Music Theory Online

Article	Citations
Music Theory and the White Racial Frame	102
The Cultural Significance of Timbre Analysis	10
Portmantonality and Babbitt’s Poetics ofDouble Entendre	10
Transcending Time (Feels)	6
Dynamic Range Processing and Its Influence on Perceived Timing in Electronic Dance Music	5
Harmonic, Syntactic, and Motivic Parameters of Phrase in Hip-Hop	5
What Are the Truly Aural Skills?	3
The Logic of Six-Based Minor for Harmonic Analyses of Popular Music	3
A Bevy of Biases	3
Anne Teresa De Keersmaeker’sViolin Phaseand the Experience of Time, or Why Does Process Music Work?	3
Compound AABA Form and Style Distinction in Heavy Metal	3
“All of the Rules of Jazz”	3
Rhythmic Techniques in Deaf Hip Hop	3
Developing Musical Imagery	3
Analyzing Vocables in Rap	3
A Transformational Approach to Gesture in Shō Performance	2
Rebonds: Structural Affordances, Negotiation, and Creation	2
Music Theory for the “Weaker Sex”: Oliveria Prescott’s Columns forThe Girl’s Own Paper	2
Review-Essay on Fred Lerdahl’sComposition and Cognition(University of California Press, 2019)	2
Emotional Tones and Emotional Texts	2
Mixture Strategies	2
Experiencing Chen Yi’s Music: Local and Cosmopolitan Reciprocities in Ning for Pipa, Violin and Cello (2002)	2
Consonance, Dissonance, and Formal Proportions in Two Works by Sofia Gubaidulina	2
Encoding Post-Spectral Sound	2
Brahmsian Articulation	2

Orchestral Tissue, Subordinate Arabesques, and Turning Inward in Maurice Ravel’sBoléro	2
Schubert’s Large-Scale Sentences	1
The Many Paths of Decolonization	1
The Concept ofShi: Chinese Aesthetics andHappy Rain on a Spring Night(2004)	1
Review of John Paul Ito, Focal Impulse Theory: Musical Expression, Meter, and the Body (Indiana University Press, 2020)	1
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015	1
Introduction	1
Mapping Ravel’s “La vallée des cloches”	1
Gould’s Creaking Chair, Schoenberg’s Metric Clarity	1
Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban (1999)	1
Onset and Contiguity	1
Was Mesopotamian Tuning Diatonic? A Parsimonious Answer	1
Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis ofBegleitungsmusik zu einer Lichtspielscene(1929–1930)	1
Cantopop and Speech-Melody Complex	1
Macroharmonic Progressions through the Discrete Fourier Transform	1
Sometimes the Music Wins	1
Multi-Strand Musical Narratives	1
Analyzing Schoenberg’s War Compositions as Satire and Sincerity: A Comparative Analysis of Ode to Napoleon Buonaparte and A Survivor from Warsaw	1
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Instrumental Transformations in Heinrich Biber’s Mystery Sonatas	1
Continuous Question-Answer Pairs	1
The Functions of Continuous Processes in Contemporary Electronic Dance Music	1
Prolongational Closure in the Lieder of Fanny Hensel	1
Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2	1
Ravel’s Sound	1
Review of Jennifer Iverson, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde (Oxford University Press, 2019)	1
Disco Culture and the Ritual Journey in the Soviet 1980s	1
Romantic Periods	1
Archival Research in Music	1
LGBTQ+ Lives in Professional Music Theory	1
A Cognitive Basis for Choosing a Solmization System	1
(Per)forming Open Form: A Case Study with Earle Brown’s Novara	1
Climax Building in Verismo Opera	1
Review of Dylan Robinson, Hungry Listening: Resonant Theory for Indigenous Sound Studies (University of Minnesota Press, 2020)	1
Theory and Practice of Long-form Non-isochronous Meters: The Case of the North Indianrūpak tāl	1
Reimagining Formal Functions in Post-Tonal Music	0
Late Night Thoughts on Listening to Schoenberg’s Klavierstück, op. 33a	0
Out of the Blue	0
Some (Dis)Assembly Required	0
Review of Jason Yust, Organized Time: Rhythm, Tonality, and Form (Oxford University Press, 2018)	0
Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)	0
Rethinking Aural Skills Instruction through Cognitive Research	0
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Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses	0
Gestural Temporality in Sciarrino’s Recitativo oscuro	0
Reimagining Historical Improvisation	0
Xenakis’ Sieve Theory	0
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On the Tonic Added-Sixth Chord in Jazz	0
Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)	0

