung Uber die Verzierungen in der Musik/Treatise on Ornaments in Music. NY [& Celle]: Hermann Moeck, 1961. [PERF] - Eng. trans. Cuthbert Girdlestohe. - rev. Burrows (4)/JAMS; Kent (2)/JMT.. (4) "Harmonic Theory in England after the Time of Rameau". JMT 1/2 (Nov57): 126-146. [HST-THRY, TONAL; Jones, Kollman] - trans. David Kraehenbuehl. - excpt. from Ger. diss. (UZiirich); pub. ed. of diss. (Die Entwicklung der Musiktheorie in England nach der Zeit von JeanPhilippe Rameau (Strasbourg, 1957/60)) rev. Berry (3)/NOTES; Hutchings/JMT; Mitchell, W. (9)/MQ. _. (5) "Rameau and Padre Martini: New Letters and Documents". MQ 50/4 (Oct64): 452-475. [ACOUST] - trans. Piero Weiss.. (6) Review: Shirlaw (2). JMT 1/2 (Nov57): 228-229.

Page  46 46 Author Index (Jacobs) * Jacobs, Robert L. Harmony for the Listener. NY: Oxford UP, 1958. - rev. Ritchie, J. (1)/JMT. [CHORD, PTONAL, TONAL] - pb. ed. as Understanding Harmony: An Unconventional Textbook, 1969? Jacobson, George H. Review: Erik Franklin, Tonality as a Basis for the Study of Musical Talent (Goteborg, Sweden, 1956). JMT 2/1 (Apr58): 113-114. [COGNTN, TONAL] Jalowetz, Heinrich. "[Twelve-Tone Writing in Mozart]". In Broder: 99-100. - repr. from MQ, 1944. Jarman, Douglas. (1) "Dr. Sch6n's Five-Strophe Aria: Some Notes on Tonality and Pitch Association in Berg's Lulu". PNM 8/2 (SpSu70): 23-48. [FORM, PTONAL, SERIAL]. (2) "Some Rhythmic and Metric Techniques in Alban Berg's Lulu". MQ 56/3 (Jul70): 349-366. [RHYTHM] Jay, Stephen. See Shir-Cliff/Jay/Rauscher. Jeans, James. Science and Music. repr. ed., NY: Macmillan, 1961. (orig. ed., 1940) [ACOUST, HST-THRY] Jeppeson, Knud. The Style of Palestrina and the Dissonance. repr. ed., Dover, 1970. (orig. ed., 1927) [CPTREN] - trans. Margaret W. Hamerik. Jesson, Ronald F. "Third Relation in the Late Eighteenth and Early Nineteenth Centuries". PhD diss., IndianaU, 1958. (LC# Mic 58-7921; DA 19/9 (Mar59): 2358) [TONAL] Johnston, Ben. (1) "Proportionality and Expanded Musical Pitch Relations". PNM 5/1 (FaWi66): 112-120. [ACOUST, NONWEST]. (2) "Scalar Order as a Compositional Resource". PNM 2/2 (SpSu64): 56-76. [ACOUST, METHOD] - com. Boretz (22) (incl. in Boretz (6) and (7)), Johnston (4), Boretz (23).. (3) "Three Attacks on a Problem" [Microtones]. PASUC 2 (Apr67): 89-98. [ACOUST, PHIL; Johnston]. (4) Letter: "A Small Demur" (Comment on Boretz (22) (incl. in Boretz (6) and (7))). PNM 9/1 (FaWi70): 155-156. [COGNTN] - com. Boretz (23)., panel. See Browne (2); Westergaard (7)., and Edward G. Kobrin. "Phase la" [Microtones]. Source #7, 4/1 (Jan70): 27-45. [ACOUST] Jones, Charles. Review: Copland (1). MQ 47/1 (Jan61): 125-127. * Jones, George T. (1) Music Composition: A Manual for Training the Young Composer. Summy, 1963. [PTONAL, SERIAL]

Page  47 In Theory Only 3/7-11 47 Jones, George T. (2) Symbols Used in Music Analysis. Washington: Catholic UP, 1964. [CHORD, PEDAG]. (3) "Symbols Used in Music Analysis: Final Report". Council for Research in Music Education Bulletin 9 (Sp67): 23-28. [CHORD, PEDAG]. (4) Review: Forte (2). NOTES 21/3 (Su64): 376-377.. (5) Review: Forte/Kuhn. NOTES 22/2 (Wi65/6): 900.. (6) Review: Tischler (3). NOTES 21/4 (Fa64): 546-547. Jones, James Rives. "Some Aspects of Rhythm and Meter in Webern's Opus 27". PNM 7/1 (FaWi68): 103-109. [RHYTHM] - com. Boykan (6). Jones, Robert C. (1) "A Glossary of Theoretical Terms Used in Selected Writings in English about Twentieth-Century Music". PhD diss., UIowa, 1965. (LC# 66-3450; DA 26/10 (Apr66): 6089-6090) [METHOD]. (2) "Ramos and Some Polemic Theorists of the Renaissance". Missouri Journal of Research in Music Education 2/2 (Fa68): 40-48. [Gafurius] Jorgenson, Dale A. "A History of Theories of the Minor Triad". PhD diss., IndianaU, 1957. (UM# 22,691; LC# Mic 57-3685; DA 17/10 (Oct57): 2281) [ACOUST, HST-THRY] Journal of Music Theory. - rev. (1/1-2/1) Mitchell, W. (10)/MQ. Kagel, Mauricio. (1) "Tone-Clusters, Attacks, Transitions". Die Reihe 5 (61): 40-55. [INFLEC, METHOD]. (2) "Translation-Rotation". Die Reihe 7 (65): 32-60. - trans. Cornelius Cardew. [FORM, NOTAT, PERF] Karp, Theodore. Review: Finn Mathiassen, The Style of the Early Motet (An Investigation of the Old Corpus of the Montpellier Manuscript) (Copenhagen, 1966). CM 9 (69): 193-197. [CPTMED] Kassler, Michael. (1) The Decision of Arnold Schoenberg's Twelve-NoteClass System and Related Systems. PrincetonU DM, 1961. (ditto) [LING, LOGIC, SERIAL]. (2) "Report from Edinburgh". PNM 7/2 (SpSu69): 175-177. [COMPUT, ELECT]. (3) "A Sketch of the Use of Formalized Languages for the Assertion of Music". PNM 1/2 (Sp63): 83-94. [LOGIC, METHOD] ___. (4) "Toward a Theory That is the Twelve-Note-Class System". PNM 5/2 (SpSu67): 1-80. [LING, LOGIC, SERIAL] - repr. in Kassler (6): I. - com. Boretz (7) (incl. in Boretz (6)); Krenek (10), Kassler (7).. (5) "Toward Musical Information Retrieval". PNM 4/2 (SpSu66): 59-67. [COMPUT]

Page  48 48 Author Index (Kassler) Kassler, Michael. (6) "A Trinity of Essays". PhD diss., PrincetonU, 1970. (LC# 68-2490; DA 28/9 (Mar68): 3702-A) -incl. (I) repr. of Kassler (4); (II) "Toward Development of a Constructive Tonality Theory Based on Writings by Heinrich Schenker"; [LOGIC, SCHENKER, TONAL] - com. Regener (1), Kassler (8), Regener (3). (Ill) "Toward a Simple Programming Language for Musical Information Retrieval". [COMPUT] - repr. in Lincoln, H.: 299-327.. (7) Letter: Comment on Krenek (10). PNM 7/1 (FaWi68): 155-156. [SERIAL]. (8) Letter: Comment on Regener (1). PNM 7/1 (FaWi68): 150-151. - com. Regener (3). [NOTAT, SCHENKER]. (9) Review: Iannis Xenakis, Musiques formelles: nouveaux principes formels de composition musicale (Paris, 1963). PNM 3/1 (FaWi64): 115-118. [ELECT, METHOD, PEDAGI * Kauder, Hugo. Counterpoint: An Introduction to Polyphonic Composition. NY: Macmillan, 1960. [CPTSP, TONAL] - rev. Kent (3)/NOTES; Ritchie, J. (2)/JMT. Kaufmann, Henry W. (1) "More on the Tuning of the Archicembalo". JAMS 23/1 (Sp70): 84-94. [ACOUST; Rossi, Vicentino]. (2) Nicola Vicentino (1511-1576): Life and Works. AIM, 1966. (MSD #11) [ACOUST, HST-THRY]. (3) "Vicentino and the Greek Genera". JAMS 16/3 (Fa63): 325-346. [ACOUST, HST-THRY, MODAL; Boethius, Guido]. (4) "Vicentino's Arciorgano: An Annotated Translation". JMT 5/1 (Apr61): 32-53. [ACOUST], (5) Review: Siegfried Hermelink, Dispositiones Modorum: Die Tonarten in der Musik Palestrinas und seiner Zeitgenossen (Tiitzing, 1960). JMT 5/2 (Nov61): 314-318. [CPTREN, HST-THRY, MODAL]. (6) Review: Sparks. JMT 8/1 (Sp64): 117-119. Kauko, Vaind O. "The Development of a Phenomenological Approach to Music as Seen in Selected Theories of Tonal Organization". PhD diss., -EastmanSM, 1959. (ADD 58-9: 120) NS[PHEN] Keane, Sr. Michaela M. The Theoretical Writings of Jean-Philippe Rameau. PhD diss., CatholicU, 1961; pub. Washington: Catholic UP, 1961. (Studies in Music #9) - rev. Will (2)/NOTES. Keil, Charles M. H. "Motion and Feeling through Music" (Comment on Meyer, L. (1), (2), and (7)). JAAC 24/3 (Sp66): 337-349. [JAZZ, PHIL] Keller, Hans. (1) "The Chamber Music". In H. C. Robbins Landon and Donald Mitchell, ed., The Mozart Companion (Norton, 1956): 90-137. [METHOD, MOTIV, RHYTHM]

Page  49 In Theory Only 3/7-11 49 Keller, Hans. (2) "K. 503: The Unity of Contrasting Themes and Movements". In Joseph Kerman, ed., Mozart, Piano Concerto in C major, K. 503 (Norton, 1970): 176-200. (orig. pub. in Music Review, 1956) (Norton Critical Score ed.) [METHOD, MOTIV] Keller, Hermann. (1) Phrasing and Articulation: A Contribution to a Rhetoric of Music. Norton, 1965. [HST-THRY, LING, PERF, - trans. Leigh Gerdine. RHYTHM; Riemann] S(2) Thoroughbass Method: With Excerpts from the Theoretical Works of Praetorius, Niedt, Telemann, Mattheson, Heinichen, J. S. and C. P. E. Bach, Quantz, and Padre Mattei, and Numerous Examples from the Literature of the 17th and 18th Centuries. Norton, 1965. (orig. Ger. ed., 1931) [FIGBASS, HST-THRY, PERF] - ed./trans. Carl Parrish. * Kelly, Robert. (1) Theme and Variations: A Study of Linear Twelve-Tone Composition. Brown, 1958; Urbana: UIllinoisP, 1969. [CPTSP, CPT20, SERIAL] -rev. Newlin (2)/NOTES; Thomson (6)/JMT (com. on rev. Kelly (2)). S(2) "Theme and Variations" (Comment on Thomson (6)). JMT 3/1 (Apr59): 154. * Kennan, Kent. (1) Counterpoint: Based on Eighteenth-Century Practice (with workbook). Prentice-Hall, 1959. [CPTSP, CPTTON] - rev. Thomson (7)/JMT. *. (2) The Technique of Orchestration (with workbooks). 2nd ed., Prentice-Hall, 1970) (1st ed., 1952) [ORCH]. (3) Review: Leibowitz/Maguire. JMT 5/2 (Nov61): 318-321. Kenney, Sylvia W. (1) "English Discant and Discant in England". MQ 45/1 (Jan59): 26-48. [CPTREN, HST-THRY; Jacobus, Power]. (2) Review: Andrews. NOTES 23/3 (Mar67): 510-512. Kent, Charles, intro./annot. (1) Rene Descartes, Compendium of Music. AIM, 1961. (MSD #8) - trans. Walter Robert. - rev. Browne (5)/JMT.. (2) Review: Jacobi (3). JMT 6/1 (Sp62): 159-160.. (3) Review: Kauder; and Rubbra. NOTES 19/1 (Dec61): 69-70. Kerman, Joseph. (1) "A Romantic Detail in Schubert's Schwanengesang". MQ 48/1 (Jan62): 36-49. [CHORD, TONAL; Schenker]. (2) Reply to Rosen, C. (1). PNM 2/1 (FaWi63): 151-159. - com. Rosen, C. (2). Kessler, Hubert. "On the Value of Schenker's Ideas for Analysis of Contemporary Music". Periodical of Theory-Composition (Illinois State Teachers' Assn.) 1 (58): 1-11. NS[LINEAR, SCHENKER] Kirby, Frank E. (1) "Hermann Finck's Practica Musica: A Comparative Study in 16th Century German Musical Theory". PhD diss., YaleU, 1957. (LC# 64-11,864; DA 25/7 (Jan65): 4185)

Page  50 50 Author Index (Kirby) Kirby, Frank E. (2) Review: Bragard. JAMS 12/2-3 (SuFa59): 233-236. Kirchmeyer, Helmut. "On the Historical Constitution of a Rationalistic Music: A study of the Progress of Musical Combinatorics from Guido d'Arezzo to the Present Day". Die Reihe 8 (68): 11-24. - trans. Cornelius Cardew. [ALEA, HST-THRY] Kirchner, Leon. "The Lag of Theory Behind Practice" (Symposium, incl. Shifrin (1); Trotter (1); Waite, W. (1); and discussion). CMS 1 (Fa61): 23-25. [PEDAG] - com. Rochberg (5). Kirkpatrick, John. "The Evolution of Carl Ruggles: A Chronicle Largely in His Own Words". PNM 6/2 (SpSu68): 146-166. Kivy, Peter. Letter: Comment on Langer (1); and Meyer, L. (6). JAMS 15/1 (Sp62): 116-117. [PHIL] Klammer, Armin. "Webern's Piano Variations, Op. 27, 3rd Movement". Die Reihe 2 (58): 81-92. [RHYTHM, SERIAL, SETS] - trans. Leo Black. Kliewer, Vernon L. "The Concept of Organic Unity in Music Criticism and Analysis". PhD diss., IndianaU, 1961. (LC# 61-6944; DA 22/9 (Mar62): 3221) (METHOD, PHIL]. See Christ/DeLone/Kliewer/Rowell/Thomson. Knapp, Janet. (1) "Two 13th-Century Treatises on Modal Rhythm and the Discant". JMT 6/2 (Wi62): 200-215. [NOTAT, RHYTHM; Anon. VII, Anon. Discantus]. (2) Review: Dittmer (1) and (2). JMT 3/2 (Nov59): 306-310. Kob, Walter. "The Smaller Homophonic Forms of Instrumental Music, 1740 -1815, in Relation to Theories of Musical Form". PhD diss., EastmanSM, 1965. (LC# 66-2361; DA 27/12 (Jun67): 4282-A) [FORM, HST-THRY; Koch, Riepel] Kobrin, Edward G. See Johnston/Kobrin., and Theodore H. A. Ashford. "A Solution to the Problems of Vertical Serialization". PNM 6/2 (SpSu68): 119-124. [COMPUT, SERIAL] Koenig, Gottfried Michael. (1) "Bo Nilsson". Die Reihe 4 (60): 85-89. - trans. Leo Black. [NOTAT] (2) "Commentary on Stockhausen's... how time passes... on Fokker's wherefore, and why? and on Present Musical Practice as Seen by the Author" (Comment on Fokker; and Stockhausen (3)). Die Reihe 8 (68): 80-98. [ACOUST, RHYTHM, SERIAL] - trans. Ruth Koenig.. (3) "Henri Pousseur". Die Reihe 4 (60): 14-28. [SERIAL] - trans. Leo Black. S(4) "Studium im Studio". Die Reihe 5 (61): 30-39. [ELECT] - trans. Leo Black.

Page  51 In Theory Only 3/7-11 51 Kohn, Karl. (1) "Current Chronicle" (Dahl). MQ 50/2 (Apr64): 227-233. [PTONAL, SERIAL]. (2) "Richard Swift: Concerto". PNM 2/1 (FaWi63): 90-102. * Kohs, Ellis B. (1) Music Theory: A Syllabus for Teacher and Student. 2 vols. NY: Oxford UP, 1961. [CHORD] - rev. Lewis (2)/NOTES; Phelps (2)/JMT.. (2) Review: Cooper, G./Meyer, L. JMT 5/1 (Apr61): 129-134. Kohut, Heinz. "Observations on the Psychological Functions of Music". Journal of the American Psychoanalytic Assn. 5/3 (Jul57): 389-407. [COGNTN, PHIL] Kolinski, Mieczyslaw. "A New Equidistant 12-Tone Temperament". JAMS 12/2-3 (SuFa59): 210-214. [ACOUST] Kolneder, Walter. Anton Webern: An Introduction to His Works. UCalP, 1968. [SERIAL, SETS] - trans. Humphrey Searle. - rev. Mekeel (2)/PNM. Komar, Arthur. (1) "Theory of Suspensions". PhD diss., PrincetonU, 1968. (LC# 69-5294; DA 29/10 (Apr69): 3633-A) [CPTSP, LINEAR, RHYTHM, SCHENKER, TONAL; Bach, Beethoven, Chopin, Mozart]. (2) Letter: Comment on Reynolds, W. (2), Gettel, Reynolds, W. (1); and Travis (4), Oster (2), Neumann, H. JMT 5/1 (Apr61): 152-156. [LINEAR, SCHENKER; Bach]. (3) Review: Gustin (3). PNM 8/1 (FaWi69): 146-151. - addendum in PNM 8/2 (SpSu70): 158. Kooiker, Anthony. "Locke's Melothesia: Its Place in the History of Keyboard Music in Restoration England". 2 vols. PhD diss., EastmanSM, 1962. (LC# 63-2381; DA 26/4 (Oct65): 2255) Kostelanetz, Richard, ed. (1) John Cage. NY: Praeger, 1970. [ALEA, PHIL] - incl. short writings by Cage, Kostelanetz, et al.. (2) "Modern Music Criticism and the Literate Layman" (incl. comments on Cage (3); Hodeir (2); and Perle (11)). PNM 6/1 (FaWi67): 119-133. [PHIL] Kostka, Stefan M. "The Hindemith String Quartets: A Computer-Assisted Study of Selected Aspects of Style". PhD diss., UWisconsin, 1969. (LC# 70-3590; DA 31/2 (Aug70): 786-A) [COMPUT, STYLE] Kottick, Edward L. "Flats, Modality, and Musica Ficta in Some Early Renaissance Chansons". JMT 12/2 (Wi68): 264-280. [MODAL] Kraehenbuehl, David. (1) "The Aliferis Music Achievement Test" (Comment on Aliferis). JMT 2/2 (Nov58): 238-240.. (2) "The Aliferis Music Achievement Tests" (Comment on Aliferis/ Stecklein). JMT 1/2 (Nov57): 208-211. [COGNTN, PEDAG] - com. Aliferis, Kraehenbuehl (1).

Page  52 52 Author Index (Kraehenbuehl) Kraehenbuehl, David. (3) "On the Nature and Value of Theoretical Training, A Forum: An Introduction" (Symposium, incl. Fletcher (2); Ratner (5); Stevens, H. (1); and Weigel). JMT 3/1 (Apr59): 31-32. [PEDAG]. (4) "The Professional Music Theorist -- His Habits and Training: A Forum". JMT 4/1 (Apr60): 62-72. [METHOD, PEDAG] -com. Binkerd (1); Melcher; Murphy (1); Phelps (1).. (5) Review: Meyer, L. (1). JMT 1/1 (Mar57): 110-112.. (6) Review: Moles (1). JMT 11/1 (Sp67): 149-151.. (7) Review: Reese. JMT 2/1 (Apr58): 112-113.. (8) Review: Reti (3). JMT 3/1 (Apr59): 160-162.. (9) Review: Lazare Saminsky, Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics (The Hague, 1957). JMT 1/2 (Nov57): 226-228. [PHIL]. (10) Review: Walker (2). JMT 7/2 (Wi63): 257-262.. (11) Review: Zuckerkandl (2). JMT 1/1 (Mar57): 107-110.. See Coons/Kraehenbuehl., and Edgar Coons. "Information as a Measure of the Experience of Music". JAAC 17/4 (Jun59): 510-522. [INFO], and Christopher Schmidt. "On the Development of Musical Systems" (incl. comments on Partch (3); and Yasser (2)). JMT 6/1 (Sp62): 32-65. [ACOUST, HST-THRY, METHOD, TONAL] Kraft, Leo. (1) "In Search of a New Pedagogy". CMS 8 (Fa68): 109-116. [CPTSP, PEDAG]. (2) Review: Mitchell, D. JMT 9/1 (Sp65): 184-187., panel. See Westergaard (7). Krall, Emil, and James Liebling, trans. Peter Ilyich Chaikovsky, Guide to the Practical Study of Harmony. Canoga Park: Summit, 1970. - intro. Byron Cantrell. [CHORD, FIGBASS, TONAL] -trans. from Ger. ed. of Paul Juon. Krehbiel, James W. "Harmonic Principles of Jean-Philippe Rameau and His Contemporaries". PhD diss., IndianaU, 1964. (LC# 64-12,049; DA 25/5 (Nov64): 3019-3020) [ACOUST, CHORD, HST-THRY; Alembert, Antoniotto, Ballire, B4thizy, Blainville, Castel, Diderot, Estive, Euler, Geminiani, Gianotti, Lampe, Levens, Marpurg, Monteclair, JJRousseau, Roussier, Serre, Sorge, Tartini] Krenek, Ernst. (1) "A Composer's Influences". PNM 3/1 (FaWi64): 36-41.. (2) Exploring Music: Essays [1929-1956]. NY: Calder & Boyars October House, 1966. [PERF, PHIL] - trans. Margaret Shenfield and Geoffrey Skelton.. (3) "Extents and Limits of Serial Techniques". MQ 46/2 (Apr60): 210-232. [INFLEC, SERIAL; Krenek] -repr. in Lang (2). - com. Powell, M. (2).

Page  53 In Theory Only 3/7-11 53 Krenek, Ernst. (4) "A Glance over the Shoulders of the Young". Die Reihe 1 (58): 14-16. [SERIAL]. (5) "Lamentatio Jeremiae Prophetae". In Robert S. Hines, ed., The Composer's Point of View (Norman: UOklahomaP, 1963): 22-34. [RHYTHM, SERIAL] * (6) Modal Counterpoint in the Style of the Sixteenth Century. NY: Boosey & Hawkes, 1959. [CPTREN] - rev. Cooke, F./JMT; Mann (5)/NOTES.. (7) "Some Current Terms". PNM 4/2 (SpSu66): 81-84. [METHOD] *. (8) Tonal Counterpoint in the Style of the Eighteenth Century. NY: Boosey & Hawkes, 1958. [CPTTON] - rev. Mann (5)/NOTES; Procter (2)/JMT.. (9) "Tradition in Perspective". PNM 1/1 (Fa62): 27-33. [PHIL] - corn. Forte (17).. (10) Letter: "R4 -- What For?" (Comment on Kassler (4)). PNM 7/1 (FaWi68): 152-155. [METHOD, SERIAL] - com. Kassler (7).. (11) Review: Lowinsky (4) ("Atonality Retroactive"). PNM 2/1 (FaWi63): 133-136.. (12) Review: Redlich. MQ 43/3 (Jul57): 403-406.. (13) [Music Here and Now (Norton, 1939)]. - com. Colucci?; Thomson (3). Kresky, Jeffrey. (1) "ASUC's Second Summer Institute in Compositional Studies". PNM 7/1 (FaWi68): 147-149. [INFLEC; Wuorinen] - com. Boykan (7), Kresky (2).. (2) Letter: Comment on Boykan (7). PNM 7/2 (SpSu69): 190-191. Kresteff, Assen D. "Musica Disciplina and Musica Sonora". JRME 10/1 (Sp62): 13-29. [HST-THRY; Boethius] Kreter, Leo. Review: Christ/DeLone/Kliewer/Rowell/Thomson. NOTES 23/3 (Mar67): 536-537. Kroeger, Karl. Review: Green, D. (1). NOTES 24/2 (Dec67): 273-274. Krueger, T. Howard. "'Der freie Satz' by Heinrich Schenker: A Complete Translation and Re-editing". 2 vols. PhD diss., StUIowa, 1960. (LC# Mic 60-1558; DA 20/12 (Jun60): 4678-4679) [CHORD, FORM, LINEAR, RHYTHM, SCHENKER, TONAL] Kudlawiec, Dennis P. "The Application of Schenkerian Concepts of Musical Structure to the Analysis Segment of Basic Theory Courses at the College Level" (incl. comments on Forte (15); Mitchell, W. (14); Piston (1); and Siegmeister). EdD diss., UIllinois, 1970. (LC# 71 -14,836; [DA 31/12 (Jun71): 6649-6650-A]) [PEDAG, SCHENKER] Kuhn, Alfred B. See Forte/Kuhn.

Page  54 54 Author Index (Kurtz) Kurtz, James L. "Problems of Tonal Structure in Songs of Gabriel Faure...". PhD diss., BrandeisU, 1970. (LC# 70-24,645; [DA 31/7 (Jan71): 3583-3584-A]) [LINEAR, PTONAL, SCHENKER, TONAL] Kuttner, Fritz A. The Theory of Classical Greek Music. NY: Musurgia Records, 1955. NS - with the assistance of J. Murray Barbour. - rev. Haydon (4)/MQ; Will (1)/JMT.. See Barbour/Kuttner (1) - (2). Kvam, A. Kunrad. (1) Review: James Aliferis and John E. Stecklein, Aliferis-Stecklein Music Achievement Test, College Midpoint Level (UMinnesotaP, 1962). JMT 7/1 (Sp63): 133-134. [PEDAG]. (2) Review: Guy Alan Bockmon and William J. Starr, Perceiving Music: Problems in Sight and Sound (Harcourt, 1962). JMT 7/1 (Sp63): 135-137. [PEDAG] Lakner, Yehoshua. "A New Method of Representing Tonal Relations". JMT 4/2 (Nov60): 194-209. [MODAL, TONAL] Landau, Victor. "The Harmonic Theories of Paul Hindemith in Relation to His Practice as a Composer of Chamber Music". PhD diss., NYU, 1957. (LC# Mic 58-664; DA 18/3 (Mar58): 1062-1063) Lang, Paul Henry, ed. (1) Contemporary Music in Europe (repr. of MQ 51/1 (Jan65)). Norton, 1966. - incl. Charles. - rev. Weisgall/PNM (com. on rev. Lang (4))., ed. (2) Problems of Modern Music: The Princeton Seminar in Advanced Musical Studies (repr. of MQ 46/2 (Apr60)). Norton, 1962. -incl. Babbitt (11); Carter (6); Cone (1); Forte (1); Krenek (3); Sessions (2); and Ussachevsky (2) -rev. Powell, M. (2)/JMT., ed. (3) Stravinsky: A New Appraisal of His Work (repr. of MQ 48/3 (Jul62)). Norton, 1963. -incl. Cone (12); Morton, L. (2); and Nelson, R. (2).. (4) Letter: Comment on Weisgall. PNM 4/1 (FaWi65): 183-186. Langer, Susanne K. (1) Philosophy in a New Key. 3rd ed., Cambridge: Harvard UP, 1957. (esp. chap. 8) (1st ed., 1942) [PHIL] - com. Binkley; Blum (3)?; Hansen?; Kivy; Lessing?; Sherburne.. (2) Problems of Art. NY: Scribner's, 1957. (esp. chap. 6) [PHIL] - rev. Coker, W. (2)/JMT. - com. Binkley., ed. (3) Reflections on Art. Baltimore: Johns Hopkins Press, 1958; repr. NY: Oxford UP, 1961. - incl. Brelet; De Selincourt; Drager; Marcel; and Reinold.

Page  55 In Theory Only 3/7-11 55 Langer, Susanne K. (4) [Feeling and Form (NY: Scribner's, 1953)]. - com. Binkley; Blum (3)?; Hansen?; Lessing?; Martin, F. LaRue, Jan, ed. (1) Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese. Norton, 1966. - incl. Cohen, Alb. (4); Crocker (1); and Seay (4).. (2) "Bifocal Tonality: An Explanation for Ambiguous Baroque Cadences". In Essays on Music...: 173-184. [4HORD] ____. (3) Guidelines for Style Analysis. Norton, 1970. [METHOD, RHYTHM4, STYLE, TONAL; Mozart] ____ (4) "On Style Analysis". JMT 6/1 (Sp62): 91-107. [FORM, INFLEC, MvETHOD, RHYTHM, STYLE]. (5) "Symbols for Analysis: Some Revisions and Extensions" (See LaRue (6)). JAM2S 19/3 (Fa66): 403-408. [METHOD]. (6) "A System of Symbols for Formal Analysis". JAMS 10/1 (Sp57): 25-28. [METHOD; Haydn] - com. Gebauer; LaRue (5).. (7) "Two Problems in Musical Analysis: The Computer Lends a Hand". In Edmund A. Bowles, ed., Computers in Humanistic Research: Readings and Perspectives (Prentice-Hall, 1967): 194-203. [COMPUT] ___ (8) Review: Mann (3). NOTES 16/1 (Dec58): 52-53.. (9) Review: Newman (3). MQ 50/3 (Ju164): 398-405. Laszlo, Ervin. (1) "Affect and Expression in Music". J.AC 27/2 (Wi68): 131-134. [PHIL]. (2) "Fostering Musical Talent". Journal of Aesthetic Education 3/1 (Jan69): 55-67. [PEDAG, PERF, PHIL] Laufer, Edward C. "Roger Sessions: Montezuma". PINM 4/1 (FaWi65): 95-108. [FORM, MOTIV, RHYTHM, SERIAL, SETS] * Laycock, Harold R., and Quentin Nordgren. First-Year Music Theory. Appleton, 1962. NS[CHORD] Layton, Billy Jim. "The New Liberalism". PNM 3/2 (SpSu65): 137-142. [JAZZ, SCCIOL], panel. See Westergaard (7). Lazanas, George. "Juan Bermudo's Declaraci6n de instrumrentos musicales: An English Translation with Critical Commentary". PhD diss., UWisconsin, 1967. (LC# 68-2337?) NS[PERF] Leach, Joel T. See Reed/Leach. Le Caine, Hugh. "Electronic Music". Proceedings of the IRE 44/4 (Apr56): 457-478. [ELECT] Lee, Barbara. "Giovanni Maria Lanfranco's Scintille di musica and Its Relation to 16th-Century Music Theory". PhD diss., CornellU, 1961. (LC# 61-4873; DA 22/5 (Nov61): 1657) [HST-THRY; Boethius, Gafurius, Ornithoparcus]

Page  56 56 Author Index (Lefkoff) Lefkoff, Gerald. (1) "Automated Discovery of Similar Segments in the Forty-eight Permutations of a Twelve-Tone Row". In Lincoln, H.: 147-153. [COMPUT, SERIAL], ed. (2) Computer Applications in Music. Morgantown: West VirginiaU Library, 1967. - incl. Forte (3); Hiller (6); and Lefkoff (3). - rev. Gould/CompArtHum; Slawson (4)/JMT.. (3) "Computers and the Study of Musical Style". In Lefkoff (2): 45-61. [COMPUT, STYLE] - com. Erickson, Ra. (2).. (4) Review: Horsley (1). JMT 11/1 (Sp67): 152-157. * Leibowitz, Rene, and Jan Maguire. Thinking for Orchestra: Practical Exercises in Orchestration. NY: G Schirmer, 1960. [ORCH] - rev. Kennan (3)/JMT. Leigh Silver, A. L. "Equal Beating Chromatic Scale". JASA 29/4 (Apr57): 476-481. [ACOUST] Lenneberg, Hans. "Johann Mattheson on Affect and Rhetoric in Music" (2 parts). JMT 2/1 (Apr58): 47-84, and 2/2 (Nov58): 193-236. [HST-THRY, PHIL] LeRoux, Sr. Mary Protase. "The 'De Harmonica Institutione' and 'Tonarius' of Regino of PrUm". PhD diss., CatholicU, 1965. (LC# 66-318; DA 27/12 (Jun67): 4283-4284-A) Lessing, Alfred. "Meaning and Value in Music: A Study of the Problem and Theories of Musical Aesthetics" (incl. comments on Cooke, D.?; Langer (1) and (4)?; and Meyer, L. (1)?). PhD diss., YaleU, 1962. (LC# 68-4088; DA 28/9 (Mar68): 3714-A) [PHIL] Lester, Joel. (1) "Pitch Structure Articulation in the Variations of Schoenberg's Serenade". PNM 6/2 (SpSu68): 22-34. [INFLEC, RHYTHM, SERIAL, SETS] S(2) "A Theory of Atonal Prolongations as Used in an Analysis of the Serenade, Op. 24 by Arnold Schoenberg". 2 vols. PhD diss., PrincetonU, 1970. (LC# 71-1615; [DA 31/8 (Feb71): 4203-A]) [LINEAR, MOTIV, PTONAL, SCHENKER] Leonard, Nels, Jr. "The Effect of Certain Intrinsic and Contextual Characteristics of the Tone Stimulus on Pitch Discrimination". PhD diss., West VirginiaU, 1967. (LC# 68-2685; DA 28/10 (Apr68): 4200-A) [COGNTN] * Levarie, Sigmund. (1) Fundamentals of Harmony. 2nd ed., InstMedM, 1962. (MS #5) (1st ed., 1954) [CHORD]. (2) Comment on Lippman (1). JAMS 17/2 (Su64): 232-233. - com. Lippman (4). and Ernst Levy. Tone: A Study in Musical Acoustics. KentSt UP, 1968. [ACOUST, ORCH]

Page  57 In Theory Only 3/7-11 57 Levelt, W. J. M. See Plomp/Levelt. Levin, A., trans. See Potter. Levin, Flora Rose. "Nichomachus of Gerasa, Manual of Harmonics: Translation and Commentary". PhD diss., ColumbiaU, 1967. (LC# 67 -12,266; DA 28/4 (Oct67): 1415-A) [HST-THRY] Levy, Burt J. (1) "Herbert Briin: Three Works for Percussion". PNM 8/1 (FaWi69): 136-138. [COMPUT, NOTAT, PERF]. (2) "David Lewin: Classical Variations on a Theme by Schoenberg for Cello and Piano (1960)". PNM 7/2 (SpSu69): 167-171. Levy, Edward. (1) "Compositional Technique and Musical Expressivity". JRME 18/1 (Sp70): 3-15. [LINEAR, PHIL, SETS; Greg. chant, 13c-Motet, Wagner, Webern] _. (2) "A Guide to Musical Analysis". EdD diss., ColumbiaU TeachersC, 1967. (LC# 68-8982; DA 28/12 (Jun68): 5093-5094-A) [LINEAR, METHOD, SCHENKER] _ (3) "Stefan Wolpe: For His Sixtieth Birthday". PNM 2/1 (FaWi63): 51-65. [INFLEC, SERIAL, SETS] Levy, Ernst. See Levarie/Levy, Er. Lewin, David. (1) "Arnold Elston: Quartet; Seymour Shifrin: Quartet No. 2". PNM 2/2 (SpSu64): 169-175. [MOTIV]. (2) "Behind the Beyond: A Response to Edward T. Cone" (Comment on Cone (2)). PNM 7/2 (SpSu69): 59-69. [METHOD, PHIL] - com. Cone (17).. (3) "The Intervallic Content of a Collection of Notes, Intervallic Relations Between a Collection of Notes and Its Complement: An Application to Schoenberg's Hexachordal Pieces". JMT 4/1 (Apr60): 98-101. [METHOD, SERIAL, SETS]. (4) "Intervallic Relations Between Two Collections of Notes". JMT 3/2 (Nov59): 298-301. [METHOD, SETS] - com. Swift (2).. (5) "Inversional Balance as an Organizing Force in Schoenberg's Music and Thought". PNM 6/2 (SpSu68): 1-21. [PTONAL, SERIAL, SETS, TONAL; Rameau] _. (6) "Is It Music?". PASUC 1 (Apr66): 50-53. [ELECT, PHIL] __. (7) "A Metrical Problem in Webern's Op. 27". JMT 6/1 (Sp62): 124-132. [RHYTHM, SETS]. (8) "Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene i". PNM 6/1 (FaWi67): 1-17. [FORM, INFLEC, - repr. in Boretz/Cone. RHYTHM, SERIAL] - com. Moss (3); Shirley. _. (9) "On Certain Techniques of Re-Ordering in Serial Music". JMT 10/2 (Wi66): 276-287. [SERIAL; Lewin, Schoenberg]

Page  58 58 Author Index (Lewin) Lewin, David. (10) "Some Applications of Communication Theory to the Study of Twelve-Tone Music". JMT 12/1 (Sp68): 50-84. [INFO, SERIAL; Schoenberg, Webern]. (11) "A Study of Hexachord Levels in Schoenberg's Violin Fantasy". PNM 6/1 (FaWi67): 18-32. [METHOD, SERIAL, SETS, TONAL; Liszt] - repr. in Boretz/Cone.. (12) "A Theory of Segmental Association in Twelve-Tone Music". PNM 1/1 (Fa62): 89-116. [METHOD, SERIAL, SETS; Schoenberg] - com. Browne (6); Perle (2).. (13) Letter: Comment on Bauer-Mengelberg/Ferentz. PNM 4/1 (FaWi65): 182-183. [SETS] Lewin, Harold F. "Aspects of the Twelve-Tone System: Its Formation and Structural Implications". PhD diss., IndianaU, 1965. (LC# 65-10,860; DA 26/7 (Jan66): 3994-3995) [SERIAL, SETS; Babbitt, Schoenberg, Webern; Hauer) Lewinski, Wolf-Eberhard von. "Where Do We Go From Here? A European View". MQ 55/2 (Apr69): 193-205. [PHIL, SOCIOL] - trans. Paul Helmer. [see also Lewinski] Lewis, Robert Hall. (1) "George Crumb: Night Music I". PNM 3/2 (SpSu65): 143-151.. (2) Review: Kohs (1). NOTES 19/1 (Sep61): 73-74. - addendum in NOTES 19/2 (Dec61): 264., panel. See Westergaard (7). Lieberman, Frederic. "Computer-Aided Analysis of Javanese Music". In Lincoln, H.: 181-192. [COMPUT, NONWEST] Lieberman, Ira. "Some Representative Works from Beethoven's Early Period Analyzed in Light of the Theories of Ernst Kurth and Kurt von Fischer". PhD diss., ColumbiaU, 1968. (LC# 69-15,692; DA 30/4 (Oct69): 1588 -1589-A) [FORM, LINEAR, MOTIV, SCHENKER] * Lieberman, Maurice. (1) Creative Counterpoint. Boston: Allyn & Bacon, 1966. [CHORD, CPTTON] - rev. Schachter (4)/JMT. *. (2) Keyboard Harmony and Improvisation. Norton, 1957. - rev. Gerschefski/JMT. NS[CHORD, TONAL] Ligeti, Gybrgy. (1) "Metamorphoses of Musical Form". Die Reihe 7 (65): 5-19. [FORM, SERIAL] - trans. Cornelius Cardew.. (2) "Pierre Boulez". Die Reihe 4 (60): 36-62. [SERIAL] - trans. Leo Black.. (3) "Some Remarks on Boulez' 3rd Piano Sonata". Die Reihe 5 (61): 56-58. [ALEA, PERF] - trans. Leo Black.

Page  59 In Theory Only 3/7-11 59 Lincoln, Harry B., ed. The Computer and Music. Ithaca: Cornell UP, 1970. - incl. Briin (2); Citron; Crane/Fiehler; Fiore (2); Fuller (2); Gabura (2); Hiller (5); Jackson (2); Lefkoff (1); Lieberman, F.; Morton, I./Lofstedt; Stoney; Strang (1); Youngblood (2); and repr. of Kassler (6): III. Lincoln, Robert Dix. Review: Stein, Leon. JMT 7/1 (Sp63): 131-132. Linger, Bernard L. "An Experimental Study of Durational Notation". PhD diss., FloridaStU, 1966. (LC# 66-9071; DA 27/4 (Oct66): 1073-A) [COGNTN, NOTAT, RHYTHM] Link, John W., Jr. Theory and Tuning: Aron's Meantone Temperament and Marpurg's Temperament "I". Boston: Tuner's Supply, 1963. NS[ACOUST, HST-THRY] Linke, Norbert. "Darmstadt: The Younger German Composers". PNM 2/2 (SpSu64): 163-165. [ELECT] - trans. Elaine Barkin. Lippman, Edward A. (1) "Hellenic Conceptions of Harmony". JAMS 16/1 (Sp63): 3-35. [HST-THRY] - cor. Levarie (2), Lippman (4).. (2) Musical Thought in Ancient Greece. NY: Columbia UP, 1964. -rev. Daniels (5)/JMT; Horsley (2)/NOTES. [HST-THRY, PHIL]. (3) "The Problem of Musical Hermeneutics: A Protest and Analysis". In S. Hook, ed., Art and Philosophy (NYU Press, 1966): 307-335. [NOTAT, PHIL, STYLE]. (4) Reply to Levarie (2). JAMS 18/1 (Sp65): 113-114.. (5) Review: Meyer, L. (1). MQ 43/4 (Oct57): 553-557.. (6) Review: Lazare Saminsky, Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics (The Hague, 1957). NOTES 15/1 (Dec57): 108-109. [PHIL]. (7) Review: Karl Weinmann, Johannes Tinctoris und sein unbekannter Traktat... (Titzing, 1961). NOTES 20/4 (Fa63): 654-655.. (8) Review: Zuckerkandl (2). MQ 43/1 (Jan57): 122-128. Lissa, Zofia. (1) "Aesthetic Functions of Silence and Rests in Music". JAAC 22/4 (Su64): 443-454. [PHIL] - trans. Eugenia Tarska.. (2) "On the Evolution of Musical Perception". JAAC 24/2 (Wi65): 273-286. [PHIL, STYLE] - trans. Eugenia Tarska.. (3) "The Temporal Nature of a Musical Work". JAAC 26/4 (Su68): 529-538. [PHIL] - trans. Eugenia Tarska. Livant, William Paul. Review: Hiller/Isaacson (1). Behavioral Science 6/2 (Apr61): 159-160.

