The Musical Quarterly

Digitalisate

• • 1915–1922 einsehbar bei JSTOR
  • Bd.01, 1915 Internet Archive
  • Bd.02, 1916 Internet Archive
  • Bd.03, 1917 Internet Archive=Google-USA*
  • Bd.04, 1918 Internet Archive=Google-USA*
  • Bd.05, 1919 Internet Archive=Google-USA*
  • Bd.06, 1920 Internet Archive=Google-USA*
  • Bd.07, 1921 Internet Archive=Google-USA*
  • Bd.08, 1922 Internet Archive=Google-USA*
  • Bd.09, 1923 Internet Archive
  • Bd.10, 1924 Internet Archive

01. Jg. 1915

Nr. 1

• Waldo S. Pratt: On Behalf of Musicology. S. 1–16 JSTOR
• T. P. Currier: Edward Mac Dowell – As I Knew Him. S. 17–51 JSTOR
• W. J. Lawrence: The Delights of Chorussing. S. 52–56 JSTOR
• W. H. Hadow: Some Aspects of Modern Music. S. 57–68 JSTOR
• W. J. Henderson: The Function of Musical Criticism. S. 69–82 JSTOR
• J. A. Fuller-Maitland: Ensemble. S. 83–92 JSTOR
• Francis Rogers: America’s First Grand Opera Season. S. 93–101 JSTOR
• H. T. Henry: Music-Reform in the Catholic Church. S. 102–117 JSTOR
• Francis Toye: Is Musical Reservation Justifiable? S. 118–128 JSTOR
• Carl E. Seashore: The Measurement of Musical Talent. S. 129–148 JSTOR

Nr. 2

• John F. Runciman: Noises, Smells and Colours. S. 149–161 JSTOR
• Charles H. Farnsworth: The Judgment of Paris – Or The Worth of Beauty. S. 162–168 JSTOR
• Henry F. Gilbert: The American Composer. S. 169–180 JSTOR
• Cyril Scott: Music and Material Expression (A Plea for Aristotle). S. 181–186 JSTOR
• Frances Densmore: The Study of Indian Music. S. 187–197 JSTOR
• William Gorham Rice: Tower Music of Belgium and Holland. S. 198–215 JSTOR
• J. G. Prod’homme, Richard Wagner, Julia Gregory: Wagner and the Paris Opéra – Unpublished Letters (February – March, 1861). S. 216–231 JSTOR
• Charles Villiers Stanford: Some Thoughts concerning Folk-Song and Nationality. S. 232–245 JSTOR
• Edward Burlingame Hill: Vincent d’Indy – An Estimate. S. 246–259 JSTOR
• Edgar Istel, Janet Wylie: German Opera since Richard Wagner. S. 260–290 JSTOR
• Sigmund Spaeth: Translating to Music. S. 291–298 JSTOR
• Henry J. Harris: The Occupation of Musician in the United States. S. 299–311 JSTOR

Nr. 3

• Hubert Parry: Things That Matter. S. 313–328 JSTOR
• Natalie Curtis: The Classic Dance of Japan. S. 329–335 JSTOR
• Viktor von Herzfeld: Robert Volkmann (1815–1883). S. 336–349 JSTOR
• Pauline Viardot-Garcia: Pauline Viardot-Garcia to Julius Rietz (Letters of Friendship). S. 350–380 JSTOR
• Frederick Corder: On the Cult of Wrong Notes. S. 381–386 JSTOR
• Charles Wakefield Cadman: The „Idealization“ of Indian Music. S. 387–396 JSTOR
• William Barclay Squire: Gluck’s London Operas. S. 397–409 JSTOR
• Louis C. Elson: Acoustics – Suggestions in Behalf of an Unpopular Subject. S. 410–415 JSTOR
• Percy Grainger: The Impress of Personality in Unwritten Music. S. 416–435 JSTOR
• Fausto Torrefranca, Theodore Baker: Opera as a „Spectacle for the Eye“. S. 436–452 JSTOR
• David C. Taylor: Voice Culture Past and Present – A General View of a Perplexing Subject. S. 453–471 JSTOR

Nr. 4

• Rutland Boughton: The Soul of Music – A Rhapsody for Amateurs. S. 473–496 JSTOR
• Hans Kleemann, Frank Lester: Robert Franz (June 28, 1815 – October 24, 1892). S. 497–518 JSTOR
• James Huneker: The Classic Chopin. S. 519–525 JSTOR
• Pauline Viardot-Garcia: Pauline Viardot-Garcia to Julius Rietz (Letters of Friendship) [Continued]. S. 526–559 JSTOR
• Arthur Hinton: The Gift of Musical Appreciation. S. 560–568 JSTOR
• Frank Kidson: A Study of Old English Song and Popular Melody prior to the 19th Century. S. 569–582 JSTOR
• Lewis M. Isaacs: A Friend of Dr. Johnson. S. 583–591 JSTOR
• Edwin Hughes: Musical Memory in Piano Playing and Piano Study. S. 592–603 JSTOR
• Hugo Leichtentritt: The Renaissance Attitude towards Music. S. 604–622 JSTOR
• W. J. Baltzell: The American College Man in Music. S. 623–636 JSTOR
• George Coleman Gow: Rhythm – The Life of Music. S. 637–652 JSTOR

02. Jg. 1916

Nr. 1

• Camille Saint-Saëns, Theodore Baker: Music in the Church. S. 1–8 JSTOR
• Nicholas C. Gatty: Futurism – A Series of Negatives. S. 9–12 JSTOR
• T. Carl Whitmer: A Post-Impressionistic View of Beethoven. S. 13–31 JSTOR
• Pauline Viardot-Garcia, Theodore Baker: Pauline Viardot-Garcia to Julius Rietz (Letters of Friendship) [Concluded]. S. 32–60 JSTOR
• James Frederick Rogers: A Song of Rags. S. 61–66 JSTOR
• W. J. Lawrence: Music and Song in the Eighteenth Century Theatre. S. 67–75 JSTOR
• Egon Wellesz, Otto Kinkeldey: Schönberg and Beyond. S. 76–95 JSTOR
• J. A. Fuller-Maitland: The Artistic Temperament and the Artist’s Progress. S. 96–108 JSTOR
• C. Alphonso Smith: Ballads Surviving in the United States. S. 109–129 JSTOR
• Algernon St. John-Brenon: Giuseppe Verdi. S. 130–162 JSTOR

Nr. 2

• Herbert Antcliffe: The Essential Nature of Music. S. 163–170 JSTOR
• Daniel Gregory Mason: A Study of Strauss. S. 171–190 JSTOR
• W. H. Grattan Flood: An Eighteenth Century Essayist on Poetry and Music. S. 191–198 JSTOR
• Orlando A. Mansfield: Some Anomalies in Orchestral Accompaniments to Church Music. S. 199–209 JSTOR
• J. G. Prod’homme, Julia Gregory: Rosalie Levasseur, Ambassadress of Opera. S. 210–243 JSTOR
• Sophie P. Gibling: Problems of Musical Criticism. S. 244–248 JSTOR
• C. Stanley Wise: Impressions of Igor Strawinsky. S. 249–256 JSTOR
• Arthur Nevin: Two Summers with the Blackfeet Indians of Montana. S. 257–270 JSTOR
• Edward J. Dent: The Pianoforte and Its Influence on Modern Music. S. 271–294 JSTOR
• Philip Greeley Clapp: Sebastian Bach, Modernist. S. 295–313 JSTOR
• John Palmer: Gesture and Scenery in Modern Opera. S. 314–330 JSTOR

Nr. 3

• George Whitfield Andrews: Music as an Expression of Religious Feeling. S. 331–338 JSTOR
• W. J. Henderson: A Note on Floridity. S. 339–348 JSTOR
• Edwin Hughes: Rafael Joseffy’s Contribution to Piano Technic. S. 349–364 JSTOR
• Henry F. Gilbert: The Survival of Music. S. 365–374 JSTOR
• Edgar Istel, Theodore Baker: The „Othello“ of Verdi and Shakespeare. S. 375–386 JSTOR
• Carl Van Vechten: Shall We Realize Wagner’s Ideals? S. 387–401 JSTOR
• Oscar Bie, Theodore Baker: Melody. S. 402–417 JSTOR
• Frank Lester: Kluckhuhn’s Chord. S. 418–424 JSTOR
• Cyril Scott: Percy Grainger the Music and the Man. S. 425–433 JSTOR
• Helen Ware: The American-Hungarian Folk-Song. S. 434–441 JSTOR
• Percy A. Scholes: Henry Purcell – A Sketch of a Busy Life. S. 442–464 JSTOR
• Clement Antrobus Harris: Musical Allusions of Great Writers. S. 465–476 JSTOR
• Ernest Bruncken: The Philosophy of Copyright. S. 477–496 JSTOR

Nr. 4

• W. S. B. Mathews: Of Strength, Beauty and Satisfaction in Music. S. 497–506 JSTOR
• Ferdinand Schumann, Jacques Mayer: Brahms and Clara Schumann. S. 507–515 JSTOR
• Daniel Gregory Mason: Edward J. de Coppet. S. 516–522 JSTOR
• Edward J. Dent: The Musical Interpretation of Shakespeare on the Modern Stage. S. 523–537 JSTOR
• Rutland Boughton: Shakespeare’s Ariel – A Study of Musical Character. S. 538–551 JSTOR
• Philip Gordon: Franz Grillparzer – Critic of Music. S. 552–561 JSTOR
• Herbert J. Wrightson: The Secret of Technique. S. 562–565 JSTOR
• Jean Huré, Theodore Baker: The Rôle of France in Musical Art. S. 566–582 JSTOR
• J. A. Fuller-Maitland: Facts and Fictions about „God Save the King“. S. 583–589 JSTOR
• Arthur Hartmann: The Czimbalom, Hungary’s National Instrument. S. 590–600 JSTOR
• A. Eaglefield Hull, Alexander Scriabin: A Survey of the Pianoforte Works of Scriabin. S. 601–614 JSTOR
• G. Edward Stubbs: Secularization of Sacred Music. S. 615–627 JSTOR
• Charles Villiers Stanford: William Sterndale Bennett – 1816–1875. S. 628–657 JSTOR
• Wilhelm Peterson-Berger, Hester Coddington: The Life Problem in Wagner’s Dramas. S. 658–668 JSTOR

03. Jg. 1917

Nr. 1

• Lawrence Gilman: Taste in Music. S. 1–8 JSTOR
• W. J. Lawrence: The English Theatre Orchestra – Its Rise and Early Characteristics. S. 9–27 JSTOR
• J. Lawrence Erb: Music in the American University. S. 28–33 JSTOR
• Edgar Istel, Otto Kinkeldey: A Genetic Study of the Aida Libretto. S. 34–52 JSTOR
• Jaroslaw de Zielinski: Russian Hunting Music. S. 53–59 JSTOR
• A. Redgrave Cripps: The Study of Theory in Music Teaching. Is It Sound? S. 60–68 JSTOR
• Hugo Leichtentritt: Ferruccio Busoni as a Composer. S. 69–97 JSTOR
• Frank Kidson: Some Guesses about Yankee Doodle. S. 98–103 JSTOR
• Frederic W. Root: Imagination and Fact in Voice Culture. S. 104–114 JSTOR
• Cornelius Rubner: Niels Wilhelm Gade – „In Remembrance of the Centenary of His Birth“. S. 115–122 JSTOR
• Arthur Ware Locke, E. T. A. Hoffmann: Beethoven’s Instrumental Music – Translated from E. T. A. Hoffmann’s „Kreisleriana“ with an Introductory Note. S. 123–133 JSTOR
• D. C. Parker: Exoticism in Music in Retrospect. S. 134–161 JSTOR

Nr. 2

• Ananda Coomaraswamy: Indian Music. S. 163–172 JSTOR
• Amédée Gastoué, H. Morette: Three Centuries of French Mediæval Music – New Conclusions and Some Notes. S. 173–188 JSTOR
• N. Lindsay Norden: The Boy Choir Fad. S. 189–197 JSTOR
• Harold Flammer: Advertising as a Fine Art. S. 198–205 JSTOR
• W. Barclay Squire: Some Novello Correspondence. S. 206–242 JSTOR
• Constantin von Sternberg: Singing or Music – A Suggestion. S. 243–248 JSTOR
• J. G. Prod’homme, Marguerite Barton: Gluck’s French Collaborators. S. 249–271 JSTOR
• Arthur Elson: Literary Errors about Music. S. 272–281 JSTOR
• F. Corder: The Classical Tradition. S. 282–287 JSTOR
• Daniel Gregory Mason: A Study of Elgar. S. 288–303 JSTOR
• Henri de Curzon, Christine Groncke: History and Glory of the Concert-Hall of the Paris Conservatory (1811–1911). S. 304–318 JSTOR

Nr. 3

• Guido Alberto Fano, Julia Gregory: The Creators of Modern Musical Idealities. S. 319–339 JSTOR
• Michel Brenet, Mariola Chardon: French Military Music in the Reign of Louis XIV. S. 340–357 JSTOR
• Francis Rogers: Some Memories of Ethelbert Nevin. S. 358–363 JSTOR
• Josephine McGill: Following Music in a Mountain Land. S. 364–384 JSTOR
• Sophie P. Gibling: Types of Musical Listening. S. 385–389 JSTOR
• Edwin Hughes: Liszt as Lieder Composer. S. 390–409 JSTOR
• H. T. Henry: Choir-Boys in Catholic Churches. S. 410–415 JSTOR
• G. Edward Stubbs: Why We Have Male Choirs in Churches. S. 416–427 JSTOR
• R. A. Streatfeild: Handel, Rolli, and Italian Opera in London in the Eighteenth Century. S. 428–445 JSTOR
• Sheldon Cheney: The Book-Plates of Musicians and Music-Lovers. S. 446–452 JSTOR
• Julien Tiersot, Theodore Baker: Hector Berlioz and Richard Wagner. S. 453–492 JSTOR

Nr. 4

• Carl Engel: De Gustibus. S. 493–502 JSTOR
• W. J. Lawrence: An Old English Music Handkerchief. S. 503–508 JSTOR
• D. C. Parker: A View of Giacomo Puccini. S. 509–516 JSTOR
• Reginald Gatty: The Musical Public and Its Opinions. S. 517–538 JSTOR
• Carl Van Vechten: Notes on Gluck’s Armide. S. 539–547 JSTOR
• Jenny Lind Goldschmidt, V. M. Holmstrom: Jenny Lind’s Singing Method. S. 548–551 JSTOR
• John C. Griggs: The Influence of Comedy upon Operatic Form. S. 552–561 JSTOR
• Orlando A. Mansfield: Some Characteristics and Peculiarities of Mendelssohn’s Organ Sonatas. S. 562–576 JSTOR
• Henry F. Gilbert: Folk-Music in Art-Music – A Discussion and a Theory. S. 577–601 JSTOR
• Katharine Schermerhorn Oliver: On Friendship. S. 602–604 JSTOR
• Edward J. Dent: Music in University Education. S. 605–619 JSTOR
• J. G. Prod’homme, Ludwig van Beethoven, Theodore Baker: An Unpublished Letter of Beethoven. S. 620–628 JSTOR
• Henry Edward Krehbiel: Alexander Thayer and His Life of Beethoven. S. 629–640 JSTOR
• Daniel Gregory Mason: Democracy and Music. S. 641–657 JSTOR

04. Jg. 1918

Nr. 1

• Walter R. Spalding: The War in Its Relation to American Music. S. 1–11 JSTOR
• Francis Toye: A Case for Musical Nationalism. S. 12–22 JSTOR
• Olin Downes: An American Composer. S. 23–36 JSTOR
• Herbert F. Small: On Opera. S. 37–49 JSTOR
• E. W. Morphy: Violin Teaching in Its Relation to the Organization of Civic Orchestras. S. 50–60 JSTOR
• O. G. Sonneck: Liszt’s Huldigungs Marsch and Weimar’s Volkslied. S. 61–73 JSTOR
• Jean Huré, Marguerite Barton: The Immediate Future of French Music. S. 74–77 JSTOR
• F. Corder, Henry Rowley Bishop: The Works of Sir Henry Bishop. S. 78–97 JSTOR
• T. Carl Whitmer: The Energy of American Crowd Music. S. 98–116 JSTOR
• Herbert Antcliffe, Rutland Boughton: A British School of Music-Drama – The Work of Rutland Boughton. S. 117–127 JSTOR
• H. T. Henry: Wanted – A Historico-Musical Clearing-House. S. 128–134 JSTOR
• J. G. Prod’homme, Otto Kinkeldey: Music and Musicians in Paris during the First Two Seasons of the War. S. 135–160 JSTOR

Nr. 2

• E. Sapir: Representative Music. S. 161–167 JSTOR
• Wesley Weyman: The Science of Pianoforte Technique. S. 168–173 JSTOR
• Charles L. Buchanan: Ornstein and Modern Music. S. 174–183 JSTOR
• Clement Antrobus Harris: The War between the Fixed and Movable Doh. S. 184–195 JSTOR
• N. Lindsay Norden: A Plea for Pure Church Music. S. 196–208 JSTOR
• Orlando A. Mansfield: W. T. Best – His Life, Character, and Works. S. 209–249 JSTOR
• Arthur Elson: Sound and Its Uses. S. 250–267 JSTOR
• Henri de Curzon, Theodore Baker: Jean-Baptiste Faure. S. 268–281 JSTOR
• J. N. Burk: The Fetish of Virtuosity. S. 282–292 JSTOR
• Josephine McGill: Old Ballad Burthens. S. 293–306 JSTOR
• D. C. Parker: Reflections on Romanticism. S. 307–322 JSTOR

Nr. 3

• Daniel Gregory Mason: Folk-Song and American Music (A Plea for the Unpopular Point of View). S. 323–332 JSTOR
• Herbert Antcliffe, Granville Bantock: A Brief Survey of the Works of Granville Bantock. S. 333–346 JSTOR
• W. J. Lawrence: A Forgotten Thackerayan Episode. S. 347–352 JSTOR
• Harvey B. Gaul: Bonnet – Bossi – Karg-Elert – Three Aperçus. S. 353–364 JSTOR
• James Frederick Rogers: Music as Medicine. S. 365–375 JSTOR
• Eva Augusta Vescelius: Music and Health. S. 376–401 JSTOR
• Charles Quef, E. Adcock: Breton Music. S. 402–408 JSTOR
• Julien Tiersot, Theodore Baker: Charles Gounod – A Centennial Tribute. S. 409–439 JSTOR
• Frederick H. Martens: The Attitude of the Dancer toward Music. S. 440–449 JSTOR
• M. Montagu-Nathan: Belaiev – Mæcenas of Russian Music. S. 450–465 JSTOR
• Elizabeth Foerster-Nietzsche: Wagner and Nietzsche – The Beginning and End of Their Friendship. S. 466–489 JSTOR

Nr. 4

• Carl Engel: Music We Shall Never Hear. S. 491–506 JSTOR
• Carl E. Seashore: The Sense of Rhythm as a Musical Talent. S. 507–515 JSTOR
• Frank Kidson: John Playford, and 17th-Century Music Publishing. S. 516–534 JSTOR
• Clara T. Nichols: Music in Our Public Schools. S. 535–541 JSTOR
• G. Jean-Aubry, Frederick H. Martens: Claude Debussy. S. 542–554 JSTOR
• J. G. Prod’homme, Marguerite Barton: Claude Achille Debussy. S. 555–571 JSTOR
• John F. Runciman: Weather and the Artist. S. 572–578 JSTOR
• Ernest Hart: British Regimental Marches – Their History and Romance. S. 579–586 JSTOR
• J. C. Deagan: A = 440 Pitch Adopted – Pitch versus Temperature. S. 587–592 JSTOR
• Ludwig Bonvin: On Syrian Liturgical Chant. S. 593–603 JSTOR
• Carl Van Vechten: De Senectute Cantorum. S. 604–617 JSTOR
• D. A. Clippinger: Scientific Voice Training. S. 618–629 JSTOR
• J.-G. Prod’homme, Charles Gounod, Theodore Baker: Miscellaneous Letters by Charles Gounod. S. 630–653 JSTOR

05. Jg. 1919

Nr. 1

• Henry F. Gilbert: Originality. S. 1–9 JSTOR
• Victor Walter, D. A. Modell: Reminiscences of Anton Rubinstein. S. 10–19 JSTOR
• Edward Kilenyi: The Theory of Hungarian Music. S. 20–39 JSTOR
• Julien Tiersot, Theodore Baker, Charles Gounod: Gounod’s Letters. S. 40–61 JSTOR
• Herbert Antcliffe: The Co-ordination of Musical Studies. S. 62–73 JSTOR
• Lionel de La Laurencie, Frederick H. Martens: The Chevalier de Saint-George – Violinist. S. 74–85 JSTOR
• Natalie Curtis Burlin: Negro Music at Birth. S. 86–89 JSTOR
• Orlando A. Mansfield: The Minuet in Handel’s Messiah. S. 90–99 JSTOR
• Hans Schneider: The Haunting Melody. S. 100–108 JSTOR
• O. G. Sonneck: Guillaume Lekeu (1870–1894). S. 109–147 JSTOR

Nr. 2

• Cyril Scott: The Two Attitudes. S. 149–159 JSTOR
• D. C. Parker: Balzac, the Musician. S. 160–168 JSTOR
• Rudhyar D. Chennevière, Frederick H. Martens: The Two Trends of Modern Music in Stravinsky’s Works. S. 169–174 JSTOR
• Edward Speyer: Notes on the Iconography of Wolfgang Amadeus Mozart. S. 175–191 JSTOR
• G. Jean-Aubry: British Music through French Eyes. S. 192–212 JSTOR
• Edwin Evans: John Ireland. S. 213–220 JSTOR
• Eugene Gruenberg: Stage-Fright. S. 221–230 JSTOR
• Ernst C. Krohn: The Bibliography of Music. S. 231–254 JSTOR
• Brander Matthews: The Conventions of the Music-Drama. S. 255–263 JSTOR
• William Barclay Squire, Robert Lucas Pearsall: Letters of Robert Lucas Pearsall. S. 264–297 JSTOR

Nr. 3

• J. A. Fuller-Maitland: Hubert Parry. S. 299–307 JSTOR
• J. Lawrence Erb: Music in the Education of the Common Man. S. 308–315 JSTOR
• John N. Burk: The Democratic Ideal in Music. S. 316–328 JSTOR
• Gabriel Grovlez: Jacques Offenbach – A Centennial Sketch. S. 329–337 JSTOR
• Herbert Sanders: Counterpoint Revolutionized. S. 338–347 JSTOR
• F. Corder: Major versus Minor – Some Curious Statistics. S. 348–356 JSTOR
• Frederick H. Martens: The Modern Russian Pianoforte Sonata (Based on an Interview with M. Serge Prokofieff). S. 357–363 JSTOR
• Charles L. Buchanan: The Unvanquishable Tchaikovsky. S. 364–389 JSTOR
• Constantin von Sternberg: On Plagiarism. S. 390–397 JSTOR
• J. G. Prod’homme, Hector Berlioz, Theodore Baker, Marguerite Barton: Unpublished Berlioziana. S. 398–412 JSTOR
• Francis Rogers: The Male Soprano. S. 413–425 JSTOR
• N. Lindsay Norden: A Brief Study of the Russian Liturgy and Its Music. S. 426–450 JSTOR

Nr. 4

[Hg]Rudolph E. Schirmer †. S. 451–452

• Carl Engel: The Miraculous Appeal of Mediocrity. S. 453–462 JSTOR
• W. H. Grattan Flood: Fair Harvard – Irish Origin of the Tune. S. 463–468 JSTOR
• Rudhyar D. Chennevière, Frederick H. Martens: Erik Satie and the Music of Irony. S. 469–478 JSTOR
• Orlando A. Mansfield: Musical Discrepancies. S. 479–493 JSTOR
• Edward Rimbault Dibdin, Felix Mendelssohn Bartholdy: Some Letters of Mendelssohn. S. 494–498 JSTOR
• Natalie Curtis-Burlin: Black Singers and Players. S. 499–504 JSTOR
• James Frederick Rogers: The Three Beethovens. S. 505–512 JSTOR
• J.-G. Prod’homme, Theodore Baker: Two Hundred and Fifty Years of the Opéra (1669–1919). S. 513–537 JSTOR
• William Barclay Squire: Handel’s Clock Music. S. 538–552 JSTOR
• Carl Van Vechten: On the Relative Difficulties of Depicting Heaven and Hell in Music. S. 553–560 JSTOR
• D. C. Parker: Camille Saint-Saëns – A Critical Estimate. S. 561–577 JSTOR
• Phillips Barry: Greek Music. S. 578–613 JSTOR

06. Jg. 1920

Nr. 1

• Charles D. Isaacson: A New Musical Outlook – And the War. S. 1–11 JSTOR
• Herbert Antcliffe: The Recent Rise of Chamber Music in England. S. 12–23 JSTOR
• Edwin Carty Ranck: The Macdowell Colony at Peterborough. S. 24–28 JSTOR
• G. Jean-Aubry: The New Italy. S. 29–56 JSTOR
• Francis Rogers: Sophie Arnould (1740–1803). S. 57–61 JSTOR
• Constantin von Sternberg: The Chimera of Tradition. S. 62–68 JSTOR
• César Saerchinger: Musical Landmarks in New York. S. 69–90 JSTOR
• J. A. Fuller-Maitland: Of Defects in Musical Instruments and Their Value. S. 91–97 JSTOR
• Martial Teneo, Theodore Baker: Jacques Offenbach – His Centenary. S. 98–117 JSTOR
• Charles William Pearce: The Futility of the Anglican Chant. S. 118–126 JSTOR
• Amy Lowell: Some Musical Analogies in Modern Poetry. S. 127–157 JSTOR

Nr. 2

• Henry F. Gilbert: Progress in Art. S. 159–174 JSTOR
• Natalie Curtis: A Plea for Our Native Art. S. 175–178 JSTOR
• Guido M. Gatti, Frederick H. Martens: Alfredo Casella. S. 179–191 JSTOR
• W. J. Lawrence: Music in the Elizabethan Theatre. S. 192–205 JSTOR
• Louis C. Elson: Atrocities and Humors of Opera. S. 206–213 JSTOR
• Isidor Philipp, Frederick H. Martens: The French National Conservatory of Music. S. 214–226 JSTOR
• César Saerchinger: Musical Landmarks in New York. S. 227–256 JSTOR
• Arthur W. Locke: The Background of the Romantic Movement in French Music. S. 257–271 JSTOR
• Jean Huré, Frederick H. Martens: The French School of Organ Playing in Its Own Land. S. 272–275 JSTOR
• Georges de St. Foix, Ottomar King: Mozart and the Young Beethoven. S. 276–295 JSTOR
• William Barclay Squire, Robert Lucas Pearsall: Letters of Robert Lucas Pearsall [Continued]. S. 296–315 JSTOR

Nr. 3

• J. A. Fuller-Maitland: Towards Ugliness – A Revision of Old Opinions. S. 317–325 JSTOR
• Henry Prunières, Loraine Wyman: G. Francesco Malipiero. S. 326–341 JSTOR
• Herbert Antcliffe: The Effect of the War on English Choral Music. S. 342–353 JSTOR
• Orlando A. Mansfield: About Basses. S. 354–365 JSTOR
• J.-G. Prod’homme, Theodore Baker: The Baron de Trémont – Souvenirs of Beethoven and Other Contemporaries. S. 366–391 JSTOR
• Sumner Salter: The Ornaments in Bach’s Organ Works. S. 392–402 JSTOR
• Colin McAlpin: Musical Appreciation – A Plea for Catholicity. S. 403–416 JSTOR
• Clement Antrobus Harris: Musical Animals in Ornament. S. 417–425 JSTOR
• L. L. Thurstone: The Problem of Melody. S. 426–429 JSTOR
• Frank Kidson: Handel’s Publisher, John Walsh, His Successors, and Contemporaries. S. 430–450 JSTOR
• S. Camillo Engel: The Mission of the Singer. S. 451–454 JSTOR
• Annie W. Patterson: The Folk-Music of Ireland – Its Past, Present, and Future Aspects. S. 455–467 JSTOR

Nr. 4

• Marion Bauer: Natural Law – Its Influence on Modern Music. S. 469–477 JSTOR
• G. Jean-Aubry: A Music-Lover of the Past – Eugène Delacroix. S. 478–499 JSTOR
• Rudhyar D. Chennevière, Frederick H. Martens: The Rise of the Musical Proletariat. S. 500–509 JSTOR
• Carl Engel: Why Do We Dance? S. 510–531 JSTOR
• Fausto Torrefranca, Julia Gregory: Arrigo Boito. S. 532–552 JSTOR
• Zdzislaw Jachimecki: Polish Music. S. 553–572 JSTOR
• Carl Van Vechten: The Cat in Music. S. 573–585 JSTOR
• C. E. Seashore: The Inheritance of Musical Talent. S. 586–598 JSTOR
• Julien Tiersot, O. T. Kindler: Historic and National Songs of France. S. 599–632 JSTOR

07. Jg. 1921

Nr. 1

• Constantin von Sternberg: Against Modern „ism“. S. 1–7 JSTOR
• Cyril I. Scott: Chamber-Music – Its Past and Future. S. 8–19 JSTOR
• Guido M. Gatti, Theodore Baker: Ernest Bloch. S. 20–38 JSTOR
• D. C. Parker: Are the Classics Doomed? S. 39–44 JSTOR
• Wilhelm Peterson-Berger, Hester Coddington: The Wagnerian Culture Synthesis. S. 45–56 JSTOR
• B. M. Steigman: Nicht mehr Tristan. S. 57–67 JSTOR
• J. A. Fuller-Maitland: Tonic-Sol-Fa; Pro and Con. S. 68–72 JSTOR
• J.-G. Prod’homme, Giuseppe Verdi, Theodore Baker: Unpublished Letters from Verdi to Camille Du Locle (1866–76). S. 73–103 JSTOR
• W. J. Lawrence: The Early Years of the First English Opera House. S. 104–117 JSTOR
• Charles D. Isaacson: Something „Bigger“ than the Bethlehem Bach Festivals. S. 118–126 JSTOR
• Wesley Weyman: The Passing of the Pressure Touch. S. 127–132 JSTOR
• Henry Prunières, Otis Kincaid: Stendhal and Rossini. S. 133–155 JSTOR

Nr. 2

• Karl H. Eschman: The Rhetoric of Modern Music. S. 157–166 JSTOR
• John Tasker Howard, Jr.: Our Folk-Music and Its Probable Impress on American Music of the Future – Casual Remarks by Way of Survey. S. 167–171 JSTOR
• Sydney Grew: National Music and the Folk-Song. S. 172–185 JSTOR
• E. H. C. Oliphant: The Songs of Charles Koechlin. S. 186–197 JSTOR
• Frederick H. Martens: Music, Monarchs, and „The Savage Breast“. S. 198–217 JSTOR
• Hans Schneider: The Enjoyment of Music. S. 218–225 JSTOR
• Edgar Istel, Theodore Baker: Beethoven’s „Leonore“ and „Fidelio“. S. 226–251 JSTOR
• Arthur L. Manchester: Practical Music and the College Curriculum. S. 252–260 JSTOR
• Orlando A. Mansfield: The Cuckoo and Nightingale in Music. S. 261–277 JSTOR
• William Barclay Squire, Robert Franz: Letters of Robert Franz. S. 278–283 JSTOR
• Lionel de La Laurencie, Frederick H. Martens: America in the French Music of the Seventeenth and Eighteenth Centuries. S. 284–302 JSTOR

Nr. 3

• Babette Deutsch: America in the Arts. S. 303–308 JSTOR
• A. Walter Kramer: The Things We Set to Music. S. 309–313 JSTOR
• George Cecil: Impressions of Opera in France. S. 314–330 JSTOR
• Jean Chantavoine, Harriet Lanier: Busoni. S. 331–343 JSTOR
• F. Joseph Kelly: Plain Chant, the Handmaid of the Liturgy – A Challenge and a Prophecy. S. 344–350 JSTOR
• Charles Van den Borren, Frederick H. Martens: The General Trends in Contemporary Belgian Music. S. 351–365 JSTOR
• Otto Ortmann: Notes on the Nature of Harmony. S. 366–375 JSTOR
• Julien Tiersot, Frederick H. Martens: Russian Composers as Described by Themselves. S. 376–398 JSTOR
• H. H. Bellamann: Of Notable Piano Concertos, Neglected and Otherwise. S. 399–407 JSTOR
• R. D. Welch: The Assault on Modernism in Music. S. 408–417 JSTOR
• Guido M. Gatti, Claude Debussy, Frederick H. Martens: The Piano Works of Claude Debussy. S. 418–460 JSTOR

Nr. 4

• Carl Engel: Music, Melodious and Odious. S. 461–468 JSTOR
• Arthur Elson: Architectural Acoustics. S. 469–482 JSTOR
• Alexander W. Thayer: The Man Beethoven – An Estimate of His Character. S. 483–492 JSTOR
• Edgar Istel, Janet Wylie Istel: Carmen – Novel and Libretto – A Dramaturgic Analysis. S. 493–510 JSTOR
• Frank Patterson: Whither? S. 511–519 JSTOR
• Béla Bartók, Franz Liszt, Frederick H. Martens: Two Unpublished Liszt Letters to Mosonyi. S. 520–526 JSTOR
• Fielding H. Garrison: Medical Men Who Have Loved Music. S. 527–548 JSTOR
• Natalie Curtis: American Indian Cradle-Songs. S. 549–558 JSTOR
• Carl Van Vechten: On Hearing What You Want When You Want It. S. 559–564 JSTOR
• William Barclay Squire: The Music of Shadwell’s „Tempest“. S. 565–578 JSTOR
• J.-G. Prod’homme, Frederick H. Martens: Napoleon, Music and Musicians. S. 579–605 JSTOR

08. Jg. 1922

Nr. 1

• Alfredo Casella, Otis Kincaid: What Is Art? S. 1–6 JSTOR
• Edward E. Harper: Aperçus of an Adjudicator. S. 7–22 JSTOR
• Zdzislaw Jachimecki, O. T. Kindler: Karol Szymanowski. S. 23–37 JSTOR
• Elise Fellows White: Music versus Materialism. S. 38–43 JSTOR
• J. G. Prod’homme, Cosima Wagner, Theodore Baker: Correspondence of Cosima Wagner with Victor Wilder. S. 44–52 JSTOR
• Giulio Silva, Theodore Baker: The Beginnings of the Art of „Bel Canto“ – Remarks on the Critical History of Singing. S. 53–68 JSTOR
• Clement Antrobus Harris: On the Divine Origin of Musical Instruments in Myths and Scriptures. S. 69–75 JSTOR
• Donald N. Tweedy: The Approach to Music. S. 76–83 JSTOR
• Charles D. Isaacson: Musical Shirt-Sleeve Diplomacy. S. 84–95 JSTOR
• Harlow Gale: Musical Education. S. 96–107 JSTOR
• D. Rudhyar: The Relativity of Our Musical Conceptions. S. 108–118 JSTOR
• O. G. Sonneck, Heinrich Heine, Frederick H. Martens: Heinrich Heine’s Musical Feuilletons. S. 119–159 JSTOR

Nr. 2

• D. C. Parker: Music and the Grand Style. S. 161–179 JSTOR
• Herbert Antcliffe: Some Notes on Coleridge-Taylor. S. 180–192 JSTOR
• Marc Pincherle, Ottomar King: The Social Condition of Violinists in France before the Eighteenth Century. S. 193–198 JSTOR
• Howard Markel: An „Instrumental“ Aesthetics of Music. S. 199–212 JSTOR
• Edgar Istel: Is the Marseillaise a German Composition? (The History of a Hoax). S. 213–226 JSTOR
• E. H. C. Oliphant: Poetry and the Composer. S. 227–241 JSTOR
• W. B. Olds: Bird-Music. S. 242–255 JSTOR
• Arthur George: Notes versus Tones. S. 256–264 JSTOR
• W. G. Whittaker: A Reply to „Tonic-Solfa – Pro and Con“. S. 265–272 JSTOR
• Frederick H. Martens, O. G. Sonneck, Heinrich Heine: Heinrich Heine’s Musical Feuilletons [Continued]. S. 273–295 JSTOR
• Carl Engel: Views and Reviews. S. 296–311 JSTOR

Nr. 3

• John Tasker Howard: The American Composer – The Victim of His Friends. S. 313–318 JSTOR
• Ivor Gurney: The Springs of Music. S. 319–322 JSTOR
• Guido M. Gatti, Theodore Baker: The Academy of St. Cecilia and the Augusteo in Rome. S. 323–345 JSTOR
• Lazare Saminsky: The Music of the Peoples of the Russian Orient. S. 346–352 JSTOR
• Herbert F. Peyser: Some Observations on Translation. S. 353–371 JSTOR
• Harold D. Phillips: The Anomalous Place of Mozart in Music. S. 372–376 JSTOR
• D. Jenness: Eskimo Music in Northern Alaska. S. 377–383 JSTOR
• Ernest Brennecke: The Two Reger-Legends. S. 384–396 JSTOR
• W. J. Lawrence: Early Irish Ballad Opera and Comic Opera. S. 397–412 JSTOR
• Gilbert Elliott, Jr.: Our Musical Kinship with the Spaniards. S. 413–418 JSTOR
• Colin McAlpin: On Hearing Music. S. 419–434 JSTOR
• Heinrich Heine, O. G. Sonneck, Frederick H. Martens: Heinrich Heine’s Musical Feuilletons [Concluded]. S. 435–468 JSTOR

Nr. 4

• J.-G. Prod’homme, Frederick H. Martens: Camille Saint-Saëns (Oct. 9, 1835-Dec. 16, 1921). S. 469–486 JSTOR
• Rosario Scalero, Theodore Baker: A Contribution to the Pedagogy of Composition. S. 487–494 JSTOR
• Edgar Istel, Theodore Baker: Wagner and Shakespeare. S. 495–509 JSTOR
• R. D. Welch: Shakespeare – Musician. S. 510–527 JSTOR
• Frederick H. Martens: Music in Chinese Fairytale and Legend. S. 528–554 JSTOR
• Sydney Grew: Some Conversations. S. 555–565 JSTOR
• Orlando A. Mansfield: Mozart’s Organ Sonatas. S. 566–594 JSTOR
• Arthur L. Manchester: The Small College as a Factor in the Development of a Musical Nation. S. 595–604 JSTOR
• Carl Van Vechten: Back to Delibes. S. 605–610 JSTOR
• Carl Engel: Views and Reviews. S. 611–632 JSTOR

09. Jg. 1923

Nr. 1

• G. Francesco Malipiero, A. W.: The History of Music and the Music of History. S. 1–18
• Edward E. Harper: A Study in Musical Ability. S. 19–25
• Julien Tiersot, Frederick H. Martens: César Franck (1822–1922). S. 26–55
• Harry Colin Thorpe: Breathing and Common-Sense. S. 56–64
• George Cecil: Monte Carlo – Opera de Luxe. S. 65–71
• M.-D. Calvocoressi: Towards a Method in Musical Criticism. S. 72–81
• André Cœuroy, Theodore Baker: The Musical Inspiration of Shelley. S. 82–95
• Guido M. Gatti, Theodore Baker: Ildebrando Pizzetti. S. 96–121
• O. G. Sonneck: The American Composer and the American Music Publisher. S. 122–144
• Carl Engel: Views and Reviews. S. 145–156

Nr. 2

• Marion Bauer: The Primitive Art Instinct. S. 157–166
• Edwin Evans: Arnold Bax. S. 167–180
• R. H. Stetson: The Teaching of Rhythm. S. 181–190
• E. H. C. Oliphant: The Songs of Young Italy. S. 191–210
• William Barclay Squire: A Spurious Mozart Portrait. S. 211–216
• W. J. Lawrence: Foreign Singers and Musicians at the Court of Charles II. S. 217–225
• J.-G. Prod’homme, Frederick H. Martens: Thoughts and Reflections Anent Music and Musicians. S. 226–244
• Lionel de La Laurencie, Theodore Baker: Benjamin Franklin and the Claveciniste Brillon de Jouy. S. 245–259
• Henry Bellamann: Notes on the New Aesthetic of Poetry and Music. S. 260–270
• Guido M. Gatti, Theodore Baker: Ildebrando Pizzetti. S. 271–286
• Carl Engel: Views and Reviews. S. 287–302

Nr. 3

• John Tasker Howard: Inevitability as a Criterion of Art. S. 303–313
• William Treat Upton: The Songs of Charles T. Griffes. S. 314–328
• Charles Van den Borren, Theodore Baker: Belgian Music and French Music. S. 329–342
• Constantin von Sternberg: Music and Its Auditors. S. 343–349
• Georges de St.-Foix, Frederick H. Martens: Muzio Clementi (1752–1832). S. 350–382
• Eric Blom: Constructive and Destructive Influences in Music. S. 383–394
• Frederic B. Stiven: The Contribution of a University School of Music to the State and University. S. 395–400
• Edgar Istel, Theodore Baker: Rossini – A Study. S. 401–422
• Charles Louis Seeger, Jr.: On Style and Manner in Modern Composition. S. 423–431
• M.-D. Calvocoressi: Mussorgsky’s Letters to His Friends. S. 432–442

Nr. 4

• Ralph M. Eaton: Music or Poetry. S. 443–449
• O. von Riesemann, Theodore Baker: Alexander Seroff and His Relations to Wagner and Liszt. S. 450–468
• Edwin Hall Pierce: In Behalf of the „Popular“ Elements in Musical Art. S. 469–481
• J.-G. Prod’homme, Theodore Baker: A Pastel by La Tour – Marie Fel. S. 482–507
• Harold D. Phillips: The Musical Psychology of America. S. 508–514
• Louis Fleury, Frederick H. Martens: The Flute and Flutists in the French Art of the Seventeenth and Eighteenth Centuries. S. 515–537
• Orlando A. Mansfield: The Word Music – Its Derivation, Interpretation and Misapplication. S. 538–544
• Paul Bertrand, Fred Rothwell: Pure Music and Dramatic Music. S. 545–555
• Guido M. Gatti, Theodore Baker: Franco Alfano. S. 556–577
• Carl Engel: Views and Reviews. S. 578–587

10. Jg. 1924

Nr. 1

• Egon Wellesz, Theodore Baker: Problems of Modern Music. S. 1–12
• Oscar Thompson: If Beethoven Had Written „Faust“. S. 13–20
• E. Jaques-Dalcroze, Fred Rothwell: The Technique of Moving Plastic. S. 21–38
• Irving Wilson Voorhees: Vocal Disabilities as Described by a Voice Physician. S. 39–50
• Frederick H. Martens: Pierre Loti – A Prose Poet of Music. S. 51–94
• J. Lawrence Erb: Musical Education in the United States – Some Observations. S. 95–106
• R. W. S. Mendl: Music and the Mind. S. 107–119
• Dane Rudhyar: Creators and Public – Their Relationship. S. 120–130
• Rudolf Felber, Otis Kincaid: Hans Pfitzner. S. 131–142
• Carl Engel: Views and Reviews. S. 143–158

Nr. 2

• Alfredo Casella, Theodore Baker: Tone-Problems of To-day. S. 159–171
• Cecil Forsyth: The Vanity of Human Knowledge (A Musical Examination, A. D. 15,000). S. 172–177
• Henry Prunières, Theodore Baker: Monteverdi’s Venetian Operas (Il Ritorno d’Ulisse, L’Incoronazione di Poppea). S. 178–192
• Hugo Leichtentritt: German Music of the Last Decade. S. 193–218
• D. C. Parker: The Musician, the Patron and the Audience. S. 219–235
• W. J. Lawrence: Marionette Operas. S. 236–243
• Charles Louis Seeger, Jr.: On the Principles of Musicology. S. 244–250
• H. H. Bellamann, Charles Valentin Morhange Alkan: The Piano Works of C. V. Alkan. S. 251–262
• Guido M. Gatti, Theodore Baker: Gabriele D’Annunzio and the Italian Opera-Composers. S. 263–288
• Carl Engel: Views and Reviews. S. 289–303

Nr. 3

• André Cœuroy, Theodore Baker: Musical Inspiration in English Literature of the Nineteenth Century. S. 305–325
• Edwin Hall Pierce: A Colossal Experiment in „Just Intonation“. S. 326–332
• Herbert Antcliffe: The Significance of Scriabin. S. 333–345
• A. Drozdov, S. W. Pring: Emotion and the Sense of Form in Musical Reception. S. 346–360
• John G. Palache: Debussy as Critic. S. 361–368
• Otto Ortmann: The Fallacy of Harmonic Dualism. S. 369–383
• Donald N. Ferguson: The „Secret“ of the Pianist’s Beautiful Touch. S. 384–399
• Lazare Saminsky: Béla Bartók and the Graphic Current in Music. S. 400–404
• Edgar Istel, Theodore Baker: For a Reversion to Opera. S. 405–437
• Carl Engel: George W. Chadwick. S. 438–457

Nr. 4

• O. G. Sonneck: After Ten Years. S. 459–462
• Lily Strickland-Anderson: Rabindranath Tagore – Poet-Composer – An Appreciation. S. 463–474
• Alfred Einstein, Theodore Baker: The Madrigal. S. 475–484
• Friedrich Schnapp: Robert Schumann’s Plan for a Tristan-Opera. S. 485–491
• Geraldine P. Dilla: Music-Drama – An Art-Form in Four Dimensions. S. 492–499
• Henry S. Gerstlé: The Piano Music of Nicolai Medtner. S. 500–510
• J.-G. Prod’homme, Theodore Baker: A French MAecenas of the Time of Louis XV – M. de La Pouplinière. S. 511–531
• R. W. S. Mendl: Performance. S. 532–545
• H. T. Henry: Music in Lowell’s Prose and Verse. S. 546–572
• Aaron Copland: Gabriel Fauré, a Neglected Master. S. 573–586
• Arthur L. Manchester: Music Education, a Musical America, the American Composer, a Sequence. S. 587–595
• Guido M. Gatti, Theodore Baker: Boito’s Nero. S. 596–621
• Carl Engel: Views and Reviews. S. 622–633

11. Jg. 1925

Nr. 1

• J. Lawrence Erb: Musical Appreciation. S. 1–7
• Julien Tiersot, Frederick H. Martens: Édouard Lalo. S. 8–35
• Walter Dahms, Theodore Baker: The Biology of Music. S. 36–54
• Jacob Kwalwasser: Jewish Folk-Songs. S. 55–62
• Max Unger, Theodore Baker: Beethoven and Therese von Malfatti. S. 63–72
• E. H. C. Oliphant: Poetry for the Composer – What He Likes, and Why He Likes It. S. 73–96
• André Cœuroy, Theodore Baker: Weber as a Writer. S. 97–115
• Herbert Antcliffe: Space and Spacing in Music. S. 116–123
• Elizabeth Wendell Barry: What Wagner Found in Schopenhauer’s Philosophy. S. 124–137
• Adolf Weissmann, Theodore Baker: Richard Wagner – Constructive and Destructive. S. 138–156

Nr. 2

• Ursula Greville: Radio in Britain. S. 157–163
• Edgar Istel, Theodore Baker: Felipe Pedrell. S. 164–191
• Harvey B. Gaul: Music and Devil-Worship. S. 192–195
• Frederick H. Martens: The Influence of Music in World History. S. 196–218
• Herbert Antcliffe: A Decade of English Song. S. 219–230
• A. Kastalsky, S. W. Pring: My Musical Career and My Thoughts on Church Music. S. 231–247
• Will Earhart: Some Aspects of Musical Beauty and Its Appeal to Children. S. 248–260
• Edwin Hall Pierce: Certain Questionable Tendencies in Modern Chamber-Music. S. 261–270
• Alfred J. Swan: Moussorgsky and Modern Music. S. 271–280
• Guido Adler, Theodore Baker: Internationalism in Music. S. 281–300
• Carl Engel: Views and Reviews. S. 301–309

Nr. 3

• Carl Engel: Charles Martin Lœffler. S. 311–330
• Oscar Bie, Theodore Baker: Rhythm. S. 331–338
• Elise Fellows White: The AnAesthetic of Conceit. S. 339–344
• Irving Schwerke: Georges Migot – The French Group of One. S. 345–355
• Walter Dahms, Theodore Baker: The „Gallant“ Style of Music. S. 356–372
• Harry Colin Thorpe: Sidney Lanier – A Poet for Musicians. S. 373–382
• William Treat Upton: Some Recent Representative American Song-Composers. S. 383–417
• Herbert F. Peyser: Tristan, First-Hand. S. 418–426
• Colin McAlpin: Is Music the Language of the Emotions? S. 427–443
• Edwin Hughes: The „Forty-Eight“ from the Player’s Standpoint. S. 444–453
• J.-G. Prod’homme, Theodore Baker: Thoughts on Music and Musicians (Gleaned from Sources Ancient and Modern). S. 454–473

Nr. 4

• Egon Wellesz, Theodore Baker: Are the Foundations of Our Musico-Historical Training Sound? S. 475–481
• John W. Klein: Nietzsche and Bizet. S. 482–505
• Lily Strickland-Anderson: Music in Malaya. S. 506–514
• Orlando A. Mansfield: The Major and Minor Modes – Their Application and Mental Impression. S. 515–527
• Henry Prunières, Theodore Baker: Lully and the Académie de Musique et de Danse. S. 528–546
• Edwin Hall Pierce: The Newer Pedagogic Problems of Harmony. S. 547–559
• Félix Raugel, Theodore Baker: The Ancient French Organ School. S. 560–571
• O. G. Sonneck: Modernists, Classics and Immortality in Music. S. 572–590
• R. W. S. Mendl: Patterns in Sound. S. 591–598
• Friedrich Schnapp, Theodore Baker: Robert Schumann and Heinrich Heine. S. 599–616
• Carl Engel: Views and Reviews. S. 617–629

12. Jg. 1926

Nr. 1

• Daniel Gregory Mason: Artistic Ideals I. Independence. S. 1–12
• J.-G. Prod’homme, Theodore Baker: The Recent Fiftieth Anniversary of the „New Opera“. S. 13–21
• Guido M. Gatti, Theodore Baker: Two „Macbeths“ – Verdi – Bloch. S. 22–31
• Irving Wilson Voorhees: Caring for the Voice. S. 32–39
• Henry F. Gilbert: Humor in Music. S. 40–55
• Antun Dobronić, Ivan Mladineo, Frederick H. Martens: A Study of Jugoslav Music. S. 56–71
• Edgar Istel, Theodore Baker: Meyerbeer’s Way to Mastership – Employment of the Modern Leading-Motive before Wagner’s Birth. S. 72–109
• Herbert Antcliffe: Prometheus in Music. S. 110–120
• Adelmo Damerini, Theodore Baker: Two Notes That No Longer Love Each Other. S. 121–131
• André Cœuroy, Marcel Proust, Fred Rothwell: Music in the Work of Marcel Proust. S. 132–151

Nr. 2

• Allan Lincoln Langley: Justice for Gustav Mahler. S. 153–165
• Edward Ellsworth Hipsher: Do Animals like Music? S. 166–174
• Herbert F. Peyser: Some Fallacies of Modern Anti-Wagnerism. S. 175–189
• Edwin J. Stringham: Jazz – An Educational Problem. S. 190–195
• E. H. C. Oliphant: A Survey of Russian Song. S. 196–230
• Albert Wellek, Theodore Baker: Quarter-Tones and Progress. S. 231–237
• Hansell Baugh: Nietzsche and His Music. S. 238–247
• Maud G. Sewall: Hucbald, Schoenberg and Others on Parallel Octaves and Fifths. S. 248–265
• Lily Strickland-Anderson: The Cambodian Ballet. S. 266–274
• Max Schoen: Pitch and Vibrato in Artistic Singing – An Experimental Study. S. 275–290
• Cedric H. Glover: Lawrance Collingwood. S. 291–298
• Carl Engel: Views and Reviews. S. 299–314

Nr. 3

• Daniel Gregory Mason: Artistic Ideals II. Spontaneity. S. 315–326
• André Cœuroy, Fred Rothwell: Flaubert the Musician. S. 327–333
• Rosario Scalero, Theodore Baker: On the Origins of Music. S. 334–339
• Helen H. Roberts: Possible Survivals of African Song in Jamaica. S. 340–358
• J. G. Prod’homme, Theodore Baker: Wagner, Berlioz and Monsieur Scribe – Two Collaborations That Miscarried. S. 359–375
• Frederick H. Martens: Mahomet and Music. S. 376–399
• John Ross Frampton: Some Evidence for the Naturalness of the Less Usual Rhythms. S. 400–405
• Julien Tiersot, Theodore Baker: Two Centuries of a French Musical Family – The Couperins. S. 406–431
• Margit Varró, Theodore Baker: The Sense of Power – In the Artist and in the Child. S. 432–440
• J. Lawrence Erb: Music for a Better Community. S. 441–448
• Guido M. Gatti: Four Composers of Present-Day Italy. S. 449–471
• Carl Engel: Views and Reviews. S. 472–479

Nr. 4

• Daniel Gregory Mason: Artistic Ideals III. Workmanship. S. 481–496
• Edgar Istel, Theodore Baker: Manuel de Falla – A Study. S. 497–525
• G. Chittenden Turner: The Rôle of Affectation in Music. S. 526–533
• Ernest Brennecke, Jr.: The Amenities of Duet-Playing. S. 534–554
• Jan Nierling: The Music for Shakespeare – A Suggestion. S. 555–563
• Bennett Challis: Opera Publics of Europe – Impressions and Reminiscences. S. 564–579
• Francis Rogers: Victor Maurel – His Career and His Art. S. 580–601
• Herbert Antcliffe: The Musical Mentality of Holland. S. 602–613
• James Frederick Rogers: The Health of Musicians. S. 614–622
• Hansell Baugh: Music and the Mediterranean. S. 623–630
• Carl Engel: Views and Reviews. S. 631–641

13. Jg. 1927

Nr. 1

• Daniel Gregory Mason: Artistic Ideals IV. Originality. S. 1–13
• J. Percy Baker: Sir Alexander Mackenzie – And His Work at the Royal Academy of Music, London. S. 14–28
• Alfred J. Swan: The Present State of Russian Music. S. 29–38
• Max Schoen: The Teaching of Appreciation in Music. S. 39–58
• S. H. Braithwaite: Modern Music. S. 59–71
• William Saunders: National Opera, Comparatively Considered. S. 72–84
• Arthur Farwell: The Zero Hour in Musical Evolution. S. 85–99
• Heinrich Werkmeister, Frederick H. Martens: Impressions of Japanese Music. S. 100–107
• André Cœuroy, Fred Rothwell: The Musical Theory of the German Romantic Writers. S. 108–129
• Edward Burlingame Hill: Maurice Ravel. S. 130–146
• Carl Engel: Views and Reviews. S. 147–160

Nr. 2

• W. J. Henderson: Beethoven after a Hundred Years. S. 161–168
• J. G. Prod’homme, Frederick M. Martens: Beethoven’s Intellectual Education. S. 169–182
• Ludwig van Beethoven: Sayings of Beethoven. S. 183–207
• Martial Douël, Fred Rothwell: Beethoven’s „Adelaïde“. S. 208–216
• Otto Kinkeldey: Beginnings of Beethoven in America. S. 217–248
• Max Unger, Frederick H. Martens: The „Immortal Beloved“. S. 249–260
• Carl Engel: Beethoven’s Opus 3 an „Envoi de Vienne“? S. 261–279
• Walter Damrosch: Hans von Bülow and the Ninth Symphony. S. 280–293
• O. G. Sonneck: Beethoven to Diabelli – A Letter and a Protest. S. 294–316
• Edward J. Dent: Beethoven and a Younger Generation. S. 317–328
• Hermann Abert, Frederick H. Martens: Bach, Beethoven, Brahms. S. 329–343

Nr. 3

• Daniel Gregory Mason: Artistic Ideals V. Universality. S. 345–358
• Victor Belaiev, S. W. Pring: Sergei Rakhmaninov. S. 359–376
• J. P. Dabney: The Relation between Music and Poetry. S. 377–383
• J.-G. Prod’homme, Theodore Baker: The Wife of Mozart – Constanze Weber. S. 384–409
• Lucien Greilsamer, Jay C. Freeman, Theodore Baker: On Old Violins. S. 410–433
• Edgar Istel, Theodore Baker: The Music in „Don Quixote“. S. 434–450
• Orlando A. Mansfield: What Is Sacred Music? S. 451–475
• G. Francesco Malipiero, A. W.: Domenico Scarlatti. S. 476–488
• R. W. S. Mendl: Masterpieces, Contemporary Opinions, and Immortality. S. 489–496

Nr. 4

• Hugh Arthur Scott: Indebtedness in Music. S. 497–509
• Edgar Istel, Theodore Baker: Mozart’s „Magic Flute“ and Freemasonry. S. 510–527
• Eric Blom: The Literary Ancestry of Figaro. S. 528–539
• V. Karatygin, S. W. Pring: To the Memory of S. I. Taneev. S. 540–554
• Frances Densmore: The Use of Music in the Treatment of the Sick by American Indians. S. 555–565
• Julien Tiersot, Theodore Baker: Bizet and Spanish Music. S. 566–581
• André Cœuroy, Theodore Baker: Present Tendencies of Sacred Music in France. S. 582–604
• Edwin Hall Pierce: Orchestral Tone-Color, Past and Present. S. 605–616
• Watson Lyle: The „Nationalism“ of Sibelius. S. 617–629
• Bennett Challis: The Technique of Operatic Acting. S. 630–645
• Carl Engel: Views and Reviews. S. 646–662

14. Jg. 1928

Nr. 1

• Carl Engel: Harking Back and Looking Forward. S. 1–15
• Guido M. Gatti, Giacomo Puccini, Theodore Baker: The Works of Giacomo Puccini. S. 16–34
• Maud Cuney Hare: Portuguese Folk-Songs, from Provincetown, Cape Cod, Mass. S. 35–53
• Zdzislaw Jachimecki: Stanislaus Moniuszko – A Polish Composer of the XIXth Century. S. 54–62
• Paul F. Laubenstein: On the Nature of Musical Understanding. S. 63–76
• Julien Tiersot, Theodore Baker: Rameau. S. 77–107
• André Cœuroy, Fred Rothwell: Dostoievsky and Folk-Song. S. 108–113
• Adolphe Boschot, Fred Rothwell: Dialogue after a Duo. S. 114–126
• Eva Mary Grew: Herbert Spencer and Music. S. 127–142
• William Treat Upton: Our Musical Expatriates. S. 143–154

Nr. 2

• Cecil Forsyth: A Musical Examination-Paper on Spengler’s „The Decline of the West“. S. 155–157
• John W. Klein: Verdi and Boito. S. 158–171
• R. W. S. Mendl: Beethoven as a Writer of Programme Music. S. 172–177
• Otto Ortmann: Tonal Intensity as an Aesthetic Determinant. S. 178–191
• John J. Becker: Wilhelm Middelschulte, Master of Counterpoint. S. 192–202
• E. Jaques-Dalcroze, Fred Rothwell: The Child and the Pianoforte – Thoughts for Mothers. S. 203–215
• Edgar Istel, Theodore Baker: Goethe and Music. S. 216–254
• Max Schoen: Musical Talent and Its Measurement. S. 255–282
• Arthur Kyle Davis, Jr.: Some Problems of Ballad Publication. S. 283–296
• Carl Engel: Views and Reviews. S. 297–306

Nr. 3

• Edward J. Dent: The Relation of Music to Human Progress. S. 307–319
• Leo P. Manzetti: Palestrina. S. 320–338
• William Saunders: Sailor Songs and Songs of the Sea. S. 339–357
• Orlando A. Mansfield: Music and Chess. S. 358–365
• J. G. Prod’homme, Carl Maria von Weber, Theodore Baker: The Works of Weber in France (1824–1926). S. 366–386
• Rollo H. Myers: The Possibilities of Musical Criticism. S. 387–396
• Merton S. Yewdale: The Metaphysical Foundation of Pure Music. S. 397–402
• Irving Schwerké: Paul Dukas – A Brief Appreciation. S. 403–412
• Frederick H. Martens: Music in the Life of the Aztecs. S. 413–437
• Carl Engel: Die Wagnerdämmerung. S. 438–455

Nr. 4

• Carl Engel: Schubert’s Fame. S. 457–472
• Guido Adler, Theodore Baker: Schubert and the Viennese Classic School. S. 473–485
• Richard Aldrich: Robert Franz on Schubert and Others. S. 486–494
• J. G. Prod’homme, Frederick H. Martens: Schubert’s Works in France. S. 495–514
• Samuel L. Laciar: The Chamber-Music of Franz Schubert. S. 515–538
• Frederick H. Martens: Schubert and the Eternal Feminine. S. 539–552
• Walther Nohl, Frederick H. Martens: Beethoven’s and Schubert’s Personal Relations. S. 553–562
• Hans Holländer, Frederick H. Martens: Franz Schubert’s Repeated Settings of the Same Song-Texts. S. 563–574
• Edgar Istel, Frederick H. Martens: Schubert’s Lyric Style. S. 575–595
• Olga Samaroff: The Piano Music of Schubert. S. 596–609
• Otto Kinkeldey: Schubert – Dance-Composer. S. 610–619
• Hugo Leichtentritt: Schubert’s Early Operas. S. 620–638
• Herbert F. Peyser: The Epic of the „Unfinished“. S. 639–660

15. Jg. 1929

Nr. 1

• Herbert Putnam, Rubin Goldmark: O. G. Sonneck – October 6, 1873 – October 30, 1928. S. 1–5
• Daniel Gregory Mason: The Depreciation of Music. S. 6–15
• Ludwig Bonvin: The „Measure“ in Gregorian Music. S. 16–28
• Hans Holländer, Theodore Baker: Leoš Janáček and His Operas. S. 29–36
• Herbert Antcliffe: The Undulations of Technique. S. 37–49
• Lota M. Spell: The First Music-Books Printed in America. S. 50–54
• Colin McAlpin: Concerning Form in Music. S. 55–71
• A. Eaglefield Hull, Gregorio Allegri: The Earliest Known String-Quartet. S. 72–76+I-XI
• Marc Pincherle, M. D. Herter Norton: On the Origins of the String-Quartet. S. 77–87
• Harry Colin Thorpe: Interpretative Studies in American Song. S. 88–116
• Edgar Istel, Frederick H. Martens: Isaac Albéniz. S. 117–148
• Carl Engel: A Postscript. S. 149–151

Nr. 2

• Carlos Chávez: The Two Persons. S. 153–159
• Paul Landormy, Fred Rothwell: Chopin. S. 160–170
• J.-G. Prod’homme, Theodore Baker: Austro-German Musicians in France in the Eighteenth Century. S. 171–195
• R. W. S. Mendl: The Youth of Music. S. 196–211
• Paul Nettl, Theodore Baker: Casanova and Music. S. 212–232
• Edwin Hall Pierce: The Significance of the „Trill," as Found in Beethoven’s Most Mature Works. S. 233–245
• André Cœuroy, Theodore Baker: The Esthetics of Contemporary Music. S. 246–267
• Julien Tiersot, Frederick H. Martens: Music and the Centenary of Romanticism. S. 268–280
• Harry Alan Potamkin: Music and the Movies. S. 281–296
• Carl Engel: Views and Reviews. S. 297–305
• Quarterly Book-List. S. 307–316

Nr. 3

• O. G. Sonneck: The Future of Musicology in America. S. 317–321
• M. Herwegh, J.-G. Prod’homme, Emma Herwegh, Carolyne Sayn-Wittgenstein, George Herwegh, Challemel-Lacour, Minna Wagner, Frederick H. Martens: The Correspondence between George and Emma Herwegh and the Princess Sayn-Wittgenstein, Challemel-Lacour and Minna Wagner. S. 322–359
• William Arms Fisher: What Is Music? S. 360–370
• Lily Strickland: Aboriginal and Animistic Influences in Indian Music. S. 371–387
• Edgar Istel, Theodore Baker: Rimsky-Korsakov, the Oriental Wizard. S. 388–414
• Franz Montgomery: Early Criticism of Italian Opera in England. S. 415–425
• C. Hartley Grattan: The Australian Bush Songs. S. 426–437
• Eric Blom: Delius and America. S. 438–447
• Leonid Sabaneev, S. W. Pring: The Jewish National School in Music. S. 448–468
• James Wynn: The Flute. S. 469–474
• Quarterly Book-List. S. 475–482

Nr. 4

• Rudolf Ficker, Theodore Baker: Polyphonic Music of the Gothic Period. S. 483–505
• Bessie A. Gladding: Music as a Social Force during the English Commonwealth and Restoration (1649–1700). S. 506–521
• Julien Tiersot, Theodore Baker: Mediterranean Folk-Song. S. 522–546
• André Cœuroy, Theodore Baker: Further Aspects of Contemporary Music. S. 547–573
• Frederick H. Martens: The Musical Observations of a Moroccan Ambassador (1690–1691). S. 574–582
• Paul Nettl: Notes on the History of the Dance. S. 583–589
• Orlando A. Mansfield: Cherubini’s String-Quartets. S. 590–605
• Paul Fritz Laubenstein: Jazz – Debit and Credit. S. 606–624
• A. H. Fox Strangways: The Less-Known Songs of Schubert. S. 625–638
• Carl Engel: Concert A. D. 2025 in the Library of Congress – Introductory Remarks by the Chief of the Music Division. S. 639–642
• Quarterly Book-List. S. 643–652

16. Jg. 1930

Nr. 1

• Colin McAlpin: Musical Modernism – Some Random Reflections. S. 1–20
• Henry F. Gilbert: Notes on a Trip to Frankfurt in the Summer of 1927 – With Some Thoughts on Modern Music. S. 21–37
• Clifton Joseph Furness: Communal Music among Arabians and Negroes. S. 38–51
• Henry Prunières, Frederick H. Martens: Albert Roussel and the Eightieth Psalm. S. 52–58
• Hilda Andrews: Elizabethan Keyboard Music – My Ladye Nevells Booke, 1591. S. 59–71
• Victor Belaiev, S. W. Pring: Olenin’s Reminiscences of Balakirev. S. 72–82
• J.-G. Prod’homme, Frederick H. Martens: The Economic Status of Musicians in France until the French Revolution. S. 83–100
• Edgar Istel, Theodore Baker: The Secret of Paganini’s Technique. S. 101–116
• Virginia Stearns Beede: Breton Folk-Songs. S. 117–132
• R. Raven-Hart: Composing for Radio. S. 133–139
• H. Morgan-Browne: Richard Wagner – An Estimate. S. 140–143
• Quarterly Book-List. S. 145–151

Nr. 2

• David Stanley Smith, W. Oliver Strunk: A Study of Horatio Parker. S. 153–169
• Jeffrey Mark: Recollections of Folk-Musicians. S. 170–185
• Josephine McGill: A Quaint Musical Survival – The Twelve Apostles. S. 186–190
• Paul Nettl, Theodore Baker: Freemasons’ Music in the Eighteenth Century. S. 191–198
• L. Dunton Green: Schopenhauer and Music. S. 199–206
• David Ewen: Also Sprach Richard Strauss. S. 207–213
• Edwin Hall Pierce: The Rise and Fall of the „Fugue-Tune“ in America. S. 214–228
• C. E. Seashore: Psychology in Music – The Rôle of Experimental Psychology in the Science and Art of Music. S. 229–237
• Jean Corrodi Moos: The Yardstick Applied to Musical Talent. S. 238–262
• Herbert Antcliffe: Music in the Life of the Ancient Greeks. S. 263–275
• Hugh Arthur Scott: That „Finger-Print“ of Beethoven. S. 276–289
• Quarterly Book-List. S. 291–296

Nr. 3

• Winthrop Parkhurst: Music, the Invisible Art. S. 297–304
• André Cœuroy, Fred Rothwell: The Musical Æsthetics of the Comte de Gobineau. S. 305–313
• Eva Mary Grew: Some Obscure English Diarists and Their Music. S. 314–321
• Gustav Hetsch, Theodore Baker: Hans Christian Andersen’s Interest in Music. S. 322–329
• Calvin T. Ryan: The Rediscovery of Music as a Subject for Education. S. 330–335
• Julien Tiersot, Theodore Baker: Gluck and the Encyclop Ædists. S. 336–357
• E. Jaques-Dalcroze, Fred Rothwell: Eurhythmics and Its Implications. S. 358–365
• Victor Belaiev, S. W. Pring: The Signs of Style in Music. S. 366–377
• Paul Fritz Laubenstein: Race Values in Aframerican Music. S. 378–403
• Percival R. Kirby: A Study of Negro Harmony. S. 404–414
• Frederick H. Martens: Music Mirrors of the Second Empire – Part I. S. 415–434
• Quarterly Book-List. S. 435–442

Nr. 4

• Olin Downes: J. A. Carpenter, American Craftsman. S. 443–448
• Felix Borowski: John Alden Carpenter. S. 449–468
• Leonid Sabaneev, S. W. Pring: Musical Tendencies in Contemporary Russia. S. 469–481
• W. Oliver Strunk: Vergil in Music. S. 482–497
• R. V. Dawson: Haydn and Mozart. S. 498–509
• Paul Landormy, Frederick H. Martens: Lili Boulanger (1893–1918). S. 510–515
• John J. Niles: Shout, Coon, Shout! S. 516–530
• Siegfried Nadel, Theodore Baker: The Origins of Music. S. 531–546
• Orlando A. Mansfield: Bedford’s „Great Abuse of Musick“. S. 547–562
• Frederick H. Martens: Music Mirrors of the Second Empire – Part II. S. 563–587
• Quarterly Book-List. S. 588–593

17. Jg. 1931

Nr. 1

• Henry Prunières, M. D. Herter Norton: Opera in Venice in the XVIIth Century. S. 1–13
• Ethel Rosenthal: Tyagaraja – A Great South Indian Composer. S. 14–24
• John Tasker Howard: The Hewitt Family in American Music. S. 25–39
• Paul Nettl, Theodore Baker: Some Early Jewish Musicians. S. 40–46
• Harry Colin Thorpe: The Songs of Sidney Homer. S. 47–73
• Gerald E. H. Abraham: Prince Igor – An Experiment in Lyrical Opera. S. 74–83
• Georges de Saint-Foix, M. D. Herter Norton: Clementi, Forerunner of Beethoven. S. 84–92
• Max Schoen: The Experience of Beauty in Music. S. 93–109
• J.-G. Prod’homme, Theodore Baker: Rossini and His Works in France. S. 110–137
• Garry Joel August: In Defense of Canned Music. S. 138–149

Nr. 2

• Romain Rolland: Goethe’s Interest in Music. S. 157–194
• Guido M. Gatti, Henry Furst: On the Interpretation of Music. S. 195–203
• Elsa Bienenfeld, Theodore Baker: Verdi and Schiller. S. 204–208
• Albert Maecklenburg, Theodore Baker: Verdi and Manzoni. S. 209–218
• Nikolai Sokoloff: Symphonic Music in Soviet Russia. S. 219–226
• Edgar Istel, Theodore Baker: Gluck’s Dramaturgy. S. 227–233
• Rudolf Felber, Theodore Baker: Music and Superstition. S. 234–247
• Violet Alford: Dance and Song in Two Pyrenean Valleys. S. 248–258
• Sophie Augustine Leo, W. Oliver Strunk: Musical Life in Paris (1817–1848) – A Chapter from the Memoirs of Sophie Augustine Leo – Part I. S. 259–271
• Carl Engel: Views and Reviews. S. 272–283

