Volume 4 • Issue 1 • 2012


article

Progressive Trends in Variation Form: Robert Schumann’s Piano Sonata in F Minor, Op. 14, Quasi Variazioni

Hiu-Wah Au

Volume 4 • Issue 1 • 2012

A Study of Donald Grantham’s Fantasy Variations: Broad Musical Connections in Core Theory Classes

Amy Carr-Richardson

Volume 4 • Issue 1 • 2012

Classical Models, Sonata Theory, and the First Movement of Liszt’s Faust Symphony

Howard Cinnamon

Volume 4 • Issue 1 • 2012

Multiply Directed Moments in a Brahms Song: “Schön war, das ich dir weihte” (Op. 95, No. 7)

Melissa Hoag

Volume 4 • Issue 1 • 2012

frontmatter

Table of Contents

Volume 4 • Issue 1 • 2012

review

Review of Understanding Post-Tonal Music and Anthology of Post-Tonal Music, by Miguel A. Roig-Francolí

Andrew Mead

Volume 4 • Issue 1 • 2012

Review of Foundations of Diatonic Theory, by Timothy A. Johnson

Matthew Santa

Volume 4 • Issue 1 • 2012

musictheoreticalmatrix3

The Marriage of Note and Word in Two Songs by the Gershwins

Allen Forte

Volume 4 • Issue 1 • 2012

Schenker’s First “Americanization”: George Wedge, the Institute of Musical Art, and the “Appreciation Racket”

David Carson Berry

Volume 4 • Issue 1 • 2012

Redating Schoenberg’s Announcement of the Twelve-Tone Method: A Study of Recollections

Fusako Hamao

Volume 4 • Issue 1 • 2012

Fauré, through Boulanger, to Copland: The Nature of Influence

Edward R. Phillips

Volume 4 • Issue 1 • 2012

Webern’s “Heavenly Journey” and Schoenberg’s Vagrant Chords

Matthew Shaftel

Volume 4 • Issue 1 • 2012

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