Page  60 60 Author Index (Livingston) Livingston, Herbert. Review: Forte (4). NOTES 13/3 (Jun66): 431-432. * Lloyd, Llewelyn S. Intervals, Scales, and Temperaments. NY: St. Martin's, 1963. NS[ACOUST] - ed. Hugh Boyle. - rev. Barbour (5)/NOTES. Loach, Donald. (1) "A Stylistic Approach to Species Counterpoint". JMT 1/2 (Nov57): 181-200. [CPTREN, CPTSP, PEDAG, RHYTHM, STYLE]. (2) Review: AtKisson. JMT 1/1 (Mar57): 103-105.. (3) Review: Mann (3). JMT 3/2 (Nov59): 316-319. Lockwood, Lewis. (1) "The Autograph of the First Movement of Beethoven's Sonata for Violoncello and Pianoforte, Opus 69". Music Forum 2 (70): 1-109. [SKETCH]. (2) Review: Frank Ll. Harrison, Mantle Hood, and Claude V. Palisca, Musicology (Prentice-Hall, 1963) (incl. comment on Rosen, C. (1)) PNM 3/1 (FaWi64): 119-127. [HST-THRY, NONWEST] Loeb, David. "Mathematical Aspects of Music". Music Forum 2 (70): 110 -129. [ALEA, COGNTN, COMPUT, INFO, LING, METHOD, PHIL, RHYTHM, SERIAL, STYLE; Beethoven) Lofstedt, John. See Morton, I./Lofstedt. Logan, Wendell. "Olly Wilson: Piece for Four". PNM 9/1 (FaWi70): 126-134. London, Edwin, panel. See Finney, R. (3). Longyear, R. M. (1) "Binary Variants of Early Classic Sonata Form". JMT 13/2 (Wi69): 162-185. [FORM]. (2) Review: Newman (4). NOTES 27/2 (Dec70): 263-265. Lowinsky, Edward E. (1) "Matthaeus Greiter's Fortuna: An Experiment in Chromaticism and in Musical Iconography -- I". MQ 42/4 (Oct56): 500 -519. [CHROM, MODAL]. (2) "On Mozart's Rhythm". MQ 42/2 (Apr56): 162-186. [RHYTHM, STYLE] - repr. in P. H. Lang, ed., The Creative World of Mozart (Norton, 1963).. (3) Secret Chromatic Art in the Netherlands Notet. repr. ed., NY: Russell & Russell, 1967. (orig. ed., 1.946) [CHROM, HST-THRY, MODAL, - trans. Carl Buchman. NOTAT; Coclico, Listenius, Vicentino] _ (4) Tonality and Atonality in Sixteenth-Century Music. UCalP, 1961. [CHROM, MODAL, TONAL; Aron, Glareanus, Zarlino] - rev. Crocker (8)/JMT; Haydon (5)/NOTES; Krenek (ll)/PNM; Palisca (5)/JAMS; Stevens, D./MQ. Luce, David. See Clark, M./Luce; and Clark, M./Robertson/Luce. Lundin, Robert W. (1) An Objective Psychology of Music. 2nd ed., NY: Ronald Press, 1967. (1st ed., 1953) [ACOUST, COGNTN, INFLEC, PERF, PHIL, RHYTHM, SOCIOL]

Page  61 In Theory Only 3/7-11 61 Lundin, Robert W. (2) Review: Weber. JMT 4/1 (Apr60): 116-117. Lutoslawski, Witold. "[Untitled]". In Hines: 129-151. [ALEA, ORCH; Lutoslawski] Lybbert, Donald. See Davis, F./Lybbert. Lyon, Margaret E. Review: Chavez. JAAC 21/2 (Wi62): 224-225. McAllester, David P. Review: Nettl (2). MQ 51/2 (Apr65): 425-428. MacClintock, Carol. (1) "Giustiniani's Discorso sopra la Musica". MD 15 (61): 209-225. [PERF, PHIL] - repr. in MacClintock (2)., ed./trans. (2) Hercole Bottrigari, II Desiderio or Concerning the Playing Together of Various Musical Instruments; and Vincenzo Giustiniani, Discorso sopra la musica (repr. of MacClintock (1)). AIM, 1962. (MSD #9) [PERF, PHIL] McDermott, Vincent. "The Articulation of Musical Space in the Twentieth Century". PhD diss., UPennsylvania, 1966. (LC# 67-3090; DA 28/1 (Jul67): 252-A) [INFLEC, PHIL] Mace, Dean T. "Marin Mersenne on Language and Music". JMT 14/1 (Sp70): 2-34. [PHIL] McElheran, Brock. "Preparing Stockhausen's Momente". PNM 4/1 (FaWi65): 33-38. [NOTAT] McGaughey, Janet. Review: Friedheim (1). JMT 10/2 (Wi66): 375-380. MacInnis, Donald. "Sound Synthesis by Computer: MUSIGOL, a Program Written Entirely in Extended ALGOL". PNM 7/1 (FaWi68): 66-79. [COMPUT, ELECT] McIntyre, Ray. "On the Interpretation of Bach's Gigues". MQ 51/3 (Jul65): 478-492. [HST-THRY, PERF; CPEBach, Quantz, Walther] * McKay, George F. (1) Creative Orchestration. Boston: Allyn & Bacon, 1963. NS[ORCH] *. (2) The Technique of Modern Harmony: A Laboratory Plan for Advanced Study. repr. ed., Boston CC Birchard, 1955. (orig. ed., 1941) NS[CHORD] Maddrell, J. E. (1) "Mensura and the Rhythm of Medieval Monodic Song". CM 10 (70): 64-69. [HST-THRY, RHYTHM; Grocheo] - com. Vanderwerf.. (2) Review: Seay (8). CM 6 (68): 134-136. [Grocheo] Maillard, Jean, ed. See Reaney/Gilles/Maillard, ed.

Page  62 62 Author Index (Maguire) Maguire, Jan. See Leibowitz/Maguire. Mandelbaum, Joel. "Multiple Division of the Octave and the Tonal Resources of 19-Tone Temperament" (incl. comments on Partch (3); and Yasser (2)). PhD diss., IndianaU, 1961. (LC# 61-4461; DA 22/5 (Nov61): 1657-1658) [ACOUST, HST-THRY; Greek thry, Haba, Salinas] - rev. Chalmers/CM. Maniates, Maria Rika. (1) "Musical Form: Product and Process" (Comment on Carpenter (3)). CM 6 (68): 110-114. [FORM, PHIL]. (2) "Sound, Silence and Time: Towards a Fundamental Ontology of Music". CM 3 (Sp66): 59-64. [PHIL] Mann, Alfred. (1) "Haydn as Student and Critic of Fux". In Robbins Landon/Chapman: 323-332. NS, ed./trans. (2) The Study of Counterpoint: From Johann Joseph Fux's Gradus ad Parnassum. Norton, 1965. (rvsd. ed. of Mann and John Edmunds, Steps to Parnassus, 1943) [CPTSP, HST-THRY] - rev. Daniels (6)/NOTES.. (3) The Study of Fugue. Brunswick: Rutgers UP, 1958; 2nd ed., Norton, 1965. [CPTREN, CPTTON, HST-THRY; Adam, Albrechtsberger, Aron, Bernhard, Coperario, Fux, Gafurius, Jacobus, Marpurg, Martini, Mersenne, Morley, Praetorius, Rameau, Ramos, Vicentino, Walther, Zarlino] - rvsd. repr. of Mann (4); incl. repr. of 4 articles from MQ, 1950-51. - rev. LaRue (8)/NOTES; Loach (3)/JMT; Palisca (6)/JAMS; (2nd ed.) Daniels (6)/NOTES.. (4) "The Theory of Fugue". PhD diss., ColumbiaU, 1955. (LC# Mic A 55-1862; UM# 12,452; DA 15/8 (Aug55): 1412) [see Mann (3)] - rvsd. repr. as Mann (3).. (5) Review: Krenek (6); Krenek (8); and Ernst Tittel, Der neue Gradus: Lehrbuch des strengen Satzes J. J. Fux (Vienna, 1959). NOTES 17/4 (Sep60): 577-578. Manzoni, Giacomo. "Bruno Maderna". Die Reihe 4 (60): 114-120. - trans. Leo Black. Marcase, Donald E. "Adriano Banchieri, L'Organo Suonarino: Translation, Transcription, and Commentary". PhD diss., IndianaU, 1970. (LC# 70 -26,938; [DA 31/7 (Jan71): 3585-A]) Marcel, Gabriel. "Bergsonism and Music". In Langer (3): 142-151. (orig. Fr. ed., 1925) [PHIL, RHYTHM] - trans. C. K. Scott Moncrieff. Marco, Guy A. (1) "A Musical Task in the 'Surprise' Symphony". JAMS 11/1 (Sp58): 41-44. [FORM, MOTIV] - comr. Grimm.. (2) "Zarlino on Counterpoint: An Indexed Annotated Translation of the Institutioni Harmoniche, Book III, with a Glossary and Commentary". PhD diss., UChicago, 1956. (ADD 55/6: 136) NS[CPTREN] - rvsd. repr. as Marco/Palisca.

Page  63 In Theory Only 3/7-11 63 Marco, Guy A. (3) Letter: Comment on Meyer, L. (1). JAMS 15/1 (Sp62): 115-116., and Claude V. Palisca, trans. Gioseffo Zarlino, The Art of Counterpoint (Part Three of Le Institutioni Harmoniche, 1558). New Haven: Yale UP, 1968. (Music Theory Translation Series 42) - rvsd. repr. of Marco (2). [CPTREN, HST-THRY] - rev. Bergquist (6)/NOTES; Seay (17)/JAMS. Marcus, Leonard. "A Musical Mutilation". JuilR 4/3 (Fa57): 6-16. [FORM] Maren, Roger. Review: Cage (4). PNM 6/2 (SpSu68): 182-184. [SOCIOL] Margrave, Wendell. (1) Review: Schoenberg (2). NOTES 25/2 (Dec68): 233-234.. (2) Review: Schoenberg (3). NOTES 22/4 (Su66): 1225-1226. Marks, James B. "Harmonic Rhythm as a Factor in Form Delineation in Selected Instrumental Works from 1775 to 1850". PhD diss., IndianaU, 1969. (LC# 69-22,023; DA 30/7 (Jan70): 3042-A) [CHORD, FORM, RHYTHM] * Marquis, G. Welton. Twentieth-Century Music Idioms. Prentice-Hall, 1964. [CPT20, PTONAL, SERIAL] - rev. Clough (6)/JMT. Marshall, Dennis. "Charles Ives's Quotations: Manner or Substance?". PNM 6/2 (SpSu68): 45-56. [MOTIV] Marshall, George R. "The Harmonic Laws in the Madrigals of Carlo Gesualdo". PhD diss., NYU, 1956. (LC# Mic 56-1983; UM# 16,774; DA 16/7 (Jul56): 1260) [ACOUST, CHROM; Hindemith] Martin, D. W. See Ward/Martin, D. Martin, F. David. (1) "On the Supposed Incompatibility of Expressionism and Formalism" (incl. comments on Langer (4); and Pratt (1)). JAAC 15/1 (Sep56): 94-99. [PHIL; Hanslick]. (2) "The Power of Music and Whitehead's Theory of Perception". JAAC 25/3 (Sp67): 313-322. [PHIL] Martin, Richard M. "On the Proto-Theory of Musical Structure". PNM 9/1 (FaWi70): 68-73. [LOGIC, METHOD] Martini, Clare J. "Maritain and Music". PhD diss., NorthwesternU, 1958. (LC# Mic 58-5769; DA 19/7 (Jan59): 1781) [PHIL] Martino, Donald. (1) "Claudio Spies: Tempi". PNM 2/2 (SpSu64): 112-124. [SERIAL]. (2) "Notation in General -- Articulation in Particular". PNM 4/2 (SpSu66): 47-58. [NOTAT] _. (3) "The Source Set and Its Aggregate Formations". JMT 5/2 (Nov61): 224-273. [SERIAL, SETS] - addendum in JMT 6/2 (Wi62): 322-323.

Page  64 64 Author Index (Martirano) Martirano, Salvatore, panel. See Browne (2); Finney, R. (3); and Westergaard (7). * Mason, Neale B. Essentials of Eighteenth-Century Counterpoint: A Practical Stylistic Approach. Brown, 1968. [CPTSP, CPTTON; Bach] Mason, Robert M. (1) "An Encoding Algorithm and Tables for the Digital Analysis of Harmony" (2 parts). JRME 17/3 (Fa69): 286-300, and 17/4 (Wi69): 369-387. [COMPUT, TONAL; Chopin]. (2) "Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni Scales". JMT 14/1 (Sp70): 92-126. [PTONAL] Mathews, Max V. (1) "An Acoustic Compiler for Music and Psychological Stimuli". Bell System Technical Journal 40/3 (May61): 677-694. [COMPUT]. (2) "The Digital Computer as a Musical Instrument". Science 142/3591 (1Nov63): 553-557. [COMPUT] * (3) (with Joan E. Miller, F. R. Moore, John R. Pierce, and J. C. Risset) The Technology of Computer Music. Cambridge: MIT Press, 1969. [ACOUST, COGNTN, COMPUT] - rev. Slawson (2)/JMT. SSee Pierce, J./Mathews; and Strasser/Mathews., and F. R. Moore. "GROOVE, A Program for Real Time Control of a Sound Synthesizer by a Computer". PASUC 4 (69): 27-31. [COMPUT], and L. Rosler. "Graphical Language for the Scores of ComputerGenerated Sounds". Version 1, in PNM 6/2 (SpSu68): 92-118; Version 2, in von Foerster/Beauchamp: 84-114. [COMPUT, NOTAT] - com. Howe (1). Maxson, William L. "Introduction to the Analytical Techniques of Music: A Programmed Text". EdD diss., UIdaho, 1969. (LC# 70-10,683; DA 31/3 (Sep70): 1311-1312-A) [PEDAG] Mekeel, Joyce. (1) "The Harmonic Theories of Kirnberger and Marpurg". JMT 4/2 (Nov60): 169-193. [CHORD, CPTTON, HST-THRY, TONAL; Rameau]. (2) Review: Kolneder. PNM 7/2 (SpSu69): 172-174. Melby, John. "Some Recent Developments in Computer-Synthesized Music". PASUC 5 (70): 111-121. [COMPUT] Melcher, Robert. "The Professional Music Theorist -- His Habits and Training" (Comment on Kraehenbuehl (4)). JMT 4/1 (Apr60): 79-84. [PEDAG] Mendel, Arthur. (1) "On the Pitches in Use in Bach's Time" (2 parts). MQ 41/3 (Jul55): 332-354, and 41/4 (Oct55): 466-480. [HST-THRY; Adlung, Agricola, Kuhnau, Mattheson, Quantz, Walther]. (2) "Some Preliminary Attempts at Computer-Assisted Style Analysis in Music". CompArtHum 4/1 (Sep69): 41-52. [COMPUT, CPTREN, STYLE]

Page  65 In Theory Only 3/7-11 65 Merriam, Alan P. The Anthropology of Music. Evanston: Northwestern UP, 1964. [METHOD, NONWEST, PHIL, SOCIOL, STYLE] - rev. Powers/PNM. Merritt, A. Tillman. (1) "Undergraduate Training in Music Theory". CMS 5 (Fa65): 21-35. [PEDAG]. (2) Review: Documenta Musicologica (Kassel, 1951-55). JANIS 9/1 (Sp56): 40-46. [HST-THRY; Bourgeois, Burmeister, Coclico, Mattheson, Quantz, Rhau, Walther] Metzger, Heinz-Klaus. (1) "Abortive Concepts in the Theory and Criticism of Music". Die Reihe 5 (61): 21-29. [PHIL] - trans. Leo Black.. (2) "Analysis of the [Webern] Sacred Song, Op. 15, No. 4". Die Reihe 2 (58): 75-80. [MOTIV] - trans. Leo Black.. (3) "Webern and Schonberg". Die Reihe 2 (58): 42-45. - trans. Leo Black. [CPT20, RHYTHM, SERIAL] Meyer, Leonard B. (1) Emotion and Meaning in Music. PhD diss., UChicago, 1955; pub. UChicagoP, 1956. [COGNTN, METHOD, PHIL, RHYTHM, STYLE, TONAL; Chopin, Haydn, Hindemith, Wagner] - rev. Hill, Ri. (2)/NOTES; Kraehenbuehl (5)/JMT; Lippman (5)/MQ; Portnoy (2)/JAAC. - cor. Coker, W. (1); Hansen?; Keil; Lessing?; Marco (3); Mitchell, J.?; Sherburne.. (2) "The End of the Renaissance? Notes on the Radical Empiricism of the Avant-Garde". Hudson Review 16/2 (Su63): 169-186. [ALEA, PHIL] - repr. in Meyer, L. (5). - com. Childs (2); Keil.. (3) "Forgery and the Anthropology of Art". Yale Review 52/2 (Wi63): 220-233. [PHIL, SOCIOL] - repr. in Meyer, L. (5).. (4) "Meaning in Music and Information Theory". JAAC 15/4 (Jun57): 412-424. [INFO, PHIL] - repr. in Meyer, L. (5). _ (5) Music, The Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. UChicagoP, 1967. [ALEA, COGNTN, INFO, - incl. Meyer, L. (2), (3), (4), (6), and (7). PHIL, SOCIOL, STYLE] - rev. Chase/NOTES; Plantinga (2)/JMT; Rubin/JAAC; Treitler (6)/PNM.. (6) "On Rehearing Music". JAMS 14/2 (Su61): 257-267. [COGNTN, INFO, PHIL] - repr. in Meyer, L. (5); and in Morris Weitz, ed., Problems in Aesthetics (2nd ed., Macmillan, 1970). - com. Kivy.. (7) "Some Remarks on Value and Greatness in Music". JAAC 17/4 (Jun59): 486-500. [PHIL] - repr. in Meyer, L. (5). - com. Keil.. (8) "Universalism and Relativism in the Study of Ethnic Music". Ethnomusicology 4/2 (May60): 49-54. [METHOD, NONWEST]

Page  66 66 Author Index (Meyer) Meyer, Leonard B. (9) Review: Ferguson (1). JAMS 15/2 (Su62): 234-236. [PHIL] See Cooper, G./Meyer, L. Meyer, Ramon E. "John Playford's An Introduction to the Skill of Musick". PhD diss., FloridaStU, 1961. (LC# 61-5650; DA 22/8 (Feb62): 2819 -2820) [Campion] Meyer-Eppler, Werner. (1) "Musical Communication as a Problem of Information Theory". Die Reihe 8 (68): 7-10. [INFO]. (2) "Statistic and Psychologic Problems of Sound". Die Reihe 1 (58): 55-61. [ALEA, COGNTN, ELECT, INFO] Meyers, Robert G. "Technical Bases of Electronic Music" (4 parts). JMT 8/1 (Sp64): 2-52, 8/2 (Wi64): 184-250, 10/2 (Wi66): 216-274, and 11/2 (Wi67): 222-276. [ACOUST, ELECT] Michell, Joyce. (1) "Aesthetic Judgment in Music". JAAC 19/1 (Fa60): 73-82. [PHIL]. (2) "Criteria of Criticism in Music". JAAC 21/1 (Fa62): 26-30. [PHIL]. (3) "A New Approach to an Aesthetic of Music". JAAC 15/2 (Dec56): 227-231. [FORM, PHIL] Mickelson, William C. "Hugo Riemann's History of Harmonic Theory with a Translation of Harmonielehre". PhD diss., IndianaU, 1970. (LC# 71 -21,289; [DA 32/2 (Aug71): 1002-A]) [CHORD, HST-THRY, TONAL] * Middleton, Robert E. (1) Harmony in Modern Counterpoint. Boston: Allyn & Bacon, 1967. NS[CPTSP, CPT20, PTONAL] - rev. Daniels. (7)/NOTES.. (2) Letter: Comment on Cazden (1). JMT 6/2 (Wi62): 324. Miller, Clement A. (1) "The Dodecachordon: Its Origins and Influence on Renaissance Musical Thought". MD 15 (61): 155-166. [MODAL; Morley, Zarlino]. (2) "Early Gaffuriana: New Answers to Old Questions". MQ 56/3 (Jul70): 367-388., trans. (3) Franchinus Gaffurius, Practica Musicae. AIM, 1968. (MSD #20) [CPTREN, MODAL, RHYTHM] - rev. Bergquist (7)/JAMS; Seay (19)/NOTES.. (4) "Gaffurius's Practica musicae: Origin and Contents". MD 22 (68): 105-128. [ACOUST, CPTREN, MONOPH, NOTAT, PERF, RHYTHM], annot./trans. (5) Heinrich Glarean, Dodecachordon. 2 vols. AIM, 1965. (MSD #6) (rvsd. ed. of UMichigan diss., 1950) - rev. Houghton/JAMS. [HST-THRY, MODAL, NOTAT, RHYTHM], ed./trans. (6) Johannes Cochlaeus, Tetrachordum Musices. AIM, 1970. (MSD #23)

Page  67 In Theory Only 3/7-11 67 Miller, Clement A. (7) "Sebald Heyden's De Arte Canendi: Background and Contents". MD 24 (70): 79-99. [MODAL, NOTAT, PERF, RHYTHM] Miller, Gertrude B. "Tonal Materials in Seventeenth-Century English Treatises". PhD diss., EastmanSM, 1960. (UR# 4607; ADD 59-60: 132) NS[HST-THRY] Miller, Hugh Milton. "Beethoven's Rhythm: Some Observations and Problems". In Tischler (2): 165-174. [RHYTHM] Miller, Joan E. See Mathews (3). Milner, Paul. See Clark, M./Milner. Mintz, Donald. "Analysis Symposium: Beethoven, Piano Sonata in C, Op. 53, Mvt. II". JMT 13/2 (Wi69): 204-206. [CHORD, CHROM] Misch, Ludwig. "Fugue and Fugato in Beethoven's Variation Form". MQ 42/1 (Jan56): 14-27. [CPTTON, MOTIV] Mishkin, Henry G. "Irrational Dissonance in the English Madrigal". In Essays on Music...: 139-145. [CPTREN] Mitchell, Barry. See Rogers, J./Mitchell, B. Mitchell, Donald. The Language of Modern Music. NY: St. Martin's, 1963; rvsd. ed., 1970. [PTONAL, STYLE] - rev. Blum (4)/NOTES; Kraft (2)/JMT. Mitchell, John W. "A History of Theories of Functional Harmonic Progression" (incl. comment on Meyer, L. (1)?). PhD diss., IndianaU, 1963. (LC# 64-5473; DA 25/2 (Aug65): 1250) [CHORD, FIGBASS, HST-THRY; Catel, Day, Fetis, Hauptmann, Helmholtz, Hindemith, Kirnberger, Marpurg, Prout, Rameau, Riemann, Schenker, Schoenberg, Sorge, Stainer, GWeber] Mitchell, William J. (1) "Chord and Context in 18th-Century Theory". JAMS 16/2 (Su63): 221-239. [CHORD, FIGBASS, HST-THRY, PERF; CPEEach, Heinichen, Keller, Mattheson, Rameau, Scheibe, Schulz] _. (2) "Giuseppe Sarti and Mozart's Quartet, K. 421". CM 9 (69): 147-153. [SKETCH] __. (3) "The Prologue to Orlando di Lasso's Prophetiae Sibyllarum". Music Forum 2 (70): 264-273. [CHROM, LINEAR, SCHENKER, TONAL] _ (4) "The Study of Chromaticism". JMT 6/1 (Sp62): 2-31. [ACOUST, CHROM, NOTAT, TONAL]. (5) "The Tristan Prelude: Techniques and Structure". Music Forum 1 (67): 162-203. [CHROM, LINEAR, MOTIV, SCHENKER] - com. Boretz (6). _ (6) Letter: Comment on Westergaard (2). PNM 1/2 (Sp63): 210-211. [RHYTHM; Mozart] _. (7) Review: Burrows (1). JMT 8/1 (Sp64): 120-122.

Page  68 68 Author Index '(Mitchell) Mitchell, William J. (8) Review: Hanson, H. JMT 4/2 (Nov60): 236-243. [Shostakovich, Stravinsky]. (9) Review: Jacobi (4). MQ 48/2 (Apr62): 254-260. [HST-THRY, TONAL; Day]. (10) Review: Journal of Music Theory (1/1-2/1). MQ 44/4 (Oct58): 540-542.._ (11) Review: Joseph Kerman, The Beethoven Quartets (Knopf, 1967). MQ 53/3 (Jul67): 421-434. [LINEAR, METHOD, SCHENKER]. (12) Review: Heinrich Schenker, Harmony (UChicagoP, 1954). MQ 41/2 (Apr55): 256-260. [CHORD, LINEAR, SCHENKER, TONAL] _. (13) Review: Schoenberg (4). MQ 41/1 (Jan55): 109-115. [CHORD, TONAL]. (14) [Elementary Harmony (2nd ed., Prentice-Hall, 1948)]. - com. Kudlawiec. Moevs, Robert. (1) "Intervallic Procedures in Debussy: Serenade from the Sonata for Cello and Piano, 1915". PNM 8/1 (FaWi69): 82-101. [PTONAL]. (2) "Some Observations on Instruction in Music Theory". CMS 6 (Fa66): 69-71. [PEDAG] Moldenhauer, Hans, compiler. Anton von Webern: Perspectives. Seattle: UWashingtonP, 1966. - ed. Demar Irvine. - incl. Austin (3); and Smith, Lel. (1). - rev. Cannon/JMT. Moles, Abraham A. (1) Information Theory and Esthetic Perception. Urbana: UIllinoisP, 1966. (orig. Fr. ed., 1958) [INFO, PHIL] - trans. Joel E. Cohen. - rev. Kraehenbuehl (6)/JMT.. (2) "Some Basic Aspects of an Information Theory of Music". JAES 6/3 (Jul58): 184-186. [INFO] Monaco, Richard A. Review: Ulehla. NOTES 23/2 (Dec66): 271-272. Monfred, Avenir H. de. The NDM Principle of Relative Music. NY: Scribner's, 1970. [PTONAL] Moore, F. R. See Mathews (3); and Mathews/Moore. Morgan, Douglas N. "Who Makes the Music?". In Glowacki: 270-278. [PHIL] Morgan, Robert P. (1) "The Delayed Structural Downbeat and Its Effect on the Tonal and Rhythmic Structure of Sonata Form Recapitulation..." PhD diss., PrincetonU, 1969. (LC# 70-8384; DA 30/12 (Jul70): 5473-A) [FORM, LINEAR, RHYTHM, SCHENKER; Bart6k, Chopin, Haydn, Mahler, Schoenberg, Strauss, Stravinsky, Tchaikovsky; Lorenz, Schenker] (2) "Edward T. Cone: String Sextet". PNM 8/1 (FaWi69): 112-125. [SETS]

Page  69 In Theory Only 3/7-11 69 Morton, Ian A. "Numerical Orders in Triadic Harmony". JMT 4/2 (Nov60): 153-168. [TONAL], and John Lofstedt. "FORTRAN Music Programs Involving Numerically Related Tones". In Lincoln, H.: 154-171. [ACOUST, COMPUT] Morton, Lawrence. (1) "Current Chronicle" (Stravinsky). MQ 43/4 (Oct57): 535-541. ___ (2) "Stravinsky and Tchaikovsky: Le Baiser de la Fee". MQ 48/3 (Jul62): 313-326. - repr. in Lang (3). S(3) Review: White, E. MQ 53/4 (Oct67): 589-595. Moss, Lawrence. (1) "Analysis Symposium: Schubert, Moment Musical, Op. 94/1: A Composer's Analysis". JMT 12/2 (Wi68): 214-221. [MOTIV]. (2) "George Perle: String Quintet". PNM 3/1 (FaWi64): 136-139.. (3) Letter: Comment on Lewin, D. (8). PNM 7/1 (FaWi68): 149. [MOTIV], panel. See Westergaard (7). Moyer, Birgitte P. V. "Concepts of Musical Form in the Nineteenth Century with Special Reference to A. B. Marx and Sonata Form". PhD diss., StanfordU, 1969. (LC# 70-1579; DA 30/8 (Feb70): 3495-A) [FORM, HST-THRY; Bussler, Czerny, Dommer, Jadassohn, Kurth, Lobe, Momigny, Reicha, Reissmann, Richter, Riemann, Widmann] Munkachy, Louis. "Franz Paul Rigler as Theorist and Composer". PhD diss., UPittsburgh, 1968. (LC# 69-6413; DA 29/10 (Apr69): 3633-A) [HST-THRY; Albrechtsberger, CPEBach, Fux, Kirnberger, Koch, Marpurg, Rameau, Riepel] Murphy, Howard A. (1) "The Professional Music Theorist -- His Habits and Training" (Comment on Kraehenbuehl (4)). JMT 4/1 (Apr60): 75-77. [METHOD, PEDAG]. (2) Review: A. Kunrad Kvam, Rutgers University Music Dictation Series (Music Minus One, 1957). JMT 2/2 (Nov58): 253-255. [PEDAG] Myhill, John. "Musical Theory and Musical Practice". JAAC 14/2 (Dec55): 191-200. [PTONAL; Hindemith, Schillinger] Nakaseko, Kazu. "Symbolism in Ancient Chinese Music Theory". JMT 1'2 (Nov57): 147-180. [NONWEST] Nelson, Paul. Review: Christ/DeLone/Kliewer/Rowell/Thomson. JMT 12/2 (Wi68): 289-300. [CHORD; Schumann, Wagner] Nelson, Philip, ed./trans. Nicolas Bernier, Principles of Composition (Principes de composition). InstMedM, 1964. (MTT #5) [CPTTON]

Page  70 70 Author Index (Nelson) Nelson, Robert U. (1) "Schoenberg's Variation Seminar". MQ 50/2 (Apr64): 141-164. [FORM, MOTIV, SERIAL]. (2) "Stravinsky's Concept of Variations". MQ 48/3 (Jul62): 327-339. -repr. in Lang (3). [MOTIV]. (3) "Webern's Path to the Serial Variation". PNM 7/2 (SpSu69): 73-93. [SERIAL] - corn. Hitchock (1); Starr. Nettl, Bruno. (1) "Notes on Infant Musical Development". MQ 41/1 (Jan56): 28-34. [COGNTN]. (2) Theory and Method in Ethnomusicology. NY: Free Press of Glencoe, 1964. [NONWEST, SOCIOL, STYLE] - rev. McAllester/MQ.. (3) Review: Sachs. NOTES 19/3 (Jun62): 427-428. Neumann, Frederick. (1) "External Evidence and Uneven Notes" (incl. comment on McIntyre). MQ 52/4 (Oct66): 448-464. [HST-THRY, PERF] 0 (2) "The French Inegales, Quantz, and Bach". JAMS 18/3 (Fa65): 313-358. [HST-THRY, NOTAT, PERF, RHYTHM] - cor. Babitz (3); Byrt; Collins (1); Donington (1), Neumann, F. (4); Pont. S(3) "Misconceptions about the French Trill in the 17th and 18th Centuries". MQ 50/2 (Apr64): 188-206. [HST-THRY, PERF; Bacilly, Berard, Dandrieu, Lacassagne, Loulie, Rameau, JRousseau]. (4) Reply to Donington (1). JAMS 19/3 (Fa66): 435-437. Neumann, Hans. Letter: Comment on Travis (4), and Oster (2). JMT 4/2 (Nov60): 274-275. [LINEAR, SCHENKER] - com. Komar (2). and Carl Schachter. "The Two Versions of Mozart's Rondo K. 494". Music Forum 1 (67): 1-34. [SKETCH] Newlin, Dika. (1) Review: Basart. NOTES 19/2 (Mar62): 256-257. S(2) Review: Kelly (1); and Procter (1). NOTES 16/2 (Mar59): 257. S(3) Review: Perle (11). NOTES 19/3 (Jun62): 434-435. S(4) Review: Die Reihe (various issues). NOTES (#1-2 Ger.) 13/3 (Jun56): 432-433; (#1 Eng.) 15/3 (Jun58): 405; (#2 Eng.) 16/2 (Mar59): 257-258; (#3 Eng.) 17/4 (Sep60): 580-581; and (#5 Eng.) 19/4 (Sep62): 618-619.. (5) Review: Searle. NOTES 12/3 (Jun55): 444-445.. (6) Review: Spinner (2). NOTES 18/1 (Dec60): 63. Newman, William S. (1) "Kirnberger's Method for Tossing Off Sonatas". MQ 47/4 (Oct61): 517-525. * (2) The Sonata in the Baroque Era. Chapel Hill: UNorth CarolinaP, 1959; 2nd ed., 1966. [FORM] - rev. Titcomb/MQ.

Page  71 In Theory Only 3/7-11 71 Newman, William S. (3) The Sonata in the Classic Era: The Second Volume of A History of the Sonata Idea. Chapel Hill: UNorth CarolinaP, 1963. [FORM, STYLE] - rev. LaRue (9)/MQ; Stevens, H. (3)/JMT.. (4) The Sonata Since Beethoven: The Third and Final Volume of A History of the Sonata Idea. Chapel Hill: UNorth CarolinaP, 1969. - rev. Longyear (2)/NOTES. [FORM]. (5) Letter: "About Carl Czerny's Op. 600 and the 'First' Description of 'Sonata Form'". JAMS 20/3 (Fa67): 513-515. - com. Weiss. [FORM, HST-THRY] Newton, George. "Le Nuove Musiche -- Caccini: A New Translation of the Preface...". National Assn. of Teachers of Singing Bulletin 19/2 (Dec62): 14-18. [PERF] Norden, Hugo. (1) Fundamental Counterpoint. Boston: Crescendo, 1969. NS[CPTTON?]. (2) The Technique of Canon. Boston: Branden Press, 1970. [CPTTON] Nordgren, Quentin R. "A Measure of Textural Patterns and Strengths". JMT 4/1 (Apr60): 19-31. [INFLEC, ORCH]. See Laycock/Nordgren. Nordmark, Jan. "New Theories of Form and the Problem of Thematic Identities" (Comment on Reti (2)). JMT 4/2 (Nov60): 210-217. [FORM, MOTIV] * Norman, Philip B. Harmony. NY: Consolidated Music, 1955. NS[CHORD] - rev. Baumgartner (4)/JMT. Novack, Saul. (1) "Fusion of Design and Tonal Order in Mass and Motet: Josquin Desprez and Heinrich Isaac". Music Forum 2 (70): 187-263. [LINEAR, MODAL, MOTIV, SCHENKER; Compere]. (2) "Recent Approaches to the Study of Harmony" (Review of Forte (15); Piston (1); and Ratner (3)). PNM 2/2 (SpSu64): 150-158. [CHORD, CHROM, PEDAG, TONAL]. (3) "Some Thoughts on the Nature of the Musical Composition (Further Considerations of Professor Crocker's Reflections)" (Comment on Crocker (5)). CM 6 (68): 100-105. [FORM, PHIL] O'Connell, Walter. "Tone Spaces". Die Reihe 8 (68): 35-67. [SERIAL, SETS] Ogdon, Wilbur. (1) "Series and Structure: An Investigation into the Purpose of the Twelve-Note Row in Selected Works of Schoenberg, Webern, Krenek and Leibowitz". PhD diss., IndianaU, 1955. (LC# Mic 56-551; UM# 14,663; DA 16/2 (Feb56): 351) [MOTIV, SERIAL].(2) "A Webern Analysis". JMT 6/1 (Sp62): 133-138. [PTONAL]

Page  72 72 Author Index (Oliver) Oliver, Harold. "Structural Functions of Musical Material in Webern's Op. 6, No. 1". PNM 6/1 (FaWi67): 67-73. Oliveros, Pauline. "Karl Kohn: Concerto Mutabile". PNM 2/2 (SpSu64): 87-99. [ACOUST, MOTIV] Olson, Harry F. Music, Physics, and Engineering. 2nd ed., Dover, 1967. (1st ed., 1952) NS[ACOUST], and Herbert Belar. "Aid to Music Composition Employing a Random Probability System". JASA 33/9 (Sep61): 1163-1170. [COMPUT, INFO] - com. Barbour (3). Onderdonk, Henry. "Aspects of Tonality in the Music of Ross Lee Finney". PNM 6/2 (SpSu68): 125-145. [PTONAL, SERIAL] Osborn, Leslie A. "Notation Should Be Metric and Representational". JRME 14/2 (Su66): 67-83. [NOTAT] Osborne, Richard D. "The Theoretical Writings of Abb4 Pierre-Joseph Roussier". PhD diss., OhioStU, 1966. (LC# 67-2508; DA 27/9 (Mar67): 3074-A) [Rameau] Oster, Ernst. (1) "Analysis Symposium: Mozart, Menuetto in D (K. 355/ 594a)". JMT 10/1 (Sp66): 32-52. [LINEAR, SCHENKER]. (2) "A New Concept of Tonality?" (Comment on Travis (4)). JMT 4/1 (Apr60): 85-98. [LINEAR, MOTIV, SCHENKER; Chopin, Mozart] -com. Neumann, H., Komar (2). S(3) "Register and the Large-Scale Connection". JMT 5/1 (Apr61): 54-71. [LINEAR, SCHENKER; Bach, Beethoven, Brahms, Mendelssohn, Mozart, Schubert]. (4) Review: Zuckerkandl (1). JMT 4/2 (Nov60): 247-249. * Ottman, Robert W. (1) Elementary Harmony: Theory and Practice; and Advanced Harmony: Theory and Practice. Prentice-Hall, 1961. - rev. Phelps (2)/JMT. [CHORD, CHROM] *. (2) Intermediate Music Theory. Denton: North Texas StCP, 1958. NS[CHORD] (3) "A Statistical Investigation of the Influence of Selected Factors on the Skill of Sight-Singing". PhD diss., NTexasStC, 1956. (LC# Mic 56-1194; UM# 16,307; DA 16/4 (Apr56): 763) [COGNTN, PEDAG] Oudal, Robert D. "The 1968 Introductory Seminar in the Use of Computers in Musical Projects: A Summary Report of Reactions, Frustrations". Student Musicologists at Minnesota 3 (68-69): 66-109. [COMPUT] Padberg, Mother Harriet Ann, R.S.C.J. "Computer-Composed Canon and Free Fugue". PhD diss., St. LouisU, 1964. (LC# 64-13,479; DA 26/4 (Oct65): 2240) [COMPUT]

Page  73 In Theory Only 3/7-11 73 Palisca, Claude V. (1) Girolamo Mei, Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi: A Study with Annotated Texts. AIM, 1960. (MSD #3) [Greek thry]. (2) "Scientific Empiricism in Musical Thought". In H. H. Rhys, ed., Seventeenth Century Science and the Arts (Princeton UP, 1961): 91-137. [ACOUST, HST-THRY, PHIL; Benedetti, Descartes, Galilei, Mersenne, Rameau, Zarlino]. (3) "Vincenzo Galilei and Some Links Between 'Pseudo-Monody' and Monody". MQ 46/3 (Jul60): 344-360. [HST-THRY]. (4) "Vincenzo Galilei's Counterpoint Treatise: A Code for the Seconda Pratica". JAMS 9/2 (Su56): 81-96. [CPTREN, MODAL]. (5) Review: Lowinsky (4). JAMS 16/1 (Sp63): 82-86.. (6) Review: Mann (3). JAMS 12/1 (Sp59): 78-80.. See Marco/Palisca. Pallett, Earl M. "Music Communication Research: The Connotative Dimensions of Music Meaning". PhD diss., MichiganStU, 1967. (LC# 67-10,548; DA 28/3 (Sep67): 1097-A) [PHIL] Palmer, Robert. "Analysis Symposium: Beethoven, Piano Sonata in C, Op. 53, Mvt. II". JMT 13/2 (Wi69): 207-217. [CHORD, LINEAR, MOTIV, TONAL] Parish, George D. "Motivic and Cellular Structure in Alban Berg's Lyric Suite". PhD diss., UMichigan, 1970. (LC# 71-15,262; [DA 31/12 (Jun71): 6650-A]) [LINEAR, MOTIV, PTONAL, SETS] Parrish, Carl, annot./trans. (1) Jean Tinctoris, Dictionary of Musical Terms (Terminorum Musicae Diffinitorium). NY: Free Press of Glencoe, 1963.. (2) The Notation of Medieval Music. Norton, 1957; 2nd ed., 1959. [HST-THRY, MONOPH, NOTAT, RHYTHM] - rev. Haydon (6)/MQ; Waite, W. (3)/NOTES. Partch, Harry. (1) "Experiments in Notation". In Schwartz, E./Childs: 210-220. [ACOUST, NOTAT]. (2) "A Lecture Delivered by Harry Partch at the University of California, Los Angeles, Preceding a Concert of Mr. Partch's Music, May, 1966". Source #1, 1/1 (Jan67): 103. [ACOUST, PERF] _. (3) [Genesis of a New Music (Madison: UWisconsinP, 1949)]. - com. Kraehenbuehl/Schmidt; Mandelbaum; Woodbury. * Pasfield, William R. An Introduction to Counterpoint in the Style of J. S. Bach. NY: Mills Music, 1961. [CPTTON] Paul, Charles B. (1) "Jean-Philippe Rameau (1683-1764), the Musician as Philosophe". American Philosophical Society Proceedings 114/2 (13Apr70): 140-154. [ACOUST, PHIL] __. (2) "Rameau's Musical Theories and the Age of Reason". PhD diss., Berkeley, 1966. (LC# 67-5139; DA 27/11 (May67): 3799-A) [ACOUST, PHIL; Descartes, Euler]

Page  74 74 Author Index (Pauly) Pauly, Herta. "The Autonomy of Art: Fact or Norm?". JAAC 18/2 (Dec59): 204-214. [PHIL; Hanslick) Pedersen, Paul. (1) "The Mel Scale". JMT 9/2 (Wi65): 295-308. [ACOUST, COGNTN]. (2) "The Perception of Musical Pitch Structure". PhD diss., UToronto, 1970. ([DA 32/10 (Apr72): 5830-A]) [COGNTN, INFO] Pederson, Donald M. "Some Techniques for Computer-Aided Analysis of Musical Scores". 3 vols. PhD diss., UIowa, 1968. (LC# 68-16,851; DA 29/6 (Dec68): 1919-A) [COMPUT, SETS; Webern] Pellegrino, Ronald. "Some Considerations for the Real Time Performance of Music Using Electronic Means". PASUC 5 (70): 47-55. [ELECT] Pelz, William. Review: Frederick Woodhouse, The Art and Theory of Music (Pitman, 1958). JMT 4/1 (Apr60): 117-119. [PEDAG] Perkins, John MacIvor. (1) "Arthur Berger: The Composer as Mannerist". PNM 5/1 (FaWi66): 75-92. [INFLEC, SETS]. (2) "Dallapiccola's Art of Canon". PNM 1/2 (Sp63): 95-106. [CPT20, RHYTHM]. (3) "Note Values". PNM 3/2 (SpSu65): 47-57. [NOTAT, RHYTHM]. (4) "Morton Subotnick: Serenade No. I". PNM 2/2 (SpSu64): 100-105. Perkins, Marion L. "Changing Concepts of Rhythm in the Romantic Era: A Study of Rhythmic Structure, Theory and Performance Practice Related to Piano Literature". PhD diss., USC, 1961. (LC# 61-6302; DA 22/9 (Mar62): 3221-3222) [HST-THRY, PERF, RHYTHM; Riemann] Perle, George. (1) "An Approach to Simultaneity in Twelve-Tone Music". PNM 3/1 (FaWi64): 91-101. [SERIAL, SETS]. (2) "Babbitt, Lewin, and Schoenberg: A Critique" (Comments on Babbitt (1); and Lewin, D. (12)). PNM 2/1 (FaWi63): 120-127. [SERIAL] - com. Babbitt (15). S(3) "Current Chronicle" (Berger). MQ 46/4 (Oct60): 521-523. [SETS]. (4) "Lulu: The Formal Design". JAMS 17/2 (Su64): 179-192. - addendum in JAMS 17/3 (Fa64): 414. S(5) "The Music of Lulu: A New Analysis". JAMS 12/2-3 (SuFa59): 185-200. [SERIAL, SETS] - addendum in JAMS 14/1 (Sp61): 96.. (6) "The Musical Language of Wozzeck". Music Forum 1 (67): 204 -259. [METHOD, MOTIV, PTONAL, SETS]. (7) "A Note on Act III of Lulu". PNM 2/2 (SpSu64): 8-13.. (8) "Pierrot Lunaire, Op. 21". In The Music of Arnold Schoenberg, Vol. 1 (Columbia Records (M2S 679/M2L 279), 1963): [15-16]. - repr. in Gustave Reese and Rose Brandel, ed., The Commonwealth of Music (NY: Free Press, 1965).