Nr. 3

• Paul Landormy, M. D. Herter Norton: Gabriel Fauré (1845–1924). S. 293–301
• Clement Antrobus Harris: The Element of Repetition in Nature and the Arts. S. 302–318
• H. Macaulay Fitzgibbon: Instruments and Their Music in the Elizabethan Drama. S. 319–329
• Lily Strickland: The Mythological Background of Hindu Music. S. 330–340
• Julien Tiersot: Concerning Jean-Jacques Rousseau, the Musician. S. 341–359
• Guido Adler, W. Oliver Strunk: August Wilhelm Ambros (November 17, 1816 – June 28, 1876). S. 360–373
• Daniel Gregory Mason: Brahms’s Third Symphony. S. 374–379
• R. Raven-Hart: Radio, and a New Theory of Tone-Quality. S. 380–388
• Sophie Augustine Leo, W. Oliver Strunk: Musical Life in Paris (1817–1848) – A Chapter from the Memoirs of Sophie Augustine Leo – Part II. S. 389–403
• Carl Engel: Views and Reviews. S. 404–408

Nr. 4

• Ildebrando Pizzetti: Music and Drama. S. 419–426
• Winthrop Sargeant, Sarat Lahiri: A Study in East Indian Rhythm. S. 427–438+I-XII
• Franz Montgomery: The Musical Instruments in „The Canterbury Tales“. S. 439–448
• Hans Holländer, Theodore Baker: Gustav Mahler. S. 449–463
• Frances Densmore: Music of the American Indians at Public Gatherings. S. 464–479
• Lucile Price Turner: Negro Spirituals in the Making. S. 480–485
• Willi Reich, M. D. Herter Norton: Paul Hindemith. S. 486–496
• Sydney Grew: Beethoven’s „Grosse Fuge“. S. 497–508
• Matthew Shirlaw: The Nature of the Minor Harmony. S. 509–524
• Carl Engel: Views and Reviews. S. 525–533

18. Jg. 1932

Nr. 1

• W. J. Henderson: Walter Damrosch. S. 1–8
• Randall Thompson: The Contemporary Scene in American Music. S. 9–17
• Arthur Farwell: Roy Harris. S. 18–32
• Marian MacDowell: MacDowell’s „Peterborough Idea“. S. 33–38
• William Treat Upton: Frederic Ayres (1876–1926). S. 39–59
• John Jacob Niles: White Pioneers and Black. S. 60–75
• Sumner Salter: Early Encouragements to American Composers. S. 76–105
• Anna Blanche McGill: Irish Characteristics in Our Old Song Survivals. S. 106–119
• John Tasker Howard, Louis Moreau Gottschalk: Louis Moreau Gottschalk, as Portrayed by Himself. S. 120–133
• Edwin H. Pierce: On Some Old Bugle-Calls of the U. S. Navy. S. 134–139
• Ernst C. Krohn: Alexander Reinagle as Sonatist. S. 140–149
• Virginia Larkin Redway: The Carrs, American Music Publishers. S. 150–177
• Carl Engel: Views and Reviews. S. 178–183
• Quarterly Book-List. S. 184–189

Nr. 2

• Guido Adler, W. Oliver Strunk: Haydn and the Viennese Classical School. S. 191–207
• Hugo Botstiber: Haydn and Luigia Polzelli. S. 208–215
• W. Oliver Strunk: Haydn’s Divertimenti for Baryton, Viola, and Bass (After Manuscripts in the Library of Congress). S. 216–251
• Georges de Saint-Foix, Theodore Baker: Haydn and Clementi. S. 252–259
• Marion M. Scott: Haydn in England. S. 260–273
• Paul Henry Lāng: Haydn and the Opera. S. 274–281
• Joseph Muller: Haydn Portraits. S. 282–298
• Karl Geiringer, Manton Monroe Marble: Haydn’s Sketches for „The Creation“. S. 299–308
• M. D. Herter Norton: Haydn in America (Before 1820). S. 309–337
• Carl Engel: Views and Reviews. S. 338–348
• Quarterly Book-List. S. 349–353

Nr. 3

• Charles Van den Borren: Tobacco and Coffee in Music. S. 355–374
• Basil Maine: Shaw, Wells, Binyon – And Music. S. 375–382
• G. Francesco Malipiero, Berta Gerster-Gardini: Claudio Monteverdi of Cremona. S. 383–396
• Guido M. Gatti, Andrea Adriani: Modern Italian Composers. S. 397–410
• Julien Tiersot, Theodore Baker: The Musical Clock of Marie-Antoinette. S. 411–422
• Martial Douël, M. D. Herter Norton: Chopin and Jenny Lind (London, 1848). S. 423–427
• Max Unger, Theodore Baker: The Cradle of the Parsifal Legend. S. 428–442
• R. W. S. Mendl: The Art of the Symphonic Poem. S. 443–462
• Edgar Istel, W. Oliver Strunk: Ludwig Thuille (November 30, 1861 – February 5, 1907). S. 463–470
• Violet Alford: Ceremonial Dances of the Spanish Basques. S. 471–482
• Carl Engel: Views and Reviews. S. 483–497
• Quarterly Book-List. S. 498–505

Nr. 4

• Paul Landormy, M. D. Herter Norton: Vincent d’Indy. S. 507–518
• Arthur Lourié, S. W. Pring: The Russian School. S. 519–529
• M. D. Calvocoressi: Moussorgsky’s Musical Style. S. 530–546
• Robert Haven Schauffler: Brahms, Poet and Peasant. S. 547–558
• Karl August Rosenthal, Theodore Baker: The Salzburg Church Music of Mozart and His Predecessors. S. 559–577
• Charles Seeger: Carl Ruggles. S. 578–592
• Robert W. Marks: The Music and Musical Instruments of Ancient China. S. 593–607
• J. G. Prod’homme, Theodore Baker: A Musical Map of Paris. S. 608–627
• Maria Komorn, Theodore Baker: Minnie van Beethoven. S. 628–633
• A. Z. Idelsohn: Musical Characteristics of East-European Jewish Folk-Song. S. 634–645
• Carl Engel: Views and Reviews. S. 646–652
• Quarterly Book-List. S. 653–658

19. Jg. 1933

Nr. 1

• Percy A. Scholes: The Truth about the New England Puritans and Music. S. 1–17
• Henry Prunières, Theodore Baker: Musical Symbolism. S. 18–28
• Alfred Orel, W. Oliver Strunk: Richard Wagner in Vienna. S. 29–37
• Edgar Istel, Theodore Baker: How Wagner Worked – A Glance into the Master’s Workshop. S. 38–44
• Henry Bellamann: Charles Ives – The Man and His Music. S. 45–58
• Eva Mary Grew: Strindberg and Music. S. 59–73
• Paul Nettl, Theodore Baker: Equestrian Ballets of the Baroque Period. S. 74–83
• Victor Belaiev, S. W. Pring: The Longitudinal Open Flutes of Central Asia. S. 84–100
• Marius Barbeau: Songs of the Northwest. S. 101–111
• Carl Engel: To Our Readers. S. 112

Nr. 2

• Guido Adler, W. Oliver Strunk: Johannes Brahms – His Achievement, His Personality, and His Position. S. 113–142
• Sigismond Stojowski: Recollections of Brahms. S. 143–150
• Maria Komorn, W. Oliver Strunk: Brahms, Choral Conductor. S. 151–157
• Karl Geiringer, M. D. Herter Norton: Brahms as a Reader and Collector. S. 158–168
• Winthrop Sargeant: Bernhard Ziehn, Precursor. S. 169–177
• Georg Kinsky, W. Oliver Strunk: Was Mendelssohn Indebted to Weber? An Attempted Solution of an Old Controversy. S. 178–186
• Percy Grainger: Arnold Dolmetsch – Musical Confucius. S. 187–198
• Rodney Gallop: The Fado (The Portuguese Song of Fate). S. 199–213
• Carl Engel: Views and Reviews. S. 214–221

Nr. 3

• Charles Sanford Terry: Bach’s Swan-Song. S. 233–237
• Nathan Broder: The Wind-Instruments in Mozart’s Symphonies. S. 238–259
• Alexander Jemnitz, Theodore Baker: Béla Bartók. S. 260–266
• Béla Bartók, Theodore Baker: Hungarian Peasant Music. S. 267–287
• Erwin Felber, Theodore Baker: New Approaches to Primitive Music – The Music of Infants; Neurasthenics and Paranoiacs; Drunkards and Deafmutes. S. 288–302
• Julien Tiersot, Theodore Baker: The Berlioz of the Fantastic Symphony. S. 303–317
• Jean Corrodi Moos: Some Recent Developments in Music Testing. S. 318–330
• Nicholas Findeisen, M. D. Calvocoressi: The Earliest Russian Operas. S. 331–340
• Carleton Sprague Smith: Haydn’s Chamber Music and the Flute – Part I. S. 341–350
• Carl Engel: Views and Reviews. S. 351–359

Nr. 4

• Ernest Closson, Gustave Reese: Grandfather Beethoven. S. 367–373
• Ernest Bloch, Waldo Frank: Man and Music. S. 374–381
• Clement Antrobus Harris: Music in the World’s Proverbs. S. 382–392
• George Pullen Jackson: Buckwheat Notes. S. 393–400
• Leigh Henry: The Celt in Music. S. 401–416
• Victor Belaiev, S. W. Pring: The Folk-Music of Georgia. S. 417–433
• Carleton Sprague Smith: Haydn’s Chamber Music and the Flute – Part II. S. 434–455
• Oscar George Theodore Sonneck: 99 Pacific Avenue, or, In Search of a Birthplace. S. 456–462
• O. G. Sonneck: Letter to Mrs. Julia Sonneck, May 27, 1894. S. 462–465
• Carl Engel: Views and Reviews. S. 466–472

20. Jg. 1934

Nr. 1

• M. D. Calvocoressi: Mussorgsky’s Youth – In the Light of the Latest Information. S. 1–14
• Hugo Leichtentritt: Mechanical Music in Olden Times. S. 15–26
• Gerald Abraham: Weber as Novelist and Critic. S. 27–38
• Gustave Reese: The First Printed Collection of Part-Music – (The Odhecaton). S. 39–76
• John Tasker Howard: Stephen Foster and His Publishers. S. 77–95
• Rodney Gallop: The Folk-Music of Eastern Portugal. S. 96–106
• Marius Barbeau: Asiatic Survivals in Indian Songs. S. 107–116
• Carl Engel: Views and Reviews. S. 117–124

Nr. 2

• Arthur Mendel: Spengler’s Quarrel with the Methods of Music History. S. 131–171
• Guido Adler, W. Oliver Strunk: Style-Criticism. S. 172–176
• John A. Lomax: Sinful Songs of the Southern Negro. S. 177–187
• Roy Harris: The Growth of a Composer. S. 188–191
• W. Oliver Strunk: Notes on a Haydn Autograph. S. 192–205
• Paul Landormy, Theodore Baker: Déodat de Séverac. S. 206–212
• Marc Blitzstein: Towards a New Form. S. 213–218
• H. Macaulay Fitzgibbon: Of Flutes and Soft Recorders. S. 219–229
• Winthrop Sargeant: Types of Quechua Melody. S. 230–245
• Carl Engel: Views and Reviews. S. 246–253
• Quarterly Book-List. S. 254–258

Nr. 3

• Edward A. Maginty: America – The Origin of Its Melody. S. 259–266
• Guido M. Gatti, Ferruccio Busoni, A. Arbib-Costa: The Stage-Works of Ferruccio Busoni. S. 267–277
• Charles W. Hughes: Porter, Pupil of Monteverdi. S. 278–288
• Willi Apel: Early Spanish Music for Lute and Keyboard Instruments. S. 289–301
• Hans Holländer, Theodore Baker: Modern Czechoslovakian Music. S. 302–311
• J. Murray Barbour: Nierop’s Hackebort. S. 312–319
• Robindra Lal Roy: Hindustani Ragas. S. 320–333
• Edgar Istel, W. Oliver Strunk: Peter Cornelius. S. 334–343
• W. L. Speight: Notes on South African Native Music. S. 344–353
• Carl Engel: Views and Reviews. S. 354–360
• Quarterly Book-List. S. 361–365

Nr. 4

• Alfred Einstein: Opus I. S. 367–383
• Aubrey H. Starke: Sidney Lanier as a Musician. S. 384–400
• Thomas Archer: The Formal Construction of „die Schöne Müllerin“. S. 401–407
• Sante Bargellini: Paganini and the Princess. S. 408–418
• Frances Densmore: The Songs of Indian Soldiers during the World War. S. 419–425
• Edwin Hall Pierce: When Main Street Had an Orchestra. S. 426–434
• Violet Alford: Cantabrian Calendar Customs and Music. S. 435–451
• George Herzog: Speech-Melody and Primitive Music. S. 452–466
• Carl Engel: Views and Reviews. S. 467–478
• Edward N. Waters: Quarterly Book-List. S. 479–486

21. Jg. 1935

Nr. 1

• André Pirro, Gustave Reese: Leo X and Music. S. 1–16
• John Tasker Howard: Newly Discovered Fosteriana. S. 17–24
• Waldo Selden Pratt: The Importance of the Early French Psalter. S. 25–32
• Ruggero Vené: The Origin of „Opera Buffa“. S. 33–38
• Allan Lincoln Langley: Chadwick and the New England Conservatory of Music. S. 39–52
• M. Robert Rogers: Jazz Influence on French Music. S. 53–68
• Edward N. Waters: John Sullivan Dwight, First American Critic of Music. S. 69–88
• Rodney Gallop: Folk-Songs of Modern Greece. S. 89–98
• Juozas Žilevičius, Valentine Matelis: Native Lithuanian Musical Instruments. S. 99–106
• Carl Engel: Views and Reviews. S. 107–112
• Edward N. Waters: Quarterly Book-List. S. 113–120
• Richard Gilbert: Quarterly Record-List. S. 121–124

Nr. 2

• Charles Sanford Terry: Bach’s „Singet dem Herrn –" A Conjecture. S. 125–131
• W. Gillies Whittaker: The Bachs and Eisenach. S. 132–142
• Orlando A. Mansfield: J. S. Bach’s First English Apostles. S. 143–154
• Joseph Muller: Bach Portraits. S. 155–165
• Roy Harris, M. D. Herter Norton: The Art of the Fugue. S. 166–178
• Raymond Walters: Bach at Bethlehem, Pennsylvania. S. 179–189
• Virginia Larkin Redway: Handel in Colonial and Post-Colonial America (To 1820). S. 190–207
• Hugo Leichtentritt: Handel’s Harmonic Art. S. 208–223
• Jacob Maurice Coopersmith: Handelian Lacunæ – A Project. S. 224–229
• Carl Engel: Views and Reviews. S. 230–240
• Edward N. Waters: Quarterly Book-List. S. 241–248
• Richard Gilbert: Quarterly Record-List. S. 249–254

Nr. 3

• James Travis: Celtic Elements in Beethoven’s Seventh Symphony. S. 255–265
• Paul Bekker, Arthur Mendel: The Opera Walks New Paths. S. 266–278
• Charles Van den Borren, Safford Cape: A Light of the Fifteenth Century – Guillaume Dufay. S. 279–297
• Leopold Godowsky: Piano Music for the Left Hand. S. 298–300
• Hugh Arthur Scott: Sidelights on Thomas Arne. S. 301–310
• Adele T. Katz: Heinrich Schenker’s Method of Analysis. S. 311–329
• Marc Blitzstein: The Phenomenon of Stravinsky. S. 330–347
• Max Schoen: The Basis of Music-Mindedness. S. 348–355
• Victor Belaiev, S. W. Pring: Turkish Music. S. 356–367
• Carl Engel: Views and Reviews. S. 368–375
• Edward N. Waters: Quarterly Book-List. S. 376–386
• Richard Gilbert: Quarterly Record-List. S. 387–390

Nr. 4

• Alexander Tcherepnine: Music in Modern China. S. 391–400
• Knud Jeppesen, Glen Haydon: On Counterpoint. S. 401–407
• Ruth Hannas: Cerone, Philosopher and Teacher. S. 408–422
• Arthur W. Locke: Descartes and Seventeenth-Century Music. S. 423–431
• Isidore Philipp, Carl Engel: Some Recollections of Stephen Heller. S. 432–436
• Karl W. Gehrkens: The Psychological Basis of Conducting. S. 437–441
• Otto Ortmann: What Is Tone-Quality? S. 442–450
• J.-G. Prod’homme, G. R.: Chabrier in His Letters. S. 451–465
• David Ewen: The Vienna Strausses. S. 466–474
• André Cœuroy, Fred Rothwell: Spitteler, Writer and Musician. S. 475–483
• Carl Engel: Views and Reviews. S. 484–491
• Edward N. Waters: Quarterly Book-List. S. 492–499
• Richard Gilbert: Quarterly Record-List. S. 500–503

22. Jg. 1936

Nr. 1

• Owen Wister: Strictly Hereditary. S. 1–7
• David Joseph Bach: A Note on Arnold Schoenberg. S. 8–13
• Richard S. Hill: Schoenberg’s Tone-Rows and the Tonal System of the Future. S. 14–37
• Edward Lockspeiser: Debussy, Tchaikovsky, and Madame von Meck. S. 38–44
• Mosco Carner, G. R.: The Exotic Element in Puccini. S. 45–67
• Alfred H. Meyer: Sibelius – Symphonist. S. 68–86
• Edgar Istel: Act IV of „les huguenots“. S. 87–97
• Violet Alford: Odd Music-Makers and Their Instruments. S. 98–106
• Carl Engel: Views and Reviews. S. 107–115
• Edward N. Waters: Quarterly Book-List. S. 116–125
• Richard Gilbert: Quarterly Record-List. S. 126–129

Nr. 2

• Rudolf von Ficker, G. R.: Agwillare, A Piece of Late Gothic Minstrelsy. S. 131–139
• Burnet C. Tuthill: Howard Hanson. S. 140–153
• George Pullen Jackson: Stephen Foster’s Debt to American Folk-Song. S. 154–169
• Virginia Larkin Redway: A New York Concert in 1736. S. 170–177
• Karl Geiringer, M. D. Herter Norton: Wagner and Brahms, with Unpublished Letters. S. 178–189
• Leonard Ellinwood: Francesco Landini and His Music. S. 190–216
• N. Lindsay Norden: A New Theory of Untempered Music – A Few Important Features with Special Reference to „A Cappella“ Music. S. 217–233
• Carl Engel: Views and Reviews. S. 234–239
• Edward N. Waters: Quarterly Book-List. S. 240–249
• Richard Gilbert: Quarterly Record-List. S. 250–253

Nr. 3

• Felix von Weingartner: Franz Liszt, as Man and Artist. S. 255–258
• Franz Liszt: Liszt’s Letters to Marie Wittgenstein. S. 259–276
• Paul Bekker: Liszt and His Critics. S. 277–283
• Julien Tiersot: Liszt in France. S. 284–294
• Marion Bauer: The Literary Liszt. S. 295–313
• Paul Henry Láng: Liszt and the Romantic Movement. S. 314–325
• O. G. Sonneck: Liszt’s Huldigungs Marsch and Weimar’s Volkslied. S. 326–338
• J.-G. Prod’homme, Antoine Reicha: From the Unpublished Autobiography of Antoine Reicha. S. 339–353
• Carl Engel: Views and Reviews. S. 354–361
• Edward N. Waters: Quarterly Book-List. S. 362–369
• Richard Gilbert: Quarterly Record-List. S. 370–373

Nr. 4

• Hans Holländer, G. R.: Alban Berg. S. 375–382
• Willi Reich, M. D. Herter Norton: Alban Berg’s „Lulu“. S. 383–401
• Charles Sanford Terry: John Forbes’s „Songs and Fancies“. S. 402–419
• Olga Bennigsen: A Bizarre Friendship – Tchaikovsky and Mme. von Meck. S. 420–429
• Alfred J. Swan: Music of the Eastern Churches. S. 430–434
• Herbert Weinstock: Carlos Chávez. S. 435–445
• Hugh Arthur Scott: London’s Earliest Public Concerts. S. 446–457
• Rodney Gallop: Basque Songs from Soule. S. 458–469
• Carl Engel: Views and Reviews. S. 470–476
• Edward N. Waters: Quarterly Book-List. S. 477–485
• Richard Gilbert: Quarterly Record-List. S. 486–489

23. Jg. 1937

Nr. 1

• Edward J. Dent: The Historical Approach to Music. S. 1–17
• Louis Harap: On the Nature of Musicology. S. 18–25
• Daniel Gregory Mason: Arthur Whiting. S. 26–36
• Arthur Foote: A Bostonian Remembers. S. 37–44
• M. D. Calvocoressi: Mily Balakirev, on the Centenary of His Birth. S. 45–55
• Walter Engelsmann: Beethoven and the Creative Law in Symphonic Art. S. 56–63
• Alfred von Ehrmann, G. R.: The „Terrible“ Brahms. S. 64–76
• Guido M. Gatti, Vincent Aita: Recent Italian Operas. S. 77–88
• Frank J. Metcalf: The Easy Instructor – A Bibliographical Study. S. 89–97
• Carl Engel: Views and Reviews. S. 98–106
• Edward N. Waters: Quarterly Book-List. S. 107–118
• Philip Miller: Quarterly Record-List. S. 119–126

Nr. 2

• Charles W. Hughes: Percy Grainger, Cosmopolitan Composer. S. 127–136
• Margit Varro, M. D. Herter Norton: The Dual Personality of Great Composers. S. 137–146
• Yvonne Rokseth, G. R.: Antonia Bembo, Composer to Louis XIV. S. 147–169
• Joseph Yasser: Mediæval Quartal Harmony – A Plea for Restoration – Part I. S. 170–197
• John Atlee Kouwenhoven, Lawton M. Patten: New Light on „The Star Spangled Banner“. S. 198–200
• H. J. W. Tillyard: Mediæval Byzantine Music. S. 201–209
• Willi Apel: Early German Keyboard Music. S. 210–237
• Carl Engel: Views and Reviews. S. 238–247
• Edward N. Waters: Quarterly Book-List. S. 248–259
• Philip Miller: Quarterly Record-List. S. 260–268

Nr. 3

• Alfred Einstein, Elisabeth Sperry Smith: Opus Ultimum. S. 269–286
• John W. Klein: Alfredo Catalani (1854–93). S. 287–294
• William Kozlenko: Soviet Music and Musicians. S. 295–305
• Albert G. Rau: John Frederick Peter. S. 306–313
• Hans T. David: Bach’s „Musical Offering“. S. 314–332
• Joseph Yasser: Mediæval Quartal Harmony – A Plea for Restoration – Part II. S. 333–366
• Violet Alford: Valencian Cross-Roads. S. 367–387
• Carl Engel: Views and Reviews. S. 388–395
• Edward N. Waters: Quarterly Book-List. S. 396–405
• Philip Miller: Quarterly Record-List. S. 406–412

Nr. 4

• Edwin T. Rice: The de Coppet Music Room in New York and Switzerland. S. 413–420
• Edward Lockspeiser: Musorgsky and Debussy. S. 421–427
• Oscar Thompson: An American School of Criticism – The Legacy Left by W. J. Henderson, Richard Aldrich, and Their Colleagues of the Old Guard. S. 428–439
• Joseph S. Levitan: Ockeghem’s Clefless Compositions. S. 440–464
• Walter E. Buszin: Dietrich Buxtehude (1637–1707) – On the Tercentenary of His Birth. S. 465–490
• Edward D. Andrews: Shaker Songs. S. 491–508
• Maurice Emmanuel, G. R.: The Creation of the Violin and Its Consequences. S. 509–515
• Rodney Gallop: Folk-Music of the Southern Slavs. S. 516–531
• Edward N. Waters: Quarterly Book-List. S. 532–542
• Philip Miller: Quarterly Record-List. S. 543–548

24. Jg. 1938

Nr. 1

• Winthrop S. Boggs: Music and Stamps. S. 1–10
• William Treat Upton: Aspects of the Modern Art-Song. S. 11–30
• Harold Watkins Shaw: Blow’s Use of the Ground Bass. S. 31–38
• Erwin Schaeffer, Harold Spivacke: Schubert’s „Winterreise“. S. 39–57
• Marian Hannah Winter: American Theatrical Dancing from 1750 to 1800. S. 58–73
• Gilbert Chase: Miguel Hilarión Eslava. S. 74–83
• Theodore Russell: The Violin „Scordatura“. S. 84–96
• Carl Engel: An Address [for the Joint Session of the American Musicological Society and the National Music Teachers’ Association, Pittsburgh, Pa., Dec. 30, 1937]. S. 97–103
• Carl Engel: Views and Reviews. S. 104–109
• Edward N. Waters: Quarterly Book-List. S. 110–120
• Philip Miller: Quarterly Record-List. S. 121–128

Nr. 2

• Olga Bennigsen: More Tchaikovsky-von Meck Correspondence. S. 129–138
• Nicolas Slonimsky: Further Light on Tchaikovsky. S. 139–146
• Curt Sachs: Towards a Prehistory of Occidental Music. S. 147–152
• Louis Harap: Some Hellenic Ideas on Music and Character. S. 153–168
• Edgar Davis: Bernard van Dieren. S. 169–175
• Anselm Hughes: The Origins of Harmony – With Special Reference to an Old St. Andrews Ms.. S. 176–185
• Anna Blanche McGill: Old Mission Music. S. 186–193
• Hugh Arthur Scott: London Concerts from 1700 to 1750. S. 194–209
• Robert Sabin: Early American Composers and Critics. S. 210–218
• Carl Engel: Views and Reviews. S. 219–225
• Edward N. Waters: Quarterly Book-List. S. 226–233
• Philip Miller: Quarterly Record-List. S. 234–242

Nr. 3

• Karl Geiringer, H. B. Weiner: The Friends of Music in Vienna (1812–1937). S. 243–248
• Burnet C. Tuthill: Leo Sowerby. S. 249–264
• Egon Wellesz, Everett Helm: Anton Bruckner and the Process of Musical Creation. S. 265–290
• Albert Maecklenburg, Willis Wager: Hugo Wolf and Anton Bruckner. S. 291–299
• Marc Pincherle, Manton Monroe Marble: Vivaldi and the „Ospitali“ of Venice. S. 300–312
• William H. McCabe: Music and Dance on a 17th-Century College Stage. S. 313–322
• Max Unger, Willis Wager: From Beethoven’s Workshop. S. 323–340
• Calvin S. Brown, Jr.: The Musical Structure of De Quincey’s „Dream-Fugue“. S. 341–350
• Joseph Yasser: Mediæval Quartal Harmony – A Plea for Restoration – Part III. S. 351–385
• Edward N. Waters: Quarterly Book-List. S. 386–395
• Philip Miller: Quarterly Record-List. S. 396–403

Nr. 4

• Edward J. Dent: Otto Kinkeldey. S. 405–411
• George Sherman Dickinson: Otto Kinkeldey – An Appreciation. S. 412–418
• Willi Apel: Neapolitan Links between Cabezon and Frescobaldi. S. 419–437
• Paul A. Pisk, Manton Monroe Marble: Ernst Toch. S. 438–450
• James Travis: Irish National Music. S. 451–480
• Virginia L. Redway: James Parker and the „Dutch Church“. S. 481–500
• Gerhard Herz: Certain Aspects of the Bach Movement. S. 501–511
• Paul Landormy, Manton Monroe Marble: Albert Roussel (1869–1937). S. 512–527
• Artur Holde: Is There a Future for Quarter-Tone Music? S. 528–533
• Carl Engel: Views and Reviews. S. 534–539
• Edward N. Waters: Quarterly Book-List. S. 540–547
• Philip Miller: Quarterly Record-List. S. 548–551

25. Jg. 1939

Nr. 1

• Waldo Selden Pratt: A Word of Comment. S. 1
• Carl Engel: Oscar G. Sonneck. S. 2–5
• Carl E. Seashore: The Harmonic Structure of a Musical Tone. S. 6–10
• Francis Rogers: Adolphe Nourrit. S. 11–25
• Antonio Tirabassi, Cecile Hindman: The Oldest Opera – Belli’s „Orfeo Dolente“. S. 26–33
• J.-G. Prod’homme, N. Broder: Two Musical Libraries of Paris. S. 34–47
• Paul Henry Láng: The So-Called Netherlands Schools. S. 48–59
• William C. Smith: The Earliest Editions of Handel’s „Water Music“. S. 60–75
• Adolfo Salazar, Gilbert Chase: Parsifal in Romanic Lands. S. 76–96
• Paul Rosenfeld: Current Chronicle – Bizet and Modern Music. S. 97–103
• Edward N. Waters: Quarterly Book-List. S. 107–116
• Philip Miller: Quarterly Record-List. S. 117–126

Nr. 2

• Edwin T. Rice: A Tribute to Frank Damrosch (June 22, 1859-October 22, 1937). S. 128–134
• Herman T. Radin: On Musical Book-Plates. S. 135–141
• Alfred Einstein, Arthur Mendel: Dante, on the Way to the Madrigal. S. 142–155
• Hertha Schweiger: Abt Vogler. S. 156–166
• Llewelyn S. Lloyd: Helmholtz and the Musical Ear. S. 167–175
• Leon Vallas, Louise Courtois: The Discovery of Musical Germany by Vincent d’Indy in 1873. S. 176–194
• Warren D. Allen: Baroque Histories of Music. S. 195–209
• Rodney Gallop: The Music of Indian Mexico. S. 210–225
• Paul Rosenfeld: Current Chronicle – Busoni in His „Letters“. S. 226–231
• Edward N. Waters: Quarterly Book-List. S. 232–242
• Philip Miller: Quarterly Record-List. S. 243–254

Nr. 3

• M. A. deWolfe Howe: John Knowles Paine. S. 256–267
• Alfred Frankenstein: Victor Hartmann and Modeste Musorgsky. S. 268–291
• Gilbert Chase: Origins of the Lyric Theater in Spain. S. 292–305
• Maurice Cauchie, N. Broder: The High Lights of French Opéra-Comique. S. 306–312
• Ernst Th. Ferand, N. Broder: The „Howling in Seconds“ of the Lombards – A Contribution to the Early History of Polyphony. S. 313–324
• Federico Ghisi: Carnival Songs and the Origins of the „Intermezzo Giocoso“. S. 325–333
• Kathleen O’Donnell Hoover: Gustave Charpentier. S. 334–350
• Violet Alford: Traditional Airs from a Little Known Pyrenean Valley. S. 351–371
• Paul Rosenfeld: Current Chronicle – Copland – Harris – Schuman. S. 372–381
• Edward N. Waters: Quarterly Book-List. S. 382–394
• Philip Miller: Quarterly Record-List. S. 395–405

Nr. 4

• Olga Bennigsen: The Brothers Rubinstein and Their Circle. S. 407–419
• Johannes Wolf: Early English Musical Theorists – From 1200 to the Death of Henry Purcell. S. 420–429
• Paul Landormy, Willis Wager: Maurice Ravel (1875–1937). S. 430–441
• Leo Kestenberg, Arthur Mendel: Music Education Goes Its Own Way. S. 442–454
• Georges de Saint-Foix, Arthur Mendel: A Musical Traveler – Giacomo Gotifredo Ferrari (1759–1842). S. 455–465
• Paul-Marie Masson, Gilbert Chase: Rameau and Wagner. S. 466–478
• Carl E. Lindstrom: William Billings and His Times. S. 479–497
• Orme Johnson: Musical Instruments of Ancient Hawaii. S. 498–506
• Alfred Einstein: A Supplement – An Old Music Print at the J. P. Morgan Library in New York. S. 507–509
• Romain Rolland: A Message [Sent to the International Congress of the American Musicological Society, Held in New York, September 11–16, 1939]. S. 510–512
• Paul Rosenfeld: Current Chronicle – Szymanowski – Villa-Lobos. S. 513–518
• Edward N. Waters: Quarterly Book-List. S. 519–527
• Philip Miller: Quarterly Record-List. S. 528–533

26. Jg. 1940

Nr. 1

• Henry Askeli: A Sketch of Sibelius the Man. S. 1–7
• Max Graf, Arthur Mendel: The Death of a Music City (Vienna – 1600–1938). S. 8–18
• Robert Hernried: Hugo Wolf’s „Corregidor“ at Mannheim. S. 19–30
• Manfred Bukofzer: Popular Polyphony in the Middle Ages. S. 31–49
• Hugh M. Miller: Sixteenth-Century English Faburden Compositions for Keyboard. S. 50–64
• Hans F. Redlich, Arthur Mendel: Egon Wellesz. S. 65–75
• Pierre Soccanne, Gilbert Chase: Jenny Colon, the „Somber Star“. S. 76–86
• Rodney Gallop: Otomi Indian Music from Mexico. S. 87–100
• Ashley Pettis: The WPA and the American Composer. S. 101–112
• Carl Engel: Views and Reviews. S. 113–121
• Edward N. Waters: Quarterly Book-List. S. 122–130
• Philip Miller: Quarterly Record-List. S. 131–141

Nr. 2

• Edwin T. Rice: Thomas and Central Park Garden. S. 143–152
• H. Earle Johnson: Early New England Periodicals Devoted to Music. S. 153–161
• Otto Kinkeldey: Waldo Selden Pratt – November 10, 1857 – July 29, 1939. S. 162–174
• Gisella Selden-Goth: A New Collection of Music Manuscripts in the United States. S. 175–185
• Oswald Jonas: An Unknown Sketch by Beethoven. S. 186–191
• Edward Lockspeiser: The French Song in the 19th Century. S. 192–199
• Emile Haraszti: Berlioz, Liszt, and the Rakoczy March. S. 200–231
• Alfred J. Swan: The Znamenny Chant of the Russian Church – Part I. S. 232–243
• William G. Hill: Noise in Piano Tone, a Qualitative Element. S. 244–259
• Carl Engel: Views and Reviews. S. 260–267
• Edward N. Waters: Quarterly Book-List. S. 268–274
• Philip Miller: Quarterly Record-List. S. 275–281

Nr. 3

• Alexis Kall: Stravinsky in the Chair of Poetry. S. 283–296
• Burnet C. Tuthill: Mrs. H. H. A. Beach. S. 297–310
• Alfred Loewenberg: Gluck’s „Orfeo“ on the Stage – With Some Notes on Other Orpheus Operas. S. 311–339
• Rudolf Felber, Arthur Mendel: Schumann’s Place in German Song. S. 340–354
• Edwin H. Pierce: Gospel Hymns and Their Tunes. S. 355–364
• Alfred J. Swan: The Znamenny Chant of the Russian Church – Part II. S. 365–380
• Otto Gombosi: The Melody of Pindar’s „Golden Lyre“. S. 381–392
• Carl Engel: Views and Reviews. S. 393–400
• Errata: A New Collection of Music Manuscripts in the United States. S. 400
• Edward N. Waters: Quarterly Book-List. S. 401–409
• Philip Miller: Quarterly Record-List. S. 410–417

Nr. 4

• Elna Sherman: Music in Thomas Hardy’s Life and Work. S. 419–445
• Margit Varró, Arthur Mendel: Imponderable Elements of Musicality. S. 446–455
• Hubert J. Foss: William Walton. S. 456–466
• Hermann Scherchen, Arthur Mendel: Johann Sebastian Bach’s Last Composition – The Chorale-Prelude „Vor deinen Thron tret’ ich hiemit“. S. 467–482
• Charles Seeger: Contrapuntal Style in the Three-Voice Shape-Note Hymns. S. 483–493
• Higini Anglès: Hispanic Musical Culture from the 6th to the 14th Century. S. 494–528
• Alfred J. Swan: The Znamenny Chant of the Russian Church – Part III. S. 529–545
• Carl Engel: Views and Reviews. S. 546–549
• Edward N. Waters: Quarterly Book-List. S. 550–553
• Philip Miller: Quarterly Record-List. S. 554–560

27. Jg. 1941

Nr. 1

• M. D. Calvocoressi, Maurice Ravel: Ravel’s Letters to Calvocoressi – With Notes and Comments. S. 1–19
• Sol Babitz: Stravinsky’s Symphony in C (1940) – A Short Analysis and Commentary. S. 20–25
• Arthur Farwell: Sonata Form and the Cabbala. S. 26–37
• Charles W. Hughes: Richard Deering’s Fancies for Viols. S. 38–46
• Louis Harap: The Case for Hot Jazz. S. 47–61
• Curt Sachs: The Mystery of the Babylonian Notation. S. 62–69
• J. A. Westrup: Foreign Musicians in Stuart England. S. 70–89
• Rosemary S. M. Hughes: Dr. Burney’s Championship of Haydn. S. 90–96
• John W. Work: Plantation Meistersinger. S. 97–106
• Review by Alfred Einstein: Music in the Middle Ages. Music in the Middle Ages by Gustave Reese. S. 107–110
• Edward N. Waters: Quarterly Book-List. S. 111–116
• Philip Miller: Quarterly Record-List. S. 117–122

Nr. 2

• Otto Mayer-Serra: Silvestre Revueltas and Musical Nationalism in Mexico. S. 123–145
• Marian Hannah Winter: The Function of Music in Sound Film. S. 146–164
• Leonard Ellinwood: The „Conductus“. S. 165–204
• Anselm Hughes: Background to the Roy Henry Music – An Essay in Reconstruction. S. 205–210
• Donald Jay Grout: Seventeenth-Century Parodies of French Opera – Part I. S. 211–219
• Artur Holde, Arthur Mendel, Richard Wagner: Four Unknown Letters of Richard Wagner – Presented with Comment. S. 220–234
• Arthur Lourié: Musings on Music. S. 235–242
• Carl Engel: Views and Reviews. S. 243–248
• Edward N. Waters: Quarterly Book-List. S. 249–256
• Philip Miller: Quarterly Record-List. S. 257–261

Nr. 3

• Erich Hertzmann: Alfred Einstein and Curt Sachs. S. 263–279
• Walter Kaufmann: Folk-Songs of the Gond and Baiga. S. 280–288
• Otto Gombosi: About Dance and Dance Music in the Late Middle Ages. S. 289–305
• Everett B. Helm: Heralds of the Italian Madrigal. S. 306–318
• Ernst T. Ferand: Two Unknown „Frottole“. S. 319–328
• Paul Nettl, Arthur Mendel: Mozart and the Czechs. S. 329–342
• Richard Engländer, Arthur Mendel: The Sketches for „The Magic Flute“ at Upsala. S. 343–355
• Arthur Fickénscher: The „Polytone“ and the Potentialities of a Purer Intonation. S. 356–370
• Harold Courlander: Musical Instruments of Haiti. S. 371–383
• Review by Gustave Reese: Ripe Fruit at Sixty – Two Reviews. The History of Musical Instruments by Curt Sachs; Canzoni, Sonetti, Strambotti et Frottole, Libro Tertio by Andrea Antico; Alfred Einstein. S. 384–390
• Carl Engel: Guido Adler in Retrospect (1855–1941). S. 391–400
• Edward N. Waters: Quarterly Book-List. S. 401–405
• Philip Miller: Quarterly Record-List. S. 406–413

Nr. 4

• Alfred Einstein, Arthur Mendel: Mozart’s Choice of Keys. S. 415–421
• Nathan Broder: Mozart and the „Clavier“. S. 422–432
• Karl August Rosenthal, Arthur Mendel: Mozart’s Sacramental Litanies and Their Forerunners. S. 433–455
• Karl Geiringer: W. A. Mozart the Younger. S. 456–473
• W. Gillies Whittaker: Byrd’s Great Service. S. 474–490
• William Kimmel: Vaughan Williams’s Melodic Style. S. 491–499
• Violet Alford: Music and Dance of the Swiss Folk. S. 500–513
• Donald Jay Grout: Seventeenth-Century Parodies of French Opera (Concluded from the April Issue). S. 514–526
• Carl Engel: Views and Reviews. S. 527–538
• Edward N. Waters: Quarterly Book-List. S. 539–545
• Philip Miller: Quarterly Record-List. S. 546–550

28. Jg. 1942

Nr. 1

• Edward Lockspeiser: Trends in Modern English Music. S. 1–13
• Manfred F. Bukofzer: An Unknown Chansonnier of the 15th Century (The „Mellon Chansonnier“). S. 14–49
• Robert Hernried, Arthur Mendel, Robert Schumann: Four Unpublished Compositions by Robert Schumann. S. 50–62
• Burnet C. Tuthill: David Stanley Smith. S. 63–77
• Percy A. Scholes: George the Third as Music Lover. S. 78–92
• Eric Werner: The Psalmodic Formula „Neannoe“ and Its Origin. S. 93–99
• Francis Rogers: Henriette Sontag in New York. S. 100–104
• Heinrich Simon: The Clementi Manuscripts at the Library of Congress. S. 105–114
• Max Schoen: The Meaning of Music as Art. S. 115–121
• Review by Curt Sachs: Music in Western Civilization. Music in Western Civilization by Paul Lang. S. 122–124
• Edward N. Waters: Quarterly Book-List. S. 125–129
• Philip Miller: Quarterly Record-List. S. 130–137

Nr. 2

• Marion Bauer: Darius Milhaud. S. 139–159
• Percy Aldridge Grainger: The Culturizing Possibilities of the Instrumentally Supplemented „A Cappella“ Choir. S. 160–173
• M. A. DeWolfe Howe: Venite in Bethlehem – The Major Chord. S. 174–185
• Paul Bekker, Arthur Mendel: Franz Liszt Reconsidered. S. 186–189
• Oliver Strunk: The Tonal System of Byzantine Music. S. 190–204
• Llewelyn S. Lloyd: The Musical Scale. S. 205–215
• Lloyd Hibberd: Musica Ficta and Instrumental Music c.1250-c.1350. S. 216–226
• Harold Courlander: Musical Instruments of Cuba. S. 227–240
• Alfred Einstein: In Memoriam – Ludwig Landshoff (b. June 3, 1874 – d. September 20, 1941). S. 241–247
• Carl Engel: Views and Reviews. S. 248–257
• Edward N. Waters: Quarterly Book-List. S. 258–262
• Philip Miller: Quarterly Record-List. S. 263–267

Nr. 3

• Edwin T. Rice, Leopold Damrosch: Personal Recollections of Leopold Damrosch. S. 269–275
• Jeanne Marix: Hayne van Ghizeghem – Musician at the Court of the 15th-Century Burgundian Dukes. S. 276–287
• Gustav Klemm: Gustav Strube – The Man and the Musician. S. 288–301
• Carl E. Seashore: In Search of Beauty in Music. S. 302–308
• Joseph Yasser: Gretchaninoff’s „Heterodox“ Compositions. S. 309–317
• Paul Nettl, Arthur Mendel: An English Musician at the Court of Charles VI in Vienna. S. 318–328
• Leo Schrade: The Organ in the Mass of the 15th Century – Part I. S. 329–336
• Carl Engel: Some Letters to a Namesake. S. 337–379
• Review by Curt Sachs: Ancient European Musical Instruments – A Review. Ancient European Musical Instruments by Nicholas Bessaraboff. S. 380–383
• Edward N. Waters: Quarterly Book-List. S. 384–388
• Nathan Broder: Quarterly Record-List. S. 389–391

Nr. 4

• F. Meredith Dietz: Make-Ready. S. 393–394
• John Erskine: Macdowell at Columbia – Some Recollections. S. 395–405
• Victor Bennett: Music and Emotion. S. 406–414
• Nicolas Slonimsky: Dmitri Dmitrievitch Shostakovitch. S. 415–444
• Hans Nathan: The Function of Text in French 13th-Century Motets. S. 445–462
• Artur Holde, Ludwig van Beethoven: An Unknown Beethoven Letter with Comment. S. 463–466
• Leo Schrade: Organ Music in the Mass of the 15th Century – Part II. S. 467–487
• Nathan Broder: American Music and American Orchestras. S. 488–493
• Ernst T. Ferand: In Memoriam – Fernando Liuzzi (b. December 19, 1884 – d. October 6, 1940). S. 494–504
• Kathleen O’Donnell Hoover: Verdi’s „Rocester“. S. 505–513
• Carl Engel: Views and Reviews. S. 514–524
• Edward N. Waters: Quarterly Book-List. S. 525–528
• Nathan Broder: Quarterly Record-List. S. 529–533

29. Jg. 1943

Nr. 1

• Otto Mayer-Serra: Falla’s Musical Nationalism. S. 1–17
• John W. Klein: Stendhal as Music Critic. S. 18–31
• Fritz Callomon, Johannes Brahms, Arthur Mendel: Some Unpublished Brahms Correspondence. S. 32–44
• Edward E. Lowinsky: The Goddess Fortuna in Music – With a Special Study of Josquin’s „Fortuna dun gran tempo“. S. 45–77
• William C. Loring, Jr.: Arthur Bird, American. S. 78–91
• Henry G. Mishkin: The Solo Violin Sonata of the Bologna School. S. 92–112
• H. Earle Johnson: George K. Jackson, Doctor of Music (1745–1822). S. 113–121
• Marius Barbeau: French Canadian Folk-Songs. S. 122–137
• Carl Engel: Views and Reviews. S. 138–145
• Edward N. Waters: Quarterly Book-List. S. 146–149
• Nathan Broder: Quarterly Record-List. S. 150–152

Nr. 2

• Harold Bauer, Carl Engel: Self-Portrait of the Artist as a Young Man. S. 153–168
• Rudolf Kolisch, Arthur Mendel: Tempo and Character in Beethoven’s Music – Part I. S. 169–187
• Ralph Hill: Some Reflections on Music Criticism. S. 188–197
• Juan Bautista Plaza, Conchita Rexach: Music in Caracas during the Colonial Period (1770–1811). S. 198–213
• Francis Rogers: Handel and Five Prima Donnas. S. 214–224
• Gerhard Herz: A „New“ Bach Portrait. S. 225–241
• Hans Nathan: Two Inflation Songs of the Civil War. S. 242–253
• Alfred J. Swan: New Developments in the Transcription of Byzantine Melodies. S. 254–256
• Margaret Schlauch, Gustave Reese: The Hewitt Edition of the „Odhecaton“. S. 257–265
• Igor Boelza: A Communication from Moscow. S. 266–268
• Edward N. Waters: Quarterly Book-List. S. 269–272
• Nathan Broder: Quarterly Record-List. S. 273–274

Nr. 3

• Doron K. Antrim: Music in Industry. S. 275–290
• Rudolf Kolisch, Arthur Mendel: Tempo and Character in Beet-Hoven’s Music – Part II. S. 291–312
• Jan Lowenbach: Czechoslovak Composers and Musicians in America. S. 313–328
• Miloš Šafránek: Bohuslav Martinů. S. 329–354
• Marion Bauer: Charles T. Griffes as I Remember Him. S. 355–380
• Curt Sachs: The Road to Major. S. 381–404
• Carl Engel: Views and Reviews. S. 405–409
• Edward N. Waters: Quarterly Book-List. S. 410–413
• Nathan Broder: Quarterly Record-List. S. 414–416

Nr. 4

• Henry Bellamann: Isidor Philipp. S. 417–425
• Mark Brunswick: Tonality and Perspective. S. 426–437
• Hugh M. Miller: The Earliest Keyboard Duets. S. 438–457
• Alfred von Ehrmann, Barbara Lattimer: Johannes Brahms and Hugo Wolf – A Biographical Parallel. S. 458–465
• Paul Rosenfeld: All the World’s Poughkeepsie! S. 466–474
• Alfred Einstein, Willis Wager: Narrative Rhythm in the Madrigal. S. 475–484
• Frank Gardner Hale: The Rôle of Jewels in Opera. S. 485–497
• Alfred J. Swan: The Nature of the Russian Folk-Song. S. 498–516
• Igor Boelza: Communication from Moscow – II. S. 517–520
• Carl Engel: Views and Reviews. S. 521–530
• Edward N. Waters: Quarterly Book-List. S. 531–533
• Nathan Broder: Quarterly Record-List. S. 534–535

30. Jg. 1944

Nr. 1

• Katherine Swan, A. J. Swan: Rachmaninoff – Personal Reminiscences – Part I. S. 1–19
• Paul Hindemith, Arthur Mendel: Methods of Music Theory. S. 20–28
• Frani B. Muser, Paul Hindemith: The Recent Work of Paul Hindemith. S. 29–36
• Raymond Kendall, Samuel Mareschall: The Life and Works of Samuel Mareschall (1554–1640). S. 37–49
• William Dinneen: Early American Manuscript Music-Books. S. 50–62
• Carl Engel: Introducing Mr. Braun. S. 63–83
• Curt Sachs: Bach and Blavet. S. 84–86
• Calvin S. Brown, Jr.: The Poetic Use of Musical Forms. S. 87–101
• Mario Castelnuovo-Tedesco: Music and Poetry – Problems of a Song-Writer. S. 102–111
• Review by Manfred F. Bukofzer: The Notation of Polyphonic Music – A Review The Notation of Polyphonic Music, 900–1600 by Willi Apel. S. 112–118
• Edward N. Waters: Quarterly Book-List. S. 119–121
• Nathan Broder: Quarterly Record-List. S. 122–123

Nr. 2

• Isidor Philipp, Gustave Reese: Charles-Marie Widor – A Portrait. S. 125–132
• Otto Gombosi: Stephen Foster and „Gregory Walker“. S. 133–146
• Francis Rogers: Some Prima Donnas of the Latter Eighteenth Century. S. 147–162
• Kathi Meyer: Early Breitkopf & Härtel Thematic Catalogues of Manuscript Music. S. 163–173
• Katherine Swan, A. J. Swan: Rachmaninoff – Personal Reminiscences – Part II. S. 174–191
• Georges Barrère: Expression Unconfined. S. 192–197
• Denoe Leedy: Harold Randolph – The Man and Musician. S. 198–204
• Georgia Stevens: Gregorian Chant, the Greatest Unison Music. S. 205–225
• Walter H. Rubsamen: Kurt Huber of Munich. S. 226–233
• Carl Engel: Views and Reviews. S. 234–241
• Edward N. Waters: Quarterly Book-List. S. 242–244
• Nathan Broder: Quarterly Record-List. S. 245–247

Nr. 3

• Harold Bauer: Carl Engel July 21, 1883 – May 6, 1944. S. 249–254
• Aaron Copland: Serge Koussevitzky and the American Composer. S. 255–269
• Arthur Lourié, G. R.: A Tribute to Koussevitzky. S. 270–276
• Violet Alford: The Rigaudon. S. 277–296
• E. O. Turner: The Interpretation of Music – A Theory of Communication. S. 297–306
• Arthur Shepherd: Papa Goetschius in Retrospect. S. 307–318
• Hugo Leichtentritt: The Reform of Trent and Its Effect on Music. S. 319–328
• Serge Bertensson: The Tchaikovsky Museum at Klin. S. 329–335
• Amédée Gastoué, Anselm Hughes: A Great French Organist, Alexandre Boëly, and His Works. S. 336–344
• Harold Courlander: Notes from an Abyssinian Diary. S. 345–355
• Communications
  • Igor Boelza: I. From Moscow. S. 356–358
  • William D. Gettel: II. From Palermo. S. 358–367
  • Gustave Reese: A Postscript. S. 368–370
• Edward N. Waters: Quarterly Book-List. S. 371–376
• Nathan Broder: Quarterly Record-List. S. 377–378

Nr. 4

• Darius Milhaud: To Arnold Schoenberg on His Seventieth Birthday – Personal Recollections. S. 379–384
• Heinrich Jalowetz: On the Spontaneity of Schoenberg’s Music. S. 385–408
• Doron K. Antrim: Music Therapy. S. 409–420
• Sergei Prokofieff: The War Years. S. 421–427
• Carl Parrish: Criticisms of the Piano When It Was New. S. 428–440
• Maurice Dumesnil: Gabriel Dupont, Musician of Normandy (1878–1914). S. 441–447
• Arthur Farwell: America’s Gain from a Bayreuth Romance – The Mystery of Anton Seidl. S. 448–457
• Hans Tischler: English Traits in the Early 13th-Century Motet. S. 458–476
• Melville J. Herskovits: Drums and Drummers in Afro-Brazilian Cult Life. S. 477–492
• Reviews of Books
  • Review by John Erskine: The Concerto by Abraham Veinus. S. 493–496
  • Review by George Pullen Jackson: A Treasury of American Folklore by B. A. Botkin. S. 496–498
  • Review by Gilbert Chase: La Musica en la Sociedad Europea by Adolfo Salazar. S. 498–500
  • Edward N. Waters: Quarterly Book-List. S. 501–503
• Nathan Broder: Quarterly Record-List. S. 504

31. Jg. 1945

Nr. 1

• Violet Alford: Christmas Carols and „Crèches“ in Provence. S. 1–16
• Nathan Broder: The Music of William Schuman. S. 17–28
• Mark Brunswick: Beethoven’s Tribute to Mozart in „Fidelio“. S. 29–32
• Charles Warren Fox: Non-Quartal Harmony in the Renaissance. S. 33–53
• Charles W. Hughes: John Christopher Pepusch. S. 54–70
• Jacob Maurice Coopersmith: Music and Musicians of the Dominican Republic – A Survey – Part I. S. 71–88
• Robert Hernried, Frances Heller: Hugo Wolf’s „Four Operas“ – With Unpublished Letters by Hugo Wolf, Rosa Mayreder, and Oskar Grohe. S. 89–100
• Claire McGlinchee: American Literature in American Music. S. 101–119
• Reviews of Books
  • Review by Winthrop Sargeant: Esquire’s Jazz Book by Paul Eduard Miller. S. 120–122
  • Review by Richard S. Angell: Harvard Dictionary of Music by Willi Apel. S. 123–127
  • Review by Arthur Lourié: Eight Soviet Composers by Gerald Abraham. S. 127–129
  • Edward N. Waters: Quarterly Book-List. S. 130–134
• Nathan Broder: Quarterly Record-List. S. 135–136

Nr. 2

• Herbert Putnam, Elizabeth Sprague Coolidge: Tributes to Carl Engel – On the Occasion of the Carl Engel Memorial Concert, Given at the Coolidge Auditorium in the Library of Congress, Washington, D. C., March 2, 1945. S. 137–140
• Raymond Kendall: Music for the Armed Services. S. 141–156
• Virgil Thomson: Looking Forward. S. 157–162
• John N. Burk: Wilhelm Gericke – A Centennial Retrospect. S. 163–187
• Gilbert Chase: Juan Navarro „Hispalensis“ and Juan Navarro „Gaditanus“. S. 188–192
• Thérèse Marix-Spire, G. R.: Gounod and His First Interpreter, Pauline Viardot – Part I. S. 193–211
• Jacob Maurice Coopersmith: Music and Musicians of the Dominican Republic – A Survey – Part II. S. 212–226
• Edward E. Lowinsky: The Function of Conflicting Signatures in Early Polyphonic Music. S. 227–260
• Reviews of Books
  • Review by Paul Henry Láng: Mozart – His Character, His Work by Alfred Einstein; Arthur Mendel; Nathan Broder. S. 261–263
  • Review by Erich Hertzmann: Papers Read at the International Congress of Musicology Held at New York, September 11th to 16th, 1939 by Arthur Mendel; Gilbert Chase. S. 263–267
  • Review by Gustave Reese: Sumer Is Icumen In – A Revision. Vol. 2, No. 2 by Manfred Bukofzer. S. 267–268
  • Edward N. Waters: Quarterly Book-List. S. 269–272
• Nathan Broder: Quarterly Record-List. S. 273–274

Nr. 3

• George Pullen Jackson: The Strange Music of the Old Order Amish. S. 275–288
• Waldemar Schweisheimer: Beethoven’s Physicians. S. 289–298
• Thérèse Marix-Spire, Erminie Huntress: Gounod and His First Interpreter, Pauline Viardot – Part II. S. 299–317
• Erratum: Gounod and His First Interpreter, Pauline Viardot – Part I. S. 317
• Siegmund A. E. Betz: The Operatic Criticism of the „Tatler“ and „Spectator“. S. 318–330
• Serge Bertensson: Ludmila Ivanovna Shestakova – Handmaid to Russian Music. S. 331–338
• Oliver Strunk: Intonations and Signatures of the Byzantine Modes. S. 339–355
• Carl E. Lindstrom: The American Quality in the Music of Louis Moreau Gottschalk. S. 356–366
• Igor Boelza: Communication from Moscow – IV. S. 367–370
• Paul Henry Lang: Musical Scholarship at the Crossroads. S. 371–380
• Reviews of Books
  • Review by Gilbert Chase: Cancionero de Upsala by Rafael Mitjana; Jesús Bal y Gay; Isabel Pope. S. 381–383
  • Review by Arthur Mendel: Musical Articles from the Encyclopaedia Britannica by Donald Francis Tovey; Hubert J. Foss; Essays in Musical Analysis – Chamber Music by Donald Francis Tovey; Hubert J. Foss. S. 383–387
  • Edward N. Waters: Quarterly Book-List. S. 388–392
• Nathan Broder: Quarterly Record-List. S. 393–394

Nr. 4

• A. Hyatt King: Mountains, Music, and Musicians. S. 395–419
• Arthur V. Berger: The Music of Aaron Copland. S. 420–447
• Gordon Sutherland: The Ricercari of Jacques Buus. S. 448–463
• Paul Fatout: Threnodies of the Ladies’ Books. S. 464–478
• Richard Engländer, Erminie Huntress: The Struggle between German and Italian Opera at the Time of Weber. S. 479–491
• Otto E. Albrecht: Adventures and Discoveries of a Manuscript Hunter. S. 492–503
• E. T. A. Hoffmann, Abram Loft: Don Giovanni – A Marvelous Adventure Which Befell a Traveling Enthusiast. S. 504–516
• Paul Henry Lang: Editorial. S. 517–535
• Reviews of Books
  • Review by John Tasker Howard: A Bibliography of Early Secular American Music (18th Century) by Oscar George Theodore Sonneck; William Treat Upton. S. 536–538
  • Review by Harold Gleason: J. S. Bach’s Musical Offering by Hans Theodore David. S. 538–540
  • Review by Frederick W. Sternfeld: Felix Mendelssohn Letters by G. Selden-Goth; Felix Mendelssohn. S. 540–543
  • Edward N. Waters: Quarterly Book-List. S. 544–548
• Nathan Broder: Quarterly Record-List. S. 549–551

32. Jg. 1946

Nr. 1

• Otto Gombosi: Béla Bartók (1881–1945). S. 1–11
• Robert Manson Myers: Mrs. Delany – An Eighteenth-Century Handelian. S. 12–36
• Bertrand H. Bronson: Folksong and the Modes. S. 37–49
• Doris Silbert: Francesca Caccini, Called La Cecchina. S. 50–62
• Hans Nathan: The Tyrolese Family Rainer, and the Vogue of Singing Mountain-Troupes in Europe and America. S. 63–79
• Walter E. Buszin, Martin Luther: Luther on Music. S. 80–97
• J.-G. Prod’homme, Abram Loft: Berlioz, Musset, and Thomas De Quincey. S. 98–106
• Lloyd Hibberd: On „Instrumental Style“ in Early Melody. S. 107–130
• Paul Henry Lang: Editorial. S. 131–136
• Reviews of Books
  • Review by Alfred Einstein: The Bach Reader – A Life of Johann Sebastian Bach in Letters and Documents by Hans T. David; Arthur Mendel. S. 137–140
  • Review by Gilbert Chase: Music of Latin America by Nicolas Slonimsky. S. 140–143
  • Review by Paul Henry Lang: How Many Strads? Our Heritage from the Master by Ernest N. Doring. S. 144–148
  • Edward N. Waters: Quarterly Book-List. S. 149–152
• Nathan Broder: Quarterly Record-List. S. 153–155

Nr. 2

• Jan La Rue: Native Music on Okinawa. S. 157–170
• Erich Hertzmann: The Newly Discovered Autograph of Beethoven’s „Rondo a Capriccio“, Op. 129. S. 171–195
• Mark A. Schubart: Roger Sessions – Portrait of an American Composer. S. 196–214
• W. Loran Crosten: Auguste and His Claque. S. 215–226
• Helen E. Bush: The Recognition of Chordal Formation by Early Music Theorists. S. 227–243
• Johann Wenzel Tomaschek, Abram Loft: Excerpts from the Memoirs of J. W. Tomaschek. S. 244–264
• Mary Browning Scanlon: Thomas Hastings. S. 265–277
• Artur Holde, Ludwig van Beethoven, Franz Liszt, Johannes Brahms: Unpublished Letters by Beethoven, Liszt, and Brahms. S. 278–288
• Samuel A. Baldwin: The American Guild of Organists. S. 289–295
• Paul Henry Lang: Editorial. S. 296–302
• Reviews of Books
  • Review by Charles Seeger: A Guide to Latin American Music by Gilbert Chase. S. 303–305
  • Review by Donald Jay Grout: Joseph Martin Kraus und die Gustavianische Oper by Richard Engländer. S. 305–308
  • Review by Alfred J. Swan: The Diaries of Tchaikovsky by Wladimir Lakond; Peter Ilich Tchaikovsky. S. 308–310
  • Edward N. Waters: Quarterly Book-List. S. 311–314
• Philip L. Miller: Quarterly Record-List. S. 315–318

Nr. 3

• William Irvine: G. B. Shaw’s Musical Criticism. S. 319–332
• Percival R. Kirby: Weber’s Operas in London, 1824–1826. S. 333–353
• Elliott Carter: Walter Piston. S. 354–375
• Abram Loft: The Comic Servant in Mozart’s Operas. S. 376–389
• Philip A. Duey: Vocal Art in Antiquity. S. 390–410
• Franc̨ois Raguenet: A Comparison between the French and Italian Music. S. 411–436
• Francis Rogers: Jenny Lind. S. 437–448
• Paul Henry Lang: Editorial. S. 449–464
• Reviews of Books
  • Review by Nicolas Slonimsky: The Schillinger System of Musical Composition by Joseph Schillinger. S. 465–470
  • Review by Willi Apel: Secret Chromatic Art in the Netherlands Motet by Edward E. Lowinsky; Carl Buchman. S. 471–476
  • Review by Alfred Frankenstein: Composer and Critic by Max Graf. S. 476–479
  • Edward N. Waters: Quarterly Book-List. S. 480–492
• Philip L. Miller: Quarterly Record-List. S. 493–501
• Erratum: Unpublished Letters by Beethoven, Liszt, and Brahms. S. 501

Nr. 4

• Thomas Mann, M. D. Herter Norton: To Bruno Walter on His Seventieth Birthday – A Letter. S. 503–508
• Bertram Schofield: A Newly Discovered 15th-Century Manuscript of the English Chapel Royal – Part I. S. 509–536
• Robert Hernried, Carl Maria von Weber, Franz Liszt: Discoveries in Vienna – Unpublished Letters by Weber and Liszt. S. 537–544
• David D. Boyden: Ariosti’s Lessons for Viola d’Amore. S. 545–563
• James L. Mursell: Psychology and the Problem of the Scale. S. 564–573
• Donald Jay Grout: German Baroque Opera. S. 574–587
• Robert S. Tangeman: Mozart’s Seventeen Epistle Sonatas. S. 588–601
• Paul Henry Lang: Editorial. S. 602–611
• Reviews of Books
  • Review by Henry G. Mishkin: Tomaso Albinoni. Musico di Violino Dilettante Veneto (1671–1750) by Remo Giazotto. S. 612–616
  • Review by Cecil Smith: Letters of Composers, an Anthology, 1603–1945 by Gertrude Norman; Miriam Lubell Schrifte. S. 616–618
  • Review by Max Graf: Theme and Variations by Bruno Walter; James A. Galston. S. 619–622
  • Edward N. Waters: Quarterly Book-List. S. 623–631
• Philip L. Miller: Quarterly Record-List. S. 632–638

33. Jg. 1947

Nr. 1

• Hans Tischler, Louise H. Tischler: Mendelssohn’s „Songs without Words“. S. 1–16
• Nicolas Slonimsky: Roy Harris. S. 17–37
• Manfred F. Bukofzer: A Newly Discovered 15th-Century Manuscript of the English Chapel Royal – Part II. S. 38–51
• Guido M. Gatti: Composer and Listener. S. 52–63
• J. Murray Barbour: Bach and „The Art of Temperament“. S. 64–89
• Ruth Halle Rowen: Some 18th-Century Classifications of Musical Style. S. 90–101
• Vernon Duke: Gershwin, Schillinger, and Dukelsky – Some Reminiscences. S. 102–115
• Paul Henry Lang: Editorial. S. 116–122
• Reviews of Books
  • Review by Erich Hertzmann: Historical Anthology of Music. Oriental, Medievasl and Renaissance Music by Archibald T. Davison; Willi Apel. S. 123–126
  • Review by Henry Cowell: Music in Our Time by Adolfo Salazar; Isabel Pope. S. 126–130
  • Review by William Treat Upton, George Pullen Jackson, Nathan Broder: Our American Music by John Tasker Howard. S. 130–136
  • Edward N. Waters: Quarterly Book-List. S. 137–141
• Philip L. Miller: Quarterly Record-List. S. 142–147

Nr. 2

• Alfredo Segre: Toscanini – The First Forty Years. S. 149–177
• Howard Taubman: Toscanini in America. S. 178–187
• Leo Schrade: Music in the Philosophy of Boethius. S. 188–200
• Carl Engel: A Note on Domenico Cimarosa’s „Il Matrimonio Segreto“. S. 201–206
• David Diamond: Bernard Rogers. S. 207–227
• Oliver Strunk: Guglielmo Gonzaga and Palestrina’s Missa Dominicalis. S. 228–239
• Béla Bartók: Gypsy Music or Hungarian Music? S. 240–257
• Paul Henry Lang: Editorial. S. 258–266
• Errata: Mendelssohn’s „Songs without Words“. S. 266
• Reviews of Books
  • Review by Frederick W. Sternfeld: Music and Society. England and the European Tradition by Wilfred Mellers. S. 267–270
  • Review by Daniel Gregory Mason: The Music of Tchaikovsky by Gerald Abraham. S. 270–273
  • Review by Paul Henry Lang: Johann Mattheson, Spectator in Music by Beekman C. Cannon. S. 274–278
  • Edward N. Waters: Quarterly Book-List. S. 279–286
• Philip L. Miller: Quarterly Record-List. S. 287–295

Nr. 3

• Egon Wellesz: Words and Music in Byzantine Liturgy. S. 297–310
• Dorothy Slepian: Polyphonic Forms and Devices in Modern American Music. S. 311–326
• William S. Newman: Concerning the Accompanied Clavier Sonata. S. 327–349
• A. Richard Oliver: Moliere’s Contribution to the Lyric Stage. S. 350–364
• Alejo Carpentier, Ethel S. Cohen: Music in Cuba (1523–1900). S. 365–380
• Edwin H. Pierce: United States Navy Bands, Old and New. S. 381–389
• Werner Kass, Willis Wager: The Present State of Music – A Hundred Years Ago. S. 390–404
• Guido M. Gatti, Abram Loft: In Memory of Alfredo Casella (1883–1947). S. 405–408
• Reviews of Books
  • Review by Henry Cowell: Bruckner Mahler Schoenberg by Dika Newlin. S. 409–412
  • Review by Alfred Einstein: English Chamber Music. The History of a Great Art from the Middle Ages to Purcell by Ernst H. Meyer. S. 412–416
  • Review by Frederick W. Sternfeld: The Music of Schubert by Gerald Abraham. S. 416–419
  • Review by Gilbert Chase: La Musica en la Sociedad Europea. El Siglo XIX by Adolfo Salazar. S. 420–423
  • Edward N. Waters: Quarterly Book-List. S. 424–431
• Philip L. Miller: Quarterly Record-List. S. 432–442

Nr. 4

• Dika Newlin, Ernest Bloch: The Later Works of Ernest Bloch. S. 443–459
• William J. Mitchell: C. P. E. Bach’s „Essay“ – An Introduction. S. 460–480
• Llewelyn S. Lloyd: The Loudness of Pure Tones. S. 481–489
• Emile Haraszti, John A. Gutman: Franz Liszt – Author despite Himself – The History of a Mystification. S. 490–516
• Frederick W. Sternfeld: Music and the Feature Films. S. 517–532
• Harold Bauer: The Paris Conservatoire – Some Reminiscences. S. 533–542
• Hugh M. Miller: Pretty Wayes – For Young Beginners to Looke on. S. 543–556
• Paul Henry Lang: Editorial. S. 557–564
• Reviews of Books
  • Review by Theodore M. Greene: The Commonwealth of Art – Style in the Fine Arts, Music and the Dance by Curt Sachs. S. 565–570
  • Review by Frederick W. Sternfeld: Music in the Romantic Era by Alfred Einstein; Willis Wager. S. 570–575
  • E. Lee Fairley: Quarterly Book-List. S. 576–582
• Philip L. Miller: Quarterly Record-List. S. 583–595

34. Jg. 1948

Nr. 1

• Marion Bauer, Claire R. Reis: Twenty-Five Years with the League of Composers. S. 1–14
• Robert Haas, Willis Wager: The Viennese Violinist, Franz Clement. S. 15–27
• Arthur Mendel: Pitch in the 16th and Early 17th Centuries – Part I. S. 28–45
• Burnet C. Tuthill: Daniel Gregory Mason. S. 46–60
• Marc Pincherle, Michel Pignolet de Monteclair, Willis Wager: Elementary Musical Instruction in the 18th Century – An Unknown Treatise by Monteclair. S. 61–67
• Eloise Cunningham: The Japanese „Ko-uta“ and „Ha-uta“ – The „Little Songs“ of the 17th Century. S. 68–83
• Carleton Sprague Smith: The 1774 Psalm Book of the Reformed Protestant Dutch Church in New York City. S. 84–96
• Reginald Nettel: The Oldest Surviving English Musical Club – Some Historical Notes on the Madrigal Society of London. S. 97–108
• Paul Henry Lang: Editorial. S. 109–116
• Reviews of Books
  • Review by John Erskine: Mozart on the Way to Prague by Eduard Mörike; Catherine Alison Phillips; Walter Phillips. S. 117–121
  • Review by Gilbert Chase: Anuario Musical. Volumen I (1946) by Instituto Español de Musicología; Catalogo Musical de la Biblioteca Nacional de Madrid. I, Manuscritos by Higinio Anglès; José Subirá; Instituto Español de Musicología; La Musica en la Corte de Carlos V by Higinio Anglès; Luys de Narvaez – Los Seys Libros del Delphin de Musica en Cifra para Taner Vihuela (Valladolid, 1538) by Emilio Pujol; Luis de Narvaez. S. 121–126
  • Review by Donald Jay Grout: The Encyclopedists as Critics of Music by Alfred Richard Oliver. S. 127–129
  • E. Lee Fairley: Quarterly Book-List. S. 130–138
• Philip L. Miller: Quarterly Record-List. S. 139–148