The Common Cold	0
Performing Analysis, Performing Metal	0
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Review ofThe Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings (Oxford University Press, 2019)	0
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019)	0
Review of Leslie A. Tilley, Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond (The University of Chicago Press, 2019)	0
Fanfare as Fulcrum	0
Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan	0
Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert	0
A “Proto-Theme” in Some of J. S. Bach’s Fugal Works	0
Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho	0
Talking Scores and the Dismediation of Music Notation	0
Metric Modes and Fluid Meter in Mande Drumming Music	0
Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”	0
Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches	0
Buffy Sainte-Marie’s Self-Expressive Voice	0
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Cadential Melodies	0
Formal Reminiscence Space and Memory in Sufjan Stevens’s Storytelling	0
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Music Theory’s Visceral Turn: A Review of Roger Matthew Grant,Peculiar Attunements: How Affect Theory Turned Musical(New York: Fordham University Press, 2020)	0
Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’sSechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists	0
Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1	0
Global Philosophy of Music	0
Compositional Process and Technique in Happy Rain on a Spring Night (2004)	0
Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10	0
Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)	0
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Switching the Backbeat	0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel	0
Public Music Theory’s Neoliberal Learning Outcomes	0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre	0
Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”	0
War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”	0
Harmonizing Chorales Systematically: A Translation of G. H. Stölzel’s Kurzer und gründlicher Unterricht (Brief and Thorough Instruction), ms. c.1719–1749	0
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet	0
Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II	0
Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony in Barton Fink	0
Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350	0
Emergent Modality	0
Melody on the Threshold in Spectral Music	0
Review of Malawey, Victoria,A Blaze of Light in Every Word: Analyzing the Popular Singing Voice(Oxford University Press, 2020)	0
Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice	0
Female Subjectivities in the Words, Music, and Images of Progressive Metal	0
8-Bit Affordances: Jun Chikuma’s Soundtrack to Faxanadu	0
Extending the Parallel Multiple-Analysis Processor	0
“Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail	0
An Idiom of Melodic-Harmonic Divorce	0
The Pen as Camera	0
Between Half and Perfect Cadences	0
Giving Voice to a Foxtrot from Auschwitz-Birkenau	0
Retrospective Time and the Subdominant Past	0
Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music	0
Introduction	0
Material Connections	0
Pen, Paper, Steel	0
Philosophizing Time in Sinitic Opera	0
Reimagining Organicism	0
What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period	0
Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll	0
Conference report	0
Windows into Beethoven’s Lessons in Bonn: Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776/1778)	0
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Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)	0
Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”	0
“Octatonic” Voice Leading and Diatonic Function in theAllegro moltofrom Elgar’s String Quartet in E minor, op. 83	0
The Poetics and Politics of Ambiguity	0
Flexible Ostinati, Groove, and Formal Process in Craig Taborn’sAvenging Angel	0
Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder	0
Review of Keith Waters, Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea (Oxford University Press, 2019)	0
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Three Audiovisual Correspondences in the Main Title forVertigo	0
Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971	0
Resolving Tensions between Outer Form and Inner Form in Fugue: A Comparative Analysis of J. S. Bach’s Fugue in D minor (WTCI)	0
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Conference Report	0
Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)	0

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Review of Megan Kaes Long,Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century(Oxford University Press, 2020)	0
Review of David Temperley, The Musical Language of Rock (Oxford University Press: 2018)	0
“Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha	0
Billy Joel’s Enharmonic Duplicity	0
Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020)	0