Page  75 In Theory Only 3/7-11 75 Perle, George. (9) "The Score of Lulu". PNM 3/2 (SpSu65): 127-132.. (10) "Serial Composition and Atonality". PhD diss., NYU, 1956. (LC# Mic 59-1073; DA 19/12 (Jun59): 3322) [see Perle (11)] -rvsd. repr. as Perle (11). S(11) Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. UCalP, 1962; 2nd ed., 1968. [MOTIV, PTONAL, SERIAL, SETS; Babbitt, Bart6k, Debussy, Krenek, Perle, Roslavetz, Scriabin, Stravinsky; Hauer] - rvsd. repr. of Perle (10). - rev. Boretz (24)/PNM; Newlin (3)/NOTES; Powell, M. (3)/JMT; Rochberg (6)/JAMS (com. on rev. Perle (13)); (2nd ed.) DeVoto (3)/ NOTES. - corn. Kostelanetz (2).. (12) Letter: Comments on Backus (3); and Hiller/Baker (2). PNM 3/2 (SpSu65): 175. (COMPUT]. (13) Reply to Rochberg (6). JAMS 17/1 (Sp64): 114-115.. (14) Review: Edwards, Ar.; and Smits van Waesberghe (2). JAMS 11/1 (Sp58): 59-62.. (15) Review: Hodeir (2). MQ 47/4 (Oct61): 544-548.. (16) Review: Die Reihe (#3). JMT 4/1 (Apr60): 102-104. [ALEA, SERIAL]. (17) Review: Rochberg (2). JAMS 10/1 (Sp57): 55-59. [SERIAL]. (18) Review: Josef Rufer, Composition with Twelve Notes (Macmillan, 1954). MQ 41/3 (Jul55): 392-395. [SERIAL] * Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. Norton, 1961. [CPT20, PTONAL] - rev. Randall (6)/JMT; Schuman (1)/MQ; Stevens, H. (4)/NOTES; Winham (3)/PNM. Persky, Stanley. Review: Salzer/Schachter. PNM 8/1 (FaWi69): 151-154. [PEDAG] Perspectives of New Music. -rev. (1/1) Browne (6)/JMT; (1/1) Forte (17)/JAMS; (1/1-1/2) French (1)/MQ. Phelps, Norman. (1) "The Professional Music Theorist -- His Habits and Training" (Comment on Kraehenbuehl (4)). JMT 4/1 (Apr60): 72-74. [PEDAG]. (2) Review: Kohs (1); Ottman (1); and Janet M. McGaughey, Practical Ear Training (Allyn & Bacon, 1961). JMT 6/1 (Sp62): 161-167. [PEDAG] Philippot, Michel P. (1) "Ansermet's Phenomenological Metamorphoses" (Review of Ernest Ansermet, Les fondements de la musique dans la conscience humaine (Neuchatel, 1961)). PNM 2/2 (SpSu64): 129-140. - trans. Edward Messinger. [PHEN, PHIL]

Page  76 76 Author Index (Philippot) Philippot, Michel P. (2) "Pierre Boulez Today" (Review of Boulez, Penser la musique aujourd'hui (Paris, 1964)). PNM 5/1 (FaWi66): 153-160. [INFLEC, PEDAG] Pierce, A. Alexandra. "The Analysis of Rhythm in Tonal Music" (incl. comment on Cooper, G./Meyer, L.). PhD diss., BrandeisU, 1968. (LC# 69-5449; DA 29/10 (Apr69): 3643-A) [LINEAR, RHYTHM, SCHENKER; pieces analyzed not listed in abstract] Pierce, John R. (1) "Information Theory and Art" (chap. 13). In Symbols, Signals and Noise: The Nature and Process of Communication (NY: Harper & Row, 1961; pb. ed., 1965). [ALEA, INFO]. (2) Letter: "Attaining Consonance in Arbitrary Scales". JASA 40/1 (Jul66): 249. [ACOUST, COMPUT] SSee Mathews (3).,and Max V. Mathews. "Control of Consonance and Dissonance with Nonharmonic Overtones". In von Foerster/Beauchamp: 129-132. [ACOUST] - com. Howe (1). Pike, Alfred. (1) "Perception and Meaning in Serial Music". JAAC 22/1 (Fa63): 55-61. [PHEN, PHIL, SERIAL] - repr. in Pike (3). - com. Clifton (6).. (2) "The Phenomenological Analysis and Description of Musical Experience". JRME 15/4 (Wi67): 316-319. [PHEN] - repr. in Pike (3)?. (3) A Phenomenological Analysis of Musical Experience and Other Related Essays. NY: St. Johns UP, 1970. NS[COGNTN, PHEN, PHIL, SERIAL] - incl. Pike (1), (2)?, (4)?, (5)?, and four other unidentified papers. - rev. Clifton (6)/JMT.. (4) "The Phenomenological Approach to Musical Perception". Philosophy and Phenomenological Research 27/2 (Dec66): 247-254. - repr. in Pike (3)? [COGNTN, PHEN]. (5) "The Theory of Unconscious Perception in Music: A Phenomenological Criticism". JAAC 25/4 (Su67): 395-400. [COGNTN, PHEN] - repr. in Pike (3)? Pikler, Andrew G. (1) "History of Experiments on the Musical Interval Sense". JMT 10/1 (Sp66): 54-95. [ACOUST, COGNTN]. (2) "Mels and Musical Intervals". JMT 10/2 (Wi66): 288-298. [ACOUST, COGNTN]. (3) "Musical Transfer Functions and Processed Music". IRE Transactions on Audio AU-10/2 (MarApr62): 47-52. [COMPUT] Pincherle, Marc. "On the Rights of the Interpreter in the Performance of 17th- and 18th-Century Music". MQ 44/2 (Apr58): 145-166. [HST-THRY, PERF; Quantz, Rameau, Saint Lambert] - trans. Isabelle Cazeau. Pinkerton, Robert C. "Information Theory and Melody". Scientific American 194/2 (Feb56): 77-86. [INFO]

Page  77 In Theory Only 3/7-11 77 Pirrotta, Nino. "Marchettus da Padua and the Italian Ars Nova". MD 9 (55): 57-71. Pisk, Paul A. "Arnold Schoenberg as Teacher". PASUC 2 (Apr67): 51-53. * Piston, Walter. (1) Harmony. 3rd ed., Norton, 1962. (1st ed., 1941) - rev. Novack (2)/PNM. [CHORD, CHROM, TONAL] - com. Burke?; Colucci?; Kudlawiec. *. (2) Orchestration. Norton, 1955. [ORCH] - rev. Binkerd (2)/JAMS; Goldman (3)/NOTES; Schuman (2)/MQ. _. (3) "Thoughts on the Chordal Concept". In Essays on Music... 273-278. [CHORD, METHOD], interview. See Westergaard (1). Planchart, Alejandro Enrique. "A Study of the Theories of Guiseppe Tartini". JMT 4/1 (Apr60): 32-61. [ACOUST, TONAL] Plantinga, Leon. (1) "Philippe de Vitry's Ars Nova: A Translation". JMT 5/2 (Nov61): 205-223. [MODAL, NOTAT]. (2) Review: Meyer, L. (5). JMT 13/1 (Sp69): 141-147. Plomp, R., and W. J. M. Levelt. "Tonal Consonance and Critical Bandwidth". JASA 38/4 (Oct65): 548-560. [ACOUST] Poland, William. (1) "An Investigation of Some Aural and Notational Elements in Music Theory". PhD diss., OhioStU, 1960. (LC# Mic 60 -2129; DA 21/1 (Jul60): 205-206) [COGNTN, PEDAG]. (2) "Theories of Music and Musical Behavior". JMT 7/2 (Wi63): 150-173. [ACOUST, COGNTN, METHOD;; Hindemith, Rameau] Pont, Graham. Comment on Neumann,F. (2). JAMS 19/3 (Fa66): 437-439. Ponte, Joseph, trans. (1) Aurelian of Reome, The Discipline of Music (Musica Disciplina). ColoradoCMP, 1968. (CCMPT #3) - rev. Clarkson/JMT; Gushee (4)/NOTES.. (2) "Aureliani Reomensis, Musica disciplina: A Revised Text, Translation, and Commentary". PhD diss., BrandeisU, 1961. (LC# 62 -1207; DA 23/1 (Jul62): 258) Pope, Isabel. Review: Robert Stevenson, Juan Bermudo (The Hague, 1960). JAMS 16/1 (Sp63): 86-88. [CPTREN, MONOPH, PERF] Porter, David H. "Reflective Symmetry in Music and Literature". PNM 8/2 (SpSu70): 118-122. [FORM] Porter, Quincy. Review: Dickinson, A. JMT 1/1 (Mar57): 105-106. Portnoy, Julius. (1) Music in the Life of Man. Holt, 1963. - rev. Gauss (2)/JAAC. [PHIL, SOCIOL]. (2) Review: Meyer, L. (1). JAAC 16/2 (Dec57): 285-286.

Page  78 78 Author Index (Potter) Potter, S. B., ed./intro. Andre Gedalge, Treatise on Fugue, Part I: The School of Fugue. Mattapan: Gamut Music, 1964. NS[CPTTON] - trans. A. Levin. Pound, Ezra. Antheil and the Treatise on Harmony. repr. ed., NY: Da Capo, 1968. (orig. ed., 1927) [PHIL] Pousseur, Henri. (1) "Calculation and Imagination in Electronic Music". ElMusR 5 (Jan68): 21-29. [ELECT] _. (2) "Formal Elements in a New Compositional Material". Die Reihe 1 (58): 30-34. [ACOUST, ELECT]. (3) "Music, Form and Practice (An Attempt to Reconcile Some Contradictions)" (Comment on Ruwet). Die Reihe 6 (64): 77-93. - trans. Margaret Shenfield. [LING, PERF, PHIL, SOCIOL]. (4) "Outline of a Method". Die Reihe 3 (59): 44-88. - trans. Leo Black. [COGNTN, NOTAT, PHIL, RHYTHM, SERIAL; Pousseur]. (5) "The Question of Order in New Music". PNM 5/1 (FaWi66): 93-111. - trans. David Behrman. [ALEA, RHYTHM, SERIAL, STYLE; Bach, Webern]. (6) "Webern's Organic Chromaticism". Die Reihe 2 (58): 51-60. - trans. Leo Black. [RHYTHM, SETS] Powell, Mel. (1) "A Note on Rigor". PNM 1/2 (Sp63): 121-124. [METHOD]. (2) Review: Lang (2) (Comment on Babbitt (11); Carter (6); Cone (1); Forte (1); Krenek (3); and Ussachevsky (2)). JMT 4/2 (Nov60): 259-269. [METHOD, PHIL]. (3) Review: Perle (11). JMT 6/2 (Wi62): 309-311. Powell, Newman W. "Rhythmic Freedom in the Performance of French Music from 1650 to 1735". PhD diss., StanfordU, 1959. (LC# Mic 59-3719; DA 20/5 (Nov59): 1820-1821) [HST-THRY, PERF, RHYTHM] Powers, Harold S. Review: Merriam. PNM 4/2 (SpSu66): 161-171. [NONWEST, NOTAT] Pratt, Carroll C. (1) The Meaning of Music: A Study in Psychological Aesthetics. repr. ed., NY: Johnson Reprint, 1968. (orig. ed., 1931) - com. Martin, F. (1). [PHIL] S(2) "The Stability of Aesthetic Judgments". JAAC 15/1 (Sep56): 1-11. [COGNTN, PHIL]. (3) Review: Cooke, D.; and Ferguson (1). NOTES 18/2 (Mar61): 237-238. * Procter, Leland H. (1) Tonal Counterpoint. 2nd ed., Brown, 1957. (1st ed., 1952) [CPTTON] - rev. Clough (7)/JMT; Newlin (2)/NOTES. ~ (2) Review: Krenek (8). JMT 3/2 (Nov59): 313-315. Protopopov, Vl. Review: Igor V. Sposobin, Elementarnaya Teoriya Muzyki (Moscow, 1959). JMT 4/2 (Nov60): 249-253. (orig. Russ. pub., 1951) - trans. Milo~ Velimirovid. [PEDAG]

Page  79 In Theory Only 3/7-11 79 * Prout, Ebenezer. (1) Double Counterpoint and Canon. repr. ed., NY: Haskell House, 1969. (orig. ed., 1893) [CPTTON] *. (2) Fugue. repr. ed., NY: Haskell House, 1969. (orig. ed., 1891) [CPTTON] Pruett, James. (1) "Charles Butler -- Musician, Grammarian, Apiarist". MQ 49/4 (Oct63): 498-509. [CPTREN, MODAL, PERF]. (2) Review: Richard Crocker, A History of Musical Style (McGrawHill, 1966). JMT 11/1 (Sp67): 144-149. [STYLE] Rajagopalan, K. R. See Siromoney/Rajagopalan. Ralph, Murray. Review: Seay (8). NOTES 24/2 (Dec67): 267-269. Ramirez, Carla Jean. "A Historical Study of the Doctrine of the Affections as Exemplified in the Theoretical Writings of Johann Mattheson and Jean-Philippe Rameau". MA thesis, UOregon, 1967. (UM# M-2456; [Masters Abstracts 9/2 (Jun71): 80]) [HST-THRY] Randall, J. K. (1) "Electronic Music and Musical Tradition". MEJ 55/3 (Nov68): 50-55, 163-167. [ELECT, INFLEC, PHIL]. (2) "Godfrey Winham's Composition for Orchestra". PNM 2/1 (FaWi63): 102-113. [INFLEC, SERIAL, SETS]. (3) "A Report from Princeton". PNM 3/2 (SpSu65): 84-92. [COGNTN, COMPUT]. (4) "Three Lectures to Scientists". PNM 5/2 (SpSu67): 124-140. - incl. (I) "Theories of Musical Structure as a Source for Problems in Psycho-acoustical Research"; [ACOUST, COGNTN, INFLEC, METHOD] (II) "'New Sounds' vs. Musical Articulation"; [ELECT, INFLEC, PERF, RHYTHM] (III) "Operations on Waveforms". [COMPUT, ELECT, INFLEC] - repr. in von Foerster/Beauchamp: 122-128. - com. Slawson (3).. (5) Review: Backus (1). PNM 8/2 (SpSu70): 149-151. [ACOUST, METHOD]. (6) Review: Persichetti. JMT 5/2 (Nov61): 310-313.. (7) Review: Taneiev. JMT 8/2 (Wi64): 279-299. Rasch, Rudolf A. Johannes de Garlandia. InstMedM, 1969. (MS #20) - in Dutch (?). [ACOUST, FORM, NOTAT, RHYTHM; Hamboys, Handlo] Ratner, Leonard. (1) "Ars Combinatoria: Chance and Choice in Eighteenth-Century Music". In Robbins Landon/Chapman: [?]. NS[ALEA, HST-THRY]. (2) "Eighteenth-Century Theories of Musical Period Structure". MQ 42/4 (Oct56): 439-454. [FORM, HST-THRY; Kirnberger, Koch, Riepel, Sulzer]

Page  80 80 Author Index (Ratner) * Ratner, Leonard. (3) Harmony: Structure and Style. NY: McGraw-Hill, 1962. [CHORD, TONAL] - rev. Novack (2)/PNM; Winslow/JMT.. (4) "Key Definition -- A Structural Issue in Beethoven's Music". JAMS 23/3 (Fa70): 472-483. [FORM]. (5) "On the Nature and Value of Theoretical Training, A Forum: For the Layman" (See Kraehenbuehl (3)). JMT 3/1 (Apr59): 58-69. [PEDAG, PHIL]. (6) Review: Leon Dallin, Listener's Guide to Musical Understanding (Brown, 1959). JMT 4/1 (Apr60): 119-122. [PEDAG]. (7) Review: Diether de la Motte, Musikalische Analyse (Kassel, 1968). NOTES 26/4 (Jun70): 755-756. [METHOD] * Rauscher, Donald J. Orchestration: Scores and Scoring. NY: Free Press of Glencoe, 1963. [ORCH] SSee Shir-Cliff/Jay/Rauscher. Ray, Harry B. "An Experimental Approach to the Reading of Pitch Notation". PhD diss., IndianaU, 1964. (LC# 64-12,078; DA 25/5 (Nov64): 3021) [PEDAG] Read, Gardner. (1) Music Notation: A Manual of Modern Practice. Boston: Allyn & Bacon, 1964. [NOTAT]. (2) "Some Problems of Rhythmic Notation". JMT 9/1 (Sp65): 153 -162. [NOTAT] Reale, Paul V. "The Process of Multivalent Thematic Transformation". PhD diss., UPennsylvania, 1970. (LC# 70-25,719; [DA 31/7 (Jan71): 3586-A]) [MOTIV] Reaney, Gilbert. (1) "The 'Ars Nova' of Philippe de Vitry". MD 10 (56): 5-33. - incl. Latin text; repr. in Reaney/Gilles/Maillard. - for addendum, see Reaney (4).. (2) "The Brevarium Regulare Musice of MS Oxford, Bodley 842". MD 11 (57): 31-37. [Odington, Willelmus] - repr. in Reaney/Gilles.. (3) "Introduction". In Charles Butler, Principles of Musick, in Singing and Setting (facs. 1636 ed., NY: Da Capo, 1970): v-xv.. (4) "A Postscript to Philippe de Vitry's Ars Nova" (See Reaney (1)). MD 14 (60): 29-31. - repr. in Reaney/Gilles/Maillard. (5) "The Question of Authorship in the Medieval Treatises on Music". MD 18 (64): 7-18. [HST-THRY; Burgundia, Franco, Garlandia, Hamboys, Handlo, Lambert, Theodoricus, Tunstede]. (6) Review: Dittmer (1); and Dittmer (2). JAMS 12/2-3 (SuFa59): 226-233. See Gilles/Reaney.

Page  81 In Theory Only 3/7-11 81 Reaney, Gilbert (I-III), and Andre Gilles (III), ed. I. Brevarium regulare musicae (Wilelmus -- MS Oxford, Bodley 842); (repr. of Reaney (2)) II. Tractatus de figuris sive de notis (MS British Museum, Royal 12.C.VI); III. Johannes Torkesey, Declaratio trianguli et scuti. AIM, 1966. (CSM #12) _, and Jean Maillard, ed. Philippe de Vitry, Ars Nova. AIM, 1964. (CSM #8) [MODAL, NOTAT, PERF, RHYTHM; Ano,. III] - Lat. text; Fr. trans. (from MD 11 (57): 12-30). - incl. repr. of Gilles; Gilles/Reaney; and Reaney (1) and (4). Reddick, Harvey P. "Johann Mattheson's Forty-Eight Thorough-bass Testpieces: Translation and Commentary". PhD diss., UMichigan, 1956. (LC# Mic 57-246; UM# 19,715; DA 17/1 (Jan57): 152) [FIGBASS, HST-THRY] Redlich, H. F. Alban Berg: The Man and His Music. NY: AbelardSchuman, 1957. [PTONAL, SERIAL] - rev. Krenek (12)/MQ. * Reed, H. Owen, and Paul Harder. Basic Contrapuntal Technique (with workbook). NY: Mills, 1964. NS[CPTSP?] - rev. Browne (5)/JMT., and Joel T. Leach. Scoring for Percussion and the Instruments of the Percussion Section. Prentice-Hall, 1969. [NOTAT, ORCH] - rev. Cope (1)/Composer. Reese, Gustave. Fourscore Classics of Music Literature. NY: Liberal Arts Press, 1957; repr. ed., NY: Da Capo, 1970. [HST-THRY; Anon. Ad organum, Anon. Discantus, Anon. IV, Afflighem, Agricola, Arab thry, Aron, Banchieri, Bermudo, Bernhard, Boethius, Bottrigari, Cerone, Criger, Diruta, Famintsin, Finck, Gafurius, Galilei, Garlandia, Glareanus, Greek thry, Grocheo, Guido, Guilielmus, Haba, Handlo, Heinichen, Heyden, Indy, Jacobus, Jerome, Marchettus, Mattheson, Mersenne, Odington, Praetorius, Prosdocimus, psHucbald, Quantz, Rameau, Ramos, Rodolphe, Salinas, Schoenberg, Spataro, Tartini, Tinctoris, Ugolino, Vicentino, Virdung, Vitry, Walther, Werckmeister, Zacconi, Zarlino] - rev. Kraehenbuehl (7)/JMT. Regener, Eric. (1) "Layered Music-Theoretic Systems" (incl. comment on Kassler (6): II). PNM 6/1 (FaWi67): 52-62. [COMPUT, LOGIC, - com. Kassler (8), Regener (3). METHOD, SCHENKER]. (2) A Linear Music Transcription for Computer Input. Princeton DM, 23Mar64. (mimeo) [COMPUT] _ (3) Letter: Comment on Kassler (8). PNM 7/1 (FaWi68): 151-152. [METHOD, NOTAT, SCHENKER]

Page  82 82 Author Index (Die Reihe) Die Reihe. -rev. (#1-4) Backus (3)/PNM; (#1-2) Helm, Ev./JMT; (#1-2 Eng./Ger., #3 & 5 Eng.) Newlin (4)/NOTES; (#3) Perle (16)/JMT. Reilly, Edward R. (1) "Further Musical Examples for Quantz's Versuch". JAMS 17/2 (Su64): 157-169. [PERF; Kirnberger], ed./trans. (2) Johann Joachim Quantz, On Playing the Flute. NY: Free Press, 1966. [PERF] - rvsd. ed. of Reilly (4). - rev. Brown, H./JAMS; Schwartz, J./NOTES.. (3) "Quantz on National Styles in Music". MQ 49/2 (Apr63): 163 -187. [STYLE]. (4) "Quantz's Versuch einer Anweisung die Flote traversiere zu spielen: A Translation and Study". 2 vols. PhD diss., UMichigan, 1958. (LC# Mic 59-4974; DA 21/1 (Jul60): 207) [PERF] - rvsd. repr. as Reilly (2). Reinold, Helmut. "On the Problem of Musical Hearing". In Langer (3): 262-297. (orig. Ger. ed., 1954) [COGNTN] Reitman, Walter R. "Creative Problem Solving: Notes from the Autobiography of a Fugue". In Reitman, Cognition and Thought: An Information-Processing Approach (NY: Wiley, 1965): 166-180. [COGNTN). See Sanchez/Reitman. Restle, Frank. "Theory of Serial Pattern Learning: Structural Trees". Psychological Review 77/6 (Nov70): 481-495. [COGNTN, LING; Bach] Reti, Rudolph. (1) Thematic Patterns in Sonatas of Beethoven. NY: Macmillan, 1967. NS[FORM, MOTIV] - ed. Deryck Cooke. - rev. Dawney (1)/JMT; Dawney (2)/NOTES.. (2) The Thematic Process in Music. repr. ed., Mystic: Verry, 1966. (orig. ed., 1951) [FORM, MOTIV; Bach, Bart6k, Beethoven, Berlioz, Brahms, Chopin, Debussy, Dufay, Haydn, Liszt, Mozart, Palestrina, Schubert, Schumann, Strauss, Tchaikovsky, Wagner] - com. Nordmark; Schwejda.. (3) Tonality -- Atonality -- Pantonality: A Study of Some Trends in Twentieth Century Music. NY: Macmillan, 1958. [CHROM, FORM, PTONAL, RHYTHM, SERIAL, TONAL] - repr. as Tonality in Modern Music (NY: Collier, 1962). - rev. Kraehenbuehl (8)/JMT; Slonimsky (2)/NOTES. - com. Suderburg. Revitt, Paul J. "Domenico Corri's 'New System' for Reading Thorough-bass" JAMS 21/1 (Sp68): 93-98. [FIGBASS, PERF] Reynolds, Roger. (1) "Indeterminacy: Some Considerations". PNM 4/1 (FaWi65): 136-140. [ALEA]

Page  83 In Theory Only 3/7-11 83 Reynolds, Roger. (2) "It(')s Time". ElMusR 7 (Jul68): 12-17. [COGNTN, ELECT, RHYTHM] Reynolds, William H. (1) "Analysis and Unity" (Comment on Gettel). JMT 3/1 (Apr59): 140-147. [Bach] - com. Komar (2). S(2) "Unity in Music". JMT 2/1 (Apr58): 97-104. [CHORD, LINEAR, MOTIV, PHIL, RHYTHM, STYLE, TONAL; Bach] - com. Gettel, Reynolds, W. (1), Komar (2). Richardson, Louis S. "The Effect of Certain Harmonic Configurations upon Tuning Preferences for the Major Third". PhD diss., IndianaU, 1963. (LC# 64-5485; DA 25/1 (Jul64): 525) [ACOUST] Ricks, Robert W. Letter: Comment on Berard. JMT 5/2 (Nov61): 334-336. [ACOUST] Ringer, Alexander L. "Clementi and the Eroica". MQ 47/4 (Oct61): 454 -468. [MOTIV] Riseling, Robert A. "Motivic Structures in Beethoven's Late Quartets". In Glowacki: 141-162. [MOTIV] Risset, J. C. See Mathews (3). Ritchie, John A. (1) Review: Jacobs. JMT 2/2 (Nov58): 255-257.. (2) Review: Kauder. JMT 5/1 (Apr61): 137-139.. (3) Review: Rubbra. JMT 5/1 (Apr61): 135-137. Ritchie, Tom V. "A Study of the Effects of Diatonic Harmony upon the Aural Perception of Selected Melodic Fragments". PhD diss., IndianaU, 1960. (LC# Mic 60-2835; DA 21/3 (Sep60): 642) [COGNTN, PEDAG] Rittenhouse, Robert J. "Rhythmic Elements in the Symphonies of Johannes Brahms". PhD diss., UIowa, 1967. (LC# 68-971; DA 28/8 (Feb68): 3213-3214-A) [RHYTHM] Robbins Landon, H. C., and Roger Chapman, ed. Studies in EighteenthCentury Music: A Tribute to Karl Geiringer on His Seventieth Birthday. NY: Oxford UP, 1970. - incl. Aldrich (3); Mann (1); and Ratner (1). Robert, Walter, trans. See Kent (1). Roberts, Arthur. "Some New Developments in Computer-generated Music". In von Foerster/Beauchamp: 63-68. [COMPUT] * Roberts, Stella, and Irwin Fischer. A Handbook of Modal Counterpoint. NY: Free Press, 1967. NS[CPTREN] Robertson, Paul. See Clark, M./Robertson/Luce.

Page  84 84 Author Index (Robinson) * Robinson, Raymond C. Progressive Harmony. repr. ed., Boston: B Humphries, 1962. (orig. ed., 1942) [CHORD] Rochberg, George. (1) "The Harmonic Tendency of the Hexachord". JMT 3/2 (Nov59): 208-230. [SERIAL; Schoenberg; Hauer]. (2) The Hexachord and Its Relation to the 12-tone Row. Bryn Mawr: Theodore Presser, 1955. NS[SERIAL] - rev. Hill, Ri. (3)/NOTES; Perle (17)/JAMS.. (3) "The New Image of Music". PNM 2/1 (FaWi63): 1-10. [INFLEC]. (4) "Webern's Search for Harmonic Identity". JMT 6/1 (Sp62): 109 -122. [PTONAL, SERIAL]. (5) Letter: Comment on Kirchner. CMS 2 (Fa62): 121-122. [PEDAG, PHIL]. (6) Review: Perle (11). JAMS 16/3 (Fa63): 413-418. - com. Perle (13). Roehmann, Franz L. "A Theoretical Basis for the Teaching of Music Theory to Music Majors at the Undergraduate College Level". EdD diss., UIllinois, 1968. (LC# 69-10,831; DA 30/1 (Jul69): 192-193-A) [COGNTN, PEDAG, PHIL] Rogers, Helen O. "The Development of a Concept of Modulation in Theory from the 16th to the Early 18th Century". PhD diss., IndianaU, 1955. (LC# Mic 56-552; UM# 14,665; DA 16/2 (Feb56): 351-352) [HST-THRY, MODAL, TONAL; Campion, Cerone, Glareanus, Simpson, Zarlino] Rogers, John. (1) "Some Experiments with Contextually Defined 'Octaves'". PASUC 3 (Apr68): 109-122. [ACOUST, SETS]. (2) "Some Properties of Non-duplicating Rotational Arrays". PNM 7/1 (FaWi68): 80-102. [COMPUT, SERIAL, SETS]. (3) "Toward a System of Rotational Arrays". PASUC 2 (Apr67): 61 -74. [SERIAL, SETS], and Barry Mitchell. "A Problem in Mathematics and Music". American Mathematical Monthly 75/8 (Oct68): 871-873. [SERIAL] Roller, Gilbert. (1) "Development of a Method for Analysis of Musical Compositions Using an Electronic Digital Computer". JRME 13/4 (Wi65): 249-252. [COMPUT]. (2) "The Development of the Methods for Analysis of Musical Compositions and for the Formation of a Symmetrical Twelve-tone Row Using the Electronic Digital Computer". PhD diss., MichiganStU, 1964. (LC# Mic 64-9750; DA 25/4 (Oct64): 2555) [COMPUT, METHOD, SERIAL] Rosberger, Paul. The Theory of Total Consonance. Rutherford: FairleighDickenson UP, 1970. (ACOUST, ELECT] Rose, Gloria. "Agazzari and the Improvising Orchestra". JAMS 18/3 (Fa65): 382-393. [PERF; Bianciardi, Valle]

Page  85 In Theory Only 3/7-11 85 Rosen, Charles. (1) "The Proper Study of Music". PNM 1/1 (Fa62): 80 -88. [PEDAG, PERF, SOCIOL] - com. Forte (17); Kerman (2), Rosen, C. (2); Lockwood (2).. (2) Reply to Kerman (2). PNM 2/1 (FaWi63): 159-160. Rosen, Jerome. "A Note to Milhaud". PNM 2/1 (FaWi63): 115-119. [ALEA] Rosenman, Leonard. "Notes from a Sub-culture". PNM 7/1 (FaWi68): 122 -135 (+ 6 unnumbered pp.). [COGNTN, PHIL, SOCIOL] Rosler, L. See Mathews/Rosler. Ross, Walter B. Review: Brindle (4). NOTES 24/2 (Dec67): 272-273. Rothgeb, John. (1) "Another View on Schubert's Moment Musical, Op. 94/1" (Comment on Schachter (1)). JMT 13/1 (Sp69): 128-139. - com. Schachter (3). [LINEAR, MOTIV, SCHENKER] _. (2) "Harmonizing the Unfigured Bass: A Computational Study". PhD diss., YaleU, 1968. (LC# 69-13,799; DA 30/3 (Sep69): 1197-A) [COMPUT, FIGBASS, LING; Heinichen, Saint Lambert] _. (3) "Some Ordering Relationships in the Twelve-Tone System". JMT 11/2 (Wi67): 176-197. [METHOD, SERIAL, SETS] _. (4) "Some Uses of Mathematical Concepts in Theories of Music". JMT 10/2 (Wi66): 200-215. [FORTE, LOGIC, METHOD, SERIAL]. (5) Review: Salzer/Schachter. JMT 13/2 (Wi69): 307-316. [Bach] Rowell, Lewis. Review: Haggh (1). JMT 7/1 (Sp63): 127-130.. See Christ/DeLone/Kliewer/Rowell/Thomson. Rowen, Ruth Halle. "Musical Hearing in History" (Comment on Carpenter (3); and Crocker (5)). CM 5 (67): 96-101. [HST-THRY, PHIL] * Rubbra, Edmund. Counterpoint: A Survey. NY: Hillary House, 1960. [CPTMED, CPTREN, CPTTON, CPT20] - rev. Kent (3)/NOTES; Ritchie, J. (3)/JMT. Rubin, Nathan. Review: Meyer, L. (5). JAAC 27/3 (Sp69): 362. * Russo, William. Jazz Composition and Orchestration. UChicagoP, 1968. [CHORD, CHROM, JAZZ, MODAL, ORCH] Ruwet, Nicolas. "Contradictions within the Serial Language". Die Reihe 6 (64): 65-76. [LINEAR, SERIAL] - trans. Margaret Shenfield. - com. Pousseur (3). Sachs, Curt. The Wellsprings of Music. NY: McGraw-Hill, 1965. (orig. pub., The Hague, 1962) [MONOPH, NONWEST, RHYTHM] - ed. Jaap Kunst. - rev. (1962 ed.) Nettl (3)/NOTES.

Page  86 86 Author Index (Sadowsky) Sadowsky, Rosalie D. L. "Jean-Baptiste Abbe DuBos: The Influence of Cartesian and Neo-Aristotelian Ideas on Music Theory and Practice". PhD diss., YaleU, 1960. (LC# 70-20,362; DA 31/5 (Nov70): 2425-A) [HST-THRY, PHIL] Saldanha, E. L., and John F. Corso. "Timbre Cues and the Identification of Musical Instruments". JASA 36/11 (Nov64): 2021-2026. [ACOUST, COGNTN, INFLEC] Salop, Arnold. (1) "Intensity as a Distinction between Classical and Romantic Music". JAAC 23/3 (Sp65): 359-371. [STYLE]. (2) "Jacob Obrecht and the Early Development of Harmonic Polyphony". JAMS 17/3 (Fa64): 288-309. [CPTREN; Dufay, Ockeghem] Salzberg, Marvin. "Combinatorial and Derivational Procedures in TwelveTone Music, with Some Consideration of Structural Rhythm" (part 2 of a thesis). DMA diss., CornellU, 1960. (LC# 61-6665; DA 23/2 (Aug62): 650) [RHYTHM, SERIAL] Salzer, Felix. (1) "Chopin's Nocturne in C# Minor, Opus 27, No. 1". Music Forum 2 (70): 283-297. [CHORD, FORM, LINEAR, SCHENKER] *. (2) Structural Hearing: Tonal Coherence in Music. 2 vols. repr. ed., Dover, 1962. (orig. ed., 1952) [CHROM, CPTSP, LINEAR, METHOD, CHORD, PTONAL, SCHENKER, TONAL; Compostela, St. Martial, 13c-Motet, 13c-Rondeau, CPEBach, Bach, Bart6k, Beethoven, Bizet, Brahms, Byrd, Carissimi, Chopin, Clementi, Clereau, Copland, Couperin, Debussy, Dowland, Dufay, Dunstable, Farnaby, Fogliano, Franck, Frescobaldi, Froberger, Gastoldi, Gesualdo, Gibbons, Halle, Handel, Haydn, Hindemith, Isaac, Josquin, Lassus, Leoninus, Liszt, Machaut, Mahler, Marenzio, Martinu, Mendelssohn, Monteverdi, Moussorgsky, Mozart, Obrecht, Peerson, Perotinus, "Perotinus", Prokofieff, Purcell, Rameau, Ravel, DScarlatti, Schubert, Schumann, Strauss, Stravinsky, Vaughan Williams, Verdi, Wagenaar, Wagner, CWeber, Wolf]. (3) "Tonality in Early Medieval Polyphony: Towards a History of Tonality". Music Forum 1 (67): 35-98. [CPTMED, HST-THRY, LINEAR, METHOD, TONAL; Compostela, St. Martial, Leoninus, Perotinus; Anon. Ad organum, Afflighem], intro. See Schenker (1). *, and Carl Schachter. Counterpoint in Composition. NY: M4cGraw-Hill, 1969. [CHORD, CPTREN, CPTSP, CPTTON, LINEAR, SCHENKER; CPEBach, Bach, Beethoven, Binchois, Brahms, Byrd, Chopin, Couperir, Faure, F&vin, Freylinghausen, Gibbons, Handel, Haydn, Isaac, Josquin, Lassus, Mattheson, Mendelssohn, Monteverdi, Mozart, Ockeghem, Palestrina, Purcell, DScarlatti, Schubert, Schumann, Scriabin, Strauss, Victoria, Wagner; Galilei, Heinichen, Mattheson] - rev. Persky/PNM; Rothgeb (5)/JMT.

Page  87 In Theory Only 3/7-11 87 Salzman, Eric. (1) "Aaron Copland's Nonet". PNM 1/1 (Fa62): 172-176. [PTONAL] (2) "Report from New York: The New Virtuosity". PNM 1/2 (Sp63): 174-188. [INFLEC] Sanchez, M., and Walter R. Reitman. The Composition of a Fugue: Protocol and Comments. Pittsburgh: Carnegie IT, 1960. (ditto) NS[COGNTN] Sanders, Ernest. "Duple Rhythm and Alternate Third Mode in the 13th Century". JAMS 15/3 (Fa62): 249-291. [HST-THRY, NOTAT, RHYTHM; Anon. IV, Anon. VII, Franco, Garlandia, Handlo, Odington] Santi, Piero. "Luciano Berio". Die Reihe 4 (60): 98-102. - trans. Leo Black. [RHYTHM, SERIAL] Sapp, Allen D. Review: Forte (15). CMS 2 (Fa62): 72-75. Saturen, David. "Symmetrical Relationships in Webern's First Cantata". PNM 6/1 (FaWi67): 142-143. [SERIAL] Schachter, Carl. (1) "Analysis Symposium: Schubert, Moment Musical, Op. 94/1". JMT 12/2 (Wi68): 222-239. [LINEAR, MOTIV, SCHENKER] - cor. Rothgeb (1), Schachter (3).. (2) "Landini's Treatment of Consonance and Dissonance: A Study in Fourteenth-Century Counterpoint". Music Forum 2 (70): 130-186. [CHORD, CPTMED, HST-THRY, LINEAR, RHYTHM, SCHENKER; Marchettus, Prosdocimus, Ugolino] S(3) "More About Schubert's Op. 94/1" (Comment on Rothgeb (1)). JMT 13/2 (Wi69): 218-229. [CPTSP, LINEAR, SCHENKER; Beethoven, Brahms]. (4) Review: Lieberman, M. (1). JMT 11/1 (Sp67): 169-171.. (5) Review: Verrall (1). JMT 11/1 (Sp67): 157-159. SSee Neumann, H./Schachter; and Salzer/Schachter. Schenker, Heinrich. (1) Five Graphic Music Analyses. repr. ed., Dover, 1969. (orig. Ger. and Eng. eds., 1932) [CHORD, LINEAR, SCHENKER; - intro. Felix Salzer. Bach, Chopin, Haydn] S(2) "Organic Structure in Sonata Form". JMT 12/2 (Wi68): 164-183. (orig. pub. in Das Meisterwerk II, 1926) [FORM, LINEAR, MOTIV, SCHENKER; Beethoven, Haydn] - trans. Orin Grossman.. (3) "The Sarabande of J. S. Bach's Suite No. 3 for Unaccompanied Violoncello (BWV 1009)". Music Forum 2 (70): 274-282. - trans. Hedi Siegel. [CHORD, LINEAR, SCHENKER] Schevill, Helen. Review: Cooper, G. JAAC 19/1 (Fa60): 101. Schmidt, Christopher. See Kraehenbuehl/Schmidt, C. Schmidt, Liselotte M. "An Introduction to the Contrapuntal Practices of Vocal Polyphony of the Late Sixteenth Century". EdD diss., ColumbiaU, 1963. (LC# 64-7206; DA 25/1 (Jul64): 526) [CPTREN, PEDAG]

Page  88 88 Author Index (Schnebel) Schnebel, Dieter. "Karlheinz Stockhausen". Die Reihe 4 (60): 121-135. - trans. Leo Black. [RHYTHM] Schoenberg, Arnold. (1) "Analysis of the Four Orchestral Songs Opus 22". PNM 3/2 (SpSu65): 1-21. [FORM, MOTIV] - trans./annot. Claudio Spies. - repr. in The Music of Arnold Schoenberg Vol. 3 (Columbia Records (M2L 309/M2S 709), 1965): 21-28; and in Boretz/Cone. - corn. Spies (7). *. (2) Fundamentals of Musical Composition. NY: St. Martin's Press, 1967; 2nd ed., 1970. [FORM, METHOD, MOTIV] - ed. Gerald Strang and Leonard Stein. - rev. Margrave (1)/NOTES. *. (3) Preliminary Exercises in Counterpoint. NY: St. Martin's Press, 1964. NS[CPTSP] - ed. Leonard Stein. - rev. Margrave (2)/NOTES; Verrall (3)/JMT. *. (4) Structural Functions of Harmony. rvsd. ed., Norton, 1969. (1st ed., 1954) [CHORD, CHROM, TONAL] - ed. Leonard Stein. - excpt. repr. in Broder: 100-101. - rev. Mitchell, W. (13)/MQ. Schrade, Leo. (1) Review: J. Smits van Waesberghe, ed., Aribo, De Musica (AIM, 1951). JAMS 9/3 (Fa56): 214-217.. (2) Review: Smits van Waesberghe (1). MQ 43/1 (Jan57): 112-116. Schubert, Reinhold. "Bernd Alois Zimmermann". Die Reihe 4 (60): 103-113. - trans. Leo Black. (SERIAL] Schueller, Herbert M. (1) "Immanuel Kant and the Aesthetics of Music". JAAC 14/2 (Dec55): 218-247. [PHIL]. (2) "Schelling's Theory of the Metaphysics of Music". JAAC 15/4 (Jun57): 461-476. [PHIL] Schuller, Gunther. (1) "American Performance and New Music". PNM 1/2 (Sp63): 1-8. [PERF] S(2) "[Composing for Orchestra]". In Hines: 184-202. [ORCH, SERIAL, SOCIOL] (3) "A Conversation with Steuermann". PNM 3/1 (FaWi64): 22-35. [Schoenberg] (4) "Conversation with Varkse". PNM 3/2 (SpSu65): 32-37. [ELECT] (5) Early Jazz: Its Roots and Developments. NY: Oxford UP, 1968. [JAZZ, PERF, STYLE; Ellington, Johnson, Morton] Schulze-Andresen, Walter. "The Three-dimensional Music Stave". Die Reihe 8 (68): 25-34. [NOTAT] - trans. Cornelius Cardew.