Nr. 2

• Otto Gombosi: Johannes Wolf (1869–1947). S. 149–154
• William Schuman: On Teaching the Literature and Materials of Music. S. 155–168
• George Perle: Integrative Devices in the Music of Machaut. S. 169–176
• Robert Manson Myers: Samuel Butler – Handelian. S. 177–198
• Arthur Mendel: Pitch in the 16th and Early 17th Centuries – Part II. S. 199–221
• Reinhard G. Pauly: Benedetto Marcello’s Satire on Early 18th-Century Opera. S. 222–233
• Claudio Sartori, Abram Loft: A Little-Known Petrucci Publication – The Second Book of Lute Tablatures by Francesco Bossinensis. S. 234–245
• Paul Henry Lang: Editorial. S. 246–248
• Leonard Burkat, Vincent Persichetti, Frederick Dorian, Jan L. Broeckx, Milos O. Ptak, Guido M. Gatti, Jacques de Menasce, Igor Boelza: Current Chronicle. S. 249–282
• Reviews of Books
  • Review by Alfred Einstein: The Schubert Reader by Franz Schubert; Otto Erich Deutsch; Eric Blom. S. 283–285
  • Review by Doris Silbert: Music and Women by Sophie Drinker. S. 285–288
  • Review by Dragan Plamenac: La Musica en la Corte de los Reyes Catolicos. I, Polifonía Religiosa by Higinio Anglés. S. 289–293
  • Review by Julius Mattfeld: A Short History of Opera by Donald Jay Grout. S. 294–296
  • Review by Francis D. Perkins: The Year in American Music, 1946–1947 by Julius Bloom. S. 297–299
  • E. Lee Fairley: Quarterly Book-List. S. 302–307
• Philip L. Miller: Quarterly Record-List. S. 308–322

Nr. 3

• Egon Wellesz: In Memoriam – P. Kilian Kirchhoff O. F. M.. S. 323–324
• Nathan Broder: The Music of Samuel Barber. S. 325–335
• Arthur Mendel: Pitch in the 16th and Early 17th Centuries – Part III. S. 336–357
• Maurer Maurer: A Musical Family in Colonial Virginia. S. 358–364
• Curt Sachs: Some Remarks about Old Notation. S. 365–370
• Benedetto Marcello: Il Teatro Alla Moda – Part I. S. 371–403
• George H. L. Smith, Charles Warren Fox, Richard F. Goldman, Henry Cowell, Juan Orrego-Salas, Martin Cooper: Current Chronicle. S. 405–429
• Reviews of Books
  • Review by Eric Werner: Eastern Elements in Western Chant by Egon Wellesz. S. 430–435
  • Review by G. S. Dickinson: Music in the Baroque Era by Manfred F. Bukofzer. S. 435–439
  • Review by Donald Jay Grout: Mozart’s Operas – A Critical Study by Edward J. Dent. S. 440–442
  • Review by Carl Parrish: Masters of the Keyboard by Willi Apel. S. 442–445
  • Review by Herbert M. Schueller: Handel’s Messiah – A Touchstone of Taste by Robert Manson Myers. S. 445–448
  • E. Lee Fairley: Quarterly Book-List. S. 450–455
• Philip L. Miller: Quarterly Record-List. S. 456–465

Nr. 4

• Nicolas Slonimsky: Chopiniana – Some Materials for a Biography. S. 467–486
• Rene Leibowitz: Alban Berg’s Five Orchestral Songs – After Postcard Texts by Peter Altenberg, Op. 4. S. 487–511
• Manfred F. Bukofzer: The Music of the Old Hall Manuscript – Part I. S. 512–532
• Henry Cowell: Paul Creston. S. 533–543
• Herbert M. Schueller: Imitation and „Expression“ in British Music Criticism in the 18th Century. S. 544–566
• Donald W. MacArdle: Beethoven, Artaria, and the C Major Quintet. S. 567–574
• Arthur Mendel: Pitch in the 16th and Early 17th Centuries – Part IV. S. 575–593
• Richard F. Goldman, Henry Cowell, Jan L. Broeckx, Jacques de Menasce, Peter Gradenwitz: Current Chronicle. S. 594–621
• Reviews of Books
  • Review by Otto Gombosi: The Story of Dance Music by Paul Nettl. S. 622–627
  • Review by Donald Jay Grout: French Grand Opera – An Art and a Business by William L. Crosten. S. 627–629
  • E. Lee Fairley: Quarterly Book-List. S. 631–636
• Philip L. Miller: Quarterly Record-List. S. 637–650

35. Jg. 1949

Nr. 1

• Elliot Forbes, Randall Thompson: The Music of Randall Thompson. S. 1–25
• Putnam Aldrich: Bach’s Technique of Transcription and Improvised Ornamentation. S. 26–35
• Manfred F. Bukofzer: The Music of the Old Hall Manuscript – Part II. S. 36–59
• Hans Nathan, Daniel Decatur Emmett: Dixie. S. 60–84
• Benedetto Marcello: Il Teatro Alla Moda – Part II. S. 85–105
• Henry Cowell, Richard F. Goldman, Frederick W. Sternfeld, Vincent Persichetti, Charles Warren Fox, Jan L. Broeckx, Guido M. Gatti, Andor Foldes: Current Chronicle. S. 106–146
• Reviews of Books
  • Review by David D. Boyden: A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart; Editha Knocker. S. 147–151
  • Review by Ernst Lévy: The Musical Workshop by Frederick Dorian. S. 151–153
  • Review by Quincy Porter: Chamber Music by Homer Ulrich. S. 153–156
  • Review by Paul Henry Lang: Antonio Vivaldi et la Musique Instrumentale by Marc Pincherle. S. 156–159
  • E. Lee Fairley: Quarterly Book-List. S. 161–166
• Philip L. Miller: Quarterly Record-List. S. 167–177

Nr. 2

• Karl Geiringer: Haydn and the Folksong of the British Isles. S. 179–208
• P. Glanville-Hicks: Virgil Thomson. S. 209–225
• Marc Pincherle, Willis Wager: Virtuosity. S. 226–243
• Oliver Strunk: The Music of the Old Hall Manuscript – A Postscript. S. 244–249
• Colin McPhee: The Five-Tone Gamelan Music of Bali. S. 250–281
• Frederick Goldbeck, Jacques de Menasce, Leonard Burkat, Richard F. Goldman, Henry Cowell, Vincent Persichetti, Joseph Kerman, Martin Cooper: Current Chronicle. S. 282–322
• Reviews of Books
  • Review by Arthur Mendel: Essay on the True Art of Playing Keyboard Instruments by Carl Philipp Emanuel Bach; William J. Mitchell. S. 323–329
  • Review by N. B.: Our Musical Heritage. A Short History of Music by Curt Sachs. S. 329–330
  • Review by Ernest T. Ferand: The Technique of Variation. A Study of the Instrumental Variation from Antonio de Cabezón to Max Reger by Robert U. Nelson. S. 331–334
  • Review by Manfred F. Bukofzer: Monumenta Polyphoniae Liturgicae, Series I, Vol. I, Fasc. 1–3 by Laurence Feininger; Monumenta Polyphoniae Liturgicae, Series II, Vol. I by Laurence Feininger; Documenta Polyphoniae Liturgicae, Series I, Nos. 1–2 by Laurence Feininger. S. 334–340
  • Review by Paul Henry Lang: Annales de la Musique et des Musiciens en Russie au XVIIIe Siecle by R. Aloys Mooser. S. 340–342
  • E. Lee Fairley: Quarterly Book-List. S. 344–348
• Philip L. Miller: Quarterly Record-List. S. 349–359

Nr. 3

• Bertram Schofield: The Adventures of an English Minstrel and His Varlet. S. 361–376
• Milton Babbitt: The String Quartets of Bartók. S. 377–385
• Bertita Paillard, Emile Haraszti, Willis Wager: Franz Liszt and Richard Wagner in the Franco-German War of 1870. S. 386–411
• Henry Leland Clarke: John Blow – A Tercentenary Survey. S. 412–420
• Federico Ghisi, William Rubin: Ballet Entertainments in Pitti Palace, Florence, 1608–1625. S. 421–436
• Paul Henry Lang: Editorial. S. 437–447
• Charles Warren Fox, Frederick Goldbeck, Jan L. Broeckx, Henry Cowell, Richard F. Goldman: Current Chronicle. S. 448–481
• Reviews of Books
  • Review by Daniel Gregory Mason: Chopin – The Man and His Music by Herbert Weinstock. S. 482–485
  • Review by Carroll C. Pratt: Der Toncharakter – Eine Einführung in die Tonpsychologie by Jacques Handschin. S. 485–487
  • Review by J. A. Westrup: William Byrd by Edmund H. Fellowes. S. 487–491
  • Review by Paul Henry Lang: 20 Centuries of Catholic Church Music by Erwin Esser Nemmens. S. 491–493
  • E. Lee Fairley: Quarterly Book-List. S. 495–499
• Robert H. S. Phillips: Quarterly Record-List. S. 500–510

Nr. 4

• Frederick W. Sternfeld: The Musical Springs of Goethe’s Poetry. S. 511–527
• Donald W. MacArdle: The Family van Beethoven. S. 528–550
• Jacques Barzun: The Mind of the Young Berlioz. S. 551–564
• Dragan Plamenac: New Light on the Last Years of Carl Philipp Emanuel Bach. S. 565–587
• Wolf Franck: Musicology and Its Founder, Johann Nicolaus Forkel (1749–1818). S. 588–601
• Paul Henry Lang: Editorial. S. 602–608
• Jan L. Broeckk (Jr.), Frederick Goldbeck, Guido M. Gatti, Walter H. Rubsamen, Richard F. Goldman, Henry Cowell: Current Chronicle. S. 609–637
• Reviews of Books
  • Review by G. S. Dickinson: Early Chamber Music by Ruth Halle Rowen. S. 638–640
  • Review by Harold Spivacke: Catalogue of Music in the Huntington Library by Edythe N. Backus. S. 640–642
  • Review by Alfred Einstein: Stravinsky in the Theatre by Minna Lederman. S. 642–644
  • Review by Eric Werner: A History of Byzantine Music and Hymnography by Egon Wellesz. S. 644–649
  • Review by Leo Schrade: De Vocale Muziek van Jan P. Sweelinck, Deel II by B. van den Sigtenhorst Meyer. S. 649–651
  • Review by Manfred F. Bukofzer: Le Baroque et la Musique by Suzanne Clercx. S. 652–655
  • E. Lee Fairley: Quarterly Book-List. S. 657–664
• Robert H. S. Phillips: Quarterly Record-List. S. 665–673

36. Jg. 1950

Nr. 1

• Alfred Mann, Richard Strauss: The Artistic Testament of Richard Strauss. S. 1–8
• David D. Boyden: The Violin and Its Technique in the 18th Century. S. 9–38
• Richard F. Goldman, Wallingford Riegger: The Music of Wallingford Riegger. S. 39–61
• Curt Sachs: Chromatic Trumpets in the Renaissance. S. 62–66
• Robert Stevenson: The Rivals – Hawkins, Burney, and Boswell. S. 67–82
• Paul Henry Lang: Editorial. S. 83–91
• Hans Tischler, Henry Cowell, Virgil Thomson, Milos O. Ptak, Kurt Blaukopf, Jacques de Menasce, Guido M. Gatti: Current Chronicle. S. 92–130
• Reviews of Books
  • Review by J. Murray Barbour: Genesis of a Music by Harry Partch. S. 131–135
  • Review by Milton Feist: The Music of Israel – Its Rise and Growth through 5000 Years by Peter Gradenwitz; Israel. S. 135–138
  • Review by Frederick W. Sternfeld: Franz Schubert – The Ariel of Music by Robert Haven Schauffler. S. 138–141
  • Review by Paul Henry Lang: Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik. 1 Lieferung/ A-AK by Friedrich Blume. S. 141–143
  • E. Lee Fairley: Quarterly Book-List. S. 145–148
• Robert H. S. Phillips: Quarterly Record-List. S. 149–158

Nr. 2

• William S. Newman: Arthur Shepherd. S. 159–179
• Howard Shanet: Why Did J. S. Bach Transpose His Arrangements? S. 180–203
• Otto Gombosi: Machaut’s „Messe Notre-Dame“. S. 204–224
• Henry S. Drinker: On Translating Vocal Texts. S. 225–240
• A. Hyatt King: The Melodic Sources and Affinities of „Die Zauberflöte“. S. 241–258
• Peter Gradenwitz, Frederick Goldbeck, Martin Cooper, V. Kryoukov, Edmond Appia, Leonard Burkat, Henry Cowell, Frederick W. Sternfeld, Nathan Broder, Vincent Persichetti, Jan L. Broeckx: Current Chronicle. S. 259–306
• Reviews of Books
  • Review by Manfred F. Bukofzer: Monumenta Polyphoniae Liturgicae, Series I, Vol. I, Fasc. 4–10 by Laurence Feininger. S. 307–309
  • Review by Richard Franko Goldman: The Grammar of Conducting – A Practical Study of Modern Baton Technique by Max Rudolf. S. 310–311
  • Review by Dragan Plamenac: Francisco Correa de Arauxo, Libro de Tientos y Discursos de Musica practica, y theorica de Organo intitulado Facultad Organica (1626), Vol. I by Santiago Kastner. S. 311–314
  • E. Lee Fairley: Quarterly Book-List. S. 316–320
• Robert H. S. Phillips: Quarterly Record-List. S. 321–337
• Erratum: Current Chronicle. S. 337

Nr. 3

• Arthur Mendel: On the Keyboard Accompaniments to Bach’s Leipzig Church Music. S. 339–362
• Karl Geiringer: Artistic Interrelations of the Bachs. S. 363–374
• Mina Curtiss, Georges Bizet: Unpublished Letters by Georges Bizet. S. 375–409
• R. B. Lenaerts: The 16th-Century Parody Mass in the Netherlands. S. 410–421
• Leo Schrade: Monteverdi’s „Il Ritorno d’Ulisse“. S. 422–435
• Paul Henry Lang: Editorial. S. 436–440
• Leonard Burkat, Richard F. Goldman, Henry Cowell, Jan L. Broeckx, Frederick Goldbeck: Current Chronicle. S. 441–460
• Reviews of Books
  • Review by Leo Schrade: Die Beziehungen von Form und Motiv in Beethovens Instrumentalwerken by Kurt von Fischer. S. 461–463
  • Review by N. B.: Music since 1900 by Nicolas Slonimsky. S. 463–464
  • Review by Donald Jay Grout: El Compositor Iriarte (1750–1791) y el cultivo español de melólogo (Melodrama). Vol. I by José Subirá. S. 464–466
  • Errata for Gombosi and Burkat. S. 466
• E. Lee Fairley: Quarterly Book-List. S. 468–473
• Robert H. S. Phillips: Quarterly Record-List. S. 474–483

Nr. 4

• Arthur Mendel: More for „The Bach Reader“. S. 485–510
• Maurer Maurer: The „Professor of Musick“ in Colonial America. S. 511–524
• Johann Josef Fux, Alfred Mann: The Study of the Fugue – A Dialogue-I. S. 525–539
• Johan Franco: The Count of St. Germain. S. 540–550
• Walter H. Rubsamen: The Ballad Burlesques and Extravaganzas. S. 551–561
• Doris Silbert: Ambiguity in the String Quartets of Joseph Haydn. S. 562–573
• Paul Henry Lang: Editorial. S. 574–578
• Walter H. Rubsamen, Henry Cowell, Richard F. Goldman, Frederick Goldbeck, Everett Helm: Current Chronicle. S. 579–602
• Reviews of Books
  • Review by Otto Gombosi: French Secular Music of the Fourteenth Century by Willi Apel. S. 603–610
  • Review by Richard F. Goldman: Berlioz and the Romantic Century by Jacques Barzun. S. 610–613
  • Frank C. Campbell: Quarterly Book-List. S. 615–621
• Robert H. S. Phillips: Quarterly Record-List. S. 622–631

37. Jg. 1951

Nr. 1

• Alfred Einstein: Mozart’s Kyrie, K. 90. S. 1–4
• A. Adnan Saygun: Bartok in Turkey. S. 5–9
• Ernest T. Ferand: Sodaine and Unexpected Music in the Renaissance. S. 10–27
• Johann Josef Fux, Alfred Mann: The Study of the Fugue – A Dialogue – II. S. 28–44
• Gerald Abraham: Schumann’s „Jugendsinfonie“ in G Minor. S. 45–60
• Nanie Bridgman: Eustorg de Beaulieu, Musician. S. 61–70
• Paul Henry Lang: Editorial. S. 71–75
• Henry Cowell, Richard F. Goldman, Kurt Blaukopf, Frederick Goldbeck, Everett Helm: Current Chronicle. S. 76–102
• Reviews of Books
  • Review by Charles Warren Fox: Studies in Medieval and Renaissance Music by Manfred F. Bukofzer. S. 103–111
  • Review by Glen Haydon: Historical Anthology of Music – Baroque, Rococo, and Pre-Classical Music by Archibald T. Davison; Willi Apel. S. 112–114
  • Review by Edward E. Lowinsky: Geschiedenis van de Muziek in de Nederlanden. Deel 1 by Charles Van den Borren. S. 114–122
  • Review by Curt Sachs: Catalogue General des Antiquites Egyptiennes du Musee du Caire – Instruments de Musique by Hans Hickmann. S. 122–123
  • Frank C. Campbell: Quarterly Book-List. S. 125–134
• Robert H. S. Phillips: Quarterly Record-List. S. 135–144
• Erratum: The Ballad Burlesques and Extravaganzas. S. 144

Nr. 2

• Ralph Kirkpatrick: Domenico Scarlatti’s Early Keyboard Works. S. 145–160
• Frederick W. Sternfeld: Copland as a Film Composer. S. 161–175
• Bertram Schofield: The Manuscripts of Tallis’s Forty-Part Motet. S. 176–183
• Abram Loft: Richard Wagner, Theodore Thomas, and the American Centennial. S. 184–202
• Johann Josef Fux, Alfred Mann: The Study of the Fugue – A Dialogue – III. S. 203–219
• Robert Stevenson: John Marbeck’s „Noted Booke“ of 1550. S. 220–233
• Paul Henry Lang: Editorial. S. 234–240
• Leonard Burkat, Ida Krehm, Hans Tischler, Henry Cowell, Richard F. Goldman, Vincent Persichetti, Wilfrid Mellers, Everett Helm: Current Chronicle. S. 241–271
• Reviews of Books
  • Review by Charles Warren Fox: Monteverdi – Creator of Modern Music by Leo Schrade. S. 272–278
  • Review by Otto Kinkeldey: Cancionero Musical de la Casa de Medinaceli (Siglo XVI) I, Polifonia profana, Volumen 1 by Miguel Querol Gavaldá. S. 279–285
  • Review by Edward E. Lowinsky: Der Musikalische Humanismus im 16. und im fruehen 17. Jahrhundert by D. P. Walker. S. 285–289
  • Review by Arthur Mendel: Ornamentation in J. S. Bach’s Organ Works by Putnam Aldrich. S. 290–294
  • Frank C. Campbell: Quarterly Book-List. S. 296–307
• Robert H. S. Phillips: Quarterly Record-List. S. 308–314

Nr. 3

• H. W. Heinsheimer: Opera in America Today. S. 315–329
• Alfred Einstein, Abram Loft: Andrea Antico’s „Canzoni Nove“ of 1510. S. 330–339
• Artur Holde, Hector Berlioz, Luigi Cherubini, Ruggiero Leoncavallo, Hugo Wolf: A Little-Known Letter by Berlioz and Unpublished Letters by Cherubini, Leoncavallo, and Hugo Wolf. S. 340–353
• Jean Berger: Notes on Some 17th-Century Compositions for Trumpets and Strings in Bologna. S. 354–367
• Alan P. Merriam: Flathead Indian Instruments and Their Music. S. 368–375
• Johann Josef Fux, Alfred Mann: The Study of the Fugue – A Dialogue – IV. S. 376–393
• Frederick Goldbeck, Kurt Blaukopf, Jan L. Broeckx, Peter Gradenwitz, Aaron Copland, Henry Cowell, Felix Greissle, Richard F. Goldman, Walter Kolneder: Current Chronicle. S. 394–429
• Reviews of Books
  • Review by Erich Hertzmann: Source Readings in Music History. From Classical Antiquity through the Romantic Era by Oliver Strunk. S. 430–432
  • Review by Milton Feist: Bibliography of Jewish Music by Alfred Sendrey. S. 432–435
  • Review by William J. Mitchell: Bernhard Ziehn der Deutsch-Amerikanische Musiktheoretiker by Hans Joachim Moser. S. 435–441
  • Review by Paul Henry Lang: Schubert, a Musical Portrait by Alfred Einstein. S. 442–445
  • Frank C. Campbell: Quarterly Book-List. S. 447–457
• Robert H. S. Phillips: Quarterly Record-List. S. 458–467

Nr. 4

• Walter H. Rubsamen: Schoenberg in America. S. 469–489
• Donald W. MacArdle, Katherine Schultze, Ludwig van Beethoven: Five Unfamiliar Beethoven Letters. S. 490–500
• Dragan Plamenac: A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville – I. S. 501–542
• Alexander L. Ringer: A French Symphonist at the Time of Beethoven – Etienne Nicolas Méhul. S. 543–565
• Charles Garside, Jr.: Calvin’s Preface to the Psalter – A Re-Appraisal. S. 566–577
• Richard F. Goldman, W. H. Mellers, Frederick Goldbeck, Everett Helm: Current Chronicle. S. 578–597
• Reviews of Books
  • Review by G. S. Dickinson: Masterpieces of Music before 1750. An Anthology of Musical Examples from Gregorian Chant to J. S. Bach by Carl Parrish; John F. Ohl. S. 598–603
  • Review by Charles Warren Fox: An Outline of the History of Music by Hugh Milton Miller. S. 603–611
  • Review by Vincent Persichetti: The Thematic Process in Music by Rudolph Reti. S. 612–613
  • Review by Walter H. Rubsamen: Heinrich Isaac’s Choralis Constantinus Book III by Louise Cuyler; Heinrich Isaac. S. 613–621
  • Review by Egon Wellesz: Hirmologium E Codice Cryptensi E. γ. II by Laurentius Tardo; Hirmologium Cryptense by Laurentius Tardo. S. 621–622
  • Frank C. Campbell: Quarterly Book-List. S. 624–632
• Robert H. S. Phillips: Quarterly Record-List. S. 633–650

38. Jg. 1952

Nr. 1

• Willi Reich: A Guide to „Wozzeck“. S. 1–21
• Manfred F. Bukofzer: Fauxbourdon Revisited. S. 22–47
• Mina Curtiss: Gounod before „Faust“. S. 48–67
• Egon Wellesz: Early Byzantine Neumes. S. 68–79
• George Pullen Jackson: Pennsylvania Dutch Spirituals. S. 80–84
• Dragan Plamenac: A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville – II. S. 85–117
• Leonard Burkat, Henry Cowell, Everett Helm, Guido M. Gatti: Current Chronicle. S. 118–152
• Reviews of Books
  • Review by Jacques Barzun: A Bibliography of the Musical and Literary Works of Hector Berlioz (1803–1869) by Cecil Hopkinson; Hector Berlioz. S. 153–157
  • Review by Richard G. Appel: Schubert, Thematic Catalogue of All His Works in Chronological Order by Otto Erich Deutsch; Donald R. Wakeling. S. 157–159
  • Review by Otto Gombosi: Jacobus Vaet and His Motets by Milton Steinhardt. S. 159–167
  • Review by Paul Henry Lang: Francois Couperin and the French Classical Tradition by Wilfrid Mellers. S. 167–171
  • Frank C. Campbell: Quarterly Book-List. S. 173–180
• Robert H. S. Phillips: Quarterly Record-List. S. 181–184

Nr. 2

• Wilfrid Mellers: Recent Trends in British Music. S. 185–201
• Egon F. Kenton: A Note on the Classification of 16th-Century Music. S. 202–214
• Oswald Jonas, Ludwig van Beethoven: A Lesson with Beethoven by Correspondence. S. 215–221
• Joseph Kerman: Master Alfonso and the English Madrigal. S. 222–244
• Dragan Plamenac: A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville-III. S. 245–277
• Paul Henry Lang: Editorial. S. 278–284
• Vincent Persichetti, Frederick Dorian, Kurt Blankopf, Jan L. Broeckx, Henry Cowell, Richard F. Goldman: Current Chronicle. S. 285–314
• Reviews of Books
  • Review by Walter H. Rubsamen: Musik der Gegenwart. Geschichte der Neuen Musik by Karl H. Wörner. S. 315–322
  • Review by Stephen D. Tuttle: John Jenkins (1592–1678), Fancies and Ayres by Helen Joy Sleeper. S. 322–325
  • Review by Harold Courlander: La Africania de la Musica Folklorica de Cuba by Fernando Ortiz; Los Bailes y el Teatro de los Negros en el Folklore de Cuba by Fernando Ortiz. S. 325–327
  • Review by Dragan Plamenac: Catalogue Critique et Descriptif des Imprimés de Musique des XVIe et XVIIe Siècles Conservés à la Bibliothèque de L’Université Royale d’Upsala. Tome II and III by Åke Davidsson. S. 327–333
  • Review by William J. Mitchell: Basic Principles of the Technique of 18th and 19th Century Composition by Allen Irvine McHose. S. 333–336
  • Errata – Jacobus Vaet and His Motets. S. 336
• Frank C. Campbell: Quarterly Book-List. S. 338–346
• Robert H. S. Phillips: Quarterly Record-List. S. 347–352

Nr. 3

• H. H. Stuckenschmidt, Abram Loft: Synthesis and New Experiments – Four Contemporary German Composers. S. 353–368
• Frank Walker: Orazio – The History of a Pasticcio. S. 369–383
• Curt Sachs: Rhythm and Tempo – An Introduction. S. 384–398
• Claudio Sartori, Alice Levine: Monteverdiana. S. 399–413
• Sibyl Marcuse: Transposing Keyboards on Extant Flemish Harpsichords. S. 414–425
• Paul Henry Lang: Editorial. S. 426–434
• Richard F. Goldman, Henry Cowell: Current Chronicle. S. 435–445
• Reviews of Books
  • Review by G. S. Dickinson: Hugo Wolf, a Biography by Frank Walker. S. 446–451
  • Review by David D. Boyden: Tuning and Temperament. A Historical Survey by J. Murray Barbour. S. 451–457
  • Review by Walter Piston: Harmonic Practice by Roger Sessions. S. 457–468
  • Review by Joseph Yasser: The Diatonic Modes in Modern Music by John Vincent. S. 468–477
  • Review by Paul Henry Lang: Die Musik in Geschichte und Gegenwart. Vol. I by Friedrich Blume. S. 477–479
• Reviews of Records
  • Review by Irving Fine: American Music – Shapero – Sonata No. 1; Sessions: From My Diary; Berger: Partita; Flanagan: Sonata by Bernhard Weiser; Harold Shapero; William Flanagan; Arthur Berger; Roger Sessions. S. 480–481
  • Review by Vincent Persichetti: Bax – Quintet for Strings and Harp; Ibert: Trio for Violin,‚Cello, and Harp; Malipiero: Sonata a Cinque by Laura Newell; Stuyvesant String Quartet; Ibert; Bax; Malipiero. S. 481–482
  • Review by Irving Fine: Carpenter – Adventures in a Perambulator; McBride: Aria and Toccata in Swing; Still: Blues; Here’s One; Copland: Ukulele Serenade; Hoe Down by Orch. of Vienna State Opera; Henry Swoboda; Louis Kaufman; Anette Kaufman; John Alden Carpenter; McBride; Still; Copland. S. 482–483
  • Review by Vincent Persichetti: Dello Joio – A Psalm of David by Crane Department of Music (State University Teachers College, Potsdam, N. Y.); Helen M. Hosmer; Dello Joio. S. 483
  • Review by Paul Henry Lang: Gluck – L’Ivrogne Corrigé (The Reformed Drunkard) by Janine Lindenfelder; Violette Journeaux; Freda Betti; Claudine Collart; Bernard Demigny; Christophe Benoit; Jean Hoffman; Paris Phil. Orch.; René Leibowitz; Gluck. S. 484–486
  • Review by Paul Henry Lang: Handel – Ode for St. Cecilia’s Day by Lore Hoffmann; Walter Ludwig; Hermann Werdermann; Walter Drwenski; Rudolf Lamy Choir; Radio Berlin; Arthur Rother; Handel; Handel: Dettingen Te Deum by Katharine Hansel; Rachel Koerner; George Barritt; Harold Ronk; Lloyd Geisler; Chancel Choir of the National Presbyterian Church; National Gallery Orch.; Richard Bales; Handel. S. 486–487
  • Review by Richard F. Goldman: Hindemith – Symphonic Dances by RIAS Sym. Orch. (Berlin); Ferenc Fricsay; Hindemith; Hindemith: Sonata for Clarinet and Piano; Debussy: Première Rapsodie for Clarinet and Piano; Stravinsky: Three Pieces for Clarinet Solo by Reginald Kell; Joel Rosen; Stravinsky; Debussy; Hindemith. S. 487–489
  • Review by N. B.: Mozart – Violin Concertos, in B-Flat, K. 207; In D, K. 211 by Aida Stucki; Ton-Studio Orch. (Stuttgart); Gustav Lund; Mozart; Mozart: Piano Concertos in B-Flat, K. 238; In C, K. 246 by Artur Balsam; Winterthur Sym. Orch.; Walter Goehr; Mozart; Mozart: Concertos for Two Pianos, in F, K. 242; In E-Flat, K. 365 by Paul Badura-Skoda; Reine Gianoli; Vienna State Opera Orch.; Hermann Scherchen; Mozart; Mozart: Piano Concerto in D, K. 451 by Jeannette Haien; National Gallery Orch.; Richard Bales; Mozart. S. 489–492
  • Review by Nicolas Slonimsky: Shostakovitch – Song of the Forests, Op. 81. Oratorio for Children’s Choir, Mixed Choir, Soloists, and Orchestra by Combined Choirs and State Orchestra of the U. S. S. R.; Eugene Mravinsky; Shostakovitch. S. 492–495
  • Review by Paul Henry Lang: Spontini – La Vestale by Maria Vitale; Elena Nicolai; Renato Gavarini; Alfredo Fineschi; Giuliano Ferrein; Albino Gaggi; Radio Italiana; Fernando Previtali; Spontini. S. 495–498
  • Review by Erich Hertzmann: Verdi – Un Giorno di Regno by Radio Italiana; Alfredo Simonetto; Verdi; Verdi: Luisa Miller by Radio Italiana; Mario Rossi; Verdi. S. 498–500
  • Review by Irving Fine: Villa-Lobos – Bachianas Brasileiras No. 5; Tchaikovsky: Eugene Onegin: Letter Scene by Licia Albanese; Leopold Stokowski; Villa-Lobos; Tchaikovsky. S. 500
  • Review by Paul Henry Lang: Vivaldi – Dixit (Psalm 109) by Rosanna Giancola; Luciana Piovesan; Maria Amadini; Emilio Cristinelli; Giuliano Ferrein; Scuola Veneziana; Angelo Ephrikian; Vivaldi. S. 501
  • Erratum – Schoenberg in America. S. 501
• Frank C. Campbell: Quarterly Book-List. S. 502–514

Nr. 4

• Arnold Schoenberg: My Evolution. S. 517–527
• Otto Erich Deutsch: The Discovery of Schubert’s Great C-Major Symphony – A Story in Fifteen Letters. S. 528–532
• Sol Babitz: A Problem of Rhythm in Baroque Music. S. 533–565
• A. Hyatt King: A Census of Mozart Musical Autographs in England. S. 566–580
• William C. Holmes: Pamela Transformed. S. 581–594
• Henry Cowell, Karl H. Wörner, Everett Helm, Peter Gradenwitz, Claudio Sartori: Current Chronicle. S. 595–620
• Reviews of Books
  • Review by Ernest Brennecke: Cupid and Death by Matthew Locke; Christopher Gibbons; Edward J. Dent; Comus by Milton; Dalton; Arne; Julian Herbage. S. 621–625
  • Review by Walter E. Buszin: Bach in Köthen by Friedrich Smend. S. 625–630
  • Review by Edward E. Lowinsky: Nicolai Gomberti Opera Omnia. I. Missae IV Vocum by Joseph Schmidt-Görg. S. 630–640
  • Review by Curt Sachs: Cymbala (Bells in the Middle Ages) by J. Smits van Waesberghe. S. 640–641
• Reviews of Records
  • Review by Alexander L. Ringer: Auber – Fra Diavolo by Irma Beilke; Marie Louise Schlip; Hans Hopf; Lorenz Fehenberger; Karl Wessely; Arno Schellenberg; Gottlob Frick; Kurt Boehme; Dresden State Opera; Saxon State Orch.; Karl Elmendorff; François Daniel Esprit Auber. S. 642–644
  • Review by Richard F. Goldman: Berg – Wozzeck by Mack Harrell; Eileen Farrell; Frederick Jagel; High School of Music and Art; Schola Cantorum; Hugh Ross; N. Y. Phil.-Sym. Orch.; Mitropoulos; Berg. S. 645–647
  • Review by A. W. Binder: Bloch – Symphony „Israel“ by Vienna State Opera Orch.; Akademie Choir; Franz Litschauer; Ernest Bloch. S. 647–651
  • Review by Henry Leland Clarke: Blow – Venus and Adonis by Margaret Ritchie; Margaret Field-Hyde; Elizabeth Cooper; Robert Ellis; Michael Cynfelin; Gordon Clinton; John Frost; M. Frecheville; Robert Veyron-Lacroix; Ensemble Orchestral de l’Oiseau-Lyre; Anthony Lewis; Blow. S. 651–655
  • Review by Arthur Berger: Copland – Concerto for Clarinet and String Orchestra (With Harp and Piano). Quartet for Piano and Strings by Benny Goodman; Columbia String Orch.; Aaron Copland; Copland: Old American Songs. Dougherty (arr.): Five Sea Chanties by William Warfield; Aaron Copland; Otto Herz; Dougherty. S. 655–659
  • Review by Otto Gombosi: Dufay – Magnificat in the Eighth Mode; Plainsong Sequence: Veni Sancte Spiritus; Lassus: Auditui meo; Non avertas faciem; Ipsa te cogat; Praetorius: Singt dem Herren; Palestrina: O bone Jesu; Byrd: Non nobis, Domine; Lassus: Spiritus tuus; Josquin: Veni Creator Spiritus; Palestrina: Magnificat in the Fourth Mode by Lassus; Praetorius; Palestrina; Byrd; Josquin; Harvard University Choir; Radcliffe Choral Society; William F. Russell; Dufay; Lassus: Lamentations of Jeremiah I & II; Josquin: De Profundis; Ave Maria by Dessoff Choirs; Paul Boepple; Josquin; Lassus; French Songs of the 16th and 17th Centuries; English Songs of the 17th Century by Hugues Cuenod; Hermann Leeb. S. 659–664
  • Review by Abram Loft: Handel – Four Sonatas for Two Violins and Figured Bass. (Opus 2: No. 4 in B-Flat Major; No. 8 in G Minor; No. 9 in E Major. Opus 5, No. 3 in E Minor) by Margarete Schweyda; Jan Behr; Willy Schweyda; Handel. S. 664–666
  • Review by Vincent Persichetti: Kodaly – Quartet No. 2, Op. 10; Szymanowski: Quartet in C Major, Op. 37 by Walden Quartet of the University of Illinois; Kodaly; Szymanowski. S. 666
  • Review by Vincent Persichetti: Rawsthorne – Piano Concerto No. 2 by Clifford Curzon; London Symphony Orch.; Malcolm Sargent; Alan Rawsthorne. S. 667
  • Review by Joseph Braunstein: Rossini – William Tell by Giuseppe Taddei; Mario Filippeschi; Giorgio Tossi; Fernando Corena; Rosanna Carteri; Radio Italiana (Turin); Mario Rossi; Rossini. S. 667–671
  • Review by Richard F. Goldman: Schoenberg – Erwartung (Monodrama, Opus 17). Krenek: Symphonic Elegy for String Orchestra (In Memoriam Anton von Webern) by Dorothy Dow; N. Y. Phil.-Sym. Orch.; Mitropoulos; Krenek; Schoenberg. S. 671–673
  • Review by Arthur Mendel: Schütz – The Resurrection Story (Historia von der Auferstehung...) by E. Lindenmeier; H. Münch; M. Eisenrieth; W. Berling; K. Liebl; F. Müller-Heldrich; Heinz Schnauffer; Munich Viol Quintet; Chamber Choir; Karl Schleiffer; Schütz; Bach: Cantata No. 140 (Wachet auf); Cantata No. 32 (Liebster Jesu, mein Verlangen) by Bach; Magda Laszlo; Alfred Poell; Waldemar Kmentt; Vienna State Opera; Akademiechor; Hermann Scherchen; Bach: Cantata No. 6 (Bleib bei uns); Cantata No. 19 (Es erhub sich ein Streit) by Bach; Hetty Plümacher; Werner Hohmann; Bruno Müller; Stuttgart Choral Society; Bach Orch. of Stuttgart; Hans Grischkat; Agnes Giebel; Claus Stemann; Ton-Studio Orch. (Stuttgart); Bach: Cantata No. 9 (Es ist das Heil uns kommen her); Cantata No. 137 (Lobe den Herrn, den mächtigen König der Ehren) by Bach; Claire Fassbender-Luz; Eve Draeger; Hetty Plümacher; Claus Stemann; Bruno Müller; Stuttgart Choral Society; Bach Orch. of Stuttgart; Hans Grischkat; Bach: Cantata No. 140 (Wachet auf); Cantata No. 4 (Christ lag in Todesbanden) by Bach; Anny Felbermeyer; Alfred Uhl; Hans Braun; Bach Guild; Felix Prohaska; Bach: Cantata No. 4 (Christ lag in Todesbanden) by Bach; Helmut Krebs; Dietrich Fischer-Dieskau; Maria Jung; Göttingen Bach Festival Orch.; State School for Music (Frankfurt); Fritz Lehmann. S. 673–679
  • Review by Abram Loft: Telemann – Don Quichotte Suite. Tartini: Symphony Pastorale by German Opera House (Berlin); Ernst Schrader; Telemann; Tartini. S. 680
  • Review by Vincent Persichetti: Vaughan Williams – A London Symphony by London Phil. Orch.; Adrian Boult; Vaughan Williams. S. 681
  • Review by William A. Herrmann: Vivaldi – Concertos for Strings, in E Minor and F Major (Edizioni Ricordi, Vol. 30, F XI, No. 13 and No. 14). Concertos for Solo Violin and Strings, in C Major and B-Flat Major (Vol. 1, F. I, No. 3 and No. 1) by Elliot Magaziner; Orchestre Symphonique de Paris; Charles Bruck; Antonio Vivaldi. S. 681–682
  • Frank C. Campbell: Quarterly Book-List. S. 683–693

39. Jg. 1953

Nr. 1

• Albert Mell: Paganiniana in the Muller Collection of the New York Public Library. S. 1–25
• William Austin: The Idea of Evolution in the Music of the 20th Century. S. 26–36
• Denis Arnold: Giovanni Croce and the „Concertato“ Style. S. 37–48
• Eta Harich-Schneider: The Present Condition of Japanese Court Music. S. 49–74
• H. Earle Johnson: The Germania Musical Society. S. 75–93
• Leonard Burkat, Henry Cowell, Karl H. Wörner: Current Chronicle. S. 94–106
• Reviews of Books
  • Review by Richard F. Goldman: Music and Imagination by Aaron Copland. S. 107–109
  • Review by Edward E. Lowinsky: Aribonis de Musica by Jos. Smits van Waesberghe. S. 109–120
  • Review by Joseph Kerman: Claudio Monteverdi by H. F. Redlich; Kathleen Dale. S. 120–126
  • Review by N. B.: Structural Hearing. Tonal Coherence in Music by Felix Salzer. S. 126–129
  • Review by Paul Henry Lang: Archiv für Musikwissenschaft. Jahr IX, Heft I, 1952. S. 129
  • Review by Paul Henry Lang: Giovanni Coperario – Rules How to Compose by Manfred F. Bukofzer; Giovanni Coperario. S. 130–131
• Reviews of Records
  • Review by Otto Gombosi: Anthology of Middle Age and Renaissance Music, Vol. 6 – Guillaume Dufay, Secular Works; Vol. 13: Josquin des Prez, Secular Works by Pro Musica Antiqua; Safford Cape; Guillaume Dufay; Josquin des Prez. S. 132–134
  • Review by Richard S. Hill: Berg – Lulu. Opera in 3 Acts. Libretto by Frank Wedekind [as] Adapted [by Berg] from Erdgeist and Büchse der Pandora by Ilona Steingruber; Otto Wiener; Vienna State Opera; Vienna Sym. Orch.; Herbert Häfner; Frank Wedekind; Berg. S. 134–138
  • Review by Edward T. Cone: Berlioz – The Trojans in Carthage by Ensemble Vocal de Paris; André Jouve; Hermann Scherchen; Orchestre de la Société des Concerts du Conservatoire; Berlioz. S. 138–141
  • Review by Vincent Persichetti: Krenek – Piano Sonata No. 4. Antheil: Second Violin Sonata by Bernhard Abramowitch; Israel Baker; Yaltah Menuhin; Antheil; Krenek. S. 141–142
  • Review by Paul Henry Lang: Mozart – Requiem Mass by Mozart; Werner Pech; Hans Breitschopf; Walther Ludwig; Harold Pröglhöf; Vienna Hofmusikkapelle; Josef Krips; Mozart: Requiem Mass by Mozart; Hilde Gueden; Rosette Anday; Julius Patzak; Josef Greindl; Salzburg Mozarteum Orch.; Josef Messner. S. 143–147
  • Review by Virgil Thomson: Satie – Socrate by Paris Phil. Orch.; Leibowitz; Erik Satie. S. 147–149
  • Review by David D. Boyden: Scarlatti, Alessandro – Concerto No. 6 in F for Strings. Tartini: Concerto in E for Violin and Strings. Vivaldi[?]: Concerto in G for‚Cello, Strings, and Cembalo from a J. S. Bach Transcription for Organ. Albinoni: Sonata in G Minor, Op. 2 No. 6 [Op. 2 No. 11] for Strings by Luigi Ferro; Massimo Anfiteatrof; Virtuosi di Roma; Renato Fasano; J. S. Bach; Alessandro Scarlatti; Vivaldi; Tartini; Albinoni. S. 149–150
  • Review by David D. Boyden: Tartini – Sonatas for Violin and Harpsichord: G Minor, A Minor, B Minor, and D Major by Peter Rybar; Franz Holletschek; Tartini. S. 151–153
  • Review by Vincent Persichetti: Vaughan Williams – Flos Campi. Hunter Johnson: Letter to the World by Francis Tursi; Cornell A Cappella Chorus; Concert Hall Chamber Orch.; Robert Hull; Vaughan Williams; Hunter Johnson. S. 153–154
  • Review by H. W. Heinsheimer: Weill – Die Dreigroschenoper by Weill. S. 155–157
  • Frank C. Campbell: Quarterly Book-List. S. 158–168

Nr. 2

• Nigel Fortune: Italian Secular Monody from 1600 to 1635 – An Introductory Survey. S. 171–195
• Mina Curtiss: Fromental Halévy. S. 196–214
• Maurice J. E. Brown: Schubert’s „Winterreise“, Part I. S. 215–222
• H. J. W. Tillyard: Byzantine Music about A. D. 1100. S. 223–231
• Paul Henry Lang: Editorial. S. 232–240
• Everett Helm, Willi Reich, John S. Weissmann, Hans Curjel, Edwin Hanley, Richard F. Goldman, Henry Cowell: Current Chronicle. S. 241–275
• Reviews of Books
  • Review by Alexander L. Ringer: Rhythm and Tempo – A Study in Music History by Curt Sachs. S. 276–283
  • Review by Jacques de Menasce: Richard Strauss und Hugo von Hofmannsthal – Briefwechsel; Gesamtausgabe by Franz Strauss; Alice Strauss; Richard Strauss; Willi Schuh; Hugo von Hofmannsthal. S. 284–289
  • Review by Charles Seeger: Cancionero Popular de la Provincia de Madrid. Vol. I by Manuel García Matos; Marius Schneider; José Romeu Figueras. S. 289–293
  • Review by Ernest Sanders: Robert Schumann by Karl H. Wörner. S. 293–302
  • Review by Ross Lee Finney: The Art of Playing on the Violin by Francesco Geminiani; David D. Boyden. S. 302–304
  • Review by N. B.: W. A. Mozart. Gesamtkatalog Seiner Werke. „Köchel-Verzeichnis“ by Karl Franz Müller; W. A. Mozart. S. 304–306
• Reviews of Records
  • Review by Frederick W. Sternfeld: Copland – Our Town: Music from the Film Score; Thomson: The Plough That Broke the Plains: Orchestral Suite from the Film Score by Little Orchestra Society; Thomas Scherman; Copland; Thomson. S. 307–310
  • Review by Allen Sapp: Debussy – Pelléas et Mélisande by Suzanne Danco; Hélène Bouvier; Pierre Mollet; Heinz Rehfuss; André Vessières; Flora Wend; Derrick Olsen; L’Orchestre de la Suisse Romande; Ernest Ansermet; Debussy. S. 310–314
  • Review by Rudolph Reti: Dello Joio – The Triumph of St. Joan Symphony. Villa-Lobos: Erosion by The Louisville Orch.; Whitney; Norman Dello Joio; Villa-Lobos. S. 314–316
  • Review by Nicolas Slonimsky: Dvořák – Rusalka. Lyric Fairy Tale in Three Acts by Dresden State Opera; Saxon State Orch.; Josef Keilberth; Dvořák. S. 316–318
  • Review by Stephen D. Tuttle: Farnaby – Canzonets and Virginals Music by The Oriana Singers; Charles M. Hobbs; Blanche Winogron; Farnaby. S. 318–319
  • Review by Donald Jay Grout: Haydn – Philemon and Baucis. Opera in 1 Act by Fritz Steinböck; Walter Davy; Erich Majkut; Susana Naidic; Waldemar Kmentt; Elizabeth Roon; Vienna State Opera; Vienna Symphony Orchestra; Meinhard von Zellinger; Haydn. S. 320–322
  • Review by Abram Loft: Haydn – Quartets, Opus 50, Nos. 1–6 by The Schneider Quartet; Haydn. S. 322–323
  • Review by Henry Cowell: Ives – Sonatas Nos. 1 and 3 by Joan Field; Leopold Mittman; Charles E. Ives. S. 323–325
  • Review by Caldwell Titcomb: Lübeck – Cantatas: Hilf deinem Volk; Gott, wie dein Name. Prelude and Fugue in E Major; Prelude and Fugue in C Minor by Anna Maria Augenstein; Hetty Plümacher; Werner Hohmann; Otto von Rohr; Stuttgart Choral Society; Suabian Symph. Orch.; Herbert Liedecke; Hans Grischkat; Eva Hölderein; Vincent Lübeck. S. 325–327
  • Review by Leo Schrade: Monteverdi – Beatus Vir, Laudate Dominum, Ut queant laxis by Monteverdi; Rosanna Giancola; Luciana Piovesan; Maria Amadini; Emilio Cristinelli; Marcello Cortis; Giuliano Ferrein; Scuola Veneziana; Angelo Ephrikian; Monteverdi: Combattimento di Tancredi e Clorinda, Ballo delle Ninfe d’Istro, Mentre Vaga Angioletta by Monteverdi; Rosanna Giancola; Luciana Piovesan; Maria Amadini; Emilio Cristinelli; Marcello Cortis; Giuliano Ferrein; Scuola Veneziana; Angelo Ephrikian; Monteverdi: Domine Ad Adjuvandum, Nigra sum, Ave Maris Stella, Magnificat by Monteverdi; Rosanna Giancola; Luciana Piovesan; Maria Amadini; Emilio Cristinelli; Marcello Cortis; Giuliano Ferrein; Scuola Veneziana; Angelo Ephrikian; Giannella Borelli; Giacinto Tossiti; Antonio Massaria. S. 328–338
  • Review by Richard F. Goldman: Roussel – String Quartet in D Major, Op. 45 by The Loewenguth Quartet; Roussel. S. 338–339
  • Review by Richard F. Goldman: Schoenberg – Songs: Op. 2, Nos. 1, 2, 3, 4; Op. 3, Nos. 4, 6; Op. 6, Nos. 1–8; Op. 14, Nos. 1, 2 by Ilona Steingruber; Herbert Haefner; Schoenberg. S. 339–340
  • Review by Henry Cowell: Villa-Lobos – Mass of Saint Sebastian, for Three Voices, „A Cappella“ by University of California at Berkeley; Werner Janssen; Villa-Lobos. S. 340–342
  • Review by David D. Boyden: Vivaldi – Concertos in A, G Minor, and G („alla Rustica“) for Strings and Cembalo. Concerto in D Minor (No. 3) for viola d’amore, Strings, and Cembalo by Renzo Sabatini; Virtuosi di Roma; Renato Fasano; Vivaldi. S. 342–343
  • Frank C. Campbell: Quarterly Book-List. S. 344–352
• Errata: Paganiniana in the Muller Collection of the New York Public Library. S. 352

Nr. 3

• Luigi Dallapiccola, Jonathan Schiller: The Genesis of the „Canti di prigionia and il Prigioniero“ – An Autobiographical Fragment. S. 355–372
• Edward E. Lowinsky: English Organ Music of the Renaissance – I. S. 373–395
• Jan Chiapusso: Bach’s Attitude towards History. S. 396–414
• Arnold Hartmann, Jr.: Battista Guarini and „Il Pastor Fido“. S. 415–425
• Henry Cowell, Frederick Dorian, Karl H. Wörner, Fedele d’Amico: Current Chronicle. S. 426–441
• Reviews of Books
  • Review by Otto Kinkeldey: A Plain and Easy Introduction to Practical Music by Thomas Morley; R. Alec Harman. S. 442–455
  • Review by Catharine Keyes Miller: Mediaeval Carols by John Stevens. S. 455–460
  • Review by Leo Schrade: Das Lochamer Liederbuch. Eine musikgeschichtliche Studie by Walter Salmen. S. 461–463
  • Review by Hans T. David: The Art of Fugue Bach’s Last Harpsichord Work – An Argument by Gustav M. Leonhardt. S. 463–466
  • Review by Paul Henry Lang: Anthologie de la Chanson parisienne au XVIe Siècle by François Lesure; N. Bridgman; I. Cazeaux; M. Levin; K. J. Levy; D. P. Walker. S. 467–470
• Reviews of Records
  • Review by F. Mark Siebert: Bach – Cantata No. 63 (Christen, ätzet diesen Tag!) by Margit Opawsky; Hilde Rossl-Majdan; Waldemar Kmentt; Harold Hermann; Helmut Wobitsch; Vienna State Opera; Vienna Chamber Choir; Michael Gielen; Bach; Bach: Cantata No. 189 (Meine Seele rühmt und preist); Cantata No. 53 (Schlage doch, gewünschte Stunde); Cantata No. 200 (Bekennen will ich seinen Namen) by Walther Ludwig; Ilse Meinert; Gustav Scheck; Hermann Tottcher; Renate Noll; Fritz Lehmann; Hildegard Hennecke; Chamber Orch. of the Schola Cantorum Basiliensis; August Wenzinger; Bach. S. 471–473
  • Review by William J. Mitchell: Bach, C. P. E. – Magnificat in D Major; Concerto for Orchestra by Vienna State Opera Orch.; Akademie Choir; Dorothy Siebert; Hilde Rossl-Majden; Waldemar Kmentt; Hans Braun; Felix Prohaska; C. P. E. Bach. S. 473–475
  • Review by Edward T. Cone: Berlioz – Romeo and Juliet, Complete Orchestral Score by N. Y. Philharmonic-Symphony Orch.; Mitropoulos; Berlioz. S. 475–478
  • Review by Richard F. Goldman: Berlioz – Funeral and Triumphal Symphony, Op. 15. For Large Brass Orchestra, String Orch., and Chorus by The Great Symphonic Brass Orch.; String Orch. of Cologne; Kölnischer Chor; Fritz Straub; Helmut Schmitt; Berlioz. S. 478–479
  • Review by David D. Boyden: Boccherini – Quartet in a Major, Op. 33, No. 6. Vivaldi: Quartet in a Minor, Op. 3, No. 8 by York String Quartet; Boccherini; Vivaldi. S. 479–481
  • Review by Nicolas Slonimsky: Borodin – Prince Igor by A. Ivanov; E. Smolenskaya; S. Lemeshev; A. Pirogov; M. Reizen; Moscow Bolshoy Theater; A. Malik-Pashayev; Borodin. S. 481–483
  • Review by Vincent Persichetti: Willy Burkhard – Toccata for Four Wind Instruments, Percussion, and String Orchestra, Opus 86. Paul Müller: Sinfonia for String Orchestra, Opus 40 by The Collegium Musicum (Zürich); Paul Sacher; Willy Burkhard; Paul Müller. S. 483
  • Review by David D. Boyden: Corelli – The Twelve Concerti Grossi: Op. 6 Complete by The Corelli Tri-Centenary String Orch.; Dean Eckertsen; Corelli. S. 483–487
  • Review by David D. Boyden: Gibbons – Two Fantasies. Locke: Consort of Ffowre Parts (No. 6). Purcell: Pavan and Chacony by New Music String Quartet; Gibbons; Locke; Purcell. S. 488–490
  • Review by Nicolas Slonimsky: Kabalevsky – Concerto for Violin and Orchestra, Op. 48 by David Oistrakh; State Orch. of the USSR; Dmitri Kabalevsky; Khrennikov: Much Ado about Nothing, Suite from Incidental Music for Shakespeare’s Comedy by State Orch. of the USSR; A. Stassevich; Khrennikov. S. 490–492
  • Review by Vincent Persichetti: Poulenc – Concerto for Piano and Orchestra; Three Pieces for Piano; Milhaud: Suite for Violin, Clarinet, and Piano by Annette Haas-Hamburger; Orchestre de l’Association des Concerts Pasdeloup; Pierre Dervaux; Poulenc; Jaques Parrenin; Ulysse Delecluze; Milhaud. S. 492–493
  • Review by Edwin Hanley: Alessandro Scarlatti – Stabat Mater by Alessandro Scarlatti; Rosanna Giancola; Miti Truccato-Pace; Scuola Veneziana; Angelo Ephrikian. S. 493–496
  • Review by William S. Newman: Shepherd – Triptych for High Voice and String Quartet; Koutzen: String Quartet No. 2 by Marie Kraft; Walden String Quartet of the University of Illinois; Boris Koutzen; Bernard Robbins; Carlton Cooley; Harvey Shapiro; Shepherd; Koutzen. S. 496–499
  • Review by Nicolas Slonimsky: Shostakovitch – Quintet, Op. 57, for Piano and String Quartet by Hollywood String Quartet; Victor Aller; Shostakovitch. S. 499
  • Review by Vincent Persichetti: Vaughan Williams – Five Mystical Songs; Buxtehude: Cantata, Jesu, meine Freude; Organ Chorale Prelude, Wie schön leuchtet der Morgenstern by Harold Ronk; Katherine Hansel; George Barritt; John Tompkins; Buxtehude; Chancel Choir of the National Presbyterian Church; Theodore Schaefer; Vaughan Williams. S. 500–501
  • Review by Caldwell Titcomb: Vivaldi – Laudate Pueri I and II by Rosanna Giancola; Chamber Orch. of the Scuola Veneziana; Angelo Ephrikian; Vivaldi. S. 501–502
  • Erratum – Fromental Halévy. S. 502
• Frank C. Campbell: Quarterly Book-List. S. 503–509

Nr. 4

• Ernst Krenek: Is the Twelve-Tone Technique on the Decline? S. 513–527
• Edward E. Lowinsky: English Organ Music of the Renaissance – II. S. 528–553
• Edward Arthur Lippman: Symbolism in Music. S. 554–575
• K. G. Fellerer, Moses Hadas: Church Music and the Council of Trent. S. 576–594
• Lawrence Morton, Henry Cowell, Robert Erich Wolf, Karl H. Wörner, Peter Gradenwitz: Current Chronicle. S. 595–616
• Reviews of Books
  • Review by Arthur Mendel: The Lost Tradition in Music – Rhythm and Tempo in the Time of J. S. Bach by Fritz Rothschild. S. 617–630
  • Review by Willard Rhodes: Music in the Southwest. 1825–1950 by Howard Swan. S. 630–634
  • Review by Otto Gombosi: Der Griechische Rhythmus by Thrasybulos Georgiades. S. 634–638
  • Review by Jesus Bal y Gay: Music in Mexico. A Historical Survey by Robert Stevenson. S. 638–640
• Reviews of Records
  • Review by Henry Cowell: Bartok – 44 Violin Duets by Victor Aitay; Michael Kuttner; Béla Bartók; Bartok: Concerto for Viola and Orchestra by William Primrose; New Symphony Orch.; Serly; Béla Bartók; Bartok: Dance Suite; Two Portraits by New Symph. Orch.; Autori; Béla Bartók; Bartok: Suite from the Miraculous Mandarin by New Symph. Orch.; Serly; Béla Bartók; Bartok: Two Rhapsodies for Violin and Orchestra by Emanuel Vardi; New Symph. Orch.; Autori; Serly; Béla Bartók; Bartok: Deux Images by New Symph. Orch.; Serly; Béla Bartók; Bartok: Divertimento for Strings by String Orch.; Serly; Béla Bartók. S. 641–645
  • Review by Nicolas Slonimsky: Glinka – A Life for the Czar (Ivan Susanin) by Maxim Mikhailov; Tatiana Shpieler; Georg Nelepp; Elena Antonova; Moscow Bolshoy Theater; Alexander Melik-Pashayev; Glinka. S. 645–648
  • Review by David D. Boyden: Handel – Julius Caesar (Giulio Cesare). Opera in Three Acts by Paul Sandoz; Sylvia Gähwiller; Maria Helbling; Siegfried Tappolet; Friedrich Brückner-Rüggeberg; Rolf Sander; Franz Kelch; Margarete Witte-Waldbauer; Handel Society; Walter Goehr; Handel. S. 648–653
  • Review by Abram Loft: Haydn – Quartets, Op. 20, Nos. 1–6 by The Schneider Quartet; Haydn. S. 653–654
  • Review by Lawrence Morton: Hindemith – Sonata for Four Hands; Martin: Ballade for Flute by Greta Dichler; Ernest Ansermet; Kamillo Wanansell; Collegium Musicum Orchestra; Kurt Rapf; Josef Dichler; Hindemith; Martin. S. 654–656
  • Review by Richard F. Goldman: Honegger – Jeanne d’Arc au Bûcher by Vera Zorina; Raymond Gerome; Frances Yeend; Carolyn Long; Martha Lipton; David Lloyd; Kenneth Smith; John H. Brown; Temple University Choirs; Elaine Brown; St. Peter’s Boys’ Choir; Harold Gilbert; Philadelphia Orch.; Ormandy; Honegger. S. 656–657
  • Review by Lawrence Morton: Piston – Quintet for Piano and Strings; Martinu: Quartet No. 6 by Walden String Quartet; Earl Wild; Walter Piston; Martinu. S. 657–659
  • Review by Frederic Cohen: Stravinsky – Oedipus Rex by Jean Cocteau; Peter Pears; Helmut Krebs; Martha Mödl; Heinz Rehfuss; Otto von Rohr; Cologne Radio Symphony Orch. and Chorus; Igor Stravinsky; Stravinsky. S. 659–661
  • Frank C. Campbell: Quarterly Book-List. S. 662–670

40. Jg. 1954

Nr. 1

• Claude V. Palisca: Girolamo Mei – Mentor to the Florentine Camerata. S. 1–20
• Jens Peter Larsen: The Text of Handel’s „Messiah“. S. 21–28
• Manfred F. Bukofzer: John Dunstable – A Quincentenary Report. S. 29–49
• Paul Henry Lang: Editorial. S. 50–55
• Lawrence Morton, Henry Cowell, Willi Reich, Karl H. Wörner: Current Chronicle. S. 56–83
• Reviews of Books
  • Review by Albert T. Luper: Domenico Scarlatti by Ralph Kirkpatrick. S. 84–93
  • Review by Lawrence Morton: Aaron Copland by Arthur Berger. S. 93–98
  • Review by Harvey J. Olnick: Bibliografia della Musica Strumentale Italiana Stampata in Italia fino al 1700 by Claudio Sartori. S. 98–102
  • Review by Edward Arthur Lippman: Feeling and Form – A Theory of Art Developed from Philosophy in a New Key by Susanne K. Langer. S. 102–106
  • Review by A. Hyatt King: Musicians in English Society from Elizabeth to Charles I by Walter L. Woodfill. S. 106–110
  • Review by Jacques Barzun: The Letters of Franz Liszt to Marie zu Sayn-Wittgenstein by Howard E. Hugo; Franz Liszt. S. 110–115
  • Review by Paul Henry Lang: Georg Reutter D. J. – Kirchenwerke by P. Norbert Hofer; Georg Reutter. S. 116–120
• Reviews of Records
  • Review by Vincent Persichetti: Bloch – Concerto for Violin and Orchestra. Baal Shem by Joseph Szigeti; Société des Concerts du Conservatoire; Charles Munch; Andor Farkas; Ernest Bloch. S. 121–122
  • Review by Edwin Hanley: Marc-Antoine Charpentier – Te Deum, Marche de Triomphe & Second Air de Trompettes, Troisième Leçon de Ténèbres du Vendredy Saint, Oculi Omnium in Te Sperant by Claudine Collart; Jean Archimbaud; Yvonne Melchior; Pierre Gianotti; Louis Noguera; Concerts Pasdeloup; Chorale of the Jeunesses Musicales de France; Louis-Martini; Marc-Antoine Charpentier. S. 122–127
  • Review by Stephen D. Tuttle: Early English Keyboard Music by Thurston Dart; Elizabeth Goble; Geraint Jones; Robert Donington; Elizabethan Keyboard Music by Charles Koenig. S. 127–131
  • Review by Caldwell Titcomb: French Baroque Organ Music. Works by Clérambault, Dandrieu, Marchand, Du Mage, Couperin, Siret, Lebègue, Jullien, Raison, Loeillet, Balbastre, and Daquin by Clérambault; Dandrieu; Marchand; Du Mage; Couperin; Siret; Lebègue; Jullien; Raison; Loeillet; Balbastre; Daquin; Clarence Watters. S. 131–135
  • Review by David D. Boyden: Marais – Suite No. 4 in A Minor; Prelude in D Minor; Suite No. 5 in A Major by Eva Heinitz; Ernst Victor Wolff; Marin Marais. S. 136–138
  • Review by Leo Schrade: Monteverdi – Vespro della Beata Vergine (1610) by Hans F. Redlich; The Swabian Choral Singers (Stuttgart); The Stuttgart Bach Orchestra; Hans Grischkat; Monteverdi. S. 138–145
  • Review by Nicolas Slonimsky: Prokofiev – Symphony No. 7, Op. 131. Lieutenant Kijé Suite, Op. 60 by Philadelphia Orch.; Eugene Ormandy; Royal Philharmonic Orch.; Efrem Kurtz; Prokofiev; Prokofiev: On Guard for Peace, Op. 124 by State Orch. of the USSR; Zara Dolokhanova; E. Talanov; Samuel Samosud; Prokofiev; Prokofiev: Winter Holiday, Op. 122; Nicolai Peyko. Moldavian Suite by State Radio Orch. of the USSR; Samuel Samosud; N. Rachlin; Prokofiev; Nicolai Peyko. S. 145–148
  • Review by Vincent Persichetti: Prokofiev – Piano Sonata No. 8 in B-Flat, Op. 84 by Anthony Di Bonaventura; Prokofiev. S. 149
  • Review by David D. Boyden: F. X. Richter – String Quartet in C Major, Op. 5, No. 1; Karl Stamitz: String Quartet in A Major, Op. 14 [No. 6] by New Music String Quartet; Karl Stamitz; Franz X. Richter. S. 150–152
  • Review by F. Mark Siebert: Schütz – The Christmas Story (Weihnachts-Historie) by Charlotte Bloecher; William Hess; Paul Matthen; The Cantata Singers and Orch.; Arthur Mendel; Schütz; Schütz: German Requiem (Musicalische Exequien) by Joan Brainerd; Charlotte Bloecher; Pauline Peirce; Arthur Squires; William Hess; Paul Matthen; Lee Cass; John Beaven; Alfred Mann; The Cantata Singers; Arthur Mendel; Schütz; Schütz: Little Sacred Concerts (Kleine Geistliche Concerte) by William Hess; Paul Matthen; John Beavan; Arthur Mendel; Schütz. S. 152–157
  • Review by Richard F. Goldman: Villa-Lobos – Nonetto, for Flute, Oboe, Clarinet, Saxophone, Bassoon, Harp, Celesta, Battery, and Mixed Chorus; Quatuor, for Flute, Harp, Celesta, Alto Saxophone, and Women’s Voices by The Roger Wagner Chorale and the Concert Arts Players; Roger Wagner; Villa-Lobos. S. 157–158
  • Frank C. Campbell: Quarterly Book-List. S. 159–166
• Erratum. S. 168

Nr. 2

• Nino Pirrotta, Nigel Fortune: Temperaments and Tendencies in the Florentine Camerata. S. 169–189
• Dragan Plamenac: An Unknown Composition by Dufay? S. 190–200
• Donald Mintz: Some Aspects of the Revival of Bach. S. 201–221
• Jill Vlasto: An Elizabethan Anthology of Rounds. S. 222–234
• Henry Cowell: Current Chronicle. S. 235–243
• Reviews of Books
  • Review by John Ward: Francisco Correa de Arauxo, Libro de Tientos y Discursos de Musica Practica, y Theorica de Organo Intitulado Facultad de Organica (1626), Vol. II by Francisco Correa de Arauxo; Santiago Kastner. S. 244–247
  • Review by John H. Lowell: The Juilliard Report on Teaching the Literature and Materials of Music. S. 248–250
  • Review by Ernst Krenek: Anleitung zur Zwoelftonkomposition by Hanns Jelinek. S. 250–256
  • Review by Leonard Ellinwood: English & Scottish Psalm & Hymn Tunes c. 1543–1677 by Maurice Frost. S. 256–260
  • Review by David D. Boyden: Scarlatti – Sixty Sonatas by Ralph Kirkpatrick; Domenico Scarlatti. S. 260–266
  • Review by Paul Henry Lang: Annales Musicologiques. Vol. I. S. 266–274
• Reviews of Records
  • Review by John Ward: Banchieri – Festino by The Primavera Singers; Noah Greenberg; Blanche Winogron; Adriano Banchieri. S. 275–276
  • Review by Edward Arthur Lippman: Berlioz – Lélio or the Return to Life, Lyric Monodrama, Op. 14b by André Charpak; Joachim Kerol; Gabriel Baquier; New Paris Symphony Association; René Leibowitz; Berlioz. S. 276–279
  • Review by Henry Leland Clarke: Blow – An Ode on the Death of Mr. Henry Purcell. Purcell: Selected Vocal and Instrumental Works by New York Pro Musica Antiqua; Valarie Lamoree; Russell Oberlin; Charles Bressler; Arthur Squires; Bernard Krainis; John Leonard; George Koutzen; Herman Chessid; Blow; Purcell; Purcell: The Masque in Dioclesian by Whitfield Lloyd; Lawrence Avery; Marjorie Mitton; Paul Gavert; Lee Cass; Fritz Kramer; Purcell; Purcell: Trio Sonatas (1697), posth by Giorgio Ciompi; Werner Torkanowsky; George Koutzen; Herman Chessid; Purcell. S. 279–284
  • Review by Arthur Berger: Britten – Serenade, Op. 31, for Tenor, Horn, and String Orchestra. Folk Songs of the British Isles by Boston Symphony Orchestra; Richard Burgin; David Lloyd; James Stagliano; Marguerite Willauer; Wolfgang Schanzer; Benjamin Britten. S. 284–286
  • Review by Joseph Braunstein: Bruckner – Symphony No. 9 in D Minor (Original Version) by Pro Musica Symphony (Vienna); Jascha Horenstein; Anton Bruckner. S. 286–289
  • Review by Edwin Hanley: Chorale Variations. Johann Gottfried Walther – Meinen Jesum lass’ ich nicht; Jesu meine Freude. Georg Böhm: Ach wie nichtig, ach wie flüchtig; Auf meinen lieben Gott; Herr Jesu Christ, dich zu uns wend by Finn Viderø; Georg Böhm; Johann Gottfried Walther. S. 289–294
  • Review by Lawrence Morton: Copland – Passacaglia (1922); Piano Variations (1930); Piano Sonata (1941) by Webster Aitken; Copland; Copland: Symphony No. 3 by Minneapolis Symphony Orch.; Antal Dorati; Copland. S. 294–296
  • Review by Richard F. Goldman: De Menasce – Concerto No. 2 for Piano and Orchestra; Divertimento on a Children’s Song, for Piano and Strings; Petite Suite pour le Piano by Jacques de Menasce; Vienna State Opera Orchestra; Edmund Appia. S. 296–298
  • Review by Nicolas Slonimsky: Dvořák. The Golden Spinning Wheel, Op. 109; The Midday Witch, Op. 108; Waltzes, Op. 54, Nos. 1 and 4 by Czech Philharmonic Orchestra and Prague Soloists Orchestra; V. Talich; Dvořák. S. 299–300
  • Review by Alfred Mann: J. J. Fux – Keyboard Compositions: Suites Nos. 3, 4; Ciaccona; Aria Passeggiata; Sonata No. 6; Arpeggio e Fuga by Kurt Rapf; Johann Josef Fux. S. 300–302
  • Review by Francis J. Guentner: Gregorian Chants, Vol. I by Trappist Monks’ Choir of Cistercian Abbey; Nuns of a Benedictine Monastery; Gregorian Chants, Vol. II by Benedictine Monks of En-Calcat Abbey; Boys’ Choir; Gregorian Chants, Vol. III by Benedictine Monks of St. Wandrille de Fontenelle; Dom Lucien David. S. 302–305
  • Review by Nicolas Slonimsky: Janáček – Slavonic Mass by Brno Radio Orchestra; Moravian Mixed Chorus; B. Bakala; Janáček. S. 305–306
  • Review by Joseph Kerman: Monteverdi – L’Incoronazione di Poppea by Sylvia Gähwiller; Annelies Gamper; Maria Helbling; Margarete Witte-Waldbauer; Mabella Ott-Penetto; Friedrich Brückner-Rüggeberg; Franz Kelch; Zurich Tonhalle Orch. and Chorus; Walter Goehr; Monteverdi. S. 307–311
  • Review by Paul Henry Lang: Rameau – Operatic Excerpts by Nadia Boulanger; Rameau. S. 311
  • Review by Irving Fine: Riegger – New Dance; Hovhaness: „Arevakal," Concerto No. 1 for Orchestra; Cowell: Symphony No. 4 (Short Symphony) by Eastman-Rochester Symphony Orch.; Howard Hanson; Wallingford Riegger; Cowell; Alan Hovhaness. S. 312–313
  • Review by Paul Henry Lang: Rossini – La cambiale di matrimonio by Società del Quartetto (Rome); Giuseppe Morelli; Rossini. S. 313–314
  • Frank C. Campbell: Quarterly Book-List. S. 315–325

