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Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the "Krakow" Sketch Materials
A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets
The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality
Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors
Harmony in the Songs of Hugo Wolf
An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti
Toward a Unified Whole: Allan Pettersson's Symphony No. 5.
Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 1]
Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study
Deconstructing Webern's Op 25, Drei Lieder: a Multidimensional Assessment
Dmitri Shostakovich and the Fugues of Op. 87: A Bach Bicentennial Tribute
The Fundamental Unity in Brahm's Horn Trio, Op. 40
Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.
D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material
Composing-Out Notre-Dame: How Louise Bertin Expresses the Hugolian Themes of Fate and Decay in La Esmeralda
Metric Dissonance in Non-Isochronous Meters
Crisis and Catharsis: Linear Analysis and the Interpretation of Herbert Howells' "Requiem" and "Hymnus Paradisi"
Formal Organization in Ground-bass Compositions
A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae
Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger
Tonal Enigmas: A Study of Problematic Openings and Endings
Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 2]
Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of Fugue
Toward a Descriptive Eidetics of Atonality: a Phenomenological Analysis of Webern Op 3, No 1
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