Page  89 In Theory Only 3/7-11 89 Schuman, William. (1) "The Compleat Musician: Vincent Persichetti and Twentieth-Century Harmony" (Review of Persichetti). MQ 47/3 (Jul61): 379-385.. (2) Review: Piston (2). MQ 42/1 (Jan56): 103-105. Schurr, Walter W. "Francesco Antonio Calegari (d. 1742): Music Theorist and Composer". 2 vols. PhD diss., CatholicU, 1969. (LC# 69-19,715; DA 30/6 (Dec69): 2563-2564-A) Schwadron, Abraham A. (1) "Structural Meaning and Music Education". Journal of Aesthetic Education 3/4 (Oct69): 109-122. [PHIL] _. (2) Review: Ferguson (2). Journal of Aesthetic Education 3/3 (Jul69): 176-178. Schwartz, Elliott. Review: Robert A. Barnes, Fundamentals of Music (McGraw-Hill, 1964); and John Clough, Scales, Intervals, Keys and Triads (Norton, 1964). JMT 8/2 (Wi64): 273-279. [PEDAG], and Barney Childs, ed. Contemporary Composers on Contemporary Music. Holt, 1967. - incl. Babbitt (14); Brant; Cage (2); Carter (6); Foss (1); Partch (1); Varese; and Wolpe. - incl. excpts. from Busoni; Copland (2); Cowell, H.; Hindemith; Ives (2); and Sessions (1). - rev. Cope (2)/Composer. Schwartz, Judith L. Review: Reilly (2). NOTES 25/1 (Sep68): 37-38. Schwejda, Donald M. "An Investigation of the Analytical Techniques Used by Rudolph Reti in The Thematic Process in Music" (Comment on Reti (2)). PhD diss., IndianaU, 1967. (LC# 68-2358; DA 28/9 (Mar68): 3708-A) [METHOD, MOTIV, PHIL, SERIAL] * Searle, Humphrey. Twentieth Century Counterpoint: A Guide for Students. NY: John de Graff, 1955. [CHROM, CPT20, PTONAL, SERIAL] - rev. Newlin (5)/NOTES. Seashore, Carl E. Psychology of Music. repr. ed., NY: McGraw-Hill, 1959. (orig. ed., 1938) [ACOUST, COGNTN] Seay, Albert, ed. (1) An Anonymous Treatise from the Codex Vatican, Lat. 5129. AIM, 1964. (CSM #9). (2) "The Dialogus Johannis Ottobi Anglici in arte musica". JAMS 8/2 (Su55): 86-100. [HST-THRY, MODAL; Ramos] - incl. Lat. text.. (3) "The Expositio manus of Johannes Tinctoris". JMT 9/2 (Wi65): 194-232. - incl. Eng. trans.. (4) "The Fifteenth Century Coniuncta: A Preliminary Study". In LaRue (1): [?]. NS[HST-THRY, NOTAT?; Tinctoris?] __. (5) "Florence: The City of Hothby and Ramos". JAMS 9/3 (Fa56): 193-195. [HST-THRY]

Page  90 90 Author Index (Seay) Seay, Albert. (6) "Guglielmo Roffredi's Summa Musicae Artis". MD 24 (70): 69-77. [ACOUST, CPTMED, MODAL, MONOPH, NOTAT], ed. (7) Guilielmus Monachus, De Preceptis artis musicae. AIM, 1965. (CSM #11) [CPTREN, PERF] ___ trans. (8) Johannes de Grocheo, Concerning Music (De Musica). ColoradoCMP, 1967. (CCMPT #1) - rev. Clarkson/JMT; Maddrell (2)/CM; Ralph/NOTES., ed./trans. (9) Johannes Tinctoris, Art of Counterpoint. AIM, 1961. (MSD #5) [ACOUST, CPTREN], trans. (10) Johannes Tinctoris, Concerning the Nature and Propriety of Tones (De Natura et Proprietate Tonorum). ColoradoCMP, 1967. (CCMPT #2) - rev. Clarkson/JMT., ed. (11) John Hothby, Tres Tractatuli contra Bartholomeum Ramos. AIM, 1964. (CSM #10) [ACOUST, MODAL, PERF) ___. (12) "Paolo Orlandini's La Musica in Istanze Vulgari". JAMS 22/2 (Su69): 261-273.. (13) "The Proportionale Musices of Johannes Tinctoris". JMT 1/1 (Mar57): 22-75. [NOTAT, RHYTHM] - incl. Eng. trans., ed. (14) Ugolino of Orvieto, Declaratio Musicae Disciplinae. 3 vols. AIM, (v. 1) 1959; (v. 2) 1960; (v. 3) 1962. (CSM #7) - rvsd. ed. of YaleU diss. (1954). - rev. Turrell (3)/JAMS.. (15) "Ugolino of Orvieto, Theorist and Composer". MD 9 (55): 111 -166. [PHIL] - addendum in MD 11 (57): 126-133.. (16) Review: Erickson, Ro. (1). JMT 3/1 (Apr59): 162-164.. (17) Review: Marco/Palisca. JAMS 23/1 (Sp70): 150-154. [Zarlino]. (18) Review: Giuseppe Massera, ed./intro., Giorgio Anselmi Parmense, De Musica (Florence, 1961). JAMS 15/2 (Su62): 214-217.. (19) Review: Miller, C. (3); and Young. NOTES 26/2 (Dec69): 264 -266.. (20) Review: Vecchi. JAMS 15/2 (Su62): 212-213. Seeger, Charles. (1) "Music as a Tradition of Communication, Discipline, and Play". Ethnomusicology 6/3 (Sep62): 156-163. [METHOD, PHIL, SOCIOL]. (2) "The Music Process as a Function in a Context of Functions". Inter-American Inst. for Musical Research Yearbook 2 (66): 1-36. [PHIL, SOCIOL, STYLE]. (3) "On the Formational Apparatus of the Musical Compositional Process". Ethnomusicology 13/2 (May69): 230-247. [LING, METHOD, NOTAT]. (4) "On the Moods of a Music-Logic". JAMS 13 (60): 224-261. [METHOD, PHIL]

Page  91 In Theory Only 3/7-11 91 Seeger, Charles. (5) "Preface to the Critique of Music". InterAmerican Music Bulletin 49 (Sep65): 2-24. [PHIL, STYLE]. (6) "Prescriptive and Descriptive Music-Writing". MQ 44/2 (Apr58): 184-195. [METHOD, NOTAT]. (7) Review: Heinrich Schenker, Harmony (UChicagoP, 1954). NOTES 13/1 (Dec55): 53-55. Selleck, John, and Roger Bakeman. "Procedures for the Analysis of Form: Two Computer Applications". JMT 9/2 (Wi65): 281-293. [COMPUT, INFO, MONOPH] * Serly, Tibor. A Second Look at Harmony. NY: Samuel French, 1964. - rev. Daniels (8)/NOTES. [CHORD] Service, Alfred Roy, Jr. "A Study of the Cadence as a Factor in Musical Intelligibility in Selected Piano Sonatas by American Composers". PhD diss., StUIowa, 1958. (LC# Mic 58-5859; DA 19/7 (Jan59): 1781) [COGNTN, PHIL] Serwer, Howard J. (1) "Friedrich Wilhelm Marpurg (1718-1795): Music Critic in a Galant Age". PhD diss., YaleU, 1969. (LC# 70-2801; DA 30/9 (Mar70): 3977-3978-A) [HST-THRY; Kirnberger, Mattheson, Rameau, Sorge]. (2) "Marpurg versus Kirnberger: Theories of Fugal Composition". JMT 14/2 (Wi70): 209-236. [CPT-ON] Sessions, Roger. (1) The Musical Experience of Composer, Performer, Listener. 2nd ed., Princeton UP, 1958; repr. NY: Atheneum, 1962. (1st ed., 1950) [MODAL, NOTAT, PERF, PHIL, RHYTHM, SKETCH, SOCIOL, STYLE; Beethoven, Brahms, Sessions] - excpt. repr. in Schwartz, E./Childs: 183-194.. (2) "Problems and Issues Facing the Composer Today". MQ 46/2 (Apr60): 159-171. [ELECT, PTONAL, SERIAL, SETS, SOCIOL] - repr. in Lang (2); and in Gilbert Chase, ed., The American Composer Speaks (Baton Rouge: LouisianaSt UP, 1966).. (3) Questions about Music. Norton, 1970. [FORM, METHOD, NOTAT, PERF, PHIL, RHYTHM, SOCIOL]. (4) "To the Editor". PNM 5/2 (SpSu67): 81-97. [FORM, METHOD, PEDAG, TONAL] _. (5) [Harmonic Practice (Harcourt, 1951)]. - com. Burke; Imbrie (3)., interview. See Cone (5). Shackford, Charles. "Some Aspects of Perception" (3 parts). - incl. (I) "Sizes of Harmonic Intervals in Performance". JMT 5/2 (Nov61): 162-202. (II) "Interval Sizes and Tonal Dynamics in Performance". JMT 6/1 (Sp62): 66-90. (III) "Addenda". JMT 6/2 (Wi62): 295-303. [ACOUST, PERF]

Page  92 92 Author Index (Shallenberg) Shallenberg, Robert. (1) "Aspects of Pitch Emphasis in Some Twelve-Tone Works of Arnold Schoenberg...". DMA diss., UIllinois, 1963. (LC# 64-6149; DA 26/6 (Dec65): 3398) [PTONAL, SERIAL] S(2) "Current Chronicle" (Erickson). MQ 49/3 (Jul63): 377-383. [SETS] Shay, Edmund. "Notes Inegales and Francois Couperin's Messe a l'Usage des Paroisses (Mass for the Parishes)". DMA diss., UCincinnati, 1969. (LC# 70-9795; DA 30/12 (Jul70): 5475-A) [HST-THRY, PERF] Sherburn, Merrell L. "An Investigation and Classification of NonFunctional Harmonic Movement". PhD diss., EastmanSM, 1959. (ADD 59-60: 132) NS[CHORD?, CHROM] Sherburne, Donald W. "Meaning and Music" (Comments on Langer (1); and Meyer, L. (1)). JAAC 24/4 (Su66): 579-583. [PHIL; Hanslick] Sherman, Robert W. "Toward Relevancy in Music Theory Instruction: A Report on Project 2413". Inter-American Music Bulletin 72 (Jul69): 1-8. [COGNTN, PEDAG], and Robert E. Hill, Jr. Aural and Visual Perception of Melody in Tonal and Atonal Musical Environments. Final Report, Project #2413. Washington: Dept. HEW, Off. Education, Bur. Research, 1967; and Muncie: BallStU, 1967. [COGNTN, PEDAG] Shields, Allan. Review: Epperson. JAAC 27/1 (Fa68): 108. Shifrin, Seymour. (1) "The Lag of Theory Behind Practice: Tomorrow's Theory Study" (See Kirchner). CMS 1 (Fa61): 41-44. [PEDAG]. (2) "A Note from the Underground". PNM 1/1 (Fa62): 152-153. [FORM, SERIAL] * Shir-Cliff, Justine, Stephen Jay, and Donald J. Rauscher. Chromatic Harmony (with workbook). NY: Free Press, 1965. NS[CHORD, CHROM] - rev. Beach (5)/JMT. Shirlaw, Matthew. (1) "The Science of Harmony: The Harmonic Generation of Chords". JMT 4/1 (Apr60): 1-18. [CHORD, HST-THRY, MODAL, TONAL; Fetis, Hauptmann, Helmholtz, Kirnberger, Marpurg, Oettingen, Rameau, Riemann, Sorge, Tartini). (2) The Theory of Harmony. repr. ed., Dekalb: Dr. Birchard Coar, 1955; NY: Da Capo, 1969. (orig. ed., 1917) [CHORD, FIGBASS, HST-THRY, TONAL; Day, Descartes, Fetis, Hauptmann, Helmholtz, Kirnberger, Macfarren, Marpurg, Oettingen, Ouseley, Prout, Rameau, Riemann, Roussier, LSabbatini, Sorge, Stainer, Tartini, Vogler, GWeber, Zarlino] - rev. Jacobi (6)/JMT. Shirley, Wayne D. Letter: Comment on Lewin, D. (8). PNM 7/1 (FaWi68): 149-150.

Page  93 In Theory Only 3/7-11 93 * Siegmeister, Elie. Harmony and Melody: (v. 1) The Diatonic Style; (v. 2) Modulation: Chromatic and Modern Styles (with workbook). Belmont: Wadsworth, 1966. [CHORD, CHROM, PTONAL, TONAL] - rev. Green, G./NOTES; Wittlich (2)/JMT. - com. Kudlawiec. Silberman, Israel. "Teaching Composition via Schenker's Theory". JRME 12/4 (Wi64): 295-303. [PEDAG, SCHENKER; Beethoven] Silliman, A. Cutler. "The Score as Musical Object". Journal of Aesthetic Education 3 (Oct69): 97-108. [INFO, PHIL] Simon, Edwin J. "The Double Exposition in the Classic Concerto". JAMS 10/2 (Su57): 111-118. [FORM] Simon, Herbert A. Pattern in Music: Complex Information Processing. Paper #104. Pittsburgh: Carnegie IT, Jun67. NS[COGNTN, METHOD?], and Richard K. Sumner. "Pattern in Music". In Benjamin Kleinmuntz, ed., Formal Representation of Human Judgment (NY: Wiley, 1968): 219-250. [COGNTN, LOGIC, METHOD, RHYTHM] Singer, Gerhard. "Lodovico Zacconi's Treatment of the 'Suitability and Classification of All Musical Instruments' in the Prattica di Musica of 1592". PhD diss., USC, 1968. (LC# 69-5069; DA 29/9 (Mar69): 3174-3175-A) [Praetorius, Zarlino] Siromoney, Gift, and K. R. Rajagopalan. "Style as Information in Karnatic Music". JMT 8/2 (Wi64): 267-272. [INFO, NONWEST, STYLE] Skapski, George J. "The Recitative in Johann Adolph Scheibe's Literary and Musical Work". PhD diss., UTexas, 1963. (LC# 64-3814; DA 24/10 (Apr64): 4225-4226) Slates, Philip M. "Paradigms for a Definition of Musical Form..." DMA diss., UIllinois, 1961. (LC# 61-4379; DA 22/6 (Dec61): 2026) [FORM, PHIL] Slatin, Sonia. "The Theories of Heinrich Schenker in Perspective". PhD diss., ColumbiaU, 1967. (LC# 67-15,521; DA 28/6 (Dec67): 2283-2284-A) [CHORD, COGNTN, CPTSP, FORM, HST-THRY, LINEAR, METHOD, PHIL, RHYTHM, SCHENKER, SKETCH, TONAL; Bach, Beethoven, Brahms, Chopin, Handel, Haydn, Mendelssohn, Monteverdi, Mozart, Schubert, Schumann, Wolf; CPEBach, Bernhard, Kirnberger, Marpurg, Rameau, Schoenberg, Sechter] - rev. Bergquist (8)/CRME Bulletin. Slawson, Wayne A. (1) "A Speech-Oriented Synthesizer of Computer Music". JMT 13/1 (Sp69): 94-127. [COMPUT]. (2) Review: Backus (1); and Mathews (3). JMT 13/1 (Sp69): 148-151.. (3) Review: Backus (1); and Winckel (1) (incl. comment on Randall (4)). PNM 8/2 (SpSu70): 143-149. [ACOUST, COGNTN, INFLEC]. (4) Review: Lefkoff (2). JMT 12/1 (Sp68): 105-111.

Page  94 94 Author Index (Slawson) Slawson, A. Wayne. (5) Review: Tenney (1). JMT 10/1 (Sp66): 156-163. [COGNTN] Slaymaker, Frank H. "Chords from Tones Having Partials". JASA 47/6/2 (Jun70): 1569-1571. [ACOUST] Slonimsky, Nicolas. (1) Review: Hanson, H. NOTES 18/3 (Jun61): 415-416.. (2) Review: Reti (3). NOTES 16/3 (Jun59): 393-394. Smith, Charles S. "Leonhard Euler's Tentamen Novae Theoriae Musicae: A Translation and Commentary". PhD diss., IndianaU, 1960. (LC# Mic 60 -2844; DA 21/3 (Sep60): 642-643) [ACOUST, PHIL] Smith, F. Joseph. (1) "Ars Nova -- a Re-definition? (Observations in the Light of Speculum Musicae I by Jacques de Liege)" (2 parts). MD 18 (64): 19-35, and 19 (65): 83-107. [HST-THRY]. (2) Iacobi Leodiensis Speculum musicae I (A Commentary). (v. 1) InstMedM, 1966. (MS #13) [v. 2, MS #22, 1971?] Smith, Helen M. "F. M. Veracini's II Trionfo della Prattica Musicale". PhD diss., IndianaU, 1963. (LC# 64-5496; DA 25/1 (Jul64): 527) Smith, Leland. (1) "Composition and Precomposition in the Music of Webern". In Moldenhauer: 86-101. S(2) Handbook of Harmonic Analysis. StanfordU DM, 1963. NS[CHORD?, METHOD?] Smith, Leon R., Jr. "An Investigation of the Inherent Qualities of Musical Intervals as Definers of Melodic Tonality". PhD diss., IndianaU, 1967. (LC# 67-15,163; DA 28/6 (Dec67): 2284-2285-A) [ACOUST, COGNTN, TONAL; Helmholtz, Hindemith, Rameau] Smith, Warren S. A Handbook of Musical Form. Boston: B Humphries, 1964. NS[FORM] Smither, Howard E. (1) "The Rhythmic Analysis of 20th-Century Music". JMT 8/1 (Sp64): 54-88. [COGNTN, RHYTHM]. (2) "Theories of Rhythm in the Nineteenth and Twentieth Centuries with a Contribution to the Theory of Rhythm for the Study of Twentieth-Century Music". PhD diss., CornellU, 1960. (LC# Mic 61-18; DA 21/8 (Feb61): 2319-2320) [HST-THRY, RHYTHM; Hauptmann, Lussy, Marx, Riemann, GWeber, Westphal, Wiehmayer] Smits van Waesberghe, Joseph, ed. (1) Guido of Arezzo, Micrologus. AIM, 1955. (CSM #4) - rev. Ellinwood/NOTES; Schrade (2)/MQ; Waite, W. (4)/JAMS. *. (2) A Textbook of Melody: A Course in Functional Melodic Analysis. AIM, 1955. [MODAL, MONOPH,.TONAL] - trans. W. A. G. Doyle-Davidson. - rev. Hill, Ri. (1)/NOTES; Perle (14)/JAMS.

Page  95 In Theory Only 3/7-11 95 Sollberger, Harvey. (1) "Footnote to Stravinsky" (Review of Stravinsky and Robert Craft, Themes and Episodes (Knopf, 1966)). PNM 5/1 (FaWi66): 148-152. [SOCIOL]. (2) "Mel Powell: Haiku Settings (1960)". PNM 3/1 (FaWi64): 147 -155. [FORM, SETS] Source. rev. Dockstader/ MQ. Spalding, Walter R. See Foote/Spalding. Sparks, Edgar. Cantus Firmus in Mass and Motet 1420-1520. UCalP, 1963. - rvsd. pub. of 1950 UCalifornia diss. NS[CPTREN] - rev. Hamm/MQ; Kaufmann (6)/JMT. Spies, Claudio. (1) "Dreimal Tausend Jahre, Op. 50A". In The Music of Arnold Schoenberg Vol. 3 (Columbia Records (M2L 309/M2S 709), 1965): 44-48. [SERIAL]. (2) "John M. Perkins: Quintet Variations". PNM 2/1 (FaWi63): 67-76. [ORCH, SERIAL, SETS]. (3) "Kol Nidre, Op. 39". In The Music of Arnold Schoenberg Vol. 3 (Columbia Records (M2L 309/M2S 709), 1965): 40-42. [MOTIV, SERIAL]. (4) "Notes on Stravinsky's Abraham and Isaac". PNM 3/2 (SpSu65): 104-126. [SERIAL] - repr. in Boretz/Cone.. (5) "Notes on Stravinsky's Variations". PNM 4/1 (FaWi65): 62-74. - repr. in Boretz/Cone. [SERIAL]. (6) "Some Notes on Stravinsky's Requiem Settings". PNM 5/2 (SpSu67): 98-123. [MOTIV, SERIAL] - addendum in PNM 6/1 (FaWi67): 160. - repr. in Boretz/Cone.. (7) Letter: Comment on Schoenberg (1). PNM 4/1 (FaWi65): 183. Spiess, Lincoln B. (1) "The Diatonic 'Chromaticism' of the Enchiriadis Treatises". JAMS 12/1 (Sp59): 1-6. [MODAL]. (2) "Discant, Descant, Diaphony, and Organum" (abstract). JAMS 8/2 (Su55): 144-147. [HST-THRY; Anon. IV, Afflighem, Lafage, Morley]. (3) Review: William G. Waite, The Rhythm of Twelfth-Century Polyphony (Yale UP, 1954). JAMS 8/1 (Sp55): 45-47. [HST-THRY, RHYTHM] Spinner, Leopold. (1) "Analysis of a Period". Die Reihe 2 (58): 46-50. - trans. Leo Black. [MOTIV, SERIAL; Webern] *. (2) A Short Introduction to the Technique of Twelve-Tone Composition. NY: Boosey & Hawkes, 1960. NS[SERIAL] - rev. Babbitt (16)/JuilR; Newlin (6)/NOTES.

Page  96 96 Author Index (Spratt) Spratt, John F. trans./intro. "Contrapuntal Theory of the Fourteenth and Fifteenth Centuries, from the Geschichte der Musiktheorie by Hugo Riemann". In Lee Rigsby, ed., Studies in Music History and Theory (Tallahassee: FloridaStU, 1955): 41-128. (FloridaStU Studies #18) [CPTMED, CPTREN, HST-THRY; Adam, Gallicus, Garlandia, Guilielmus, Marchettus, Muris, Prosdocimus, Tinctoris, Tunstede] Stallings, Charles K. "The Effects of Changes in Certain Musical Parameters on Time Estimation" (part 2 of a 2-part essay). PhD diss., WashingtonU, 1969. (LC# 69-15,223; DA 30/3 (Sep69): 1198-1199-A) [COGNTN, INFLEC, RHYTHM] Stambaugh, Joan. "Music as a Temporal Form". Journal of Philosophy 61/9 (23Apr64): 265-280. [FORM, PHIL, RHYTHM] - com. Carpenter (2) Stambler, Bernard. "Debts and Transfigurations" (Comments on Carpenter (3); and Crocker (5)). CM 5 (67): 107-112. [PHIL] Starr, Mark. "Webern's Palindrome" (Comment on Nelson, R. (3)). PNM 8/2 (SpSu70): 127-142. [INFLEC, SERIAL] Stecklein, John E. See Aliferis/Stecklein. * Stein, Leon. Structure and Style: The Study and Analysis of Musical Forms; and Anthology of Musical Forms. Summy, 1962. [FORM] - rev. Lincoln, R./JMT. Stein, Leonard. "The Performer's Point of View". PNM 1/2 (Sp63): 62-71. [NOTAT, RHYTHM] Steinberg, Maximilian, ed. N. A. Rimsky-Korsakoff, Principles of Orchestration. repr. ed., Dover, 1964. (orig. ed., 1922) [ORCH] - trans. Edward Agate. Steinberg, Michael. (1) "Some Observations on the Harpsichord in Twentieth Century Music". PNM 1/2 (Sp63): 189-194. [ORCH; Babbitt, Carter]. (2) "Tradition and Responsibility". PNM 1/1 (Fa62): 154-159. [PHIL] Stephan, Rudolph. "Hans Werner Henze". Die Reihe 4 (60): 29-35. - trans. Leo Black. [RHYTHM, SERIAL] Sterling, Eugene A. "A Study of Chromaticism Elements in Selected Piano Works of Beethoven, Schubert, Schumann, Chopin, and Brahms". PhD diss., IndianaU, 1966. (LC# 66-14,895; DA 28/2 (Aug67): 714-A) [CHROM] Steuermann, Eduard, interview. See Schuller (3). Stevens, Denis. Review: Lowinsky (4). MQ 48/2 (Apr62): 252-254. Stevens, Halsey. (1) "On the Nature and Value of Theoretical Training, A Forum: For the Composer" (See Kraehenbuehl (3)). JMT 3/1 (Apr59): 32-37. [PEDAG, PHIL, SOCIOL]

Page  97 In Theory Only 3/7-11 97 Stevens, Halsey. (2) Review: Chavez. JMT 5/1 (Apr61): 139-142.. (3) Review: Newman (3). JMT 8/1 (Sp64): 113-117.. (4) Review: Persichetti. NOTES 19/1 (Dec61): 73. Stevenson, Charles L. "On the 'Analysis' of a Work of Art". Philosophical Review 67/1 (jan58): 33-51. [METHOD, PHIL] Stewart, Glen C. "Terminology Variants in the Pedagogy of Nonharmonic Tones". EdD diss., MichiganStU, 1964. (LC# 64-9755; DA 25/4 (Oct64): 2557) [PEDAG] Stillings, Frank S., trans. See Burrows (1). Stock, David. "Arthur Berger: Septet (1965-66); Leon Kirchner: String Quartet No. 3". PNM 7/1 (FaWi68): 143-144. Stockhausen, Karlheinz. (1) "Actualia". Die Reihe 1 (58): 45-51. [ELECT] _. (2) "The Concept of Unity in Electronic Music". PNM 1/1 (Fa62): 39-48. [ELECT; Stockhausen] - trans. Elaine Barkin. - cor. Forte (17).. (3) ".... How Time Passes.....". Die Reihe 3 (59): 10 -40. [NOTAT, PERF, RHYTHM, SERIAL] - trans. Cornelius Cardew. - com. Koenig (2).. (4) "Music and Speech". Die Reihe 6 (64): 40-64. [ELECT, FORM, - trans. Ruth Koenig. INFLEC, LING, ORCH, RHYTHM, SERIAL; Boulez, Nono, Stockhausen]. (5) "Structure and Experiential Time". Die Reihe 2 (58): 64-74. - trans. Leo Black. [COGNTN, INFO, RHYTHM; Webern]. (6) "Two Lectures: (I) Electronic and Instrumental Music; (II) Music in Space". Die Reihe 5 (61): 59-82. [ELECT, INFLEC] Stone, Kurt. (1) "Current Chronicle" (Carter). MQ 55/4 (Oct69): 559-572. [SETS] S(2) "Problems and Methods of Notation". PNM 1/2 (Sp63): 9-31. [NOTAT]. (3) Review: Erhard Karkoschka, Das Schriftbild der Neuen Musik (Celle, 1966). PNM 5/2 (SpSu67): 146-154. [NOTAT] Stoney, William. "Theoretical Possibilities for Equally Tempered Musical Systems". In Lincoln, H.: 163-171. [ACOUST, COMPUT] Strang, Gerald. (1) "Ethics and Esthetics of Computer Composition". In Lincoln, H.: 37-41. [COMPUT]. (2) "The Problem of Imperfection in Computer Music". In von Foerster/Beauchamp: 133-139. [COMPUT] Strasser, Bruce E., and Max V. Mathews. Music from Mathematics. Murray Hill: Bell Telephone Lab., 1961. NS[ALEA, COMPUT, ELECT]

Page  98 98 Author Index (Strauss) Strauss, Melvin. "Performance Problems in Contemporary Music". PASUC 2 (Apr67): 39-41. [PERF] Stravinsky, Igor. Poetics of Music in the Form of Six Lessons. repr. ed., Cambridge: Harvard UP, 1970. (orig. ed., 1947) [PERF, PHIL, RHYTHM] - trans. Arthur Knodel and Ingolf Dahl. - com. Thomson (3). Streetman, Richard D. "Christoph Bernhard". PhD diss., North TexasStU, 1967. (LC# 67-15,022; DA 28/9 (Mar67): 3709-A) Stroh, Wolfgang Martin. (1) "Alban Berg's 'Constructive Rhythm'". PNM 7/1 (FaWi68): 18-31. [MOTIV, RHYTHM, SERIAL]. (2) "Schoenberg's Use of Text: The Text as a Musical Control in the 14th Georgelied, Op. 15". PNM 6/2 (SpSu68): 35-44. [FORM, MOTIV] - trans. Barbara Westergaard. Strunk, Oliver. Source Readings in Music History. 5 vol. pb. ed., Norton, 1966. (orig. ed., 1950) [HST-THRY; Aron, Artusi, CPEBach, Boethius, Caccini, Cassiodorus, Cerone, Franco, Fux, Galilei, Glareanus, Greek thry, Guido, Isidore, Jacobus, Marchettus, Morley, Muris, Niedt, Odo, psHucbald, Quantz, Rameau, Ramos, Tinctoris, Walther, Zarlino] Stryker, Lee W. "An Approach to the Teaching of Music Composition...". PhD diss., OhioStU, 1955. (LC# Mic 56-1195; UM# 15,891; DA 16/4 (Apr56): 764) [ACOUST, LING, PHIL] Stuckenschmidt, H. H. (1) "Contemporary Techniques in Music". MQ 49/1 (Jan63): 1-16. [RHYTHM, SERIAL]. (2) "Debussy or Berg? The Mystery of a Chord Progression". MQ 51/3 (Jul65): 453-459. - trans. Piero Weiss.. (3) "The Third Stage: Some Observations on the Aesthetics of Electronic Music". Die Reihe 1 (58): 11-13. [ELECT, PHIL] Subotnick, Morton. "Pauline Oliveros: Trio". PNM 2/1 (FaWi63): 77-82. Suderburg, Robert C. "Tonal Cohesion in Schoenberg's Twelve-Tone Music" (incl. comments on Reti (3); and Yasser (2)). PhD diss., UPennsylvania, 1966. (LC# 66-10,672; DA 27/5 (Nov66): 1397-1398-A) [PTONAL, SERIAL, TONAL] Sumner, Richard K. See Simon, H./Sumner. Supicid, Ivo. "Science on Music and Values in Music". JAAC 28/1 (Fa69): 71-77. [PHIL] Svardstrim, A. See Tove/Ejdesjb/Svardstrbm. Swift, Richard G. (1) "The Demonstrations of J. K. Randall". PNM 2/2 (SpSu64): 77-86.

Page  99 In Theory Only 3/7-11 99 Swift, Richard G. (2) Letter: Comment on Lewin, D. (4). JMT 4/1 (Apr60): 128.. (3) Review: Austin (1). JMT 11/1 (Sp67): 165-169.. (4) Review: White, E. JAMS 20/3 (Fa67): 507-510. * Swindale, Owen. Polyphonic Composition: An Introduction to the Art of Composing Vocal Counterpoint in the Sixteenth-century Style. NY: Oxford UP, 1962. [CPTREN, CPTSP] - rev. Browne (4)/JMT. Tallmadge, William H. "The Composer's Machine". JAAC 19/3 (Sp61): 339-345. [ELECT, PERF, PHIL] Talma, Louise, panel. See Westergaard (7). Taneiev, Serge Ivanovitch. Convertible Counterpoint in the Strict Style (1906). Boston: B Humphries, 1962. [CPTREN] - trans. G. Ackley Brower. - rev. Randall (7)/JMT. Taylor, Clifford. "Walter Piston: For His Seventieth Birthday". PNM 3/1 (FaWi64): 102-114. [PTONAL] Taylor, Gene F. "Culturally Transcendent Factors in Musical Perception". PhD diss., FloridaStU, 1969. (LC# 70-8578; DA 30/11 (May70): 5022-A) [COGNTN, PHIL] Taylor, Sedley. Sound and Music: A Non-Mathematical Treatise on the Physical Constitution of Musical Sounds and Harmony, Including the Chief Acoustical Discoveries of Professor Helmholtz. repr. ed., NY: Johnson Reprint, 1967. (orig. ed., 1873) NS[ACOUST] Teitelbaum, Richard. (1) "Intervallic Relations in Atonal Music". JMT 9/1 (Sp65): 72-127. [COMPUT, FORTE, METHOD, PTONAL, SETS, STYLE; Schoenberg, Webern]. (2) Review: SON-NOVA 1988: Electronic Music by Bulent Arel, Mario Davidovsky and Vladimir Ussachevsky (Son-Nova Records #3). PNM 3/1 (FaWi64): 127-130. [ELECT] Temperley, Nicholas. "Functional and Non-Functional Dissonance" (Comment on Bobbitt). JMT 4/2 (Nov60): 233-235. [ACOUST] Tenney, James C. (1) Meta (+) Hodos: A Phenomenology of Twentieth Century Musical Materials and an Approach to the Study of Form. New Orleans: TulaneU, 1964. NS[COGNTN, FORM, METHOD] - rev. Slawson (5)/JMT; White, J. R./CM.. (2) "Sound-Generation by Means of a Digital Computer". JMT 7/1 (Sp63): 24-70. ICOMPUT, ELECT] Tew, M. L. "Interval Combinations, Predetermined by Computer, as the Harmonic Basis of Contemporary Music". Composer 1/3 (Wi69): 157-164. [COMPUT, FORTE, SETS; Scriabin]

Page  100 100 Author Index (Thomson) Thomson, William. (1) "Hindemith's Contribution to Music Theory". JMT 9/1 (Sp65): 52-71. [CHORD, LINEAR, METHOD, TONAL]. (2) "The Problem of Music Analysis and Universals". CMS 6 (Fa66): 89-107. [LINEAR, METHOD, PHIL; Wagner]. (3) "The Problem of Tonality in Pre-Baroque and Primitive Music" (incl. comments on Krenek (13); and Stravinsky). JMT 2/1 (Apr58): 36-46. [COGNTN, NONWEST, TONAL; Hindemith, Schoenberg]. (4) "Style Analysis: Or the Perils of Pigeonholes". JMT 14/2 (Wi70): 191-208. [METHOD, STYLE; Debussy] S(5) Review: Fontaine (1). NOTES 24/4 (Jun68): 713-714.. (6) Review: Kelly (1). JMT 2/2 (Nov58): 258-260. - com. Kelly (2).. (7) Review: Kennan (1). JMT 3/2 (Nov59): 312-313. SSee Christ/DeLone/Kliewer/Rowell/Thomson. Tischler, Hans. (1) "Chromatic Mediants -- A Facet of Musical Romanticism". JMT 2/1 (Apr58): 94-97. [CHORD, CHROM, METHOD], ed. (2) Essays in Musicology: A Birthday Offering for Willi Apel. Bloomington: IndianaU SM, 1968. - incl. Chailley; Miller, H.; and Tischler (4). *. (3) Practical Harmony: An Integrated Course in the Principles of Harmonic-Melodic Writing, Keyboard Improvisation and Modulation. Boston: Allyn & Bacon, 1964. [CHORD] - rev. Jones, G. (6)/NOTES.. (4) "Remarks on Hindemith's Contrapuntal Technique". In Tischler (2): 175-184. [CPT20]. (5) A Structural Analysis of Mozart's Piano Concertos. InstMedM, 1966. (MS #10) [FORM] - rev. Currier/JMT.. (6) Review: Boatwright (4). NOTES 14/2 (Mar57): 264-265.. (7) Review: Cooper, G./Meyer, L. JAMS 16/2 (Su63): 270-272.. (8) Review: Dittmer (1); and Dittmer (2). NOTES 17/1 (Dec59): 54.. (9) Review: Finn Mathiassen, The Style of the Early Motet: An Investigation of the Old Corpus of the Montpellier Manuscript (Copenhagen, 1966). JAMS 20/3 (Fa67): 489-492. [CPTMED, FORM, MODAL, PERF, RHYTHM, STYLE] Titcomb, Caldwell. Review: Newman (2). MQ 45/2 (Apr59): 261-265. Tove, P. A., L. Ejdesjo, and A. Svardstrim. "Frequency and Time Analysis of Polyphonic Music". JASA 41/5 (May67): 1265-1271. [ACOUST] Tovey, Donald Francis. (1) The Forms of Music: Musical Articles from the Encyclopedia Brittanica. repr. ed., NY: World, 1956. (orig. ed., 1944) [FORM, ORCH, RHYTHM, TONAL]. (2) The Main Stream of Music and Other Essays. repr. ed., NY: World, 1959. (orig. ed., 1949) [FORM, PHIL]

Page  101 In Theory Only 3/7-11 101 Travis, Roy. (1) "Directed Motion in Schoenberg and Webern". PNM 4/2 (SpSu66): 85-89 (+ 6 unnumbered pp.). [LINEAR, PTONAL] - excpt. repr. as Travis (2). - cor. Goode (1), Travis (5).. (2) "Directed Motion in Webern's Piano Variations, Op. 27/II". PASUC 2 (Apr67): 54-60. [LINEAR, PTONAL] - repr. of excpt. of Travis (1).. (3) "Tonal Coherence in the First Movement of Bart6k's Fourth String Quartet". Music Forum 2 (70): 298-371. [CHORD, LINEAR, PTONAL, SCHENKER, SETS, TONAL]. (4) "Towards a New Concept of Tonality?". JMT 3/2 (Nov59): 257 -284. [LINEAR, PTONAL, SCHENKER, TONAL; Bartok, Chopin, Mozart, Stravinsky] - com. Oster (2), Neumann, H., Komar (2).. (5) Letter: Comment on Goode (1). PNM 6/1 (FaWi67): 158-159. [Schoenberg], panel. See Browne (2); and Westergaard (7). Treitler, Leo. (1) "Harmonic Procedure in the Fourth Quartet of Bela Bartok". JMT 3/2 (Nov59): 292-298. [PTONAL, SETS]. (2) "Music Analysis in an Historical Context". CMS 6 (Fa66): 75-88. [METHOD, PHIL, STYLE]. (3) "Musical Syntax in the Middle Ages: Background to an Aesthetic Problem". PNM 4/1 (FaWi65): 75-85. [FORM, MODAL, PHIL]. (4) "On Historical Criticism". MQ 53/2 (Apr67): 188-205. [PHIL, STYLE]. (5) "On Patricia Carpenter's 'The Musical Object'" (Comment on Carpenter (3)). CM 5 (67): 87-93. [FORM, PHIL] - com. Carpenter (4).. (6) "The Present as History" (Review of Meyer, L. (5); Jacques Chailley, 40,000 Years of Music (London, 1964); Richard L. Crocker, A History of Musical Style (McGraw-Hill, 1966); and Walter Wiora, The Four Ages of Music (Norton, 1965)). PNM 7/2 (SpSu69): 1-58. [METHOD, PHIL, STYLE, TONAL]. (7) "Tone System in the Secular Works of Guillaume Dufay". JAMS 18/2 (Su65): 131-169. [MODAL] Trotter, Robert M. (1) "The Lag of Theory Behind Practice: Contemporary Contributions toward Reconciliation" (See Kirchner). CMS 1 (Fa61): 36-40. [PEDAG]. (2) Review: Forte (2). JMT 6/1 (Sp62): 168-171. Trowell, Brian. "Faburden and Fauxbourdon". MD 13 (59): 43-78. [CPTREN, HST-THRY; Anon. Lansdowne, Anon. Scottish, Guilielmus] - com. Harrison. Turetzky, Bertram. (1) "The Bass as a Drum (A Discussion of the Percussion Parameter of Mid-Century Writing for the Contrabass)". Composer 1/2 (Fa69): 92-107. [ORCH]

Page  102 102 Author Index (Turetzky) Turetzky, Bertram. (2) "Notes on the Double Bass". Source #1, 1/1 (Jan67): 64-66. [ORCH]. (3) "Vocal and Speech Sounds: A Technique of Contemporary Writing for the Contrabass". Composer 1/3 (Wi69): 118-134. [ORCH] Turner, Thomas. "More on Non-chord Tones: The Logic of Music Theory Nomenclature" (abstract). JAMS 9/1 (Sp56): 57-59. [METHOD] Turrell, Frances Berry. (1) "The Isagoge in Musicen of Henry Glarean". JMT 3/1 (Apr59): 97-139. [MODAL] - incl. Eng. trans. of excpts.. (2) "Modulation: An Outline of Its Pre-History from Aristoxenus to Henry Glarean". PhD diss., USC, 1956. (UR# 6914; ADD 57-58: 109) NS[HST-THRY]. (3) Review: Seay (14). JAMS 14/1 (Sp61): 70-73. [Ugolino] * Tyndall, Robert E. Musical Form. Boston: Allyn & Bacon, 1964. [FORM] - rev. Will (3)/JMT. * Ulehla, Ludmila. Contemporary Harmony: Romanticism through the TwelveTone Row. NY: Free Press, 1966. [CHORD, PTONAL, SERIAL] - rev. Monaco/NOTES; Westergaard (9)/JMT. Unger, Udo. "Luigi Nono". Die Reihe 4 (60): 5-13. [RHYTHM, SERIAL] - trans. Leo Black. Urquhart, Dan M. "Francisco de Montanos's Arte de musica Theorica y Pratica: A Translation and Commentary". 2 vols. PhD diss., EastmanSM, 1969. (LC# 69-19,780; DA 30/10 (Apr70): 4484-4485-A) [CPTREN; Brocarte, Lorente, Nasarre, Roel.del Rio] Ussachevsky, Vladimir. (1) "Music in the Tape Medium". JuilR 6/2 (Sp59): 8-9, 18-20. [ELECT] 0 (2) "Notes on a Piece for Tape Recorder". MQ 46/2 (Apr60): 202 -209. [ELECT, NOTAT] - repr. in Lang (2). - com. Powell, M. (2). S(3) "The Processes of Experimental Music". JAES 6/3 (Jul58): 202 -208. [ELECT] van Appledorn, Mary Jeanne. "In Quest of the Roman Numeral". CMS 10 (Fa70): 47-51. [CHORD, PEDAG] Vanderwerf, Hendrik. "Concerning the Measurability of Medieval Music" (Comment on Maddrell (1)). CM 10 (70): 69-73. [HST-THRY, RHYTHM; Grocheo]

Page  103 In Theory Only 3/7-11 103 Varese, Edgard. "The Liberation of Sound". PNM 5/1 (FaWi66): 11-19. - ed./annot. Chou Wen-Chung. [ELECT, FORM, INFLEC] - repr. in Schwartz, E./Childs., interview. See Schuller (4). Vauclain, Constant. "An Experiment in Musical Texture". MQ 51/2 (Apr65): 318-335. [PTONAL] Vecchi, Joseph, ed. Marchettus of Padua, Pomerium. AIM, 1961. (CSM #6) - rev. Seay (20)/JAMS. Velimirovid, Milo:. (1) "Recent Soviet Articles on Music Theory". JMT 6/2 (Wi62): 283-293. [COGNTN, PHIL]. (2) Review: Apel (1). JAMS 11/2-3 (SuFa58): 227-232. Vercoe, Barry L. "Electronic Sounds and the Sensitive Performer". MEJ 55/3 (Nov68): 105-107. [ELECT, PERF] * Verrall, John W. (1) Fugue and Invention in Theory and Practice. Palo Alto: Pacific Books, 1966. [CPTTON, CPT20] - rev. Schachter (5)/JMT.. (2) "A Method for Finding Symmetrical Hexachords in Serial Form". JMT 6/2 (Wi62): 277-282. [SERIAL]. (3) Review: Schoenberg (3). JMT 9/1 (Sp65): 181-184. Vogel, Vladimir. "Impressions of Ferruccio Busoni". PNM 6/2 (SpSu68): 167-173. [PHIL] von Foerster, Heinz, and James W. Beauchamp, ed. Music by Computers. NY: Wiley, 1969. - incl. Beauchamp; Brun (3); Hiller (8); Mathews/Rosler; Pierce, J./ Mathews; Roberts, A.; Strang (2); and Randall (4): III. - rev. Howe (1)/CompArtHum, PNM. von Lewinski, Wolf-Eberhard. "Giselher Klebe". Die Reihe 4 (60): 89-97. - trans. Leo Black. [see also Lewinski] [SERIAL] Waite, Russell T. "A Translation of Georg Muffat's Premieres Observations" (part 1 of a 3-part essay). DMA diss., UWashington, 1967. (LC# 67-14,230; DA 28/7 (Jan67): 2724-A) [PERF] Waite, William G. (1) "The Lag of Theory Behind Practice: The Musicological Background" (See Kirchner). CMS 1 (Fa61): 26-35. [HST-THRY]. (2) Review: Bragard. NOTES 15/1 (Dec57): 101-102.. (3) Review: Parrish (2). NOTES 15/3 (Jun58): 393-395.. (4) Review: Smits van Waesberghe (1). JAMS 9/2 (Su56): 146-149.