Nr. 3

• Alfred Einstein, Ernest Sanders: The Conflict of Word and Tone. S. 329–349
• Mina Curtiss: Bizet, Offenbach, and Rossini. S. 350–359
• Richard L. Greene: John Dunstable – A Quincentenary Supplement. S. 360–363
• Wilfrid Mellers: John Bull and English Keyboard Music-I. S. 364–383
• Paul Henry Lang: Editorial. S. 384–390
• Karl H. Wörner, Igor Boelza, Richard F. Goldman, Israel Citkowitz, Henry Cowell: Current Chronicle. S. 391–418
• Reviews of Books
  • Review by William Schuman: Thesaurus of Orchestral Devices by Gardner Read. S. 419–421
  • Review by F. Mark Siebert: Patterns of Protestant Church Music by Robert M. Stevenson; The History of American Church Music by Leonard Ellinwood. S. 421–424
  • Review by Nicolas Slonimsky: Russian Music from the Beginning of the Nineteenth Century by B. V. Asaf’ev (Igor Glebov); Alfred J. Swan. S. 425–430
  • Review by Edward N. Waters: New Letters of Berlioz, 1830–1868 by Jacques Barzun; Hector Berlioz. S. 430–434
• Reviews of Records
  • Review by Vincent Persichetti: Bartók – Six Dances in Bulgarian Rhythm. Bloch: Poems of the Sea. Hindemith: Piano Sonata No. 2. Kabalevsky: Sonatina in C Major, Opus 13, No. 1 by Jerome Rappaport; Bartók; Bloch; Hindemith; Kabalevsky. S. 435
  • Review by Richard S. Hill: Berg – String Quartet, Op. 3. Casella: Five Pieces for String Quartet by New Music String Quartet; Berg; Casella; Schoenberg: The Complete String Quartets, Nos. 1–4, Op. 7, 10, 30, & 37. Webern: Five Movements for String Quartet, Op. 5. Berg: String Quartet, Op. 3 by Schoenberg; Webern; Berg; Juilliard String Quartet; Uta Graf. S. 435–444
  • Review by Francis J. Guentner: Chant Grégorien. Choeur des Moines de L’Abbaye Saint Pierre de Solesmes by Dom Joseph Gajard; Chant Grégorien. S. 444–450
  • Review by H. Wiley Hitchcock: Marc-Antoine Charpentier – Excerpts from Médée by Nadia Boulanger; Marc-Antoine Charpentier. S. 450–454
  • Review by Marc Blitzstein: Copland – Music for the Theatre; Weill: Kleine Dreigroschenmusik (Suite from The Threepenny Opera) by M-G-M Orchestra; Izler Solomon; Copland; Weill. S. 454–456
  • Review by Egon Kenton: Giovanni Gabrieli – Motets from Symphoniae Sacrae, Liber I (1597), Liber II (1615) by Phyllis Curtin; Robert Gartside; Roger Voisin; Marcel Lafosse; Armando Ghitalla; Gerard Goguen; Jacob Raichman; William Moyer; Kauko Kahila; Josef Orosz; Milton Vinal Smith; Giovanni Gabrieli; Daniel Pinkham; G. Wallace Woodworth. S. 456–459
  • Review by Marion E. McArtor: Geminiani – Six Concerti Grossi, Opus 3 by Barchet Quartet; Helma Elsnor; Pro Musica String Orchestra (Stuttgart); Rolf Reinhardt; Francesco Geminiani. S. 460–462
  • Review by Richard F. Goldman: Hindemith – Symphonic Metamorphoses on Themes of Carl Maria von Weber. Schoenberg: Five Pieces for Orchestra, Op. 16 by Chicago Symphony Orchestra; Rafael Kubelik; Hindemith; Schoenberg. S. 462–463
  • Review by Arthur Berger: Honegger – Symphony No. 5. Roussel: Bacchus et Ariane. Ravel: Pavane for a Dead Princess by Boston Symphony Orch.; Charles Munch; Honegger; Roussel; Ravel. S. 463–465
  • Review by Richard F. Goldman: Jolivet – Concerto for Piano and Orchestra. Concerto for Trumpet, Piano and String Orchestra; Andante for String Orchestra by Lucette Descaves; Orchestre du Théâtre des Champs-Elysées; Ernest Bour; Roger Del Motte; Serge Baudo; Jolivet. S. 465–466
  • Review by Paul Henry Lang: Mendelssohn – St. Paul by Laurence Dutoit; Maria Nussbaumer; Hans Loeffler; Otto Wiener; Akademie Kammerchor; Pro Musica Symphony (Vienna); Ferdinand Grossman; Mendelssohn. S. 467–469
  • Review by Richard F. Goldman: Milhaud – Directing His Own Music. First Quintet (1951). Second Quintet (1952) by Milhaud; Brooks Smith; Stanley Quartet; Clyde Thompson; Milhaud: Conducting His Own Music. Les Amours de Ronsard. Concertino d’Eté by Philharmonic Chamber Ensemble; Anne Bollinger; Herta Glaz; Leslie Chabay; Mack Harrell; Milhaud. S. 469–471
  • Review by Vincent Persichetti: Modern American Music Series, Columbia Masterworks. S. 471–476
  • Review by Caldwell Titcomb: Old Italian Masters. Organ Works by A. and G. Gabrieli, Palestrina, Brignoli, Cavazzoni, Guami, Frescobaldi, Zipoli, and Martini by Flor Peeters; Palestrina; Brignoli; Cavazzoni; Frescobaldi; Zipoli; Martini; Andrea Gabrieli; Giovanni Gabrieli; Gioseffo Guami. S. 477–479
  • Review by Edward Arthur Lippman: Pijper – Symphony No. 3. Diepenbrock: Marsyas, or The Enchanted Well, Prelude and Entr’acte by Concertgebouw Orchestra of Amsterdam; Eduard van Beinum; Alphons Diepenbrock; Willem Pijper. S. 480–481
  • Review by Vincent Persichetti: Vaughan Williams – Symphony No. 6 by London Symphony Orchestra; Adrian Boult; Vaughan Williams. S. 482
  • Review by Edwin Hanley: Vivaldi – La Pastorella, Concerto for Five Instruments in D Major (Flute, Oboe, Violin, Bassoon, Harpsichord); Sonata for Flute, Bassoon, and Harpsichord in A Minor; Concerto for Flute, Oboe, and Bassoon in G Minor; Sonata for Oboe and Harpsichord in C Minor; Concerto for Four Instruments in F Major (Flute, Violin, Bassoon, Harpsichord) by Jean-Pierre Rampal; Pierre Pierlot; Robert Gendre; Paul Hongne; Robert Veyron-Lacroix; Vivaldi. S. 482–484
  • Frank C. Campbell: Quarterly Book-List. S. 485–494

Nr. 4

• William Austin: Santayana as a Critic of Music. S. 497–508
• John Harley: Music and Musicians in Restoration London. S. 509–520
• Ernest Sanders: Oberon and „Zar und Zimmermann“. S. 521–532
• Norman Demuth: A Musical Backwater. S. 533–547
• Wilfrid Mellers: John Bull and English Keyboard Music – II. S. 548–571
• Fedele d’Amico, Reginald Smith Brindle, Lawrence Morton, Peter Gradenwitz: Current Chronicle. S. 572–594
• Reviews of Books
  • Review by Edward E. Lowinsky: Monumenta Musicae Belgicae by Vereeniging voor Muziekgeschiedenis te Antwerpen. S. 595–606
  • Review by Christopher Hatch: William Henry Fry – American Journalist and Composer-Critic by William Treat Upton. S. 606–608
  • Review by Emanuel Winternitz: I Disegni Musicali del Gabinetto degli „Uffizi“ by Luigi Parigi; Mostra di Strumenti Musicali in Disegni degli Uffizi by Luisa Marcucci; Gli Strumenti Musicali nei Dipinti della Galleria degli Uffizi by Marziano Bernardi; Andrea della Corte; Catalogo della Mostra Corelliana. S. 608–614
  • Review by F. Mark Siebert: Die Musik im Frühevangelischen Österreich by Hans Joachim Moser. S. 615–619
• Reviews of Records
  • Review by Klaus Speer: C. P. E. Bach – Piano Concerto in D Major. Trio for Flute, Violin and Piano by Helen Schnabel; Vienna Philharmonia Orchestra; F. Charles Adler; Camillo Wanausek; Walter Schneiderhan; C. Philipp Emanuel Bach. S. 620–622
  • Review by Irving Fine: Copland – Billy the Kid (Ballet Suite); Schuman: Undertow, Choreographic Episodes for Orchestra by Ballet Theatre Orch.; Joseph Levine; Schuman; Copland. S. 622–624
  • Review by Henry Cowell: Creston – Symphony No. 2; Symphony No. 3 by National Symphony Orchestra; Mitchell; Paul Creston. S. 624–625
  • Review by Caldwell Titcomb: Hindemith – Three Sonatas for Organ by Robert Noehren; Paul Hindemith. S. 626–628
  • Review by Richard F. Goldman: Pezel – Tower and Festive Music of the 17th Century by Brass Ensemble; Gunther Schuller; Johann Pezel. S. 628–629
  • Review by Irving Fine: Thomson – 10 Etudes for Piano by Maxim Schapiro; Virgil Thomson. S. 629–630
  • Review by Albert T. Luper: Victoria – Masses O magnum mysterium and O quam gloriosum by The Welch Chorale; James B. Welch; Tomás Luis de Victoria. S. 630–632
  • Review by Richard F. Goldman: Webern – Symphony, Opus 21. Five Movements for String Quartet, Opus 5; Six Bagatelles for String Quartet, Opus 9 by Paris Chamber Orchestra; Leibowitz; The Pro Arte Quartet; Webern; Webern: Concerto for Nine Instruments, Opus 24. Variations for Piano, Opus 27. Four Songs, Opus 12. Quartet for Tenor Saxophone, Violin, Clarinet and Piano, Opus 22 by Chamber Orchestra; Leibowitz; Jacques Monod; Bethany Beardslee; Williams; Thomas; Chaplin; Webern. S. 632–633
  • Review by Joseph Kerman: John Wilbye – English Madrigals by John Wilbye; The Randolph Singers; David Randolph; Thomas Morley: Elizabethan Madrigals, Canzonets, Balletts by The Primavera Singers of the New York Pro Musica Antiqua; Noah Greenberg; Blanche Winogron; Thomas Morley. S. 634–635
  • Frank C. Campbell: Quarterly Book-List. S. 636–645

41. Jg. 1955

Nr. 1

• Edward N. Waters: Liszt and Longfellow. S. 1–25
• Denis Stevens: A Recently Discovered English Source of the 14th Century. S. 26–40
• H. Wiley Hitchcock: The Latin Oratorios of Marc-Antoine Charpentier. S. 41–65
• Hans F. Redlich: Claudio Monteverdi – Some Problems of Textual Interpretation. S. 66–75
• Gerhard Herz, Henry Cowell, Everett Helm, Heinz Joachim, John S. Weissmann: Current Chronicle. S. 76–104
• Reviews of Books
  • Review by Alfred Frankenstein: William Schuman by Flora Rheta Schreiber; Vincent Persichetti; Samuel Barber by Nathan Broder. S. 105–106
  • Review by Dragan Plamenac: Catalogue critique et descriptif des imprimés de musique des XVIe et XVIIe siècles conservés dans les bibliothèques suédoises; Catalogue critique et descriptif des ouvrages théoriques sur la musique imprimés au XVIe et au XVIIe siècles et conservés dans les bibliothèques suédoises by Åke Davidsson. S. 107–109
  • Review by William J. Mitchell: Structural Functions of Harmony by Arnold Schoenberg. S. 109–115
  • Review by W. Thomas Marrocco: The Music of Fourteenth Century Italy by Nino Pirrotta. S. 115–117
• Reviews of Records
  • Review by Edwin Hanley: Johann Christoph Bach – Sarabande duodecies variata; Aria Eberliniana pro dormente Camillo, variata. Buxtehude: La Capricciosa, partite diverse sopra una aria d’inventione by Finn Viderø; Johann Christoph Bach; Buxtehude. S. 118–119
  • Review by Edward Arthur Lippman: Berlioz – L’Enfance du Christ, Opus 25 by Mary Davenport; Martial Singher; Leopold Simoneau; Donald Gramm; The Choral Art Society; William Jonson; The Little Orchestra Society; Thomas Scherman; Berlioz. S. 120–121
  • Review by Leonard Burkat: Honegger – Symphony No. 2 for String Orchestra. Rivier: Symphony No. 2 for String Orchestra by M-G-M String Orchestra; Izler Solomon; Honegger; Rivier; Honegger: Symphony No. 2 for String Orchestra. Hunter Johnson: Concerto for Piano and Chamber Orchestra by John Kirkpatrick; Rochester Chamber Orchestra; Robert Hull; Honegger; Hunter Johnson. S. 122–126
  • Review by Edgar H. Sparks: Works of Monteverdi, J. S. Bach, Weelkes, Gesualdo, Vol. I by Monteverdi; J. S. Bach; Thomas Weelkes; Gesualdo; Collegium Musicum (School of Music, Yale University); Paul Hindemith; Works of Perotin, Dufay, Palestrina, Lassus, Handl, G. Gabrieli, Vol. 2 by Collegium Musicum (School of Music, Yale University); Paul Hindemith; Perotin; Dufay; Palestrina; Lassus; Handl; G. Gabrieli; Monteverdi – Messa a quatro Voci da Cappella (1651); Lassus: Psaumes de la Pénitence à cinq Voix by Amsterdam Motet Choir; Albert de Klerk; Felix de Nobel; Monteverdi; Lassus. S. 126–129
  • Review by Henry Leland Clarke: Purcell – The Masque in Timon of Athens (1678); The Fairy Queen (1692) by Margaret Ritchie; Georges Alès; Antoine Geoffroy-Dechaume; Ensemble Orchestral de l’Oiseau-Lyre; Anthony Lewis; Purcell. S. 129–131
  • Frank C. Campbell: Quarterly Book-List. S. 132–142

Nr. 2

• Nathaniel Burt: Opera in Arcadia. S. 145–170
• Hans Hollander: The Music of Leos Janacek – Its Origin in Folklore. S. 171–176
• Egon Wellesz: Recent Studies in Western Chant. S. 177–190
• Nan Cooke Carpenter: The Study of Music at the University of Oxford in the Renaissance (1450–1600). S. 191–214
• Paul Henry Lang: Editorial. S. 215–222
• Henry Cowell, N. B., E. H. Sparks, Friedrich Saathen, David D. Boyden, Stephen Williams: Current Chronicle. S. 223–243
• Reviews of Books
  • Review by Willard Rhodes: English Folk Song – Some Conclusions by Cecil Sharp; Maud Karpeles. S. 244–247
  • Review by Walter Piston: Traité de l’Orchestration by Charles Koechlin. S. 247–250
  • Review by Leonard Ellinwood: The Rhythm of Twelfth-Century Polphony, Its Theory and Practice by William G. Waite. S. 250–253
  • Review by Alfred Frankenstein: Charles Ives and His Music by Sidney Cowell; Henry Cowell. S. 253–256
  • Review by William J. Mitchell: Harmony by Heinrich Schenker; Oswald Jonas; Elizabeth Mann Borgese. S. 256–260
• Reviews of Records
  • Review by Henry Cowell: Bartók – Rhapsody for Piano and Orchestra, Op. 1. Concerto No. 2 for Piano and Orchestra by Andor Foldes; Lamoureux Orchestra; Roger Desormière; Foldes; Eugene Bigot; Béla Bartók. S. 261–262
  • Review by Vincent Persichetti: Bartók – Improvisations, Op. 20; For Children (1945) by Carl Seeman; Bartók. S. 262–263
  • Review by H. Wiley Hitchcock: Marc-Antoine Charpentier – Mass and Symphony Assumpta est Maria by M. Angelici; J. Archimbault; S. Michel; J. Collart; J. Giradeau; L. Noguera; Jeunesses Musicales de France; Henriette Roget; Louis Martini; Marc-Antoine Charpentier; Marc-Antoine Charpentier: Midnight Mass [Messe de Minuit à 4 voix, flûtes, et violons, pour Noël]. Antonio Vivaldi: Gloria by Ensemble Vocal de Paris; Orchestre de la Société des Concerts; André Jouve; Antonio Vivaldi; Marc-Antoine Charpentier. S. 263–267
  • Review by Nicolas Slonimsky: Khatchaturian – Symphony No. 2 by National Philharmonic Orchestra; Khatchaturian. S. 267–268
  • Review by Irving Fine: Lambert – Concerto for Pianoforte and Nine Instruments. Berners: Piano Music by Theodore Bloomfield; Menahem Pressler; Constant Lambert; Berners. S. 268–270
  • Review by N. B.: Mozart – Four Horn Concertos, K. 412, 417, 447, 495 by Dennis Brain; Philharmonia Orchestra; Herbert von Karajan; Mozart; Mozart: Four Adagios and Fugues for String Trio, K. 404a by Pasquier Trio; Mozart. S. 270–271
  • Review by Nicolas Slonimsky: Mussorgsky – The Marriage by Nicolas Agroff; Charlotte Desmazures; Jean Mollien; Alexander Popovitzky; L’Orchestre Radio Symphonique de Paris; René Leibowitz; Mussorgsky. S. 271–272
  • Review by Edward Arthur Lippman: Schoenberg – Concerto for Violin and Orchestra, Opus 36. Berg: Concerto for Violin and Orchestra by Louis Krasner; N. Y. Philharmonic-Symphony Orchestra; Dimitri Mitropoulos; Krasner; Cleveland Orchestra; Artur Rodzinski; Schoenberg; Berg. S. 272–274
  • Review by Vincent Persichetti: Shostakovitch – Concerto for Piano, Trumpet and Strings. Sonata No. 2, in B Minor, Opus 64 by Menahem Pressler; Harry Glantz; M-G-M Orchestra; Theodore Bloomfield; Shostakovitch; Shostakovitch: The 24 Preludes for Piano by Menahem Pressler; Shostakovitch. S. 275
  • Review by Irving Fine: Villa-Lobos – Rude Pôema; The Children’s Doll Suite; The Three Maries by Jacques Abram; Villa-Lobos. S. 275–276
  • Frank C. Campbell: Quarterly Book-List. S. 277–282
• Erratum: A Recently Discovered English Source of the 14th Century. S. 284

Nr. 3

• Everett Helm: Carl Orff. S. 285–304
• Nino Pirrotta: Commedia dell’ Arte and Opera. S. 305–324
• Bruno Nettl: Musical Culture of the Arapaho. S. 325–331
• Arthur Mendel: On the Pitches in Use in Bach’s Time – I. S. 332–354
• Robert Erich Wolf: Liège’s Buried Treasure. S. 355–360
• Paul Henry Lang, Hans Tischler, Frederick Dorian, Henry Cowell, Richard F. Goldman, Jan LaRue: Current Chronicle. S. 361–377
• Reviews of Books
  • Review by Knud Jeppesen: Music in the Renaissance by Gustave Reese. S. 378–391
  • Review by George Perle: Composition with Twelve Notes by Josef Rufer; Humphrey Searle. S. 392–395
  • Review by Paul Henry Lang: Johann Walter, Sämtliche Werke. Vol. I, Geistliches Gesangbüchlein (Wittenberg, 1551); Part I, Deutsche Gesänge by Johann Walter; Otto Schroeder; Johann Walter, Sämtliche Werke. Vol. II, Cantiones latinae by Otto Schroeder; Max Schneider; Johann Walter. S. 395–396
  • Review by Paul Henry Lang: Fontes Artis Musicae. S. 396–397
• Reviews of Records
  • Review by Caldwell Titcomb: Gabrieli, Andrea & Giovanni – Organ Music by Giuseppe de Donà; Andrea Gabrieli; Giovanni Gabrieli. S. 398–399
  • Review by Egon Kenton: Giovanni Gabrieli – Motets by Cappella di Treviso; Giovanni D’Alessi; Giovanni Gabrieli. S. 399–402
  • Review by Karl Geiringer: Haydn – Trumpet Concerto in E-Flat; Harpsichord Concerto in D by George Eskdale; Erna Heiller; Vienna State Opera Orchestra; Franz Litschauer; Haydn. S. 402–404
  • Review by Edward Arthur Lippman: Monteverdi – Vespers of 1610 by Leo Schrade; Margaret Ritchie; Elsie Morrison; William Herbert; Richard Lewis; Bruce Boyce; Geraint Jones; Ruggero Gerlin; The London Singers; Ensemble Orchestral de L’Oiseau-Lyre; Anthony Lewis; Monteverdi. S. 404–407
  • Review by Richard F. Goldman: Reed – La Fiesta Mexicana; Mennin: Canzona; Persichetti: Psalm; Thomson: A Solemn Music; Hanson: Chorale and Alleluia by Eastman Symphonic Wind Ensemble; Frederick Fennell; H. Owen Reed; Mennin; Persichetti; Thomson; Hanson. S. 407–408
  • Review by Nicolas Slonimsky: Rimsky-Korsakov – The May Night by Serge Krasovsky; Serge Lemeshev; Valentina Borisenko; Irina Maslennikova; Peter Volovov; Moscow Bolshoy Theater; Vasily Nebolsin; Rimsky-Korsakov. S. 409–410
  • Review by Irving Fine: Saeverud – Rondo Amoroso, Op. 14, No. 7; Galdreslaetten – Symphonic Dances with Passacaglia, Op. 20; Sinfonia Dolorosa (Symphony No. 6), Op. 19; Valen: The Cemetery by the Sea, Op. 20; Michelangelo Sonnet, Op. 17, No. 1; The Silent Island, Op. 21 by Oslo Philharmonic Orch.; Oivin Fjeldstad; Valen; Saeverud. S. 410–412
  • Review by Arthur Berger: Stravinsky – The Rake’s Progress by W. H. Auden; Metropolitan Opera Association; Ralph Kirkpatrick; Igor Stravinsky. S. 412–414
  • Frank C. Campbell: Quarterly Book-List. S. 415–424

Nr. 4

• Alexander L. Ringer: Willem Pijper and the „Netherlands School“ of the 20th Century. S. 427–445
• Donald W. MacArdle, Ludwig Misch: Minor Beethoveniana. S. 446–465
• Arthur Mendel: On the Pitches in Use in Bach’s Time – II. S. 466–480
• Boris Schwarz: Karol Rathaus. S. 481–495
• Carl Johann Perl, Alan Kriegsman: Augustine and Music – On the Occasion of the 1600th Anniversary of the Saint. S. 496–510
• Arthur Berger, Everett Helm, Reginald Smith Brindle, Herbert Livingston, Henry Cowell: Current Chronicle. S. 511–527
• Reviews of Books
  • Review by Manfred F. Bukofzer: Monumenta Liturgiae Polychoralis, Ordinarium Missae cum quatuor choris, Nos. 1–4; Psalmodia cum quatuor choris, Nos. 1–4; Psalmodia cum duobus choris, Magnificat No. 1 by Laurence Feininger. S. 528–532
  • Review by Everett Helm: Neue Musik in der Entscheidung by Karl H. Wörner. S. 532–534
  • Review by Charles Warren Fox: Early Medieval Music up to 1300 by Anselm Hughes. S. 534–547
• Reviews of Records
  • Review by Paul Henry Lang: Bartók – The Wooden Prince by The New Symph. Orch. of London; Walter Susskind; Bartók; Bartók: Bluebeard’s Castle by Judith Hellwigh; Endre Koreh; The New Symph. Orch. of London; Walter Susskind; Bartók. S. 548–550
  • Review by N. B.: Columbia’s Modern American Music Series. S. 551–555
  • Review by Caldwell Titcomb: Frescobaldi – Organ Music by Giuseppe de Donà; Frescobaldi. S. 555–557
  • Review by Richard F. Goldman: Riegger – Symphony No. 3, Op. 42; Mennin: Symphony No. 3 by Eastman-Rochester Symphony Orchestra; Hanson; Philharmonic-Symphony Orchestra of N. Y.; Mitropoulos; Mennin; Riegger. S. 558
  • Review by Felix Greissle: Schoenberg – Suite, Op. 29 by Gunther Schuller; Schoenberg. S. 558–560
  • Review by Vincent Persichetti: Vaughan Williams – A Sea Symphony; Music from the Wasps by London Philharmonic Choir and Orchestra; Isobel Baillie; John Cameron; Adrian Boult; Vaughan Williams; Vaughan Williams: Symphonies Nos. 4, 5, and 6 by London Philharmonic Orchestra; Boult; Vaughan Williams; Vaughan Williams: Sinfonia Antartica by London Philharmonic Choir and Orchestra; Margaret Ritchie; John Gielgud; Boult; Vaughan Williams. S. 560–562
  • Frank C. Campbell: Quarterly Book-List. S. 563–572

42. Jg. 1956

Nr. 1

• Rudolph Reti: Egon Wellesz, Musician and Scholar. S. 1–13
• Ludwig Misch, G. I. C. deCourcy: Fugue and Fugato in Beethoven’s Variation Form. S. 14–27
• Bruno Nettl: Notes on Infant Musical Development. S. 28–34
• William Austin: The Music of Robert Palmer. S. 35–50
• Maurice J. E. Brown: The Posthumous Publication of Chopin’s Songs. S. 51–65
• Rembert Weakland: Hucbald as Musician and Theorist. S. 66–84
• Everett Helm, Henry Cowell, Heinz Joachim: Current Chronicle. S. 85–98
• Reviews of Books
  • Review by Walter E. Buszin: The Bach Family – Seven Generations of Creative Genius by Karl Geiringer; Irene Geiringer. S. 99–103
  • Review by William Schuman: Orchestration by Walter Piston. S. 103–105
  • Review by Siegmund Levarie: Goethe and Music. A List of Parodies and Goethe’s Relationship to Music – A List of References by Frederick W. Sternfeld. S. 105–107
  • Review by Philip L. Miller: La Mélodie francaise de Berlioz à Duparc by Fritz Noske. S. 107–109
  • Review by H. Wiley Hitchcock: Giovanni Legrenzi by Piero Fogaccia. S. 109–112
  • Review by Harvey J. Olnick: Music in Canada by Ernest MacMillan. S. 112–115
  • Review by Albert J. George: Les Romantiques et la Musique – Le Cas George Sand (1804–1838) by Thérèse Marix-Spire. S. 115–117
• Reviews of Records
  • Review by Henry Cowell: Caturla – First Cuban Suite, for Eight Wind Instruments and Piano; Roldan: Ritmica No. 1, for Wind Quintet and Piano; Quincy Porter: String Quartet No. 6 by Henrietta Roget; Ensemble de solistes de L’Orchestre National de La Radiodiffusion Française; Georges Tzipine; Quatuor Pascal de La Radiodiffusion Française; Quincy Porter; Amadeo Roldan; Alejandro García Caturla. S. 118–119
  • Review by Wilfrid Mellers: Couperin – Leçons des Ténèbres by Hugues Cuenod; Gino Sinimberghi; Franz Holetschek; Richard Harand; Couperin; Couperin: Leçons des Ténèbres; Motets Audite Omnes and Pour le Jour de Pâques by Nadine Sautereau; Janine Collard; Noelie Pierront; Huguette Fernandez; Marie-Claire Misson; Marie-Anne Mocquot; Laurence Boulay; Couperin. S. 120–122
  • Review by Henry Cowell: Ives – Symphony No. 3. Donovan: Suite for String Orchestra and Oboe by Baltimore Little Symphony; Reginald Stewart; Richard Donovan; Charles Ives. S. 122–123
  • Review by Vincent Persichetti: Rosenberg – Symphony No. 3 – The Four Ages of Man by Stockholm Symphony Orchestra; Tor Mann; Hilding Rosenberg; Legly: Suite for Orchestra. Alpaerts: James Ensor Suite by L’Orchestre Nationale de Belgique; Fernand Quinet; Louis Weemaels; Victor Legly; Flor Alpaerts. S. 124–125
  • Review by Caldwell Titcomb: Spanish Keyboard Music. Harpsichord Pieces by Mateo Albeniz (c. 1760–1831), Rafael Anglés (1730–1816), Cantallos (c. 1760-?), Antonio Francisco Narciso Casanovas (1737–99), Hipólito Fernandez (c. 1762-?), Freixanet (c. 1730-?), José Gallés y Selabert (1761–1836), Francisco Felipe Rodriguez (1759–1814), and Blas Serrano (c. 1770-?) by Fernando Valenti; Mateo Albeniz; Rafael Anglés; Cantallos; Antonio Francisco Narciso Casanovas; Hipólito Fernandez; Freixanet; José Gallés y Selabert; Francisco Felipe Rodriguez; Blas Serrano. S. 126–127
  • Review by Nicolas Slonimsky: Tchaikovsky – Mazeppa by Alexei Ivanov; Ivan Petrov; Nina Pokrovskaya; Georgi Bolshakov; Moscow Bolshoy Theater; Vasily Nebolsin; Tchaikovsky. S. 128–129
  • Review by Denis Stevens: Torelli – Twelve Concerti, Op. 8 by Reinhold Barchet; Willi Beh; Helma Elsner; Pro Musica String Orchestra (Stuttgart); Rolf Reinhardt; Torelli; Torelli: Twelve Concerti Grossi, Op. 8 by Louis Kaufman; Georges Alès; Roger Albin; Ruggero Gerlin; Ensemble Orchestral de l’Oiseau-Lyre; Torelli. S. 129–133
  • Frank C. Campbell: Quarterly Book-List. S. 134–141

Nr. 2

• Ernst Fritz Schmid, Ernest Sanders: Mozart and Haydn. S. 145–161
• Edward E. Lowinsky: On Mozart’s Rhythm. S. 162–186
• Otto Erich Deutsch, Christopher Hatch: Some Fallacies in Mozart Biography. S. 187–192
• Hans T. David: Mozartean Modulations. S. 193–212
• Frederick W. Sternfeld: The Melodic Sources of Mozart’s Most Popular „Lied“. S. 213–222
• Nathan Broder: The First Guide to Mozart. S. 223–229
• Paul Henry Lang: Editorial. S. 230–235
• Richard F. Goldman, Henry Cowell, Donald C. Johns: Current Chronicle. S. 236–251
• Reviews of Books
  • Review by Siegmund Levarie: Mozart – Sonatas and Fantasies for the Piano by Nathan Broder. S. 252–256
  • Review by N. B.: Mozart-Jahrbuch, 1950–1953. S. 256–260
  • Review by Paul Henry Lang: Mozart in Retrospect. Studies in Criticism and Bibliography by A. Hyatt King. S. 260–262
  • Review by Paul Henry Lang: Neue Mozart-Ausgabe. S. 262–264
• Reviews of Records
  • Review by Siegmund Levarie: Mozart – Divertimento in B-Flat Major, K. 287; And Divertimento in D Major, K. 334 by Vienna State Opera Orchestra; Felix Prohaska; Jan Tomasow; Mozart. S. 265–266
  • Mozart: Le Nozze di Figaro by Hilde Gueden; Suzanne Danco; Lisa della Casa; Anny Felbermayer; Hilde Rössl-Majdan; Murray Dickie; Hugo Meyer-Welfing; Alfred Poell; Cesare Siepi; Fernando Corena; Harald Pröglhof; Chorus of the Vienna State Opera; Vienna Philharmonic Orchestra; Erich Kleiber; Mozart. S. 266–267
  • Mozart: Litaniae Lauretanae in D, K. 195; Litaniae de Venerabili Altaris Sacramento in E-Flat, K. 243 by Jennifer Vyvyan; Nancy Evans; William Herbert; George James; The St. Anthony Singers; The Boyd Neel Orchestra; Anthony Lewis; Mozart. S. 268
  • Mozart: Così fan tutte by Elisabeth Schwarzkopf; Lisa Otto; Nan Merriman; Leopold Simoneau; Rolando Panerai; Sesto Bruscatini; Philharmonia Orchestra and Chorus; Herbert von Karajan; Mozart. S. 268–269
  • Mozart: Motets – Offertory, Misericordias Domini, K. 222; Gradual, Sancta Maria, K. 273; Lacrymosa, K. Anh. 21; Jubilate, K. 117; Benedicite Angeli, K. 342; Offertory, Alma Dei Creatoris, K. 277; Regina Coeli, K. 276 by L’Anthologie Sonore; Felix Raugel; Mozart. S. 269
  • Review by N. B.: Mozart – Don Giovanni by Suzanne Danco; Lisa della Casa; Hilde Gueden; Anton Dermota; Cesare Siepi; Fernando Corena; Kurt Böhme; Walter Berry; Vienna State Opera Chorus; Vienna Philharmonic Orchestra; Josef Krips; Mozart; Mozart: Don Giovanni by Maria Curtis Verna; Carla Gavazzi; Elda Ribetti; Cesare Valletti; Giuseppe Taddei; Italo Tajo; Antonio Zerbini; Vito Susca; Cetra Chorus; Symphony Orchestra of Radiotelevisione Italiana (Turin); Max Rudolf; Mozart. S. 270
  • Mozart: Die Zauberflöte by Maria Stader; Rita Streich; Ernst Häflinger; Martin Vantin; Dietrich Fischer-Dieskau; Kim Borg; Josef Greindl; RIAS Chamber Choir; Berlin Motet Choir; RIAS Symphony Orchestra; Ferenc Fricsay; Mozart; Mozart – Die Entführung aus dem Serail by Maria Stader; Rita Streich; Ernst Häflinger; Martin Vantin; Dietrich Fischer-Dieskau; Kim Borg; Josef Greindl; RIAS Chamber Choir; Berlin Motet Choir; RIAS Symphony Orchestra; Ferenc Fricsay; Mozart. S. 271–272
  • Mozart: Sinfonia Concertante in E-Flat Major, K. 364. Sinfonia Concertante in E-Flat Major, K. Anh. 9 by Walter Barylli; Paul Doktor; Vienna State Opera Orch.; Felix Prohaska; Vienna Philharmonic Wind Group; Vienna State Opera; Henry Swoboda; Mozart. S. 272–274
  • Mozart: Serenade in D, K. 203 by The New Symphony Orchestra of London; Peter Maag; Mozart. S. 274
  • Mozart: Quintet for Piano and Winds in E-Flat, K. 452. Beethoven – Quintet for Piano and Winds in E-Flat, Op. 16 by Walter Gieseking; Philharmonic Wind Quartet; Sidney Sutcliffe; Bernard Walton; Dennis Brain; Cecil James; Mozart; Beethoven. S. 275
  • Review by Paul Henry Lang: Mozart – Symphonies: Nos. 3, K. 18; 7, K. 45; 8, K. 48; 9, K. 73; 13, K. 112; 15, K. 124; 16, K. 128; 18, K. 130; 19, K. 132; 20, K. 133; And 21, K. 134 by Netherlands Philharmonic Orchestra; Otto Ackermann; Mozart. S. 275–280
  • Frank C. Campbell: Quarterly Book-List. S. 281–289

Nr. 3

• David D. Boyden: In Memoriam – Manfred F. Bukofzer (1910–1955). S. 291–301
• Carl Czerny, Ernest Sanders: Recollections from My Life. S. 302–317
• Arnold Elston: Some Rhythmic Practices in Contemporary Music. S. 318–329
• Leo Schrade: Philippe de Vitry – Some New Discoveries. S. 330–354
• Christopher Hatch: The Education of A. W. Thayer. S. 355–365
• Ernest Brennecke: The „Country Cryes“ of Richard Deering. S. 366–376
• Paul Henry Lang: Editorial. S. 377–382
• Mel Powell, Henry Cowell, Richard F. Goldman, Frederick Dorian: Current Chronicle. S. 383–396
• Reviews of Books
  • Review by Reginald Smith Brindle: Espressionismo e Dodecafonia by Luigi Rognoni. S. 397–398
  • Review by Erich Hertzmann: Beethoven – Entwurf einer Denkschrift an das Appelationsgericht in Wien von 18. Februar 1820; Klaviersonate in C-Dur, Op. 53 (Waldsteinsonate) by Ludwig van Beethoven. S. 399–401
  • Review by Denis Stevens: Thomas Tomkins – Keyboard Music by Stephen D. Tuttle; Thomas Tomkins. S. 402–407
  • Review by Robert Manson Myers: Handel – A Documentary Biography by Otto Erich Deutsch. S. 408–411
  • Review by Jacques de Menasce: Hector Berlioz by Henry Barraud. S. 411–413
• Reviews of Records
  • Review by Paul Henry Lang: Archive Production Records by History of Music Division of the Deutsche Grammophon Gesellschaft. S. 414–415
  • Review by Edward Arthur Lippman: Berlioz – Te Deum, Op. 22 by Alexander Young; London Philharmonic Choir; Dulwich College Boys Choir; Royal Philharmonic Orchestra; Thomas Beecham; Berlioz. S. 416–417
  • Review by Lester Trimble: Nielsen – Symphony No. 5, Op. 50; Maskarade (Overture) by Danish State Radio Symphony Orchestra; Thomas Jensen; Nielsen. S. 417–419
  • Review by Henry Cowell: Porter – Poem and Dance. Donovan: New England Chronicle. Hively: Tres Himnos by Eastman-Rochester Symphony Orch.; Howard Hanson; Quincy Porter; Hively; Donovan. S. 419–420
  • Review by Glen Haydon: The Theory of Classical Greek Music by Fritz A. Kuttner; Robert Conant. S. 421–423
  • Review by Edward T. Cone: Ward – Symphony No. Three; Stein: Three Hassidic Dances by Cincinnati Symphony Orchestra; Thor Johnson; Robert Ward; Stein. S. 423–425
  • Frank C. Campbell: Quarterly Book-List. S. 426–435

Nr. 4

• Leonard G. Ratner: Eighteenth-Century Theories of Musical Period Structure. S. 439–454
• Hans Nathan: Early Banjo Tunes and American Syncopation. S. 455–472
• Philip Keppler, Jr.: Some Comments on Musical Quotation. S. 473–485
• Donald M. McCorkle: John Antes, „American Dilettante“. S. 486–499
• Edward E. Lowinsky: Matthaeus Greiter’s „Fortuna“ – An Experiment in Chromaticism and in Musical Iconography – I. S. 500–519
• Gertrude P. Kurath: Antiphonal Songs of Eastern Woodland Indians. S. 520–526
• William L. Crosten, Kenneth Gaburo, Friedrich Saathen, Konrad Wolff: Current Chronicle. S. 527–538
• Reviews of Books
  • Review by Dragan Plamenac: Der Squarcialupi-Codex Pal. 87 der Biblioteca Laurenziana zu Florenz. Zwei- und dreistimmige italienische Lieder, Ballate, Madrigali und Cacce des vierzehnten Jahrhunderts by Johannes Wolf. S. 539–543
  • Review by Luise Eitel: La Cappella musicale del Duomo di Treviso (1300–1633) by Giovanni d’Alessi. S. 544–546
  • Review by Milton Steinhardt: Monumenta Polyphoniae Liturgicae, Series I, Vol. II, Fasc. 1 by Laurence Feininger; Monumenta Polyphoniae Liturgicae, Series I, Vol. II, Fasc. 2 by Laurence Feininger; Monumenta Polyphoniae Liturgicae, Series I, Vol. II, Fasc. 4 by Laurence Feininger. S. 546–549
  • Review by Frank S. Stillings: Arcangelo Corelli by Mario Rinaldi. S. 549–552
• Reviews of Records
  • Review by Joel Newman: Bach – Works for the Lute: Suite No. 1 in E Minor; Prelude and Fugue in E-Flat; Suite No. 3 in G Minor by Michel Podolski; Bach. S. 553–556
  • Review by Richard F. Goldman: Copland – Piano Concerto, 1926 („Jazz Concerto“). Bloch: Four Episodes for Chamber Orchestra by Leo Smit; Radio Rome Symphony Orchestra; Aaron Copland; Radio Zurich Symphony Orchestra; Thomas Scherman; Copland; Bloch. S. 556–557
  • Review by Henry Leland Clarke: The English Madrigal School, Vol. I by April Cantelo; Eileen McLoughlin; Alfred Deller; Wilfred Brown; Gerald English; Maurice Bevan; Deller Consort; Dowland – Lachrimae by José de Azpiazu; Corrado Romano; Marcelle Rau; Claude Viala; Jacques Dupré; Franz Walter; Dowland. S. 557–560
  • Review by Lester Trimble: Kodaly – Duo for Violin and‚Cello, Op. 7. Sonata for‚Cello and Piano, Op. 4 by Arnold Eidus; Janos Starker; Otto Herz; Kodaly. S. 561
  • Review by Caldwell Titcomb: Locatelli, Torelli, Vivaldi – Four Concertos for Trumpet, Woodwinds and Strings by Huguette Fernandez; Maurice André; J. M. Leclair Instrumental Ensemble; Jean-François Paillard; Locatelli; Torelli; Vivaldi. S. 561–563
  • Review by Henry Leland Clarke: Purcell, Jenkins, and Locke – Music of Henry Purcell, Jenkins, and Locke by Alfred Deller; Gustav Leonhardt; Leonhardt Baroque Ensemble; Consort of Viols; Henry Purcell; Jenkins; Locke; Purcell: Te Deum [and] Jubilate in D; The „Bell Anthem“; O Sing unto the Lord by Old Stone Church Choir (Cleveland); Orchestra of Strings, Trumpets, and Organ; John Reymes King; Purcell. S. 564–567
  • Review by Joel Newman: Renaissance and Baroque Music for Lute and Guitar by Karl Scheit. S. 567–569
  • Review by George Hunter: Thomas Tallis – The Lamentations of Jeremiah the Prophet and Hymns for Alternating Plainsong and Polyphony (Hymns Jesu Salvator saeculi, Deus tuorum militum, O nata lux de lumine, Jam Christus astra ascenderat, Salvator mundi Domine) by The Deller Consort; Alfred Deller; Eileen McLoughlin; Wilfred Brown; Gerald English; Maurice Bevan; John Frost; Thomas Tallis. S. 569–571
  • Frank C. Campbell: Quarterly Book-List. S. 572–578

43. Jg. 1957

Nr. 1

• Alexander L. Ringer: Leon Kirchner. S. 1–20
• Eric Werner: Musical Aspects of the Dead Sea Scrolls – For Curt Sachs on His 75th Birthday. S. 21–37
• James H. Stone: Mid-Nineteenth-Century American Beliefs in the Social Values of Music. S. 38–49
• Mieczyslaw Kolinski: The Determinants of Tonal Construction in Tribal Music. S. 50–56
• Claudio Sartori, Denis Stevens: Organs, Organ-Builders, and Organists in Milan, 1450–1476 – New and Unpublished Documents. S. 57–67
• Edward E. Lowinsky: Matthaeus Greiter’s „Fortuna“ – An Experiment in Chromaticism and in Musical Iconography – II. S. 68–85
• Errata: Matthaeus Greiter’s „Fortuna“ – An Experiment in Chromaticism and in Musical Iconography – I. S. 85
• Paul Henry Lang: Editorial. S. 86–89
• Lester Trimble, Irving Lowens, Donald C. Johns, John S. Weissmann: Current Chronicle. S. 90–110
• Reviews of Books
  • Review by Reginald Smith Brindle: Modernita e Tradizione nella Musica Contemporanea by Roman Vlad. S. 111–112
  • Review by Leo Schrade: Guidonis Aretini Micrologus Corpus Scriptorum de Musica, IV by Jos. Smits van Waesberghe. S. 112–116
  • Review by Gerhard Herz: Fünf echte Bildnisse Johann Sebastian Bachs by Heinrich Besseler. S. 116–122
  • Review by Edward Arthur Lippman: Sound and Symbol – Music and the External World by Victor Zuckerkandl; Willard R. Trask. S. 122–128
• Reviews of Records
  • Review by Karl Geiringer: Bach, C. P. E. – Magnificat in D by Dorothea Siebert; Hilde Rössl-Majdan; Waldemar Kmentt; Hans Braun; Vienna State Opera Orch.; Akademie Choir; Felix Prohaska; Carl Philipp Emanuel Bach. S. 129–130
  • Review by George Rochberg: Elliott Carter – Quartet by Elliott Carter; Walden Quartet of the University of Illinois. S. 130–132
  • Review by Richard F. Goldman: Copland – Twelve Poems of Emily Dickinson; Weisgall: The Stronger by Martha Lipton; Aaron Copland; Adelaide Bishop; Columbia Chamber Orchestra; Alfredo Antonini; Weisgall; Emily Dickinson. S. 132–134
  • Review by Paul Henry Lang: Haydn – The Creation by Irmgard Seefried; Richard Holm; Kim Borg; St. Hedwig’s Cathedral; Berlin Phil. Orch.; Igor Markevitch; Haydn. S. 134–135
  • Review by Henry Cowell: Ives – Twenty-Four Songs by Helen Boatwright; John Kirkpatrick; Charles Ives. S. 136
  • Review by Caldwell Titcomb: Leclair – Four Violin Concertos by Huguette Fernandez; Germaine Raymond; J. M. Leclair Instrumental Ensemble; Jean-François Paillard; Jean-Marie Leclair. S. 136–138
  • Review by Nicolas Slonimsky: Moniuszko – Halka by Antonina Kawecka; Waclaw Dominiecki; Marian Woznicko; Moniuszko Philharmonic Society of Poznan; Walerian Bierdiajew; Moniuszko. S. 138–139
  • Review by Edward T. Cone: Sessions – Second String Quartet; McPhee: Concerto for Piano with Wind Octette Accompaniment by New Music Quartet; Grant Johannesen; Carlos Surinach; McPhee; Roger Sessions. S. 140–142
  • Review by Henry Cowell: Wolpe – Sonata for Violin and Piano; Quartet for Trumpet, Saxophone, Piano, and Percussion; Passacaglia by Frances Manges; David Tudor; Bob Nagel; Al Cohn; Jack Maxin; Al Howard; Stefan Wolpe. S. 142
  • Frank C. Campbell: Quarterly Book-List. S. 143–148

Nr. 2

• Richard Franko Goldman: The Music of Elliott Carter. S. 151–170
• Denis Arnold: Alessandro Grandi, a Disciple of Monteverdi. S. 171–186
• Erich Hertzmann: Mozart’s Creative Process. S. 187–200
• Laurence Picken: Chiang K’uei’s „Nine Songs for Yüeh“. S. 201–219
• David D. Boyden: When Is a Concerto Not a Concerto? S. 220–232
• Felix Greissle, Lester Trimble, Reginald Smith Brindle: Current Chronicle. S. 233–245
• Reviews of Books
  • Review by Mieczyslaw Kolinski: Music in Primitive Culture by Bruno Nettl. S. 246–248
  • Review by Roy Jesson: Archivio Ambrosiano, Vol. VII – Fonti e Paleografia del Canto Ambrosiano by Dom Michel Huglo; Don E. T. Moneta-Caglio. S. 248–254
  • Review by Eta Harich-Schneider: Score of Gagaku, Japanese Classical Court Music by Sukehiro Shiba. S. 254–259
  • Review by Otto Kinkeldey: Essays on Music by Alfred Einstein. S. 259–264
• Reviews of Records
  • Review by Henry Cowell: Bartók – Piano Music by Andor Foldes; Béla Bartók. S. 265–266
  • Review by Edward Downes: Bernstein – Serenade for Violin Solo, Strings and Percussion by Isaac Stern; Symphony of the Air; Leonard Bernstein. S. 266–268
  • Review by Henry Leland Clarke: The English Madrigal School, Vol. II by April Cantelo; Eileen McLoughlin; Alfred Deller; Wilfred Brown; Gerald English; Maurice Bevan; the Deller Consort. S. 268–270
  • Review by Irving Lowens: Gottschalk – The Banjo (Fantaisie Grotesque), Op. 15; The Dying Poet (A Meditation); Souvenir de Porto Rico (Marche des Gibaros); Le Bananier (Chanson Nègre), Op. 5; Ojos Criollos (Danse Cubaine), Op. 37; La Bamboula (Danse des Nègres), Op. 2; The Maiden’s Blush (Grand Valse de Concert); The Last Hope (Méditation Réligieuse), Op. 16; Suis-moi! (Caprice); Pasquinade (Caprice), Op. 59; La Savane (Ballade Créole), Op. 3; Tournament Galop by Eugene List; Louis Moreau Gottschalk. S. 270–273
  • Review by Henry Cowell: Ives – Violin Sonatas Nos. 1–4. Porter: Violin Sonata No. 2 by Rafael Druian; John Simms; Charles Ives; Quincy Porter. S. 273–274
  • Review by Boris Schwarz: Mussorgsky – Sorochintsy Fair by Slovenian National Opera; Samo Hubad; Mussorgsky. S. 274–277
  • Review by Lester Trimble: Persichetti – Symphony No. 4, Op. 51; Gesensway: Four Squares of Philadelphia by Philadelphia Orchestra; Eugene Ormandy; Gesensway; Persichetti. S. 277–278
  • Review by Caldwell Titcomb: South German Baroque Organ Music by Johann Jakob Froberger; Johann Caspar Kerll; Georg Muffat; Johann Pachelbel; Johannes Speth; Conrad Michael Schneider; Franz Anton Maichelbeck; Carlmann Kolb; Walter Kraft; Kurt Stone. S. 279–281
  • Review by Caldwell Titcomb: Vivaldi – Stabat Mater; Monteverdi: Laetatus sum; Frescobaldi: Toccata per l’Elevazione by Giulietta Simionato; Societa del Quartetto; Gino Nucci; Monteverdi; Frescobaldi; Vivaldi. S. 281–283
  • Frank C. Campbell: Quarterly Book-List. S. 284–292

Nr. 3

• Yury Arbatsky: The Soviet Attitude towards Music – An Analysis Based in Part on Secret Archives. S. 295–315
• Otis B. Boise: An American Composer Visits Liszt. S. 316–325
• Colin Mason: The Chamber Music of Milhaud. S. 326–341
• Lewis H. Lockwood: Vincenzo Ruffo and Musical Reform after the Council of Trent. S. 342–371
• Reinhard G. Pauly: The Reforms of Church Music under Joseph II. S. 372–382
• Lester Trimble, Howard E. Smither, Scott Goldthwaite, Reginald Smith Brindle: Current Chronicle. S. 383–402
• Reviews of Books
  • Review by Ernst Krenek: Alban Berg. The Man and His Music by H. F. Redlich. S. 403–406
  • Review by Egon F. Kenton: Giovanni Gabrieli – Opera Omnia, I, Motetta. Concerti (1587). Sacrae Symphoniae (1597) by Denis Arnold; Giovanni Gabrieli. S. 406–411
  • Review by Paul Henry Lang: The Symphonies of Joseph Haydn by H. C. Robbins Landon. S. 411–415
• Reviews of Records
  • Review by Hubert Doris: Cowell – Set of Five, for Violin, Piano, and Percussion. Hovhaness: Kirghiz Suite, for Violin and Piano. Ives: Sonata No. 4 (Children’s Day at the Camp Meeting), for Violin and Piano by Anahid Ajemian; Maro Ajemian; Elden Bailey; Hovhaness; Henry Cowell; Charles Ives; Cowell: Piano Music: Advertisement (1914); The Banshee (1925); Sinister Resonance (1930); Aeolian Harp (1923); The Tides of Manaunaum (1912); Lilt of the Reel (1925); Prelude for Violin and Harpsichord. Pinkham: Concerto for Celesta and Harpsichord; Cantilena and Capriccio for Violin and Harpsichord. Hovhaness: Duet for Violin and Harpsichord by Daniel Pinkham; Edward Low; Robert Brink; Henry Cowell; Hovhaness. S. 416–418
  • Review by Jack Beeson: Egk – French Suite after Rameau. Hartmann: Symphony No. 6 by RIAS Symphony Orchestra of Berlin; Ferenc Fricsay; Egk; Hartmann. S. 418–421
  • Review by Lester Trimble: Piston – Three Pieces. Thompson: Suite. Rieti: Sonata. Jongen: Concerto, Op. 124 by Berkshire Woodwind Ensemble; Louis Speyer; Randall Thompson; Vittorio Rieti; Joseph Jongen; Walter Piston. S. 421–422
  • Review by Lester Trimble: Quincy Porter – Symphony No. 1; Concerto Concertante for Two Pianos and Orchestra; Dance in Three Time by André Terrasse; Jean-Léon Cohen; Orchestre des Concerts Colonne; Quincy Porter. S. 423–424
  • Review by Arthur Berger: Schoenberg – Suite, Op. 29. Canon for String Quartet; Cantata, Op. 28, No. 2. Two Pieces for Piano, Op. 33a and 33b. Three Songs, Op. 48 by Leonard Stein; Robert Craft; Marni Nixon; Craft; Richard Robinson; Charles Scharbach; Stein; Marjory McKay; Schoenberg. S. 424–426
  • Frank C. Campbell: Quarterly Book-List. S. 427–436

Nr. 4

• Gilbert Chase: Alberto Ginastera – Argentine Composer. S. 439–460
• Fidelis Smith: Musicae Sacrae Disciplina – Pius XII’s Encyclical on Sacred Music. S. 461–479
• Donald Mintz: Melusine – A Mendelssohn Draft. S. 480–499
• Bain Murray: New Light on Jacob Obrecht’s Development – A Biographical Study. S. 500–516
• Paul Henry Lang: Editorial. S. 517–526
• Andrew W. Imbrie, Irving Lowens, Lawrence Morton, Alexander L. Ringer: Current Chronicle. S. 527–546
• Reviews of Books
  • Review by David D. Boyden: Aufführungspraxis bei Vivaldi by Walter Kolneder. S. 547–553
  • Review by Edward Arthur Lippman: Emotion and Meaning in Music by Leonard B. Meyer. S. 553–557
  • Review by Otto Kinkeldey: Die Improvisation, in Beispielen aus neun Jahrhunderten abendländischer Musik by Ernest T. Ferand. S. 557–561
• Reviews of Records
  • Review by Halsey Stevens: Berger – Serenade Concertante. Bloch: Chamber Episodes. Britten: Sinfonietta, Op. 1. Pinkham: Concertant for Violin and Harpsichord Soli and String Orchestra with Celesta by Brandeis Festival Orchestra; Izler Solomon; William Masselos; Knickerbocker Chamber Players; Solomon; M-G-M Chamber Ensemble; M-G-M String Ensemble; Robert Brink; Claude Jean Chiasson; Edward Low; Berger; Bloch; Britten; Pinkham. S. 562–563
  • Review by Ernest Brennecke: The Cries of London. Fantasias by Weelkes, Dering, Ravenscroft and Others by The Deller Consort; London Chamber Players; Ambrosian Singers; Alfred Deller. S. 563–566
  • Review by Lawrence Morton: Killmayer – Missa Brevis; Harrison: Mass by New York Concert Choir and Orchestra; Margaret Hillis; Harrison; Killmayer. S. 566–568
  • Review by Hans Tischler: Leoninus and Perotinus Magister – Notre-Dame Organa by Russell Oberlin; Charles Bressler; Donald Perry; Seymour Barab; Saville Clark; Leoninus; Perotinus Magister. S. 568–570
  • Frank C. Campbell: Quarterly Book-List. S. 571–581
• Errata: The Chamber Music of Milhaud. S. 581

44. Jg. 1958

Nr. 1

• Manfred F. Bukofzer: Changing Aspects of Medieval and Renaissance Music. S. 1–18
• Jacob Weinberg: Sergei Ivanovitch Taneiev. S. 19–31
• Martin C. Burton: Mr. Prencourt and Roger North on Teaching Music. S. 32–39
• Ernest T. Ferand: Embellished „Parody Cantatas“ in the Early 18th Century. S. 40–64
• H. Earle Johnson: Young American Abroad. S. 65–75
• John H. Long: Sneak’s „Noyse“ Heard Again? S. 76–81
• Bain Murray, William Bergsma, Paul Henry Lang, Alan Rich, Reginald Smith Brindle: Current Chronicle. S. 82–101
• Reviews of Books
  • Review by Caldwell Titcomb: Corelli – His Life, His Music by Marc Pincherle; Hubert E. M. Russell. S. 102–105
  • Review by John M. Glowacki: Editions of Early Polish Music. Waclaw Z Szamotul (d. c. 1560) – Songs for 4-Voice Choir „A Cappella“ by Zygmunt M. Szweykowski; Stanislaw Wiechowicz; Waclaw Z. Szamotul; Marcin Mielczewski (d. 1651): Canzona a 2, doi Violini e Basso (Organ) by Zygmunt M. Szweykowski; Kazimierz Sikorski; Tadeusz Ochlewski; Marcio Mielczewski; Bartlomiej Pekiel (d. 1670): 40 Pieces for Lute by Maria Szczepanska; Bartlomiej Pekiel; Mikolaj Zielenski (c. 1611): Domus Mea, Communio, ad Cantum Organi per quattuor voces by Maria Szczepanska; Kazimierz Sikorski; Mikolaj Zielenski; Adam Jarzebski (d. 1649): Sentinella, Concerto a 3, 3 Violini e Basso Continuo (Cembalo) by Maria Szczepanska; Kazimierz Sikorski; Adam Jarzebski. S. 106–112
  • Review by Walter E. Buszin: Caspar Othmayr – Ausgewählte Werke. Zweiter Teil – Cantilenae (1546), Epitaphium D. Martini Lutheri (1546), Bicinia (1547?), Tricinia (1549), Einzelne Werke aus verstreuten Quellen by Hans Albrecht; Caspar Othmayr. S. 112–116
  • Review by Sylvia W. Kenney: Denkmäler der Tonkunst in Österreich. Band 90. Niederländische und italienische Musiker der Grazer Hofkapelle Karls II 1564–1590 by Hellmut Federhofer; Robert John. S. 117–120
• Reviews of Records
  • Review by Francis J. Guentner: Festum Mariae Assumptae. Cistercian Chant as Sung by the Choir of St. Joseph’s Abbey by St. Joseph’s Abbey (Spencer, Mass.); Hail, Holy Queen. Selections from the Liturgy of Our Lady Sung by the Trappists of Gethsemani Abbey by Trappists of Gethsemani Abbey (Kentucky). S. 121–122
  • Review by Caldwell Titcomb: Frescobaldi – The Art of Frescobaldi by Gustav Leonhardt; Frescobaldi. S. 123–126
  • Review by Richard Franko Goldman: Hindemith – Symphony in B-Flat for Concert Band; Schoenberg: Theme and Variations, Opus 43 A; Stravinsky: Symphonies of Wind Instruments by Eastman Symphonic Wind Ensemble; Frederick Fennell; Hindemith; Stravinsky; Schoenberg. S. 126–128
  • Review by Halsey Stevens: Lees – String Quartet No. 1; Denny: String Quartet No. 2 by Juilliard Quartet; Benjamin Lees; William Denny. S. 128–129
  • Review by Paul Evans: Troubadour and Trouvère Songs by Russell Oberlin; Seymour Barab. S. 130–132
  • Frank C. Campbell: Quarterly Book-List. S. 133–141
• Erratum. S. 143

Nr. 2

• Marc Pincherle, Isabelle Cazeau: On the Rights of the Interpreter in the Performance of 17th- and 18th-Century Music. S. 145–166
• John Clapham: The Evolution of Dvorak’s Symphony „From the New World“. S. 167–183
• Charles Seeger: Prescriptive and Descriptive Music-Writing. S. 184–195
• Hugh Baillie: Nicholas Ludford (c. 1485-c. 1557). S. 196–208
• Edward Arthur Lippman: The Esthetic Theories of Richard Wagner. S. 209–220
• Paul Henry Lang: Editorial. S. 221–227
• Theodore Chanler, Bain Murray, N. B., Irving Lowens, Denis Stevens, Eric Werner: Current Chronicle. S. 228–244
• Reviews of Books
  • Review by Roy Jesson: Ancient and Oriental Music by Egon Wellesz. S. 245–253
  • Review by Ernest Brennecke: Thomas Tomkins, 1572–1656 by Denis Stevens. S. 253–255
  • Review by Paul Henry Lang: Das Werk Beethovens. Thematisch-Bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen by Georg Kinsky; Hans Halm. S. 255–257
• Reviews of Records
  • Review by Halsey Stevens: Bartok – Violin Concerto by Yehudi Menuhin; Minneapolis Symphony Orchestra; Antal Dorati; Bartok. S. 258–259
  • Review by Edward T. Cone: Berlioz – L’Enfance du Christ by Boston Symphony Orchestra; Charles Munch; Cesare Valletti; Florence Kopleff; Gérard Souzay; Giorgio Tozzi; New England Conservatory Chorus; Lorna Cooke de Varon; Berlioz. S. 259–261
  • Review by Joel Newman: English Keyboard Music from the Tudor Age to the Restoration by Paul Wolfe. S. 261–264
  • Review by Caldwell Titcomb: Monteverdi – Il Ballo delle Ingrate by Alfred Deller; Eileen McLaughlin; April Cantelo; David Ward; The Ambrosian Singers; Denis Stevens; Julian Bream; Desmond Dupré; Denis Vaughan; The London Chamber Players; Monteverdi. S. 264–266
  • Review by Lawrence Morton: Riegger – Romanza; Music for Orchestra. Dance Rhythms. Avshalomov: The Taking of T’ung Kuan. Cazden: Three Ballads from the Catskills by Accademia Nazionale di Santa Cecilia (Rome); Alfredo Antonini; Oslo Philh. Orch.; Antonini; Igor Buketoff; Avshalomov; Cazden; Wallingford Riegger. S. 267–269
  • Review by William Flanagan: Rogers – Once upon a Time. Kennan: Three Pieces for Orchestra. Bergsma: Gold and the Señor Commandante by Eastman-Rochester Symphony Orchestra; Howard Hanson; Rogers; Kennan; Bergsma. S. 269–271
  • Review by Robert Craft: Schoenberg – Verklärte Nacht, Op. 4; Chamber Symphony, Op. 9 by Symphony Orchestra of the Southwest German Radio (Baden-Baden); Jascha Horenstein; Schoenberg. S. 271–273
  • Review by Richard F. Goldman: Stravinsky – Perséphone by Claude Nollier; Nicolai Gedda; Orchestre de La Société des Concerts du Conservatoire; Chorale de l’Université de Paris; André Cluytens; Stravinsky. S. 273–275
  • Review by Ernest Brennecke: Thomas Tomkins – Musica Deo Sacra; Songs and Consort Music by Ambrosian Singers; In Nomine Players; Martindale Sidwell; Denis Stevens; Thomas Tomkins. S. 275–276
  • Frank C. Campbell: Quarterly Book-List. S. 277–286

Nr. 3

• Hans Nathan: The Twelve-Tone Compositions of Luigi Dallapiccola. S. 289–310
• Knud Jeppesen: A Forgotten Master of the Early 16th Century – Gaspar de Albertis. S. 311–328
• John Izon: Italian Musicians at the Tudor Court. S. 329–337
• Konrad Wolff: Johann Samuel Schroeter. S. 338–359
• Paul Henry Lang: Editorial. S. 360–366
• Alan Rich, Andrew W. Imbrie, Frederick Dorian, Irving Lowens, Richard Franko Goldman: Current Chronicle. S. 367–384
• Reviews of Books
  • Review by Milton Steinhardt: Clemens non Papa – Opera Omnia. Tomus I by K. Ph. Bernet Kempers; Clemens non Papa. S. 385–387
  • Review by Glen Haydon: The Notation of Medieval Music by Carl Parrish. S. 388–390
  • Review by Louise Cuyler: Missa Tornacensis by Charles Van den Borren. S. 390–392
  • Review by Joseph Yasser: The Cantillation of the Bible – The Five Books of Moses by Solomon Rosowsky. S. 393–401
• Reviews of Records
  • Review by Henry Cowell: Band Masterpieces – Gossec: Classic Overture; Mendelssohn: Overture for Band; Wagner: Trauersinfonie; Bruckner: Apollo March; Bergsma: March with Trumpets; Grainger: Children’s March „Over the Hills and Far Away“; Schuman: Chester (Overture for Band); E. F. Goldman: Fanfare March by The Goldman Band; Richard Franko Goldman; E. F. Goldman; Gossec; Mendelssohn; Wagner; Bruckner; William Bergsma; William Schuman; Percy Grainger. S. 402–403
  • Review by J. Merrill Knapp: Handel – Solomon by Lois Marshall; Elsie Morison; Alexander Young; John Cameron; Beecham Choral Society; Royal Philharmonic Orch.; Thomas Beecham; Handel. S. 403–405
  • Review by Charles Turner: Hanson – Song of Democracy, for Chorus and Orchestra; Elegy in Memory of My Friend, Serge Koussevitzky, for Orchestra; Lane: Four Songs for Mezzo-Soprano and Orchestra by Patricia Berlin; Eastman-Rochester Symphony Orchestra; Eastman School of Music Chorus; Howard Hanson; Richard Lane. S. 405–406
  • Review by Edward N. Waters: Herbert – Concerto No. 2, in E Minor, for Violoncello and Orchestra, Op. 30; Peter: Sinfonia in G by Georges Miquelle; Eastman-Rochester Symphony Orchestra; Howard Hanson; Herbert; Peter. S. 406–408
  • Review by Charles Turner: Mel Powell – Trio, for Piano, Violin, and‚Cello; Divertimento, for Violin and Harp; Divertimento, for Five Winds by Lucille Burnham; Herbert Sorkin; Ray Schweitzer; Margaret Ross; Murray Karpilovsky; David Weber; Thomas Parshley; Harry Shulman; Elias Carmen; Mel Powell. S. 408–409
  • Review by Douglas Townsend: Sammartini – Symphony in A, for Strings; Sonata in G, for Two Horns and Strings; Symphony in A, for Two Horns and Strings; Sinfonia No. 2 dell’ Academia in C [sic]; Symphony in G, for Trumpets and Strings by Orchestra Accademia dell’Orso; Newell Jenkins; Giovanni Battista Sammartini. S. 409–411
  • Review by Dika Newlin: Schoenberg – Piano Concerto, Op. 42; Violin Concerto, Op. 36 by Alfred Brendel; Wolfgang Marschner; South-West German Radio (Baden-Baden); Michael Gielen; Schoenberg. S. 411–413
  • Review by Klaus Speer: Padre Antonio Soler – Nine Sonatas; Fandango by Frederick Marvin; Padre Antonio Soler. S. 414–416
  • Review by Edward Arthur Lippman: Webern – The Complete Music by Robert Craft; Webern. S. 416–419
  • Frank C. Campbell: Quarterly Book-List. S. 420–427

Nr. 4

• Boris Schwarz: Beethoven and the French Violin School. S. 431–447
• Harold S. Powers: Mode and Raga. S. 448–460
• Howard Shanet: Bizet’s Suppressed Symphony. S. 461–476
• Rembert Weakland: The Beginnings of Troping. S. 477–488
• R. W. Ingram: Operatic Tendencies in Stuart Drama. S. 489–502
• Paul Henry Lang: Editorial. S. 503–510
• Herbert B. Gladstone, Friedrich Saathen, Everett Helm: Current Chronicle. S. 511–523
• Reviews of Books
  • Review by Albert Mell: Paganini the Genoese by G. I. C. de Courcy. S. 524–531
  • Review by William G. Waite: The Worcester Fragments, a Catalogue Raisonné and Transcription by Luther A. Dittmer. S. 531–534
  • Review by Emanuel Winternitz: Marin Mersenne – Harmonie Universelle; The Books on Instruments by Roger E. Chapman; Marin Mersenne. S. 534–540
  • Review by William J. Mitchell: Journal of Music Theory, Vol. I, Nos. 1–2, Vol. II, No. 1; 1957–58. S. 540–542
• Reviews of Records
  • Review by Edward R. Lerner: XIVth and Early XVth Century English Polyphony by Russell Oberlin; Charles Bressler; Gordon Myers; Paul Wolfe. S. 543–544
  • Review by Caldwell Titcomb: Italian Chamber Music – The Sonata, Concerto and Cantata by Tomaso Albinoni; Alessandro Scarlatti; Alessandro Stradella; Giuseppe Torelli; Antonio Vivaldi; Niels Brincker; Ole Kinch; Peter Elbaek; Lis Fagerlund; Magna Svendsen; Bendt Anker; H. Grabow Petersen; Jorgen Ernst Hansen; Societas Musica of Copenhagen. S. 544–546
  • Review by Caldwell Titcomb: Italian Songs for Solo Voice – Works by Giovanni Pietro Berti, Giulio Caccini, Baldassare Donato, Marco da Gagliano, Pietro Domenico Paradisi, Michelangelo Rossi, Claudio Saracini, Alessandro Scarlatti, and Giaches de Wert by Giovanni Pietro Berti; Giulio Caccini; Baldassare Donato; Marco da Gagliano; Pietro Domenico Paradisi; Michelangelo Rossi; Claudio Saracini; Alessandro Scarlatti; Giaches de Wert; Alfred Deller; Desmond Dupre; George Malcolm. S. 546–548
  • Review by Francis J. Guentner: Liturgia Paschalis (The Easter Liturgy). The Gregorian Chants of the Easter Vigil and Easter Mass by Monks of the Benedictine Abbey of St. Martin (Beuron); Maurus Pfaff. S. 549–551
  • Review by William Flanagan: Piston – Woodwind Quintet; Reicha: Woodwind Quintet; Telemann: Overture from Suite in D; Ropartz: Woodwind Quintet by Boston Woodwind Quintet; Walter Piston; Anton Reicha; Guy Ropartz; G. P. Telemann. S. 551–553
  • Review by Klaus Speer: The Music of Salamone Rossi, Hebreo by New York Pro Musica; Noah Greenberg; Salamone Rossi. S. 553–555
  • Review by Lester Trimble: Rubbra – String Quartet No. 2, in E-Flat Major.; Bliss: String Quartet No. 2, in F Minor by Griller String Quartet; Rubbra; Bliss. S. 555–556
  • Review by Philip L. Miller: Schumann – Manfred, Op. 115 by George Rylands; Jil Balcon; Raf de La Torre; Laidman Brown; David Enders; Gertrude Holt; Claire Duchesneau; Niven Miller; Glyndwer Davies; Ian Billington; BBC Chorus; Leslie Woodgate; Royal Philharmonic Orchestra; Thomas Beecham; Schumann. S. 556–558
  • Review by Alan S. Curtis: Telemann – Oboe Concertos in E Minor and D Minor; Violin Concerto in A Minor; Viola Concerto in G Major; Sonata a quattro in A Major by Jelka Krek; André Lardrot; Stefano Passaggio; I Solisti di Zagreb; Antonio Janigro; Telemann. S. 558–560
  • Donald W. Krummel: Quarterly Book-List. S. 561–569