Page  104 104 Author Index (Walker) Walker, Alan. (1) An Anatomy of Musical Criticism. Philadelphia: Chilton Books, 1968. [LINEAR, METHOD, MOTIV, ORCH, PHIL; Beethoven, - rev. Dennis/JAesEd. Brahms, Mozart, Schubert, Tchaikovsky] S(2) A Study in Musical Analysis. NY: Macmillan, 1963. NS[COGNTN, METHOD, MOTIV; Beethoven, Brahms, Mozart, Tchaikovsky] -rev. Kraehenbuehl (10)/JMT. Wallach, Michael A. "Art, Science, and Representation: Toward an Experimental Psychology of Aesthetics". JAAC 18/2 (Dec59): 159-173. [COGNTN, STYLE] Warch, Willard. "Beethoven's Use of Intermediate Keys". JMT 2/1 (Apr58): 92-94. [CHROM, FORM] Ward, W. D., and D. W. Martin. "Psychophysical Comparison of Just Tuning and Equal Temperament in Sequences of Individual Tones". JASA 33/5 (May61): 586-588. [ACOUST, COGNTN] Ward-Steinman, David. "Serial Techniques in the Recent Music of Igor Stravinsky...". DMA diss., UIllinois, 1961. (LC# 61-4399; DA 22/6 (Dec61): 2026-2027) [CPT20, FORM, SERIAL] Warfield, Gerald. "Structural Levels -- A Criterion for Music Evaluation?". Contemporary Music Newsletter 4/3-4 (SepOct70): 4-5. [LINEAR, METHOD; Melby, Oliver, Selleck, Warfield] Warner, Elinor. "Music Reading Reconsidered as a Code-learning Problem" (Comment on Fletcher (1)). JMT 1/2 (Nov57): 205-208. [LING] Waters, J. Kevin. "Handbook of Two Musical Practices: Plainsong: An English Translation and Annotation of Georg Rhaw's Enchiridion Utriusque Musicae Practicae (Musica Plana)" (part 1 of a 3-part essay). DMA diss., UWashington, 1970. (LC# 70-19,668; DA 31/4 (Oct70): 1835-A) Watkins, Glenn E. "Schoenberg and the Organ". PNM 4/1 (FaWi65): 119-135. - repr. in Boretz/Cone. [MOTIV, ORCH, SERIAL] Weakland, Rembert. (1) "Hucbald as Musician and Theorist". MQ 42/1 (Jan56): 66-84.. (2) Review: Apel (1). NOTES 16/3 (Jun59): 387-388. Weber, Max. The Rational and Social Foundations of Music. Carbondale: Southern Illinois UP, 1958. (orig. Ger. ed., 1921) [ACOUST, LING, - ed./trans. Don Martindale, Johannes PHIL, SOCIOL,, TONAL] Riedel, and Gertrude Neuwirth. - rev. Lundin (2)/JMT. Webern, Anton. The Path to the New Music. Bryn Mawr: Theodore Presser, 1963. [CHROM, PHIL, PTONAL, SERIAL] - incl. "The Path to Twelve-Note Composition", pp. 42-56. - ed./pref. Willi Reich; trans. Leo Black. Weigel, Eugene. "On the Nature and Value of Theoretical Training, A Forum: For the Music Educator" (See Kraehenbuehl (3)). JMT 3/1 (Apr59): 49-58. [PEDAG]

Page  105 In Theory Only 3/7-11 105 Weinberg, Henry. (1) "Donald Martino: Trio (1959)". PNM 2/1 (FaWi63): 82-90. [SERIAL]. (2) "A Method of Transferring the Pitch Organization of a Twelve Tone Set through All Layers of a Composition: A Method of Transforming Rhythmic Content through Operations Analogous to Those of the Pitch Domain". PhD diss., PrincetonU, 1966. (LC# 66-13,366; DA 27/11 (May67): 3899-A) [RHYTHM, SCHENKER, SERIAL; Schoenberg]. (3) "The Music of George Perle". American Composers Alliance Bulletin 10/3 (Sep62): 6-10. [SERIAL] Weinberg, Jacob. "Sergei Ivanovitch Taneiev". MQ 44/1 (Jan58): 19-31. [CPTREN] Weinland, John David. "An Electronic Music Primer". JMT 13/2 (Wi69): 250-275. [ELECT, PEDAG] Weisgall, Hugo. "The 201st Quarterly" (Review of Lang (1)). PNM 3/2 (SpSu65): 133-136. - com. Lang (4). Weisgarber, Elliot. Review: Wilfrid Dunwell, The Evolution of Twentieth Century Harmony (London, 1960). JMT 5/2 (Nov61): 307-309. [PTONAL] Weiss, Piero. Letter: Comment on Newman (5). JAMS 21/2 (Su68): 233 -234. [FORM; Riecha] Weissman, John S. "Current Chronicle" (Stravinsky). MQ 43/1 (Jan57): 104-110. Wennerstrom, Mary. "Parametric Analysis of Contemporary Musical Form". PhD diss., IndianaU, 1967. (LC# 67-15,176; DA 28/6 (Dec67): 2287-A) [FORM, INFLEC] Werner, Eric. "The Mathematical Foundation of Philippe de Vitri's Ars Nova". JAMS 9/2 (Su56): 128-132. [NOTAT, RHYTHM] Wessel, Frederick T. "The Affektenlehre in the Eighteenth Century". PhD diss., IndianaU, 1955. (LC# Mic 56-211; UM# 14,674; DA 16/1 (Jan56): 134-135) [HST-THRY, PHIL, SOCIOL; Mattheson] Westergaard, Peter. (1) "Conversation with Walter Piston". PNM 7/1 (FaWi68): 3-17. [INFLEC, NOTAT, PEDAG, PERF, RHYTHM]. (2) "Some Problems in Rhythmic Theory and Analysis". PNM 1/1 (Fa62): 180-191. [METHOD, RHYTHM; Mozart, Webern] - com. Cone (16); Mitchell, W. (6).. (3) "Some Problems Raised by the Rhythmic Procedures in Milton Babbitt's Composition for Twelve Instruments". PNM 4/1 (FaWi65): 109-118. [COGNTN, CPT20, RHYTHM, SERIAL] - com. Barkin (2).. (4) "Sung Language". PASUC 2 (Apr67): 9-36. [FORM, LING]. (5) "Toward a Twelve-Tone Polyphony". PNM 4/2 (SpSu66): 90-112. [CPT20, LINEAR, METHOD, SERIAL; Monteverdi, Schoenberg, Webern, Westergaard]

Page  106 106 Author Index (Westergaard) Westergaard, Peter. (6) "Webern and 'Total Organization': An Analysis of the Second Movement of the Piano Variations, Op. 27". PNM 1/2 (Sp63): 107-120. [INFLEC, RHYTHM, SERIAL, SETS], moderator. (7) Discussion: "What Do You, as a Composer, Try to Get the Student to Hear in a Piece of Music?". PASUC 1 (Apr66): 59-81. [METHOD, PEDAG] - panel: Milton Babbitt, Martin Boykan, Robert Cogan, Ross Lee Finney, Ben Johnston, Leo Kraft, Billy Jim Layton, Robert Hall Lewis, Salvatore Martirano, Lawrence Moss, Louise Talma, and Roy Travis.. (8) Review: Hiller/Isaacson (1). JMT 3/2 (Nov59): 302-306.. (9) Review: Ulehla. JMT 10/2 (Wi66): 369-371. - addendum in JMT 11/2 (Wi67): 310. White, Benjamin W. "Recognition of Distorted Melodies". American Journal of Psychology 73/1 (Mar60): 100-107. [COGNTN] White, Eric Walter. Stravinsky: The Composer and His Works. UCalP, 1966. - rev. Cone (20)/PNM; Morton, L. (3)/MQ; Swift (4)/JAMS. White, John. Review: Boatwright (4); and Jeannette Cass, Rudiments of Music: A Detailed Study in Music Essentials (Appleton, 1956). JMT 1/1 (Mar57): 97-101. [PEDAG] White, John D. Review: Fontaine (1). JMT 11/2 (Wi67): 285-287. White, John R. Review: Tenney (1). CM 3 (Sp66): 89-92. Whittenberg, Charles. (1) "Richard Moryl: Multiples". PNM 8/1 (FaWi69): 126-132.. (2) Review: Baxter. JMT 12/2 (Wi68): 300-308.. (3) Review: Fontaine (2). JMT 12/1 (Sp68): 112-115.. (4) Review: Harder (1). JMT 12/1 (Sp68): 115-119.. (5) Review: H. H. Stuckenschmidt, Twentieth Century Music (McGrawHill, 1969). JMT 13/2 (Wi69): 295-306. [SERIAL, STYLE] Wienpahl, Robert W. (1) "The Evolutionary Significance of 15th Century Cadential Formulae". JMT 4/2 (Nov60): 131-152. [CHORD, CPTMED, CPTREN, HST-THRY, MODAL; Gafurius, Guilielmus, Ornithoparcus, Tinctoris]. (2) "Zarlino, the Senario, and Tonality". JAMS 12/1 (Sp59): 27-41. [MODAL; Vicentino] Wilcox, A. Gordon. "Perfect Fourths as a Scalar Option". PNM 5/2 (SpSu67): 141-145. [ACOUST, PTONAL, SETS] Wilding-White, Raymond. "Tonality and Scale Theory". JMT 5/2 (Nov61): 275-286. [PTONAL, TONAL] Will, Roy T. (1) Review: Barbour/Kuttner (1); Barbour/Kuttner (2); and Kuttner. JMT 4/2 (Nov60): 243-247.

Page  107 In Theory Only 3/7-11 107 Will, Roy T. (2) Review: Keane. NOTES 19/3 (Jun62): 441.. (3) Review: Tyndall. JMT 9/2 (Wi65): 328-329. Willheim, Imanuel. "Johann Adolphe Scheibe: German Musical Thought in Transition". PhD diss., UIllinois, 1963. (LC# 63-5159; DA 24/1 (Jul63): 324-325) [PHIL] Williams, David Russell. A Bibliography of the History of Music Theory. Fairport: Rochester Music, 1970. [HST-THRY] Williams, Peter. "The Harpsichord Acciacatura: Theory and Practice in Harmony 1650-1750". MQ 54/4 (Oct68): 503-523. [HST-THRY, PERF; CPEBach, Gasparini, Geminiani, Heinichen, Turk] Wilson, Oily. "Wendell Logan: Proportions". PNM 9/1 (FaWi70): 135-142. Winckel, Fritz. (1) Music, Sound and Sensation: A Modern Exposition. Dover, 1967. (orig. Ger. ed., 1960) [ACOUST, COGNTN] - trans. Thomas Binkley. - rev. Slawson (3)/PNM.. (2) "The Psycho-Acoustical Analysis of Structure as Applied to Electronic Music". JMT 7/2 (Wi63): 194-246. [ACOUST, COGNTN, - trans. Louise Eitel Peake. ELECT, RHYTHM] Winham, Godfrey. (1) "Composition with Arrays.. ". PhD diss., PrincetonU, 1963. [PTONAL, SERIAL, SETS; Winham] - essay pub. in PNM 9/1 (FaWi70): 43-67.. (2) "Henry Weinberg: Three Songs (1959)". PNM 2/2 (SpSu64): 106 -111. [METHOD, SERIAL]. (3) Review: Hanson, H.; Persichetti; Peter S. Hansen, An Introduction to Twentieth Century Music (Allyn & Bacon, 1961); and Joseph Machlis, Introduction to Contemporary Music (Norton, 1961). PNM 1/2 (Sp63): 142-147. [METHOD, SERIAL] Winograd, Terry. "Linguistics and the Computer Analysis of Tonal Harmony". JMT 12/1 (Sp68): 2-49. [CHORD, COMPUT, LING, TONAL] Winold, Charles A. "The Effects of Changes in Harmonic Tension upon Listener Response". PhD diss., IndianaU, 1963. (LC# 64-521; DA 24/7 (Jan64): 2935-2936) [COGNTN] Winslow, Richard K. Review: Ratner (3). JMT 7/1 (Sp63): 143-145. Wise, Wayne W. "Tonal Relationship through Interchangeability of Mode in the Music of the Eighteenth and Nineteenth Centuries". PhD diss., IndianaU, 1956. (LC# Mic 57-1031; UM# 19,480; DA 17/3 (Mar57): 647) [CHORD, HST-THRY, TONAL;; Hindemith, Schoenberg] Wittlich, Gary. (1) "An Examination of Some Set-Theoretic Applications in the Analysis of Non-Serial Music". PhD diss., UIowa, 1969. (LC# 69-13,187; DA 30/2 (Aug69): 757-758-A) [FORTE, SETS; Bart6k, Schoenberg, Scriabin, Webern]

Page  108 108 Author Index (Wittlich) Wittlich, Gary. (2) Review: Siegmeister. JMT 11/1 (Sp67): 133-143. W6rner, Karl H. Schoenberg's 'Moses and Aron'. NY: St. Martin's Press, 1963. - trans. Paul Hamburger. - rev. Browne (3)/JMT. Woldt, John William. Review: Robert Stevenson, Juan Bermudo (The Hague, 1960). JMT 6/1 (Sp62): 156-158. Wolf, Eugene K. "The Recapitulations in Haydn's London Symphonies". MQ 52/1 (Jan66): 71-89. [FORM, MOTIV] Wolff, Christian. (1) "Movement". Die Reihe 2 (58): 61-63. [SERIAL; Webern]. (2) "On Form". Die Reihe 7 (65): 26-31. [FORM] Wolpe, Stefan. "Thinking Twice". In Schwartz, E./Childs: 275-307. - ed. Austin Clarkson. [PHIL, SERIAL; Wolpe] Woodbury, Arthur. "Harry Partch: Corporeality and Monophony" (incl. comment on Partch (3)). Source #2, 1/2 (Jul67): 91-93. [ACOUST, PHIL] Wuorinen, Charles. (1) "Mario Davidovsky: Contrastes No. i". PNM 4/2 (SpSu66): 144-149. [ELECT] - com. Goode (2), Wuorinen (6). ___ (2) "Notes on the Performance of Contemporary Music". PNM 3/1 (FaWi64): 10-21. [INFLEC, METHOD, PERF, RHYTHM]. (3) "The Outlook for Young Composers". PNM 1/2 (Sp63): 54-61. [ALEA, ELECT, SERIAL] _. (4) Comment on Coulter. PASUC 2 (Apr67): 48. [NOTAT, RHYTHM; Stockhausen]. (5) Reply to Craig. PNM 6/1 (FaWi67): 157-158.. (6) Reply to Goode (2). PNM 6/1 (FaWi67): 159-160. [METHOD]. (7) Review: Austin (1). PNM 5/1 (FaWi66): 142-147. - com. Craig, Wuorinen (5)., interview. See Boretz (3). Wykes, Robert A. "Tonal Movement in the Polyphonic Ballades, Rondeaux, and Virelais of Guillaume de Machaut". DMA diss., UIllinois, 1956. (LC# Mic 56-1529; UM# 16,440; DA 16/5 (May56): 969-970) [CPTMED, LINEAR, SCHENKER] Yarden, Elie. "The Israeli Composer and His Milieu". PNM 4/2 (SpSu66): 130-139. [SOCIOL] Yasser, Joseph. (1) "The Variation Form and Synthesis of Arts". JAAC 14/3 (Mar56): 318-323. [FORM, PHIL]

Page  109 In Theory Only 3/7-11 109 Yasser, Joseph. (2) [A Theory of Evolving Tonality (NY: American Lib. of Musicology, 1932)]. - com. Kraehenbuehl/Schmidt; Mandelbaum; Suderburg. Yates, Peter. (1) "Appendix on Temperament and Tuning". In Yates, An Amateur at the Keyboard (NY: Pantheon, 1964): [?]. NS[ACOUST]. (2) "Microtones". PASUC 2 (Apr67): 79-88. [ACOUST] Yates, Wilbur C. Hadley. "A History of the Cadence in Polyphonic Vocal Music through the Fifteenth Century". PhD diss., IndianaU, 1962. (LC# 62-5094; DA 23/8 (Feb63): 2938-2939) [HST-THRY; Guido, psHucbald] Yellin, Victor. Review: Ives (2). JAMS 17/2 (Su64): 229-231. Young, Irwin, ed./trans. The Practica Musicae of Franchinus Gafurius. Madison: UWisconsinP, 1969. [CPTREN, MODAL, RHYTHM] - rvsd. ed. of USC diss., 1954. - rev. Bergquist (7)/JAMS; Gushee (5)/JMT; Seay (19)/NOTES. Youngblood, Joseph E. (1) "Music and Language: Some Related Analytical Techniques". PhD diss., IndianaU, 1960. (LC# Mic 60-6336; DA 21/9 (Mar61): 2743) [INFO, LING, METHOD]. (2) "Root Progression and Composer Identification". In Lincoln, H.: 172-178. [COMPUT, INFO, STYLE] S(3) "Style as Information". JMT 2/1 (Apr58): 24-35. [INFO, METHOD, MODAL, MONOPH, STYLE, TONAL] Zaripov, R. Kh. "Cybernetics and Music". PNM 7/2 (SpSu69): 115-154. - trans. J. G. K. Russell. [ACOUST, COMPUT, ELECT, PERF, PHIL, STYLE] Zink, Sidney. "Is the Music Really Sad?". JAAC 19/2 (Wi60): 197-207. [PHIL] Zlotnik, Asher. Review: Allen I. McHose and Ruth Northup Tibbs, SightSinging Manual (3rd ed., Appleton, 1957). JMT 2/1 (Apr58): 116-118. - com. Hoskins. Zsako, Julius, trans./pref. See Cooper, K./Zsako. Zuckerkandl, Victor. (1) The Sense of Music. Princeton UP, 1959. [ACOUST, CHORD, CPTTON, FORM, LINEAR, PHIL, RHYTHM, SCHENKER, TONAL; Schubert] - rev. Austin (4)/JAMS; Gauss (1)/JAAC; Hill, Ri. (4)/NOTES; Oster (4)/JMT.. (2) Sound and Symbol: Music and the External World. NY: Pantheon, 1956. (Bollingen Series #44) [INFLEC, PHIL, RHYTHM, TONAL] - trans. Willard R. Trask. - rev. Gauss (3)/JAAC; Hill, Ri. (2)/NOTES; Kraehenbuehl (11)/JMT; Lippman (8)/MQ. - com. Hansen?

Page  110 110 Author Index (Zuckerkandl) Zuckerkandl, Victor. (3) Review: Cooke, D. Zukofsky, Paul. (1) "On Violin Harmonics". S(2) "The Performer: (SpSu65): 172-174. Zupko, Ramon. "Darmstadt: Revitalization or New Directions" JMT 4/1 (Apr60): 104-109. PNM 6/2 (SpSu68): 174-181. [ACOUST, ORCH] Stagnation?". PNM 3/2 [PERFi PNM 2/2 (SpSu64): 166-169. [ELECT, INFLEC] * * * * * * * ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ah ah ah ah oh la Ila a a ]! oh ah! oh ah! Ia la!

Page  111 In Theory Only 3/7-11 111 PART 2: Index of Subjects (A short description of each subject follows its abbreviation.) ACOUST: physics of musical sounds; tuning systems; microtonality. Adkins; *Backus (1); Backus (2); Backus (3); Barbour (2); Barbour (6); Barbour/Kuttner (1); Barbour/Kuttner (2); Barlow (2); Beauchamp; Bekesy; Benade; Berard; Bergquist (2); Bergquist (3); Boatwright (2); Bobbitt; Boomsliter/Creel (1); Boomsliter/Creel (2); Boomsliter/Creel (3); Branning; Brink; Bugg; Cazden (2); Cazden (4); Cazden (5); Cazden (8); Clark, M./Luce; Clark, M./Milner; Clark, M./Robertson/Luce; Cohen, Ale.; Cohen, Dal.; Cowel!, H. Cowell, J.; Crocker (2); Crocker (4); Culver; Daniels (1); Daniels (2); Dorn; Ellsworth; Ferretti (2); Ferris; Friedman; Gamer (1); Gamer (2); Green, B.; Gruber (2); Gustin (1); Gustin (2); Gustin (3); Haggh (1); Helm, E. E.; Helmholtz; Henry; Hiller (3); Horsley (4); Hughes, A.; Hurwitz; Jacobi (5); Jeans; Johnston (1); Johnston (2); Johnston (3); Johnston/Kobrin; Jorgenson; Kaufmann (1); Kaufmann (2); Kaufmann (3); Kaufmann (4); Koenig (2); Kolinski; Kraehenbuehl/Schmidt; Krehbiel; Leigh Silver; Levarie/Levy; Link; *Lloyd; Lundin (1); Mandelbaum; Marshall, G.; Mathews (3); Meyers; Miller, C. (4); Mitchell, W. (4); Morton, I./Lofstedt; Oliveros; Olson; Palisca (2); Partch (1); Partch (2); Paul (1); Paul (2); Pedersen (1); Pierce, J. (2); Pierce, J./Mathews; Pikler (1); Pikler (2); Planchart; Plomp/Levelt; Poland (2); Pousseur (2); Randall (4); Randall (5); Rasch; Richardson; Ricks; Rogers, J. (1); Rosberger; Saldanha/Corso; Seashore; Seay (6); Seay (9); Seay (11); Shackford; Slawson (3); Slaymaker; Smith, C.; Smith, Leo.; Stoney; Stryker; Taylor, S.; Temperley; Tove/Ejdesjo/Svardstrim; Ward/Martin, D.; Weber; Wilcox; Winckel (1); Winckel (2); Woodbury; Yates, P. (1); Yates, P. (2); Zaripov; Zuckerkandl (1); Zukofsky (1). ALEA: aleatoric theories and techniques; stochastic processes; analyses of aleatoric pieces. [see also COMPUT] Albersheim (1); Attneave; Basart; Boretz (8); Boretz (13); Bortolotto; Boulez (1); Brown, E.; Cage (3); Cage (4); Cage/Hiller; Carter (4); Cavell; Chadabe; Charles; Childs (2); Childs (4); Clark, R. C. (1); Clark, R. C. (2); Fokker; Helm, E. E. (1); Kirchmeyer; Kostelanetz (1); Ligeti (3); Loeb; Lutoslawski; Meyer, L. (2); Meyer, L. (5); Meyer-Eppler (2); Perle (16); Pierce, J. (1); Pousseur (5); Ratner (1); Reynolds, R. (1); Rosen, J.; Strasser/Mathews; Wuorinen (3).

Page  112 112 Subject Index (CHORD) CHORD: theories of the tonal functions of triadic sonorities; analyses of chord function, by Roman numeral or otherwise. Baker; *Baxter; Beach (2); *Boatwright (4); Bradshaw; *Brye; Cazden (3); *Christ/DeLone/Kl ewer/Rowell/Thomson; Clough (3); *Coker, J.; Cone (1); Cone (7); *Cooper,G.; Dickinson, A.; *Foote/Spalding; *Forte (15); *Friedheim (1); Gettel; *Goldman (1); *Harder (1); Jackson (1); *Jacobs; Jones, G. (2); Jones, G. (3); Kerman (1); *Kohs (1); Krall/Liebling; Krehbiel; Krueger; LaRue (2); *Laycock/Nordgren; *Levarie (1); *Lieberman, M. (1); *Lieberman, M. (2); *McKay (2); Marks; Mekeel (1); Mickelson; Mintz; Mitchell, J.; Mitchell, W. (1); Mitchell, W. (12); Mitchell, W. (13); Nelson, Pa.; *Norman; Novack (2); *Ottman (1); *Ottman (2); Palmer; *Piston (1); Piston (3); *Ratner (3); Reynolds, W. (2); *Robinson; *Russo; Salzer (1); *Salzer (2); *Salzer/Schachter; Schachter (2); Schenker (1); Schenker (3); *Schoenberg (4); *Serly; Sherburn; *Shir-Cliff/Jay/Rauscher; Shirlaw (1); Shirlaw (2); *Siegmeister; Slatin; Smith, Lel. (2); Thomson (1); Tischler (1); *Tischler (3); Travis (3); *Ulehla; van Appledorn; Wienpahl (1); Winograd; Wise; Zuckerkandl (1). CHROM: chromaticism, characterized within a functional tonal context. Bradshaw; *Christ/DeLone/Kliewer/Rowell/Thomson; Clifton (3); Clough (2); Clough (3); Cone (13); *Forte (15); Friedheim (3); George (2); *Goldman (1); Lowinsky (1); Lowinsky (3); Lowinsky (4); Marshall, G.; Mintz; Mitchell, W. (3); Mitchell, W. (4); Mitchell, W. (5); Novack (2); *Ottman (1); *Piston (1); Reti (3); *Russo; *Salzer (2); *Schoenberg (4); *Searle; Sherburn; *Shir-Cliff/Jay/Rauscher; *Siegmeister; Sterling; Tischler (1); Warch; Webern. COGNTN: psychology of music; theories of cognition and perception. Aliferis/Stecklein; Allen; Appleton (1); Batstone (2); Bekesy; Boomsliter/Creel (1); Boomsliter/Creel (2); Boretz (21); Boretz (23); Branning; Buttram; Cazden (5); Cohen, Ale.; Connor Corso; Deutsch (1); Deutsch (2); Dorn; Edwards, Ar.; Erickson, Ro. (2); Esper; Farnsworth; Haenselman; Hartman; Helmholtz; Higgens; Hsu; Hurwitz; Hutchinson (2); Jacobson; Johnston (4); Kohut; Kraehenbuehl (2); Leonard; Linger; Loeb; Lundin (1); Mathews (3); Meyer, L. (1); Meyer, L. (5); Meyer, L. (6); Meyer-Eppler (2); Nettl (1); Ottman (3); Pedersen (1); Pedersen (2); Pike (3); Pike (4); Pike (5); Pikler (1); Pikler (2); Poland (1); Poland (2); Pousseur (4); Pratt (2); Randall (3); Randall (4); Reinold; Reitman; Restle; Reynolds, R. (2); Ritchie, T.; Roehmann; Rosenman; Saldanha/Corso; Sanchez/Reitman; Seashore; Service; Sherman; Sherman/Hill, R.; Simon, H.; Simon, H./Sumner; Slatin; Slawson (3); Slawson (5); Smith, Leo.; Smither (1); Stallings; Stockhausen (5); Taylor, G.; Tenney (1); Thomson (3); Velimirovi6; Walker (2);

Page  113 In Theory Only 3/7-11 113 COGNTN (continued): Wallach; Ward/Martin, D.; Westergaard (3); White, B.; Wincke (1); Winckel (2); Winold. COMPUT: the uses of computers in composition and analysis; computer technology. [does not include programming manuals] Babbitt (13); Bauer-Mengelberg/Ferentz; Beauchamp; Brender/Brender; Brooks/Hopkins/Neumann/Wright; Brin (2); Briun (3); Bri.n (4); Cage/Hiller; Citron; Clark, R. K.; Clough (1); Clough (5); Cohen, Day. (3); Cohen, J.; Divilbiss; Dodge; Erickson, Ra. (1); Erickson, Ra. (2); Erickson, Ra. (3); Ferretti (1); Ferretti (2); Fiore (2); Forte (3); Forte (7); Forte (8); Forte (12); Forte (13); Fuller (2); Gabura (1); Gabura (2); Gould/Logemann; Hanson, J.; Hiller (1); Hiller (2); Hiller (5); Hiller (6); Hiller (7); Hiller (8); Hiller/Baker (1); Hiller/Baker (2); Hiller/Baker (3); Hiller/Beauchamp; Hiller/Isaacson (1); Hiller/Isaacson (2); Howe (1); Howe (2); Howe (4); Howe (6); Jackson (2); Jackson/Bernzott (1); Jackson/Bernzott (2); Kassler (2); Kassler (5); Kassler (6); Kobrin/Ashford; Kostka; LaRue (7); Lefkoff (1); Lefkoff (3); Levy, B. (1); Lieberman, F.; Loeb; MacInnis; Mason, R. (1); Mathews (1); Mathews (2); Mathews (3); Mathews/Moore; Mathews/Rosler; Melby; Mendel (2); Morton, I./Lofstedt; Olson/Belar; Oudal; Padberg; Pederson; Perle (12); Pierce, J. (2); Pikler (3); Randall (3); Randall (4); Regener (1); Regener (2); Roberts, A.; Rogers, J. (2); Roller (1); Roller (2); Rothgeb (2); Selleck/Bakeman; Slawson (1); Stoney; Strang (1); Strang (2); Strasser/Mathews; Teitelbaum (1); Tenney (2); Tew; Winograd; Youngblood (2); Zaripov. CPTMED: Medieval (modal) contrapuntal techniques and practices. Blum (1); Bukofzer (2); Crocker (2); Dalglish; Erickson, Ra. (3); Haggh (1); Harbinson; Karp; *Rubbra; Salzer (3); Schachter (2); Seay (6); Spratt; Tischler (9); Wienpahl (1); Wykes. CPTREN: Renaissance (modal) contrapuntal techniques and practices. Andrews; *AtKisson; Bassett (1); Baumgartner (1); Bergquist (1); Bergquist (2); Bergquist (3); Collins (3); Erickson, Ro. (1); Falck; Ferand; Fox; Haggh (1); Harman; Harrison; *Heeremans; *Horsley (1); Horsley (4); Jackson (3); Jeppeson; Kaufmann (5); Kenney (1); *Krenek (6); Loach (1); Mann (3); Marco (2); Marco/Palisca; Mendel (2); Miller, C. (3); Miller, C. (4); Mishkin; Palisca (4); Pope; Pruett (1); *Roberts, S./Fischer, I.; *Rubbra; Salop (2); *Salzer/Schachter; Schmidt, L.; Seay (7); Seay (9); Sparks; Spratt; *Swindale; Taneiev; Trowell; Urquhart; Weinberg, J.; Wienpahl (1); Young.

Page  114 114 Subject Index (CPTSP) CPTSP: theoretical, analytical and pedagogical applications of species counterpoint. *Davis, F./Lybbert; *Kauder; *Kelly (1); *Kennan (1); Komar (1); Kraft (1); Loach (1); Mann (2); *Mason, N.; *Middleton (1); *Reed/Harder; *Salzer (2); *Salzer/Schachter; Schachter (3); *Schoenberg (3); Slatin; *Swindale. CPTTON: tonal contrapuntal techniques and practices. *AtKisson; Buelow (1); *Christ/DeLone/Kliewer/Rowell/Thomson; Clifton (5); Davis, F.; *Davis, F./Lybbert; Dickinson, A.; *Doubleday (1); *Doubleday (2); Erickson, Ro. (1); Falck; *Fontaine (2); Helm, E. E. (1); *Horsley (1); *Kennan (1); *Krenek (8); *Lieberman, M. (1); Mann (3); *Mason, N.; Mekeel (1); Misch; Nelson, Ph.; Norden (1); Norden (2); *Pasfield; Potter; *Procter (1); *Prout (1); *Prout (2); *Rubbra; *Salzer/Schachter; Serwer (2); *Verrall (1); Zuckerkandl (1). CPT20: post-tonal contrapuntal techniques and practices. Boykan (4); *Brindle (4); Cowell, H.; Erickson, Ro. (1); Forte (4); Forte (11); *Fotine; Graves; Hanson, H.; *Kelly (1); *Marquis; Metzger (3); *Middleton (1); Perkins, J. (2); *Persichetti; *Rubbra; *Searle; Tischler (4); *Verrall (1); Ward-Steinman; Westergaard (3); Westergaard (5). ELECT: the uses of electronic (including synthesized) sound sources in composition; analyses of electronic pieces. Appleton (1); Asenjo (1); Babbitt (3); Babbitt (5); Babbitt (12); Barlow (1); Basart; Beauchamp; Boretz (1); Boulez (2); Chou (1); Clough (5); Cohen, Dav. (2); Eimert (5); Fennelly (1); Fennelly (2); Fowler; Ghent; Haubenstock-Ramati; Henry; Hiller (3); Hiller/Beauchamp; Howe (3); Howe (4); Howe (5); Kassler (2); Kassler (9); Koenig (4); Le Caine; Lewin, D. (6); Linke; MacInnis; Meyer-Eppler (2); Meyers; Pellegrino; Pousseur (1); Pousseur (2); Randall (1); Randall (4); Reynolds, R. (2); Rosberger; Schuller (4); Sessions (2); Stockhausen (1); Stockhausen (2); Stockhausen (4); Stockhausen (6); Strasser/Mathews; Stuckenschmidt (3); Tallmadge; Teitelbaum (2); Tenney (2); Ussachevsky (1); Ussachevsky (2); Ussachevsky (3); Varese; Vercoe; Weinland; Winckel (2); Wuorinen (1); Wuorinen (3); Zaripov; Zupko.

Page  115 In Theory Only 3/7-11 115 FIGBASS: theories of figured bass (thorough bass) notation and realization. Arnold; Buelow (1); Buelow (2); Buelow (3); Burrows (1); Federhofer; *Forte (15); Keller, He. (2); Krall/Liebling; Mitchell, J.; Mitchell, W. (1); Reddick; Revitt; Rothgeb (2); Shirlaw (2). FORM: theories of formal structure; theories and analyses of the formal role of texts. Barkin (1); Berleant; *Berry (1); Blum (2); Boykan (5); Brown, E.; Carpenter (2); Carpenter (3); Carpenter (4); Charles; Chavez; Childs (4); *Christ/DeLone/Kliewer/Rowell/Thomson; Churgin (1); Cole (1); Cone (6); Cone (7); Cone (12); Cone (14); Cone (15); Cooke, D.; *Cooper, G.; Crane; Crocker (5); Dallapiccola; David; Davie; Dickinson, G. (2); Eimert (3); Epstein (2); Eschman (1) Ferguson (1); *Fontaine (1); Friedheim (3); George (1); George (2); Glasow; *Goetschius; *Green, D. (1); Greene; Grimm; Gurney; Hall, R. L.; Haubenstock-Ramati; Hodeir (1); Hoffmann, J.; Hollander (1); *Horsley (1); Jackson (4); Jarman (1); Kagel (2); Kob; Krueger; LaRue (4); Laufer; Lewin, D. (8); Lieberman, I.; Ligeti (1); Longyear (1); Maniates (1); Marco (1); Marcus; Marks; Michell (3); Morgan, R. (1); Moyer; Nelson, R. (1); Newman (2); Newman (3); Newman (4); Newman (5); Nordmark; Novack (3); Porter, D.; Rasch; Ratner (2); Ratner (4); Reti (1); Reti (2); Reti (3); Salzer (1); Schenker (2); Schoenberg (1); *Schoenberg (2); Sessions (3); Sessions (4); Shifrin (2); Simon, E.; Slates; Slatin; Smith, W.; Sollberger (2); Stambaugh; *Stein, Leon; Stockhausen (4); Stroh (2); Tenney (1); Tischler (5); Tischler (9); Tovey (1); Tovey (2); Treitler (3); Treitler (5); *Tyndall; Varese; Warch; Ward-Steinman; Weiss; Wennerstrom; Westergaard (4); Wolf; Wolff (2); Yasser (1); Zuckerkandl (1). FORTE: Allen Forte's system of set theory; analyses in terms of Fortesets and set-complexes. Chrisman; Clough (4); Forte (8); Forte (12); Forte (14); Gilbert (1); Gilbert (2); Rothgeb (4); Teitelbaum (1); Tew; Wittlich (1). HST-THRY: general studies of some aspect of the history of theories of music (i.e. more than a translation or discussion of.one theorist or treatise). Adkins; Aldrich (1); Aldrich (2); Apel (2); Arnold; Atcherson (1); Baron; Beach (2); Bower; Brender/Brender; Bugg; Burke; Burton; Cazden (2); Chenette; Churgin (1); Cohen, Alb. (4); Cole (1); Collins (1); Collins (2); Collins (3); Collins (4); Coover (1);

Page  116 116 Subject Index (HST-THRY) HST-THRY (continued): Coover (3); Crane; Crocker (2); Crocker (3); Crocker (4); David; Davis, B.; Dolmetsch; Ellsworth; Epperson; Erickson, Ra. (3); Falck; Ferand; Finney, C.; Flindell; Gerdine; Gotuski; Green, B.; Gruber (1); Haar; Haggh (1); Hansell; Hawkins; Helm, E. E.; Henderson; *Horsley (1); Houle; Hutchings; Isgro; Jackson (3); Jacobi (4); Jeans; Jorgenson; Kaufmann (2); Kaufmann (3); Kaufmann (5); Keller, He. (1); Keller, He. (2); Kenney (1); Kirchmeyer; Kob; Kraehenbuehl/Schmidt; Krehbiel; Kresteff; Lee; Lenneberg; Levin, F.; Link; Lippman (1); Lippman (2); Lockwood (2); Lowinsky (3); McIntyre; Maddrell (1); Mandelbaum; Mann (2); Mann (3); Marco/Palisca; Mekeel (1); Mendel (1); Merritt (2); Mickelson; Miller, C. (5); Miller, G.; Mitchell, J.; Mitchell, W. (1); Mitchell, W. (9); Moyer; Munkachy; Neumann, F. (1); Neumann, F. (2); Neimann, F. (3); Newman (5); Palisca (2); Palisca (3); Parrish (2); Perkins, M.; Pincherle; Powell, N.; Ramirez; Ratner (1); Ratner (2); Reaney (5); Reddick; Reese; Rogers, H.; Rowen; Sadowsky; Salzer (3); Sanders; Schachter (2); Seay (2); Seay (4); Seay (5); Serwer (1); Shay; Shirlaw (1); Shirlaw (2); Slatin; Smith, F. (1); Smither (2); Spiess (2); Spiess (3); Spratt; Strunk; Trowell; Turrell (2); Vanderwerf; Waite, W. (1); Wessel; Wienpahl (1); Williams, D.; Williams, P.; Wise; Yates, W. INFLEC: theories of the inflectional dimensions of music, including timbre, dynamics, space; analyses of any of these dimensions in pieces. Babbitt (2); Babbitt (6); *Backus (1); Barlow (1); Behrman; Boretz (1); Boretz (4); Boulez (2); Brant; Chou (2); Clark, M./Luce; Clark, M./Milner; Clark, M./Robertson/Luce; Cogan (1); Cohen, Ale.; Cooke, D.; Cowell, H.; Dodge; Dorn; Drager; Eimert (3); Erickson, Ro. (3); Fennelly (1); Fennelly (2); Henry; Huff (3); Kagel (1); Krenek (3); Kresky (1); LaRue (4); Lester (1); Levy, Ed. (3); Lewin, D. (8); Lundin (1); McDermott; Nordgren; Perkins, J. (1); Philippot (2); Randall (1); Randall (2); Randall (4); Rochberg (3); Saldanha/Corso; Salzman (2); Slawson (3); Stallings; Starr; Stockhausen (4); Stockhausen (6); Varese; Wennerstrom; Westergaard (1); Westergaard (6); Wuorinen (2); Zuckerkandl (2); Zupko. INFO: applications of information (communication) theory to music; statistical studies of pieces. Appleton (1); Attneave; Baker; Bean; Brooks/Hopkins/Neumann/Wright; Cohen, J.; Connor; Coons/Kraehenbuehl; Dorn; Fucks; Fuller (1); Gabura (2); Hiller (4); Hiller/Baker (3); Hiller/Bean; Hiller/Beauchamp; Hiller/Fuller; Hughes, M.; Kraehenbuehl/Coons; Lewin, D. (10); Loeb; Meyer, L. (4); Meyer, L. (5); Meyer, L. (6);

Page  117 In Theory Only 3/7-11 117 INFO (continued): Meyer-Eppler (1); Meyer-Eppler (2); Moles (1); Moles (2); Olson/Belar; Pedersen (2); Pierce, J. (1); Pinkerton; Selleck/Bakeman; Silliman; Siromoney/Rajagapolan; Stockhausen (5); Youngblood (1); Youngblood (2); Youngblood (3). JAZZ: theories and analyses of jazz, including jazz improvisation and chord relations. *Coker, J.; Keil; Layton; *Russo; Schuller (5). LINEAR: analyses of linear connections, irrespective of any context of functional tonality; what it is for events to be "connected" or "directed" in general. Anonymous; Beach (1); Bergquist (1); Boretz (6); Bradshaw; Clifton (1); Cone (1); Cone (7); Cone (9); Cone (10); *Cooper, G./Meyer, L.; Forte (1); Forte (2); Forte (4); Forte (11); Gettel; Huff (2); Imbrie (1); Imbrie (3); Kessler; Komar (1); Komar (2); Krueger; Kurtz; Lester (2); Levy, Ed. (1); Levy, Ed. (2); Lieberman, I.; Mitchell, W. (3); Mitchell, W. (5); Mitchell, W. (11); Mitchell, W. (12); Morgan, R. (1); Neumann, H.; Novack (1); Oster (1); Oster (2); Oster (3); Palmer; Parish; Pierce, A.; Reynolds, W. (2); Rothgeb (1); Ruwet; Salzer (1); *Salzer (2); Salzer (3); *Salzer/Schachter; Schachter (1); Schachter (2); Schachter (3); Schenker (1); Schenker (2); Schenker (3); Slatin; Thomson (1); Thomson (2); Travis (1); Travis (2); Travis (3); Travis (4); Walker (1); Warfield; Westergaard (5); Wykes; Zuckerkandl (1). LING: applications of linguistic theories to music; comparisons of music and language; linguistic analyses of texts, in terms of the relation between the phonetic or syntactic structure of a text and its musical setting. Blacking; Blum (3); Boretz (6); Boretz (7); Brender/Brender; Carpenter (1); Carter (2); Chavez; Childs (1); Clifton (2); Cogan (1); Cooke, D.; Epperson; Farnsworth; Fletcher (1); Gotuski; Hibbard; Kassler (1); Kassler (4); Keller, He. (1); Loeb; Pousseur (3); Restle; Rothgeb (2); Seeger (3); Stockhausen (4); Stryker; Warner; Weber; Westergaard (4); Winograd; Youngblood (1).

Page  118 110 bujD]ecTIl ~naex LU (U) LOGIC: discussions of music using formalized mathematical/logical languages. Boretz (2); Boretz (6); Boretz (7); Boretz (21); Kassler (1); Kassler (3); Kassler (4); Kassler (6); Martin, R.; Regener (1); Rothgeb (4); Simon, H./Sumner. METHOD: the nature of music theories; analytical methodologies; explications of theoretical concepts and terms. Anonymous; Anthony; Babbitt (9); Babbitt (10); Babbitt (11); Batstone (2); Becker; Berger (2); Bergquist (1); Blacking; Boatwright (3); Boretz (2); Boretz (6); Boretz (7); Boretz (19); Boretz (20); Boretz (21); Boretz (22); Cazden (8); Chrisman; Clifton (2); Clough (4); Cogan (1); Cone (1); Cone (2); Cone (3); Cone (8); Cone (17); Cone (20); Coons/Kraehenbuehl; *Cooper, G./Meyer, L.; Eimert (2); Fennelly (1); Fennelly (2); Forte (4); Forte (14); French (1); Gamer (2); Gebauer; Goode (2); Hiller/Fuller; Hutchinson (1); Hutchinson (2); Imbrie (2); Johnston (2); Jones, R. (1); Kagel (1); Kassler (3); Kassler (9); Keller, Ha. (1); Keller, Ha. (2); Kliewer; Kraehenbuehl (4); Kraehenbuehl/Schmidt; Krenek (7); Krenek (10); LaRue (3); LaRue (4); LaRue (5); LaRue (6); Levy, Ed. (2); Lewin, D. (2); Lewin, D. (3); Lewin, D. (4); Lewin, D. (11); Lewin, D. (12); Loeb; Martin, R.; Merriam; Meyer, L. (1); Meyer, L. (8); Mitchell, W. (11); Murphy (1); Perle (6); Piston (3); Poland (2); Powell, M. (1); Powell, M. (2); Randall (4); Randall (5); Ratner (7); Regener (1); Regener (3); Roller (2); Rothgeb (3); Rothgeb (4); *Salzer (2); Salzer (3); *Schoenberg (2); Schwejda; Seeger (1); Seeger (3); Seeger (4); Seeger (6); Sessions (3); Sessions (4); Simon, H.; Simon, H./Sumner; Slatin; Smith, Lel. (2); Stevenson; Teitelbaum (1); Tenney (1); Thomson (1); Thomson (2); Thomson (4); Tischler (1); Treitler (2); Treitler (6); Turner; Walker (1); Walker (2); Warfield; Westergaard (2); Westergaard (5); Westergaard (7); Winham (2); Winham (3); Wuorinen (2); Wuorinen (6); Youngblood (1); Youngblood (3). MODAL: theories of the roles of pitches/pitch-classes in modal collections; analyses of modal pieces. Andrews; Apel (1); Atcherson (1); Atcherson (2); Becker; Bergquist (1); Bergquist (2); Bergquist (3); Bergquist (4); *Boatwright (4); Clough (3); Gruber (1); Gushee (1); Gustin (1); Haggh (1); Heard; Homan (1); Homan (2); Hoppin; Horsley (3); Horsley (4); Kaufmann (3); Kaufmann (5); Kottick; Lakner; Lowinsky (1); Lowinsky (3); Lowinsky (4); Miller, C. (1); Miller, C. (3); Miller, C. (5); Miller, C. (7); Novack (1); Palisca (4); Plantinga (1); Pruett (1); Reaney/Gilles/Maillard; Rogers, H.; *Russo; Seay (2); Seay (6); Seay (11); Sessions (1); Shirlaw (1); *Smits van Waesberghe (2); Spiess (1); Tischler (9); Treitler (3); Treitler (7); Turrell (1); Wienpahl (1); Wienpahl (2); Young; Youngblood (3).

Page  119 In Theory Only 3/7-11 119 MONOPH: theories and analyses of single-voice pieces, including chant. Apel (1); *Boatwright (4); Crocker (7); Homan (1); Homan (2); Miller, C. (4); Parrish (2); Pope; Sachs; Seay (6); Selleck/Bakeman; *Smits van Waesberghe (2); Youngblood (3). MOTIV: analyses in terms of presentationally ordered sets, especially with respect to traditional types of motivic transformations. Archibald (2); Austin (2); Babbitt (2); *Berry (1); Boatwright (1); Boretz (6); Brindle (3); Buchanan; Carter (2); *Christ/DeLone/ Kliewer/Rowell/Thomson; Cone (1); Cone (7); Cone (13); Cooke, D.; Craft (1); DeVoto (1); DeVoto (2); Dickinson, A.; Eimert (3); Fennelly (4); Fiore (2); Fischer, R.; Grimm; Heuss; Howell (1); Keller, Ha. (1); Keller, Ha. (2); Laufer; Lester (2); Lewin, D. (1); Lieberman, I.; Marco (1); Marshall, D.; Metzger (2); Misch; Mitchell, W. (5); Moss (1); Moss (3); Nelson, R. (1); Nelson, R. (2); Nordmark; Novack (1); Ogdon (1); Oliveros; Oster (2); Palmer; Parish; Perle (6); Perle (11); Reale; Reti (1); Reti (2); Reynolds, W. (2); Ringer; Riseling; Rothgeb (1); Schachter (1); Schenker (2); Schoenberg (1); *Schoenberg (2); Schwejda; Spies (3); Spies (6); Spinner (1); Stroh (1); Stroh (2); Walker (1); Walker (2); Watkins; Wolf. NONWEST: theories of music other than Western "art" music; analyses of non-Western pieces. [nationalities/ethnic groups are noted where applicable] Blacking [Venda]; Boretz (6); Boretz (7); Chou (2) [China, India]; Cohen, Dal. [Arab]; Hood [Indonesia]; Johnston (1) [East India]; Lieberman, F. [Java]; Lockwood (2); Merriam; Meyer, L. (8); Nakaseko [China]; Nettl (2); Powers; Sachs; Siromoney/ Rajagopalan [India]; Thomson (3). NOTAT: theories of notation; the musical/conceptual functions of notation; explications of notational systems. Anonymous; Aldrich (1); Aldrich (2); Apel (1); Apel (2); Bailey; Barbour (1); Bartolozzi; Behrman; Boehm; Boretz (16); Boretz (19); Brender/Brender; Bunger; Carter (8); Cazden (1); Cazden (6); Childs (5); Cogan (1); Collins (1); Collins (2); Collins (3); Collins (4); Copland (1); Dockstader; Fennelly (1); Fennelly (2); Fletcher (1); Foss (1); Gilles/Reaney; Goodman; Haggh (1); Haubenstock-Ramati; Hodkinson; Houle; Kagel (2); Kassler (8); Knapp (1); Koenig (1); Levy, B. (1); Linger; Lippman (3); Lowinsky (3); McElheran; Martino (2); Mathews/Rosler; Miller, C. (4); Miller, C. (5); Miller, C. (7); Mitchell, W. (4); Neumann, F. (2); Osborn; Parrish (2); Partch (1); Perkins, J. (3); Plantinga (1); Pousseur (4); Powers; Rasch; Read (1); Read (2);

Page  120 . L4i JA- j V- % - n 1-. \Z 1 \L JL Z1 I ) NOTAT (continued): Reaney/Gilles/Maillard; Reed/Leach; Regener (3); Sanders; Schulze-Andreson; Seay (4); Seay (6); Seay (13); Seeger (3); Seeger (6); Sessions (1); Sessions (3); Stein, Leona.; Stockhausen (3); Stone (2); Stone (3); Ussachevsky (2); Werner; Westergaard (1); Wuorinen (4). ORCH: theories of the timbral characteristics and orchestrational potentials of instruments; analyses of the instrumentation of pieces. Babbitt (6); Boehm; Boretz (4); Boykan (6); *Brindle (4); Carter (7); Cole (2); Cone (10); *Cooper, G.; Copland (2); Dorn; Druckman; Heiss (1); Heiss (2); Hopkins; *Kennan (2); *Leibowitz/Mapguire; Levarie/Levy, Er.; Lutoslawski; *McKay (1); Nordgren; *Piston (2); *Rauscher; Reed/Leach; *Russo; Schuller (2); Spies (2); Steinberg, Ma.; Steinberg, Mi. (1); Stockhausen (4); Tovey (1); Turetzky (1); Turetzky (2); Turetzky (3); Walker (1); Watkins; Zukofsky (1). PEDAG: the teaching of music theory. [textbooks not included] Aliferis/Stecklein; Anderson; Ashford; Bakst; Baumgartner (2); Baumgartner (4); Bergsma; Binkerd (1); Boatwright (3); Citkowitz; Clifton (2); Cogan (2); Cone (5); Cone (8); Cone (11); Cookson (1); Cookson (2); Coolidge; Crocker (7); England (2); Eschman (2); Fish; Fitch; Fletcher (1); Fletcher (2); Forte (10); Forte (11); Garland; Gettel; Harder (2); Harder (3); Haydon (1); Hoskins; Imbrie (2); Jones, G. (2); Jones, G. (3); Kassler (9); Kirchner; Kraehenbuehl (2); Kraehenbuehl (3); Kraehenbuehl (4); Kraft (1); Kudlawiec; Kvam (1); Kvam (2); Laszlo (2); Loach (1); Maxson; Melcher; Merritt (1); Moevs (2); Murphy (1); Murphy (2); Novack (2); Ottman (3); Pelz; Persky; Phelps (1); Phelps (2); Philippot (2); Poland (1); Protopopov; Ratner (5); Ratner (6); Ray; Ritchie, T.; Rochberg (5); Roehmann; Rosen, C. (1); Schmidt, L.; Schwartz, E.; Sessions (4); Sherman; Sherman/Hill, R.; Shifrin (1); Silberman; Stevens, H. (1); Stewart; Trotter (1); van Appledorn; Weigel; Weinland; Westergaard (1); Westergaard (7); White, J. PERF: theories of performance practice (especially historical); the role of the performer with respect to musical thought and to improvised music. Aldrich (1); Arnold; Aulabaugh; Babbitt (6); Babitz (1); Babitz (2); Boretz (13); Boretz (16); Boretz (21); Browne (2); Buelow (3); Burge; Burrows (1); Carter (1); Caswell (1); Caswell (2); Caswell (3); Cavell; Chadabe; *Coker, J.; Collins (1); Collins (2); Collins (3); Collins (4); Cone (7); Cooper, K./Zsako; Copland (2);

Page  121 In Theory Only 3/7-11 121 PERF (continued): Coulter; Dolmetsch; Ferand; Finney, R. (3);. Fletcher (2Y; Foss (1); Ghent; Hansell; Haubenstock-Ramati; Heiles; Hein; Hindemith; Hodkinson; Hughes, A.; Jacobi (3); Kagel (2); Keller, He. (1); Keller, He. (2); Krenek (2); Laszlo (2); Lazanas; Levy, B. (1); Ligeti (3); Lundin (1); MacClintock (1); MacClintock (2); McIntyre; Miller, C. (4); Miller, C. (7); Mitchell, W. (1); Neumann, F. (1); Neumann, F. (2); Neumann, F. (3); Newton; Partch (2); Perkins, M.; Pincherle; Pope; Pousseur (3); Powell, N.; Pruett (1); Randall (4); Reaney/Gilles/Maillard; Reilly (1); Reilly (2); Reilly (4); Revitt; Rose; Rosen, C. (1); Schuller (1); Schuller (5); Seay (7); Seay (11); Sessions (1); Sessions (3); Shackford; Shay; Stockhausen (3); Strauss; Stravinsky; Tallmadge; Tischler (9); Vercoe; Waite, R.; Westergaard (1); Williams, P.; Wuorinen (2); Zaripov; Zukofsky (2). PHEN: phenomenological views of music; analyses from that point of view. Asenjo (2); Batstone (2); Carpenter (3); Carpenter (4); Clifton (1); Clifton (6); Hall, R. L.; Kauko; Philippot (1); Pike (1); Pike (2); Pike (3); Pike (4); Pike'(5). PHIL: traditional aesthetic issues, especially the nature of music, the nature of musical representation, and the cognitive basis of musical value judgments and criticism. Albersheim (1); Albersheim (2); Ames; Anthony; Asenjo (1); Attneave; Augst; Babbitt (6); Babbitt (10); Babbitt (14); Bakst; Beardsley; Berleant; Binkley; Blum (2); Blum (3); Boretz (1); Boretz (2); Boretz (3); Boretz (4); Boretz (6); Boretz (7); Boretz (8); Boretz (12); Boretz (13); Boretz (16); Boretz (19); Boretz (21); Boretz (22); Boykan (3); Brelet; Browne (2); Brun (1); Brun (3); Brun (4); Bugg; Burrows (2); Busoni; Cage (1); Cage (3); Carpenter (1); Carpenter (2); Carpenter (3); Carpenter (4); Carter (3); Cary; Cavell; Cazden (2); Cazden (3); Charles; Chavez; Childs (2); Childs (3); Childs (4); Clark, R. C. (1); Clark, R. C. (2); Clarke (2); Clifton (2); Clifton (3); Cohen, J.; Coker, W.; Coleman; Cone (2); Cone (6); Cone (7); Cone (8); Cone (11); Cone (14); Cone (17); Cooke, D.; Copland (1); Copland (2); Copland (3); Cowan; Crocker (5); Crocker (6); Davis, B.; De Selincourt; Dickinson, G. (1); Dickinson, G. (2); Dockstader; Drager; Drew; Edwards, Ar.; Eimert (2); Eimert (5); Epperson; Epstein (2); Farnsworth; Feldman; Felton; Ferguson (1); Ferguson (2); Finney, R. (1); Fletcher (2); Forte (11); Frank; French (2); Gauss (1); Goodman; Gotuski; Greene; Gruneberg; Gurney; Haar; Hall, R. L.; Hall, R. W.; Hansen; Hanslick; Harrell; Hartman; Hein; Helmholtz; Heussenstamm; Higgens; Hiller/Isaacson (1); Hindemith; Horsley (4); Hospers; Hsu; Hutchinson (1); Imbrie (3); Ives (1);

Page  122 Z Z bUDoect inaex (FHIL) PHIL (continued): Ives (2); Johnston (3); Keil; Kivy; Kliewer; Kohut; Kostelanetz (1); Kostelanetz (2); Kraehenbuehl (9); Krenek (2); Krenek (9); Langer (1); Langer (2); Laszlo (1); Laszlo (2); Lenneberg; Lessing; Levy, Ed. (1); Lewin, D. (2); Lewin, D. (6); Lewinski; Lippman (2); Lippman (3); Lippman (6); Lissa (1); Lissa (2); Lissa (3); Loeb; Lundin (1); MacClintock (1); MacClintock (2); McDermott; Mace; Maniates (1); Maniates (2); Marcel; Martin, F. (1); Martin, F. (2); Martini; Merriam; Metzger (1); Meyer, L. (1); Meyer, L. (2); Meyer, L. (3); Meyer, L. (4); Meyer, L. (5); Meyer, L. (6); Meyer, L. (7); Meyer, L. (9); Michell (1); Michell (2); Michell (3); Moles (1); Morgan, D.; Novack (3); Palisca (2); Pallett; Paul (1); Paul (2); Pauly; Philippot (1); Pike (1); Pike (3); Portnoy (1); Pound; Pousseur (3); Pousseur (4); Powell, M. (2); Pratt (1); Pratt (2); Randall (1); Ratner (5); Reynolds, W. (2); Rochberg (5); Roehmann; Rosenman; Rowen; Sadowsky; Schueller (1); Schueller (2); Schwadron (1); Schwejda; Seay (15); Seeger (1); Seeger (2); Seeger (4); Seeger (5); Service; Sessions (1); Sessions (3); Sherburne; Silliman; Slates; Slatin; Smith, C.; Stambaugh; Stambler; Steinberg, Mi. (2); Stevens, H. (1); Stevenson; Stravinsky; Stryker; Stuckenschmidt (3); Supicid; Tallmadge; Taylor, G.; Thomson (2); Tovey (2); Treitler (2); Treitler (3); Treitler (4); Treitler (5); Treitler (6); Velimirovid (1); Vogel; Walker (1); Weber; Webern; Wessel; Willheim; Wolpe; Woodbury; Yasser (1); Zaripov; Zink; Zuckerkandl (1); Zuckerkandl (2). PTONAL: elaborations of 20th-century (non-serial) musical systems; what it is to be "atonal", "non-tonal", or "non-traditionally tonal"; systematic analyses from any of these points of view. Archibald (1); Archibald (2); Asenjo (3); Babbitt (7); Barkin (1); Berger (3); Boretz (2); Boretz (6); Boykan (1); Boykan (3); Boykan (4); Bradshaw; *Brindle (4); Brown, R.; Buchanan; Busoni; Chrisman; *Christ/DeLone/Kliewer/Rowell/Thomson; Clarke (2); Cone (10); Cowell, H.; *Dallin; Donovan; Eschman (1); Finney, R.; Forte (5); Fuller (2); Gaburo (2); Gamer (1); Gamer (2); Hanson, H.; Hensel; Hicken; Imbrie (1); *Jacobs; Jarman (1); *Jones, G. (1); Kohn (1); Kurtz; Lester (2); Lewin, D. (5); *Marquis; Mason, R. (2); *Middleton (1); Mitchell, D.; Moevs (1); Monfred; Myhill; Ogdon (2); Onderdonk; Parish; Perle (6); Perle (11); *Persichetti; Redlich; Reti (3); Rochberg (4); *Salzer (2); Salzman (1); *Searle; Sessions (2); Shallenberg (1); *Siegmeister; Suderburg; Taylor, C.; Teitelbaum (1); Travis (1); Travis (2); Travis (3); Travis (4); Treitler (1); *Ulehla; Vauclain; Webern; Weisgarber; Wilcox; Wilding-White; Winham (1).

Page  123 In Theory Only 3/7-11 123 RHYTHM: analyses of metrical, accentual, or durational rhythms; the dimension of time; the nature of rhythm, accent, or meter. Aldrich (2); Aldrich (3); Anthony; Apel (2); Babbitt (2); Babbitt (12); Backus (2); Batstone (2); Behrman; Binkley; Boretz (4); Boretz (6); Boretz (21); Boulez (2); Boulez (4); Boykan (6); Brelet; Brindle (2); Brown, S.; Bukofzer (2); Carpenter (2); Carter (7); Chavez; Clifton (4); Cohen, J.; *Coker, J.; Collins (1); Collins (2); Collins (3); Collins (4); Cone (1); Cone (6); Cone (7); Cone (9); Cone (16); Cooke, D.; *Cooper, G./Meyer, L.; Copland (1); Copland (2); Coulter; Cowell, H.; Creston; Crocker (3); Dittmer (1); Dittmer (2); Dolmetsch; Drew; Elston (1); Epperson; Erickson, Ra. (3); Erickson, Ro. (2); Fennelly (4); Flindell; Fokker; Forte (11); Friedheim (2); Gettel; Ghent; Gilles/Reaney; Gustin (1); Gustin (2); Gustin (3); Haenselman; Haggh (1); Hanson, J.; Harman; Heiles; Hibbard; Houle; Jarman (2); Jones, J.; Keller, Ha. (1); Keller, He. (1); Klammer; Knapp (1); Koenig (2); Komar (1); Krenek (5); Krueger; LaRue (3); LaRue (4); Laufer; Lester (1); Lewin, D. (7); Lewin, D. (8); Linger; Loach (1); Loeb; Lowinsky (2); Lundin (1); Maddrell (1); Marcel; Marks; Metzger (3); Meyer, L. (1); Miller, C. (3); Miller, C. (4); Miller, C. (5); Miller, C. (7); Miller, H.; Mitchell, W. (6); Morgan, R. (1); Neumann, F. (2); Parrish (2); Perkins, J. (2); Perkins, J. (3); Perkins, M.; Pierce, A.; Pousseur (4); Pousseur (5); Pousseur (6); Powell, N.; Randall (4); Rasch; Reaney/Gilles/Maillard; Reti (3); Reynolds, R. (2); Reynolds, W. (2); Rittenhouse; Sachs; Salzberg; Sanders; Santi; Schachter (2); Schnebel; Seay (13); Sessions (1); Sessions (3); Simon, H./Sumner; Slatin; Smither (1); Smither (2); Spiess (3); Stallings; Stambaugh; Stein, Leona.; Stephan; Stockhausen (3); Stockhausen (4); Stockhausen (5); Stravinsky; Stroh (1); Stuckenschmidt (1); Tischler (9); Tovey (1); Unger; Vanderwerf; Weinberg, H. (2); Werner; Westergaard (1); Westergaard (2); Westergaard (3); Westergaard (6); Winckel (2); Wuorinen (2); Wuorinen (4); Young; Zuckerkandl (1); Zuckerkandl (2). SCHENKER: linear analyses with respect to functional tonality, particularly in the framework of Heinrich Schenker's theoretical system; discussions of Schenkerian systems. Anonymous; Babbitt (10); Batstone (2); Beach (1); Beach (2); Beach (3); Bergquist (1); Boretz (6); Bradshaw; Clifton (1); Cone (9); Forte (2); Forte (9); Forte (11); Hartman; Kassler (6); Kassler (8); Kessler; Komar (1); Komar (2); Krueger; Kudlawiec; Kurtz; Lester (2); Levy, Ed. (2); Lieberman, I.; Mitchell, W. (3); Mitchell, W. (5); Mitchell, W. (11); Mitchell, W. (12); Morgan, R. (1); Neumann, H.; Novack (1); Oster (1); Oster (2); Oster (3); Pierce, A.; Regener (1); Regener (3); Rothgeb (1); Salzer (1); *Salzer (2); *Salzer/Schachter; Schachter (1); Schachter (2); Schachter (3); Schenker (1); Schenker (2); Schenker (3); Silberman; Slatin; Travis (3); Travis (4); Weinberg, H. (2); Wykes; Zuckerkandl (1).

Page  124 124 Subject Index (SERIAL) SERIAL: theories and analyses in terms of ordered sets of pitch-classes/ interval-classes and their permutations. Babbitt (1); Babbitt (4); Babbitt (6); Babbitt (7); Babbitt (9); Babbitt (10); Babbitt (11); Babbitt (12); Bailey; Barkin (1); Barkin (2); Basart; Batstone; Bauer-Mengelberg/Ferentz; Berger (1); Boretz (2); Boretz (5); Boretz (11); Borris; Boulez (4); Boykan (2); Boykan (4); Brindle (2); *Brindle (4); Carter (4); Carter (6); Cheetham; Chernoff; *Christ/DeLone/Kliewer/Rowell/ Thomson; Clarke (1); Clifton (4); Cone (2); Cone (5); Cone (6); Cone (10); Cone (12); Crumb; *Dallin; Edwards, Al.; Eimert (1); Eimert (2); Eimert (4); Eimert (5); Epstein (1); Epstein (2); Evans; Felton; Fennelly (3); Fennelly (4); Finney, R.; Fiore (1); Fokker; Forte (1); *Fotine; Fuller (1); Gaburo (1); Gaburo (2); Gilbert (2); Glasow; Gredinger; Hibbard; Hiller/Fuller; Hitchcock (1); Hodeir (2); Hoffmann, J.; Howe (6); Huff (3); Imbrie (3); Jarman (1); *Jones, G. (1); Kassler (1); Kassler (4); Kassler (7); *Kelly (1); Klammer; Kobrin/Ashford; Koenig (2); Koenig (3); Kohn (1); Kolneder; Krenek (3); Krenek (4); Krenek (5); Krenek (10); Laufer; Lefkoff (1); Lester (1); Levy, Ed. (3); Lewin, D. (3); Lewin, D. (5); Lewin, D. (8); Lewin, D. (9); Lewin, D. (10); Lewin, D. (11); Lewin, D. (12); Lewin, H.; Ligeti (1); Ligeti (2); Loeb; *Marquis; Martino (1); Martino (3); Metzger (3); Nelson, R. (1); Nelson, R. (3); O'Connell; Ogdon (1); Onderdonk; Perle (1); Perle (2); Perle (5); Perle (11); Perle (16); Perle (17); Perle (18); Pike (1); Pike (3); Pousseur (4); Pousseur (5); Randall (2); Redlich; Reti (3); Rochberg (1); Rochberg (2); Rochberg (4); Rogers, J. (2); Rogers, J. (3); Rogers, J./Mitchell, B.; Roller (2); Rothgeb (3); Rothgeb (4); Ruwet; Salzberg; Santi; Saturen; Schubert; Schuller (2); Schwejda; *Searle; Sessions (2); Shallenberg (1); Shifrin (2); Spies (1); Spies (2); Spies (3); Spies (4); Spies (5); Spies (6); Spinner (1); *Spinner (2); Starr; Stephan; Stockhausen (3); Stockhausen (4); Stroh (1); Stuckenschmidt (1); Suderburg; *Ulehla; Unger; Verrall (2); von Lewinski; Ward-Steinman; Watkins; Webern; Weinberg, H. (1); Weinberg, H. (2); Weinberg, H. (3); Westergaard (3); Westergaard (5); Westergaard (6); Whittenberg (5); Winham (1); Winham (2); Winham (3); Wolff (1); Wolpe; Wuorinen (3). SETS: theories and analyses of pitch-collections, irrespective of either functional tonality or ordering. Babbitt (2); Babbitt (9); Babbitt (11); Barkin (1); Berger (3); Boretz (2); Boretz (6); Boretz (21); Boykan (5); Boykan (6); Carter (6); Carter (7); Chrisman; Clifton (4); Clough (1); Clough (4); Eimert (4); Fennelly (4); Forte (1); Forte (5); Forte (8); Forte (12); Forte (13); Forte (14); Gaburo (2); Gilbert (1); Gilbert (2); Hanson, H.; Howe (6); Klammer; Kclneder; Laufer; Lester (1); Levy, Ed. (1); Levy, Ed. (3); Lewin, D. (3); Lewin, D. (4); Lewin, D. (5); Lewin, D. (7); Lewin, D. (11); Lewin, D. (12); Lewin, D. (13); Lewin, H.;

Page  125 In Theory Only 3/7-11 125 SETS (continued): Martino (3); Morgan, R. (2); O'Connell; Parish; Pederson; Perkins, J. (1); Perle (1); Perle (3); Perle (5); Perle (6); Perle (11); Pousseur (6); Randall (2); Rogers, J. (1); Rogers, J. (2); Rogers, J. (3); Rothgeb (3); Sessions (2); Shallenberg (2); Sollberger (2); Spies (2); Stone (1); Teitelbaum (1); Tew; Travis (3); Treitler (1); Westergaard (6); Wilcox; Winham (1); Wittlich (1). SKETCH: theoretical discussions of sketchbooks or autographs; analyses taking into account preliminary versions of a piece. Beach (1); Craft (2); Forte (2); Lockwood (1); Mitchell, W. (2); Neumann, H./Schachter; Sessions (1); Slatin. SOCIOL: studies of music in the context of society or from the point of view of the social sciences; what it is to be a musician (particularly a composer or performer). Babbitt (14); Burge; Carter (4); Carter (5); Carter (7); Chavez; Copland (1); Copland (2); Farnsworth; Finney, R. (3); French (1); Hindemith; Layton; Lewinski; Lundin (1); Maren; Merriam; Meyer, L. (3); Meyer, L. (5); Nettl (2); Portnoy (1); Pousseur (3); Rosen, C. (1); Rosenman; Schuller (2); Seeger (1); Seeger (2); Sessions (1); Sessions (2); Sessions (3); Sollberger (1); Stevens, H. (1); Weber; Wessel; Yarden. STYLE: theories of style and of the nature of stylistic analysis. [not including "stylistic" analyses] Becker; Boretz (6); Boretz (7); Bukofzer (1); Clough (3); Cohen, J.; Cone (7); *Cooper, G.; Crane/Fiehler; Dickinson, G. (3); Gabura (2); Gerdine; *Goldman (1); Haydon (1); Hiller/Baker (3); Huff (2); Jackson (2); Kostka; LaRue (3); LaRue (4); Lefkoff (3); Lippman (3); Lissa (2); Loach (1); Loeb; Lowinsky (2); Mendel (2); Merriam; Meyer, L. (1); Meyer, L. (5); Mitchell, D.; Nettl (2); Newman (3); Pousseur (5); Pruett (2); Reilly (3); Reynolds, W. (2); Salop (1); Schuller (5); Seeger (2); Seeger (5); Sessions (1); Siromoney/Rajagopalan; Teitelbaum (1); Thomson (4); Tischler (9); Treitler (2); Treitler (4); Treitler (6); Wallach; Whittenberg (5); Youngblood (2); Youngblood (3); Zaripov.

Page  126 126 Subject Index (TONAL) TONAL: theories of tonal functions and of the tonal roles of pitches/ pitch-classes in diatonic collections; what it is for a piece to be tonal. Albersheim (2); Babbitt (10); *Baxter; Bergquist (1); Boretz (2); Boretz (6); Bradshaw; Briner; Cazden (3); *Christ/DeLone/Kliewer/ Rowell/Thomson; Clough (3); Cone (2); Cone (5); Cone (10); Cooke, D.; David; England (2); Ferris; Forte (2); Forte (11); *Forte (15); *Friedheim (1); Gabura (2); Gamer (1); Gamer (2); George (1); George (2); Gettel; *Goldman (1); Gruber (2); Gustin (1); Gustin (2); Gustin (3); *Harder (1); Hoppin; Horsley (4); Jacobi (4); *Jacobs; Jacobson; Jesson; Kassler (6); *Kauder; Kerman (1); Komar (1); Kraehenbuehl/Schmidt; Krall/ Liebling; Krueger; Kurtz; Lakner; LaRue (3); Lewin, D. (5); Lewin, D. (11); *Lieberman, M. (2); Lowinsky (4); Mason, R. (1); Mekeel (1); Meyer, L. (1); Mickelson; Mitchell, W. (3); Mitchell, W. (4); Mitchell, W. (9); Mitchell, W. (12); Mitchell, W. (13); Morton, I.; Novack (2); Palmer; *Piston (1); Planchart; *Ratner (3); Reti (3); Reynolds, W. (2); Rogers, H.; *Salzer (2); Salzer (3); *Schoenberg (4); Sessions (4); Shirlaw (1); Shirlaw (2); *Siegmeister; Slatin; Smith, Leo.; *Smits van Waesberghe (2); Suderburg; Thomson (1); Thomson (3); Tovey (1); Travis (3); Travis (4); Treitler (6); Weber; Wilding-White; Winograd; Wise; Youngblood (3); Zuckerkandl (1); Zuckerkandl (2). h* * * * * * ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ah ah ah ah oh la la la la! oh ah! oh ah! a Ina!

Page  127 In Theory Only 3/7-11 127 Part 3: Index of Pieces ANONYMOUS Gregorian chant, "Victimae paschali laudes": Levy, Ed. (1). School of Compostela pieces: *Salzer (2) ["Benedicat ergo"]; Salzer (3) ["Benedicamus", "Benedicamus Domino"] School of St. Martial pieces: *Salzer (2) ["Benedicamus Domino", "Viderunt Hemanuel"]; Salzer (3) ["Congaudet hodie", "Viderunt Hemanuel"]. 13th-century Motets: Levy, Ed. (1) ["Alle, psallite/Alleluya" (Mo #339)1; *Salzer (2) ["Au dous/Biaus/M1anere" (Ba #18), "L'autre jour/ Hier matinet/Omnes" (Ba #40), "Entre/Chief/Aptatur" JBa #24), "O Maria/Audi Pater/Alleluya" (Ba #9), "O Maria/O Maria/ Veritatem", "Quant flourist/Non orphanum/Et gaudebit" (Ba #67), "Qui amours/Li dous penser/Cis a cui" (Ba #54), "Sed hominum/ Qui tocius/Egregie" (Ba #79)1. 13th-century Rondeau, "Amours et ma dame aussi": *Salzer (2). AGRICOLA, ALEXANDER "Ales mon cor" (Chanson, Odhecaton #65): Bergquist (1). AREL, BULENT Electronic Music #1: Teitelbaum (2). Music for a Sacred Service: Teitelbaum (2) "ARON, PIETRO" "Io non posso piu durare" (Frottola): Bergquist (1). BABBITT, MILTON: Boretz (9); Lewin, H. Composition for Four Instruments (1948): Perle (11). Composition for Tenor and Six Instruments (1961): Composition for Twelve Instruments (1948): Bark Philomel (1964): Hollander (1). Steinberg, Mi. (1). in (2); Westergaard (3) Relata I (1965): Babbitt (6). Three Compositions for Piano (1948): Pe-rle (11 ).

Page  128 128 Piece Index (C. P. E. BACH) BACH, C. P. E. Fantasia in Dm (W. 117/15): *Salzer (2). Minuetto in Fm (W.?): *Salzer (2). "Prussian" Sonata in Cm (W. 48/4): *Salzer/Schachter. "Prussian" Sonata in C (W. 48/5): *Salzer/Schachter. "Prussian" Sonata in A (W. 48/6): *Salzer/Schachter. BACH, J. S.: Dickinson, A.; *Mason, N. Aria variata alla maniera italiana, in Am (S. 989): *Salzer (2). Brandenburg Concerto #1, in F (S. 1046): *Salzer (2). Brandenburg Concerto #5, in D (S. 1050): Slatin. Cantata #4, "Christ lag in Todesbanden": Herz. Cantata #23, "Du wahrer Gott und Davids Sohn": *Salzer (2). Chorales: Gettel [#42]; Reynolds, W. [#42]; Rothgeb (5) [#138, 244]; *Salzer (2) [#5, 6, 7, 11, 23, 42, 55, 64, 110, 177, 192, 229, 233, 246, 294, 320, 361, 362, 367; Peters #43, 118]; *Salzer/Schachter [#1, 2, 4, 6, 8, 13, 14, 18, 19, 31, 41, 44, 54, 61, 62, 63, 83, 90, 102, 103, 105, 106, 123, 138, 142, 143, 146, 149, 151, 153, 158, 167, 169, 176, 179, 183, 184, 185, 189, 203, 207, 217, 223, 232, 239, 244, 249, 252, 268, 297, 298, 303, 309, 327, 334, 353; Fig. bass #53] Chromatic Fantasy and Fugue, in Dm (S. 903): Oster (3); Slatin. Concerto, clavier #1, in Dm (S. 1052): Cone (7). Concerto, 2 violins, in Dm (S. 1043): Reynolds, W. (1). French Suite #5, in G (S. 816): *Salzer (2). French Suite #6, in E (S. 817): Slatin. "Goldberg" Variations (S. 988): Pousseur (5); *Salzer/Schachter. Invention #1, in C (S. 772): Restle. Italian Concerto, in F (S. 971): Oster (3). Little Prelude in F (S. 927): *Salzer/Schachter. Little Prelude in Gm (S. 930): *Salzer (2). Little Prelude in Cm (S. 934): *Salzer (2). Mass in Bm (S. 232): Reti (2). OrgelbUchlein, "O Mensch bewein' dein' Sinde gross" (S. 622): *Salzer/ Schachter. Overture (Suite) in F (S. 820): Slatin. Partita #1, in Bb (S. 825): *Salzer (2); *Salzer/Schachter. Partita #5, in G (S. 829): *Salzer (2).

Page  129 In Theory Only 3/7-11 129 BACH, J. S. (continued) Partita #6, in Em (S. 830): *Salzer/Schachter. Partita, violin #1, in Bm (S. 1002): *Salzer/Schachter. Prelude, lute, in Cm (S. 999): *Salzer (2); Slatin. St. John Passion (S. 245): Cone (9); *Salzer/Schachter. St. Matthew Passion (S. 244): Schenker (1). Sonata, violin #3, in C (S. 1005): Slatin. Suite, clavier, in Eb (S. 819): Suite, 'cello #3, in C (S. 1009): WTC I: P & F #1, in C (S. 846): Schenker (1); Slatin. P & F #2, in Cm (S. 847): P & F #3, in C# (S. 848): P & F #5, in D (S. 850): P & F #6, in Dm (S. 851): P & F #7, in Eb (S. 852): P & F #10, in Em (S. 855): P & F #11, in F (S. 856): P & F #21, in Bb (S. 866): P & F #22, in Bbm (S. 867): P & F #23, in B (S. 868): P & F #24, in Bm (S. 869): WTC II: P & F #2, in Cm (S. 871): P & F #7, in Eb (S. 876): P & F #9, in E (S. 878): *Salzer (2). *Salzer/Schachter; Schenker Cone (7); Komar (1); *Salzer (3). (2); Cone (7); *Salzer/Schachter; Slatin; Reynolds, W. (2). *Salzer (2). *Salzer (2). Reynolds, W. (2). *Salzer (2). Reynolds, W. (2); *Salzer/Schachter. Komar (2); *Salzer (2). Slatin. Gettel; Komar (2); Reynolds, W. (2). *Salzer/Schachter. Oster (3). *Salzer (2). *Salzer/Schachter. BARRAQUE, JEAN: BARTOK, BELA: Hodeir (2). Hodeir (2). Allegro barbaro (1911): Austin (1). 14 Bagatelles, Op. 6: Forte (4) [#8] Concerto, piano #3 (1945): *Salzer (2). For Children (1908-10): *Salzer (2) [#32]. Mikrokosmos (1935): Gaburo (2) [#101]; *Salzer (2) [#117]; Travis (4) [#124, 133]; Wittlich (1) [#91, 109]. Music for Strings, Percussion and Celesta (1936): Elston (1). Petite Suite (1936): *Salzer (2).