45. Jg. 1959

Nr. 1

• A. E. F. Dickinson: Ralph Vaughan Williams. S. 1–7
• Robert Stevenson: Opera Beginnings in the New World. S. 8–25
• Sylvia W. Kenney: English Discant and Discant in England. S. 26–48
• R. Morgan Longyear: Notes on the Rescue Opera. S. 49–66
• Edmund A. Bowles: The Role of Musical Instruments in Medieval Sacred Drama. S. 67–84
• Paul Henry Lang: Editorial. S. 85–87
• Philip L. Miller, Franklin B. Zimmerman, Irving Lowens, Denis Stevens, Everett Helm, John S. Weissmann: Current Chronicle. S. 88–114
• Reviews of Books
  • Review by Edward R. Lerner: Codex Escorial – Chansonnier by Wolfgang Rehm. S. 115–116
  • Review by Philip L. Miller: Vivaldi, Genius of the Baroque by Marc Pincherle; Christopher Hatch. S. 117–120
  • Review by Paul Henry Lang: Larousse de la Musique by Norbert Dufourcq; Felix Raugel; Armand Machabey. S. 120–123
• Reviews of Records
  • Review by Paul Henry Lang: Archive Production. Bach – Brandenburg Concertos by Bach; Schola Cantorum Basiliensis; August Wenzinger; Archive Production. Bach: Overture No. 2; Overture No. 3 by Bach; Gustav Scheck; Kammermusikkreis Scheck; Solistenvereinigung der Bachwoche Ansbach; Fritz Rieger; Archive Production. Bach: Concertos for Violin: No. 1, in A Minor; No. 2, in E Major; Concerto for Two Violins, in D Minor by Bach; Wolfgang Schneiderhan; Festival Strings Lucerne; Rudolf Baumgartner; Archive Production. Bach: Six French Suites by Bach; Ralph Kirkpatrick; Archive Production. Handel: Four Concertos for Organ, Op. 4, Nos. 1–4 by Handel; Eduard Müller; Schola Cantorum Basiliensis; August Wenzinger; Archive Production. Buxtehude: Five Sacred Cantatas: Herr, nun lässt du deinen Diener; Quemadmodum; Lobe den Herrn; Ich bin eine Blume; Ich suchte des Nachts by Buxtehude; Helmut Krebs; Dietrich Fischer-Dieskau; Strings of the Bach Orchestra (Berlin); Carl Gorvin; Archive Production. Buxtehude: Two Christmas Cantatas: Das neugeborene Kindelein; In dulci jubilo; Two Sacred Cantatas: Laudate Dominum; Schaffe mir, Gott; Sonata in D Major; Suite, Op. 1, in B-Flat Major; Sonata, Op. 2, No. 2, in D Major by Buxtehude; Norddeutscher Singkreis; Gottfried Wolters; Helga Schon; Charlotte Hampe; Angelo Viale; Helma Bemmer; Hanns-Martin Schneidt; Carl Gorvin; Ilse Brix-Meinert; Johannes Koch; Klaus Storck; Walter Gerwig; Instrumental Ensemble of the Archive Production; Lisa Schwarzweller; Archive Production. Buxtehude: Four Spiritual Choral Works: Fürwahr!; Nimm von uns, Herr; Herzlich lieb; Magnificat by Buxtehude; Horst Günter; Norddeutscher Singkreis; Gottfried Wolters; Archive Production. Scheidt: Tabulatura Nova: Da Jesus an dem Kreuze stund; Fantasia super Ich ruf zu dir; Christe, qui lux es; Modus ludendi pleno organo; Kyrie Dominicalis cum Gloria; Benedicamus by Scheidt; Michael Schneider; Hochschule für Musik (Freiburg); Herbert Froitzheim; Archive Production. Vincent Lübeck: Preludes and Fugues in E Major, F Major, and D Minor; Partita, Nun lasst uns Gott dem Herren; Nicolaus Bruhns: Preludes and Fugues in G Major (No. 1) and E Minor (No. 3); Fantasia, Nun komm, der Heiden Heiland by Vincent Lübeck; Nicolaus Bruhns; Hans Heintze; Archive Production. Lully: Dies irae; Psaume 50: Miserere mei Deus by Lully; Bernard Plantey; Jean Mollien; Bernard Cottret; Marcel Couraud; Ethel Sussman; Marie Therese Debliqui; Choir and Orchestra Lamoureux. S. 124–135
  • Quarterly Book-List. S. 136–143

Nr. 2

• J. Merrill Knapp: Handel, the Royal Academy of Music, and Its First Opera Season in London (1720). S. 145–167
• Ralph T. Daniel: Handel Publications in 18th-Century America. S. 168–174
• Hellmuth Christian Wolff, Ernest Sanders, Luise Eitel: Mendelssohn and Handel. S. 175–190
• Stoddard Lincoln: Handel’s Music for Queen Anne. S. 191–207
• Watkins Shaw: Handel’s „Messiah –" A Study of Selected Contemporary Word-Books. S. 208–222
• Paul Henry Lang: Editorial. S. 223–229
• Alexander L. Ringer, Irving Lowens, Karl H. Wörner, Everett Helm: Current Chronicle. S. 230–254
• Reviews of Books
  • Review by Philip L. Miller: Baker’s Biographical Dictionary of Musicians by Nicolas Slonimsky. S. 255–258
  • Review by Joseph Braunstein: Anton Bruckner’s Symphonien by Ilmari Krohn. S. 259–261
  • Review by Caldwell Titcomb: The Sonata in the Baroque Era by William S. Newman. S. 261–265
• Reviews of Records
  • Review by Klaus Liepmann: C. P. E. Bach – Concerto for Organ and Orchestra in E-Flat Major; Soler: Quintet No. 6 in G Minor for Organ and String Quartet by Jean-Marie Leclair Instrumental Ensemble; Jean-François Paillard; Marie-Claire Alain; Huguette Fernandez; Germaine Raymond; Marie-Rose Guiet; Jean Deferrieux; C. P. E. Bach; Soler. S. 266–269
  • Review by Francis J. Guentner: The Play of Daniel by New York Pro Musica; Noah Greenberg. S. 269–272
  • Review by H. Wiley Hitchcock: Michel-Richard Delalande – Motets (Exaltabo Te, Deus Meus Rex, Nisi Dominus) by Michel-Richard Delalande; Edith Selig; Jeannine Collard; André Meurant; Jean-Jacques Lesueur; Xavier Depraz; Philippe Caillard Vocal Ensemble; Jean-Marie Leclair Instrumental Ensemble; Louis Frémaux; Louis Marchand: Cantiques spirituels on Texts of Racine: Sur le bonheur des Justes et les malheurs des Réprouvés, A la louange de la Charité; Michel-Richard Delalande: Sur le bonheur des Justes et les malheurs des Réprouvés by Nadine Sautereau; Jeannine Collard; Michel Hamel; Camille Maurane; Laurence Boulay; Jean-Marie Leclair Instrumental Ensemble; Louis Frémaux; Louis Marchand; Michel-Richard Delalande. S. 272–275
  • Review by Paul Henry Lang: Handel – Semele by William Herbert; George Pragnell; John Whitworth; George James; Robert Ellis; Anna Polak; Brenda Griffith; Jennifer Vyvyan; Helen Watts; The Saint Anthony Singers; The New Symphony Orchestra of London; Thurston Dart; Anthony Lewis; Handel. S. 275–285
  • Donald W. Krummel: Quarterly Book-List. S. 286–292
• Addendum: Current Chronicle. S. 292

Nr. 3

• Henry Leland Clarke: The Abuse of the Semitone in Twelve-Tone Music. S. 295–301
• Franklin Zimmerman: A Newly Discovered Anthem by Purcell. S. 302–311
• Artur Holde, Johannes Brahms, Joseph Joachim, Willis Wager: Suppressed Passages in the Brahms-Joachim Correspondence Published for the First Time. S. 312–324
• Irving Lowens: The „Touch-Stone“ (1728) – A Neglected View of London Opera. S. 325–342
• Alice Anderson Hufstader: Beethoven’s „Irische Lieder“ – Sources and Problems. S. 343–360
• Henry G. Mishkin, Giovanni Battista Sammartini: The Published Instrumental Works of Giovanni Battista Sammartini – A Bibliographical Reappraisal. S. 361–374
• Elliott Carter, Richard F. Goldman, Irving Lowens, Reginald Smith Brindle: Current Chronicle. S. 375–392
• Reviews of Books
  • Review by Reginald Smith Brindle: Storia della dodecafonia by Roman Vlad; Strawinsky by Roman Vlad. S. 393–395
  • Review by Jan LaRue: Johan Helmich Roman – Assaggi à violino solo by Johan Helmich Roman; Ingmar Bengtsson; Lars Frydén. S. 395–397
  • Review by Jan LaRue: J. H. Roman och hans Instrumentalmusik by Ingmar Bengtsson. S. 397–399
  • Review by Hans Tischler: A Central Source of Notre-Dame Polyphony by Luther Dittmer. S. 399–402
  • Review by Jacques Barzun: Bizet and His World by Mina Curtiss. S. 402–405
  • Review by Henry Leland Clarke: Songs and Dances for the Stuart Masque by Andrew J. Sabol. S. 405–409
  • Review by George W. Mulder: The Organ Music of Jan Pieterszoon Sweelinck by Robert L. Tusler; Jan Pieterszoon Sweelinck. S. 409–412
  • Review by Paul Henry Lang: Tassilone. Tragedia per Musica in 5 Atti by Stefano Benedetto Pallavicini; Agostino Steffani; Gerhard Croll. S. 412–417
• Reviews of Records
  • Review by Paul Henry Lang: Buxtehude – Complete Organ Works by Alf Linder; Buxtehude. S. 418–425
  • Review by Edward R. Lerner: The Music of Guillaume Dufay by Dessoff Choirs; Paul Boepple; Leslie Chabay; Josef Marx; Carolyn Voigt; Sylvia Deutscher; Sterling Hunkins; Guillaume Dufay. S. 425–427
  • Review by Paul Henry Lang: Vivaldi – Five Oboe Concertos by Alberto Caroldi; Gli Accademici di Milano; Piero Santi; Vivaldi; Vivaldi: Four Bassoon Concertos by Virginio Bianchi; Gli Accademici di Milano; Piero Santi; Vivaldi. S. 427–428
  • Donald W. Krummel: Quarterly Book-List. S. 429–437

Nr. 4

• Vernon Gotwals: The Earliest Biographies of Haydn. S. 439–459
• Karl Geiringer: The Small Sacred Works by Haydn in the Esterhazy Archives at Eisenstadt. S. 460–472
• Luiz Heitor Correa de Azevedo: Sigismund Neukomm, an Austrian Composer in the New World. S. 473–483
• Hugo Weisgall: The Music of Henry Cowell. S. 484–507
• Ruth Hannas: Gounod and Alfred William Phillips. S. 508–514
• Paul Henry Lang: Editorial. S. 515–523
• Frederick Dorian, William Mann, Elliott Carter: Current Chronicle. S. 524–541
• Reviews of Books
  • Review by Sidney Robertson Cowell: The Traditional Tunes of the Child Ballads, with Their Texts, according to the Extant Records of Great Britain and America. Volume I, Ballads 1 to 53 by Bertrand Harris Bronson. S. 542–546
  • Review by Frederick W. Sternfeld: Orlando di Lasso und seine Zeit – 1532–1594: Repertoire-Untersuchungen zur Musik der Spätrenaissance. Band I: Monographie by Wolfgang Boetticher. S. 546–549
  • Review by Francis J. Guentner: Études Grégoriennes by Joseph Gajard. S. 550–559
  • Review by Paul Henry Lang: Die ungarische Volksmusik by Zoltán Kodály. S. 559–562
  • Review by Paul Henry Lang: Riemann Musik Lexikon. Vol. I, Personenteil A-K by Wilibald Gurlitt. S. 563–566
• Reviews of Records
  • Review by Nicolas Slonimsky: New Soviet Music on Records. S. 567–569
  • Review by Nicolas Slonimsky: Chaikin – Concerto for Accordion in B-Flat Major. Shishakov: Concerto for Balalaika and Orchestra of Folk Instruments. Gorodovskaya: Suite for Orchestra of Folk Instruments; Vitolyn: Village Polka by Yuri Kazakov; Symphony Orch. of the Moscow Region; Veronika Dudarova; Mikhail Rozhkov; State Radio Orchestra of Folk Instruments of the U. S. S. R.; Victor Smirnov; Nikolai Chaikin; Yuri Shishakov; Vera Gorodovskaya; Yan Vitolyn. S. 569–570
  • Review by Nicolas Slonimsky: Glière – Concerto for Voice and Orchestra. Pakhmutova: Concerto in E-Flat Minor for Trumpet and Orchestra. Manevich: Concerto for Clarinet and Orchestra. Gordeli: Concerto in D Major for Flute and Orchestra by Valentina Maksimova; Leningrad Philharmonic Orch.; Eduard Grikurov; Sergei Popov; State Radio Orch.; Eugene Svetlanov; Isaac Roginsky; Nikolai Rabinovich; Alexander Korneyev; Reinhold Glière; Alexandra Pakhmutova; Alexander Manevich; Otar Gordeli. S. 570–571
  • Review by Nicolas Slonimsky: Kabalevsky – The Comedians. Vassilenko: Suite on Chinese Themes; Tchaikovsky: Sinfonietta for String Orchestra; Vlassov: Rhapsody on Rumanian Themes by Moscow Philharmonic; Dmitri Kabalevsky; State Radio Orch. of the U. S. S. R.; Alexander Gauk; Kabalevsky; Sergey Vassilenko; Boris Tchaikovsky; Vladimir Vlassov. S. 571–572
  • Review by Nicolas Slonimsky: Karayev – Seven Beauties Ballet by Leningrad Maly Theater; Eduard Grikurov; Kara Karayev. S. 572
  • Review by Nicolas Slonimsky: Karlowicz – Violin Concerto in a Major, Op. 8. Machavariani: Violin Concerto by Galina Barinova; State Symphony Orch. of the U. S. S. R.; Kiril Kondrashin; Mikhail Vaiman; State Radio Orch. of the U. S. S. R.; Odyssei Dmitriadi; Mieczyslaw Karlowicz; Alexei Machavariani. S. 573
  • Review by Nicolas Slonimsky: Khrennikov – Symphony No. 1, in B-Flat Minor, Op. 4. Vassilenko: Piano Concerto in F-Sharp Minor, Op. 128 by State Radio Orch. of the U. S. S. R.; Alexander Gauk; Yakov Zak; Sergey Vassilenko; Tikhon Khrennikov. S. 573–574
  • Review by Nicolas Slonimsky: Ovsianiko-Kulikovsky – Symphony No. 21, in G Major. Vainberg: Serenade for Orchestra, Op. 47, No. 4 by Leningrad Philharmonic Orch.; Eugene Mravinsky; State Radio Orch.; Alexander Gauk; Nikolai Ovsianiko-Kulikovsky; Moysey Vainberg. S. 574–575
  • Review by Nicolas Slonimsky: Rakov – Symphony No. 1 by Moscow State Philharmonic Orch.; Nikolai Rakov; Rakov: Violin Concerto in E Minor. Scriabin: Étude, Op. 8, No. 11; Khatchaturian: Chant-Poème; Rakov: Poem in E Minor; C. P. E. Bach-Kreisler: Grave; Mozart-Kreisler: Rondo in G Major by Igor Oistrakh; State Radio Orch. of the U. S. S. R.; Nikolai Rakov; Inna Kollegorskaya; Scriabin; Khatchaturian; Mozart-Kreisler; C. P. E. Bach-Kreisler. S. 575–576
  • Review by Nicolas Slonimsky: Taktakishvili – Piano Concerto in C Minor. Gordeli: Piano Concerto in C Minor by Alexander Iokheles; State Orch. of the U. S. S. R.; Abram Stassevich; Iokheles; State Radio Orch. of the U. S. S. R.; Alexander Gauk; Otar Taktakishvili; Gordeli. S. 576–577
  • Review by Nicolas Slonimsky: Tchaikovsky – Concert Fantasy, Op. 56. Babajanian: Heroic Ballad by Tatiana Nikolayeva; State Orch. of the U. S. S. R.; Kiril Kondrashin; Arno Babajanian; State Radio Orch.; Nathan Rachlin; Tchaikovsky. S. 577
  • Review by Nicolas Slonimsky: Tsintsadze – Suite from the Dragon-Fly. Vainberg: Suite from the Tiger Tamer. Mshvelidze: Samaya. Lagidze: Sachidao by Georgian Radio Symphony Orch.; Zakhari Khorodze; Grigori Stolyarov; Shalva Azmaiparashvili; Sulkhan Tsintsadze; Moysey Vainberg; Shalva Mshvelidze; Revaz Lagidze. S. 577–578
  • Donald W. Krummel: Quarterly Book-List. S. 579–584

46. Jg. 1960

Nr. 1

• Paul Chancellor: British Bards and Continental Composers. S. 1–11
• Nicolas Slonimsky: The Weather at Mozart’s Funeral. S. 12–21
• Michael Tilmouth: Nicola Matteis. S. 22–40
• Donald W. MacArdle: Minor Beethoveniana II. S. 41–55
• Edward R. Lerner, Alexander Agricola: The „German“ Works of Alexander Agricola. S. 56–66
• Arthur Mendel: A Brief Note on Triple Proportion in Schuetz. S. 67–70
• Richard Franko Goldman, Irving Lowens, Karl H. Wörner, Reginald Smith Brindle, Everett Helm: Current Chronicle. S. 71–94
• Reviews of Books
  • Review by Konrad Wolff: Schubert, a Critical Biography by Maurice J. E. Brown. S. 95–102
  • Review by Alexander Main: Constantius Festa – Hymni per Totum Annum by Glen Haydon; Constantius Festa. S. 102–105
  • Review by Mieczyslaw Kolinski: Studies in African Music by A. M. Jones. S. 105–110
  • Review by Sylvia W. Kenney: The Eton Choirbook. Vol. I by Frank Ll. Harrison; The Eton Choirbook. Vol. II by Frank Ll. Harrison. S. 110–113
• Reviews of Records
  • Review by H. Wiley Hitchcock: Marc-Antoine Charpentier – Orphée descendant aux enfers, Trio des grotesques, Trio des rieurs by Jean Giraudeau; Jacques Pruvost; Louis Noguera; Françoise Petit; Louis Martini; Marc-Antoine Charpentier; Marc-Antoine Charpentier: Lamentations pour les obsèques de la reine Marie-Thérèse; Andre Campra: Psaume 53 by Martha Angelici; Andrée Esposito; Jeannine Collard; Solange Michel; Michel Sénéchal; Jean Giraudeau; Jacques Pruvost; Louis Noguera; Henriette Roget; Chorale des Jeunesses Musicales de France; Louis Martini; Andre Campra; Marc-Antoine Charpentier; Marc-Antoine Charpentier: Le Reniement de Saint-Pierre; Charles-Hubert Gervais: Te Deum by Martha Angelici; Solange Michel; Jeannine Collard; Michel Sénéchal; Jean Giraudeau; Louis Noguera; Henriette Roget; Françoise Petit; Chorale des Jeunesses Musicales de France; Louis Martini; Charles-Hubert Gervais; Marc-Antoine Charpentier. S. 114–118
  • Review by Paul Henry Lang: Dussek – Sonata in F-Sharp Minor, Op. 61; Sonata in C, for Four Hands, Op. 32; Sonata in B-Flat, Op. 45, No. 1; Sonatina in F, Op. 20, No. 3 by Heida Hermanns; Ruth Stoneridge; Dussek. S. 118–120
  • Review by Ingolf Dahl: Imbrie – String Quartets Nos. 2 and 3 by California Quartet; Walden Quartet; Imbrie. S. 120–122
  • Review by Paul Henry Lang: Marcello – Psalm XVIII, I Cieli immensi narrane; Psalm XV, Signor, da l’empia gente by Wanda Madonna; Nino Adami; Roberto Caruana; Polyphonic Chorus of Turin; Angelicum Orchestra of Milan; Aladar Janes; Marcello; Carissimi: Judicium extremum; Suscitavit Dominus; Militia est hominis by Nino Adami; Giuliano Ferrein; Polyphonic Chorus of Turin; Angelicum Orchestra of Milan; Aladar Janes; Carissimi. S. 122–124
  • Review by Richard Franko Goldman: Prokofiev – The Flaming Angel, Opera in Five Acts, Op. 37 by Jane Rhodes; Xavier Depraz; Irma Kolassi; Janine Collard; Jean Giraudeau; Radiodiffusion-Télévision Française; Théâtre National de l’Opéra de Paris; Charles Bruck; Prokofiev. S. 124–127
  • Review by Paul Henry Lang: Rameau – Platée by Janine Micheau; Nadine Sauterau; Monique Linval; Christiane Castelli; Michel Sénéchal; Nicolai Gedda; Jean Christophe Benoit; Jacques Jansen; Huc Santana; Robert Tropin; Aix-en-Provence Festival; Société des Concerts du Conservatoire; Hans Rosbaud; Rameau. S. 127–130
  • Review by Paul Henry Lang: Viotti – Quartet in B-Flat; Quartet in G by The Baker String Quartet; Israel Baker; Arnold Belnick; Alexander Neiman; Armand Kaproff; Giambattista Viotti. S. 130–133
  • Review by H. Wiley Hitchcock: Marcantonio Ziani – Il Sepolcro by Luciana Pio-Fumagalli; Laura Zanini; Aldo Bertocci; Angelicum Orchestra of Milan; Bruno Maderna; Marcantonio Ziani. S. 133–134
  • Donald W. Krummel: Quarterly Book-List. S. 135–142

Nr. 2

• Paul Henry Lang: Editorial. S. 145–154
• Paul Fromm: The Princeton Seminar – Its Purpose and Promise. S. 155–158
• Roger Sessions: Problems and Issues Facing the Composer Today. S. 159–171
• Edward T. Cone: Analysis Today. S. 172–188
• Elliott Carter: Shop Talk by an American Composer. S. 189–201
• Vladimir Ussachevsky: Notes on „A Piece for Tape Recorder“. S. 202–209
• Ernst Krenek: Extents and Limits of Serial Techniques. S. 210–232
• Allen Forte: Bartok’s „Serial“ Composition. S. 233–245
• Milton Babbitt: Twelve-Tone Invariants as Compositional Determinants. S. 246–259
• Richard Franko Goldman, Irving Lowens, Karl H. Wörner: Current Chronicle. S. 260–275
• Donald W. Krummel: Quarterly Book-List. S. 276–281

Nr. 3

• Arthur Mendel: Recent Developments in Bach Chronology. S. 283–300
• Marcel Dietschy, Edward Lockspeiser: The Family and Childhood of Debussy. S. 301–314
• David D. Boyden: The Missing Italian Manuscript of Tartini’s „Traite des Agremens“. S. 315–328
• Martin Picker: Three Unidentified Chansons by Pierre de la Rue in the „Album de Marguerite d’Autriche“. S. 329–343
• Claude V. Palisca: Vincenzo Galilei and Some Links between „Pseudo-Monody“ and Monody. S. 344–360
• Richard Franko Goldman, Elliott Carter, Eugenia Saville: Current Chronicle. S. 361–380
• Reviews of Books
  • Review by Everett Helm: Variationen ueber neue Musik by Winfried Zillig. S. 381–383
  • Review by Sylvia W. Kenney: Robert Carver – Collected Works. Vol. I. Motets: O bone Jesu; Gaude flore virginali by Denis Stevens; Robert Carver. S. 383–386
  • Review by Jerzy S. Golos: Music of the Polish Renaissance by Jozef M. Chominski; Zofia Lissa. S. 386–390
  • Review by Austin Clarkson: Jacobus Clemens non Papa – Opera Omnia, Vol. VI. Missae Pastores quidnam vidistis, Caro mea, J’ay veu le cerf by K. Ph. Bernet Kempers; Jacobus Clemens non Papa; Jacobus Clemens non Papa: Opera Omnia, Vol. VII. À la fontaine du prez, Quam pulchra es, Panis quem ego dabo, Or combien est by K. Ph. Bernet Kempers; Jacobus Clemens non Papa. S. 390–393
  • Review by Joel Newman: Miss Mary Burwell’s Instruction Book for the Lute by Thurston Dart. S. 393–395
• Reviews of Records
  • Review by Richard Franko Goldman: Chavez – Sinfonia India (Symphony No. 2); Sinfonia de Antigona (Symphony No. 1); Sinfonia Romantica (Symphony No. 4) by Stadium Symphony Orchestra of New York; Carlos Chávez; Chávez. S. 396–397
  • Review by F. Mark Siebert: Elizabethan and Jacobean Ayres, Madrigals and Dances by New York Pro Musica; Noah Greenberg. S. 397–398
  • Review by David D. Boyden: Locatelli – Concerti Grossi, Op. 1: No. 8, in F Minor; No. 9, in D Major; No. 11, in C Minor; No. 12, in G Minor by I Musici; Pietro Locatelli. S. 399–405
  • Review by Caldwell Titcomb: Pachelbel – The Seven Chorale-Partitas by Robert Owen; Pachelbel. S. 405–407
  • Review by Henry Leland Clarke: Purcell – Welcome to All the Pleasures (Ode on St. Cecilia’s Day, 1683); Blow: Mark How the Lark and Linnet Sing (Ode on the Death of Henry Purcell) by April Cantelo; Eileen McLoughlin; Gerald English; Owen Grundy; Maurice Bevan; Walter Bergmann; Kalmar Orchestra of London; Alfred Deller; John Whitworth; Richard Taylor; Anna Shuttle; Henry Purcell; Blow; Christopher Taylor. S. 408–410
  • Review by Caldwell Titcomb: Telemann – Oboe Concertos in E Minor and D Minor; Viola Concerto in G Major; Violin Concerto in A Minor; Sonata a quattro in A Major by André Lardrot; Stefano Passaggio; Jelka Krek; I Solisti di Zagreb; Antonio Janigro; Georg Philipp Telemann. S. 410–413
  • Review by Robert Stevenson: Victoria – Missa pro defunctis (1583) by Abbey of Mount Angel; David Nicholson; Portland Symphonic Choir; C. Robert Zimmerman; Victoria. S. 414–415
  • Donald W. Krummel: Quarterly Book-List. S. 416–423

Nr. 4

• Stanley Sadie: The Chamber Music of Boyce and Arne. S. 425–436
• George S. Golos: Some Slavic Predecessors of Chopin. S. 437–447
• Daniel Heartz: Parisian Music Publishing under Henry II – A Propos of Four Recently Discovered Guitar Books. S. 448–467
• Zdenek Vyborny, Willis Wager: Paganini as Music Critic. S. 468–481
• Clyde H. Thompson: Marin Marais’s Pieces de Violes. S. 482–499
• David Lloyd-Jones: Borodin in Heidelberg. S. 500–508
• Karl H. Wörner, George Perle, John S. Weissmann: Current Chronicle. S. 509–535
• Reviews of Books
  • Review by Ernest T. Ferand: Morley – The First Book of Consort Lessons, 1599 & 1611 by Sydney Beck. S. 536–543
  • Review by Margaret E. Lyon: Robert Fayrfax – Collected Works. I. The Masses by Edwin B. Warren. S. 543–546
• Reviews of Records
  • Review by Richard Franko Goldman: Arias, Anthems and Chorales of the American Moravians, 1760–1860, Vol. I by Ilona Kombrink; Aurelio Estanislao; The Moravian Festival Chorus and Orchestra; Thor Johnson. S. 547–548
  • Review by Richard F. French: Franchetti – Three Italian Masques (Concertino for Piano, Brass, Percussion, and Bass) Johnson: Trio for Flute, Oboe, and Piano by Raymond Hanson; Samuel Baron; Julius Baker; Robert Bloom; Douglas Nordli; Franchetti; Johnson; Ruggles: Organum. Moore: In Memoriam. Ward: Symphony No. 2 by Japan Philh. Orch.; Akeo Watanabe; Japan Philh. Symph. Orch.; William Strickland; Ruggles; Moore; Ward; Copland: Dance Symphony. Stevens: Symphony No. 1 by Japan Philh. Symph. Orch.; Akeo Watanabe; Copland; Stevens; Cowell: Music 1957. Kelly: Symphony No. 2 by Japan Philh. Orch.; Akeo Watanabe; Cowell; Kelly; Hovhaness: Mediation on Orpheus. Wood: Poem for Orchestra. Keller: Symphony No. 3 by Japan Philh. Symph. Orch.; William Strickland; Asahi Orch. of Tokyo; Richard Korn; Wood; Hovhaness; Keller; Vivian Fine: Concertante for Piano and Orchestra. Franco: Symphony No. 5, „The Cosmos." by Reiko Honsho; Japan Philh. Symph. Orch.; Akeo Watanabe; North Holland Philh. Orch.; Henri Arends; Vivian Fine; Franco; Layton: String Quartet in Two Movements. Moevs: Sonata per Pianoforte by Claremont String Quartet; Joseph Bloch; Layton; Moevs. S. 548–556
  • Review by Albert Mell: Paganini – Cantabile and 6 Sonatas (Centone di Sonate) for Violin and Guitar by Fredy Ostrovsky; Ernest Calabria; Paganini. S. 557–559
  • Donald W. Krummel: Quarterly Book-List. S. 560–567

47. Jg. 1961

Nr. 1

• Richard Franko Goldman: Aaron Copland. S. 1–3
• Boris Schwarz: Beethoveniana in Soviet Russia. S. 4–21
• Robert E. Moore: The Music to „Macbeth“. S. 22–40
• Kurt von Fischer, Joel Newman: On the Technique, Origin, and Evolution of Italian Trecento Music. S. 41–57
• H. Wiley Hitchcock: The Instrumental Music of Marc-Antoine Charpentier. S. 58–72
• Alice Anderson Hufstader: Musical References in Blue-Stocking Letters. S. 73–90
• Paul Henry Lang: Editorial. S. 91–96
• Richard Franko Goldman, Alexander L. Ringer, George Rochberg: Current Chronicle. S. 97–105
• Reviews of Books
  • Review by Janet Knapp: Les Chansons a la Vierge de Gautier de Coinci by Jacques Chailley. S. 106–111
  • Review by Leonard Ellinwood: The Church Music of William Billings by J. Murray Barbour. S. 111–113
  • Review by Willard Rhodes: An Introduction to Folk Music in the United States by Bruno Nettl. S. 113–115
  • Review by Richard H. Hoppin: Ars Nova and the Renaissance 1300–1540 (New Oxford History of Music, Vol. III) by Anselm Hughes; Gerald Abraham. S. 116–125
  • Review by Charles Jones: Copland on Music by Aaron Copland. S. 125–127
• Reviews of Records
  • Review by Paul Henry Lang: Clementi – Trios, Nos. 1, 2, 3, 6; Op. 32, Nos. 1, 2 by Trio di Bolzano; Clementi. S. 128–131
  • Review by Richard Franko Goldman: Dallapiccola – Five Fragments of Sappho; Two Anacreon Songs; Goethe-Lieder; Christmas Concerto; Five Songs by Elisabeth Soederstroem; Frederick Fuller; Luigi Dallapiccola; Frederick Prausnitz. S. 131–132
  • Review by Paul Henry Lang: De Grigny – Organ Music of the French Baroque by Robert Lodine; De Grigny. S. 132–133
  • Review by Richard Franko Goldman: Varèse – Ionisation; Density 21.5; Intégrales; Octandre; Hyperprism; Poème Electronique by Robert Craft; Varèse. S. 133–134
  • Review by Vincent Persichetti: Robert Wykes – Four Studies for Piano. Sonata for Flute and Piano. Concerto for Eleven Instruments. Four American Indian Lyrics for A Cappella Choir by William Schatzkammer; Albert Tipton; Mary Norris; Washington Univ. Chamber Orch.; Leigh Gerdine; Washington Univ. Choir; Donn Weiss; Robert Wykes; Morton Feldman: Extensions 1 for Violin and Piano; Structures for String Quartet; Projection 4 for Violin and Piano; Extensions 4 for Three Pianos; Intersection 3 for Piano; Two Pieces for Two Pianos; Three Pieces for String Quartet; Piece for Four Pianos by David Tudor; Russell Sherman; Edwin Hymovitz; Matthew Raimondi; Joseph Rabushka; Walter Trampler; Seymour Barab; Morton Fledman. S. 134–137
  • Donald W. Krummel: Quarterly Book-List. S. 138–144

Nr. 2

• Friedrich Blume, Nathan Broder: Requiem but No Peace. S. 147–169
• Edward N. Waters: Chopin by Liszt. S. 170–194
• Arthur Hutchings: The English Concerto with or for Organ. S. 195–206
• Erwin R. Jacobi, Willis Wager: G, F. Nicolai’s Manuscript of Tartini’s „Regole per ben suonar il Violino“. S. 207–223
• Paul Henry Lang: Editorial. S. 224–232
• Richard Franko Goldman, Denis Stevens, Karl H. Wörner, Reginald Smith Brindle: Current Chronicle. S. 233–255
• Reviews of Books
  • Review by Egon Kenton: Giovanni Gabrieli – Opera Omnia, II. Motetta. Sacrae Symphoniae (1597) by Denis Arnold; Giovanni Gabrieli. S. 256–263
  • Review by Boris Schwarz: Prokofiev by Israel V. Nestyev; Florence Jonas. S. 263–270
  • Review by Paul Henry Lang: Archiv für Musikwissenschaft. Festheft Wilibald Gurlitt zum siebzigsten Geburtstag. S. 270–273
• Reviews of Records
  • Review by Paul Henry Lang: Johann Christian Bach – Sinfonia in B-Flat Major, Op. 18, No. 2; Sinfonia in D Major, Op. 18, No. 4 by Concertgebouw Orch. of Amsterdam; Eduard van Beinum; Johann Christian Bach; Johann Christian Bach: Sinfonia for Double Orchestra, Op. 18, No. 1 by Philadelphia Orch.; Eugene Ormandy; Johann Christian Bach. S. 274–277
  • Review by Paul Henry Lang: Gluck – Der betrogene Kadi by Salzburger Mozarteum; Bernhard Paumgartner; Gluck. S. 277–279
  • Review by Richard Franko Goldman: Janacek – Concertino for Piano and Orchestra; Honegger: Concertino for Piano and Orchestra; Stravinsky: Concerto for Piano and Wind Orchestra by Walter Klein; Pro Musica Orchestra (Vienna); Heinrich Hollreiser; Janáček; Stravinsky; Honegger. S. 279–280
  • Review by Elias Dann: Vivaldi – La Cetra, Op. 9 by Paul Makanowitzky; Vienna State Opera; Vladimir Golschmann; Vivaldi. S. 280–282
  • Review by Vincent Persichetti: Dag Wirén – String Quartet No. 4. Bo Nilsson: Quantitäten. Sven Erik Bäck: Sonata for Solo Flute. Ingvar Lidholm: Canto LXXXI by Kyndelkvartetten; David Tudor; Alf Andersen; Kammarkören; Sven Erik Bäck; Dag Wirén; Bo Nilsson; Ingvar Lidholm. S. 282–284
  • Carroll D. Wade: Quarterly Book-List. S. 285–290

Nr. 3

• Maurice J. E. Brown: Schubert – Discoveries of the Last Decade. S. 293–314
• Denis Stevens: Where Are the Vespers of Yesteryear? S. 315–330
• Vernon Gotwals: Joseph Haydn’s Last Will and Testament. S. 331–353
• Bruno Nettl: Polyphony in North American Indian Music. S. 354–362
• Robert L. Weaver: Sixteenth-Century Instrumentation. S. 363–378
• William Schuman: The Compleat Musician – Vincent Persichetti and Twentieth-Century Harmony. S. 379–385
• Benjamin Boretz, Richard Franko Goldman, Robert Erich Wolf: Current Chronicle. S. 386–407
• Reviews of Books
  • Review by Austin Clarkson: A History of Music in Canada 1534–1914 by Helmut Kallman. S. 408–411
  • Review by Robert Stevenson: Francisco Guerrero – Opera Omnia, II (Canciones y villanescas espirituales [Venice, 1589], Part 2) by Vicente García; Miguel Querol Gavaldá; Francisco Guerrero. S. 411–413
  • Review by Robert Erich Wolf: Atlas Historique de la Musique by Paul Collaer; Albert Vander Linden. S. 413–416
  • Review by Richard H. Hoppin: Johannes Ciconia. Un Musicien Liégeois et son Temps by Suzanne Clercx. S. 416–420
  • Review by Bertrand H. Bronson: The Folk Songs of North America in the English Language by Alan Lomax. S. 420–423
• Reviews of Records
  • Review by Richard Franko Goldman: Concert Percussion for Orchestra. Music of Amadeo Roldán, Lou Harrison, William Russell, Henry Cowell, and John Cage by The Manhattan Percussion Ensemble; Paul Price; John Cage; Concert Percussion for Orchestra; Amadeo Roldán; Lou Harrison; William Russell; Henry Cowell. S. 424–425
  • Review by Paul Henry Lang: Musica Antiqua Bohemica – Vol. 5: Jan Antonín Koželuh: Concerto for Bassoon; Antonín Fils: Concerto for Flute. Vol. 6: Czech Organ Works by Karel Pivonka; Oldřich Slavíček; Prague Symphony Orch.; Václav Smetáček; Musica Antiqua Bohemica; Dvořák: Serenade in D Minor, Op. 44 by Boston Woodwind Ensemble; Eric Simon; Dvořák. S. 425–431
  • Carroll D. Wade: Quarterly Book-List. S. 432–436

Nr. 4

• Edward T. Cone: Music – A View from Delft. S. 439–453
• Alexander L. Ringer: Clementi and the „Eroica“. S. 454–468
• Miloš Velimirović, Franz Liszt: Lisztiana, with Three Unpublished Letters. S. 469–480
• Harold S. Powers: Il Serse Trasformato – I. S. 481–492
• Barry S. Brook: The „Symphonie Concertante“ – An Interim Report. S. 493–516
• William S. Newman: Kirnberger’s „Method for Tossing Off Sonatas“. S. 517–525
• Francis D. Perkins, J. F. Goossen, Irving Lowens, H. H. Stuckenschmidt: Current Chronicle. S. 526–539
• Reviews of Books
  • Review by Edward A. Lippman: International Musicological Society. Report of the Eighth Congress, New York 1961. Volume I – Papers by Jan LaRue. S. 540–544
  • Review by George Perle: Since Debussy – A View of Contemporary Music by André Hodeir. S. 544–548
  • Review by Philip L. Miller: A History of Song by Denis Stevens. S. 549–552
  • Review by Miloš M. Velimirović: The Hymns of the Pentecostarium by H. J. W. Tillyard. S. 552–554
  • Review by Kenneth Levy: Monumenta Musicae Byzantinae, Principal Series, Vol. VI – Contacarium Paleoslavicum Mosquense by Arne Bugge; Monumenta Musicae Byzantinae, Subsidia, Vol. IV: Byzantine Elements in Early Slavic Chant by Miloš M. Velimirović. S. 554–558
• Reviews of Records
  • Review by Richard Franko Goldman: Boulez – Le Marteau sans Maître. Stockhausen: Zeitmasse by Margery McKay; Robert Craft; Boulez; Stockhausen. S. 559–560
  • Review by Charles Jacobs: Fauré – Complete Works for Piano, Vol. 1 by Grant Johannesen; Fauré. S. 560–562
  • Review by Cecil Isaac: Josquin des Prez – Missa Pange lingua, Motets, and Instrumental Pieces by New York Pro Musica Motet Choir; Wind Ensemble; Noah Greenberg; Josquin des Prez. S. 562–565
  • Review by Paul Henry Lang: Vivaldi – Concertos and Chamber Music by New York Sinfonietta; Max Goberman; Vivaldi. S. 565–575
  • Carroll D. Wade: Quarterly Book-List. S. 576–582

48. Jg. 1962

Nr. 1

• Arthur Custer: Contemporary Music in Spain. S. 1–18
• Nigel Davison: The Motets of Pierre de la Rue. S. 19–35
• Joseph Kerman: A Romantic Detail in Schubert’s „Schwanengesang“. S. 36–49
• Theodore Karp: A Lost Medieval Chansonnier. S. 50–67
• Claudio Gallico, Pierluigi Petrobelli: Newly Discovered Documents concerning Monteverdi. S. 68–72
• Harold S. Powers: Il Serse trasformato – II. S. 73–92
• Richard Franko Goldman, Paul Henry Lang, Peter Gradenwitz, Karl H. Wörner, Martin Bernheimer: Current Chronicle. S. 93–121
• Reviews of Books
  • Review by Nigel Davison: Monumenta Musicae Belgicae, Vol. VIII – Missae P. de la Rue by R. B. Lenaerts; J. Robyns. S. 122–124
  • Review by Gilbert Reaney: Studien zur Satztechnik der mittelalterlichen englischen Musik by Ernst Apfel. S. 124–127
  • Review by Glen Haydon: Capellae sixtinae codices musicis notis instructi sive manu scripti sive praelo excussi by Josephus M. Llorens. S. 127–129
  • Review by Richard H. Hoppin: Paolo Tenorista in a New Fragment of the Italian Ars Nova by Edward E. Lowinsky; Nino Pirrotta; Paolo Tenorista. S. 129–131
• Reviews of Records
  • Review by Vincent Persichetti: Composers’ Forum (San Francisco). Charles Cushing, Gordon Cyr, Jonathan Elkus – Selected Works by Jerome Rosen; Nathan Schwartz; Edgar Jones; Helen Cyr; Charles Cushing; Gordon Cyr; Jonathan Elkus; Composers’ Forum (San Francisco). Andrew Imbrie, Jerome Rosen, Rocer Nixon: Selected Works by Andrew Imbrie; Jerome Rosen; Helen Stross; Dorothy Renzi; Raylene Pierce; Rocer Nixon; Composers’ Forum (San Francisco). Laurence Clarke, William Denny, Leland Smith: Selected Works by Nathan Rubin; Mary James; Bonnie Hampton; Dorothy Renzi; Nathan Schwartz; Lawrence Moe; Laurence Clarke; William Denny; Leland Smith. S. 132–134
  • Review by Richard Franko Goldman: Luigi Nono – Polifonica-Monodia-Ritmica; Bruno Maderna: Serenata No. 2; Luciano Berio: Differences by Chamber Orchestras; Luciano Berio; Luigi Nono; Bruno Maderna. S. 134–135
  • Review by Paul Henry Lang: Paisiello – Il Barbiere di Siviglia by Graziella Sciutti; Nicola Monti; Rolando Panerai; Renato Capecchi; Mario Petri; Virtuosi di Roma; Renato Fasano; Paisiello. S. 135–139
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 140–146
• Addenda for Schwarz and Brook. S. 148

Nr. 2

• Edward Downes: The Music of Norman Dello Joio. S. 149–172
• Alexander Main: Maximilian’s Second-Hand Funeral Motet. S. 173–189
• Harry R. Edwall: Ferdinand IV and Haydn’s Concertos for the „Lira Organizzata“. S. 190–203
• Gloria Rose: The Cantatas of Giacomo Carissimi. S. 204–215
• William Austin: Satie before and after Cocteau. S. 216–233
• Albert Cohen: The „Fantaisie“ for Instrumental Ensemble in 17th-Century France – Its Origin and Significance. S. 234–243
• H. Wiley Hitchcock, Enrique Franco: Current Chronicle. S. 244–251
• Reviews of Books
  • Review by Denis Stevens: Tonality and Atonality in Sixteenth-Century Music by Edward E. Lowinsky. S. 252–254
  • Review by William J. Mitchell: Die Entwicklung der Musiktheorie in England nach der Zeit von Jean-Philippe Rameau by Erwin R. Jacobi. S. 254–260
  • Review by Carleton Sprague Smith: The Music of Peru by Robert Stevenson. S. 260–262
  • Review by Edward Lerner: Jacobus Obrecht Opera Omnia. Missae VI. Sub tuum presidium by M. van Crevel. S. 263–264
  • Review by Paul Henry Lang: The Letters of Beethoven by Emily Anderson; Ludwig van Beethoven. S. 265–266
• Reviews of Records
  • Review by Denis Stevens: Buxtehude – La Capricciosa. Byrd: Pavana. Bull: Galiarda. Anon.: Corranto and Alman. Gibbons: Galiarda. Frescobaldi: Gagliarda; Fugue in G Minor. Purcell: Air; Sicilienne by Stewart Robb; Gibbons; Frescobaldi; Purcell; Buxtehude; Byrd; Bull; Anon. S. 267–268
  • Review by Cecil Isaac: William Byrd – Keyboard Music by Paul Maynard; William Byrd. S. 269–271
  • Review by Vincent Persichetti: William Flanagan – Concert Ode. Arthur Berger: Serenade Concertante. Daniel Pinkham: Concertante No. 1 for Violin and Harpsichord Soli and String Orchestra with Celesta. Irwin Heilner: Chinese Songs by Imperial Phil. Symph. Orch.; William Strickland; Brandeis Festival Orch.; Izler Solomon; Robert Brink; Claude Jean Chiasson; Mitsuko Maki; Irwin Heilner; Arthur Berger; Daniel Pinkham; William Flanagan; Yehudi Wyner: Serenade for Seven Instruments. Ralph Shapey: Evocation for Violin with Piano and Percussion by Julius Baker; Ralph Froelich; Robert Nagel; Keith Brown; Harry Zaratzian; Charles McCracken; Yehudi Wyner; Werner Torkanowsky; Matthew Raimondi; Paul Price; Ralph Shapey; Gunther Schuller: Seven Studies on Themes of Paul Klee. Paul Fetler: Contrasts for Orchestra by Minneapolis Symph. Orch.; Antal Dorati; Paul Fetler; Gunther Schuller; Morton Gould: Fall River Legend; Interplay; Latin-American Symphonette (Tango and Guaracha) by Morton Gould; Gunther Schuller: Music for Brass Quintet. Fantasy Quartet for Four Celli. Easley Blackwood: Chamber Symphony for Fourteen Wind Instruments by Robert Nagel; John Glasel; Ray Alonge; John Swallow; Harvey Phillips; Laszlo Varga; Jules Eskin; Michael Rudiakow; Sterling Hunkins; Contemporary Chamber Ensemble; Arthur Weisberg; Easley Blackwood; Gunther Schuller. S. 271–274
  • Review by Charles Jones: Menasce – Viola Sonata; Violin Sonata; Sonatina No. 2 for Piano; Instantané for piano by Lillian Fuchs; Joseph Fuchs; Artur Balsam; Joseph Bloch; Jacques de Menasce. S. 274–275
  • Review by Jean Berger: The Virtuoso Trumpet by I Solisti di Zagreb. S. 275–277
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 278–283

Nr. 3

• Edward T. Cone: The Uses of Convention – Stravinsky and His Models. S. 287–299
• Wilfrid Mellers: Stravinsky’s Oedipus as 20th-Century Hero. S. 300–312
• Lawrence Morton: Stravinsky and Tchaikovsky – „Le Baiser de la fée“. S. 313–326
• Robert U. Nelson: Stravinsky’s Concept of Variations. S. 327–339
• Boris Schwarz: Stravinsky in Soviet Russian Criticism. S. 340–361
• Paul Henry Lang: Editorial. S. 362–371
• Carroll D. Wade: A Selected Bibliography of Igor Stravinsky. S. 372–384
• Martin Boykan, Richard F. French, Lawrence Morton: Current Chronicle. S. 385–396
• Reviews of Books
  • Review by Irving Lowens: The Continental Harmony by William Billings; Hans Nathan. S. 397–400
  • Review by Eugene J. Leahy: L’École musicale de Saint Martial de Limoges jusqu’à la fin du XIe siècle by Jacques Chailley. S. 400–404
  • Review by Denis Stevens: Spanish Music in the Age of Columbus by Robert Stevenson. S. 405–408
• Reviews of Records
  • Review by Richard Franko Goldman: Berio – Circles; Bussotti: Frammento; Cage: Aria with Fontana Mix by Cathy Berberian; Francis Pierre; Jean Pierre Drouet; Boris de Vinogradov; Luciano Berio; Sylvano Bussotti; John Cage. S. 409–410
  • Review by Kurt Stone: Elias Tanenbaum – Variations for Orchestra. Charles Wuorinen: Symphony No. 3. by Japan Phil. Symph. Orch.; Akeo Watanabe; Elias Tanenbaum; Charles Wuorinen; John Pozdro: Third Symphony. Spencer Norton: Partita for Two Solo Pianos and Orchestra by Sylvia Zaremba; Digby Bell; Oklahoma City Symph. Orch.; Guy Fraser Harrison; John Pozdro; Spencer Norton; Andrew Imbrie: Legend for Orchestra. Charles Cushing: Cereus, Poem for Orchestra by San Francisco Symph. Orch.; Enrique Jordá; Andrew Imbrie; Charles Cushing; Olav Kielland: Concerto Grosso Norvegese, Op. 18. Bjarne Brustad: Symfoni No. 2 by Oslo Phil. Orch.; Olav Kielland; Öivind Fjeldstad; Bjarne Brustad. S. 411–418
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 419–424

Nr. 4

• Egon F. Kenton: The Late Style of Giovanni Gabrieli. S. 427–443
• Karl H. Wörner, Willis Wager: Arnold Schoenberg and the Theater. S. 444–460
• Vincent Duckles: John Jenkins’s Settings of Lyrics by George Herbert. S. 461–475
• W. L. Smoldon: The Music of the Medieval Church Drama. S. 476–497
• Barry S. Brook: Simon Le Duc „l’aine," a French Symphonist at the Time of Mozart. S. 498–513
• Richard Franko Goldman, Martin Bernheimer: Current Chronicle. S. 514–528
• Reviews of Books
  • Review by Robert Stevenson: Monumentos de la Musica Española, Vols. XI, XIII, XV, XVII, XX – Cristóbal de Morales, Opera Omnia (Vols. 1–5) by Higinio Anglés; Cristobal de Morales; Cristóbal de Morales: Missa pro Defunctis by Marie Sagués; Cristóbal de Morales. S. 529–534
  • Review by Cecil Isaac: Un Canzioniere Musiale Italiano del Cinquecento by Claudio Gallico. S. 534–537
  • Review by Sydney Beck: Playford – Musick’s Recreation on the Viol, Lyra-Way, 1682 by Nathalie Dolmetsch; John Playford. S. 537–542
• Reviews of Records
  • Review by Janet Knapp: Machaut – Notre Dame Mass. Perotin: Viderunt omnes; Sederunt principes by Deller Gonsort; Alfred Deller; Perotin; Guillaume de Machaut. S. 543–546
  • Review by Jane Troy: Instrumental Music from the Courts of Queen Elizabeth and King James by New York Pro Musica Instrumental Ensembles; Noah Greenberg. S. 546–548
  • Review by Edwin Hanley: Alessandro Scarlatti – Messa di Santa Cecilia by University of Utah Alumni Chorus; Utah Symphony Orchestra; Maurice Abravanel; Alessandro Scarlatti. S. 548–550
  • Review by Paul Henry Lang: The History of Italian Music. Volume I, From Gregorian Chant to Giacomo Carissimi. S. 550–558
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 559–566

49. Jg. 1963

Nr. 1

• H. H. Stuckenschmidt: Contemporary Techniques in Music. S. 1–16
• James L. Jackman: Liturgical Aspects of Byrd’s „Gradualia“. S. 17–37
• J. Murray Barbour: Pokorny Vindicated. S. 38–58
• Daniel Heartz: A Spanish „Masque of Cupid“. S. 59–74
• Roger Delage, Robert H. S. Phillips: Emmanuel Chabrier in Germany. S. 75–84
• Paul Henry Lang: Editorial. S. 85–87
• Nathan Broder, Karl Kohn, Richard Franko Goldman, Reginald Smith Brindle: Current Chronicle. S. 88–101
• Reviews of Books
  • Review by Donald Jay Grout: The Man Verdi by Frank Walker. S. 102–105
  • Review by Charles Jacobs: Manuel Rodrigues Coelho – Flores de Musica Pera o Instrumento de Tecla & Harpa by Macario Santiago Kastner; Manuel Rodrigues Coelho. S. 105–110
  • Review by Edward Lockspeiser: La Passion de Claude Debussy by Marcel Dietschy. S. 110–111
  • Review by Paul Henry Lang: Mozart, Briefe und Aufzeichnungen by Wilhelm A. Bauer; Otto Erich Deutsch; Wolfgang Amadeus Mozart. S. 111–114
• Reviews of Records
  • Review by Paul Henry Lang: Bach – Cantatas and Motets. Cantate 1201–1205 (Mono) by Bach. S. 115–121
  • Review by Wilfrid Mellers: John Boda – Sinfonia (1960). Gilbert Trythall: Symphony No. 1. Robert Sanders: Symphony in A by Knoxville Symph. Orch.; David van Vactor; Gilbert Trythall; John Boda; Robert Sanders; Robert Palmer: Memorial Music (1958). Karel Husa: Fantasies for Orchestra (1956) by Orchestre des Solistes de Paris; Karel Husa; Robert Palmer; Bernard Rogers: Variations on a Song by Mussorgsky. Edmund Haines: Concertino for Seven Soloists and Orchestra by Rochester Symph.; Theodore Bloomfield; Bernard Rogers; Edmund Haines; Roger Goeb: Quintet for Woodwinds No. 2. William Sydeman: Seven Movements for Septet; Concerto da Camera by New Art Wood Quintet; CRI Chamber Ensemble; Paul Wolfe; Roger Goeb; William Sydeman; Hall Overton: Sonata for Viola and Piano; Sonata for Cello and Piano by Walter Trampler; Charles McCracken; Lucy Greene; Hall Overton; Frederic Balazs: Two Dances for Flute and Orchestra. Walter Mourant: Valley of the Moon; Air and Scherzo; Sleepy Hollow by Philharmonia Hungarica; Camarata and His Orch.; Frederic Balazs; Walter Mourant; Toshiro Mayuzumi: Nirvana-Symphonie by NHK Symph. Orch.; Wilhelm Schüchter; Toshiro Mayuzumi. S. 121–127
  • Review by Richard Franko Goldman: Brown – Music for Violin, Cello and Piano (1952); Music for Cello and Piano (1955); Hodograph I (1959). Feldman: Durations (1960–61) by Matthew Raimondi; David Soyer; David Tudor; Donn Hammond; Philip Kraus; Don Butterfield; Morton Feldman; Earle Brown. S. 127–128
  • Review by Paul Henry Lang: Campra – Requiem by Louis Frémont; Campra. S. 128–129
  • Review by Richard Franko Goldman: Castiglioni – Tropi. Fellegara: Serenata. Kelemen: Etudes contrapuntiques. Yun: Musik für Sieben Instrumente by Hamburger Kammersolisten; Francis Travis; Pal Kelemen; Niccolò Castiglioni; Vittorio Fellegara; Isang Yun. S. 129–130
  • Review by Charles Canfield Brown: The Golden Age of English Lute Music by Julian Bream. S. 130–132
  • Review by George S. Golos: Ze Skarbnicy Muzycznej Polskiego Tysiaclecia by Musicae Antiquae Collegium Varsoviense; Jan Wierszylowski; Stefan Sutkowski. S. 132–135
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 136–141
• Addendum. S. 141

Nr. 2

• Boris Schwarz: More Beethoveniana in Soviet Russia. S. 143–149
• John W. Molnar: A Collection of Music in Colonial Virginia – The Ogle Inventory. S. 150–162
• Edward R. Reilly: Quantz on National Styles in Music. S. 163–187
• Edward A. Lippman: The Sources and Development of the Ethical View of Music in Ancient Greece. S. 188–209
• Edward Thompson: Robert Ramsey. S. 210–224
• Arnold Elston, Lawrence Morton, Richard Franko Goldman, Howard Smither, John S. Weissmann: Current Chronicle. S. 225–247
• Reviews of Books
  • Review by Everett Helm: The Elizabethan Madrigal. A Comparative Study by Joseph Kerman. S. 248–250
  • Review by Sidney Robertson Cowell: The Traditional Tunes of the Child Ballads, with Their Texts, according to the Extant Records of Great Britain and America, Vol. II by Bertrand Harris Bronson. S. 250–252
  • Review by Paul Henry Lang: Music in the French Secular Theater, 1400–1550 by Howard Meyer Brown. S. 252–254
  • Review by Paul Henry Lang: Johann Josef Fux als Opernkomponist by J. H. van der Meer. S. 254–257
• Reviews of Records
  • Review by Richard Franko Goldman: Music for Flute by Evangelisti, Berio, Matsudaira; Music for Flute and Piano by Castiglioni, Messiaen, Maderna by Severino Gazzelloni; Aloys Kontarsky; Messiaen; Castiglioni; Matsudaira; Franco Evangelisti; Bruno Maderna; Luciano Berio. S. 258–259
  • Review by Francis J. Burkley: Spanish Medieval Music – Alfonso X: Twelve Cantigas de Santa Maria; Anonymous, 12th Century: Liturgy of Santiago de Compostela; Anonymous, 14th Century: Mass in Honor of the Blessed Virgin Mary by New York Pro Musica; Noah Greenberg. S. 259–263
  • Review by Paul Henry Lang: Musik in Alten Städten und Residenzen. Potsdam, Düsseldorf, Hamburg, Mannheim, Eisenstadt, Dresden, Salzburg. S. 263–269
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 270–275

Nr. 3

• Francois Lesure, Denis Stevens: Claude Debussy after His Centenary. S. 277–288
• Putnam Aldrich: On the Interpretation of Bach’s Trills. S. 289–310
• Heinrich Husmann, Gilbert Reaney: The Origin and Destination of the „Magnus liber organi“. S. 311–330
• Alan Tyson: The First Edition of Beethoven’s Op. 119 Bagatelles. S. 331–338
• Claude V. Palisca, Emilio de’ Cavalieri: Musical Asides in the Diplomatic Correspondence of Emilio de’ Cavalieri. S. 339–355
• Paul Henry Lang: Editorial. S. 356–357
• Paul A. Pisk, Karl Kohn, Hugo Weisgall, Kurt Stone, J. F. Goossen, Robert Shallenberg: Current Chronicle. S. 358–383
• Reviews of Books
  • Review by Jan LaRue: La Symphonie francaise dans la seconde moitié du XVIIIe siècle by Barry S. Brook. S. 384–388
  • Review by Charles Hamm: Josquin Desprez. Vol I by Helmuth Osthoff. S. 388–390
  • Review by H. Wiley Hitchcock: Dan Emmett and the Rise of Early Negro Minstrelsy by Hans Nathan. S. 391–393
  • Review by Paul Henry Lang: Italia Sacra Musica by Knud Jeppesen. S. 393–396
• Reviews of Records
  • Review by David D. Boyden: Heinrich Franz Biber – Fifteen Sonatas for Scordatura Violin and Continuo and Passacaglia for Solo Violin by Sonya Monosoff; Melville Smith; Janos Scholz; John Miller; Heinrich Franz Biber. S. 397–404
  • Review by Paul Henry Lang: Vivaldi – Psalm 126, Nisi Dominus; Magnificat in G Minor by Vivaldi; Alessandro Scarlatti: San Filippo Neri, oratorio by Alessandro Scarlatti; Stradella: Cantata per il SS. Natale by Stradella; Stradella: S. Giovanni Battista, oratorio by Stradella; Handel: Cantatas, Donna che in ciel; Salve Regina by Handel; Johann Christian Bach: Dies irae by Angelicum Orchestra of Milan; Polyphonic Choir of Turin; Carlo Felice Collario; Ruggero Maghini; Johann Christian Bach. S. 404–409
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 410–415
• Boris Schwarz: Addendum – More Beethoveniana in Soviet Russia. S. 415

Nr. 4

• Alan L. Kagan: Music and the Hundred Flowers Movement. S. 417–430
• Joseph Kerman: On William Byrd’s „Emendemus in melius“. S. 431–449
• Emanuel Winternitz: On Angel Concerts in the 15th Century – A Critical Approach to Realism and Symbolism in Sacred Painting. S. 450–463
• Frank A. D’Accone: Heinrich Isaac in Florence – New and Unpublished Documents. S. 464–483
• Aubrey S. Garlington, Jr.: Le Merveilleux and Operatic Reform in 18th-Century French Opera. S. 484–497
• James Pruett: Charles Butler – Musician, Grammarian, Apiarist. S. 498–509
• Paul Henry Lang, Alfred Frankenstein: Current Chronicle. S. 510–517
• Reviews of Books
  • Review by Boris Schwarz: Kniga Eskizov Beethovena za 1802–1803 Gody (A Sketchbook by Beethoven from the Year 1802–1803) by Nathan L. Fishman. S. 518–526
  • Review by Mantle Hood: La Musique Vietnamienne Traditionnelle by Trân van Khê. S. 526–530
  • Review by George Golos: Michal Kazimierz Oginski und Sein Musenhof zu Slonim by Andrzej Ciechanowiecki. S. 531–533
  • Review by Charles Canfield Brown: Pierre Attaingnant – Transcriptions of Chansons for Keyboard by Albert Seay. S. 533–542
• Reviews of Records
  • Review by Richard Franko Goldman: Berlioz – Béatrice et Bénédict by Josephine Veasey; April Cantelo; Helen Watts; John Mitchinson; John Cameron; John Shirley Quirk; Eric Shilling; St. Anthony Singers; London Symphony Orchestra; Colin Davis; Berlioz. S. 543–545
  • Review by Paul Henry Lang: Handel – Saul by Jennifer Vyvyan; Laurence Dutoit; Margereta Sjöstedt; Helen Watts; Erling Thorborg; Herbert Handt; Peter Wimberger; Thomas Hansley; Copenhagen Boys Choir; Vienna Symph.; Handel. S. 545–548
  • Review by Susan Thiemann: Monteverdi – Madrigali guerrieri by Charles Bressler; Herbert Handt; Chester Watson; Aeterna Chamber Orch. and Chorus; Frederic Waldman; Monteverdi. S. 549–551
  • Review by Kurt Stone: Karlheinz Stockhausen – Gesang der Jünglinge (1955/56) by Karlheinz Stockhausen. S. 551–554
  • Review by Kurt Stone: Jan Pieterszoon Sweelinck – Organ and Harpsichord Pieces by Gustav Leonhardt; Jan Pieterszoon Sweelinck. S. 554–556
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 557–562

50. Jg. 1964

Nr. 1

• John Vinton: The Case of „The Miraculous Mandarin“. S. 1–17
• Almonte C. Howell, Jr.: Cabezón – An Essay in Structural Analysis. S. 18–30
• Edith Gerson-Kiwi: On the Musical Sources of the Judaeo-Hispanic „Romance“. S. 31–43
• Edward R. Lerner: The Polyphonic Magnificat in 15th-Century Italy. S. 44–58
• Ernest Sanders: Form and Content in the Finale of Beethoven’s Ninth Symphony. S. 59–76
• Paul Henry Lang: Editorial. S. 77–90
• H. Wiley Hitchcock, Irving Lowens: Current Chronicle. S. 91–100
• Reviews of Books
  • Review by Henry Leland Clarke: Essays before a Sonata and Other Writings by Charles Ives; Howard Boatwright. S. 101–103
  • Review by Charles Hamm: Cantus Firmus in Mass and Motet (1420–1520) by Edgar H. Sparks. S. 103–107
  • Review by Richard F. French: Perspectives of New Music. S. 107–113
• Reviews of Records
  • Review by Henry Leland Clarke: Charles Ives – Second Pianoforte Sonata – „Concord, Mass., 1840–1860“ by Aloys Kontarsky; Theo Plümacher; Willy Schweger; Charles Ives. S. 114–115
  • Review by Kurt Stone: Charles Ives – Washington’s Birthday. Hallowe’en; The Pond; Central Park in the Dark. William Flanagan: The Lady of Tearful Regret (Edward Albee) by Imperial Phil. of Tokyo; William Strickland; Oslo Phil. Orch.; Edward Albee; Eva Törklep Larson; Yngvar Krogh; Charles Ives; William Flanagan; Roger Goeb: Symphony No. 4. Jacob Druckman: Dark upon the Harp by Japan Phil. Symph. Orch.; Akeo Watanabe; Jan DeGaetani; Gerald Carlyss; Robert Ayers; NY Brass Quintet; Robert Nagel; Fred Mills; Ralph Froelich; David Uber; Harvey Phillips; Roger Goeb; Jacob Druckman; Mark Brunswick: Septet in Seven Movements. Miriam Gideon: Lyric Piece for String Orchestra. Dika Newlin: Piano Trio, Opus 2 by Julius Baker; Melvin Kaplan; Robert Listokan; Ralph Froelich; Morris Newman; Ynez Lynch; Alexander Kougell; Fritz Jahoda; Imp. Phil. Orch. of Tokyo; Mark Brunswick; Miriam Gideon; William Strickland; Dika Newlin; London Czech Trio. S. 115–122
  • Review by Gilbert Chase: Salvatore Martirano – O, O, O, O, That Shakespeherean Rag (1958), for Mixed Chorus and Instrumental Ensemble. George Rochberg: String Quartet No. 2, with Soprano (1961) by Princeton Chamber Singers; Thomas Hilbish; Philadelphia String Quartet; Janice Harsanyi; Salvatore Martirano; George Rochberg. S. 122–124
  • Review by Douglas Townsend: Roman – Assagio No. 6, in B Minor, for Unaccompanied Violin (B. 324). Sonata No. 8, in A Major, for Flute and Continuo (B. 208). Berwald: String Quartet in E-Flat Major by Lars Frydén; Bengt Överström; Gunnar Hallhagen; Bengt Ericson; Frydén Quartet; Roman; Berwald; Stenhammar: String Quartet No. 5, in C Major, Op. 29 (Serenade); Balladen for Chorus; Tre Kövisor for Chorus; Sensommarnätter, Op. 33, for Piano by Kyndel Quartet; Radio Choruses; Hilda Waldeland; Stenhammar. S. 124–130
  • Review by William S. Newman: Domenico Zipoli – Sonate d’intavolatura per organo e cimbalo by Eva Vicens; Manuel Salsamendi; Servicio Oficial de Difusión Radio Eléctrica (Sodre-Antar) (Montevideo, Uruguay); Domenico Zipoli. S. 130–133
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 134–139

Nr. 2

• Robert U. Nelson: Schoenberg’s Variation Seminar. S. 141–164
• Rita Benton: Jean-Frederic Edelmann, a Musical Victim of the French Revolution. S. 165–187
• Frederick Neumann: Misconceptions about the French Trill in the 17th and 18th Centuries. S. 188–206
• Franklin B. Zimmerman: Purcell’s „Service Anthem“ „O God, Thou Art My God“ and the B-Flat Major Service. S. 207–214
• Paul Henry Lang: Editorial. S. 215–226
• Karl Kohn, H. Wiley Hitchcock, Donald C. Johns, John S. Weissmann: Current Chronicle. S. 227–250
• Reviews of Books
  • Review by Joseph Kerman: Early Tudor Masses – I by John D. Bergsagel; William Mundy: Latin Antiphons and Psalms by Frank Ll. Harrison. S. 251–256
  • Review by N. B.: Mozart Handbuch. Chronik-Werk-Bibliographie by Otto Schneider; Anton Algatzy. S. 256–257
• Reviews of Records
  • Review by Claude V. Palisca: Monteverdi – Magnificat a sei voci; Messa a quattro voci by Monteverdi; Carmelite Priory (London); George Malcolm; Monteverdi: Messa a 4 voci da cappella; Gibbons: First (Short) Service by The Old North Singers (Boston); John Fesperman; Monteverdi; Gibbons. S. 258–260
  • Review by Kurt Stone: K. Muszumanska-Nazar – Musique pour cordes. W. Szalonek: Concertino for Flute and Chamber Orchestra by K. Muszumanska-Nazar; W. Szalonek; Severino Gazzelloni; Radio Poland (Warsaw); Jan Krenz; W. Lutoslawski: Trois Poèmes d’Henri Michaux, for Chorus and Orchestra. B. Szabelski: Préludes for Chamber Orchestra by Radio Krakow; Radio Poland; Witold Lutoslawski; B. Szabelski; Radio Poland (Warsaw); Jan Krenz; W. Kilar: Générique for Orchestra. K. Serocki: A piacere – propositions pour piano. A. Dobrowolski: Musique pour bande No. 1. Z. Wisniewski: Trois postludes électroniques. W. Kotonski: Microstructures by Silesian Philh Symph. Orch. (Katowice); Karol Stryja; Z. Wisniewski; W. Kilar; K. Serocki; A. Dobrowolski; W. Kotonski; T. Sikorski: Antiphones for Soprano, Tape, and Instruments. Z. Wiszniewski: Trio for Oboe, Harp, and Viola. K. Penderecki: Polymorphie for Orchestra by Josephine Nendick; Tomasz Sikorski; I. Palczewski; Michal Czerwinski; Lothar Faber; Francis Pierre; Stefan Kamasa; Philh. Symph. Orch. of Krakow; Andrzej Markowski; T. Sikorski; Z. Wiszniewski; K. Penderecki; G. Bacewicz: II Concerto pour violoncelle. T. Baird: Musique épiphanique for Symphony Orchestra with Solo Cello, Clarinet, and Flute by Gaspar Cassadó; Aleksander Ciechanski; Alojzy Szulc; Wlodzimierz Tomaszczuk; Natl. Philh. Symph. Orch. (Warsaw); Witold Krzemienski; G. Bacewicz; T. Baird. S. 260–271
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 272–277

Nr. 3

• Howard Boatwright: Paul Hindemith as a Teacher. S. 279–289
• Friedrich Blume, Piero Weiss: Bach in the Romantic Era. S. 290–306
• Gustave Leprince, Daniel Heartz: The Flying Dutchman In the Setting by Philippe Dietch. S. 307–320
• Edward E. Lowinsky: Musical Genius – Evolution and Origins of a Concept. S. 321–340
• Robert Stevenson: European Music in 16th-Century Guatemala. S. 341–352
• F. Mark Siebert: Mass Sections in the „Buxheim Organ Book“ – A Few Points. S. 353–366
• William C. Holmes, Karl Kohn, Hugo Weisgall, H. Wiley Hitchcock, Richard F. French: Current Chronicle. S. 367–388
• Reviews of Books
  • Review by Ernest Brennecke: Music in Shakespearean Tragedy by F. W. Sternfeld; Egon Wellesz. S. 389–391
  • Review by Everett Helm: Les Compositeurs Gallus, Plautzius, Dolar et leur Oeuvre by Dragotin Cvetko. S. 391–393
  • Review by Irving Lowens: Music in America by W. Thomas Marrocco; Harold Gleason. S. 393–398
  • Review by Jan LaRue: The Sonata in the Classic Era by William S. Newman. S. 398–405
• Reviews of Records
  • Review by Sylvia W. Kenney: Carols and Motets for the Nativity of Medieval and Tudor England by Deller Consort; Musica Antiqua of Vienna. S. 406–407
  • Review by Joel Newman: Rameau – Keyboard Works by Albert Fuller; Rameau. S. 407–409
  • Review by Paul Henry Lang: Schütz – Johannes Passion. Weihnachtshistorie by Johannes Hoefflin; Rolf Bössow; Jacob Stämpfli; Reinhard Ruge; Herta Flebbe; Westfälische Kantorei; Wilhelm Ehmann; Hans-Joachim Rotzsch; Hans-Olaf Hudemann; Schütz. S. 409–412
  • Review by Sylvia W. Kenney: Ludwig Senfl – Compositions by New York Pro Musica; Noah Greenberg; Ludwig Senfl. S. 412–413
  • Carroll D. Wade, Fred Blum: Quarterly Book-List. S. 414–419