Page  130 130 Piece Index (BARTOK) BARTOK (continued) Quartet, strings #4 (1928): Binkley; Forte (1); Forte (4); Perle (11); Reti (2); Travis (3); Treitler (1). Quartet, strings #5 (1934): Morgan, R. (1); *Salzer (2). Suite, piano, Op. 14: Chrisman. Ten Easy Pieces, piano (1908): *Salzer (2). BEETHOVEN, LUDWIG VAN: Walk Bagatelle in F, Op. 33/3: * Bagatelle in Gm, Op. 119/1: Bagatelle in Bb, Op. 119/11: er (2). Salzer/Schachter. Oster (3). *Salzer (2); *Salzer/Schachter. Concerto, piano #1, i Concerto, piano #4, i Leonore Overture #3 Quartet, strings, i: Quartet, strings, i: Quartet, strings, i. Quartet, strings, i Quartet, strings, i1 Quartet, strings, i Quartet, strings, i Riseling. Quartet, strings, i Quartet, strings, i Quartet, strings, i Quartet, strings, i n n n n n n n n n n n n.n C, Op. 15: *Salzer/Schachter..n G, Op. 58: *Salzer (2). Op. 72b: Ratner (4). F, Op. 18/1: Ratner (4); Sessions (1). G, Op. 18/2: Schachter (3); Sessions (1). A, Op. 18/5: Mitchell, W. (11); *Salzer (2). Bb, Op. 18/6: Mitchell, W. (11). F, Op. 59/1: Mitchell, W. (11); Ratner (4). C, Op. 59/3: Mitchell, W. (11); Ratner (4). Eb, Op. 127: Mitchell, W. (11); Ratner (4); Bb, Op. 130: C#m, Op. 131: Am, Op. 132: F, Op. 135: G, Op. 129: in A, Op. 69: Ratner (4); Reti (2); Reti (2); Riseling. Misch; Riseling; Ses Reti (2); Riseling; S Reti (2). Lockwood (1). Riseling. sions (1). 'essions (1). Rondo a Sonata, capriccio, ir 'cello/piano, Sonata, piano, in Fm, Op. 2/1: *Salzer/Schachter; Sonata, piano, in A, Op. 2/2: Sonata, piano, in C, Op. 2/3: Sonata, piano, in Eb, Op. 7: Sonata, piano, in Cm, Op. 10/1 Sonata, piano, in F, Op. 10/2: Sonata, piano, in D, Op. 10/3: Sonata, piano, in Cm, Op. 13: *Salzer (2); Slatin Cone (7); Komar (1); *Salzer (2); Silberman. *Salzer (2); Slatin. *Salzer (2). Komar (1).: *Salzer (2); Schenker (2). Schenker (2). *Salzer (2); Slatin. Komar (1); Oster (3); Reti (1); Reti (2);

Page  131 In Theory Only 3/7-11 131 BEETHOVEN (continued) Sonata, Sonata, piano, in E, piano, in G, Schachter; Op. 14/1: Op. 14/2: Slatin. *Salzer (2); *Salzer/Schachter. Reti (2); *Salzer (2); *Salzer/ Sonata, piano, in Bb, Op. 22: *Salzer (2); Slatin. Sonata, piano, in Ab, Op. 26: Oster (3); *Salzer/Schachter; Slati Sonata, piano, in C#m, Op. 27/2: Komar (1); Reti (2) *Salzer (2) Slatin. Sonata, piano, in G, Op. 31/1: *Salzer (2); *Salzer/Schachter. Sonata, piano, in Dm, Op. 31/2: Reti (1). Sonata, piano, in Eb, Op. 31/3: *Salzer (2); *Salzer/Schachter. Sonata, piano, in C, Op. 53: Beach (1); Mintz; Palmer; Ratner (4 Reti (1); Reti (2); *Salzer (2); *Salzer/Schachter. Sonata, piano, in Fm, Op. 57: Reti (1); Reti (2); *Salzer (2). Sonata, piano, in G, Op. 79: *Salzer (2). Sonata, piano, in Eb, Op. 81a: Reti (2); *Salzer (2); Slatin. Sonata, piano, in Em, Op. 90: Bean; Hiller/Bean; *Salzer (2). Sonata, piano, in A, Op. 101: *Salzer/Schachter. Sonata, piano, in Bb, Op. 106: Ratner (4). Sonata, piano, in E, Op. 109: Cone (1); Forte (2); Oster (3); *Salzer (2); Schenker (2). Sonata, piano, in Ab, Op. 110: Loeb; Reti (2); *Salzer/Schachter. Sonata, piano, in CQ, Op. 111: Reti (2). Sonata, violin/piano, in F, Op. 24: Beach (2). Sonata, violin/piano, in A, Op. 47: Reti (1). Sonata, violin/piano, in G, Op. 96: Misch; *Salzer/Schachter. Symphony #1, in C, Op. 21: Reti (2). Symphony #3, in Eb, Op. 55: Beach (2); Epstein (2); Komar (1); M Reti (2); Ringer; Sessions (1); Slatin. Symphony #5, in Cm, Op. 67: Reti (2); Sessions (1); Slatin. Symphony #6, in F, Op. 68: Beach (2). Symphony #7, in A, Op. 92: Reti (2); *Salzer (2). Symphony #8, in F, Op. 93: Boretz (16); *Cooper, G./Meyer, L.; Ratner (4); Walker (1). Symphony #9, in Dm, Op. 125: Reti (2); *Salzer (2). Trio, piano/strings, in Bb, Op. 97: *Salzer/Schachter. in. ) isch; Variations on a Waltz by Diabelli, Op. 120: Misch.

Page  132 132 Piece Index (BERG) BERG, ALBAN: Archibald (1); Hodeir (2); Redlich; Stroh (1). "Altenberg" Lieder, Op. 4: DeVoto (1); DeVoto (2). Concerto, violin (1935): Perle (11). Lulu (1928-34): Jarman (1); Jarman (2); Perle (4); Perle (5); Perle (7); Perle (9); Perle (11). Lyric Suite for string quartet (1926): Parish; Perle (11). 4 Pieces for clarinet and piano, Op. 5: Chrisman; Perle (11). 3 Pieces for orchestra, Op. 6: Archibald (2). Sonata, piano, Op. 1: Bean; Hiller/Bean. 4 Songs, Op. 2: Stuckenschmidt (2). Der Wein (1929): Perle (11). Wozzeck (1914-21): Perle (6); Perle (11). BERGER, ARTHUR Chamber Concerto (1959): Perkins, J. (1). Four Pieces for Piano (1968): Perkins, J. (1). Polyphony for orchestra (1955): Perkins, J. (1). Quartet, strings (1958): Perkins, J. (1); Perle (3). Septet (1966): Stock. Three Pieces for Two Pianos (1961): Perkins, J. (1). BERIO, LUCIANO Nones for orchestra (1954): Quartetto (1955): Santi. Brindle (1); Santi. BERLIOZ, HECTOR Symphonie Fantastique, Op. 14: BERNSTEIN, LEONARD Symphony #3 (Kaddish) (1963): Reti (2). Gottlieb. BINCHOIS, GILLES "Adieu m'amour" (Chanson): *Salzer/Schachter.

Page  133 In Theory Only 3/7-11 133 BINKERD, GORDON Symphony #1 (1955): Cohen, Day. (1). Symphony #2 (1957): Cohen, Day. (1). BIZET, GEORGES Carmen (1875): *Salzer (2). BOULEZ, PIERRE: Boulez (4); Hodeir (2). Le Marteau sans Maitre (1955): Stockhausen (4). Sonata, piano #3 (1957): Boulez (3). BRAHMS, JOHANNES: Walker (2). Capriccio in Dm, Op. 116/7: Oster (3). Concerto, piano #2, in Bb, Op. 83: *Salzer/Schachter. "Feldeinsamkeit", Op. 86/2: *Salzer (2). "Immer leiser wird mein Schlummer", Op. 105/2: Beach (2). Intermezzo in Bb, Op. 76/4: *Salzer/Schachter.Intermezzo in Am, Op. 76/7: *Salzer/Schachter. Intermezzo in C#m, Op. 117/3: *Salzer/Schachter. Intermezzo in A, Op. 118/2: *Salzer (2). Intermezzo in Bm, Op. 119/1: *Salzer (2). "Madchenlied", Op. 107/5: Slatin. /Quartet, piano/strings, in Cm, Op. 60: *Salzer/Schachter. Quintet, strings, in G, Op. 111: *Salzer/Schachter. Rhapsodies, Op. 79: Reti (2). Romanze in F, Op. 118/5: *Salzer/Schachter. Sextet, strings, in G, Op. 36: *Salzer (2). Sonata, piano, in Fm, Op. 5: *Salzer (2). Sonata, violin/piano, in Dm, Op. 108: Fischer, R. Symphony #2, in D, Op. 73: Reti (2); Schachter (3); Slatin; Walker (1). Symphony #3, in F, Op. 90: *Cooper, G./Meyer, L.; *Salzer (2); Sessions (1); Walker (1). Symphony #4, in Em, Op. 98: Boretz (6). Trio, clarinet/piano/violin, in Am, Op. 114: *Salzer/Schachter.

Page  134 134 Piece Index (BRAHMS) BRAHMS (continued) Variations and Fugue on a Theme by Handel, Op. 24: (see also Handel, Suite in Bb (Bell 60/9)] Waltzes, Op. 39: Cone (7); *Salzer (2); Slatin. *Salzer/Schachter. BRUMEL, ANTOINE DE Mater Patris (Motet, Odhecaton #62): Bergquist (1). BYRD, WILLIAM: Andrews. Pavane, The Earle of Salisbury: *Salzer (2). Sacerdotes Domini: *Sal zer (2). "The Woods so Wild" (Virginal Piece): *Salzer/Schachter. CABEZON, ANTONIO DE Tiento, Mode IV: CAGE, JOHN: Ko. HPSCHD (1967-9): Howe 11 (1). stelanetz (1); Maren. Cage/Hiller. CARISSIMI, GIACOMO Mary Stuart (Cantata): *Salzer (2). CARTER, ELLIOTT: Boretz (4); Boretz (9); Boykan (3). Concerto, piano (1967): Boretz (10); Carter (7); Stone (1) Double Concerto, harpsichord/piano (1961): Boretz (4); Carter (7); Steinberg, Mi. (1). Quartet, strings #1 (1951): Carter (6). CHOPIN, FREDERIC: Hu Ballade in Gm, Op. 23: Ballade in F, Op. 38: Etude in Am, Op. 10/2: Etude in E, Op. 10/3: Etude in F, Op. 10/8: tchinson (2). *Salzer/Schachter; Slatin. *Salzer/Schachter. Slatin. Slatin. Schen ker (1).

Page  135 In Theory Only 3/7-11 135 CHOPIN (continued) Etude in Cm, Op. Etude in Em, Op. Etude in Gb, Op. Etude in Am, Op. Etude in Cm, Op. 10/12: 25/5: 25/9: 25/11: 25/12: Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Mazurka Nocturne Nocturne Nocturne Nocturne Nocturne Nocturne in in in in in in in in in in in in in in in in in in in F#m, Op. 6/1: Am, Op. 7/2: Bb, Op. 17/1: Em, Op. 17/2: Am, Op. 17/4: Ab, Op. 24/3: C#m, Op. 30/4: Em, Op. 41/2: Ab, Op. 41/4: Cm, Op. 50/3: Ab, Op. 59/2: Am, Op. 68/2: Fm, Op. 68/4: Eb, Op. 9/2: F#, Op. 15/2: SC#m, Op. 27/1 SDb, Op. 27/2: i B, Op. 32/1: G, Op. 37/2: Oster (2); Schenker (1); Travis (4). *Salzer (2). *Salzer/Schachter. Slatin. *Sal zer/Schachter. *Salzer (2). *Salzer (2). Slatin. *Salzer (2). *Salzer (2); Slatin. *Salzer (2). *Salzer (2). Slatin. *Salzer (2). *Salzer/Schachter. *Salzer (2). *Salzer (2). *Salzer (2). *Salzer (2). Slatin.: Salzer (1); *Salzer (2). *Salzer (2). *Salzer (2). *Salzer (2).: *Salzer (2). Oster (2); Travis (4). '1: *Salzer (2). Cone (7); *Salzer (2). Op. 61: Cone (7); *Salzer (2). Komar (1); *Salzer (2). Meyer, L. (1); Slatin. Slatin. Cone (7). *Cooper, G./Meyer, L. Cone (7). Mason, R. (1). Nocturne in F#m, Op. 48/2 Nocturne in E, Op. 62/2: Polonaise in C#m, Op. 26/ Polonaise in A, Op. 40/1: Polonaise-Fantasie in Ab, Prelude in C, Op. 28/1: Prelude in Am, Op. 28/2: Prelude in G, Op. 28/3: Prelude in A, Op. 28/7: Prelude in Eb, Op. 28/19: Prelude in Cm, Op. 28/20: Prelude in Bb, Op. 28/21:

Page  136 136 Piece Index (CHOPIN) CHOPIN (continued) Prelude in Ab, Op. post.: *Salzer/Schachter. Sonata, piano, in Bbm, Op. 35: Cone (7); Reti (2); *Salzer/Schachter. Sonata, piano, in Bm, Op. 53: Morgan, R. (1). Waltz in Am, Op. 34/2: *Salzer (2). Waltz in C#m, Op. 64/2: *Salzer (2); *Salzer/Schachter. Waltz in Bm, Op. 69/2: *Salzer (2). CLEMENTI, MUZIO Sonata, piano, in Gm, Op. 7/3: Ringer. Sonatina, piano, in G, Op. 36/2: *Salzer (2). CLEREAU, PIERRE Missa In me transierunt: *Salzer (2). COMPERE, LOYSET Missa Allez regrets: Novack (1) CONE, EDWARD T. Sextet, strings (1966): Morgan, R. (2) COPLAND, AARON: Boretz (11); Cone (4). Appalachian Spring (1944-5): *Salzer (2). Connotations for Orchestra (1962): Evans. Four Piano Blues (1948): Forte (4) [#3] Nonet, strings (1960): Des Marais; Salzman (1). Piano Fantasy (1957): Berger (1). Sonata, p.tano (1941): *Salzer (2). Suite from Our Town (1940): *Salzer (2). COUPERIN, FRANqOIS Ordre #1, in Gm (1713): *Salzer/Schachter ["La Milordine"]. Ordre #3, in Cm (1713): *Salzer (2) ["La Favorite"] Ordre #5, in A (1713): *Salzer (2) ["La Bandoline"]; *Salzer/ Schachter ("Les Agremens"].

Page  137 In Theory Only 3/7-11 137 COUPERIN (continued) Ordre #6, in Bb (1717): Misterieuses"]. Ordre #8, in Bm (1717): *Salzer/Schachter ["Les Baricades *Salzer/Schachter. CRUMB, GEORGE Night Music I (1963): Lewis (1). DAHL, INGOLF Trio, piano/strings (1962): DALLAPICCOLA, LUIGI Kohn (1). Concerto per la Notte di Natale dell'anno 1956 (1957): Dialoghi for 'cello and orchestra (1960): Perkins, J. Requiescant for chorus and orchestra (1958): Perkins, DAVIDOVSKY, MARIO Contrastes #1 (1962): Wuorinen (1). Electronic Study #2 (1962): Teitelbaum (2). DEBUSSY, CLAUDE Perkins, J. (1). (1). J. (1). Jeux (1912): Eimert (3). Prelude 2 l'Aprbs-midi d'un faune (1894): Thomson (4). Austin (2); *Salzer (2); Preludes I (1910): "Voiles" (#2): Perle (11). "Des Pas sur la neige" (#6): *C "La Cathedrale engloutie" (#10): Reti (2). Preludes II (1913): "Bruy;res" (#5): *Salzer (2). Six Epigraphes antiques (1914): Stuckenschmidt (2). Sonata, 'cello/piano (1915): Moevs (1). Syrinx (1912): Austin (1)..ooper, G./Meyer, L. Forte (11); DODGE, CHARLES Changes: Dodge.

Page  138 138 Piece Index (DOWLAND) DOWLAND, JOHN "What if I never speed" (Ayre): *Salzer (2). DUFAY, GUILLAUME "Adieu m'amour" (Rondeau): *Salzer (2). Missa Se la face ay pale: Salop (2). Rite maiorem Jocobem (Motet): Brown, S. Salva nos Domine (Motet): Reti (2). DUNSTABLE, JOHN "Puisque m'amour" (Chanson): Sub tuam protectionem (Motet): *Salzer (2). *Salzer (2). ELLINGTON, DUKE: ELSTON, ARNOLD Schuller (5). Quartet, strings (1961): Sweeney Agonistes (1956?): Lewin, D. (1). Imbrie (1). ERICKSON, ROBERT Chamber Concerto: Erickson, Ro. (2). Concerto, piano (1963): Shallenberg (2). Duo for violin and piano: Erickson, Ro. (2). FARNABY, GILES "A Toye" (Virginal Piece): *Salzer (2). FAURE, GABRIEL "Apres un reve", Op. 7/1: *Salzer/Schachter. "Les Berceaux", Op. 23/1: *Salzer/Schachter. "Inscription sur le sable", Op. 106/8: Kurtz. "Les Presents", Op. 46/1: Kurtz. "Puisque l'aube grandit", Op. 61/2: Kurtz. "Soir", Op. 83/2: Kurtz.

Page  139 In Theory Only 3/7-11 139 FEVIN, ANTOINE DE Missa Mente tota: *Sal zer/Schachter. FINE, IRVING Symphony (1962): Boykan (2); Epstein (1 FINNEY, ROSS LEE Quartet, strings #6 (1957?): Onderdonk. Quintet, strings (1958): Finney, R. (1). Symphony #3 (1960): Onderdonk. FOGLIANO, GIACOMO "Ave Maria" (Lauda): *Salzer (2). FOSS, LUKAS Echoi (1963): Foss (2). FRANCK, CESAR Prelude, Aria et Final, piano (1887): *S FRESCOBALDI, GIROLAMO Corrente: *Salzer (2). "La Frescobalda": *Salzer (2). FREYLINGHAUSEN, JOHANN "Lobe den Herren" (Figured-bass Chorale): FROBE RGER, JOHANN Suite "Auf die Mayerin": *Salzer (2). GASTOLDI, GIOVANNI "Speme amorosa" (Balletto): *Salzer (2). ). alzer (2). *Salzer/Schachter.

Page  140 140 Piece Index (GESUALDO) GESUALDO, DON CARLO: Marshall, G. "Io pur respiro" (Madrigal, 6th book): *Salzer (2). GIBBONS, ORLANDO Pavane, Lord Salisbury: "The Oueene's Command": *Salzer/Schachter. *Salzer (2). HALLE, ADAM DE LA "Tant con je vivrai" (Rondeau): *Salzer (2). HANDEL, GEORGE FREDERICK Chaconne in Gm (Bell 175/36): *Salzer/Schachter. Chaconne and Variations in G (Bell 60/17): *Salzer/Schachter. Sonata, violin/clavier, in D, Op. 1/13 (Bell 67/13): *Salzer/Schachter. Suite in Dm (Bell 60/3): *Salzer (2). Suite in E (Bell 60/5): *Salzer/Schachter. Suite in F (Bell 60/8): Slatin. Suite in Bb (Bell 60/9): Forte (11) ["Air et Variations"] Suite in G (Bell 60/16): *Salzer (2). HAYDN, FRANZ JOSEPH: Wolf. Andante and Variations in Fm (H. XVII/6): The Creation (H. XXI/2): Slatin. Slatin. "Das Kaiserlied" (H. XXVIa/43): Slatin. Quartet, strings, in Cm, Op. 17/4 (H. 111/28): *Salzer/Schachter. Quartet, strings, in Fm, Op. 20/5 (H. 111/35): *Salzer (2). Quartet, strings, in G, Op. 54/2 (H. III/58): Cone (12). Quartet, strings, in G, Op. 76/1 (H. 111/75): *Salzer (2). Quartet, strings, in Bb, Op. 76/4 (H. 111/78): *Salzer (2). "St. Anthony" Chorale (from Feldpartita/Divertimento #1 in Bb): Slatin. Sonata, piano, in D (H. XVI/19): *Salzer (2). Sonata, piano, in C (H. XVI/21): *Salzer (2). Sonata, piano, in G (H. XVI/27): *Salzer (2). Sonata, piano, in F (H. XVI/29): *Salzer (2). Sonata, piano, in Em (H. XVI/34): Cone (7).

Page  141 In Theory Only 3/7-11 141 HAYDN (continued) Sonata, piano, in C (H. XVI/35): Sonata, piano, in G (H. XVI/40): Sonata, piano, in Gm (H. XVI/44): Schenker (2); Slatin. Sonata, piano, in Ab (H. XVI/46): *Salzer (2). *Salzer/Schachter. *Salzer (2); *Salzer/Schachter; Meyer, L. (1). *Salzer/Schachter. Sonata, piano, in F Sonata, piano, in Eb Sonata, piano, in D Sonata, piano, in Eb Symphony #83, in Gm: Symphony #94, in G: Symphony #100, in G: Symphony #103, in Eb Symphony #104, in D: Trio, piano/strings, Trio, piano/strings, (H. XVI/47): (H. XVI/49): Cone (7); Schenker (1); Slatin. (H. XVI/51): *Salzer/Schachter. (H. XVI/52): *Salzer (2). LaRue (6). Grimm; Marco (1). *Salzer (2).: Reti (2). Morgan, R. (1); *Salzer (2); Slatin. in C (H. XV/27): *Salzer/Schachter. in Eb (H. XV/29): *Salzer/Schachter. HINDEMITH, PAUL: Boretz (14); Hensel. Ludus Tonalis (1942): Forte (4) [Fugue #11 in B]; *Salzer (2) [Interludium]; Tischler (4). Quartet, strings #2, in C, Op. 16: Kostka. Quartet, strings #3, Op. 22: Kostka. Quartet, strings #5, in Eb (1943): Kostka. Quartet, strings #6 (1945): Kostka. Sonata, piano #1, in A (1936): *Salzer (2). Sonata, piano #2, in G (1936): Bean; Hiller/Bean; *Salzer (2). Sonata, piano #3, in Bb (1936): *Salzer (2). Symphony Mathis der Maler (1934): Meyer, L. (1). IMBRIE, ANDREW Quartet, strings #3 (1957): Boykan (1). ISAAC, HEINRICH Choralis Constantinus: *Salzer/Schachter. Missa Carminum: Novack (1); *Salzer (2).

Page  142 142 Piece Index (IVES) IVES, CHARLES: Carter (1); Carter (6). "From Paracelsus" (Song): Cowell, I./Coweil, S. Sonata, piano #1 (1909): Marshall, D. Sonata, piano #2 (1909-15): Cowell, H./Cowell, S.; Ives (1); Ives (2). JOHNSON, JAMES P.: Schuller (5). JOHNSTON, BEN Quartet, strings #2: Johnston (3). Quintet for Groups (1966): Childs (3). JOSQUIN DES PRES Ave Maria (Motet): *Salzer (2). In illo tempore assumpsit Jesus duodecir discipulos (Motet): Novack (1). Miserere mel, Deus (Motet): Novack (1). Missa Mater Patris: Novack (1). Missa Pange Lingua: Novack (1). o admlrabiie commerclum (Motet): Bergquist (1). o Domine Jesu Christe (Motet): *Saizer (2). Sancti Del omnes (Motet): Novack (1). Tu pauperum refugium (Motet): *Salzer (2); *Salzer/Schachter. KIRCHNER, LEON Quartet, strings #3 (1966) KLEBE, GISELHER Stock. Elegla Appasslonata for piano trio, Op. 22: Quartet, strings, Op. 9: von Lewinski. von Lewinski. KOHN, IKARL Concerto Mutabile for piano and orchestra: oliveros.

Page  143 In Theory Only 3/7-11 143 KRENEK, ERNST: Krenek (1). Lamentatio Jeremiae Prophetae, Op. 93: Krenek (5). Sestina for soprano and ten players (1957): Krenek (3). Spiritus Intelligentiae Sanctus (Oratorio for voices and electronic sounds, 1959): Krenek (3). Suite for violoncello solo, Op. 84: Perle (11). Symphonic Elegy for strings (1946): Ogdon (1). LANDINI, FRANCESCO: Schachter (2). "L'alma mie piange" (Ballata): Schachter (2). "Amor c'al tuo sugetto" (Ballata): Schachter (2). "Divennon gli ochi" (Ballata): Schachter (2). "Ecco la primavera" (Ballata): Schachter (2). "Gientil aspetto" (Ballata): Schachter (2). LASSUS, ORLANDO "Bonjour, mon coeur" (Chanson): *Salzer/Schachter. Prophetiae Sibyllarum: Mitchell, W. (3). Recordare Jesu pie (Motet): *Salzer (2). LAYTON, BILLY JIM Dance Fantasy, Op. 7: LEIBOWITZ, RENE Browne (1). Quartet, strings #3 (1952): Ogdon (1). ILEONINUS: Erickson, Ra. (3). "Alleluia Pascha": *Salzer (2). "Gaude Maria": Salzer (3). "Hec Dies": Salzer (3) "Judea et Jerusalem": Salzer (3). LEWIN, DAVID Classical Variations on a Theme by Schoenberg for 'cello and piano (1960): Levy, B. (2); Lewin, D. (9).

Page  144 144 Piece Index (LEWIN) LEWIN (continued) Five Uncharacteristic Pieces for Two Pianos (1964): Lewin, D. (9). LISZT, FRANZ Consolation #3, in Db (1850): Lewin, D. (11). Liebestraum #3, in Ab (1850): *Salzer (2). Les Preludes (1856): Reti (2). LOGAN, WENDELL Proportions (1968): LUTOSLAWSKI, WITOLD Wilson. Symphony #2 (1967): Lutoslawski.?ACHAUT, GUILLAUME DE: Wykes. "Dame mon cuer emportes" (Virelai): *Salzer (2). "Dame, se vous n'avez aperceu" (Rondeau): *Salzer (2). "De tout sui si confortee" (Virelai): *Salzer (2). "Donnez, signeurs" (Ballade): *Salzer (2). "On ne porroit penser" (Ballade): *Salzer (2). "Plus dure que un dyamant" (Virelai): *Salzer (2). MADERNA, BRUNO Serenade for 11 instruments (1954, rvsd. 1957): Manzoni. String Quartet in Two Tempi (1955): Manzoni. MAHLER, GUSTAV Kindertotenlieder (1902): *Salzer (2). Das Lied von der Erde (1908): *Salzer (2). Symphony #6, in Am (1904): Morgan, R. (1). MARENZIO, LUCA "Io piango" (Madrigal, 2nd book): *Salzer (2).

Page  145 In Theory Only 3/7-11 145 MARTINO, DONALD. Parisonatino al'Dodecafonia for violoncello solo (1964): Trio, viol in/c larinet/piano (1959): Weinberg, H. (1). IMARTIN6, BOHUSLAV Fennelly (3). Sonata, 'cello/piano #2 (1940): Sonata, violin/piano #2 (1933): MATTHESON, JOHANN *Salzer (2). *Salzer (2). Minuet in Gm: MELBY, JOHN *Salzer/Schachter. Quartet, strings #2: Warfield. MENDELSSOHN, FELIX A Midsummer Night's Dream, Overture in E, Op. 21: *Salzer (2). Quartet, strings, in D, Op. 44/3: *Salzer/Schachter. Quartet, strings, in Em, Op. 44/4: Oster (3). Sonata, piano, in E, Op. 6: *Salzer/Schachter. Song without Words, in G, Op. 62/1: *Salzer (2). Song without Words, in F, Op. 85/1: *Salzer/Schachter. Song without Words, in D, Op. 85/4: *Salzer (2). Song without Words, in D, Op. 102/2: *Salzer/Schachter. Symphony #3, in Am, Op. 56: Slatin. Variations serieuses, in Dn, Op. 54: Anonymous. MESSIAEN, OLIVIER: Hodeir (2). MILHAUD, DARIUS Une Journ e, piano suite (1946): Forte (4) ("Midi"f]. MONTEVERDI, CLAUDIO "E cosi A poco h poco" (Madrigal, 5th book, 1605): "Era l'anima mia" (Madrigal, 5th book, 1605): S1 *Salzer/Schachter. atin.

Page  146 146 Piece Index (MONTEVERDI) MONTEVERDI (continued) "Lasciatemi morire" ("Lamento d'Arianna") (Madrigal, 6th book, 1614): *Salzer (2); Westergaard (5). Mass in Gm (1651): Brindle (3). "Si ch'io vorrei morire" ("0 Jesu mea vita") (Madrigal, 4th book, 1603): *Salzer/Schachter. MORTON, JELLY ROLL: Schuller (5). MORYL, RICHARD Multiples for chamber orchestra (1968): Whittenberg (1). MOSS, LAWRENCE Three Rilke Songs from "Das Stundenbuch" (1963): Barkin (1). MOUSSORGSKY, MODEST Pictures from an Exhibition: MOZART, WOLFGANG AMADEUS: Walker (2). *Salzer (2). David; Lowinsky (2); Tischler (5); Ave, verum corpus (Motet, K. 618): Komar (1); *Salzer/Schachter. Concerto, piano, in Bb (K. 450): *Salzer/Schachter. Concerto, piano, in G (K. 453): Walker (1). Concerto, piano, in C (K. 467): *Salzer/Schachter. Concerto, piano, in Cm (K. 491): Walker (1). Concerto, piano, in C (K. 503): Keller, Ha. (2). Don Giovanni (K. 527): *Salzer (2). Fantasy in Cm (K. 396): *Salzer/Schachter. Fantasy in Dm (K. 397): *Salzer (2). Fantasy in Cm (K. 475): *Salzer (2). Fantasy and Fugue in C (K. 394): *Salzer (2). The Magic Flute (K. 620): Oster (2); *Salzer (2); *Salzer/Schachter; Travis (4). The Marriage of Figaro (K. 492): Komar (1). Mass in Cm (K. 427): *Salzer/Schachter. Minuet in D (K. 355/594a): Boatwright (1); Jackson (1); Oster (1).

Page  147 In Theory Only 3/7-11 147 MOZART (continued) Overture in the style of Handel, piano suite (K. 399): *Sal zer/Schachter. *Salzer (2); Quartet, piano/strings, in Gm (K. 478): Cone (16); Mitchell, W. (6); Westergaard (2). Quartet, strings, in G (K. 387): Keller, Ha. (1). Quartet, strings, in Dm (K. 421/417b): Keller, Ha. (1) Quartet, strings, in Eb (K. 428): Keller, Ha. (1); *S. Quartet, strings, in A (K. 464): Keller, Ha. (1). Quartet, strings, in C (K. 465): Keller, Ha. (1). Rondo in F (K. 494) [see also Sonata in F (K. 533/494)]: Schachter; *Salzer (2). Rondo in Am (K. 511): *Salzer (2).; Mitchell, W. (2). alzer/Schachter. Neumann, H./ Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Sonata, piano, in Clifton Sonata, piano, in *Salzer Sonata, piano, in C (K. 279): F (K. 280): G (K. 283): D (K. 284): Am (K. 310): D (K. 311): A (K. 331): F (K. 332): Bb (K. 333): Cm (K. 457): F (K. 533/494) (1). C (K. 545): (2); Slatin. Bb (K. 570): Clifton (1); *Salzer *Salzer (2). Clifton (1); *Salzer Clifton (1). Cone (7); Slatin. *Salzer (2). Cone (7); *Salzer (2) LaRue (3); Slatin. Oster (2). *Salzer (2). (2). (2). Slatin. [see also Rondo in F (K. 494)]: Bean; Clifton (1); Hiller/Bean; Clifton (1); *Salzer/Schachter. Oster (3); *Salzer (2); *Salzer/ Sonata, piano, in D (K. 576): Schachter. Sonata, violin/piano, in Eb (K. 481): *Salzer/Schachter. Sonata, violin/piano, in A (K. 526): Oster (3). Symphony #36, in C (K. 425): Slatin. Symphony #39, in Eb (K. 543): Slatin. Symphony #40, in Gm (K. 550): Cooke, D.; Heuss; Jalowetz; Reti (2); Slatin. Symphony #41, in C (K. 551): Reti (2). Trio, clarinet/viola/piano, in Eb (K. 498): *Salzer (2). 9 Variations on Lison dormait (K. 264): *Salzer/Schachter.

Page  148 148 Piece Index (NONO) NONO, LUIGI Il canto sospeso for soloists, chorus, and orchestra (1956): Stockhausen (4); Unger. Polifonica-Monodia-Ritmica for 7 players (1951): Unger. OBRECHT, JACOB Missa Fortuna desperata: Salop (2). Missa Je ne demande: *Salzer (2). OCKEGHEM, JOHANNES Missa De plus en plus: Salop (2). Missa prolationem: *Salzer/Schachter. OLIVER, HAROLD Three Songs for Tenor and Piano: Warfield. OLIVEROS, PAULINE Trio, flute/piano/page-turner (1961): Subotnick. PALESTRINA, GIOVANNI Missa Iste Confessor: Reti (2). Missa Papae Marcelli: Reti (2). Missa Veni Sponsa Christi: *Salzer/Schachter. Salvator mundi salva nos (Motet): *Salzer/Schachter. PARTCH, HARRY "Petals": Friedman. PEERSON, MARTIN "The Primerose": *Salzer (2). Brindle (2); PERKINS, JOHN M. Quintet Variations: Spies (2)

Page  149 In Theory Only 3/7-11 149 PERLE, GEORGE Quintet, strings (1958): Moss (2) Three Inventions for piano (1957): Three Movements for orchestra (1960): Perle (11); Weinberg, H. (3). Weinberg, H. (3). PEROTINUS "Alleluia nativitas": *Salzer (2). "Alleluyia posui": Salzer (3). "Salvatoris hodie": Salzer (3). "PEROTINUS" (in the style of) "Hec dies": *Salzer (2); Salzer (3). PETRASSI, GOFFREDO Concerto for orchestra #5 (1955): Gaburo PISTON, WALTER: Westergaard (1). Concerto, violin (1939): Taylor, C. Partita for violin, viola and organ (1944): Symphony #7 (1960): Taylor, C. POUSSEUR, HENRI (1). Taylor, C. Impromptu for piano (1956): Pousseur (4). Quintette a la m&morie de Webern: Koenig (3); Pousseur (4). Symphonies a quinze solistes: Koenig (3). Variations I for piano (1956): Pousseur (4). Variations II for piano (1956): Pousseur (4). POWELL, MEL Haiku Settings (1960): Sollberger (2). PROKOFIEV, SERGEI Gavotte for piano, Op. 77/4: *Salzer (2). Sonata, piano #3, in Am, Op. 28: *Salzer (2).

Page  150 150 Piece Index (PROKOFIEV) PROKOFIEV (continued) Sonata, piano #8, Op. 84: PURCELL, HENRY Dido and Aeneas (1689): RAMEAU, JEAN-PHILIPPE Castor et Pollux (1737): *Salzer (2). Cogan (1); *Salzer (2); *Salzer/Schachter. *Salzer (2). RANDALL, J. K. Demonstration IV for flute, clarinet, 'cello and piano: Swift (1). RAVEL, MAURICE: Hopkins. Jeux d'eau (1901): *Salzer (2). Sonatine for piano (1905): *Salzer (2). Le Tombeau de Couperin (1917): *Salzer (2) ["Rigaudon"]. ROSLAVETZ, NICHOLAI Trois Compositions: Perle (11). RUGGLES, CARL: Boretz (15); Kirkpatrick. Evocations for piano (1945, rvsd. 1954): Gilbert (2). SCARLATTI, DOMENICO Sonata in Dm (K. 9, L. 413): Sonata in F (K. 44, L. 432): Sonata in Em (K. 394, L. 275): Sonata in G (K. 523, L. 490): *Salzer (2). *Salzer/Schachter. *Salzer/Schachter. *Salzer (2). SCHOENBERG, ARNOLD: Barkin (4); Clifton (3); Cone (5); Friedheim (3); Hodeir (2); Nelson, R. (1); Schuller (3); Weinberg, H. (2) Das Buch der h'ngenden Garten, Op. 15: Babbitt (8); Boretz (6) [#1]; Stroh (2) [#14]; Teitelbaum (1) (#1] Concerto, piano, Op. 42: Perle (11).

Page  151 In Theory Only 3/7-11 151 SCHOENBERG (continued) Concerto, violin, Op. 36: Babbitt (1); Lewin, D. (9); Lewin, D. (12); Perle (2); Perle (11); Shallenberg (1); Suderberg. De Profundis for chorus, Op. 50b: Rochberg (1). Dreimal Tausend Jahre for chorus, Op. 50a: Spies (1). Erwartung, Op. 17: Boretz (24); Buchanan; Friedheim (2); Perle (11); Suderberg. Fantasy, violin/piano, Op. 47: Babbitt (9); Forte (4); Lewin, D. (11); Lewin, D. (12). Die glUckliche Hand, Op. 18: Friedheim (2). Herzgewachse, Op. 20: Friedheim (2). 3 Klavierstucke, Op. 11: Cone (18) [#1]; Friedheim (2) [#2, 3]; Perle (11) [#1, 3]; Wittlich (1) [#1]. 5 Klavierstucke, Op. 23: Perle (11) [#1, 2, 3, 4] Klavierstuck, Op. 33a: Cone (1); Cone (2); Ogdon (1); Perle (11). Klavierstuck, Op. 33b: Perle (11). 6 Kleine Klavierstucke, Op. 19: *Cooper, G./Meyer, L. [#4]; Forte (5); Goode (1) [#2]; Perle (11) [#1, 2, 3]; Teitelbaum (1); Travis (1) [#2]; Travis (5) [#2); Westergaard (5) [#4]. Kol Nidre for speaker, chorus and orchestra, Op. 39: Spies (3). Moses und Aron: Babbitt (4); Lewin, D. (5); Lewin, D. (8); Wbrner. Ode to Napoleon for piano, strings and narrator, Op. 41: Perle (11). 5 Pieces for Orchestra, Op. 16: Craft (1); Friedheim (2) [#1]. Pierrot Lunaire, Op. 21: Friedheim (2); Lewin, D. (5) [#14]; Perle (8); Perle (11). Quartet, strings #3, Op. 30: Glasow; Lewin, D. (5); Morgan, R. (1); Perle (11). Quartet, strings #4, Op. 37: Babbitt (9); Lewin, D. (9); Lewin, D. (10); Lewin, D. (12); Perle (11); Westergaard (5). Quintet for winds, Op. 26: Perle (11). Serenade, Op. 24: Lester (1); Lester (2); Lewin, D. (5); Perle (11). Sonata for organ (unpub.?): Watkins. 8 Songs, Op. 6: Buchanan [#6, "Am Wegrand"]. 3 Songs, Op. 48: Perle (11); Shallenberg (1). 4 Songs with orchestra, Op. 22: Schoenberg (1). Suite for piano, Op. 25: Lewin, D. (12); Shallenberg (1). A Survivor from Warsaw for narrator, chorus and orchestra, Op. 46: Lewin, H.; Perle (11). Trio, strings, Op. 45: Perle (11l); Rochberg (1). Variations for Orchestra, Op. 31: Hicken; Perle (11).

Page  152 152 Piece Index (SCHOENBERG) SCHOENBERG (continued) Variations on a Recitative for organ, Op. 40: Watkins. SCHUBERT, FRANZ Divertissement 2 la hongroise, Op. 54 (D. 818): Slatin. "Erlkinig" (1815, D. 328): Zuckerkandl (1). German Dances, Op. 33 (D. 783): *Salzer (2) [#7 in Bb]. Impromptus, Op. 90 (D. 899): Reti (2) [#4 in Ab]; *Salzer (2) [#2 in Eb] Mass in Eb (D. 950): *Salzer/Schachter. Moment musical in C, Op. 94/1 (D. 780/1): Hughes, M.; Moss (1); Rothgeb (1); Schachter (1); Schachter (3). Moment musical in Ab, Op. 94/2 (D. 780/2): *Salzer (2). Quartet, strings, in Am, Op. 29 (D. 804): Oster (3). Quintet, strings, in C, Op. 163 (D. 956): Walker (1). Die schone MUllerin, Op. 25 (D. 795): *Salzer (2) [#10 "Thranenregen"; #12 "Pause"]; Zuckerkandl (1) [#19 "Der MUller und der Bach"] Schwanengesang (D. 957): *Salzer (2) [#1 "Liebesbotschaft"]. Sonata, piano, in D, Op. 53 (D. 850): *Salzer (2); *Salzer/Schachter. Sonata (Fantasia), piano, in G, Op. 78 (D. 894): *Salzer (2). Sonata, piano, in Cm (D. 958): *Salzer (2). Sonata, piano, in Bb (D. 960): *Salzer (2); *Salzer/Schachter. Symphony in Bm ("Unfinished", D. 759): Chusid; *Salzer (2). Symphony in C (D. 944): *Salzer/Schachter. Trio, piano/strings #1, in Bb, Op. 99 (D. 898): *Salzer (2). Valses nobles, Op. 77 (D. 969): *Salzer (2) [#10 in F]; Slatin [#1 in C; #5 in Am]. Waltzes, Op. 127 (D. 146): *Salzer (2) [#3 in E]. Waltzes, Op. 9 (D. 365): *Salzer (2) [#8 in Ab]. Waltzes, Landler, and Ecossaises, Op. 18 (D. 145): *Salzer (2) [W#6 in Bm; W#10 in Bm; L#2 in Eb]. "Wanderer" Fantasy, Op. 15 (D. 760): Reti (2). Winterreise, Op. 89 (D. 911): Greene; *Salzer (2) [#15 "Die Krahe"; #19 "Thuschung"]; Slatin [#7 "Auf dem Flusse"]. SCHULLER, GUNTHER Symphony (1965): Schuller (2)..