Nr. 4

• Anthony Milner: The Music of Michael Tippett. S. 423–438
• Dolores Menstell Hsu: Musical Elements of Chinese Opera. S. 439–451
• Erwin R. Jacobi, Piero Weiss: Rameau and Padre Martini – New Letters and Documents. S. 452–475
• Edward E. Lowinsky: Musical Genius – Evolution and Origins of a Concept – II. S. 476–495
• Karl Geiringer: The Structure of Beethoven’s „Diabelli Variations“. S. 496–503
• Geoffrey Nutting: Jean-Marie Leclair, 1697–1764. S. 504–514
• Udo Kasemets, J. F. Goossen, Lester Trimble: Current Chronicle. S. 515–525
• Reviews of Books
  • Review by William S. Newman: Giovanni Benedetto Platti e la sonata moderna by Fausto Torrefranca. S. 526–535
  • Review by Howard Hanson: Scandinavian Music. A Short History by John Horton. S. 535–537
  • Review by George S. Golos: The Pelplin Tablature – A Thematic Catalogue by Adam Sutkowksi; Alina Osostowicz-Sutkowska. S. 537–539
  • Review by Charles Hamm: Chanson and Madrigal 1480–1530 by Howard M. Brown; Walter H. Rubsamen; Daniel Heartz; James Haar. S. 540–542
• Reviews of Records
  • Review by Paul Henry Lang: Beethoven – Christ on the Mount of Olives by Jan Peerce; Maria Stader; Otto Wiener; Vienna Academy Chorus; Vienna State Opera Orch.; Hermann Scherchen; Beethoven. S. 543–545
  • Review by Paul Henry Lang: Marc-Antoine Charpentier – Te Deum; Magnificat by Martha Angelici; Jocelyn Chamonin; André Mallabrera; Rémy Corazza; Georges Badoun; Jacques Mars; Jeunesse Musicale de France; Paillard Orch.; Louis Martini; Marc-Antoine Charpentier. S. 545–546
  • Review by Kurt Stone: Ramiro Cortés – Chamber Concerto (1957–58) for Violoncello Solo and Twelve Wind Instruments. William Sydeman: Music for Flute, Viola, Guitar, and Percussion (1962) and Concerto da camera No. 2 (1960) for Solo Violin with Instrumental Accompaniment by Charles McCracken; Paul Zukofsky; Contemporary Chamber Ensemble; Arthur Weisberg; Ramiro Cortés; William Sydeman. S. 546–550
  • Review by David P. McAllester: The Demonstration Collection of E. M. von Hornbostel and the Berlin Phonogramm-Archiv by George List; Kurt Reinhard; E. M. von Hornbostel. S. 550–553
  • Review by Paul Henry Lang: Leonardo Leo – La Morte di Abele by Giuliana Matteini; Emilia Cundari; Adriana Lazzarini; Ferrando Ferrari; Paolo Montarsolo; Coro Polifonico di Torino; Angelicum Orch.; Carlo Felice Cillario; Leonardo Leo. S. 554–555
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 556–560

51. Jg. 1965

Nr. 1

• Paul Henry Lang: Introduction [To the Special Fiftieth Anniversary Issue]. S. 1–11
• Andrew Porter: Some New British Composers. S. 12–21
• Antoine Goléa, Lucile H. Brockway: French Music since 1945. S. 22–37
• Francis D. Perkins: Music in Portugal Today. S. 38–43
• Arthur Custer: Contemporary Music in Spain. S. 44–60
• Mario Bortolotto, William C. Holmes: The New Music in Italy. S. 61–77
• Willi Reich, Ernest Sanders: On Swiss Musical Composition of the Present. S. 78–91
• Albert Vander Linden, Barry S. Brook: Belgium from 1914 to 1964. S. 92–96
• Jos Wouters: Dutch Music in the 20th Century. S. 97–110
• Bo Wallner: Scandinavian Music after the Second World War. S. 111–143
• Daniel Charles: Entr’acte – „Formal“ or „Informal“ Music? S. 144–165
• Wolf-Eberhard von Lewinski, Donald Mintz: The Variety of Trends in Modern German Music. S. 166–179
• Rudolf Klein, Helen Lange: Contemporary Music in Austria. S. 180–190
• Jan Racek, Jiří Vysloužil, Jessie Kocmanová: Problems of Style in 20th-Century Czech Music. S. 191–204
• Imre Fabian: Modern Hungarian Music. S. 205–214
• Everett Helm: Music in Yugoslavia. S. 215–224
• Nicolas Slonimsky: New Music in Greece. S. 225–235
• Nicolas Slonimsky: Modern Composition in Rumania. S. 236–243
• Stefan Jarocinski: Polish Music after World War II. S. 244–258
• Boris Schwarz: Soviet Music since the Second World War. S. 259–281
• Alexander L. Ringer: Musical Composition in Modern Israel. S. 282–297

Nr. 2

• Eva Badura-Skoda, Piero Weiss: Textual Problems in Masterpieces of the 18th and 19th Centuries. S. 301–317
• Constant Vauclain: An Experiment in Musical Texture. S. 318–335
• Ivan F. Waldbauer: Bartok’s First Piano Concerto – A Publication History. S. 336–344
• Julia Sutton: The Lute Instructions of Jean-Baptiste Besard. S. 345–362
• William S. Newman: Emanuel Bach’s Autobiography. S. 363–372
• Erwin Doernberg: Anton Schindler. S. 373–386
• Paul Henry Lang: Editorial. S. 387–395
• Irving Lowens, Richard Franko Goldman, Robert Evett, Wendell Margrave: Current Chronicle. S. 396–418
• Reviews of Books
  • Review by Alexander L. Ringer: Mendelssohn. A New Image of the Composer and His Age by Eric Werner; Dika Newlin. S. 419–425
  • Review by David P. McAllester: Theory and Method in Ethnomusicology by Bruno Nettl. S. 425–428
  • Review by Austin Clarkson: Anthologie du Motet Latin Polyphonique en France (1609–1661) by Denise Launay. S. 428–432
  • Review by Richard L. Crocker: Musical Thought in Ancient Greece by Edward A. Lippman. S. 432–436
• Reviews of Records
  • Review by Paul Henry Lang: Handel – Alexander’s Feast by Honor Sheppard; Max Worthley; Maurice Bevan; Oriana Concert Choir and Orch.; Alfred Deller; Handel; Handel: Rodelinda by Theresa Stich-Randall; Maureen Forrester; Hilde Rössl-Majdan; Helen Watts; Alexander Young; John Boyden; Martin Isepp; Vienna Radio Orch.; Brian Priestman; Handel. S. 437–440
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 441–449

Nr. 3

• H. H. Stuckenschmidt, Piero Weiss: Debussy or Berg? The Mystery of a Chord Progression. S. 453–459
• Bruno Nettl: The Songs of Ishi – Musical Style of the Yahi Indians. S. 460–477
• Ray McIntyre: On the Interpretation of Bach’s Gigues. S. 478–492
• John Clapham: Dvořák’s Visit to Russia. S. 493–506
• William L. Smoldon: Medieval Lyrical Melody and the Latin Church Dramas. S. 507–517
• David L. Burrows: Antonio Cesti on Music. S. 518–529
• H. Wiley Hitchcock, Henry Leland Clarke, Irving Lowens, John Vinton, Wolf-Eberhard von Lewinski, Halsey Stevens: Current Chronicle. S. 530–560
• Reviews of Books
  • Review by Edward R. Lerner: Missae Caput by Alejandro Enrique Planchart. S. 561–563
  • Review by Edwin M. Ripin: Three Centuries of Harpsichord Building by Frank Hubbard. S. 563–570
• Reviews of Records
  • Review by Richard L. Crocker: Music of Medieval France, 1200–1400, Sacred and Secular by The Deller Consort; Alfred Deller; Concentus Musicus (Vienna). S. 571–575
  • Review by Denis Stevens: Musik für Consort im 17. Jahrhundert by The Leonhardt Consort; Gustav Leonhardt; Venezianische Mehrchörigkeit um 1600 by Capella Antiqua München; Konrad Ruhland. S. 575–577
  • Review by Franklin B. Zimmerman: Henry Purcell – Music for the Chapel Royal by St. John’s College (Cambridge); George Guest; Henry Purcell. S. 577–579
  • Review by Paul Henry Lang: Telemann – Musique de Table, Part I by Frans Vester; Joost Tromp; Ad Mater; Jaap Schröder; Jacques Holtman; Anner Bylsma; Gustav Leonhardt; Concerto Amsterdam; Frans Brüggen; Georg Philipp Telemann; Telemann: Nouveaux Quatuors en Six Suites (Nos. 1, 4, 6) by Frans Brüggen; Jaap Schröder; Anner Bylsma; Gustav Leonhardt; Georg Philipp Telemann. S. 580–585
  • Review by Paul Henry Lang: Boyce – Eight Symphonies by I Solisti di Zagreb; Antonio Janigro; William Boyce. S. 585–587
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 588–593

Nr. 4

• Linda Siegel: Wagner and the Romanticism of E. T. A. Hoffmann. S. 597–613
• Fenner Douglass, M. A. Vente: French Organ Registration in the Early 16th Century. S. 614–635
• Ella Zonis: Contemporary Art Music in Persia. S. 636–648
• Howard Brofsky: The Symphonies of Padre Martini. S. 649–673
• Paul Henry Lang: Editorial. S. 674–679
• Elliott Schwartz, Kurt Stone, Karl Kohn: Current Chronicle. S. 680–708
• Reviews of Books
  • Review by Howard Mayer Brown: A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice by Charles Hamm. S. 709–713
  • Review by Alice Ray Catalyne: The Franco Codex of the Cathedral of Mexico by Steven Barwick. S. 713–716
  • Review by Bruno Nettl: The Commonwealth of Music, In Honor of Curt Sachs by Gustave Reese; Rose Brandel. S. 716–721
• Reviews of Records
  • Review by Kurt Stone: Benjamin Britten – Part Songs – Five Flower Songs; I Lov’d a Lass; Lift Boy; Chorale (After an Old French Carol); A Shepherd’s Carol; The Ballad of Little Musgrave and Lady Barnard; Choral Dances from „Gloriana“; Old Abram Brown; Oliver Cromwell by The Elizabethan Singers; Wilfred Parry; Louis Halsey; Benjamin Britten. S. 722–724
  • Review by Kurt Stone: Twentieth Century English Songs. John Ireland – The Land of Lost Content (Six Songs); The Trellis; Love and Friendship; Friendship in Misfortune; The One Hope. Frank Bridge:‚Tis but a Week; Goldenhair; When You Are Old; So Perverse; Journey’s End. Priaulx Rainier: Cycle for Declamation (Three Songs). Richard Rodney Bennett: Tom O’Bedlams Song by Peter Pears; Benjamin Britten; Joan Dickson; John Ireland; Frank Bridge; Priaulx Rainier; Richard Rodney Bennett. S. 725–727
  • Review by Richard Franko Goldman: Weber – Piano Sonatas: No. 3, in D Minor; No. 4, in E Minor by Annie D’Arco; Carl Maria von Weber. S. 727–729
  • Addendum – Current Chronicle. S. 729
• Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 730–736

52. Jg. 1966

Nr. 1

• Kurt Stone: Ives’s Fourth Symphony – A Review. S. 1–16
• Maria Rika Maniates: Mannerist Composition in Franco-Flemish Polyphony. S. 17–36
• Halsey Stevens, Béla Bartók: Some „Unknown“ Works of Bartók. S. 37–55
• Ruth Steiner: Some Monophonic Latin Songs Composed around 1200. S. 56–70
• Eugene K. Wolf: The Recapitulations in Haydn’s London Symphonies. S. 71–89
• David Hamilton, Elliott Carter, Everett Helm, Reginald Smith Brindle, Ove Nordwall: Current Chronicle. S. 90–113
• Reviews of Books
  • Review by Steven Barwick: La Música en la Catedral de Granada en el siglo XVI by José Lopez Calo. S. 114–118
  • Review by Fritz A. Kuttner: La Résonance dans les échelles musicales by Edith Weber. S. 118–123
  • Review by Charles Hamm: Music and Musicians in Early America. Aspects of the History of Music in Early America and the History of Early American Music by Irving Lowens; Wyeth’s Repository of Sacred Music, Part Second by Irving Lowens; John Wyeth. S. 124–131
• Reviews of Records
  • Review by Denis Stevens: Frühe Musik in Italien, Frankreich und Burgund by Studio der frühen Musik. S. 132–135
  • Review by Denis Stevens: Milhaud – Pacem in terris by Florence Kopleff; Louis Quilico; University of Utah Choruses; Newell Weight; Utah Symphony Orchestra; Maurice Abravanel; Darius Milhaud. S. 136–137
  • Review by Richard Franko Goldman: The New England Harmony. A Collection of Early American Choral Music by The Old Sturbridge Singers; Floyd Corson; Harvard Wind Ensemble. S. 138–139
  • Review by Richard Franko Goldman: Nielsen – Symphony No. 2, Op. 16 (The Four Temperaments); Little Suite for String Orchestra, Op. 1 by Tivoli Concert Hall Symphony Orch.; Carl Garaguly; Nielsen. S. 139–141
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 142–148

Nr. 2

• Chou Wen-Chung: Varèse – A Sketch of the Man and His Music. S. 151–170
• R. M. Longyear: Schiller and Opera. S. 171–182
• Richard L. Crocker: The Troping Hypothesis. S. 183–203
• Owen Jander: Rhythmic Symmetry in the „Goldberg Variations“. S. 204–208
• James R. Anthony: Thematic Repetition in the Opera-Ballets of André Campra. S. 209–220
• Leon B. Plantinga: Schumann’s View of „Romantic“. S. 221–232
• Karl Kohn, Wolf-Eberhard von Lewinski: Current Chronicle. S. 233–243
• Reviews of Books
  • Review by Charles Hamm: Guillelmi Dufay. Opera Omnia. Tomus VI (Cantiones) by Heinrich Besseler. S. 244–254
  • Review by Carol MacClintock: Stilprobleme der Italienischen Monodie – ein Beitrag zur Geschichte des einstimmigen Barockliedes by Jan Racek. S. 255–259
  • Review by Paul Henry Lang: Wolfgang Amadeus Mozart – Neue Ausgabe Sämtlicher Werke, Serie X: Supplement. Werkgruppe 30, Band I, Thomas Attwoods Theorie- und Kompositionsstudien bei Mozart by Erich Hertzmann; Cecil B. Oldman; Daniel Heartz; Alfred Mann; Wolfgang Amadeus Mozart; Thomas Attwood. S. 259–265
• Reviews of Records
  • Review by Richard Franko Goldman: Haydn, Purcell, L. Mozart, Telemann – Trumpet Concertos by Theo Mertens; Concerto Amsterdam; André Rieu; Purcell; L. Mozart; Telemann; Haydn. S. 266–267
  • Review by Richard Franko Goldman: Italian Concertos by The Academy of St. Martin in the Fields; Neville Marriner. S. 268–270
  • Review by Paul Henry Lang: Domenico Scarlatti – Stabat Mater. Purcell: Music for the Funeral of Queen Mary. Bach: Cantata No. 118 by Amor Artis Chorale; Johannes Somary; Domenico Scarlatti; Purcell; Bach. S. 270–272
  • Review by Paul Henry Lang: Schubert – Symphonies and Italian Overtures by Naples; Denis Vaughan; Schubert. S. 272–274
  • Carroll C. Wade, Fred Blum: Quarterly Book-List. S. 275–280

Nr. 3

• Gastone Belotti, George Sand, Piero Weiss: Three Unpublished Letters by George Sand and Their Contribution to Chopin Scholarship. S. 283–303
• Alexander L. Ringer: The Art of the Third Guess – Beethoven to Becker to Bartók. S. 304–312
• David Tunley: The Cantatas of Louis Nicholas Clérambault. S. 313–331
• Clement A. Miller: Erasmus on Music. S. 332–349
• Theodore Karp: Towards a Critical Edition of Notre Dame Organa Dupla. S. 350–367
• David Burrows, Richard Franko Goldman, Wolf-Eberhard von Lewinski, Edmund Haines: Current Chronicle. S. 368–383
• Reviews of Books
  • Review by Bertrand H. Bronson: The British Broadside Ballad and Its Music by Claude M. Simpson. S. 384–387
  • Review by Martin Picker: Thomas Stoltzer Leben und Schaffen by Lothar Hoffmann-Erbrecht. S. 387–390
• Reviews of Records
  • Review by Paul Henry Lang: Caldara – Missa sanctificationis Sancti Joanni Nepomuceni by Antonio Caldara; Anna Penaskova; Verta Soukupova; Zdenek Shvela; Dalibor Jedlicka; Ladislav Vachulka; Czech Pilharmonic Choir; Prague Symphony Orch.; Vaclav Smetacek. S. 391–394
  • Review by Paul Henry Lang: Handel – Serse by Handel; Maureen Forrester; Maureen Lehane; Mildred Miller; Lucia Popp; Thomas Hemsley; Owen Brannigan; Martin Isepp; Vienna Academy Chorus; Vienna Radio Orchestra; Brian Priestman. S. 394–401
  • Quarterly Book-List. S. 402–407

Nr. 4

• Alexander L. Ringer: The Music of George Rochberg. S. 409–430
• Allen B. Skei: Jacob Handl’s „Moralia“. S. 431–447
• Frederick Neumann: External Evidence and Uneven Notes. S. 448–464
• Graham George: The Structure of Dramatic Music 1607–1909. S. 465–482
• Franklin B. Zimmerman: Musical Borrowings in the English Baroque. S. 483–495
• Donal J. Henahan, Peter Evans, Vincent McDermott: Current Chronicle. S. 496–520
• Reviews of Books
  • Review by Richard L. Crocker: The Utrecht Prosarium. Liber Sequentiarum Ecclesiae Capitularis Sanctae Mariae Ultraiectensis Saeculi XIII. Codex Ultraiectensis, Universitatis Bibliotheca 417 by N. de Goede. S. 521–527
  • Review by Howard Mayer Brown: Clément Janequin. Chansons Polyphoniques. Volume I by A. Tillman Merritt; François Lesure. S. 528–531
  • Review by Almonte C. Howell, Jr.: J. Titelouze – Hymnes de l’Eglise Pour Toucher sur l’Orgue by Norbert Dufourcq. S. 532–534
• Reviews of Records
  • Review by William Flanagan: Gutché – Fifth Symphony for Strings, Op. 34 (1962); La Montaine: Concerto for Piano and Orchestra, Op. 9 by Cincinnati Sym. Orch.; Max Rudolf; Karen Keys; Oklahoma City Sym. Orch.; Guy Frazier Harrison; La Montaine; Gene Gutché; Rorem: Poems of Love and the Rain; Second Piano Sonata by Regina Sarfaty; Ned Rorem; Julius Katchen; Binkerd: Sonata for Piano (1955); Bacon: Sonata for Cello and Piano (1948) by Stanley Fletcher; Bernard Greenhouse; Menahem Pressler; Bacon; Binkerd. S. 535–537
  • Review by Kurt Stone: Electronic Music. Andres Lewin-Richter – Study No. 1; Ilhan Mimarogu: Le Tombeau d’Edgar Poe; Intermezzo; Bowery Bum; Tzvi Avni: Vocalise; Walter Carlos: Variations for Flute and Electronic Sound; Dialogues for Piano and Two Loudspeakers by Stéphane Mallarmé; Erdem Buri; Jean Dubuffet; Pnina Avni; John Heiss; Phillip Ramey; Tzvi Avni; Walter Carlos; Andres Lewin-Richter; Ilhan Mimarogu; Mario Davidovsky: Three Synchronisms for Instruments and Electronic Sounds: No. 1 for Flute; No. 2 for Flute, Clarinet, Violin, and Cello; Harvey Sollberger: Chamber Variations for Twelve Players and Conductor by Harvey Sollberger; Sophie Sollberger; Stanley Drucker; Paul Zukofsky; Robert L. Martin; Efrain Guigui; Group for Contemporary Music at Columbia Univ.; Gunther Schuller; Mario Davidorsky. S. 538–543
  • Carroll C. Wade: Quarterly Book-List. S. 544–549

53. Jg. 1967

Nr. 1

• Paul Cooper: The Music of Ross Lee Finney. S. 1–21
• Jack M. Stein: Poem and Music in Hugo Wolf’s Mörike Songs. S. 22–38
• Edward T. Cone: Webern’s Apprenticeship. S. 39–52
• Bonnie J. Blackburn: Te Matrem dei Laudamus – A Study in the Musical Veneration of Mary. S. 53–76
• Paul Henry Lang: Editorial. S. 77–79
• Eric Salzman, Winton Dean, Reginald Smith Brindle, George Perle: Current Chronicle. S. 80–108
• Reviews of Books
  • Review by Boris Schwarz: The History of Violin Playing from Its Origins to 1761, and Its Relationship to the Violin and Violin Music by David D. Boyden. S. 109–122
  • Review by Egon Kenton: Alessandro Rauerij’s Collection of Canzoni per sonare (Venice, 1608) by Leland Earl Bartholomew. S. 122–128
  • Review by Lewis Lockwood: Ludwig van Beethoven – Ein Skizzenbuch zur Pastoralsymphonie Op. 68 und zu den Trios Op. 70, 1 und 2 by Dagmar Weise; Ludwig van Beethoven. S. 128–136
  • Review by Martin Picker: Instrumental Music Printed before 1600 – A Bibliography by Howard Mayer Brown. S. 136–139
• Reviews of Records
  • Review by Richard Franko Goldman: Hummel – Septet in D Minor, Op. 74; Quintet in E-Flat, Op. 87 by Melos Ensemble of London; Johann Nepomuk Hummel. S. 140–143
  • Review by Richard Franko Goldman: Mendelssohn – String Symphonies Nos. 9, 10, 12 by Academy of St. Martin-in-the Fields; Neville Marriner; Mendelssohn. S. 143–144
  • Review by Paul Henry Lang: Tartini – Violin Concertos, Vol. 1: Concertos in E, F, G, and D by André Gertler; Zurich Chamber Orch.; Edouard de Stroutz; Tartini; The Art of the Baroque Orchestra. Vol. 1: Pergolesi: Concerto in G for Flute and Strings; Vivaldi: Concerto in D for Flute, Trumpet, Bassoon, and Strings; Tartini: Symphony in A; Albinoni: Concerto a 5 by The London Baroque Ensemble; Karl Haas; Pergolesi; Vivaldi; Tartini; Albinoni; Italian Baroque Music. Albinoni: Sonata a cinque, Op. 2, No. 6; Tartini: Sinfonia in A; Geminiani: Concerto grosso in G Minor, Op. 3, No. 2; Locatelli: Introduttione [sic] teatrale vi by Zurich Chamber Orch.; Edouard de Stroutz; Albinoni; Tartini; Geminiani; Locatelli. S. 144–150
  • Carroll C. Wade: Quarterly Book-List. S. 151–159

Nr. 2

• Denis Stevens: Madrigali guerrieri, et amorosi – A Reappraisal for the Quatercentenary. S. 161–187
• Leo Treitler: On Historical Criticism. S. 188–205
• George Perle: Woyzeck and Wozzeck. S. 206–219
• Kenneth Cooper, Julius Zsako, Georg Muffat: Georg Muffat’s Observations on the Lully Style of Performance. S. 220–245
• Donal J. Henahan, Arthur Custer, John S. Weissmann, Wolf-Eberhard von Lewinski: Current Chronicle. S. 246–269
• Reviews of Books
  • Review by Edwin Hanley: Repertorium Liturgiae Polychoralis. Vol. I – Catalogus thematicus et bibliographicus Joannis de Georgiis operum sacrarum [sic] omnium by Laurentius Feininger; Repertorium Liturgiae Polychoralis. Vol. II: Catalogus thematicus et bibliographicus Pompei Cannicciarii operum sacrarum [sic] omnium by Laurentius Feininger. S. 270–276
  • Review by Leeman L. Perkins: Preludes, Chansons, and Dances for Lute by Pierre Attaingnant; Daniel Heartz. S. 276–282
  • Review by René Bernard Lenaerts: Het Gruuthuse-Handschrift. Liederen en Gedichten uit het Gruuthuse-Handschrift by K. Heeroma; C. W. H. Lindenburg. S. 283–287
• Reviews of Records
  • Review by Richard Franko Goldman: Italienische Chormusik der Gegenwart (Dallapiccola, Peragallo, Petrassi) by Monteverdi-Chor (Hamburg); Jürgen Jürgens; Dallapiccola; Peragallo; Petrassi. S. 288–289
  • Review by Richard Franko Goldman: Messiaen – La Nativité du Seigneur by Simon Preston; Messiaen. S. 290–293
  • Review by Robert L. Goodale: Salve Regina – Choral Music of the Spanish New World 1550–1750 by Rober Wagner Chorale; Salve Regina. S. 293–297
  • Review by Richard Franko Goldman: Weber – Piano Sonatas: No. 1 in C; No. 2 in A-Flat by Beveridge Webster; Weber. S. 297–298
  • Frank Traficante: Quarterly Book-List. S. 299–311

Nr. 3

• Frank Tirro: The Silent Theme Tradition in Jazz. S. 313–334
• Joseph A. Mussulman: Mendelssohnism in America. S. 335–346
• Stoddard Lincoln: J. E. Galliard and „A Critical Discourse“. S. 347–364
• Rollo Myers: Augusta Holmès – A Meteoric Career. S. 365–376
• Almonte C. Howell, Jr.: Paired Imitation in 16th-Century Spanish Keyboard Music. S. 377–396
• Henry Leland Clarke, Irving Lowens, Donald C. Johns, Everett Helm: Current Chronicle. S. 397–415
• Reviews of Books
  • Review by Edward T. Cone: Arnold Schönberg – Sämtliche Werke. Abteilung I, Reihe A, Band 1, Lieder mit Klavierbegleitung by Josef Rufer. S. 416–420
  • Review by William J. Mitchell: The Beethoven Quartets by Joseph Kerman. S. 421–434
  • Review by Paul Henry Lang: Jacobus Gallus Carniolus, Harmoniae Morales by Dragotin Cvetko; Ludvik Zepič. S. 434–439
• Reviews of Records
  • Review by Kurt Stone: Music and Musicians of Canada. S. 440–452
  • Addendum. S. 452
• Frank Traficante: Quarterly Book-List. S. 453–465

Nr. 4

• Arbie Orenstein: Maurice Ravel’s Creative Process. S. 467–481
• Alan Tyson: The Textual Problems of Beethoven’s Violin Concerto. S. 482–502
• Robert Donington: A Problem of Inequality. S. 503–517
• Edwin M. Ripin: The Early Clavichord. S. 518–538
• Paul Henry Lang: Editorial. S. 539–550
• Irving Lowens, Roger Reynolds, Robert Stevenson, Edmund Haines: Current Chronicle. S. 551–580
• Reviews of Books
  • Review by Allan W. Atlas: The Chanson Albums of Marguerite of Austria – MSS 228 and 11239 of the Bibliotheque Royale de Belgique, Brussels by Martin Picker. S. 581–585
  • Review by Milton Steinhardt: Giaches de Wert (1535–1596), Life and Works by Carol MacClintock. S. 585–589
  • Review by Lawrence Morton: Stravinsky, the Composer and His Works by Eric Walter White. S. 589–595
• Reviews of Records
  • Review by Donald Mintz: Australian Music. S. 596–603
  • Review by Janet Knapp: Missa Salve, Anonymous 13th-Century Mass from England and Missa de Sancta Maria, Anonymous 13th-Century Mass from Spain by Ambrosian Singers; Denis Stevens. S. 604–605
  • Frank Traficante: Quarterly Book-List. S. 606–616

54. Jg. 1968

Nr. 1

• Friedrich Blume, Wilburn W. Newcomb: J. S. Bach’s Youth. S. 1–30
• Dika Newlin: The Schoenberg-Nachod Collection – A Preliminary Report. S. 31–46
• Charles W. Warren: Music at Nonesuch. S. 47–57
• Gerald Abraham: Pskovityanka – The Original Version of Rimsky-Korsakov’s First Opera. S. 58–73
• Gwilym Beechey: Thomas Linley, Junior. 1756–1778. S. 74–82
• Donal Henahan, James Brody, Lawrence Oncley, Jon Appleton, Elliott Schwartz, Wolf-Eberhard von Lewinski: Current Chronicle. S. 83–110
• Reviews of Books
  • Review by Robert Stevenson: Portugaliae Musica. Série B. II. L’Amore Industrioso. Abertura by João de Sousa Carvalho; Filipe de Sousa; Portugaliae Musica. Série B. VIII. Sinfonia No.1/Opus 11 by João Domingos Bomtempo; Filipe de Sousa; Portugaliae Musica. Série B. IX. Il Duca di Foix. Abertura by Marcos Portugal; Mário de Sampayo Ribeiro. S. 111–118
  • Review by Paul Henry Lang: Antonio Caldara. Sein Leben und seine wenezianisch-römischen Oratorien by Ursula Kirkendale. S. 118–127
• Reviews of Records
  • Review by Richard Franko Goldman: Cowell – Trio for Violin,‚Cello and Piano (1965) Semmler: Trio for Violin,‚Cello and Piano, Op. 40 (1964) by The Philharmonia Trio; Charles Libove; Alan Shulman; Nina Lugovoy; Henry Cowell; Alexander Semmler. S. 128–129
  • Review by Richard Franko Goldman: Thomson – Sonata da Chiesa; Praises and Prayers; Sonata for Violin and Piano by Betty Allen; Joseph Fuchs; Lillian Fuchs; Artur Balsam; Virgil Thomson. S. 129–131
  • Correction: Music and Musicians of Canada. S. 131
• Frank Traficante: Quarterly Book-List. S. 132–144

Nr. 2

• Halsey Stevens: The Choral Music of Zoltán Kodály. S. 147–168
• Francis Burkley: Priest-Composers of the Baroque – A Sacred-Secular Conflict. S. 169–184
• Frits R. Noske: Musical Quotation as a Dramatic Device – The Fourth Act of le Nozze di Figaro. S. 185–198
• Bruno Nettl: Biography of a Blackfoot Indian Singer. S. 199–207
• Robert Freeman: La Verita Nella Ripetizione. S. 208–227
• Sven Hostrup Hansell: The Cadence in 18th-Century Recitative. S. 228–248
• Paul Henry Lang: Editorial. S. 249–251
• Reviews of Books
  • Review by Harold Gleason: The European Organ, 1450–1850 by Peter Williams. S. 252–254
  • Review by Egon Kenton: Musical Instruments of the Western World by Emanuel Winternitz. S. 255–257
  • Review by Leon B. Plantinga: Thematic Catalogue of the Works of Muzio Clementi by Allen Tyson; Muzio Clementi. S. 257–263
• Review of Records
  • Review by Paul Henry Lang: Bach – Six Trio Sonatas; Concerto in G Major after Johann Ernst; Concerto in A Major after Vivaldi by E. Power Biggs; Bach. S. 264–272
  • Frank Traficante: Quarterly Book-List. S. 273–285

Nr. 3

• Wallace Berry: The Music of Halsey Stevens. S. 287–308
• Herbert C. Turrentine: The Prince de Conti – A Royal Patron of Music. S. 309–315
• Philip Gossett: Rossini in Naples – Some Major Works Recovered. S. 316–340
• Miloš Velimirović: H. J. W. Tillyard, Patriarch of Byzantine Studies. S. 341–351
• Reginald Smith Brindle: Monteverdi’s G Minor Mass – An Experiment in Construction. S. 352–360
• Paul Henry Lang: Editorial. S. 361–375
• Reviews of Books
  • Review by Martin Picker: Ottaviano Petrucci, Canti B Numero Cinquanta by Helen Hewitt; Morton W. Briggs; Norman B. Spector. S. 376–379
  • Review by Henry Leland Clarke: Henry Purcell, 1659–1695 – His Life and Times by Franklin B. Zimmerman. S. 379–384
• Reviews of Records
  • Review by Donal Henahan: Roger Sessions – Violin Concerto (1935) by Paul Zukofsky; Orchestre Philharmonique de l’Office de La Radiodiffusion-Television Française; Gunther Schuller; Roger Sessions; Robert Moevs: Musica da Camera (1965); Variazioni Sopra una Melodia (1961) by Jack Glick; Robert Sylvester; Contemporary Chamber Ensemble; Arthur Weisberg; Robert Moevs; Ezra Sims: Third Quartet (1962) by Lenox Quartet; Ezra Sims. S. 385–387
  • Review by Kurt Stone: Xenakis – Metastaseis (1953–54); Pithoprakta (1955–56). Eonta for Piano, Two Trumpets, and Three Trombones (1963–64) by French Natl. Radio Orch.; Maurice Le Roux; Yuji Takahashi; P. Thibaut; L. Longo; J. Toulon; G. Moisan; M. Chapellier; Konstantin Simonovic; Iannis Xenakis. S. 387–395
  • Frank Traficante: Quarterly Book-List. S. 396–407

Nr. 4

• Anthony Newcomb, Carlo Gesualdo: Carlo Gesualdo and a Musical Correspondence of 1594. S. 409–436
• Alice Anderson Hufstader: Samuel Pepys, Inquisitive Amateur. S. 437–461
• John H. Baron: Monody – A Study in Terminology. S. 462–474
• Robert Stevenson: The Afro-American Musical Legacy to 1800. S. 475–502
• Peter Williams: The Harpsichord Acciaccatura – Theory and Practice in Harmony, 1650–1750. S. 503–523
• Vincent McDermott, Frank A. D’Accone, Arthur Custer: Current Chronicle. S. 524–541
• Reviews of Books
  • Review by Paul Henry Lang: Rumanian Folk Music. Vol. I, Instrumental Melodies by Béla Bartók; Benjamin Suchoff; Rumanian Folk Music. Vol. II, Vocal Melodies by Béla Bartók; Benjamin Suchoff; Rumanian Folk Music. Vol. III, Texts by Béla Bartók; Benjamin Suchoff. S. 542–548
  • Review by Tod Dockstader: Source. S. 549–553
  • Review by Martin Picker: The Madrigal Collection L’Amorosa Ero (Brescia, 1588) by Harry B. Lincoln. S. 553–555
• Reviews of Records
  • Review by Owen Jander: Stradella – „Concert Stradella“ pour Trompette, Instruments Anciens, Orchestre a Cordes & Continuo by Edward Tarr; Jean-Francois Paillard; Alessandro Stradella. S. 556–557
  • Jon Newsom: Quarterly Book-List. S. 558–566

55. Jg. 1969

Nr. 1

• Daniel Heartz: The Genesis of Mozart’s „Idomeneo“. S. 1–19
• Howard Serwer: Wiedrigkeit and „Verdriesslichkeit“ in Mühlhausen. S. 20–30
• Leslie Thimmig: The Music of Mel Powell. S. 31–44
• Walter Gray: Some Aspects of Word Treatment in the Music of William Byrd. S. 45–64
• Dean T. Mace: Pietro Bembo and the Literary Origins of the Italian Madrigal. S. 65–86
• Jean Eichelberger Ivey, Donald Chittum, Patrick J. Smith, Jon Appleton: Current Chronicle. S. 87–114
• Reviews of Books
  • Review by Gerard Béhague: Music in Aztec & Inca Territory by Robert Stevenson. S. 115–120
  • Review by John F. Ohl: Johann Sebastian Bach – The Culmination of an Era by Karl Geiringer; Irene Geiringer. S. 120–125
  • Review by Elaine Barkin: Serial Composition by Reginald Smith Brindle. S. 125–131
• Reviews of Records
  • Review by Paul Henry Lang: Handel – Hercules by Maureen Forester; Teresa Stich-Randall; Norma Lerer; Louis Quilico; Alexander Young; Baruch Grabowski; Gerhard Eder; Vienna Radio Orchestra; Vienna Academy Chorus; Martin Isepp; Brian Priestman; Handel. S. 132–136
  • Review by Tod Dockstader: Morton Subotnick – The Wild Bull a Composition for Electronic-Music Synthesizer by Morton Subotnick; John Pfieffer: Electronomusic – Nine Images by John Pfieffer. S. 136–139
  • Errata – For Hufstader and McDermott. S. 139
• Jon Newsom: Quarterly Book-List. S. 140–148

Nr. 2

• David Rosen: Verdi’s „Liber Scriptus“ Rewritten. S. 151–169
• Albert Cohen: L’Art de Bien Chanter (1666) of Jean Millet. S. 170–179
• Malcolm S. Cole: Sonata-Rondo, the Formulation of a Theoretical Concept in the 18th and 19th Centuries. S. 180–192
• Wolf-Eberhard von Lewinski, Paul Helmer: Where Do We Go from Here? A European View. S. 193–205
• H. James Jensen: English Restoration Attitudes toward Music. S. 206–214
• Sarah E. Hanks: Pantaleon’s Pantalon – An 18th-Century Musical Fashion. S. 215–227
• Gordon A. Anderson: Newly Identified Clausula-Motets in the Las Huelgas Manuscript. S. 228–245
• Reviews of Books
  • Review by Paul Henry Lang: Der Musikbegriff im Deutschen Barock by Rolf Dammann. S. 246–255
  • Review by Leeman L. Perkins: The Medici Codex of 1518, a Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino by Edward E. Lowinsky. S. 255–269
  • Review by Neal Zaslaw: Salamon Rossi, Hashirim Asher Lish’Lomo (The Songs of Solomon) by Fritz Rikko. S. 269–275
• Reviews of Records
  • Review by Paul Henry Lang: Giovanni Bononcini – Griselda (Excerpts). Karl Heinrich Graun: Montezuma (Excerpts) by Joan Sutherland; Monica Sinclair; Margareta Elkins; Rae Woodland; Elizabeth Harwood; Lauris Elms; Joseph Ward; Spiro Malas; The London Philharmonic Orchestra; The Ambrosian Singers; Richard Bonynge; Karl Heinrich Graun; Giovanni Bononcini. S. 276–280
  • Review by Donal J. Henahan: George Crumb – Eleven Echoes of Autumn, 1965 (1966); Stefan Wolpe: Trio (1963) by Aeolian Chamber Players; Lewis Kaplan; David Gilbert; Lloyd Greenberg; Jacob Maxim; Trio of the Group for Contemporary Music at Columbia University; Harvey Sollberger; Charles Wuorinen; Joel Krosnik; George Crumb; Stefan Wolpe; Lou Harrison: Symphony on G by Royal Philharmonic Orchestra; Gerhard Samuel; Lou Harrison. S. 280–285
  • Jon Newsom: Quarterly Book-List. S. 286–293

Nr. 3

• Lorenz Weinrich: Peter Abaelard as Musician – I. S. 295–312
• Joseph Yasser: The Opening Theme of Rachmaninoff’s Third Piano Concerto and Its Liturgical Prototype. S. 313–328
• A. E. F. Dickinson: Berlioz’s Songs. S. 329–343
• William E. Dalglish: The Hocket in Medieval Polyphony. S. 344–363
• Robert Ricks: Russian Horn Bands. S. 364–371
• Dragutin Gostŭski: The Third Dimension of Poetic Expression or Language and Harmony. S. 372–383
• Cynthia A. Hoover: A Trumpet Battle at Niblo’s Pleasure Garden. S. 384–395
• Edith Borroff, Donald Chittum: Current Chronicle. S. 396–407
• Reviews of Books
  • Review by Miloš Velimirović: History of Russian Music. Vol. I – From Its Origins to Dargomyzhsky by Gerald R. Seaman. S. 408–417
  • Review by Paul Henry Lang: Sweelinck’s Keyboard Music. A Study of English Elements in Seventeenth-Century Dutch Composition by Alan Curtis. S. 418–423
• Reviews of Records
  • Review by Donal Henahan: Ben Weber – Concerto for Piano and Orchestra, Op. 52; Charles Wuorinen: Piano Concerto by Ben Weber; William Masselos; Royal Philharmonic Orchestra; Gerhard Samuel; Charles Wuorinen; James Dixon; Vincent Persichetti: Masquerade for Band, Op. 102. Walter S. Hartley: Sinfonia No. 4. Ingolf Dahl: Sinfonietta for Concert Band (1961) by Eastman Wind Ensemble; Donald Hunsberger; Vincent Perischetti; Walter S. Hartley; Ingolf Dahl. S. 424–426
  • Jon Newsom: Quarterly Book-List. S. 427–436

Nr. 4

• Theodore Fenner: The Making of an Opera Critic – Leigh Hunt. S. 439–463
• Lorenz Weinrich, Robert L. Marshall: Peter Abaelard as Musician – II. S. 464–486
• Edwin M. Ripin: A Scottish Encyclopedist and the Piano Forte. S. 487–499
• Ronald Cross: The Chansons of Matthaeus Pipelare. S. 500–520
• Don Harran: Mannerism in the Cinquecento Madrigal? S. 521–544
• Paul Henry Lang: Editorial. S. 545–558
• Kurt Stone: Current Chronicle. S. 559–572
• Reviews of Books
  • Review by Barbara Krader: Slavonic and Romantic Music – Essays and Studies by Gerald Abraham. S. 573–575
  • Review by Ruth Steiner: The Responsorial Psalm Tones for the Mozarabic Office by Michael Randel. S. 575–580
  • Review by Boris Schwarz: Selected Essays on Music by Vladimir Stasov; Florence Jonas. S. 580–583
• Reviews of Records
  • Review by Henry Leland Clarke: Petrucci, First Printer of Music – Chansons, Frottole, Popular Italian Dances & Sacred Compositions from the First Printed Collections (1501–1508) by New York Pro Musica; John Reeves White; Ottaviano dei Petrucci. S. 584–586
  • Review by Miloš Velimirović: Music of the Russian Orthodox Church (Pesnopeniya russkoǐ pravoslavnoǐ tserkvi). S. 586–594
  • Jon Newsom: Quarterly Book-List. S. 595–602

56. Jg. 1970

Nr. 1

• Jacques Barzun: Berlioz a Hundred Years after. S. 1–13
• Ann Besser Scott: The Performance of the Old Hall Descant Settings. S. 14–26
• Bea Friedland: Italy’s Ottocento – Notes from the Musical Underground. S. 27–53
• James R. Anthony: Printed Editions of Andre Campra’s „L’Europe Galante“. S. 54–73
• Theodore C. Grame: Music in the Jma al-Fna of Marrakesh. S. 74–87
• Hans Joachim Marx, Laurence Wallach: Some Corelli Attributions Assessed. S. 88–98
• Zygmunt M. Szweykowski: Tradition and Popular Elements in Polish Music of the Baroque Era. S. 99–115
• Jon Appleton, Elliott Schwartz: Current Chronicle. S. 116–124
• Reviews of Books
  • Review by M. Randel: Antiphons, Responsories and Other Chants of the Mozarabic Rite by Clyde Waring Brockett,. S. 125–130
  • Review by Paul Henry Lang: The Facsimile Series of Music Manuscripts by Eric Simon. S. 130–132
• Reviews of Records
  • Review by Arthur Mendel: Schütz – Die sieben Worte Jesu Christi am Kreuz and Lukas-Passion (Historia des Leidens und Sterbens Jesu Christi nach dem Evangelisten St. Lukas) by Max von Egmond; Irmgard Jacobeit; Bert van t’Hoff; Peter Christoph Runge; Jacques Villisech; Monteverdi-Chor (Hamburg); Leonhardt-Consort; Gustav Leonhardt; Jürgen Jürgens; Schütz. S. 133–142
  • Jon Newsom: Quarterly Book-List. S. 143–150

Nr. 2

• Frederick Neumann: Ornament and Structure. S. 153–161
• Ruth Steiner: The Responsories and Prosa for St. Stephen’s Day at Salisbury. S. 162–182
• Bruno Nettl: Attitudes towards Persian Music in Tehran, 1969. S. 183–197
• Robert L. Marshall: How J. S. Bach Composed Four-Part Chorales. S. 198–220
• Herbert Byard: A Sternhold and Hopkins Puzzle. S. 221–229
• Bernard Frum: An Early Example of Dramatic Procedures in 18th-Century Keyboard Music. S. 230–246
• John Graziano: Lupus Hellinck – A Survey of Fourteen Masses. S. 247–269
• Joel Sachs: Hummel and George Thomson of Edinburgh. S. 270–287
• James R. Heintze: Music of the Washington Family – A Little-Known Collection. S. 288–293
• Reviews of Books
  • Review by George S. Golos: Antiquitates Musicae in Polonia. Volumes II-VII. The Pelplin Tablature. (Facsimiles – Parts 1–6) by Adam Sutkowski; Alina Osostowicz-Sutkowska. S. 294–295
  • Review by Paul Henry Lang: Joseph Haydn – His Life in Contemporary Pictures by László Somfai. S. 295–299
• Reviews of Records
  • Review by Paul Henry Lang: Carl Philipp Emanuel Bach – Four Hamburg Symphonies (Wotquenne 182) by Collegium Aureum; Franzjosef Maier; Gustav Leonhardt; Carl Philipp Emanuel Bach. S. 300–302
  • Jon Newsom: Quarterly Book-List. S. 303–308

Nr. 3

• Denis Stevens: Music in Honor of St. Thomas of Canterbury. S. 311–348
• Douglas Jarman: Some Rhythmic and Metric Techniques in Alban Berg’s „Lulu“. S. 349–366
• Clement A. Miller: Early Gaffuriana – New Answers to Old Questions. S. 367–388
• H. Wiley Hitchcock: Vocal Ornamentation in Caccini’s „Nuove Musiche“. S. 389–404
• J. Merrill Knapp: Handel’s „Tamerlano –" The Creation of an Opera. S. 405–430
• Richard Taruskin: Realism as Preached and Practiced – The Russian Opera Dialogue. S. 431–454
• Thomas F. Taylor: Jeremiah Clarke’s Trumpet Tunes – Another View of Origins. S. 455–462
• Albert Mell, Antonio Lolli: Antonio Lolli’s Letters to Padre Martini. S. 463–477
• William C. Holmes: Current Chronicle. S. 478–484
• Reviews of Books
  • Review by Leeman L. Perkins: Jacques Moderne, Lyons Music Printer of the Sixteenth Century by Samuel F. Pogue. S. 485–488
• Reviews of Records
  • Review by Leeman L. Perkins: Ceremonial Music of the Renaissance – Ciconia, Dufay, Isaac, and Others by Beltrame Feragut; Juan del Encina; Jean Mouton; Capella Antiqua of Munich; Konrad Ruhland. S. 489–495
  • Jon Newsom: Quarterly Book-List. S. 496–502

Nr. 4

• Paul Henry Lang: Introduction [To Special Issue Celebrating the Bicentennial of the Birth of Beethoven]. S. 505–514
• Joseph Kerman: Beethoven’s Early Sketches. S. 515–538
• Boris Schwarz: A Little-Known Beethoven Sketch in Moscow. S. 539–550
• Alan Tyson: The 1803 Version of Beethoven’s „Christus am Oelberge“. S. 551–584
• Philip G. Downs: Beethoven’s „New Way“ and the „Eroica“. S. 585–604
• F. E. Kirby: Beethoven’s Pastoral Symphony as a „Sinfonia caracteristica“. S. 605–623
• Lewis Lockwood: Beethoven’s Unfinished Piano Concerto of 1815 – Sources and Problems. S. 624–646
• Rey M. Longyear: Beethoven and Romantic Irony. S. 647–664
• Warren Kirkendale: New Roads to Old Ideas in Beethoven’s „Missa Solemnis“. S. 665–701
• Maynard Solomon: Beethoven’s Birth Year. S. 702–710
• Alfred Mann: Beethoven’s Contrapuntal Studies with Haydn. S. 711–726
• Myron Schwager: Beethoven’s Septet, Opus 20 – An Arrangement for Military Band. S. 727–741
• Alexander L. Ringer: Beethoven and the London Pianoforte School. S. 742–758
• Dénes Bartha: On Beethoven’s Thematic Structure. S. 759–778
• Edward T. Cone: Schubert’s Beethoven. S. 779–793

57. Jg. 1971

Nr. 1

• George Perle: Webern’s Twelve-Tone Sketches. S. 1–25
• O. P. Anne Schnoebelen: Cazzati vs. Bologna – 1657–1671. S. 26–39
• Kenneth Levy: Lux de Luce – The Origin of an Italian Sequence. S. 40–61
• Walter Gray: The Classical Nature of Schubert’s Lieder. S. 62–72
• M. Randel: Emerging Triadic Tonality in the Fifteenth Century. S. 73–86
• Gwilym Beechey, William Boyce, J. H.: Memoirs of Dr. William Boyce. S. 87–106
• Dorothy S. Packer: François Rabelais, Vaudevilliste. S. 107–128
• Donald Chittum, Sheila Keats: Current Chronicle. S. 129–148
• Reviews of Books
  • Review by H. Colin Slim: Johannes Lheritier – Opera Omnia I by Leeman L. Perkins; Johannes Lheritier. S. 149–155
  • Review by Paul Henry Lang: Pierre Attaingnant, Royal Printer of Music. A Historical Study and Bibliographical Catalogue by Daniel Heartz. S. 155–162
• Reviews of Records
  • Review by Luther Noss: Bach Family – Organ Works by Johann Lorenz Bach; Johann Michael Bach; Johann Sebastian Bach; Johann Christoph Bach; Johann Bernhard Bach; Johann Ernst Bach; Wilhelm Krumbach; Bach Family. S. 163–166
  • Review by Luther Noss: Böhm and Pachelbel – Organ Compositions by Lawrence Moe; Böhm; Pachelbel. S. 166–169
  • Review by Luther Noss: Spanish and Portuguese Organ Music by Francis Chapelet. S. 169–172
  • Review by Paul Henry Lang: Michael Haydn – Duo Concertante for viola and organ. Joseph Haydn: Organ Concerto in C Major by Simon Preston; Stephen Shingles; The Academy of St. Martin-in-the-Fields; Neville Marriner; Michael Haydn; Joseph Haydn. S. 173–175
  • Jon Newsom: Quarterly Book-List. S. 176–184

Nr. 2

• James Freeman: Johann Simon Mayr and His „Ifigenia in Aulide“. S. 187–210
• Chou Wen-Chung: Asian Concepts and Twentieth-Century Western Composers. S. 211–229
• David Burrows: Music and the „Nausea delle Cose Cotidiane“. S. 230–240
• John Clapham: Dvořák’s Relations with Brahms and Hanslick. S. 241–254
• Roland Jackson: On Frescobaldi’s Chromaticism and Its Background. S. 255–269
• Maria Rika Maniates: Musical Mannerism – Effeteness or Virility? S. 270–293
• Gordana Lazarevich: The Neapolitan Intermezzo and Its Influence on the Symphonic Idiom. S. 294–313
• Wolfgang Becker-Carsten, Laurence Wallach, Robert L. Weaver: Current Chronicle. S. 314–322
• Reviews of Books
  • Review by Paul Henry Lang: Ludwig van Beethoven – Autograph Miscellany from circa 1786 to 1799. British Museum Additional Manuscript 29801, ff. 39–162. (The „Kafka Sketchbook“) by Joseph Kerman; Ludwig van Beethoven. S. 323–329
• Reviews of Records
  • Review by Alexander Blachly: Musik aus der Zeit von Boccaccios Decamerone by Musica Reservata; John Beckett; Michael Morrow; Ecco la Primavera – Florentine Music of the 14th Century by The Early Music Consort; David Munrow; Ecco La Primavera. S. 330–341
  • Jon Newsom: Quarterly Book-List. S. 342–349

Nr. 3

• Maurice J. E. Brown: Schubert – Discoveries of the Last Decade. S. 351–378
• Christoph Wolff: New Research on Bach’s „Musical Offering“. S. 379–408
• Mary F. Klinger: Music and Theater in Hogarth. S. 409–426
• Nigel Davison: The „Western Wind“ Masses. S. 427–443
• Leo Kraft: The Music of George Perle. S. 444–465
• Ann Livermore: Rousseau, Beaumarchais, and Figaro. S. 466–490
• Margaret F. Johnson: Agazzari’s „Eumelio," a „dramma pastorale“. S. 491–505
• Paul Henry Lang: Editorial. S. 506–518
• Reviews of Books
  • Review by Alejandro Enrique Planchart: The Early Trope Repertory of Saint Martial de Limoges by Paul Evans. S. 519–523
• Reviews of Records
  • Review by Ronald Cross: Heinrich Isaac – Missa O praeclara, La mi la sol, Tota pulchra es, Illumina oculos meos, Maria, Jungfrau hochgeborn, Carmen, Es het ein Baur ein Töchterlein, Donna di dentro dalla tua casa by Capella Antiqua of Munich; Konrad Ruhland; Heinrich Isaac. S. 524–527
  • Jon Newsom: Quarterly Book-List. S. 528–533

Nr. 4

• Karin Pendle: Eugene Scribe and French Opera of the Nineteenth Century. S. 535–561
• H. Colin Slim: Gian and Gian Maria, Some Fifteenth- and Sixteenth-Century Namesakes. S. 562–574
• Thomas Day: A Renaissance Revival in Eighteenth-Century England. S. 575–592
• Nicholas Temperley: The „Symphonie fantastique“ and Its Program. S. 593–608
• David McKay: William Selby, Musical Émigré in Colonial Boston. S. 609–627
• Elfriede Glusman: Taubert and Mendelssohn – Opposing Attitudes toward Poetry and Music. S. 628–635
• Douglas A. Lee: Christoph Nichelmann and the Early Clavier Concerto in Berlin. S. 636–655
• Bruce Saylor, George Green: Current Chronicle. S. 656–664
• Reviews of Books
  • Review by Gordon A. Anderson: Die mehrstimmigen Ordinarium Missae-Sätze vom ausgehenden 11. bis zur Wende des 13. zum 14. Jahrhundert by Max Lütolf. S. 665–671
  • Review by Howard Mayer Brown: Theatergesang und darstellende Musik in der italienischen Renaissance (15. und 16. Jahrhundert) by Wolfgang Osthoff; Li Due Orfei. Da Poliziano a Monteverdi by Nino Pirrotta. S. 671–677
  • Review by Paul Henry Lang: Jean-Philippe Rameau – Complete Theoretical Writings by Erwin R. Jacobi. S. 677–684
• Reviews of Records
  • Review by Elias Dann: Consort Music on Original Instruments. Biber – Harmonia artificiosa-ariosa, Pars III; Mensa sonora, Pars III; Fidicinium sacro-profanum, Sonata VI and Sonata III; Poglietti: Ricercar primi toni; Rosenmüller: Sonata X a 5 and Sonata VII a 4 by The Leonhardt Consort; Gustav Leonhardt; Rosenmüller; Poglietti; Biber; Programme Music of the Baroque Era. Farina: Capriccio stravagante a 4; Schmelzer: Fechtschuel a 4; Biber: Sonata violino solo representativa (Representatio avium); Marais: Le Tableau de l’Operation de la Taille; Vivaldi: Concerto Opus 10, no. 2 („La Notte“) by Concentus Musicus Vienna; Nikolaus Harnoncourt; Farina; Schmelzer; Biber; Marin Marais; Vivaldi. S. 685–691
  • Jon Newsom: Quarterly Book-List. S. 692–696

58. Jg. 1972

Nr. 1

• Alejandro Enrique Planchart: Guillaume Dufay’s Masses – Notes and Revisions. S. 1–23
• Chappell White: The Violin Concertos of Giornovichi. S. 24–45
• Charles B. Paul: Rameau, d’Indy, and French Nationalism. S. 46–56
• Theodore C. Grame, Gen’Ichi Tsuge: Steed Symbolism on Eurasian String Instruments. S. 57–66
• Ruth K. Inglefield: Karl-Birger Blomdahl – A Portrait. S. 67–81
• David Crawford: Reflections on Some Masses from the Press of Moderne. S. 82–91
• David A. Sheldon: Johann Friedrich Fasch – Problems in Style Classification. S. 92–116
• Paul Henry Lang: Editorial. S. 117–127
• Alexander L. Ringer, Leo Kraft: Current Chronicle. S. 128–135
• Reviews of Books
  • Review by Willard Rhodes: The Ethnomusicologist by Mantle Hood. S. 136–141
  • Review by Sonia Slatin: Übungsbuch für den dreistimmigen Satz by Paul Hindemith; Andreas Briner; P. Daniel Meier; Alfred Rubeli. S. 141–148
• Reviews of Records
  • Review by Philip Brett: Tallis and Byrd – Cantiones Sacrae (1575) by Cantores in Ecclesia; Michael Howard; Thomas Tallis; William Byrd. S. 149–153
  • Jon Newsom: Quarterly Book-List. S. 154–158

Nr. 2

• Carlton T. Russell: The Analysis and Evaluation of Music – A Philosophical Inquiry. S. 161–184
• William S. Newman: Liszt’s Interpreting of Beethoven’s Piano Sonatas. S. 185–209
• Jamie Croy Kassler: Burney’s „Sketch of a Plan for a Public Music-School“. S. 210–234
• A. C. Keys: Symphony – What Does It Mean? S. 235–241
• Robert W. Weidner: Tye’s „Actes of the Apostles –" A Reassessment. S. 242–258
• John W. Wagner: James Hewitt, 1770–1827. S. 259–276
• Eugene Helm: The „Hamlet“ Fantasy and the Literary Element in C. P. E. Bach’s Music. S. 277–296
• Harold S. Powers: Current Chronicle. S. 297–307
• Reviews of Books
  • Review by George J. Buelow: Figured Bass Accompaniment by Peter Williams. S. 308–315
  • Review by Paul Henry Lang: Das Deutsche Lied. Zur Geschichte und Ästhetik einer musikalischen Gattung by Walter Wiora. S. 315–322
  • Review by C. H.: Music in the Cultured Generation – A Social History of Music in America, 1870–1900 by Joseph A. Mussulman. S. 322–329
• Reviews of Records
  • Review by Robert Moevs: Penderecki – Utrenja by Stefania Woytowicz; Kerstin Meyer; Seth McCoy; Bernard Ladysz; Peter Lagger; Temple University Chorus; Robert Page; Penderecki. S. 330–333
  • Review by Bruce Archibald: Chou Wen-Chung – Pien and Yü Ko. Cursive. The Willows Are New by The Group for Contemporary Music; Harvey Sollberger; Charles Wuorinen; Yi-an Chang; Chou Wen-chung. S. 333–335
  • Review by Bruce Archibald: Peter Westergaard – Mr. and Mrs. Discobbolos. George Balch Wilson: Concatenations. Exigencies. Richard Wilson: Music for Violin and Cello by Valerie Lamoree; Jack D. Litten; The Group for Contemporary Music; Harvey Sollberger; Contemporary Chamber Players of the University of Illinois; Edwin London; Yoko Matsuda; Fred Sherry; Peter Westergaard; George Balch Wilson; Richard Wilson. S. 335–338
  • Review by Hendrik Vander Werf: Chansons der Troubadours – Lieder und Spielmusik aus dem 12. Jahrhundert by Peire Vidal; Guiraut de Bornelh; Bernart de Ventadorn; Raimbaut de Vaqueiras; Comtessa de Dia; Studio der frühen Musik; Thomas Binkley; Chansons der Troubadours. S. 338–341
  • Jon Newsom: Quarterly Book-List. S. 342–346

Nr. 3

• Gordon A. Anderson: Thirteenth-Century Conductus – Obiter Dicta. S. 349–364
• Charles Edward Lindsley: Scoring and Placement of the „Air“ in Early American Tunebooks. S. 365–382
• John E. Morby: The Great Chapel-Chamber Controversy. S. 383–397
• Richard Hudson: The Folia, Fedele, and Falsobordone. S. 398–411
• Clement A. Miller: Jerome Cardan on Gombert, Phinot, and Carpentras. S. 412–419
• Gloria Rose: Two Operas by Scarlatti Recovered. S. 420–435
• Edward R. Reilly: Mahler and Guido Adler. S. 436–470
• Burton L. Karson: Current Chronicle. S. 471–478
• Reviews of Books
  • Review by Henry Leland Clarke: English Court Odes, 1660–1820 by Rosamond McGuinness. S. 479–482
  • Review by Maria Rika Maniates: Studien zur Symbolik in der Musik der alten Niederländer by Willem Elders. S. 482–495
• Reviews of Records
  • Review by Christoph Wolff: Johann Sebastian Bach – Musikalisches Opfer by Concentus Musicus of Vienna; Nikolaus Harnoncourt; Johann Sebastian Bach. S. 496–501
  • Review by Donald Chittum: Acoustical Research Contemporary Music Project. (Compositions by Milton Babbitt, Fred Lerdahl, Edwin Dugger, Robert Erickson, Richard Hoffman, Edwin London, George Crumb, Roger Sessions, Charles Wuorinen, Stefan Wolpe, Philip Rhodes, Charles Wittenberg, Arthur Berger, Peter Westergaard, and Harvey Sollberger.) by Milton Babbitt; Fred Lerdahl; Edwin Dugger; Robert Erickson; Richard Hoffman; Edwin London; George Crumb; Roger Sessions; Charles Wuorinen; Stefan Wolpe; Philip Rhodes; Charles Wittenberg; Arthur Berger; Peter Westergaard; Harvey Sollberger. S. 501–509
  • Jon Newsom: Quarterly Book-List. S. 510–516

Nr. 4

• William C. Bedford: A Musical Apprentice – Amy Lowell to Carl Engel. S. 519–542
• Ann Besser Scott: Ibo michi ad montem mirre – A New Motet by Plummer? S. 543–556
• Benjamin Suchoff: Bartók and Serbo-Croatian Folk Music. S. 557–571
• Maynard Solomon: New Light on Beethoven’s Letter to an Unknown Woman. S. 572–587
• Roy E. Aycock: Shakespeare, Boito, and Verdi. S. 588–604
• Charles Jacobs: The Spanish Frontier Ballad – Historical, Literary, and Musical Associations. S. 605–621
• Edward C. Wolf: Music in Old Zion, Philadelpha, 1750–1850. S. 622–652
• Elliott Schwartz: Current Chronicle. S. 653–658
• Reviews of Books
  • Review by Leeman L. Perkins: Die Staatsmotette (1480–1555) by Albert Dunning. S. 659–672
  • Review by Ruth Steiner: Les Tonaries – Inventaire, Analyse, Comparaison by Michel Huglo. S. 672–675
  • Review by Paul Henry Lang: Domenico Scarlatti, Complete Keyboard Works. In Facsimile from the Manuscript and Printed Sources by Ralph Kirkpatrick; Domenico Scarlatti. S. 675–677
• Reviews of Records
  • Review by Leeman L. Perkins: Staatsmusik der Renaissance by Capella Antiqua of Munich; Konrad Ruhland. S. 678–683
  • Review by David Fuller: Rameau – Pièces de clavecin en concerts by Frans Brüggen; Sigiswald Kuijken; Wieland Kuijken; Gustav Leonhardt; Rameau. S. 683–686
  • Review by Nicholas Temperley: Charles Avison – Six Concertos from Opus 6 by Hurwitz Chamber Ensemble; Emanuel Hurwitz; Charles Avison. S. 687–690
  • Jon Newsom: Quarterly Book-List. S. 691–694

59. Jg. 1973

Nr. 1

• Alexander L. Ringer: Schoenbergiana in Jerusalem. S. 1–14
• Pat Rogers: The Critique of Opera in Pope’s „Dunciad“. S. 15–30
• Joel Sachs: Hummel and the Pirates – The Struggle for Musical Copyright. S. 31–60
• Dena J. Epstein: African Music in British and French America. S. 61–91
• Charles W. Warren: Brunelleschi’s Dome and Dufay’s Motet. S. 92–105
• Thomas Higgins: Tempo and Character in Chopin. S. 106–120
• Bruce Archibald, Donald Chittum: Current Chronicle. S. 121–133
• Reviews of Books
  • Review by Miloš Velimirović: Music and Musical Life in Soviet Russia, 1917–1970 by Boris Schwarz. S. 134–136
  • Review by Kenneth Cooper: Playing the Harpsichord by Howard Schott. S. 137–139
  • Review by Edward A. Lippman: Aesthetics and Theory of Art by Max Dessoir; Stephen A. Emery. S. 139–144
• Reviews of Records
  • Review by Robert L. Marshall: Johann Sebastian Bach – The Complete Cantatas by Paul Esswood; Kurt Equiluz; Max van Egmond; The Vienna Choir Boys; The Chorus Viennensis; The Vienna Concentus Musicus; Nikolaus Harnoncourt; The King’s College Choir; The Leonhardt Consort; Gustav Leonhardt; Johann Sebastian Bach. S. 145–159
  • Review by Robert Moevs: Harry Partch – Delusion of the Fury, a Ritual of Dream and Delusion by Danlee Mitchell; Harry Partch. S. 160–163
  • Review by Ronald Cross: Musik der Dürerzeit by Monteverdi-Chor; Jürgen Jürgens; Capella Antiqua; Konrad Ruhland; Studio der frühen Musik; Thomas Binkley. S. 163–169
  • Jon Newsom: Quarterly Book-List. S. 170–174

Nr. 2

• Craig Wright: Tapissier and Cordier – New Documents and Conjectures. S. 177–189
• John I. Schwarz, Jr.: Samuel and Samuel Sebastian Wesley, the English „Doppelmeister“. S. 190–206
• Zoltan Roman: Connotative Irony in Mahler’s Todtenmarsch in „Callots Manier“. S. 207–222
• James Haar: The „Fantasie et recerchari“ of Giuliano Tiburtino. S. 223–238
• Bruce Saylor: The Music of Hugo Weisgall. S. 239–262
• Albert I. Borowitz: Salieri and the „Murder“ of Mozart. S. 263–284
• Murray C. Bradshaw: Juan Cabanllies – The Toccatas and Tientos. S. 285–301
• Paul Henry Lang: Editorial. S. 302–309
• Reviews of Books
  • Review by Michael Shapiro: Shakespeare’s Use of Music – The Histories and the Tragedies by John H. Long. S. 310–314
  • Review by Roy E. Aycock: Leigh Hunt and Opera Criticism – The „Examiner“ Years, 1808–1821 by Theodore Fenner. S. 314–320
  • Review by C. H.: Theory of Suspensions – A Study of Metrical and Pitch Relations in Tonal Music by Arthur J. Komar. S. 320–322
• Reviews of Records
  • Review by Jean Wentworth: Oliver Messiaen – Visions de l’Amen by John Ogdon; Brenda Lucas; Oliver Messiaen. S. 323–328
  • Review by Mary Cyr: Rameau – Castor et Pollux by Gérard Souzay; Zeger Vandersteene; Jeanette Scovotti; Norma Lerer; Jacques Villisech; Stockholmer Kammerchor; Eric Ericson; Concentus Musicus Wien; Nikolaus Harnoncourt; Rameau. S. 328–333
  • Review by Gloria Rose: Schütz – Cantate Domino (Double Choir Motets) by Heinrich Schütz Choir; Symphoniae Sacrae Chamber Eǹsemble; Charles Spinks; Christopher Hogwood; Roger Norrington; Heinrich Schütz; Giovanni Gabrieli: The Glory of Venice by E. Power Biggs; The Gregg Smith Singers; The Texas Boys Choir; The Edward Tarr Brass Ensemble; Vittorio Negri; Giovanni Gabrieli. S. 333–334
  • Jon Newsom: Quarterly Book-List. S. 335–337

Nr. 3

• A. Peter Brown: The Earliest English Biography of Haydn. S. 339–354
• B. M. Williams: Time and the Structure of Stravinsky’s Symphony in C. S. 355–369
• Denis Stevens: Monteverdi’s Necklace. S. 370–381
• Patrick Waddington: Pauline Viardot-Garcia as Berlioz’s Counselor and Physician. S. 382–398
• Owain Edwards: Charles Avison, English Concerto-Writer Extraordinary. S. 399–410
• Joan O. Falconer: The Second Berlin Song School in America. S. 411–440
• Geoffrey Norris: Rakhmaninov’s Student Opera. S. 441–448
• David Warren Hadley: Beethoven and the Philharmonic Society of London – A Reappraisal. S. 449–461
• R. Peter Wolf, Carlton Gamer: Current Chronicle. S. 462–473
• Reviews of Books
  • Review by Piero Weiss: L’Aria di Fiorenza, id est Il Ballo del Gran Duca by Warren Kirkendale. S. 474–476
  • Review by Paul Henry Lang: A Gift of Madrigals and Motets by H. Colin Slim. S. 477–480
• Reviews of Records
  • Review by David Fuller: Famous Organs of Holland and North Germany by J. S. Bach; Buxtehude; Telemann; Sweelinck; Cornet; Paumann; Koetsier; Scronx; E. Power Biggs. S. 481–488
  • Review by George W. Flynn: Luciano Berio – Laborintus II by Ensemble Musique Vivante; Luciano Berio. S. 488–490
  • Jon Newsom: Quarterly Book-List. S. 491–494

Nr. 4

• Edward F. Kravitt: Tempo as an Expressive Element in the Late Romantic Lied. S. 497–518
• Barton Hudson: Antoine Brumel’s „Nativitas unde gaudia“. S. 519–530
• Richard Wang: Jazz circa 1945 – A Confluence of Styles. S. 531–546
• Bonnie J. Blackburn: Johannes Lupi and Lupus Hellinck. A Double Portrait. S. 547–583
• David Poultney: Alessandro Scarlatti and the Transformation of Oratorio. S. 584–601
• Judith T. Steinberg: Old Folks Concerts and the Revival of New England Psalmody. S. 602–619
• Don Harrán: Vicentino and His Rules of Text Underlay. S. 620–632
• Reviews of Books
  • Review by Philip Gossett: Letters of Giuseppe Verdi by Charles Osborne; Giuseppe Verdi. S. 633–639
  • Review by Mary Cyr: Andre Campra – Les Fetes Venitiennes, Opera-Ballet (1710) by Antoine Danchet; Max Lütolf; Eduard Kaufmann; Andre Campra. S. 639–642
  • Review by Martin Picker: The Music of Noel Bauldeweyn by Edgar H. Sparks. S. 643–645
  • Review by William P. Malm: A History of Japanese Music by Eta Harich-Schneider. S. 645–649
  • Review by William P. Malm: The Kumiuta and Danmono Tradition of Japanese Koto Music by Willem Adriaansz. S. 649–651
• Reviews of Records
  • Review by Walter Hilse: Hindemith Anthology. Records 1–3, Selected Chamber Works by Marni Nixon; Louise di Tullio; Gordon Pope; Hugo Raimondi; Don Christlieb; Thomas Stevens; Paul Shure; Bonnie Douglas; Sven Reher; Kurt Reher; Delores Stevens; Lincoln Mayorga. S. 652–657
  • Jon Newsom: Quarterly Book-List. S. 658–661

60. Jg. 1974

Nr. 1

• Publishers’ Note
• Bruno Nettl: Thoughts on Improvisation – A Comparative Approach. S. 1–19
• Julian Armitage-Smith: Schubert’s „Winterreise“, Part I – The Sources of the Musical Text. S. 20–36
• Anselm Hughes: In hoc anni circulo. S. 37–45
• Larry Stempel: Not Even Varese Can Be an Orphan. S. 46–60
• Don M. Randel, Garcilaso: Sixteenth-Century Spanish Polyphony and the Poetry of Garcilaso. S. 61–79
• Myron Schwager: Some Observations on Beethoven as an Arranger. S. 80–93
• Donald C. Gresch: Mattheus Le Maistre’s Polyphonic „Officia“. S. 94–113
• Reviews of Books
  • Review by Jacques Barzun: The Berlioz Style by Brian Primmer; Berlioz, artiste et ecrivain dans les Memoires by Joseph-Marc Bailbé; The Music of Berlioz by A. E. F. Dickinson. S. 114–118
  • Review by Anthony Newcomb: Claudio Monteverdi – Il primo libro de’ madrigali a cinque voci by Bernard Bailly de Surcy; Claudio Monteverdi. S. 118–126
  • Review by Gordana Lazarevich: Les Intermedes comiques italiens au XVIIIe siecle en France et en Italie by Irène Mamczarz. S. 126–132
  • Review by Albert Cohen: Die französische Kompositionslehre in der ersten Hälfte des 17. Jahrhunderts by Herbert Schneider. S. 132–136
  • Review by Joel Sachs: John Field and Chopin by David Branson. S. 136–141
  • Review by Paul Henry Lang: Wolfgang Amadeus Mozart – Neue Ausgabe Sämtlicher Werke (Series II, Bühnenwerke, Werkgruppe 5), Idomeneo by Daniel Heartz; Wolfgang Amadeus Mozart. S. 141–150
• Reviews of Records
  • Review by Henry Leland Clarke: Purcell – Ceremonial Music (Te Deum Laudamus, Jubilate Deo in D; Complete Funeral Music) by James Bowman; Charles Brett; Ian Partridge; Forbes Robinson; Stephen Cleobury; English Chamber Orchestra; Jose Luis Garcia; Jane Ryan; Consort of Sackbuts from Symphoniae Sacrae; Malcolm Creese; Simon Keenlyside; Robert King; Robert Smith; Paul Williams; St. John’s College (Cambridge); George Guest; Purcell. S. 151–153
  • Review by Ronald Cross: Dufay – Missa Ave Regina Caelorum, Ave Regina Caelorum III, Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae, Puisque vous estez campieur, Se la face ay pale by Capella Cordina; Alejandro Planchart; Dufay; Anon.: Missa Fuit Homo Missus; Dufay: Missa Sine Nomine by Capella Cordina; Alejandro Planchart; Anon; Dufay; Ockeghem: Missa Ecce Ancilla; Anon. (Trent Codex 88): Missa Sanctissimae Trinitatis; Dufay: Benedicamus Domino by Capella Cordina; Alejandro Planchart; Ockeghem; Anon; Dufay. S. 154–159
  • Jon Newsom: Quarterly Book-List. S. 160–163

Nr. 2

• Sondra Rae Clark: The Element of Choice in Ives’s „Concord Sonata“. S. 167–186
• Ruth Katz: On „Nonsense“ Syllables as Oral Group Notation. S. 187–194
• Guglielmo Barblan, Agostina Zecca Laterza, Laura DeMarco: The Tarasconi Codex in the Library of the Milan Conservatory. S. 195–221
• David Fuller: Accompanied Keyboard Music. S. 222–245
• Ernest H. Sanders: The Medieval Hocket in Practice and Theory. S. 246–256
• Bea Friedland: Louise Farrenc (1804–1875) – Composer, Performer, Scholar. S. 257–274
• Reviews of Books
  • Review by Christoph Wolff: The Compositional Process of J. S. Bach, A Study of the Autograph Scores of the Vocal Works by Robert Lewis Marshall. S. 275–279
  • Review by David G. Hughes: Ein Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und musikalischen Bedeutung by Wulf Arlt. S. 279–284
  • Review by Laurence Wallach: Charles E. Ives – Memos by John Kirkpatrick; Charles E. Ives. S. 284–290
  • Review by Edwin M. Ripin: The Harpsichord and Clavichord – An Introductory Study by Raymond Russell; Howard Schott. S. 290–299
  • Review by Philip G. Downs: Zur Geschichte der Beethoven-Rezeption by Hans Heinrich Eggebrecht. S. 299–301
  • Review by Chou Wen-chung: The Lore of the Chinese Lute – An Essay in the Ideology of the Ch’in by Robert Hans van Gulik. S. 301–305
  • Review by Albert Seay: The Chansons of the Troubadours and Trouveres – A Study of the Melodies and Their Relation to the Poems by Hendrik VanderWerf. S. 306–311
• Reviews of Records
  • Review by Edwin M. Ripin: Beethoven – Sonatas Opus 27, No. 2 („Moonlight“), Opus 57 („Appassionata“), Opus 81a („Les Adieux“), Opus 111; Andante from Sonata Opus 28; Polonaise Opus 89 by Beethoven; Paul Badura-Skoda; Beethoven: Sonatas Opus 78, Opus 109, Opus 110; Bagatelles Opus 126 by Beethoven; Jorg Demus; Beethoven: Quartet Opus 132 by Beethoven; Quartett Collegium Aureum; Beethoven: Piano Concerto No. 4, Opus 58; Fantasia Opus 77 by Beethoven; Paul Badura-Skoda; Collegium Aureum; J. C. Bach: Drei Londoner Sinfonien by J. C. Bach; Collegium Aureum; Haydn: Quartets Opus 64, Nos. 2 and 6 by Haydn; Quartett Collegium Aureum; Haydn: Cassations, Hob. II, 9 and 20 by Haydn; Collegium Aureum; Haydn: Symphonies Nos. 85 („La Reine“) and 87 by Haydn; Collegium Aureum; Mozart: Quartets, K. 458 („Hunt“), and K. 465 („Dissonant“) by Mozart; Quartett Collegium Aureum; Mozart: Serenade No. 7, K. 250 („Haffner“) by Mozart; Franzjosef Maier; Collegium Aureum; Mozart: Serenade No. 10, K. 361 („Gran Partita“) by Mozart; Collegium Aureum; Mozart: Serenades Nos. 11 and 12, K. 375 and K. 388 by Mozart; Collegium Aureum; Mozart: Symphonies Nos. 33 and 40, K. 319 and K. 550 by Mozart; Collegium Aureum; Mozart: Piano Concertos Nos. 8, K. 246 („Lutzow“) and 26, K. 547 („Coronation“) by Mozart; Jorg Demus; Collegium Aureum; Schubert: Quintet Opus 114 („Trout“); Nocturne Opus 148 by Schubert; Jorg Demus; Collegium Aureum; Venezianische Konzerte (Vivaldi, Violin Concerto in E-Flat; Locatelli, Concerto Grosso Opus 7, No. 12; Albinoni, Sonata Opus 2, No. 6) by Vivaldi; Locatelli; Albinoni; Franzjosef Maier; Werner Neuhaus; Brigitte Seeger; Gunter Vollmer; Collegium Aureum. S. 312–318
  • Review by George Green: Pierre Boulez – Piano Sonata No. 1. Piano Sonata No. 2 (Trope and Constellation-Mirroir) by Pierre Boulez; Charles Rosen; Boulez Conducts Boulez: Le Marteau sans maître. Livre pour cordes by Yvonne Minton; Ensemble Musique Vivante; New Philharmonia Orchestra; Boulez. S. 319–321
  • Review by Bruce Archibald: Otto Luening – Chamber Music. String Quartets Nos. 2 and 3. Trio for Flute, Cello, and Piano. Sonata No. 3 for Solo Violin by Sinnhoffer Quartet; Harvey Sollberger; Fred Sherry; Charles Wuorinen; Max Pollikoff; Otto Luening. S. 321–326
  • Jon Newsom: Quarterly Book-List. S. 327–329

Nr. 3

• Leo Treitler: Homer and Gregory – The Transmission of Epic Poetry and Plainchant. S. 333–372
• Reinhard van Hoorickx: Schubert’s Reminiscences of His Own Works. S. 373–388
• Erich Schwandt: L’Affilard on the French Court Dances. S. 389–400
• Ena Steiner: Schoenberg’s Quest – Newly Discovered Works from His Early Years. S. 401–420
• Margery Stomne Selden: Cherubini and England. S. 421–434
• R. M. Longyear: The Text of Liszt’s B Minor Sonata. S. 435–450
• Gwilym Beechey: J. G. C. Schetky and His „Observations“ on Playing the Cello. S. 451–469
• A. E. F. Dickinson: Current Chronicle. S. 470–478
• Reviews of Books
  • Review by Neal Zaslaw: French Baroque Music from Beaujoyeulx to Rameau by James Anthony. S. 479–492
  • Review by Zoltan Roman: Mahler by Henry-Louis de La Grange. S. 492–499
  • Correction – The Berlioz Style. S. 499
• Reviews of Records
  • Review by Victor Fell Yellin: Ives – The Celestial Country by Hazel Holt; Alfreda Hodgson; John Elwes; John Noble; Schütz Choir; Harold Farberman; Charles Ives. S. 500–508
  • Carolyn Bryant: Quarterly Book-List. S. 509–513

Nr. 4

• Daniel Heartz: Raaff’s Last Aria – A Mozartian Idyll in the Spirit of Hasse. S. 517–543
• Robert Orledge: Debussy’s Musical Gifts to Emma Bardac. S. 544–556
• Malcolm H. Brown: The Soviet Russian Concepts of „Intonazia“ and „Musical Imagery“. S. 557–567
• Daniel Coren: Ambiguity in Schubert’s Recapitulations. S. 568–582
• John C. Crawford: Die glückliche Hand – Schoenberg’s „Gesamtkunstwerk“. S. 583–601
• Gregory G. Butler: The Fantasia as Musical Image. S. 602–615
• Ora Frishberg Saloman: The Orchestra in Le Sueur’s Musical Aesthetics. S. 616–624
• Gregory Levin, Donald Chittum, Vincent McDermott: Current Chronicle. S. 625–645
• Reviews of Books
  • Review by Alejandro Enrique Planchart: Music from the Middle Ages to the Renaissance by F. W. Sternfeld. S. 646–654
  • Review by Pat Rogers: English Theatre Music in the Eighteenth Century by Roger Fiske. S. 654–658
  • Review by Frederick Neumann: A Performer’s Guide to Baroque Music by Robert Donington. S. 658–664
  • Review by Mary Peckham Day: Georg Philipp Telemann by Richard Petzoldt; Horace Fitzpatrick. S. 664–669
  • Review by John E. Morby: Music in the Service of the King – France in the Seventeenth Century by R. M. Isherwood. S. 669–672
• Reviews of Records
  • Review by Ruth Steiner: Gregorian Chant by Schola Cantorum of Amsterdam Students; Wim van Gerven; Gregorian Chant. S. 673–677
  • Review by Walter Hilse: Reger – Sonata for Cello and Piano, Opus 116; Sonata for Violin and Piano, Opus 139 by Pina Carmirelli; Mischa Schneider; Peter Serkin; Rudolf Serkin; Max Reger. S. 677–681
  • Review by Linda Siegel: Schumann – Faust by Dietrich Fischer-Dieskau; Elizabeth Harwood; John Shirley-Quirk; Peter Pears; Jennifer Vyvyan; Felicity Palmer; Meriel Dickinson; Pauline Stevens; Robert Lloyd; Alfreda Hodgson; Aldeburgh Festival Singers; Wandsworth School Choir; Russell Burgess; English Chamber Orchestra; Benjamin Britten; Schumann. S. 681–685
  • Review by Isabelle Emerson: Johann Sebastian Bach – Das Orgelwerk, Volume I by Johann Sebastian Bach. S. 685–689
  • Carolyn Bryant: Quarterly Book-List. S. 690–697

61. Jg. 1975

Nr. 1

• Robert P. Morgan: Stockhausen’s Writings on Music. S. 1–16
• James Webster: The Chronology of Haydn’s String Quartets. S. 17–46
• Ashenafi Kebede: The „Azmari“, Poet-Musician of Ethiopia. S. 47–57
• Josepha Kennedy: Dufay and Don Pedro the Cruel. S. 58–64
• Hans Joachim Marx, Laurence Dana Dreyfus: Some Unknown Embellishments of Corelli’s Violin Sonatas. S. 65–76
• Victor Fell Yellin: Chadwick, American Musical Realist. S. 77–97
• Linda Correll Roesner: The Autograph of Schumann’s Piano Sonata in F Minor, Opus 14. S. 98–130
• Arthur Custer: Current Chronicle. S. 131–137
• Reviews of Books
  • Review by Edward R. Lerner: The Emperor Maximilian I and Music by Louise Cuyler. S. 138–141
  • Review by Richard Taruskin: Mikhail Glinka – A Biographical and Critical Study by David Brown. S. 141–151
  • Review by James R. Heintze: Thomas Jefferson and Music by Helen Cripe. S. 151–153
  • Review by Nicholas Temperley: The Life and Music of John Field, 1782–1837, Creator of the Nocturne by Patrick Piggott. S. 154–156
• Reviews of Records
  • Review by Robert Moevs: Elliott Carter – String Quartets Nos. 2 and 3 by The Juilliard Quartet; Elliott Carter. S. 157–168
  • Review by Robert W. Weidner: Tye – „Euge Bone“ Mass and „Western Wynde“ Mass by The Choir of King’s College (Cambridge); David Willcocks; Christopher Tye. S. 169–171
  • Review by Jean Wentworth: Fauré – La Bonne Chanson, Opus 61; Opus 76; Opus 85; Mirages, Opus 113 by Bernard Kruysen; Noël Lee; Fauré; Debussy: Trois Chansons de France, Fêtes galantes (Second Set), Trois Poèmes de Stéphane Mallarmé, Le Promenoir des deux amants, Noël des enfants qui n’ont plus de maisons, Trois Ballades de François Villon by Bernard Kruysen; Noël Lee; Debussy. S. 171–178
  • Quarterly Book-List. S. 179–186

Nr. 2

• Peter A. Bloom: Orpheus’ Lyre Resurrected – A „Tableau Musical“ by Berlioz. S. 189–211
• Jno L. Hunt, Giovanni Paisiello: The Keyboard Works of Giovanni Paisiello. S. 212–232
• Arnold T. Schwab: Edward MacDowell’s Birthdate – A Correction. S. 233–239
• Dorothy S. Packer: Horatian Moral Philosophy in French Song, 1649–1749. S. 240–271
• Maynard Solomon: Beethoven – The Nobility Pretense. S. 272–294
• Victor Fell Yellin: Current Chronicle. S. 295–299
• Reviews of Books
  • Review by Roland Jackson: Gesualdo. The Man and His Music by Glenn E. Watkins. S. 300–308
  • Review by Stephen Blum: Classical Persian Music – An Introduction by Ella Zonis. S. 308–314
  • Review by Barbara R. Hanning: Claudio Monteverdi – Lettere, Dediche, e Prefazioni by Claudio Monteverdi; Domenico de’Paoli. S. 314–319
  • Review by Edmund A. Bowles: Die Drehleier – Ihr bau und Ihre Geschichte by Marianne Bröcker. S. 319–324
  • Review by Paul Henry Lang: Handel’s Conducting Score of Messiah by Handel. S. 324–325
• Reviews of Records
  • Review by Eleanor Cory: Contemporary Piano Music (Charles Wuorinen, Sonata; Stefan Wolpe, Form and Form IV – Broken Sequences; Yehudi Wyner, Three Short Fantasies; George Perle, Toccata) by Robert Miller; Charles Wuorinen; Stefan Wolpe; Yehudi Wyner; George Perle; Music for Piano, Four Hands (William Sydeman, Concerto for Piano Four Hands and Orchestra; Joel Spiegelman, Kousochki; Lawrence Moss, Omaggio; Charles Wuorinen, Making Ends Meet) by Jean Wentworth; Kenneth Wentworth; Contemporary Music Ensemble; Arthur Weisberg; William Sydeman; Joel Spiegelman; Lawrence Moss; Charles Wuorinen. S. 326–335
  • Carolyn Bryant: Quarterly Book-List. S. 336–342

Nr. 3

• Henry G. Mishkin: Incomplete Notation in Mozart’s Piano Concertos. S. 345–359
• Joshua Rifkin: The Chronology of Bach’s Saint Matthew Passion. S. 360–387
• George W. Flynn: Listening to Berio’s Music. S. 388–421
• Louise Schleiner: The Composer as Reader – A Setting of George Herbert’s „Altar“. S. 422–432
• Sterling E. Murray: Timothy Swan and Yankee Psalmody. S. 433–463
• Jean Hughes, Bruce Saylor: Current Chronicle. S. 464–475
• Reviews of Books
  • Review by Alexander L. Ringer: Schönberg – Leben, Umwelt, Werk by H. H. Stuckenschmidt. S. 476–481
  • Review by Piero Weiss: The New Oxford History of Music, Volume VII – The Age of Enlightenment, 1745–1790 by Egon Wellesz; F. W. Sternfeld. S. 481–485
  • Review by Frani Muser: Charles Ives Remembered – An Oral History by Vivian Perlis; Charles Ives and the American Mind by Rosalie Sandra Perry. S. 485–490
  • Review by Paul Henry Lang: Johann Adolf Hasse – Ruggiero, ovvero l’eroica gratitudine by Klaus Hortschansky; Johann Adolf Hasse. S. 490–495
• Reviews of Records
  • Review by Rebecca A. Baltzer: Music in Honor of St. Thomas of Canterbury (Medieval Carols, Conductus, Motets, Masses, and Plainsong) by Accademia Monteverdiana and Trinity Boys’ Choir; David Squibb; Denis Stevens. S. 496–499
  • Review by Mary Cyr: Rameau – Les Indes galantes by Raphaël Passaquet Vocal Ensemble; La grange écurie et la chambre du Roy; Jean-Claude Malgoire; Rameau. S. 499–502
  • Addendum. S. 502
• Carolyn Bryant: Quarterly Book-List. S. 503–508

Nr. 4

• Nicholas E. Tawa: Secular Music in the Late-Eighteenth-Century American Home. S. 511–527
• William S. Newman: Freedom of Tempo in Schubert’s Instrumental Music. S. 528–545
• Roger Delage, Frayda Lindemann: Ravel and Chabrier. S. 546–552
• James W. Marchand: The Old Icelandic Allegory of the Church Modes. S. 553–559
• Lowell Lindgren: The Three Great Noises „Fatal to the Interests of Bononcini“. S. 560–583
• John S. Weissmann, Bruce Saylor, Douglas A. Lee: Current Chronicle. S. 584–599
• Reviews of Books
  • Review by Sven H. Hansell: Antonio Vivaldi by Remo Giazotto. S. 600–607
  • Review by Philip Hart: Philharmonic – A History of New York’s Orchestra by Howard Shanet. S. 607–611
  • Review by James R. Anthony: The Eighteenth-Century French Cantata by David Tunley. S. 611–615
  • Review by James Haar: Eustachio Romano – Musica Duorum (Rome, 1521) by Hans T. David; Howard Mayer Brown; Edward E. Lowinsky; Eustachio Romano. S. 615–618
  • Review by Edward C. Wolf: The History of the Organ in the United States by Orpha Ochse. S. 618–622
  • Review by A. Peter Brown: Joseph Haydn and the String Quartet by Reginald Barrett-Ayres. S. 622–625
• Reviews of Records
  • Review by Philip Gossett: Rossini – The Siege of Corinth by Ambrosian Opera Chorus; London Symphony Orchestra; Thomas Schippers; Rossini. S. 626–638
  • Review by Bruce Archibald: New Vocal Music. Robert Erikson, End of the Mime. John Ferritto, Oggi. J. K. Randall, Improvisation. Jean Eichelberger Ivey, Hera, Hung from the Sky by New Music Choral Ensemble; Kenneth Gaburo; Neva Pilgrim; Allen Blustine; Ursula Oppens; Bethany Beardslee; Ronald Anderson; Thomas James; Albert Regni; Stanley Silverman; David Gilbert; Elaine Bonazzi; Andrew Thomas; John Ferritto; Robert Erikson; J. K. Randall; Jean Eichelberger Ivey; Music by Jean Eichelberger Ivey. Terminus. Aldebaran. Three Songs of Night. Cortege – For Charles Kent by Elaine Bonazzi; Jacob Glick; Catherine Rowe; Peabody Conservatory Contemporary Music Ensemble; Leonard Pearlman; Jean Eichelberger Ivey. S. 638–641
  • Review by Henry Leland Clarke: Domenico Scarlatti – Stabat Mater. Alessandro Scarlatti: O Magnum Mysterium; Domine, Refugium Factus Es Nobis by Charles Spinks; Marylin Sansom; Keith Marjoram; Schütz Choir of London; Roger Norrington; Domenico Scarlatti; Alessandro Scarlatti. S. 641–643
  • Review by Nicholas Temperley: Kuhlau – Sonatinas Opus 20 and Opus 55. Clementi: Sonatinas Opus 36. Haydn: Sonata in C Major, Hob. XVI:35. Mozart: Sonata in C Major, K. 545. Beethoven: Sonatas Op. 49. Dussek: Sonatina Opus 20, No. 1 by Philippe Entremont; Kuhlau; Clementi; Haydn; Mozart; Beethoven; Dussek. S. 643–645
  • Review by Eileen Southern: Black Composers Series. Vol. 1 – Chevalier de Saint-Georges – Symphony No. 1 in G Major. String Quartet No. 1 in C Major. Juilliard Quartet. Symphonie Concertante in G Major for Two Violins and Orchestra. Miriam Fried and Jaime Laredo, Violins. Scene from „Ernestine." by Faye Robinson; London Symphony Orchestra; Paul Freeman; Jaime Laredo; Chevalier de Saint-Georges; Juilliard Quartet; Miriam Fried; Black Composers Series. Vol. 2 – William Grant Still: Afro-American Symphony. Two Arias from „Highway 1, U. S. A." Samuel Coleridge-Taylor: Danse Nègre. Aria from „Hiawatha’s Wedding Feast." by William Brown; London Symphony Orchestra; Paul Freeman; William Grant Still; Samuel Coleridge-Taylor; Black Composers Series. Vol. 3 – Ulysses Kay: Markings. George Walker: Concerto for Trombone and Orchestra by Denis Wick; London Symphony Orchestra; Paul Freeman; Ulysses Kay; George Walker; Black Composers Series. Vol. 4 – Roque Cordero: Concerto for Violin and Orchestra. Sanford Allen, Violin. Eight Miniatures by Detroit Symphony Orchestra; Paul Freeman; Roque Cordero; Sanford Allen. S. 645–650
  • Carolyn Bryant: Quarterly Book-List. S. 651–656

62. Jg. 1976

Nr. 1

• Brian W. Pritchard: Mendelssohn’s Chorale Cantatas – An Appraisal. S. 1–24
• Rodney J. Payton: The Music of Futurism – Concerts and Polemics. S. 25–45
• G. A. Philipps: Patronage in the Career of Thomas Weelkes. S. 46–57
• Douglas A. Lee: Some Embellished Versions of Sonatas by Franz Benda. S. 58–71
• H. Earle Johnson: The John Rowe Parker Letters. S. 72–86
• Lawrence W. Hartzell: Karel Husa – The Man and the Music. S. 87–104
• Richard Taruskin, Thomas DeLio: Current Chronicle. S. 105–118
• Reviews of Books
  • Review by James W. Mc Kinnon: Diabolus in Musica – Studien zur Ikonographie der Musik des Mittelalters by Reinhold Hammerstein. S. 119–123
  • Review by Denis Arnold: Salamon Rossi – Hashirim asher lish’lomo. Vol. III by Fritz Rikko; Salamon Rossi. S. 123–124
  • Review by Paul Henry Lang: Don Giovanni o sia il Convitato di Pietra by Giovanni Bertati; Giuseppe Gazzaniga; Stefan Kunze. S. 125–134
  • Review by C. H.: The Composer’s Voice by Edward T. Cone. S. 134–138
• Reviews of Records
  • Review by Richard Franko Goldman: The Calouste Gulbenkian Foundation Series. 1. – Messiaen – Poèmes pour Mi. Tippett: Songs for Dov by Felicity Palmer; BBC Orchestra; Pierre Boulez; Robert Pear; London Sinfonietta; David Atherton; Messiaen; Tippett; The Calouste Gulbenkian Foundation Series. 2. – Davies: Points and Dances from „Taverner“. Second Fantasia on John Taverner’s „In Nomine." by The Fires of London; Davies; New Philharmonia Orchestra; Charles Groves; The Calouste Gulbenkian Foundation Series. 3. – Sessions: Rhapsody for Orchestra; Symphony No. 8. Musgrave: Night Music. Riegger: Dichotomy by London Sinfonietta; Frederik Prausnitz; Barry Tuckwell; Alan Chidell; Sessions; Musgrave; Riegger; The Calouste Gulbenkian Foundation Series. 4. – Gerhard: Dances from „Don Quixote“; Symphony No. 1 by BBC Orchestra; Antal Dorati; Gerhard; The Calouste Gulbenkian Foundation Series. 5. – Skalkottas: Octet. Variations on a Greek Folk Tune. String Quartet No. 3 by The Melos Ensemble; Masters-Simpson-Gazelle Trio; Dartington String Quartet; Skalkottas; The Calouste Gulbenkian Foundation Series. 6. – Weill: Symphony No. 1; Symphony No. 2 by BBC Symphony Orchestra; Gary Bertini; Weill; The Calouste Gulbenkian Foundation Series. 7. – Schoenberg: Suite for String Orchestra; Lutyens: „O Saisons, ô châteaux“. Britten: Prelude and Fugue by Marilyn Tyler; Royal Philharmonic Orchestra; Norman Del Mar; Schoenberg; Lutyens; Britten. S. 139–144
  • Review by Peter Bergquist: Orlando di Lasso – Missa Bella Amfitrit’altera and Penitential Psalm VII („Domine exaudi... auribus percipe“) by Christ Church Cathedral (Oxford); Simon Preston; Orlando di Lasso. S. 144–146
  • Review by John C. Crawford: Schoenberg – Gurre-Lieder by Marita Napier; Jess Thomas; Yvonne Minton; Kenneth Bowen; Siegmund Nimsgern; Gunther Reich; BBC Singers; BBC Choral Union; Goldsmith’s Choral Union; Gentlemen of the London Philharmonic Choir; John Poole; BBC Symphony Orchestra; Pierre Boulez; Schoenberg. S. 147–149
  • Review by Walter Hilse: Dvořák – Mass in D Major, Opus 86 by Neil Ritchie; Andrew Giles; Alan Byers; Robert Morton; Nicholas Cleobury; Christ Church Cathedral (Oxford); Simon Preston; Dvořák. S. 149–152
  • Review by Daniel Coren: Music for Computers, Electronic Sounds and Players. Charles Dodge – Folia; Extensions for Trumpet and Tape. Bülent Arel: Mimiana: Frieze. Benjamin Boretz: Group Variations by Charles Dodge; Bülent Arel; Benjamin Boretz; Electronic Music. J. K. Randall: Music for the Film „Eakins“. Robert Ceely: Elegia: Mitsyn Music. Alfredo Del Monaco: Electronic Study No. 2 (1970); Metagrama by J. K. Randall; Robert Ceely; Alfredo Del Monaco; Contemporary Music from the University of Iowa. William Hibbard: Bass Trombone, Bass Clarinet, Harp. Patrick Purswell: It Grew and Grew. Peter Lewis: Gestes. Salvatore Martirano: Chansons Innocentes. Donald Jenni: Cucumber Music. Dennis Riley: Variations II: Trio by Center for New Performing Arts at the University of Iowa; William Hibbard; Patrick Purswell; Peter Lewis; Salvatore Martirano; Donald Jenni; Dennis Riley. S. 152–155
  • Carolyn Bryant: Quarterly Book-List. S. 156–160

Nr. 2

• Thomas Clifton: The Poetics of Musical Silence. S. 163–181
• Paul F. Cutter: Oral Transmission of the Old-Roman Responsories? S. 182–194
• C. Gillespie: John Becker, Musical Crusader of Saint Paul. S. 195–217
• Chou Wen-Chung: Chinese Historiography and Music – Some Observations. S. 218–240
• Rose Rosengard Subotnik: Lortzing and the German Romantics – A Dialectical Assessment. S. 241–264
• Miloš Velimirović: Egon Wellesz and the Study of Byzantine Chant. S. 265–277
• Reviews of Books
  • Review by Charles Edward Lindsley: William Billings of Boston – Eighteenth-Century Composer by David P. McKay; Richard Crawford. S. 278–282
  • Review by R. M. Longyear: E. T. A. Hoffmann and Music by R. Murray Schafer. S. 282–284
  • Review by Edward A. Lippman: Man the Musician. Sound and Symbol, Vol. II by Victor Zuckerkandl; Norbert Guterman. S. 285–289
  • Review by John E. Morby: Histoire du Concert Spirituel, 1725–1790 by Constant Pierre. S. 289–292
• Reviews of Records
  • Review by Robert Moevs: George Crumb – Music for a Summer Evening (Makrokosmos III). For Two Amplified Pianos and Percussion by Gilbert Kalish; James Freeman; Raymond DesRoches; Richard Fitz; George Crumb. S. 293–302
  • Review by Elliott Schwartz: Peter Maxwell Davies – From Stone to Thorn; Hymnos (For Clarinet and Piano); Antechrist; Missa super L’Homme armé by The Fires of London; Peter Maxwell Davies. S. 302–305
  • Carolyn Bryant: Quarterly Book-List. S. 306–310

Nr. 3

• Robert L. Marshall: Bach the Progressive – Observations on His Later Works. S. 313–357
• Frank W. Hoogerwerf: Willem Pijper as Dutch Nationalist. S. 358–373
• A. Peter Brown: Critical Years for Haydn’s Instrumental Music – 1787–90. S. 374–394
• Robert G. Luoma: Aspects of Mode in Sixteenth-Century Magnificats. S. 395–408
• Karin Pendle: The Opéras Comiques of Grétry and Marmontel. S. 409–434
• Reviews of Books
  • Review by George Perle: Style and Idea – Selected Writings of Arnold Schoenberg by Leonard Stein; Arnold Schoenberg. S. 435–441
  • Review by Mary Peckham Day: Johann Mattheson – Cleopatra by George J. Buelow; Johann Mattheson. S. 441–446
  • Review by Lyn Stiefel Hill: Stanislavski on Opera by Constantin Stanislavski; Pavel Rumyantsev; Elizabeth Reynolds Hapgood. S. 447–450
  • Review by Henry Leland Clarke: The New Oxford History of Music, Volume V – Opera and Church Music, 1630–1750 by Anthony Lewis; Nigel Fortune. S. 450–452
• Reviews of Records
  • Review by Ann Besser Scott: Guillaume Dufay und Seine Zeit by Syntagma Musicum; Kees Otten; Guillaume Dufay. S. 453–456
  • Review by Alan Lessem: Schoenberg – The Cabaret Songs (Brettl-Lieder) and Nine Early Songs by Marni Nixon; Leonard Stein; Schoenberg; Schoenberg: The Book of the Hanging Gardens, Opus 15 by Jan DeGaetani; Gilbert Kalish; Schoenberg; Schoenberg: Complete Works for Chamber Ensemble by London Sinfonietta; David Atherton; Schoenberg. S. 456–460
  • Review by Ronald Cross: Ockeghem – Missa pro defunctis (Requiem) by Prague Madrigalists; Miroslav Venhoda; Musica Antiqua of Vienna; Johannes Ockeghem. S. 460–464
  • Carolyn Bryant: Quarterly Book-List. S. 465–468

Nr. 4

• Peter Gradenwitz: Félicien David (1810–1876) and French Romantic Orientalism. S. 471–506
• Edmond Strainchamps: New Light on the Accademia degli Elevati of Florence. S. 507–535
• Robert Orledge: Debussy’s „House of Usher“ Revisited. S. 536–553
• Morris R. Brownell: Ears of an Untoward Make – Pope and Handel. S. 554–570
• Edward F. Kravitt: The Joining of Words and Music in Late Romantic Melodrama. S. 571–590
• Reviews of Books
  • Review by Peter Bergquist: Die Tonarten der klassischen Vokalpolyphonie nach den Quellen dargestellt by Bernhard Meier. S. 591–597
  • Review by Stephen Blum: Charles Ives and His America by Frank R. Rossiter. S. 597–603
  • Review by Aubrey S. Garlington, Jr.: Die deutsche romantische Oper by Siegfried Goslich. S. 603–607
  • Review by Robert P. Morgan: Messiaen by Robert Sherlaw Johnson. S. 607–612
• Reviews of Records
  • Review by Bruce Archibald: George Rochberg – String Quartet No. 1. Duo Concertante. Ricordanza (Soliloquy for Piano and Cello) by Concord Quartet; Mark Sokol; Norman Fischer; George Rochberg. S. 613–615
  • Review by Eleanor Cory: Martin Boykan – String Quartet No. 1 (1967). Elaine Barkin: String Quartet (1969) by Contemporary Quartet; American Quartet; Martin Boykan; Elaine Barkin. S. 616–620
  • Carolyn Bryant: Quarterly Book-List. S. 621–624

63. Jg. 1977

Nr. 1

• George Perle: Berg’s Master Array of the Interval Cycles. S. 1–30
• John E. Solie: Aria Structure and Ritornello Form in the Music of Albinoni. S. 31–47
• Richard Sherr: Notes on Two Roman Manuscripts of the Early Sixteenth Century. S. 48–73
• Cecelia Hopkins Porter: The „Rheinlieder“ Critics – A Case of Musical Nationalism. S. 74–98
• Erich Schwandt: L’Affilard’s Published „Sketchbooks“. S. 99–113
• Reviews of Books
  • Review by Richard F. French: Protestant Church Music – A History by Friedrich Blume; Ludwig Finscher; Georg Feder; Adam Adrio; Walter Blankenburg; Torben Schousboe; Robert Stevenson; Watkins Shaw. S. 114–124
  • Review by Joel Sachs: Arnold Schoenberg by Charles Rosen. S. 124–128
  • Review by Zoltan Roman: Gustav Mahler – The Wunderhorn Years (Chronicles and Commentaries) by Donald Mitchell. S. 128–133
  • Review by Paul Henry Lang: Studien zur Geschichte des Streichquartetts. I by Ludwig Finscher. S. 133–143
• Reviews of Records
  • Review by Walter Hilse: Hindemith – The Complete Sonatas for Brass and Piano by Gilbert Johnson; Mason Jones; Henry Charles Smith; Abe Torchinsky; Glenn Gould; Paul Hindemith. S. 144–146
  • Review by Henry Leland Clarke: Orlando Gibbons – Madrigals and Motets (1612) by The Consort of Musicke; Anthony Rooley; Emma Kirkby; Christina Pound; Kevin Smith; Martyn Hill; Rogers Covey Crump; David Thomas; Polly Waterfield; Trevor Jones; Ian Gammie; Jane Ryan; Orlando Gibbons; Orlando Gibbons: Keyboard Music by Christopher Hogwood; Orlando Gibbons. S. 146–148
  • Carolyn Bryant: Quarterly Book-List. S. 149–152

Nr. 2

• Frederick Neumann: Facts and Fiction about Overdotting. S. 155–185
• L. Michael Griffel: A Reappraisal of Schubert’s Methods of Composition. S. 186–210
• Thomas Noblitt: Problems of Transmission in Obrecht’s „Missa Je ne demande“. S. 211–223
• Christopher Ballantine: Towards an Aesthetic of Experimental Music. S. 224–246
• Aubrey S. Garlington, Jr.: German Romantic Opera and the Problem of Origins. S. 247–263
• Reviews of Books
  • Review by Richard Koprowski: Richard Wagner – Das braune Buch by Joachim Bergfeld. S. 264–268
  • Review by Sven Hansell: The Operas of Alessandro Scarlatti. I – Eraclea by Donald Jay Grout; The Operas of Alessandro Scarlatti. II: Marco Attilio Regolo by Joscelyn Godwin; The Operas of Alessandro Scarlatti. III: Griselda by Donald Jay Grout; Elizabeth B. Hughes. S. 268–272
  • Review by George Perle: Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schönberg by Jan Maegaard. S. 273–283
  • Review by Ruth Steiner: Schriftbild der einstimmigen Musik by Bruno Stäblein. S. 283–286
• Reviews of Records
  • Review by Bruce Archibald: Elliott Carter – Double Concerto for Harpsichord and Piano with Two Chamber Orchestras. Duo for Violin and Piano by Paul Jacobs; Gilbert Kalish; The Contemporary Chamber Ensemble; Arthur Weisberg; Paul Zukofsky; Elliott Carter. S. 287–289
  • Carolyn Bryant: Quarterly Book-List. S. 290–295

Nr. 3

• Malcolm H. Brown: Prokofiev’s „War and Peace“ – A Chronicle. S. 297–326
• Edward E. Lowinsky: Laurence Feininger (1909–1976) – Life, Work, Legacy. S. 327–366
• Mary Rowen Obelkevich: Turkish Affect in the Land of the Sun King. S. 367–389
• James Webster: The Bass Part in Haydn’s Early String Quartets. S. 390–424
• Carlton Sprague Smith: Harold Spivacke (1904–1977). S. 425–427
• Hans Heinsheimer: Commentary – The Arnold Schoenberg Institute. S. 428–433
• Reviews of Books
  • Review by Susan T. Sommer: Orazio Vecchi. L’Amfiparnaso by Cecil Adkins; Orazio Vecchi. S. 434–436
  • Review by Stanley Boorman: Josquin Des Pres – Missa Pange Lingua by Thomas Warburton; Josquin Des Pres. S. 436–440
• Reviews of Records
  • Review by Kim H. Kowalke: Kurt Weill – Mahagonny-Songspiel. Pantomime No. 1 from Der Protagonist. Vom Tod im Wald. Happy End. Das Berliner Requiem. Kleine Dreigroschenmusik by Concerto for Violin and Wind Orchestra; London Sinfonietta; Meriel Dickinson; Nona Liddell; Mary Thomas; Phillip Langridge; Benjamin Luxon; Ian Partridge; Michael Rippon; David Atherton; Kurt Weill; Kurt Weill: Quodlibet: Eine Unterhaltungsmusik, Op. 9. Erich Korngold: Suite from Much Ado about Nothing, Op. 11 by Westphalian Symphony Orchestra; Siegfried Landau; Kurt Weill; Erich Korngold; Kurt Weill: Threepenny Opera by New York Shakespeare Festival; Ralph Manheim; John Willett; Richard Foreman; Stanley Silverman; Kurt Weill. S. 441–446
  • Review by Gordana Lazarevich: Johann Christian Bach – Sinfonia in G Minor, Op. 6, No. 6; Michael Haydn: Symphony in G, with Introduction by Mozart; Wolfgang Amadeus Mozart: Cassation in D, K. 62a by The Saint Paul Chamber Orchestra; Dennis Russell Davies; Wolfgang Amadeus Mozart; Johann Christian Bach; Michael Haydn. S. 446–450
  • Carolyn Bryant: Quarterly Book-List. S. 451–456

Nr. 4

• Stephen Blum: Ives’s Position in Social and Musical History. S. 459–482
• Robert Winter: Second Thoughts on the Performance of Beethoven’s Trills. S. 483–504
• Carol J. Oja: The Still-Life Paintings of William Michael Harnett (Their Reflections upon Nineteenth-Century American Musical Culture). S. 505–523
• Rollo Myers: A Music Critic in Paris in the Nineteen-Twenties – Some Personal Recollections. S. 524–544
• Joan Peyser: Commentary – The IMS at Berkeley „Interdisciplinary Horizons in the Study of Musical Traditions, East and West“. S. 545–548
• Reviews of Books
  • Review by Anthony Newcomb: Josquin Des Prez. Proceedings of the International Josquin Festival Conference, June, 1971 by Edward E. Lowinsky; Bonnie J. Blackburn. S. 549–555
  • Review by Edward H. Roesner: The Repertory of Tropes at Winchester by Alejandro Enrique Planchart. S. 556–561
• Reviews of Records
  • Review by Gerhard Herz: Music for Two Harpsichords (Musik für zwei Cembali). J. S. Bach – The Newly Rediscovered Fourteen Canons. Whilhelm Friedemann Bach: Concerto a duoi Cembali Concertati in F Major. C. P. E. Bach: Four Little Duets (Wq. 115). Johann Christian Bach: Sonata in G Major for Two Harpsichords, Op. 15, No. 5 by Rolf Junghanns; Bradford Tracey; C. P. E. Bach; Wilhelm Friedemann Bach; J. S. Bach; Johann Christian Bach. S. 562–570
  • Review by Gerhard Herz: German Keyboard Music of about 1700. Dietrich Buxtehude – Praeludium und Fuga in G Minor (Bux. WV 163). Wilhelm Friedrich Zachow: Suite in B Minor. G. F. Handel: Suite in D Minor. No. 4 from Second Collection of Pièces pour le Clavecin. Johann Caspar Ferdinand Fischer: Suite VI in D Major from Musikalisches Blumen-Büschlein. Johann Christoph Bach: Aria with Fifteen Variations in A Minor by Bradford Tracey; Johann Caspar Ferdinand Fischer; Johann Christoph Bach; Dietrich Buxtehude; Wilhelm Friedrich Zachow; G. F. Handel. S. 570–572
  • Review by Elliott Schwartz: Harrison Birtwistle – The Triumph of Time Chronometer by BBC Symphony Orchestra; Pierre Boulez; Peter Zinovieff; Harrison Birtwistle; Alexander Goehr: Two Choruses. Malcolm Williamson: Symphony for Voices. Peter Maxwell Davies: Leopardi Fragments for Soprano, Contralto, and Chamber Ensemble. Richard Rodney Bennett: Calendar by John Alldis Choir; John Alldis; The Melos Ensemble; John Carewe; Mary Thomas; Rosemary Phillips; Alexander Goehr; Malcolm Williamson; Peter Maxwell Davies; Richard Rodney Bennett; Harrison Birtwistle: Tragoedia. Gordon Crosse: Concerto da Camera for Violin, Winds, and Percussion. Hugh Wood: Three Piano Pieces by The Melos Ensemble; Lawrence Foster; Edward Downes; Manoug Parikian; Susan McGaw; Harrison Birtwistle; Gordon Crosse; Hugh Wood; Gordon Crosse: Purgatory, Opera in One Act on the Play by W. B. Yeats by Peter Bodenham; Glenville Hargreaves; Royal Northern College of Music; Michael Lankester; Gordon Crosse; Thea Musgrave: Clarinet Concerto. Don Banks: Concerto for Horn and Orchestra. Humphrey Searle: Aubade, Opus 28 by Gervase de Peyer; London Symphony Orchestra; Norman Del Mar; Barry Tuckwell; New Philharmonia Orchestra; Thea Musgrave; Humphrey Searle; Don Banks; Thea Musgrave: Concerto for Orchestra; Horn Concerto by Barry Tuckwell; Scottish National Orchestra; Thea Musgrave; Alexander Gibson. S. 572–578
  • Edward H. Roesner: Gustave Reese (1899–1977). S. 579–581
• Carolyn Bryant: Quarterly Book-List. S. 582–587

64. Jg. 1978

Nr. 1

• James W. McKinnon: Jubal vel Pythagoras, quis sit inventor musicae? S. 1–28
• Daniel Heartz: Mozart’s Overture to „Titus“ as Dramatic Argument. S. 29–49
• R. Larry Todd: Retrograde, Inversion, Retrograde-Inversion, and Related Techniques in the Masses of Jacobus Obrecht. S. 50–78
• Amy Aaron: William Tuckey, a Choirmaster in Colonial New York. S. 79–97
• William S. Newman: Commentary – Second and One-Half Thoughts on the Performance of Beethoven’s Trills. S. 98–103
• Jan LaRue: Christa Landon (1921–1977). S. 104–105
• Reviews of Books
  • Review by Gretchen Wheelock: Haydn in England, 1791–1795 by H. C. Robbins Landon. S. 106–112
• Reviews of Records
  • Review by William S. Newman: Beethoven – [Thirty-Two] Sonatas and Diabelli Variations by Anton Kuerti; Beethoven. S. 113–121
  • Review by George R. Hill: Francois-Joseph Gossec – Messe des morts by Francois-Joseph Gossec; Collegium Musicum of the University of Missouri; Andrew C. Minor. S. 122–124
  • Carolyn Bryant: Quarterly Book-List. S. 125–130

Nr. 2

• Allen Forte: Schoenberg’s Creative Evolution – The Path to Atonality. S. 133–176
• Jonathan D. Kramer: Moment Form in Twentieth Century Music. S. 177–194
• Allan Keiler: Bernstein’s „The Unanswered Question“ and the Problem of Musical Competence. S. 195–222
• Solomon Volkov, Barry Rubin: Dmitri Shostakovitch and „Tea for Two“. S. 223–228
• Elise Kuhl Kirk: Three Neglected Composers – Koechlin’s Neglected „Le Livre de la Jungle“. S. 229–237
• Malcolm S. Cole: Eric Zeisl – The Rediscovery of an Emigre Composer. S. 237–244
• Hans W. Heinsheimer: Schreker Centennial. S. 244–249
• Joan Peyser: Commentary – „The Phonograph and Our Musical Life“. S. 250–254
• Reviews of Books
  • Review by David S. Josephson: Percy Grainger by John Bird. S. 255–260
• Reviews of Records
  • Review by Eric Salzman: John Cage – Sonatas and Interludes for Prepared Piano. A Book of Music for Two Prepared Pianos by Joshua Pierce; Maro Ajemian; John Cage. S. 261–263
  • Review by Bruce Archibald: Walter Piston – Symphony No. 7; Symphony No. 8 by Louisville Orchestra; Walter Piston; Jorge Mester; Walter Piston: Symphony No. 5 by Louisville Orchestra; Robert Whitney; Walter Piston; Walter Piston: Concerto for Viola and Orchestra by Paul Doktor; Walter Piston; Louisville Orchestra; Robert Whitney; Walter Piston: The Incredible Flutist by Louisville Orchestra; Jorge Mester; Walter Piston. S. 263–268
  • Carolyn Bryant: Quarterly Book List. S. 269–272

Nr. 3

• Denis Stevens: Monteverdi, Petratti, and the Duke of Bracciano. S. 275–294
• Craig Wright: Performance Practices at the Cathedral of Cambrai 1475–1550. S. 295–328
• Edward F. Kravitt: Mahler’s Dirges for His Death – February 24, 1901. S. 329–353
• Peter Bloom: A Return to Berlioz’s „Retour à la Vie“. S. 354–385
• Aaron Copland: Claire Reis (1889–1978). S. 386–388
• Reviews of Books
  • Review by Edward Rothstein: Beethoven by Maynard Solomon. S. 389–394
  • Review by O. Laske: The Tuning of the World by R. Murray Schafer. S. 394–397
  • Review by Ellen T. Harris: The Oratorio in the Baroque Era – Italy, Vienna, Paris by Howard E. Smither. S. 397–402
  • Review by Siegmund Levarie: The Pythagorean Plato – Prelude to the Song Itself by Ernest G. McClain. S. 402–407
  • Review by James Dapogny: Jazz – A History by Frank Tirro. S. 407–412
  • Review by Hans Tischler: A Voice Still Heard... – The Sacred Songs of the Ashkenazic Jews by Eric Werner. S. 412–415
• Reviews of Records
  • Review by Malcolm Bilson: Joseph Haydn, Piano Music, Vol. III. Sonatas, Hob. XVI – 36, 28, 41 and 49 by Joseph Haydn; Gilbert Kalish. S. 416–418
  • Review by Mary Rowen Obelkevich: Ulvi Cemal Erkin – Köçekçe; A. Adnan Saygun: Bes Halk Türküsü; Necil Kâzim Akses: Scherzo; Ferit Tuzun: Esintiler by Vlvi Cemal Erkin; A. Adnan Saygun; Necil Kâzim Akses; Ayhan Baran; The Budapest Philharmonic Orchestra; Hikmet Şimşek; Ferit Tuzun. S. 418–422
  • Review by William Herrmann: Donizetti – Maria Stuarda by Doniezetti; Joan Sutherland; Luciano Pavarotti; Huguette Tourangeau; Roger Soyer; James Morris; Margreta Elkins; The Teatro Comunale; Richard Bonynge; Verdi: Luisa Miller by Montserrat Caballé; Sherrill Milnes; Verdi; Luciano Pavarotti; Bonaldo Giaiotti; Richard van Allan; Anna Reynolds; National Philharmonic Orchestra; London Opera Chorus; Peter Maag. S. 423–427
  • Carolyn Bryant: Quarterly Book List. S. 428–432

Nr. 4

• Robert P. Morgan: The Theory and Analysis of Tonal Rhythm. S. 435–473
• John F. Strauss: Jean Jacques Rousseau – Musician. S. 474–482
• Walter Gray: Schubert the Instrumental Composer. S. 483–494
• Rollo Myers: The Opera That Never Was – Debussy’s Collaboration with Victor Segalen in the Preparation of „Orphée“. S. 495–506
• Robert Gronquist: Ravel’s „Trois Poèmes de Stéphane Mallarmé“. S. 507–523
• Robert Craft: Commentary – Craft on Forte. S. 524–535
• Reviews of Books
  • Review by Michael Saffle: Wagner’s‚Rienzi' – A Reappraisal Based on a Study of the Sketches and Drafts by John Deathridge. S. 536–539
  • Review by L. Michael Griffel: Clementi – His Life and Music by Leon Plantinga. S. 540–543
• Reviews of Records
  • Review by Lowell Lindgren: J. S. Bach – Complete Sonatas and Partita for Transverse Flute by Frans Brüggen; Gustav Leonhardt; Anner Bylsma; J. S. Bach; John Blow: Ode on the Death of Mr. Henry Purcell – Songs from „Amphion Anglicus“ by James Bowman; René Jacobs; Nelly van der Spek; Nobuko Yamamoto; Marius van Altena; Max van Egmond; Ricardo Kanji; Marion Verbruggen; Marie Leonhardt; Antoinette van den Hombergh; Anner Bylsma; Gustav Leonhardt; John Blow; Jacques Duphly: Pièces de clavecin by Gustav Leonhardt; Jacques Duphly; Antoine Forqueray: Pièces de clavecin by Gustav Leonhardt; Antoine Forqueray. S. 544–549
  • Review by Hans Nathan: Luigi Dallapiccola – Sicut Umbra. Tempus Destruendi – Tempus Aedificandi by Sybil Michelow; London Sinfonietta; Gary Bertini; BBC Singers; John Poole; Luigi Dallapiccola; Luigi Dallapiccola: Sex Carmina Alcaei. Piccola Musica Notturna. Preghiere by Heather Harper; New Philharmonia Orchestra; Frederik Prausnitz; Barry McDaniel; English Chamber Orchestra; Luigi Dallapiccola; Luigi Dallapiccola: Il Prigioniero by Maurizio Mazzieri; Giulia Barrera; Romano Emili; Gabor Carelli; Luigi Dallapiccola. S. 549–560
  • Review by Gordana Lazarevich: Jan Ladislav Dussek (1760–1812) – Two Violin Sonatas Opus 69 by Paul Kling; Hans Kann; Jan Ladislav Dussek. S. 560–563
  • Carolyn Bryant: Quarterly Book List. S. 564–569

65. Jg. 1979

Nr. 1

• Robert Falck: Parody and Contrafactum – A Terminological Clarification. S. 1–21
• Aubrey S. Garlington, Jr.: E. T. A. Hoffmann’s „Der Dichter und der Komponist“ and the Creation of the German Romantic Opera. S. 22–47
• Vilma Raskin Potter: Poetry and the Fiddler’s Foot – Meters in Thomas Hardy’s Work. S. 48–71
• Tibor Bachmann, Peter J. Bachmann: An Analysis of Béla Bartók’s Music through Fibonaccian Numbers and the Golden Mean. S. 72–82
• Luise Eitel Peake: Kreutzer’s „Wanderlieder –" The Other „Winterreise“. S. 83–102
• Jon H. Appleton: Commentary I – Electronic Music: Questions of Style and Compositional Technique. S. 103–110
• Robert Winter: Commentary II – And Even More Thoughts on the Beethoven Trill.... S. 111–116
• Reviews of Books
  • Review by Martha M. MacLean: Twelve-Tone Tonality by George Perle. S. 117–128
  • Review by Helen E. Baker: The Oratorio in the Baroque Era – Protestant Germany and England (Volume II of A History of the Oratorio) by Howard E. Smither. S. 128–133
• Reviews of Records
  • Review by Owen Jander: The Renaissance Clavichord by Bernard Brauchli. S. 134–137
  • Carolyn Bryant: Quarterly Book List. S. 138–142

Nr. 2

• Joan Peyser: Prefatory Note. S. 145–147
• Larry Stempel: Varèse’s „Awkwardness“ and the Symmetry in the „Frame of 12 Tones“ – An Analytic Approach. S. 148–166
• Christopher Ballantine: Charles Ives and the Meaning of Quotation in Music. S. 167–184
• Jo Ann Taricani: Music in Colonial Philadelphia – Some New Documents. S. 185–199
• Elaine Brody: Vive La France – Gallic Accents in American Music from 1880 to 1914. S. 200–211
• Carol J. Oja: The Copland-Sessions Concerts and Their Reception in the Contemporary Press. S. 212–229
• Eric Salzman: Whither American Music Theater? S. 230–244
• Barry Ulanov: Jazz – Issues of Identity. S. 245–256
• Richard Crawford: Gershwin’s Reputation – A Note on „Porgy and Bess“. S. 257–264
• Jon Finson: Music and Medium – Two Versions of Manilow’s „Could It Be Magic“. S. 265–280
• Elie Siegmeister, Alvin Lucier, Mindy Lee: Three Points of View. S. 281–295
• Essay-Review
  • Review by John Rockwell: Recorded Anthology of American Music. New World Records. S. 296–304
  • Sidney Robertson Cowell: Charles Seeger (1886–1979). S. 305–307
• Carolyn Bryant: Quarterly Book List. S. 308–311

Nr. 3

• Howard Brofsky: Doctor Burney and Padre Martini – Writing a General History of Music. S. 313–345
• Ellen Rosand: The Descending Tetrachord – An Emblem of Lament. S. 346–359
• David McKay: The Fashionable Lady – The First Opera by an American. S. 360–367
• Henry F. Orlov: The Temporal Dimensions of Musical Experience. S. 368–378
• Richard Toop: Stockhausen and the Sine-Wave – The Story of an Ambiguous Relationship. S. 379–391
• Robert Craft, Igor Stravinsky: Dear Bob[sky] (Stravinsky’s Letters to Robert Craft, 1944–1949). S. 392–439
• Reviews of Books
  • Review by Hugh Kenner: Ezra Pound and Music – The Complete Criticism by R. Murray Schafer; Ezra Pound. S. 440–445
  • Review by Suzanne Bloch: Miguel de Fuenllana – Orphenica Lyra (Seville, 1554) by Charles Jacobs; Miguel de Fuenllana. S. 445–447
  • Review by Charlotte Roederer: Medieval Music by Richard H. Hoppin. S. 447–451
  • Review by Mary Jane Phillips Matz: The Operas of Verdi. Vol. I by Julian Budden; The Operas of Verdi. Vol. II. S. 451–453
• Reviews of Records
  • Review by George Stauffer: Johann Sebastian Bach – Inventions and Sinfonias by Gustav Leonhardt; Johann Sebastian Bach; Johann Sebastian Bach: French Suites by Gustav Leonhardt; Johann Sebastian Bach; Johann Sebastian Bach: Organ Works I (Toccata and Fugue in D Minor, Prelude and Fugue in C Minor, Fantasia in G Major, Partite diverse sopra „O Gott, du frommer Gott," Partite diverse sopra „Christ, der du bist der helle Tag," and Six Chorale Preludes) by Gustav Leonhardt; Johann Sebastian Bach. S. 454–463
  • Review by Solomon Volkov, Barry Rubin: Dmitri Shostakovitch – The Nose. Opera in Three Acts and an Epilogue by Moscow Chamber Opera; Gennady Rozhdestvensky; Vladimir Agronsky; Dmitri Shostakovitch. S. 463–464
  • Carolyn Bryant: Quarterly Book List. S. 465–468

Nr. 4

• Joscelyn Godwin: Layers of Meaning in „The Magic Flute“. S. 471–492
• Robert Stevenson: Liszt at Madrid and Lisbon – 1844–45. S. 493–512
• Karl Geiringer: Schubert’s Arpeggione Sonata and the „Super Arpeggio“. S. 513–523
• Leo Treitler: Regarding Meter and Rhythm in the „Ars Antiqua“. S. 524–558
• Thomasin K. La May: A New Look at the Weimar Versions of Berlioz’s „Benvenuto Cellini“. S. 559–572
• Roger Reynolds, John Cage: John Cage and Roger Reynolds – A Conversation. S. 573–594
• Joan Peyser: Commentary. S. 595–596
• Reviews of Books
  • Review by Lowell Lindgren: Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J. S. Bach by Frederick Neumann. S. 597–604
  • Review by Iain Fenlon: Luca Marenzio. Madrigali a Quattro, Cinque e Sei Voci. Libro Primo (1588) by Steven Ledbetter; Luca Marenzio. S. 605–608
• Reviews of Records
  • Review by Owen Jander: The Viennese Fortepiano – Vol. 1 (Mozart, Rondos in A Minor, K. 511, and D Major, K. 485; Beethoven, Piano Sonatas, Opus 27, No. 1 and No. 2 [The Moonlight]) by Malcolm Bilson; Philip Belt; Mozart; Beethoven; The Viennese Fortepiano: Vol. 2 (Haydn, Piano Sonatas in E-Flat Major, Hob. 52, and G Major, Hob. 40; And Mozart, Piano Sonata in D Major, K. 311) by Malcolm Bilson; Philip Belt; Mozart; Haydn; Mozart: Piano Sonatas in B-Flat Major, K. 281; C Major, K. 330; A Major, K. 331; And B-Flat Major, K. 570; Adagio in B Minor, K. 540; And Eine Kleine Gigue, K. 574 by Malcolm Bilson; Philip Belt; Mozart; Haydn: [Three] Trios [Sonatas for Pianoforte with an Accompaniment for Violin and Violoncello] in E-Flat Major, Hob. XV:29; G Minor, Hob. XV:19; And C Major, Hob. XV:27 by The Amadé Trio; Malcolm Bilson; Sonya Monosoff; John Hsu; Haydn. S. 609–617
  • Review by Leeman L. Perkins: Guillaume Dufay (d. 1474), Movements from Masses, Motets, Chansons by The Capella Antiqua of Munich; Konrad Ruhland; Guillaume Dufay. S. 617–624

66. Jg. 1980

Nr. 1

• Jacques Barzun: The Meaning of Meaning in Music – Berlioz Once More. S. 1–20
• Shelley Davis: J. G. Lang and the Early Classical Keyboard Concerto. S. 21–52
• Gregory G. Butler: Music and Rhetoric in Early Seventeenth-Century English Sources. S. 53–64
• Josephine R. B. Wright: George Polgreen Bridgetower – An African Prodigy in England 1789–99. S. 65–82
• Joseph Dyer: A Thirteenth-Century Choirmaster – The „Scientia Artis Musicae“ of Elias Salomon. S. 83–111
• Williametta Spencer: The Relationship between André Caplet and Claude Debussy. S. 112–131
• Reviews of Books
  • Review by Denis Stevens: John Taverner – I by John Taverner; Orlando Gibbons: II by Orlando Gibbons; Confitebor Tibi, Domine by Samuel Wesley. S. 132–136
  • Review by James W. Mc Kinnon: Hucbald, Guido, and John on Music. Three Medieval Treatises by Warren Babb; Claude V. Palisca; Hucbald of Saint Amand; Guido d’Arezzo; John of Cotton. S. 136–140
  • Review by Kenneth Cooper: Le Tresor des Pianistes by Aristide Farrenc; Louise Farrenc. S. 140–146
  • Review by John Culshaw: I Saw the World End. A Study of Wagner’s Ring by Deryck Cooke; Wagner – A Biography by Curt von Westernhagen; Richard Wagner: His Life, Art and Thought by Ronald Taylor. S. 146–150
• Reviews of Records
  • Renaissance Music for Two Lutes by Catherine Strizich; Robert Strizich. S. 151–153
  • Review by Edward Flower: Twentieth Century Music for Voice and Guitar by David Starobin; Rosalind Rees; Michael Debost; Susan Jolles; Richard Stoltzman. S. 153–154
  • Review by Elise K. Kirk: Charles Koechlin – Piano Works – Paysages et Marines, Pastorales by Boaz Sharon; Charles Koechlin. S. 155–157
  • Carolyn Bryant: Quarterly Book List. S. 158–162

Nr. 2

• Diana Deutsch: Music Perception. S. 165–179
• David Burrows: On Hearing Things – Music, the World, and Ourselves. S. 180–191
• Robert J. Nicolosi: T. S. Eliot and Music – An Introduction. S. 192–204
• Randall R. Dipert: The Composer’s Intentions – An Examination of Their Relevance for Performance. S. 205–218
• Hans Lenneberg: The Myth of the Unappreciated (Musical) Genius. S. 219–231
• Joan Peyser: Editorial. S. 232–233
• Stuart Feder: Decoration Day – A Boyhood Memory of Charles Ives. S. 234–261
• Thomas Boyer: Brahms as Count Peter of Provence – A Psychosexual Interpretation of the „Magelone“ Poetry. S. 262–286
• Jack Gottlieb: Symbols of Faith in the Music of Leonard Bernstein. S. 287–295
• Dika Newlin: The „Mahler’s Brother Syndrome“ – Necropsychiatry and the Artist. S. 296–304
• Reviews of Books
  • Review by Monroe C. Beardsley: A Humanistic Philosophy of Music by Edward A. Lippman. S. 305–308
• Reviews of Records
  • Review by Paul Wittke: Stephen Sondheim – Sweeney Todd by Angela Lansbury; Len Cariou; Stephen Sondheim. S. 309–314
  • Carolyn Bryant: Quarterly Book List. S. 315–318

Nr. 3

• Robert Craft: Histoire du Soldat (The Musical Revisions, the Sketches, the Evolution of the Libretto). S. 321–338
• Michael Broyles: Organic Form and the Binary Repeat. S. 339–360
• Michael Fink, Bess Hieronymus, Alfred Einstein: The Autobiography and Early Diary of Alfred Einstein (1880–1952). S. 361–377
• Piero Weiss, Pier Jacopo Martello: Pier Jacopo Martello on Opera (1715) – An Annotated Translation. S. 378–403
• Nigel Wilkins, Erik Satie: Erik Satie’s Letters to Milhaud and Others. S. 404–428
• Robert L. Rollin: Commentary – Some Younger European Composers. S. 429–438
• Reviews of Books
  • Review by David G. Hughes: The Early Medieval Sequence by Richard L. Crocker. S. 439–444
  • Review by Donal Henahan: Edward J. Dent – Selected Essays by Hugh Taylor; Edward J. Dent. S. 444–448
• Reviews of Records
  • Review by Paul Kinburn: Guillaume Dufay – Missa Ecce ancilla (1463?) (Four Voices); Ballade, Je me complains (1425?) (Three Voices); Rondeau, Navré je suy [142-?] (Three Voices); Biblical Song, Anima mea liquefacta est (Three Voices); Gloria, Resurrexit dominus (Four Voices); Antiphon, Ave regina celorum (First of Three Settings) (Three Voices, Conductus-style); Motet, Ecclesiae militantis (1431) (Five Voices, Isorhythmic) by Pomerium Musices [„The Realm of Music“ (New York)]; Alexander Blachly; Guillaume Dufay. S. 449–451
  • Carolyn Bryant: Quarterly Book List. S. 452–456

Nr. 4

• Allen Forte: Generative Chromaticism in Mozart’s Music – The Rondo in A Minor, K. 511. S. 459–483
• Karol Berger: Tonality and Atonality in the Prologue to Orlando di Lasso’s „Prophetiae Sibyllarum –" Some Methodological Problems in Analysis of Sixteenth-Century Music. S. 484–504
• John Shepherd: Thomas Weelkes – A Biographical Caution. S. 505–521
• Ronald L. Byrnside: Musical Impressionism – The Early History of the Term. S. 522–537
• Rita H. Mead: Cowell, Ives, and „New Music“. S. 538–559
• Martha MacLean Hyde: The Telltale Sketches – Harmonic Structure in Schoenberg’s Twelve-Tone Method. S. 560–580
• R. Larry Todd: The Genesis of Webern’s Opus 32. S. 581–591
• Reviews of Books
  • Review by Denis Stevens: The Madrigal at Ferrara, 1579–1597 by Anthony Newcomb. S. 592–596
  • Review by Christopher Hailey: Kurt Weill in Europe by Kim H. Kowalke. S. 596–603
• Reviews of Records
  • Review by Steven E. Gilbert: The Complete Music of Carl Ruggles by Buffalo Philharmonic; Michael Tilson Thomas; Judith Blegen; John Kirkpatrick; Beverly Morgan; Leonard Raver; Gerard Schwarz and Brass Ensemble; Gregg Smith Singers; Speculum Musicae; Carl Ruggles. S. 604–607
  • Carolyn Bryant: Quarterly Book List. S. 608–612

67. Jg. 1981

Nr. 1

• Frank Tirro: Royal 8. G. vii – Strawberry Leaves, Single Arch, and Wrong-Way Lions. S. 1–28
• Karl Kohn: The Renotation of Polyphonic Music. S. 29–49
• Alan Walker: Liszt and the Schubert Song Transcriptions. S. 50–63
• Craig Monson: Through a Glass Darkly – Byrd’s Verse Service as Reflected in Manuscript Sources. S. 64–81
• Charles M. Joseph: Stravinsky’s Piano Scherzo (1902) in Perspective – A New Starting Point. S. 82–93
• Wye J. Allanbrook: Metric Gesture as a Topic in „Le Nozze di Figaro“ and „Don Giovanni“. S. 94–112
• Reviews of Books
  • Review by Roger Kamien: Heinrich Schenker. Free Composition (Der freie Satz) by Ernst Oster; Heinrich Schenker. S. 113–118
  • Review by George Stauffer: A New History of the Organ by Peter Williams. S. 118–124
  • Review by Jeffrey G. Kurtzman: Mannerism in Italian Music and Culture, 1530–1630 by Maria Rika Maniates. S. 125–131
  • Review by Irving Lowens: The Shaker Spiritual by Daniel W. Patterson. S. 131–136
  • Carolyn Bryant: Quarterly Book List. S. 137–140

Nr. 2

• Ronald D. Ross: Toward a Theory of Tonal Coherence – The Motets of Jacob Obrecht. S. 143–164
• Patrick Waddington: Henry Chorley, Pauline Viardot, and Turgenev – A Musical and Literary Friendship. S. 165–192
• Roger Hickman: The Nascent Viennese String Quartet. S. 193–212
• Jane Fulcher: Meyerbeer and the Music of Society. S. 213–229
• David Osmond-Smith: From Myth to Music – Lévi-Strauss’s „Mythologiques“ and Berio’s „Sinfonia“. S. 230–260
• Charles S. Brauner: Irony in the Heine Lieder of Schubert and Schumann. S. 261–281
• Reviews of Books
  • Review by Piero Weiss: The Symphony – 1720–1840. Series A, Vol. V: Nine Symphonies by Gaetano Brunetti; Newell Jenkins; The Symphony: 1720–1840. Series B, Vol. IV: Seven Symphonies by Carlo d’Ordonez; A. Peter Brown. S. 282–285
  • Review by Barbara R. Hanning: Music in the Age of Chaucer by Nigel Wilkins. S. 285–289
  • Review by Ellen T. Harris: The Critic at the Opera by Denis Arundell; Clara Novello (1818–1908) by Averil Mackenzie-Grieve. S. 290–295
• Reviews of Records
  • Review by Robert Stevenson: Música Española Contemporánea by Pedro Espinosa; Joaquín Parra; José Luis Rodrigo; Conjunto Instrumental; José María Franco Gil; Grupo Instrumental; José Buénagu; Jesús Villa Rojo; Grupo Koan; José Ramón Encinar; Ángel Ortiz; Josefina Cuberio; Grupo LIM [Laboratorio de Interpretación Musical]; Grupo de Clarinetes LIM; Cuarteto Sonor; Quinteto Koan. S. 296–299
  • Carolyn Bryant: Quarterly Book List. S. 300–303

Nr. 3

• Frederick Neumann: The Overdotting Syndrome – Anatomy of a Delusion. S. 305–347
• Charlotte E. Erwin: Richard Strauss’s Presketch Planning for „Ariadne Auf Naxos“. S. 348–365
• Terence J. O’Grady: Aesthetic Value in Indeterminate Music. S. 366–381
• James Walker: Mussorgsky’s „Sunless“ Cycle in Russian Criticism – Focus of Controversy. S. 382–391
• Barbara Turchin: Schumann’s Conversion to Vocal Music – A Reconsideration. S. 392–404
• Rudy Shackelford, Luigi Dallapiccola: A Dallapiccola Chronology. S. 405–436
• Reviews of Books
  • Review by Denis Stevens: Medieval English Songs by E. J. Dobson; F. Ll. Harrison. S. 437–439
  • Review by Hans Busch: The Signifier and the Signified – Studies in the Operas of Mozart and Verdi by Frits Noske. S. 440–444
• Reviews of Records
  • Review by R. Larry Todd: Felix Mendelssohn Bartholdy – Kantaten und Geistliche Lieder – Wer nur den lieben Gott läβt walten; Christe, du Lamm Gottes; Laβ, o Herr, mich Hilfe finden, Hör mein Bitten, Herr, neige dich zu mir by Vokal- und Instrumental-Ensemble; Rolf Beck; Felix Mendelssohn Bartholdy; Felix Mendelssohn Bartholdy: Psaumes XLII, XCV, XCVIII, CXV, Lauda Sion by Orchestre de la Fondation Gulbenkian de Lisbonne; Michel Corboz; Felix Mendelssohn Bartholdy. S. 445–451
  • Carolyn Bryant: Quarterly Book List. S. 452–455

Nr. 4

• Lewis Lockwood: Beethoven’s Earliest Sketches for the „Eroica“ Symphony. S. 457–478
• Fred Lerdahl, Ray Jackendoff: On the Theory of Grouping and Meter. S. 479–506
• Christopher Ballantine: Social and Philosophical Outlook in Mozart’s Operas. S. 507–526
• Thomas de Lio: Structural Pluralism – Some Observations on the Nature of Open Structures in the Music and Visual Arts of the Twentieth Century. S. 527–543
• A. C. Howie: Traditional and Novel Elements in Bruckner’s Sacred Music. S. 544–567
• Claudia Stevens Becker: A New Look at Schumann’s Impromptus. S. 568–586
• Reviews of Books
  • Review by Vera Brodsky Lawrence: Early American Music Engraving and Printing – A History of Music Publishing in America from 1787 to 1825 with Commentary on Earlier and Later Practices by Richard J. Wolfe. S. 587–592
  • Review by Denis Stevens: Music and Patronage in Sixteenth-Century Mantua by Iain Fenlon; Patrons and Musicians of the English Renaissance by David C. Price. S. 592–597
  • Carolyn Bryant: Quarterly Book List. S. 598–601

68. Jg. 1982

Nr. 1

• Daniel Heartz: Nicolas Jadot and the Building of the Burgtheater. S. 1–31
• Charles M. Atkinson: The „Parapteres – Nothi“ or Not? S. 32–59
• Elaine Brody: Romain Rolland and Ernest Bloch. S. 60–79
• R. Larry Todd: An Unfinished Piano Concerto by Mendelssohn. S. 80–101
• Thomas Noblitt: Obrecht’s „Missa Sine nomine“ and Its Recently Discovered Model. S. 102–127
• Reviews of Books
  • Review by Alan Walker: The Letters of Franz Liszt to Olga von Meyendorff 1871–1886 by William R. Tyler; Edward N. Waters; Franz Liszt. S. 128–133
  • Review by William S. Newman: Beethoven, Performers, and Critics – The International Beethoven Congress, Detroit, 1977 by Robert Winter; Bruce Carr. S. 133–138
  • Review by Jan Bach: The Music of Benjamin Britten by Peter Evans. S. 138–141
• Reviews of Records
  • Review by Chou Wen-chung: Phases of the Moon – Traditional Chinese Music by The Central Broadcasting Traditional Instruments Orchestra; Peng Xiuwen. S. 142–147
  • Carolyn Bryant: Quarterly Book List. S. 148–151