Page  153 In Theory Only 3/7-11 153 SCHUMANN, ROBERT Album for the Young, Op. 68: *Salzer (2) [#1 "Melodie"; #5 "Stickchen". Albumblatter, Op. 124: *Salzer (2) [#5 "Fantasietanz"; #10 "Walzer"; #16 "Schlummerlied"]; *Salzer/Schachter [#4 "Walzer"]. "Auf dem Rhein", Op. 51/4: *Salzer (2). Bunte Bldtter, Op. 99: *Salzer (2) [#4 "Albumblatt #1"] Concerto, piano, in Am, Op. 54: Reti (2); *Salzer (2). Dichterliebe, Op. 48: Forte (11) [#2 "Aus meinen Tranen spriessen"]; *Salzer (2) [#5 "Ich will meine Seele tauchen"]; Slatin [#2; #4 "Wenn ich in deine Augen seh'"]. Kinderscenen, Op. 15: Reti (2); Slatin [#9 "Ritter von Steckenpferd"]. Kreisleriana, Op. 16: *Salzer (2); *Salzer/Schachter. Liederkreis, Op. 39: *Salzer/Schachter [#1 "In der Fremde"; #7 "Auf einer Burg"]. Novelletten, Op. 21: *Salzer (2) [#2 in D; #8 in F#m] Quintet, piano/strings, in Eb, Op. 44: *Salzer (2). 3 Romances, Op. 28: *Salzer (2) [#1 in Bbm] Symphony #1, in Bb, Op. 38: Reti (2). Symphony #2, in C, Op. 61: Nelson, Pa. Waldscenen, Op. 82: *Salzer (2) [#6 "Herberge"]. SCRIABIN, ALEXANDER: Cheetham. Prelude, Op. 39/2: *Salzer/Schachter. Prelude, Op. 74/4: Chrisman; Tew. Quasi Valse, Op. 47: Jackson (2). Sonata, piano #7, Op. 64: Perle (11); Wittlich (1). SELLECK, JOHN Four Songs of Love and Death: Warfield. SESSIONS, ROGER: Cone (5). Concerto, piano (1956): Boretz (5). Concerto, violin (1935): Carter (2); Imbrie (3). From My Diary, piano (1940): Cone (1) [#2); Forte (4) [#3] Montezuma (1963): Laufer. On the Beach of Fontana (1929): Cogan (1). Quintet, strings (1958): Imbrie (3).

Page  154 154 Piece Index (SESSIONS) SESSIONS (continued) Sonata, piano #1 (1930): Sessions (1). Symphony #4 (1958) Boretz (5). SHIFRIN, SEYMOUR Quartet, strings #2 (1962): Lewin, D. (1). Satires of Circumstance (1966): Boykan (5). SHOSTAKOVICH, DMITRI Symphony #5, Op. 47: Mitchell, W. (8). SPIES, CLAUDIO Tempi for 14 instruments (1962): Martino (1). STOCKHAUSEN, KARLHEINZ: Wuorinen (4) Gesang der Jiunglinge (1955-6): Stockhausen (4). Klavierstuck III (1952-3): Schnebel. Kontakte (1959-60): Stockhausen (2) Momente (1962-4): McElheran. STRAUSS, RICHARD: Adorn mo. Ariadne auf Naxos (1912): *Salzer (2) Don Juan, Op. 20: *Salzer (2). Till Eulenspiegels lustige Streiche, Op. 28: Schachter. Tod und Verklarung, Op. 24: Morgan, R. (1). Reti (2); *Salzer/ STRAVINSKY, IGOR: Cone (20); Druckman; Hodeir (2); White, E. Abraham and Isaac (1962-3): Boretz (17); Spies (4) Agon (1953-7): Berger (3); Morton, L. (1); Ward-Steinman. Le Baiser de la f~e (1928): Morton, L. (2). Cantata (1951-2): Babbitt (7); Perle (11); Ward-Steinman. Canticum Sacrum... (1955): Babbitt (7); Gaburo (2); Ward-Steinman; Weissman. Les Cing Doigts (1921): Forte (4) [Larghetto].

Page  155 In Theory Only 3/7-11 155 Concerto for piano and winds (1923-4): Huff (2). Danses Concertantes (1942): Nelson, R. (2). Double Canon for string quartet (1960): Ward-Steinman. "Dumbarton Oaks" Concerto in Eb (1938): Berger (3). Ebony Concerto (1945): Nelson, R. (2). Epitaphium (1959): Ward-Steinman. The Flood (1961-2): Babbitt (7); Huff (2). L'Histoire du soldat (1918): Chrisman; Huff (2). In Memoriam Dylan Thomas (1954): Babbitt (7); Perle (11); Ward-Steinman. Introitus (T. S. Eliot In Memoriam) (1965): Spies (6). Movements for piano and orchestra (1958-9): Babbitt (7); Cone (10); Huff (2); Ward-Steinman. Les Noces (1917-23): Berger (3). Octet for winds (1923, rvsd. 1952): Berger (3). Petrouchka (1911, rvsd. 1946): Berger (3); Boretz (6); F( Mitchell, W. (8). Requiem Canticles (1966): Spies (6). Le Sacre du printemps (1911-3): Berger (3); Boulez (4); Travis (4). Septet (1952-3): Babbitt (7); Perle (11); Ward-Steinman. Serenade in A for piano (1925): Cone (10). A Sermon, a Narrative and a Prayer (1960-1): Boykan (4); Symphonies of Wind Instruments (1920): Cone (10). Symphony in C (1940): Cone (12). Symphony in Three Movements (1942-5): Elston (1); Morgan, *Salzer (2). Symphony of Psalms (1930): Babbitt (7); Berger (3); Cone Huff (2). Three Songs from William Shakespeare (1953): Babbitt (7); Perle (11); Ward-Steinman. Threni: Id Est Lamentationes Jeremiae Prophetae (1957-8): Babbitt (7); Huff (2); Ward-Steinman. Variations (In Memoriam Aldous Huxley) (1963-4): Spies (5) Boykan (4); orte (4); Craft (2); Clifton (4). R. (1); (10); Cogan (1); Asenjo (2); 4 SUBOTNICK, MORTON Serenade No. 1: Perkins, J. (1).

Page  156 156 Piece Index (SWIFT) SWIFT, RICHARD Concerto, piano, Op. 26: Kohn (2). TCHAIKOVSKY, PETER: Walker (2). Symphony #5, in Em, Op. 64: Walker (1). Symphony #6, in Bm, Op. 74: Morgan, R. (1); Reti (2). USSACHEVSKY, VLADIMIR Experiment No. 4711: Teitelbaum (2). Linear Contrasts: Teitelbaum (2). VARESE, EDGARD: Chou (1); Erickson, Ro. (3); Schuller (4). Density 21.5 (1936): Babbitt (2). Deserts (1954): Babbitt (2). Integrales (1925): Cogan/Escot. Octandre (1924): Babbitt (2). VAUGHAN WILLIAMS, RALPH Symphony #5, in D (1943): *Salzer (2). VERDI, GIUSEPPE Un Ballo in Maschera (1859): Dallapiccola. A Requiem Mass (1874): *Salzer (2). VICTORIA, TOMAS LUIS DE O vos omnes (Motet): *Salzer/Schachter. WAGENAAR, BERNARD Ciacona (1942?): *Salzer (2). WAGNER, RICHARD: Boretz (18). Gotterd merung (1869-74): *Salzer (2); *Salzer/Schachter. Lohengrin (1846-8): Nelson, Pa.

Page  157 In Theory Only 3/7-11 157 WAGNER (continued) Parsifal (1877-82): *Salzer (2). Tristan und Isolde (1859): Boretz (6); Cone (1); *Cooper, G./ Meyer, L.; Levy, Ed. (1); Meyer, L. (1); Mitchell, W. (5); Reti (2); *Salzer (2); *Salzer/Schachter; Thomson (2). Die WalkUre (1854-6): *Salzer/Schachter. WARFIELD, GERALD Los Invisibles: Warfield. WEBER, CARL MARIA VON Der Freischutz (1820): *Salzer (2). WEBERN, ANTON: Anthony; Brown, R.; Cone (13); Kolneder; Lewin, H.; Wolff (1). Hodeir (2); 6 Bagatelles for string quartet, Op. 9: Chrisman [#3]; Pousseur (6). 5 Canons for voice and clarinets, Op. 16: Perle (11). Cantata #1, Op. 29: Rochberg (4); Saturen. Cantata #2, Op. 31: Perle (11); Rochberg (4). Concerto for 9 instruments, Op. 24: Boykan (6); Lewin, D. (7); Perle (11); Pousseur (5); Spinner (1); Westergaard (5). Entflieht auf leichten Kahnen for chorus, Op. 2: Bradshaw. 5 Geistliche Lieder, Op. 15: Metzger (2) [#4]. Im Sommerwind (1904): Cone (13). Langsamer Satz for string quartet (1905): Cone (13). 3 Little Pieces, 'cello/piano, Op. 11: Batstone (2) [#3]; Forte (12) [#1]; Perle (11); Wittlich (1). 5 Movements for string quartet, Op. 5: Boretz (6) [#4]; Bradshaw; Chrisman [#4]; Forte (14) [#4]; Perle (11) [#4]; Teitelbaum (1) [#1, 4]. Passacaglia, Op. 1: Bradshaw; Nelson, R. (3). 6 Pieces for orchestra, Op. 6: Elston (2) [#1]; Finney, R. (2) [#11; Hoffmann, R. [#1]; Oliver [#1]. 4 Pieces, violin/piano, Op. 7: Perle (11). 3 Poems (1899): Cone (13) [#1 "VorfrUhling"] Quartet, violin/clarinet/saxophone/piano, Op. 22: Boykan (6); Elston (1); Fennelly (4); Hoffmann, J.; Perle (11); Smith, Lel. (1). Quartet, strings (1905): Cone (13).

Page  158 158 Piece Index (WEBERN) Quartet, strings, Op. 28: Eimert (4); Hoffmann, J.; Huff (3); Pederson; Stockhausen (5). 5 Songs, Op. 3: Bradshaw. 5 Songs, Op. 4: Bradshaw; Perle (11). 3 Songs, Op. 23: Teitelbaum (1) [#2]. 3 Songs, Op. 25: Lewin, D. (10) [#1] Symphony, Op. 21: Austin (1); Austin (3); Borris; Fuller (1); Hiller/Fuller; Hitchcock (1); Nelson, R. (3); Perle (11); Smith, Lel. (1); Starr; Westergaard (5). Trio, strings, Op. 20: Perle (11). Variations, orchestra, Op. 30: Nelson, R. (3). Variations, piano, Op. 27: Babbitt (11); Cone (1); Fiore (2); Hoffmann, J.; Jones, J.; Klammer; Levy, Ed. (1); Lewin, D. (7); Nelson, R. (3); Ogdon (2); Perle (11); Travis (1); Travis (2); Westergaard (2); Westergaard (5); Westergaard (6). WEINBERG, HENRY Three Songs (1959): Winham (2). WESTERGAARD, PETER 5 Pieces for small orchestra (1959): Westergaard (5). Quartet, violin/vibraphone/clarinet/'cello (1960): Westergaard (5). Trio, flute/'cello/piano: Westergaard (5). Variations for 6 players (1963): Crumb. WILSON, OLLY Piece for Four (1966): Logan. WINHAM, GODFREY Composition for Orchestra (1961-2): Randall (2); Winham (1). WOLF, HUGO Eichendorff-Lieder: "Das Stindchen": Slatin. Mbrike-Lieder: "In der Friihe": *Salzer (2). "Schlafendes Jesukind": *Salzer (2). Spanisches Liederbuch: "In dem Schatten meiner Locken": *Salzer (2).

Page  159 In Theory Only 3/7-11 159 WOLPE, STEFAN: Wolpe. Form for piano (1959): Levy, Passacaglia for piano (1936): Piece for 2 instrumental units Sonata, violin/piano (1949): Ed. (3). Levy, Ed. (3). (1962): Levy, Ed. (3) Levy, Ed. (3). WUORINEN, CHARLES: Boretz (3). Chamber Concerto for flute and 10 instruments (1964): Boretz (3). The Politics of Harmony (Masque): Hibbard; Kresky (1). ZIMMERMAN, BERND ALOIS Perspectives: Schubert. * * * * * * * ~c~cy 7 %1" ý,-~~ ~

Page  160 160 Part 4: Index of Theorists [Virtually every theorist/treatise from 800-1600 in the following list is dealt with to some extent in Haggh (1).] ANONYMOUS, Ad organum faciendum (c. 1100): Apel (2); Huff (1); Reese; Salzer (3). ANONYMOUS, Discantus positio vulgaris (c. 1220, CS I, Huschen #6): Knapp (1); Reese. ANONYMOUS IV, De mensuris et discantu (c. 1275, CS I, Hischen #12): Apel (2); Chailley; Dittmer (1); Flindell; Reese; Sanders; Spiess (2). ANONYMOUS VII, De musica libellus (c. 1200, CS I, HUschen #15): Knapp (1); Sanders. ANONYMOUS III, Compendiolum artis veteris ac novae (c. 1350, CS III, Huschen #20): Gilles; Reaney/Gilles/Maillard. ANONYMOUS XI, Tractatus de musica plana et mensurabili (15th c., CS III, Hischen #28): Crocker (2). ANONYMOUS, Alia musica (9th c., GS I, Huschen #38): Heard. ANONYMOUS, Item de organo (c. 1100?, Berlin Staatsbibliothek der Stiftung Preus. Kult. MS theol lat qu 261): Huff (1). [see also Anon. Ad organum] ANONYMOUS, Tractatus de figuris sive de notis (Br Mus Royal 12): Reaney/Gilles. ANONYMOUS, Notitia del valore delle Note...(14th c., FLORENCE BML Redi 71): Carapetyan. ANONYMOUS (15th c., Br Mus LANSDOWNE MS 763): Harrison; Trowell. ANONYMOUS, Diaphonia duplex cantus est (12th c., MONTPELLIER Fac de med H 384): Blum (1). ANONYMOUS (16th c., "SCOTTISH", Br Mus Add 4911): Harrison; Trowell. ANONYMOUS, Libellus musicae (c. 1400, VATICAN Lat 5129): Seay (1). ADAM von Fulda (c. 1445-1505): Mann (3); Spratt. ADLUNG, Jakob (1699-1762): Mendel (1). AFFLIGHEM, John of (Cotton) (fl. 1100): Crane; Ree Spiess (2). AGAZZARI, Agostino (1578-1640): Buelow (2); Rose. AGRICOLA, Martin (Sohr) (1486-1556): Atcherson (2); Collins (4); Mendel (1); Reese. ALBRECHTSBERGER, Johann Georg (1736-1809): Beach (2 Mann (3); Munkachy. se; Salzer (3); Collins (3);; *Horsley (1);

Page  161 In Theory Only 3/7-11 161 d'ALEMBERT, Jean Le Rond (1717-1783): Krehbiel. ANSELMI, Georgius (15th c.): Seay (18). ANTONIOTTO, Giorgio (c. 1692-1776): Chenette; Krehbiel. ARAB THEORY: Chailley; Farmer; Reese. ARIBO (1000-1078?): Schrade (1). ARON, Pietro (c. 1490-1545): Bergquist (1); Bergquist (2); Bergquist (3); Bergquist (4); Collins (3); Link; Lowinsky (4); Mann (3); Reese; Strunk. ARTUSI, Giovanni Maria (c. 1540-1613): Isgro; Jackson (3); Strunk. AURELIAN of Reomr (9th c.): Crane; Gushee (1); Ponte (1); Ponte (2). BACH, Carl Philipp Emanuel (1714-1788): Arnold; Aulabaugh; Buelow (2),; Collins (4); David; Dolmetsch; Hansell; Helm, E. E. (1); Keller, He. (2); McIntyre; Mitchell, W. (1); Munkachy; Slatin; Strunk; Williams, P. BACILLY, Benigne de (c. 1625-1692): Caswell (1); Caswell (2); Neumann, F. (3). BALLIERE de Laisement, Charles-Louis-Denis (18th c.): Krehbiel. BANCHIERI, Adriano (1567-1634): Arnold; Collins (3); *Horsley (1); Marcase; Reese. BANNER, Giannantonio (mid 18th c.): Collins (4). BENEDETTI, G. B. (1530-1590): Palisca (2). BERARD, Jean-Baptiste Antoine (1710-1772): Caswell (3); Neumann, F. (3). BERINGER, Maternus (early 17th c.): Collins (3). BERMUDO, Juan (1510-after 1555): Apel (2); Lazanas; Pope; Reese; Woldt. (St.) BERNARD of Clairvaux (1091-1153): Atcherson (2). BERNHARD, Christoph (1627-1692): Falck; *Horsley (1); Mann (3); Reese; Slatin; Streetman. BERNIER, Nicolas (1664-1734): Nelson, Ph. BETHIZY, Jean-Laurent de (18th c.): *Horsley (1); Krehbiel. BEVIN, Elway (1554-1639): Burke. BIANCIARDI, Francesco (c. 1572-c. 1607): Buelow (2); Rose. BIRCHENSKA (Birkenshaw), John (17th c.): Chenette. BLAINVILLE, Charles Henri de (c. 1711-1769): Krehbiel. BLOW, John (1649-1708): Arnold; Chenette. BOETHIUS, Anicius (c. 480-524): Bower; Ellsworth; Kaufmann (3); Kresteff; Lee; Reese; Strunk. BONONCINI, Giovanni Maria (1642-1678): Collins (4); Falck. BOTTRIGARI, Ercole (1531-1612): MacClintock (2); Reese.

Page  162 162 Theorist Index (BOURGEOIS) BOURGEOIS, Louis (c. 1510-?): Merritt (2). BROCARTE, Cruz (early 18th c.): Urquhart. BRUNELLI, Antonio (early 17th c.): Aldrich (2). BURGUNDIA, Johannes de (13th c.): Reaney (5). BURMEISTER, Joachim (c. 1566-1629): Crane; Merritt (2). BUSONI, Ferruccio Benvenuto (1866-1924): Busoni; Mason, R. (2); Vogel. BUSSLER, Ludwig (19th c.): Moyer. BUTLER, Charles (d. 1647?): Burke; Chenette; Pruett (1); Reaney (3). CACCINI, Giulio di Michelangeli (1546-1618): Arnold; Baron; Hitchcock (2); Newton; Strunk. CALEGARI, Francesco Antonio (d. 1742): Schurr. CAMPION, Thomas (1567-1620): Meyer, R.; Rogers, H. CASSIODORUS, Flavius (c. 485-c. 580): Crocker (3); Strunk. CASTEL, Louis Bertrand (1688-1757): Krehbiel. CATEL, Charles-Simon (1773-1830): Burke; Mitchell, J. CAUS, Salomon de (c. 1576-1626): Gruber (1). CERONE, Domenico Pietro (1560-1625): Reese; Rogers, H.; Strunk. CHORON, Alexandre Etienne (1771-1834): Cole (1). COCHLAEUS, Johannes (Dobnek) (1479-1552): Atcherson (2); Miller, C. (6). COCLICO, Adriaen Petit (1500-1563): Atcherson (2); Lowinsky (3); Merritt (2). COPERARIO, Giovanni (c. 1575-1626): Mann (3). CORREA de Araujo, Francisco (c. 1576-1663): Collins (4). CORRI, Domenico (1746-1825): Revitt. CRUGER, Johann (1598-1662): Falck; Reese. CZERNY, Karl (1791-1857): Cole (1); Moyer; Newman (5). DANDRIEU, Jean Francois (1682-1738): Neumann, F. (3). DAUBE, Johann Friedrich (1733-1797): Arnold. DAY, Alfred (1810-1849): Hutchings; Mitchell, J.; Mitchell, W. (9 Shirlaw (2). DELAIR, Etienne Denis (d. c. 1750): Buelow (2). DENIS, Jean (c. 1650): *Horsley (1). DESCARTES, Rene (1596-1650): Augst; Burke; Gruber (1); Kent (1); Palisca (2); Paul (2); Shirlaw (2). DIDEROT, Denis (1713-1784): Krehbiel. DIRUTA, Girolamo (1550-after 1609): *Horsley (1); Reese. ) );

Page  163 In Theory Only 3/7-11 163 DOMMER, Arrey von (1828-1905): Cole (1); Moyer. DRESSLER, Gallus (1533-?): Atcherson (2). DUBOS, Jean-Baptiste Abbe (1670-1742): Sadowsky. EGIDUS de Murino (late 14th c.): Crane. ENGELBERT of Admont (d. 1331): Crane. ESTEVE, Pierre (d. 1779): Krehbiel. EULER, Leonhard (1707-1783): Krehbiel; Paul (2); Smith, C. FABER, Gregor (1520-?): Atcherson (2). FAMINTSIN, Alexander Sergeyevich (1841-1896): Reese. FETIS, Frangois-Joseph (1784-1871): Baron; Beach (2); Burke; *Horsley (1); Mitchell, J.; Shirlaw (1); Shirlaw (2). FINCK, Hermann (1527-1558): Collins (3); Kirby (1); Reese. FISCHER, Kurt von (b. 1913): Lieberman, I. FRANCO of Cologne (mid 13th c.): Apel (2); Harbinson; Reaney (5); Sanders; Strunk. FUX, Johann Joseph (1660-1741): Hansell; *Horsley (1); Mann (1); Mann (2); Mann (3); Mann (5); Munkachy; Strunk. GAFURIUS, Franchinus (1451-1522): Apel (2); Collins (3); Crocker (2); Hallmark; Jones, R. (2); Lee; Mann (3); Miller, C. (2); Miller, C. (3); Miller, C. (4); Reese; Wienpahl (1); Young. GALEAZZI, Francesco (1758-1819): Churgin (1). GALILEI, Vincenzo (1520-1591): Palisca (1); Palisca (2); Palisca (3); Palisca (4); Reese; *Salzer/Schachter; Strunk. GALLICUS, Johannes (Jean de Namur; Johannes Carthusensis?) (1415-1473): Spratt. GARLANDIA, Johannes de (c. 1195-1272): Apel (2); Crocker (2); Rasch; Reaney (5); Reese; Sanders; Spratt. GASPARINI, Francesco (1668-1727): Arnold; Buelow (2); Buelow (3); Burrows (1); Hansell; Williams, P. GEDALGE, Andr6 (1856-1926): Davis, F.; Potter. GEMINIANI, Francesco (1687-1762): Arnold; Dolmetsch; Krehbiel; Williams, P. GIANNOTTI, Pietro (d. 1765): Krehbiel. GIUSTINIANI, Vincenzo (1564-1637): MacClintock (1); MacClintock (2). GLAREANUS, Heinrich (1488-1563): Apel (2); Atcherson (1); Atcherson (2); Collins (3); Lowinsky (4); Miller, C. (1); Miller, C. (5); Reese; Rogers, H.; Strunk; Turrell (1); Turrell (2).

Page  164 164 Theorist Index (GOETSCHIUS) GOETSCHIUS, Percy (1853-1943): Burke; *Goetschius. GREEK THEORY: Adkins; Barbour (1); Barbour (6); Cazden (4); Crocker (1); Crocker (4); Helm, E. E. (2); Kaufmann (3); Kuttner; Levin, F.; Lippman (1); Lippman (2); Mandelbaum; Palisca (1); Reese; Strunk; Turrell (2). GROCHEO, Johannes de (late 13th c.): Maddrell (1); Maddrell (2); Reese; Seay (8); Vanderwerf. GUGLIELMO Roffredi (Guillielmus I, Bishop of Lucca) (12th c.): Seay (6). GUIDO d'Arezzo (c. 995-1050): Crane; Crocker (3); Henderson; Kaufmann (3); Reese; Smits van Waesberghe (1); Strunk; Yates, W. GUILIELMUS Monachus (15th-16th c.): Crocker (2); Reese; Seay (7); Spratt; Trowell; Wienpahl (1). HABA, Alois (1893-1972).: Mandelbaum; Reese. HAMBOYS, John (15th c.): Rasch; Reaney (5). HANDLO, Robert de (14th c.): Apel (2); Dittmer (2); Rasch; Reaney (5); Reese; Sanders. HANSLICK, Eduard (1825-1904): Epperson; Hall, R. W.; Hanslick; Harrell; Martin, F. (1); Pauly; Sherburne. HAUER, Josef Matthias (1883-1959): Eschman (1); Lewin, H.; Perle (11); Rochberg (1). HAUPTMANN, Moritz (1792-1868): Beach (2); Burke; Mitchell, J.; Shirlaw (1); Shirlaw (2); Smither (2). HEINICHEN, Johann David (1683-1729): Arnold; Beach (2); Buelow (1); Buelow (2); Buelow (3); David; Forte (2); Hansell; Mitchell, W. (1); Reese; Rothgeb (2); *Salzer/Schachter; Williams, P. HELMHOLTZ, Hermann Ludwig Ferdinand von (1821-1894): Beach (2); Cazden (5); Helmholtz; Mitchell, J.; Shirlaw (1); Shirlaw (2); Smith, Leo.; Taylor, S. HERBST, Johann Andreas (1588-1666): Falck. HEYDEN, Sebald (1499-1561): Miller, C. (7); Reese. HINDEMITH, Paul (1895-1963): Boretz (14); Briner; Burke; Citkowitz; Colucci; Dorn; Hensel; Hindemith; Hurwitz; Kostka; Landau; Marshall, G.; Mitchell, J.; Myhill; Poland (2); Smith, Leo.; Thomson (1); Thomson (3); Wise. HOFFMAN, Eucharius (16th c.): Atcherson (1). HOLDEN, John (18th c.): Burke; Chenette. HOLDER, William (1616-1697): Chenette. HOTHBY, John (d. 1487): Seay (2); Seay (5); Seay (11). HUCBALD (c. 840-930): Atcherson (2); Weakland (1).

Page  165 In Theory Only 3/7-11 165 d'INDY, Vincent (1851-1931): Reese. ISIDORE of Seville (c. 560-636): Strunk. IVES, Charles Edward (1874-1954): Boatwright (5); Ives (1); Ives (2). JACOBUS of Liege (c. 1270-after 1330): Apel (2); Atcherson (2); Bragard; Crane; Ellsworth; Kenney (1); Mann (3); Reese; Smith, F. (1); Smith, F. (2); Strunk. JADASSOHN, Salomon (1831-1902): Moyer. JEROME of Moravia (Hieronymus) (13th c.): Apel (2); Atcherson (2); Reese. JONES, William (18th c.): Jacobi (4). KELLER, Gottfried (d. 1704): Arnold; Chenette; Mitchell, W. (1). KELLNER, David (1670-1748): Arnold; Buelow (3). KIESEWETTER, Raphael Georg (1773-1850): Baron. KIRNBERGER, Johann Philipp (1721-1783): Aldrich (3); Arnold; Beach (2); Helm, E. E. (1); *Horsley (1); Mekeel (1); Mitchell, J.; Munkachy; Newman (1); Ratner (2); Reilly (1); Serwer (1); Serwer (2); Shirlaw (1); Shirlaw (2); Slatin. KOCH, Heinrich Christoph (1749-1816): Cole (1); Crane; Kob; Munkachy; Ratner (2). KOLLMAN, August Friedrich (1756-1829): *Horsley (1); Jacobi (4). KUHNAU, Johann (1660-1722): Mendel (1). KURTH, Ernst (1886-1946): Hsu; Lieberman, I.; Moyer. LACASSAGNE, Abbe Joseph (1720-1780): Neumann, F. (3). LAFAGE, Adrien de (1805-1862): Cole (1); Spiess (2). Magister LAMBERT (Pseudo-Aristotle) (13th c.): Apel (2); Crocker (2); Reaney (5). LAMPE, John Frederick (d. 1751): Chenette; Krehbiel. LANFRANCO, Giovanni Maria (15th-16th c.): Lee. LA VOYE-MIGNOT (17th c. ): Gruber (1). LEVENS,? (mid 18th c.): Krehbiel. LISTENIUS, Nikolaus (b. 1500): Lowinsky (3). LOBE, Johann Christian (1797-1881): Moyer. LOCKE, Matthew (c. 1630-1677): Arnold; Buelow (2); Chenette; Kooiker. LOHLEIN, Georg Simon (1727-1781): Collins (4). LORENTE, Andres (1624-1703): Collins (4); Urquhart. LORENZ, Alfred (1858-1939): Morgan, R. (1).

Page  166 166 Theorist Index (LOULIE) LOULIf, Etienne (17th c.): Byrt; Cohen, Alb. (1); Cohen, Alb. (2); Collins (1); Gruber (1); Neumann, F. (3). LUSSY, Mathis (19th c.): Smither (2). MACE, Thomas (c. 1613-1709?): Chenette; Dolmetsch. MACFARREN, George (1813-1887): Shirlaw (2). MALCOLM, Alexander (1687-?): Burke; Chenette. MARCHETTUS of Padua (early 14th c.): Pirrotta; Reese; Schachter (2); Spratt; Strunk; Vecchi. MARPURG, Friedrich Wilhelm (1718-1795): Arnold; Beach (2); Collins (4); Dolmetsch; Helm, E. E. (1); *Horsley (1); Krehbiel; Link; Mann (3); Mekeel (1); Mitchell, J.; Munkachy; Serwer (1); Serwer (2); Shirlaw (1); Shirlaw (2); Slatin. MARTINI, Giovanni Battista (1706-1784): Baron; *Horsley (1); Jacobi (5); Mann (3). MARX, Adolph Bernhard (1795-1866): Cole (1); Moyer; Smither (2). MASSON, Charles (fl. 1680): Gruber (1); *Horsley (1). MATTHESON, Johann (1681-1764): Arnold; Buelow (2); Buelow (3); Collins (4); Harriss; *Horsley (1); Keller, He. (2); Lenneberg; Mendel (1); Merritt (2); Mitchell, W. (1); Ramirez; Reddick; Reese; *Salzer/Schachter; Serwer (1); Wessel. MEI, Girolamo (1519-1594): Palisca (1). MERSENNE, Marin (1588-1648): Egan; Green, B.; Gruber (1); Gruber (2); Mace; Mann (3); Palisca (2); Reese. MOMIGNY, Jerome-Joseph de (1762-1842): Moyer. MONTANOS, Francisco de (16th c.): Urquhart. MONTECLAIR, Michel (Pinolet) de (1667-1737): Krehbiel. MORLEY, Thomas (1557-1602): Apel (2); Dolmetsch; Harman; Hewitt; *Horsley (1); Mann (3); Miller, C. (1); Spiess (2); Strunk. MOZART, Leopold (1719-1787): Aulabaugh; Collins (4). MUFFAT, Georg (c. 1645-1704): Cooper, K./Zsako; Dolmetsch; Federhofer; Waite, R. MURIS, Jean de (1290-1351): Apel (2); Crane; Ellsworth; Spratt; Strunk. NASARRE, Pablo (1664-1724): Forrester; Urquhart. NIEDT, Friedrich Erhardt (1674-1717): Arnold; Strunk. NIVERS, Guillaume Gabriel (1617-1714): Cohen, Alb. (3); *Horsley (1). NORTH, Francis (1637-1685): Chenette. NORTH, Roger (1653-1734): Chenette.

Page  167 In Theory Only 3/7-11 167 ODINGTON, Walter of (early 14th c.): Apel (2); Crane; Hammond (1); Hammond (2); Reaney (2); Reese; Sanders. ODO of Cluny (c. 879-942): Strunk. OETTINGEN, Arthur Joachim von (1836-1920): Shirlaw (1); Shirlaw (2). ORIDRYUS, Johannes (c. 1515-c. 1589): Atcherson (2). ORLANDINI, Paolo (d. 1519): Seay (12). ORNITHOPARCUS, Andreas (Vogelsang) (1485-1535): Lee; Wienpahl (1). ORTIZ, Diego (c. 1525-?) Arnold. OUSELEY, Frederick Arthur Gore (1825-1889): Burke; Shirlaw (2). PARRAN, Antoine (1587-1650): Gruber (1). PASQUALI, Niccolo (d. 1757): Chenette. PENNA, Lorenzo (1613-1693): Buelow (2). PEPUSCH, John Christopher (1667-1752): Chenette. PICERLI, Silverio (fl. 1630): Collins (3). PISA, Agostino (fl. 1611): Collins (3). PLAYFORD, John (1623-1686): Burke; Chenette; Dolmetsch; Meyer, R. POWER, Lionel (d. 1445): Kenney (1). PRAETORIUS, Michael (1571-1621): Arnold; Buelow (2); Dolmetsch; Keller, He. (2); Mann (3); Reese; Singer. PRINTZ, Wolfgang Kaspar (1641-1717): Collins (4); *Horsley (1). PROSDOCIMUS de Beldemandis (15th c.): Apel (2); Crane; Reese; Schachter (2); Spratt. PROUT, Ebenezer (1835-1909): Burke; Mitchell, J.; *Prout (1); *Prout (2); Shirlaw (2). PSeudo-HUCBALD, Musica enchiriadis & Scholia enchiriadis (c. 900, Hischen #39): Crane;' Reese; Spiess (1); Strunk; Yates, W. QUANTZ, Johann Joachim (1697-1773): Aulabaugh; Collins (1); Collins (4); Dolmetsch; Keller, He. (2); McIntyre; Mendel (1); Merritt (2); Neumann, F. (2); Pincherle; Reese; Reilly (1); Reilly (2); Reilly (3); Reilly (4); Strunk. RAMEAU, Jean-Philippe (1683-1764): Ahnell; Barbour (4); Beach (2); Crocker (2); Dolmetsch; Ferris; Gossett; Green, B.; Hayes; *Horsley (1); Jacobi (1); Jacobi (5); Keane; Krehbiel; Lewin, D. (5); Mann (3); Mekeel (1); Mitchell, J.; Mitchell, W. (1); Munkachy; Neumann, F. (3); Osborne; Palisca (2); Paul (1); Paul (2); Pincherle; Poland (2); Ramirez; Reese; Serwer (1); Shirlaw (1); Shirlaw (2) Slatin; Smith, Leo.; Strunk.

Page  168 168 Theorist Index (RAMOS) RAMOS de Pareja, Bartolomeo (c. 1440-1500): Apel (2); Jones, R. (2); Mann (3); Reese; Seay (2); Seay (5); Seay (11); Strunk. REGINO of Prum (d. 915): LeRoux. REICHA, Antonin (1770-1836): Burke; Cole (1); *Horsley (1); Moyer; Weiss. REISSMANN, August Friedrich Wilhelm (1825-1903): Moyer. RHAU, Georg (1488-1548): Merritt (2); Waters. RICHTER, Ernst Friedrich Eduard (19th c.): Moyer. RIEMANN, Karl Wilhelm Julius Hugo (1849-1919): Apel (2); Baron; Beach (2); Burke; Haggh (1); Keller, He. (1); Mickelson; Mitchell, J.; Moyer; Perkins, M.; Shirlaw (1); Shirlaw (2); Smither (2); Spratt. RIEPEL, Joseph (1709-1782): Kob; Munkachy; Ratner (2). RIGLER, Franz Xaver (1748-1796): Munkachy. RIMSKY-KORSAKOV, Nikolai (1844-1908): Burke; Steinberg, Ma. RODOLPHE of St. Trond (1070-1138): Reese. ROEL DEL RIO, Antonio Ventura (18th c.): Urquhart. ROSSI, Lemme (17th c.): Kaufmann (1). ROUSSEAU, Jean (17th c.): Neumann, F. (3). ROUSSEAU, Jean-Jacques (1712-1778): Krehbiel. ROUSSIER, Abbe Pierre-Joseph (1716-1790): Krehbiel; Osborne; Shirlaw (2). SABBATINI, Galeazzo (c. 1590-1662): Buelow (2). SABBATINI, Luigi Antonio (1739-1809): Shirlaw (2). SAINT LAMBERT, Michel de (17th-18th c.): Arnold; Buelow (2); Buelow (3); Pincherle; Rothgeb (2). SALINAS, Francisco de (1513-1590): Daniels (1); Daniels (2); Mandelbaum; Reese. SALMON, Thomas (1648-1706): Chenette. SANCTA MARIA, Thomas de (16th c.): Hultberg. SCHANPPECHER, Melchior (1480-?): Fox. SCHEIBE, Johann Adolph (1708-1776): Mitchell, W. (1); Skapski; Willheim. SCHENKER, Heinrich (1867-1935): Beach (3); Burke; Forte (11); Kerman (1); Krueger; Mitchell, J.; Mitchell, W. (12); Morgan, R. (1); Schenker (1); Schenker (2); Schenker (3); Seeger (7); Slatin. SCHILLINGER, Joseph (1895-1943): Backus (2); Myhill.

Page  169 In Theory Only 3/7-11 169 SCHOENBERG, Arnold (1874-1951): Burke; Citkowitz; Lewin, D. (5); Mitchell, J.; Pisk; Reese; *Schoenberg (2); *Schoenberg (3); *Schoenberg (4); Slatin; Suderberg; Thomson (3); Wise. SCHROTER, Christoph Gottlieb (1699-1782): Arnold. SCHULZ, Johann G. P. (fl. 1794): Mitchell, W. (1). SECHTER, Simon (1788-1867): Slatin. SERRE, Jean-Adam (1704-1788): Krehbiel. SIMPSON, Christopher (d. 1669): Burke; Chenette; Dolmetsch; Rogers, H. SMITH, Robert (1689-1768): Barbour (2); Chenette. SOMMACAMPAGNA, Gidino da (14th c.): Crane. SORGE, Georg Andreas (1703-1778): Beach (2); Krehbiel; Mitchell, J.; Serwer (1); Shirlaw (1); Shirlaw (2). SPATARO, Giovanni (1458-1541): Reese. STAINER, John (1840-1901): Mitchell, J.; Shirlaw (2). SULZER, Johann Georg (1720-1779): Collins (4); Ratner (2). SWEELINCK, Jan Pieterzoon (1562-1621): Falck. TANEIEV, Serge Ivanovich (1856-1915): Taneiev; Weinberg, J. TARTINI, Giuseppe (1692-1770): Babitz (1); Babitz (2); Boyden; Donington (3); Jacobi (2); Jacobi (3); Krehbiel; Planchart; Reese; Shirlaw (1); Shirlaw (2). TCHAIKOVSKY, Peter Ilyich (1840-1893): Krall/Liebling. TELEMANN, Georg Michael (1748-1831): Arnold. TELEMANN, Georg Philipp (1681-1767): Arnold. THEODORICUS de Campo (15th c.): Reaney (5). TIGRINI, Orazio (fl. 1588): Collins (3). TINCTORIS, Johannes de (1436-1511): Apel (2); Collins (3); Crane; Ferand; Hewitt; Lippmann (7); Parrish (1); Reese; Seay (3); Seay (4); Seay (9); Seay (10); Seay (13); Spratt; Strunk; Wienpahl (1). TOCH, Ernst (1887-1964): Burke. TORKESEY, Johannes (14th c.): Reaney/Gilles. TREIBER, Johann Philipp (1675-1727): Arnold. TUNSTEDE, Simon (d. 1369): Crane; Reaney (5); Spratt. TURK, Daniel Gottlob (1750-1813): Arnold; Collins (4); Dolmetsch; Williams, P. TURNER, William (early 18th c.) C Chenette.

Page  170 170 Theorist Index (UGOLINO) UGOLINO of Orvieto (c. 1380-c. 1457): Hughes, A.; Reese; Schachter (2); Seay (14); Seay (15); Turrell (3). VALLE, Pietro della (1586-1652): Rose. VANNEO, Steffano (1493-?): Collins (3). VERACINI, Francesco Maria (1690-1750): Smith, H. VICENTINO, Nicola (1511-1572): Brink; Kaufmann (1); Kaufmann (2); Kaufmann (3); Kaufmann (4); Lowinsky (3); Mann (3); Reese; Wienpahl (2). VIRDUNG, Sebastian (1465-?): Reese. VITRY, Philippe de (1291-1361): Apel (2); Gilles; Gilles/Reaney; Plantinga (1); Reaney (1); Reaney (4); Reaney/Gilles/Maillard; Reese; Werner. VOGLER, Abbe Georg Joseph (1749-1814): Shirlaw (2). VOSS (Vossius), Gerhard Johann (c. 1577-1649): Chenette. VULPIUS, Melchior (c. 1560-1615): Collins (3). WALLIS, John (1616-1703): Chenette. WALTHER, Johann Gottfried (1684-1748): McIntyre; Mann (3); Mendel (1); Merritt (2); Reese; Strunk. WEBER, Gottfried (1779-1839): Beach (2); Mitchell, J.; Shirlaw (2); Smither (2). WERCKMIEISTER, Andreas (1645-1706): Arnold; *Horsley (1); Reese. WESTPHAL, Rudolf (1826-1892): Smither (2). WIDMANN, Benedict (1820-1910): Moyer. WIEHMAYER, Theodor (1870-1947): Smither (2). WILLELMUS, Breviarium regulare musicae (14th c., Oxford Bodley 842): Reaney (2); Reaney/Gilles. ZACCONI, ZARLINO, Ludovico (1555-1627): Collins (3); Reese; Singer. Gioseffo (1517-1590): Collins (2); Collins (3); Crocker (2); Gruber (1); *Horsley (1); Horsley (3); Horsley (4); Lowinsky (4); Mann (3); Marco (2); Marco/Palisca; Miller, C. (1); Palisca (2); Reese; Rogers, H.; Seay (17); Shirlaw (2); Singer; Strunk; Wienpahl (2). * * * * * * *

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