Nr. 2

• Bruno Nettl: Non-Western and Folk Music, and Ethnomusicology. S. 153–160
• Allen Forte: Theory. S. 161–181
• Robert Cogan: Music, Science, and Technology. S. 182–188
• Lance W. Brunner: Music of the Middle Ages. S. 189–206
• Frank Tirro: Music of the Renaissance. S. 207–216
• Denis Stevens: Music of the Baroque. S. 217–227
• Bathia Churgin: Music of the Classical Era. S. 228–237
• Aubrey S. Garlington, Jr.: Opera. S. 238–244
• Jon W. Finson: Music of the Nineteenth Century. S. 245–253
• Richard Crawford: Music of Pre-Twentieth-Century America. S. 254–261
• Robert P. Morgan: Music of the Twentieth Century. S. 262–270
• Billy Taylor: Jazz. S. 271–273
• Paul Wittke: The American Musical Theater (With an Aside on Popular Music). S. 274–282
• Joan Peyser: Afterword. S. 283–286
• Reviews of Books
  • Review by Richard Taruskin: The Corded Shell – Reflections of Musical Expression by Peter Kivy. S. 287–293
• Reviews of Records
  • The Unknown Kurt Weill by Teresa Stratas; Richard Woitsch. S. 294–295
  • Kurt Weill: Silverlake by Joel Grey; William Neill; Elizabeth Hynes; Elaine Bonazzi; New York City Opera Orchestra and Chorus; Julius Rudel; Kurt Weill. S. 295–297
  • Review by Matthew Scott: Kurt Weill – Quodlibet, Opus 9 by Westchester Symphony Orchestra; Siegfried Landau; Kurt Weill; Kurt Weill: Kleine Dreigroschenmusik by Westchester Symphony Orchestra; Siegfried Landau; Kurt Weill; Kurt Weill: Concerto for Violin and Wind Instruments, Opus 12 by Susanne Lautenbacher; Württemberg Chamber Orchestra; Jörg Faerber; Kurt Weill. S. 298–299
  • Carolyn Bryant: Quarterly Book List. S. 300–303

Nr. 3

• Elizabeth A. Keitel: The So-Called Cyclic Mass of Guillaume de Machaut – New Evidence for an Old Debate. S. 307–323
• David Keane: A Composer’s Approach to Music, Cognition, and Emotion. S. 324–336
• Eric Salzman: On Reading Cosima Wagner’s „Diaries“. S. 337–352
• M. E. Barnes-Ostrander: Domestic Music Making in Early New York State – Music in the Lives of Three Amateurs. S. 353–372
• Joscelyn Godwin: The Revival of Speculative Music. S. 373–389
• Deborah Davis: An Interview about Choral Music with Ned Rorem. S. 390–397
• Douglass Seaton: The Romantic Mendelssohn – The Composition of „Die erste Walpurgisnacht“. S. 398–410
• Theodore Albrecht, Richard Wagner: A New Wagner Letter, to a „Friend," April 4, 1875. S. 411–415
• Reviews of Books
  • Review by Steven Huebner: Second Empire Opera – The Théatre Lyrique, Paris 1851–1870 by T. J. Walsh. S. 416–419
  • Review by Russell Stinson: The Organ Preludes of Johann Sebastian Bach by George B. Stauffer. S. 419–424
  • Review by Charles Wuorinen: Computer Music Journal – Volume IV, 1–4. S. 424–427
  • Review by David McKay: Music in Colonial Massachusetts, 1630–1820. Volume I – Music in Public Places by Frederick Allison. S. 428–431
• Reviews of Records
  • Review by Gordana Lazarevich: Wolfgang Amadeus Mozart – The Sonatas for Piano by Paul Badura-Skoda; Wolfgang Amadeus Mozart. S. 432–436
  • Carolyn Bryant: Quarterly Book List. S. 437–440

Nr. 4

• Joan Peyser: Introduction. S. 443
• Elaine R. Sisman: Small and Expanded Forms – Koch’s Model and Haydn’s Music. S. 444–475
• James Webster: Prospects for Haydn Biography after Landon. S. 476–495
• David Schroeder: Melodic Source Material and Haydn’s Creative Process. S. 496–515
• Menachem Zur: Tonal Ambiguities as a Constructive Force in the Language of Stravinsky. S. 516–526
• Alan Lessem: Schoenberg, Stravinsky, and Neo-Classicism – The Issues Reexamined. S. 527–542
• Barbara B. Heyman: Stravinsky and Ragtime. S. 543–562
• Robert M. Copeland: The Christian Message of Igor Stravinsky. S. 563–579
• Carolyn Bryant: Quarterly Book List. S. 580–584

69. Jg. 1983

Nr. 1

• Jon W. Finson: Schumann, Popularity, and the „Ouverture, Scherzo, und Finale," Opus 52. S. 1–26
• Jonathan Dunsby: Music and Semiotics – The Nattiez Phase. S. 27–43
• Gregory Butler: Ordering Problems in J. S. Bach’s „Art of Fugue“ Resolved. S. 44–61
• Maria Rika Maniates: Applications of the History of Ideas to Music (II). S. 62–84
• Jeffrey Langford: The „Dramatic Symphonies“ of Berlioz as an Outgrowth of the French Operatic Tradition. S. 85–103
• Alan M. Gillmor: Erik Satie and the Concept of the Avant-Garde. S. 104–119
• Reviews of Books
  • Review by Alejandro Enrique Planchart: William L. Smoldon – The Music of the Medieval Church Drama by Cynthia Bourgeault. S. 120–125
  • Review by Hans Lenneberg: The Sociology of Art by Arnold Hauser; Kenneth Northcott. S. 125–130
  • Review by Piero Weiss: The Operas of Verdi. Vol III – From Don Carlos to Falstaff by Julian Budden. S. 130–134
  • Review by Russell Stinson: The Organ Music of J. S. Bach by Peter Williams. S. 134–138
  • Review by Terence J. O’Grady: Breaking the Sound Barrier – A Critical Anthology of the New Music by Gregory Battcock. S. 138–144
  • Review by Edward A. Lippman: On Criticizing Music – Five Philosophical Perspectives by Kingsley Price. S. 144–148
• Reviews of Records
  • Review by David J. Buch: La Rhetorique des Dieux, 1652 by Denis Gaultier; Hopkinson Smith. S. 149–152
  • Carolyn Bryant: Quarterly Book List. S. 153–156

Nr. 2

• Owen Jander: Romantic Form and Content in the Slow Movement of Beethoven’s Violin Concerto. S. 159–179
• Nancy Perloff: Klee and Webern – Speculations on Modernist Theories of Composition. S. 180–208
• C. Howard Treibitz: Substance and Function in Concepts of Musical Structure. S. 209–226
• Alexander Coleman: Calderón/Schopenhauer/Wagner – The Story of a Misunderstanding. S. 227–243
• Gwilym Beechey: Robert Bremner and His „Thoughts on the Performance of Concert Music“. S. 244–252
• Roger Prior: Jewish Musicians at the Tudor Court. S. 253–265
• Reviews of Books
  • Review by Gilbert Chase: Folk Songs of the Catskills [and] Notes and Sources for Folk Songs of the Catskills by Norman Cazden; Herbert Haufrecht; Norman Studer. S. 266–270
  • Review by Maynard Solomon: Mozart by Wolfgang Hildesheimer; Marion Faber. S. 270–279
  • Review by Lester Trimble: The Odyssey of an American Composer by Otto Luening. S. 279–285
• Reviews of Records
  • Review by William C. Holmes: Pietro Antonio Cesti – Orontea, Opera in Three Acts by Giacinto Andrea Cicognini; Helga Mueller Molinari; Isabelle Poulenard; Cettina Cadelo; Jill Feldman; René Jacobs; David James; Guy de Mey; Gastone Sarti; Gregory Reinhart; Pietro Antonio Cesti. S. 286–289
  • Carolyn Bryant: Quarterly Book List. S. 290–294

Nr. 3

• Laurence Dreyfus: Early Music Defended against Its Devotees – A Theory of Historical Performance in the Twentieth Century. S. 297–322
• Herbert R. Pankratz: J. S. Bach and His Leipzig Collegium Musicum. S. 323–353
• William S. Newman: The Beethoven Mystique in Romantic Art, Literature, and Music. S. 354–387
• Michael Beckerman: Janáček and the Herbartians. S. 388–407
• Pamela M. Potter: Strauss’s „Friedenstag“ – A Pacifist Attempt at Political Resistance. S. 408–424
• Harold W. Whipple: Beasts and Butterflies – Morton Subotnick’s Ghost Scores. S. 425–441
• Reviews of Books
  • Review by Rachel W. Wade: The Symphonies of Johann Stamitz. A Study in the Formation of the Classic Style, with a Thematic Catalogue of the Symphonies and Orchestral Trios by Eugene K. Wolf. S. 442–446
  • Review by Alan Walker: The Athlone History of Music in Britain. Volume V – The Romantic Age, 1800–1914 by Nicholas Temperley. S. 446–449
  • Review by Alexander Coleman: Conversations with Arrau by Joseph Horowitz. S. 449–453
• Reviews of Records
  • Review by Robert Morris: IRCAM un portrait. S. 454–456
  • Carolyn Bryant: Quarterly Book List. S. 457–461

Nr. 4

• Karl Geiringer: Brahms as a Musicologist. S. 463–470
• Allen Forte: Motivic Design and Structural Levels in the First Movement of Brahms’s String Quartet in C Minor. S. 471–502
• Boris Schwarz: Joseph Joachim and the Genesis of Brahms’s Violin Concerto. S. 503–526
• Aubrey S. Garlington, Jr.: Harzreise als Herzreise – Brahms’s Alto Rhapsody. S. 527–542
• Graham H. Phipps: A Response to Schenker’s Analysis of Chopin’s Etude, Opus 10, No. 12, Using Schoenberg’s „Grundgestalt“ Concept. S. 543–569
• Marcia J. Citron: The Lieder of Fanny Mendelssohn Hensel. S. 570–594
• Barry S. Brook: Remembering O. E. D. 1883–1967 – An Homage. S. 595–598
• Reviews of Books
  • Review by Jonathan Couchman: Leonardo da Vinci as a Musician by Emanuel Winternitz. S. 599–601
  • Review by Denis Stevens: Dufay by David Fallows. S. 601–605
  • Review by Charles Wuorinen: The Music of Elliott Carter by David Schiff. S. 606–607
  • Review by George J. Buelow: Music and Theatre from Poliziano to Monteverdi by Nino Pirrotta; Elena Povoledo; Karen Eales. S. 607–611
  • Carolyn Bryant: Quarterly Book List. S. 612–616

70. Jg. 1984

Nr. 1

• Jeremy Yudkin: The Anonymous of St. Emmeram and Anonymous IV on the „Copula“. S. 1–22
• H. Wiley Hitchcock: Henry Cowell’s „Ostinato Pianissimo“. S. 23–44
• Ellwood Derr: Beethoven’s Long-Term Memory of C. P. E. Bach’s Rondo in E Flat, W. 61/1 (1787), Manifest in the Variations in E Flat for Piano, Opus 35 (1802). S. 45–76
• Thomas E. Warner: European Musical Activities in North America before 1620. S. 77–95
• Harlow Robinson: Dostoevsky and Opera – Prokofiev’s „The Gambler“. S. 96–106
• Reviews of Books
  • Review by David Lawton: Giuseppe Verdi. Don Carlos – Edizione integrale delle varie versioni in cinque e in quattro atti (comprendente gli inediti verdiani) by Ursula Günther; Luciano Petazzoni; Francesco Degrada; Giuseppe Verdi. S. 107–121
  • Review by Richard C. Crawford: Music in New Jersey, 1655–1860 by Charles H. Kaufman. S. 122–133
  • Review by Leeman L. Perkins: The Masses and Motets of William Byrd by Joseph Kerman; The Consort and Keyboard Music of William Byrd by Oliver Neighbour. S. 134–139
  • Review by Kay Kaufman Shelemay: The Study of Ethnomusicology by Bruno Nettl. S. 140–145
  • Review by Leon Botstein: The Age of Beethoven by Gerald Abraham. S. 146–152
  • Review by Otto Luening: Recorded Classical Music – A Critical Guide to Compositions and Performances by Arthur Cohn. S. 152–155
  • Carolyn Bryant: Quarterly Book List. S. 156–160
• Joan Peyser: Boris Schwarz – 1906–1983. Irving Lowens: 1916–1983. S. 162

Nr. 2

• Hans Tischler: The Evolution of the „Magnus Liber Organi“. S. 163–174
• William Weber: The Contemporaneity of Eighteenth-Century Musical Taste. S. 175–194
• Piero Weiss: Venetian Commedia dell’Arte „Operas“ in the Age of Vivaldi. S. 195–217
• Mary Louise Serafine: The Development of Cognition in Music. S. 218–233
• Anthony Carl Tommasini: The Musical Portraits by Virgil Thomson. S. 234–247
• Peter Kivy: Mattheson as Philosopher of Art. S. 248–265
• Reviews of Books
  • Review by Julian Budden: Rigoletto – Melodrama in Three Acts by Francesco Maria Piave; Martin Chusid; Giuseppe Verdi. S. 266–269
  • Review by Joseph Dubiel: Introduction to Schenkerian Analysis by Allen Forte; Steven B. Gilbert. S. 269–278
  • Review by L. Michael Griffel: Schubert Studies – Problems of Style and Chronology by Eva Badura-Skoda; Peter Branscombe. S. 278–282
  • Review by Michael Beckerman: Leoš Janáček – „Kát’a Kabanová“ by John Tyrrell. S. 283–287
  • Carolyn Bryant: Quarterly Book List. S. 288–292

Nr. 3

• Rudolf Arnheim: Perceptual Dynamics in Musical Expression. S. 295–309
• Andrew W. Mead: Recent Developments in the Music of Milton Babbitt. S. 310–331
• Nancy B. Reich, Anna Burton: Clara Schumann – Old Sources, New Readings. S. 332–354
• Lawrence Ferrara: Phenomenology as a Tool for Musical Analysis. S. 355–373
• Review Essay
  • Review by Allan Keiler: Liszt Research and Walker’s „Liszt“. S. 374–403
• Reviews of Books
  • Review by Sarah Fuller: The Earliest Motets (To circa 1270) – A Complete Comparative Edition by Hans Tischler. S. 404–412
  • Review by Charles Fussell: The Music of Britten and Tippett – Studies on Themes and Techniques by Arnold Whittall. S. 413–416
  • Carolyn Bryant: Quarterly Book List. S. 417–421

Nr. 4

• Steven E. Gilbert: Gershwin’s Art of Counterpoint. S. 423–456
• Jon W. Finson: Performing Practice in the Late Nineteenth Century, with Special Reference to the Music of Brahms. S. 457–475
• Gerald Seaman, A. P. Borodin: Borodin’s Letters. S. 476–498
• Peter Franklin: Palestrina and the Dangerous Futurists. S. 499–514
• Harold Blumenfeld: Ad Vocem Adorno. S. 515–537
• Marie Rolf: Orchestral Manuscripts of Claude Debussy – 1892–1905. S. 538–566
• Reviews of Books
  • Review by Maria Rika Maniates: Music and Culture in Italy from the Middle Ages to the Baroque – A Collection of Essays by Nino Pirrotta. S. 567–572
  • Carolyn Bryant: Quarterly Book List. S. 573–577

71. Jg. 1985

Nr. 1

• Eric Salzman: Editorial. S. i-ii
• J. Peter Burkholder: Quotation and Emulation – Charles Ives’s Uses of His Models. S. 1–26
• Tilden A. Russell: On „Looking over a ha-ha“. S. 27–37
• Reed J. Hoyt: In Defense of Music Analysis. S. 38–51
• David J. Buch: Style brisé, Style luthé, and the „Choses luthées“. S. 52–67
• Joachim Braun: The Double Meaning of Jewish Elements in Dimitri Shostakovich’s Music. S. 68–80
• Review Essay
  • Review by Lance W. Brunner: Big Sounds from Small Peoples – The Music Industry in Small Countries by Roger Wallis; Krister Malm. S. 81–91
• Reviews of Books
  • Review by Rudolf Arnheim: Arnold Schoenberg and Wassily Kandinsky – Letters, Pictures, and Documents by Jelena Hahl-Koch; John C. Crawford; Arnold Schoenberg; Wassily Kandinsky. S. 92–95
  • Review by John Harbison: Copland – 1900 through 1942 by Aaron Copland; Vivian Perlis. S. 95–98
  • Review by Georgia Cowart: New Mattheson Studies by George J. Buelow; Hans Joachim Marx. S. 98–101
  • Carolyn Bryant: Quarterly Book List. S. 102–106
• Notice. S. 106

Nr. 2

• Chuck Israels: Bill Evans (1929–1980) – A Musical Memoir. S. 109–115
• Claudia Maurer Zenck, Jeffery A. Bossin: The Ship Loaded with Faith and Hope – Krenek’s „Karl V“ and the Viennese Politics of the Thirties. S. 116–134
• James A. Hepokoski: Under the Eye of the Verdian Bear – Notes on the Rehearsals and Première of „Falstaff“. S. 135–156
• Thom Lipiczky: Tihai Formulas and the Fusion of „Composition“ and „Improvisation“ in North Indian Music. S. 157–171
• Eric Werner: Jews around Richard and Cosima Wagner. S. 172–199
• Donald Mitchell: Mahler’s „Abschied“ – A Wrong Note Righted. S. 200–204
• Marshall A. Portnoy: The Answer to Elgar’s „Enigma“. S. 205–210
• Alan Walker: Franz Liszt – The Virtuoso Years, 1811–1847. S. 211–219
• David Buch: Additional Remarks on „Style brisé, style luthé, and the choses luthées“. S. 220–221
• Reviews of Books
  • The Britten Companion by Christopher Palmer. S. 222–225
  • Review by James Helme Sutcliffe: Britten and Auden in the Thirties by Donald Mitchell. S. 225–228
  • Carolyn Bryant: Quarterly Book List. S. 229–233

Nr. 3

• Russell Stinson: Bach’s Earliest Autograph. S. 235–263
• Christopher Addington: The Bach Flute. S. 264–280
• Frederick Neumann: Bach – Progressive or Conservative and the Authorship of the Goldberg Aria. S. 281–294
• Rosalie Athol Schellhous: Form and Spirituality in Bach’s „St. Matthew Passion“. S. 295–326
• Laurence Dreyfus: J. S. Bach’s Concerto Ritornellos and the Question of Invention. S. 327–358
• Denis Arnold: The Second Venetian Visit of Heinrich Schütz. S. 359–374
• Reviews of Books
  • Review by Alan Walker: Music and Civilization – Essays in Honor of Paul Henry Lang by Edmond Strainchamps; Maria Rika Maniates; Christopher Hatch. S. 375–378
  • Review by Rudolf Arnheim: Music and Poetry – The Nineteenth Century and after by Lawrence Kramer. S. 378–381
  • Review by Henry Burnett: Performance Practice – Ethnomusicological Perspectives by Gerard Béhague. S. 381–386
  • Review by Marcia J. Citron: Clara Schumann – The Artist and the Woman by Nancy B. Reich. S. 386–391
  • Carolyn Bryant: Quarterly Book List. S. 392–396

Nr. 4

• Joel Sheveloff: Domenico Scarlatti – Tercentenary Frustrations. S. 399–436
• Stephen Spackman: Wallingford Riegger and the Modern Dance. S. 437–467
• Gerald Bordman: Jerome David Kern – Innovator/Traditionalist. S. 468–473
• Allen Forte: Tonality, Symbol, and Structural Levels in Berg’s „Wozzeck“. S. 474–499
• Patricia Hall: The Progress of a Method – Berg’s Tone Rows for „Lulu“. S. 500–519
• Review Essay
  • Review by Claudio Spies: A View of George Perle’s „The Operas of Alban Berg, Volume Two – „Lulu“ The Operas of Alban Berg, Volume Two: „Lulu“ by George Perle. S. 520–536
  • Carolyn Bryant: Quarterly Book List. S. 537–541

72. Jg. 1986

Nr. 1

• Elaine Brody, Jan Larue: Trois Nouvelles Etudes. S. 1–15
• Vincent McDermott: Gamelans and New Music. S. 16–27
• Ena Steiner: Schoenberg on Holiday – His Six Summers on Lake Traun. S. 28–50
• Judith A. Eckelmeyer: Structure as Hermeneutic Guide to „The Magic Flute“. S. 51–73
• Richard S. James: Avant-Garde Sound-on-Film Techniques and Their Relationship to Electro-Acoustic Music. S. 74–89
• Joel Sheveloff: Domenico Scarlatti – Tercentenary Frustrations (Part II). S. 90–118
• Review of Books
  • Review by Paul Henry Lang: Essays on Handel and Italian Opera by Reinhard Strohm. S. 119–123
  • Review by Jon Appleton: Composers and the Computer by Curtis Roads; Digital Audio Signal Processing – An Anthology by John Strawn. S. 124–132
  • Review by Henry Burnett: Saibara – Japanese Court Songs of the Heian Period by Elizabeth Markham. S. 133–138
  • Review by Leon Botstein: Mendelssohn and Schumann – Essays on Their Music and Its Context by Jon W. Finson; R. Larry Todd; Essays on Russian and East European Music by Gerald Abraham; Slavonic and Western Music: Essays for Gerald Abraham by Malcolm Hamrick Brown; Roland John Wiley. S. 138–147
  • Carolyn Bryant: Quarterly Book List. S. 148–152

Nr. 2

• Shai Burstyn: Is Gerald of Wales a Credible Musical Witness? S. 155–169
• Ellen Rennie Flint: Jean-Jacques Rousseau’s „Lettre d’un symphoniste de l’académie royale de musique, à ses camarades dans l’orchestre“. S. 170–179
• Earle Brown: The Notation and Performance of New Music. S. 180–201
• Austin Clarkson: Lecture on Dada by Stefan Wolpe. S. 202–215
• Richard Kostelanetz: John Cage and Richard Kostelanetz – A Conversation about Radio. S. 216–227
• Albert Borowitz: Finale Marked Presto – The Killing of Leclair. S. 228–238
• Chrysogonus Waddell: Epithalamica – An Easter Sequence by Peter Abelard. S. 239–271
• Reviews of Books
  • Review by George B. Stauffer: Bach, Handel, Scarlatti – Tercentenary Essays by Peter Williams; Essays on J. S. Bach by Gerhard Herz. S. 272–282
  • Review by Charles Fussell: Tippett – The Composer and His Music by Ian Kemp. S. 282–286
  • Review by Dennis Libby: Anna Bolena and the Artistic Maturity of Gaetano Donizetti by Philip Gossett. S. 286–291
  • Review by Joscelyn Godwin: Geometry, Proportion and the Art of Lutherie by Kevin Coates. S. 291–293
  • Carolyn Bryant: Quarterly Book List. S. 294–298

Nr. 3

• Joseph N. Straus: Recompositions by Schoenberg, Stravinsky, and Webern. S. 301–328
• Hans Tischler: Trouvère Songs – The Evolution of Their Poetic and Musical Styles. S. 329–340
• Judith Becker: Is Western Art Music Superior? S. 341–359
• Walter Everett: Fantastic Remembrance in John Lennon’s „Strawberry Fields Forever“ and „Julia“. S. 360–393
• Peter Dickinson: Stein Satie Cummings Thomson Berners Cage – Toward a Context for the Music of Virgil Thomson. S. 394–409
• Reviews of Books
  • Review by Zoltan Roman: Gustav Mahler – Songs and Symphonies of Life and Death (Interpretations and Annotations) by Donald Mitchell. S. 410–416
  • Review by John Harbison: Contemplating Music – Challenges to Musicology by Joseph Kerman. S. 416–418
  • Review by Jeffrey Kurtzman: The New Monteverdi Companion by Denis Arnold; Nigel Fortune. S. 418–421
  • Carolyn Bryant: Quarterly Book List. S. 422–426

Nr. 4

• Lawrence Starr: Gershwin’s „Bess, You Is My Woman Now“ – The Sophistication and Subtlety of a Great Tune. S. 429–448
• Larry Bell, Andrea Olmstead: Musica Reservata in Frederic Rzewski’s „North American Ballads“. S. 449–457
• Mark D. Nelson: In Pursuit of Charles Seeger’s Heterophonic Ideal – Three Palindromic Works by Ruth Crawford. S. 458–475
• Reid Robins, Mel Powell: An Interview with Mel Powell. S. 476–493
• Paul Epstein: Pattern Structure and Process in Steve Reich’s „Piano Phase“. S. 494–502
• Ronald M. Radano: Braxton’s Reputation. S. 503–522
• Michael Sahl: Thoughts on the State of Classical Music in the United States. S. 523–528
• Reviews of Books
  • Review by Leon Botstein: Musical Life in Biedermeier Vienna by Alice M. Hanson. S. 529–535
  • Review by Charles Wuorinen: The Orchestra – Origins and Transformations by Joan Peyser. S. 535–539
  • Quarterly Book List. S. 540–544

73. Jg. 1989

Nr. 1

• Mark A. Radice: Futurismo – Its Origins, Context, Repertory, and Influence. S. 1–17
• A. Peter Brown: Haydn’s Chaos – Genesis and Genre. S. 18–59
• Geoffrey Block: Frank Loesser’s Sketchbooks for „The Most Happy Fella“. S. 60–78
• Aubrey S. Garlington, Jr.: Richard Strauss’s „Vier letzte Lieder“ – The Ultimate „opus ultimum“. S. 79–93
• Robert T. Laudon: Eduard Sobolewski, Frontier Kapellmeister – From Königsberg to St. Louis. S. 94–118
• Matthew Gurewitsch: Il lamento d’Adriano. S. 119–129
• Ted Gioia: Jazz and the Primitivist Myth. S. 130–143
• Reviews of Books
  • Review by Michael Meckna: Virgil Thomson’s Musical Portraits by Anthony Tommasini. S. 144–146
  • Carolyn Bryant: Quarterly Book List. S. 147–151

Nr. 2

• Wallace McKenzie: The Alto Parts in the „True Dispersed Harmony“ of „The Sacred Harp“ Revisions. S. 153–171
• Heinz J. Dill, Robert Schumann: Romantic Irony in the Works of Robert Schumann. S. 172–195
• Kathleen A. Abromeit: Ethel Smyth, „The Wreckers," and Sir Thomas Beecham. S. 196–211
• John H. Planer: Sentimentality in the Performance of Absolute Music – Pablo Casals’s Performance of Saraband from Johann Sebastian Bach’s Suite No. 2 in D Minor for Unaccompanied Cello, S. 1008. S. 212–248
• William Horne: Brahms’s Düsseldorf Suite Study and His Intermezzo, Opus 116, No. 2. S. 249–283
• Reviews of Books
  • Review by Kevin Bazzana: The Glenn Gould Reader by Tim Page. S. 284–295
  • Carolyn Bryant: Quarterly Book List. S. 296–300

Nr. 3

• Michael Beckerman: The Sword on the Wall – Japanese Elements and Their Significance in „The Mikado“. S. 303–319
• Owain Edwards: Espionage, a Collection of Violins, and „Le Bizzarie Universali“ – A Fresh Look at William Corbett. S. 320–343
• Sandra Corse, Larry Corse: Britten’s „Death in Venice“ – Literary and Musical Structures. S. 344–363
• Holly Eastman: The Drama of the Passions – Tate and Purcell’s Characterization of Dido. S. 364–381
• Byron Adams: The Stages of Revision of Vaughan Williams’s Sixth Symphony. S. 382–400
• Ian Payne: George Kirbye (c. 1565–1634) – Two Important Repertories of English Secular Vocal Music Surviving Only in Manuscript. S. 401–416
• Beth Shamgar: Three Missing Months in Schubert’s Biography – A Further Consideration of Beethoven’s Influence on Schubert. S. 417–434
• Reviews of Books
  • Review by Scott DeVeaux: Jazz – Myth and Religion by Neil Leonard. S. 435–438
  • Carolyn Bryant: Quarterly Book List. S. 439–443

Nr. 4

• Carol J. Oja: Marc Blitzstein’s „The Cradle Will Rock“ and Mass-Song Style of the 1930s. S. 445–475
• Cecelia Hopkins Porter: The Reign of the „Dilettanti“ – Düsseldorf from Mendelssohn to Schumann. S. 476–512
• Mark Gridley, Robert Maxham, Robert Hoff: Three Approaches to Defining Jazz. S. 513–531
• Beverly Lewis Parker: Parallels between Bartók’s „Concerto for Orchestra“ and Kübler-Ross’s Theory about the Dying. S. 532–556
• David Huron: Music in Advertising – An Analytic Paradigm. S. 557–574
• Review Essay
  • Review by Wolfgang Rathert, James Lum: The Unanswered Questions of the Ives Edition. Charles Ives, „The Unanswered Question“ by Paul C. Echols; Noel Zahler; Charles Ives; Charles Ives, Trio for Violin, Violoncello, and Piano by John Kirkpatrick; Charles Ives. S. 575–584
  • Carolyn Bryant: Quarterly Book List. S. 585–589
• Erratum: Haydn’s Chaos – Genesis and Genre. S. 594

74. Jg. 1990

Nr. 1

• Clifford Hindley: Why Does Miles Die? A Study of Britten’s „The Turn of the Screw“. S. 1–17
• Jörg Riedlbauer: Erinnerungsmotive in Wagner’s „Der Ring des Nibelungen“. S. 18–30
• William A. Frosch: Moods, Madness, and Music. II. Was Handel Insane? S. 31–56
• Kent W. Werth: Nature Immense, a Sketch from Berlioz’s „La Damnation de Faust“ – A New View of the Composer at Work. S. 57–82
• Rodney Farnsworth: Hither, This Way – A Rhetorical-Musical Analysis of a Scene from Purcell’s „King Arthur“. S. 83–97
• Mark A. Radice: Theater Architecture at the Time of Purcell and Its Influence on His „Dramatick Operas“. S. 98–130
• James R. Briscoe: To Invent New Forms – Debussy’s „Diane au bois“. S. 131–169
• Book Review
  • Review by William A. Frosch: Mozart in Person – His Character and Health by Peter J. Davies. S. 170–173

Nr. 2

• Theodore Bloomfield: In Search of Mahler’s Tenth – The Four Performing Versions as Seen by a Conductor. S. 175–196
• David L. Montgomery: From Biedermeier Berlin – The Parthey Diaries Excerpts in Translation, with Commentary and Annotation. S. 197–216
• Joan L. Roccasalvo: The Znamenny Chant. S. 217–241
• Ethan Haimo: Remote Keys and Multi-Movement Unity – Haydn in the 1790s. S. 242–268
• Linda Rogols-Siegel: Ludwig Börne as Music Critic. S. 269–294
• Joan S. Reis: A Third Gainsborough Portrait of Johann Christian Bach? S. 295–302
• Alexander Ivashkin: Letter from Moscow Post October Soviet Art – Canon and Symbol. S. 303–317

Nr. 3

• Janet Maguire: Puccini’s Version of the Duet and Final Scene of „Turandot“. S. 319–359
• Richard S. James: Ravel’s „Chansons madécasses –" Ethnic Fantasy or Ethnic Borrowing? S. 360–384
• Derek B. Scott: Music and Sociology for the 1990s – A Changing Critical Perspective. S. 385–410
• Gregory D. Booth, Terry Lee Kuhn: Economic and Transmission Factors as Essential Elements in the Definition of Folk, Art, and Pop Music. S. 411–438
• Reviews of Books
  • Review by Gregory D. Booth: Music and Society – The Politics of Composition, Performance and Reception by Richard Leppert; Susan McClary; Popular Musics of the Non-Western World: An Introductory Survey by Peter Manuel. S. 439–445
  • Review by Susan C. Cook: Opera, or the Undoing of Women by Catherine Clément; Betsy Wing. S. 445–450
  • Review by David Hush: The Music of Johann Sebastian Bach – The Sources, the Style, the Significance by Robert L. Marshall; Bach Studies by O. Franklin. S. 451–455
  • Review by E. S.: Perfect Pitch – A Life Story by Nicolas Slonimsky. S. 455–457
  • Richard Kostelanetz, Nicolas Slonimsky: Conversation with Nicolas Slonimsky about His Composing. S. 458–472
• Zheng Ying-Lie: Letter from China – The Use of Twelve-Tone Technique in Chinese Musical Composition. S. 473–488

Nr. 4

• Walter B. Bailey: Prophetic Aspects of Musical Style in the Early Unpublished Songs of Arnold Schoenberg. S. 491–520
• Ronald E. Prather: The Popular Songs of Alec Wilder. S. 521–549
• Eric Frederick Jensen: Norbert Burgmüller and Robert Schumann. S. 550–565
• Rob C. Wegman: The Anonymous Mass D’Ung aultre amer – A Late Fifteenth-Century Experiment. S. 566–594
• Burkhard Laugwitz, Reinhard G. Pauly: Robert Kahn and Brahms. S. 595–609
• Irving Godt: Politics, Patriotism, and a Polonaise – A Possible Revision in Bach’s „Suite in B Minor“. S. 610–622
• Reviews of Books
  • Review by Anthony Newman: Ornamentation and Improvisation in Mozart by Frederick Neumann. S. 623–628
  • Review by Byron Adams: Vaughan Williams and the Vision of Albion by Wilfrid Mellers. S. 629–635
  • Joseph Horowitz: Letter from New York – The Transformations of Vladimir Horowitz. S. 636–648

75. Jg. 1991

Nr. 1

• Ralph Gustafson: Villa-Lobos and the Man-Eating Flower – A Memoir. S. 1–11
• Kevin Bazzana: The Uses and Limits of Performance Practice in François Couperin’s „Huitiême Ordre“. S. 12–30
• John D. Anderson: Varèse and the Lyricism of the New Physics. S. 31–49
• George List: Two Flutes and a Rattle – The Evolution of an Ensemble. S. 50–58
• Bryan Gillingham: A New Etiology and Etymology for the Conductus. S. 59–73
• Charles Shere: Letter from California. S. 74–81
• Review Essays
  • Review by Derek B. Scott: Music and Ideas – A State of Flux. Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer by Eugene Narmour; Ruth A. Solie; Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England by Richard Leppert. S. 82–92
  • Review by Eric Roseberry: Some Thoughts on the Musicologist as Biographer. Berlioz by D. Kern Holoman; Liszt by Derek Watson. S. 93–100

Nr. 2

• Julia Eklund Koza: Music and the Feminine Sphere – Images of Women as Musicians in „Godey’s Lady’s Book“, 1830–1877. S. 103–129
• David Paul Goldman: Esotericism as a Determinant of Debussy’s Harmonic Language. S. 130–147
• Chris Goertzen: Compromises in Orchestration in Mozart’s „Coronation“ Concerto. S. 148–173
• William Malloch: Bach and the French Ouverture. S. 174–197
• E. Douglas Bomberger: The Thalberg Effect – Playing the Violin on the Piano. S. 198–208
• Book Reviews
  • Review by Andrew Stiller: American Experimental Music 1890–1940 by David Nicholls. S. 209–211
  • Review by Eric Roseberry: Glinka’s Life in Music – A Chronicle by Alexandra Orlova; Richard Hoops; Aleksandr Porfir’evich Borodin: A Chemist’s Biography by N. A. Figurovskii; Yu. I. Solov’ev; Charlene Steinburg; George B. Kauffmann. S. 211–218
  • Review by Tamar Witkin: The Composer in Hollywood by Christopher Palmer. S. 218–219
  • Review by Linda Rogols-Siegel: E. T. A Hoffmann’s Musical Writings, Kreisleriana, The Poet and the Composer, Music Criticism by David Charlton; Martyn Clarke. S. 219–224

Nr. 3

• George Edwards: The Nonsense of an Ending – Closure in Haydn’s String Quartets. S. 227–254
• Jann Pasler: New Music as Confrontation – The Musical Sources of Jean Cocteau’s Identity. S. 255–278
• Clyde W. Brockett: Gottschalk in Madrid – A Tale of Ten Pianos. S. 279–315
• Ben Arnold: War Music and the American Composer during the Vietnam Era. S. 316–335
• Timothy L. Jackson: Schubert’s Revisions of „Der Jüngling und der Tod," D 545a-b, and „Meeresstille," D 216a-b. S. 336–361
• Allan W. Atlas: Belasco and Puccini – „Old Dog Tray“ and the Zuni Indians. S. 362–398
• Alan Rich: Letter from Los Angeles. S. 399–401
• Book Reviews
  • Review by Andrew Stiller: A Celebration of American Music – Words and Music in Honor of H. Wiley Hitchcock by Richard Crawford; R. Allen Lott; Carol J. Oja. S. 402–404
  • Review by Peter Dickinson: Erik Satie by Alan Gillmor; Satie the Composer by Robert Orledge; Satie Seen through His Letters by Ornella Volta; Michael Bullock. S. 404–409
  • Review by E. S.: Kurt Weill – The Threepenny Opera by Stephen Hinton. S. 409–412
  • Review by J. F.: The Song of the Hawk – The Life and Recordings of Coleman Hawkins by John Chilton; You Just Fight for Your Life: The Story of Lester Young by Frank Büchmann-Møller. S. 413–417
  • Erratum: Compromises in Orchestration in Mozart’s „Coronation“ Concerto. S. 419

Nr. 4

• E. S.: Introduction. S. iv-vi
• Percy Grainger: The Impress of Personality in Unwritten Music. S. 1–18
• Camille Saint-Saëns, Theodore Baker: Music in the Church. S. 19–26
• Nicholas C. Gatty: Futurism – A Series of Negatives. S. 27–30
• Carl Engel: Music, Melodious and Odious. S. 31–36
• Carl Van Vechten: The Cat in Music. S. 37–47
• Aaron Copland: Gabriel Fauré, a Neglected Master. S. 48–50
• Marc Blitzstein: The Phenomenon of Stravinsky. S. 51–69
• Nicolas Slonimsky: Further Light on Tchaikovsky. S. 70–73
• Paul Henry Lang: Editorial. S. 74–80
• Edward E. Lowinsky: The Goddess Fortuna in Music – With a Special Study of Josquin’s „Fortuna dun gran tempo“. S. 81–107
• Virgil Thomson: Looking Forward. S. 108–113
• Thomas Mann, M. D. Herter Norton: To Bruno Walter on His Seventieth Birthday – A Letter. S. 114–118
• Vernon Duke: Gershwin, Schillinger, and Dukelsky. S. 119–124
• René Leibowitz: Alban Berg’s Five Orchestral Songs after Post-Card Texts by Peter Altenberg, Op. 4. S. 125–131
• Henry Cowell: Current Chronicle. S. 132–143
• Arnold Schoenberg: My Evolution. S. 144–157
• Alfred Einstein, Ernest Sanders: The Conflict of Word and Tone. S. 158–175
• Leon B. Plantinga: Schumann’s View of „Romantic“. S. 176–187
• Owen Jander: Rhythmic Symmetry in the „Goldberg Variations“. S. 188–193
• Robert P. Morgan: Stockhausen’s Writings on Music. S. 194–206
• Maynard Solomon: Beethoven – The Nobility Pretense. S. 207–224
• Elaine Brody: Vive La France – Gallic Accents in American Music from 1880 to 1914. S. 225–234
• Eric Salzman: Whither American Music Theater? S. 235–247
• Alan Walker: Liszt and the Schubert Song Transcriptions. S. 248–262
• Harold Blumenfeld: Ad Vocem Adorno. S. 263–284
• In Memoriam, Paul Henry Lang. S. 285–287
• Erratum: Compromises in Orchestration in Mozart’s „Coronation“ Concerto. S. 293

76. Jg. 1992

Nr. 1

• Joseph Horowitz: Mozart as Midcult – Mass Snob Appeal. S. 1–16
• David L. Montgomery: The Myth of Organicism – From Bad Science to Great Art. S. 17–66
• Nors S. Josephson: Bach Meets Liszt – Traditional Formal Structures and Performance Practices in Progressive Rock. S. 67–92
• Edward F. Kravitt: Romanticism Today. S. 93–109
• Book Reviews
  • Review by Andrew Stiller: Arguing for Music, Arguing for Culture by Samuel Lipman. S. 110–114
  • Review by George Edwards: Music and Discourse – Toward a Semiology of Music by Jean-Jacques Nattiez; Carolyn Abbate; Playing with Signs: A Semiotic Interpretation of Classic Music by V. Kofi Agawu. S. 114–121
  • Review by Scott DeVeaux: Ellington – The Early Years by Mark Tucker; Duke Ellington: Jazz Composer by Ken Rattenbury. S. 121–135
  • Review by Ron Pen: Jùjú – A Social History and Ethnography of an African Popular Music by Christopher Alan Waterman; African Rock: The Pop Music of a Continent by Chris Stapleton; Chris May. S. 135–141

Nr. 2

• Clifford Hindley: Homosexual Self-Affirmation and Self-Oppression in Two Britten Operas. S. 143–168
• Anthony Newman: Inequality (Inégales) – A New Point of View. S. 169–183
• Barbara R. Barry: Pitch Interpretation and Cyclical Procedures in Middle-Period Beethoven. S. 184–215
• Joshua Berrett: Louis Armstrong and Opera. S. 216–241
• Review Essay
  • Review by Timothy L. Jackson: Current Issues in Schenkerian Analysis. Schenker Studies by Hedi Siegel; Trends in Schenkerian Research by Allen Cadwallader. S. 242–263
  • Review by David Montgomery: Views, Reviews, and Nonviews – Two Studies in Historical Performance Practice. Authenticity in Performance by Peter Le Huray; New Essays on Performance Practice by Frederick Neumann. S. 264–282
  • Review by Ann K. McNamee: Are Boulez and Stockhausen Ready for the Mainstream? Orientations – Collected Writings by Pierre Boulez; Jean-Jacques Nattiez; Martin Cooper; Boulez and the Modern Concept by Peter F. Stacey; Stockhausen on Music by Karlheinz Stockhausen; Robin Maconie; The Works of Karlheinz Stockhausen by Robin Maconie; Karlheinz Stockhausen. S. 283–291
• Book Reviews
  • Review by Stephen Wade: That Half-Barbaric Twang by Karen Linn. S. 292–297
  • Review by J. F.: Baker’s Biographical Dictionary of Musicians by Nicolas Slonimsky. S. 297–299

Nr. 3

• O. Alan Weltzien: Notes and Lineaments – Vaughan Williams’s „Job: A Masque for Dancing“ and Blake’s „Illustrations“. S. 301–336
• James M. Manheim: B-Side Sentimentalizer – „Tennessee Waltz“ in the History of Popular Music. S. 337–354
• Allen Forte: The Diatonic Looking Glass, or an Ivesian Metamorphosis. S. 355–382
• Richard Kostelanetz, Lou Harrison: A Conversation, in Eleven-Minus-One Parts, with Lou Harrison about Music/Theater. S. 383–409
• David Haas: Boris Asaf’yev and Soviet Symphonic Theory. S. 410–432
• Martin Williams: What Kind of Composer Was Thelonious Monk? S. 433–441
• Erratum: Views, Reviews, and Nonviews – Two Studies in Historical Performance Practice. S. 441

Nr. 4

• Simon Miller: Instruments of Desire – Musical Morphology in the Early Work of Picasso. S. 443–464
• Walter Aaron Clark: Isaac Albéniz’s Faustian Pact – A Study in Patronage. S. 465–487
• Ora Frishberg Saloman: Fink, Hach, and Dwight’s Beethoven in 1843–44. S. 488–501
• Barry Bergstein: Miles Davis and Karlheinz Stockhausen – A Reciprocal Relationship. S. 502–525
• Theodore A. Gracyk: Adorno, Jazz, and the Aesthetics of Popular Music. S. 526–542
• Alexander Ivashkin: The Paradox of Russian Non-Liberty. S. 543–556
• Olivia Mattis: Varèse’s Multimedia Conception of „Déserts“. S. 557–583
• Book Reviews
  • Review by Byron Adams: Gustav Holst – The Man and His Music by Michael Short. S. 584–591

77. Jg. 1993

Nr. 1

• Notes from the Editor
  • Leon Botstein: The „Quarterly’s“ Quandary – A Fin-de-Siècle Editorial Outlook. S. 1–9
• American Musics
  • Charles Hamm: Irving Berlin’s Early Songs as Biographical Documents. S. 10–34
  • Archie Green: Vernacular Music – A Naming Compass. S. 35–46
• The Twentieth Century
  • Barbara R. Barry: The Hidden Program in Mahler’s Fifth Symphony. S. 47–66
• Music and Culture
  • Ping-hui Liao: Hope, Recollection, Repetition – „Turandot“ Revisited. S. 67–80
• Institutions, Industries, Technologies
  • Thomas Y. Levin: Integral Interpretation – Introductory Notes to Beethoven, Kolisch and the Question of the Metronome. S. 81–89
  • Rudolf Kolisch: Tempo and Character in Beethoven’s Music. S. 90–131
• Primary Sources
  • Mark Swed: John Cage – September 5, 1912-August 12, 1992. S. 132–144
  • George Perle: Krenek. S. 145–153

Nr. 2

• Notes from the Editor
  • Leon Botstein: The Future of a Tradition. S. 155–160
• American Musics
  • Martin Brody: Music for the Masses – Milton Babbitt’s Cold War Music Theory. S. 161–192
• Music and Culture
  • Michael Marissen: J. S. Bach’s Brandenburg Concertos as a Meaningful Set. S. 193–235
• The Twentieth Century
  • Mark Swed: Editor’s Note to Philip Glass’s „Akhnaten“. S. 236–240
  • Paul John Frandsen: Philip Glass’s „Akhnaten“. S. 241–267
• Institutions, Industries, Technologies
  • Rudolf Kolisch: Tempo and Character in Beethoven’s Music (Continued). S. 268–342
• Primary Sources
  • Robert Walser: Out of Notes – Signification, Interpretation, and the Problem of Miles Davis. S. 343–365

Nr. 3

• Notes from the Editor
  • Leon Botstein: Music and Language. S. 367–372
• American Musics
  • Pauline Oliveros: Cues. S. 373–383
  • Timothy D. Taylor: The Gendered Construction of the Musical Self – The Music of Pauline Oliveros. S. 385–396
• Music and Culture
  • Michael P. Steinberg: Introduction – Music, Language, and Culture. S. 397–400
  • Theodor W. Adorno, Susan Gillespie: Music, Language, and Composition. S. 401–414
  • Murray Dineen: Adorno and Schoenberg’s Unanswered Question. S. 415–427
• The Twentieth Century
  • Michael Hicks: Cowell’s Clusters. S. 428–458
• Institutions, Industries, Technologies
  • Albrecht Dümling: On the Road to the „Peoples’ Community“ [Volksgemeinschaft] – The Forced Conformity of the Berlin Academy of Music under Fascism. S. 459–483
• Primary Sources
  • Suzanne G. Cusick: Thinking from Women’s Lives – Francesca Caccini after 1627. S. 484–507
  • Owen Jander: The Prophetic Conversation in Beethoven’s „Scene by the Brook“. S. 508–559

Nr. 4

• Notes from the Editor
  • Felix Mendelssohn, Leon Botstein: Songs without Words – Thoughts on Music, Theology, and the Role of the Jewish Question in the Work of Felix Mendelssohn. S. 561–578
• American Musics
  • Louise Spizizen: Johana and Roy Harris – Marrying a „Real“ Composer. S. 579–606
• The Twentieth Century
  • Allen Forte: Secrets of Melody – Line and Design in the Songs of Cole Porter. S. 607–647
• Music and Culture
• Culture, Gender, and Music: A Forum on the Mendelssohn Family
  • Michael P. Steinberg: Introduction. S. 648–650
  • Peter Wollny: Sara Levy and the Making of Musical Taste in Berlin. S. 651–688
  • Sarah Rothenberg: Thus Far, but No Farther – Fanny Mendelssohn-Hensel’s Unfinished Journey. S. 689–708
  • David Warren Sabean: Fanny and Felix Mendelssohn-Bartholdy and the Question of Incest. S. 709–717
  • Michael Marissen: Religious Aims in Mendelssohn’s 1829 Berlin-Singakademie Performances of Bach’s St. Matthew Passion. S. 718–726
  • John E. Toews: Memory and Gender in the Remaking of Fanny Mendelssohn’s Musical Identity – The Chorale in „Das Jahr“. S. 727–748
• Institutions, Industries, Technologies
  • Michael Beckerman: The Real Value of Yellow Journalism – James Creelman and Antonín Dvořák. S. 749–768
• Primary Sources
  • Review by George Tsontakis: The Correspondence of Roger Sessions by Andrea Olmstead; Roger Sessions. S. 769–780

78. Jg. 1994

Nr. 1

• Notes from the Editor
  • Leon Botstein: The Opera Revival. S. 1–8
• American Musics
  • Paul Nauert: Theory and Practice in „Porgy and Bess“ – The Gershwin-Schillinger Connection. S. 9–33
• Music and Culture
• Mozart out of Season
  • William Weber: The Myth of Mozart, the Revolutionary. S. 34–47
  • Daniel Herwitz: The Cook, His Wife, the Philosopher, and the Librettist. S. 48–76
  • Scott Burnham: Mozart’s „felix culpa – Così fan tutte“ and the Irony of Beauty. S. 77–98
• The Twentieth Century
  • Clifford Hindley: Britten’s „Billy Budd“ – The „Interview Chords“ Again. S. 99–126
• Institutions, Industries, Technologies
  • Mark Swed: Editor’s Introduction to „Synergetic Dynamics in John Cage’s „Europeras 1 & 2“ ". S. 127–130
  • Laura D. Kuhn: Synergetic Dynamics in John Cage’s „Europeras 1 & 2“. S. 131–148
  • Review by Neal Zaslaw: The New Grove Dictionary of Opera by Stanley Sadie; Christine Bashford. S. 149–158
• Primary Sources
  • Nike Wagner, Detlev Rotweiler: Bayreuth? S. 159–170
  • Owen Jander: Erratum – The Most Meaningful Single Note in Beethoven’s „Scene by the Brook“ (A Meditation Inspired by a Misprint). S. 171–174

Nr. 2

• Notes from the Editor
  • Leon Botstein: Music, Technology, and the Public. S. 177–188
• American Musics
  • Joseph Horowitz: Finding a „Real Self“ – American Women and the Wagner Cult of the Late Nineteenth Century. S. 189–205
• Essay Reviews
  • Review by Carol K. Baron: What Motivated Charles Ives’s Search for Time Past? Charles Ives – „My Father’s Song“: A Psychoanalytic Biography by Stuart Feder. S. 206–219
  • Review by Pamela Fox: Rebellious Tradition and Boston’s Musical Spirit of Place – Elitism, Populism, and Lives Apart. „Music of the Highest Class“: Elitism and Populism in Antebellum Boston by Michael Broyles; Charles Martin Loeffler: A Life Apart in American Music by Ellen Knight; Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederick Rzewski by Howard Pollack. S. 220–245
  • Review by Paul F. Wells: Roots and Revival – Two Recorded Perspectives of American Folk Music. Roots n’ Blues: The Retrospective, 1925–1950 by Lawrence Cohn; Pete Welding; Folk Song America: A 20th Century Revival by Norm Cohen. S. 246–254
• Music and Culture
  • Judit Frigyesi: Béla Bartók and the Concept of Nation and „Volk“ in Modern Hungary. S. 255–287
• The Twentieth Century
  • Mark Swed: Editor’s Introduction. S. 288–289
  • Derek B. Scott: Incongruity and Predictability in British Dance Band Music of the 1920s and 1930s. S. 290–315
• Institutions, Industries, Technologies
  • Thomas Y. Levin, Michael von der Linn: Elements of a Radio Theory – Adorno and the Princeton Radio Research Project. S. 316–324
  • Theodor W. Adorno: Analytical Study of the NBC „Music Appreciation Hour“. S. 325–377
• Essay Review
  • Review by Colin Sample: Adorno on the Musical Language of Beethoven. Beethoven, Philosophie der Musik by Theodor W. Adorno. S. 378–393
• Primary Sources
  • Adrienne Fried Block: A „Veritable Autobiography“? Amy Beach’s Piano Concerto in C-Sharp Minor, op. 45. S. 394–416
  • Howard Brofsky: Letter to the Editor. S. 417

Nr. 3

• Notes from the Editor
  • Leon Botstein: On Time and Tempo. S. 421–428
• American Musics
  • Gayle Sherwood: Questions and Veracities – Reassessing the Chronology of Ives’s Choral Works. S. 429–447
  • Ann Besser Scott, Charles Ives: Medieval and Renaissance Techniques in the Music of Charles Ives – Horatio at the Bridge? S. 448–478
  • Thomas Brothers: Solo and Cycle in African-American Jazz. S. 479–509
• Music and Culture
  • Marc Perlman: American Gamelan in the Garden of Eden – Intonation in a Cross-Cultural Encounter. S. 510–555
• The Twentieth Century
  • Bonnie Jo Dopp: Numerology and Cryptography in the Music of Lili Boulanger – The Hidden Program in „Clairières dans le ciel“. S. 556–583
• Institutions, Industries, Technologies
  • Bryan Gilliam: The Annexation of Anton Bruckner – Nazi Revisionism and the Politics of Appropriation. S. 584–604
  • John Michael Cooper: Appendix – Joseph Goebbels’s Bruckner Address in Regensburg (6 June 1937). S. 605–609
• Primary Sources
  • Hans Lenneberg: Classic and Romantic – The First Usage of the Terms. S. 610–625
  • John Holzaepfel: Reminiscences of a Twentieth-Century Pianist – An Interview with David Tudor. S. 626–636
  • Dan Stehman: Letter to the Editor. S. 637–639

Nr. 4

• Notes from the Editor
  • Leon Botstein: Subjects for Debate – Women and Patronage in Music Remembering Helen Huntington Hull (1893–1976). S. 641–645
• American Musics
  • Carol J. Oja: Gershwin and American Modernists of the 1920s. S. 646–668
  • David Metzer: The New York Reception of „Pierrot lunaire“ – The 1923 Premiere and Its Aftermath. S. 669–699
• Music and Culture
  • Marcia J. Citron: A Night at the Cinema – Zeffirelli’s „Otello“ and the Genre of Film-Opera. S. 700–741
• The Twentieth Century
  • Timothy A. Johnson: Minimalism – Aesthetic, Style, or Technique? S. 742–773
• Institutions, Industries, Technologies
  • David Brackett: The Politics and Practice of „Crossover“ in American Popular Music, 1963 to 1965. S. 774–797
• Primary Sources
  • Ralph P. Locke: Paradoxes of the Woman Music Patron in America. S. 798–825

79. Jg. 1995

Nr. 1

• Notes from the Editor
  • Leon Botstein: On Criticism and History. S. 1–5
• American Musics
  • Matthew Daines: Nixon’s Women – Gender Politics and Cultural Representation in Act 2 of „Nixon in China“. S. 6–34
• Music and Culture
  • Patricia Herzog: The Practical Wisdom of Beethoven’s „Diabelli“ Variations. S. 35–54
  • Susan Gillespie: Translating Adorno – Language, Music, and Performance. S. 55–65
  • Theodor W. Adorno, Susan Gillespie: On Some Relationships between Music and Painting. S. 66–79
• The Twentieth Century
  • Bob Gilmore: A Soul Tormented – Alwin Nikolais and Harry Partch’s „The Bewitched“. S. 80–107
  • Mimi S. Daitz: Reflections on „Reflections“ – The Music and the Cultural/Political Context of Two Choral Works by Veljo Tormis. S. 108–130
• Institutions, Industries, Technologies
  • Emily Thompson: Machines, Music, and the Quest for Fidelity – Marketing the Edison Phonograph in America, 1877–1925. S. 131–171
• Primary Sources
• Review Essay
  • Review by Paul A. Anderson: Ellington, Rap Music, and Cultural Difference. Black Studies, Rap, and the Academy by Houston A. Baker,; The Black Atlantic – Modernity and Double Consciousness by Paul Gilroy; Beyond Category: The Life and Genius of Duke Ellington by John Edward Hasse; The Jazz Scene by Eric Hobsbawm; The Duke Ellington Reader by Mark C. Tucker. S. 172–206
  • Douglas Rust: Conversation with Witold Lutosławski. S. 207–223

Nr. 2

• Notes from the Editor
  • Leon Botstein: After Fifty Years – Thoughts on Music and the End of World War II. S. 225–230
• American Musics
  • Robert F. Nisbett: Pare Lorentz, Louis Gruenberg, and „The Fight for Life“ – The Making of a Film Score. S. 231–255
• Music and Culture
  • Lawrence Kramer: The Strange Case of Beethoven’s „Coriolan“ – Romantic Aesthetics, Modern Subjectivity, and the Cult of Shakespeare. S. 256–280
  • Joseph P. Swain: The Concept of Musical Syntax. S. 281–308
• The Twentieth Century
  • Mark Swed: Editor’s Introduction. S. 309–311
  • Christopher Shultis: Silencing the Sounded Self – John Cage and the Intentionality of Nonintention. S. 312–350
  • Catherine Parsons Smith: Athena at the Manuscript Club – John Cage and Mary Carr Moore. S. 351–367
• Institutions, Industries, Technologies
  • Claudia R. Jensen: Music for the Tsar – A Preliminary Study of the Music of the Muscovite Court Theater. S. 368–401
• Primary Sources
  • Nors S. Josephson: Cyclical Structures in the Late Music of Leoš Janáček. S. 402–420

Nr. 3

• Notes from the Editor
  • Leon Botstein: Béla Bartók Fifty Years after. S. 423–428
• American Musics
  • Susan Miyo Asai: Transformations of Tradition – Three Generations of Japanese American Music Making. S. 429–453
• Essay Review
  • Review by Edith Borroff: More News on Women’s Accomplishments. Cecilia Reclaimed – Feminist Perspectives on Gender and Music by Susan C. Cook; Judy S. Tsou; Rediscovering the Muses: Women’s Musical Traditions by Kimberly Marshall. S. 454–457
• Music and Culture
  • Jane F. Fulcher: The Preparation for Vichy – Anti-Semitism in French Musical Culture between the Two World Wars. S. 458–475
  • James Parakilas: Folk Song as Musical Wet Nurse – The Prehistory of Bartók’s „For Children“. S. 476–499
• The Twentieth Century
  • Review by Edward Harsh: Lessons in the Vernacular. Todd Levin by Mary Nessinger; Yo Shakespeare by Michael Gordon; Todd Levin; London Symphony Orchestra; David Alan Miller. S. 500–511
• Institutions, Industries, Technologies
  • James P. Kraft: Artists as Workers – Musicians and Trade Unionism in America, 1880–1917. S. 512–543
• Primary Sources
  • Martin Brody: Our Music. S. 544–551
  • Peter Bloom: Berlioz to Ferrand – Eight „Billets Intimes“. S. 552–579

Nr. 4

• Notes from the Editor
  • Leon Botstein: Hearing Is Seeing – Thoughts on the History of Music and the Imagination. S. 581–589
• American Musics
  • Stephen Nunns: Rabbit Hash – Billy Golden, a Critical Biography. S. 590–605
• Music and Culture
  • Elizabeth Wood: Performing Rights – A Sonography of Women’s Suffrage. S. 606–643
• The Twentieth Century
  • Jonathan W. Bernard: Elliott Carter and the Modern Meaning of Time. S. 644–682
• Institutions, Industries, Technologies
  • Jürg Stenzl, Irene Zedlacher: In Search of a History of Musical Interpretation. S. 683–699
• Primary Sources
  • Daniel Heartz: Mozart and Da Ponte. S. 700–718

80. Jg. 1996

Nr. 1

• Notes from the Editor
  • Leon Botstein: Music and Ideology – Thoughts on Bruckner. S. 1–11
• American Musics
  • Kay Kaufman Shelemay: Crossing Boundaries in Music and Musical Scholarship – A Perspective from Ethnomusicology. S. 13–30
• Music and Culture
  • Michael E. McClellan: Counterrevolution in Concert – Music and Political Dissent in Revolutionary France. S. 31–57
• The Twentieth Century
  • Mark Swed: Remembering „Modern Music“. S. 58–60
  • Roger Reynolds, Toru Takemitsu: Roger Reynolds and Toru Takemitsu – A Conversation. S. 61–76
• Institutions, Industries, Technologies
  • Wesley Berg: Hymns of the Old Colony Mennonites and the Old Way of Singing. S. 77–117
• Bruckner and the Aesthetic Politics of National Socialism: A Continuing Debate
  • Manfred Wagner: Response to Bryan Gilliam regarding Bruckner and National Socialism. S. 118–123
  • Bryan Gilliam: Bruckner’s Annexation Revisited – A Response to Manfred Wagner. S. 124–131
  • Benjamin Marcus Korstvedt: Anton Bruckner in the Third Reich and after – An Essay on Ideology and Bruckner Reception. S. 132–160
• Primary Sources
  • W. Dean Sutcliffe: Grieg’s Fifth – The Linguistic Battleground of „Klokkeklang“. S. 161–181
  • William H. Rosar: Letter to the Editor. S. 182–184

Nr. 2

• Notes from the Editor
  • Leon Botstein: The Future of the Orchestra. S. 189–193
• American Musics
  • Jutta Allmendinger, J. Richard Hackman, Erin V. Lehman: Life and Work in Symphony Orchestras. S. 194–219
  • Ronald S. Rosen: Stranger in Paradise – The Life and Adventures of the Los Angeles Chamber Orchestra. S. 220–233
• Music and Culture
  • John Spitzer: Metaphors of the Orchestra – The Orchestra as a Metaphor. S. 234–264
  • Silke Leopold, Irene Zedlacher: The Orchestra in Early Opera. S. 265–268
• The Twentieth Century
  • Peter Gülke, Irene Zedlacher: The Orchestra as Medium of Realization – Thoughts on the Finale of Brahms’s First Symphony, on the Different Versions of Bruckner’s Sixth Symphony, and on „Part One“ of Mahler’s Fifth Symphony. S. 269–275
  • William DeFotis: Mahler’s Symphony No. 9 – An Analytic Sketch in the Form of a Conductor’s Guide. S. 276–301
  • Marc-André Roberge: Ferruccio Busoni, His Chicago Friends, and Frederick Stock’s Transcription for Large Orchestra and Organ of the „Fantasia contrappuntistica“. S. 302–331
• Institutions, Industries, Technologies
  • Christian Ahrens, Irene Zedlacher: Technological Innovations in Nineteenth-Century Instrument Making and Their Consequences. S. 332–340
  • Gerhard J. Winkler, Irene Zedlacher: Joseph Haydn’s „Experimental Studio“ in Esterháza. S. 341–347
  • E. Douglas Bomberger: Charting the Future of „Zukunftsmusik“ – Liszt and the Weimar Orchesterschule. S. 348–361
• Primary Sources
  • Peter Laki: Franz Schmidt (1874–1939) and Dohnányi Ernő (1877–1960) – A Study in Austro-Hungarian Alternatives. S. 362–381

Nr. 3

• Notes from the Editor
  • Leon Botstein: Teaching Music. S. 385–391
• American Musics
• Review Essay
  • Review by Scott DeVeaux: What Did We Do to Be so Black and Blue? Cats of Any Color – Jazz Black and White by Gene Lees; Reading Jazz by David Meltzer; Jazz: The American Theme Song by James Lincoln Collier. S. 392–430
• Music and Culture
  • Daniel E. Freeman: La guerriera amante – Representations of Amazons and Warrior Queens in Venetian Baroque Opera. S. 431–460
• The Twentieth Century
  • W. Anthony Sheppard: Bitter Rituals for a Lost Nation – Partch’s „Revelation in the Courthouse Park“ and Bernstein’s „Mass“. S. 461–499
• Institutions, Industries, Technologies
• The Great Fugue Revisited: A Dossier
  • Ivan Mahaim, Evi Levin: The First Complete Beethoven Quartet Cycles, 1845–1851 – Historical Notes on the London Quartett Society. S. 500–524
• Essay Review
  • Review by Ora Frishberg Saloman: Origins, Performances, and Reception History of Beethoven’s Late Quartets. Beethoven – Naissance et Renaissance des Derniers Quatuors by Ivan Mahaim. S. 525–540
  • Klaus Kropfinger, Irene Zedlacher: What Remained Unresolved [„Was unerledigt blieb“]. S. 541–547
• Primary Sources
  • David Ross Hurley: Dejanira and the Physicians – Aspects of Hysteria in Handel’s „Hercules“. S. 548–561

Nr. 4

• Notes from the Editor
  • Leon Botstein: The Paradoxes of Doom. S. 563–568
• American Musics
  • David Nicholls: Transethnicism and the American Experimental Tradition. S. 569–594
• Music and Culture
  • Michael P. Steinberg: Editor’s Introduction. S. 595–596
  • Suzanne R. Stewart: The Theft of the Operatic Voice – Masochistic Seduction in Wagner’s „Parsifal“. S. 597–628
  • Norma M. Darr: Reading the Body and Blood of „Parsifal“ – A Performance at Hellerau. S. 629–647
• The Twentieth Century/Institutions, Industries, Technologies
  • Rick Altman: The Silence of the Silents. S. 648–718
• Primary Sources
  • John Kennedy, Larry Polansky: Total Eclipse – The Music of Johanna Magdalena Beyer: An Introduction and Preliminary Annotated Checklist. S. 719–778

81. Jg. 1997

Nr. 1

• Notes from the Editor
  • Leon Botstein: On Conducting. S. 1–12
• American Musics
  • Denise von Glahn Cooney: New Sources for „The‚St. Gaudens’ in Boston Common (Colonel Robert Gould Shaw and His Colored Regiment)". S. 13–50
• Music and Culture
  • Poundie Burstein: Lyricism, Structure, and Gender in Schubert’s G Major String Quartet. S. 51–63
• The Twentieth Century
  • Diane Paige, Michael Beckerman: Does It Still Pay to Study Music? S. 64–80
• Institutions, Industries, Technologies
  • Ted Swedenburg: Saida Sultan/Danna International – Transgender Pop and the Polysemiotics of Sex, Nation, and Ethnicity on the Israeli-Egyptian Border. S. 81–108
• Primary Sources
  • Richard G. King: New Light on Handel’s Musical Library. S. 109–138

Nr. 2

• Notes from the Editor
  • Leon Botstein: Rediscovering George Enescu. S. 141–144
• American Musics
  • Mark Mazullo: Fans and Critics – Greil Marcus’s „Mystery Train“ as Rock‚n’ Roll History. S. 145–169
• Music and Culture
  • Michael P. Steinberg: Editor’s Introduction. S. 170–172
  • Robert L. Marshall: Film as Musicology – „Amadeus“. S. 173–179
  • Ellen T. Harris: Twentieth-Century Farinelli. S. 180–189
  • Lewis Lockwood: Film Biography as Travesty – „Immortal Beloved“ and Beethoven. S. 190–198
  • Jeffrey Kallberg: Nocturnal Thoughts on „Impromptu“. S. 199–203
  • Kay Kaufman Shelemay: What’s up, Doc? A View of „Reel“ Musicologists. S. 204–209
• The Twentieth Century
  • Mark Sinker: Shhhhhh! S. 210–241
• Institutions, Industries, Technologies
  • Eric W. Rothenbuhler, John Durham Peters: Defining Phonography – An Experiment in Theory. S. 242–264
  • Lisa Gitelman: Reading Music, Reading Records, Reading Race – Musical Copyright and the U. S. Copyright Act of 1909. S. 265–290
  • Eleanor Selfridge-Field: Experiments with Melody and Meter, or the Effects of Music – The Edison-Bingham Music Research. S. 291–310
• Primary Sources
  • Beth L. Glixon: New Light on the Life and Career of Barbara Strozzi. S. 311–335

Nr. 3

• Erratum: New Light on Handel’s Musical Library. S.
• Notes from the Editor
  • Leon Botstein: Music, Morality, and Method. S. 339–343
• American Musics
  • Lawrence Schenbeck: Music, Gender, and „Uplift“ in the „Chicago Defender“, 1927–1937. S. 344–370
• Music and Culture
  • James Parakilas: Religion and Difference in Verdi’s „Otello“. S. 371–392
• The Twentieth Century
  • Liane Curtis: Rebecca Clarke and Sonata Form – Questions of Gender and Genre. S. 393–429
• Institutions, Industries, Technologies
  • Mark A. Radice: Sites for Music in Purcell’s Dorset Garden Theatre. S. 430–448
• Primary Sources
  • Todd S. Gilman: Handel’s „Hercules“ and Its Semiosis. S. 449–481

Nr. 4

• Erratum for Harris and Shelemay. S.
• Notes from the Editor
  • Leon Botstein: Anniversaries. S. 483–486
• American Musics
  • Michael V. Pisani: A Kapustnik in the American Opera House – Modernism and Prokofiev’s „Love for Three Oranges“. S. 487–515
• Music and Culture
  • Derek Katz: Smetana’s Second String Quartet – Voice of Madness or Triumph of Spirit? S. 516–536
• The Twentieth Century
  • Antonella Puca: Steve Reich and Hebrew Cantillation. S. 537–555
• Institutions, Industries, Technologies
  • Douglas Kahn: John Cage – Silence and Silencing. S. 556–598
• Primary Sources
  • Robert Riggs: On the Representation of Character in Music – Christian Gottfried Körner’s Aesthetics of Instrumental Music. S. 599–631

82. Jg. 1998

Nr. 1

• Erratum: Anniversaries. S.
• American Musics
  • Jeffrey Taylor: Louis Armstrong, Earl Hines, and „Weather Bird“. S. 1–40
• Music and Culture
  • Jane F. Fulcher: The Concert as Political Propaganda in France and the Control of „Performative Context“. S. 41–67
• The Twentieth Century
  • Maria Anna Harley, Henryk Mikołaj Górecki, Anne Botstein: On Life and Music – A Semi-Serious Conversation. S. 68–81
  • Maria Anna Harley: Górecki and the Paradigm of the „Maternal“. S. 82–130
  • Luke B. Howard: Motherhood, „Billboard," and the Holocaust – Perceptions and Receptions of Górecki’s Symphony No. 3. S. 131–159
• Institutions, Industries, Technologies
  • Dominik Sackmann, Susan Gillespie: Classical Music – A State Secret. S. 160–189
• Primary Sources
  • Jeffrey S. Sposato: Creative Writing – The [Self-] Identification of Mendelssohn as Jew. S. 190–209
• Notes from the Editor
  • Leon Botstein: Mendelssohn and the Jews. S. 210–219

Nr. 2

• Erratum: Mendelssohn and the Jews. S.
• Notes from the Editor
  • Leon Botstein: Returning to a Different Philosophical Tradition. S. 225–231
• American Musics
  • Dick Higgins: Cowell’s Lost „Fanati“. S. 232–250
• Music and Culture
  • Camille Crittenden: Whose Patriotism? Austro-Hungarian Relations and „Der Zigeunerbaron“. S. 251–278
  • Sandra McColl: Karl Kraus and Music Criticism – The Case of Max Kalbeck. S. 279–308
• The Twentieth Century
  • Derek B. Scott: Orientalism and Musical Style. S. 309–335
• Institutions, Industries, Technologies
  • Paul Hawkshaw: A Composer Learns His Craft – Anton Bruckner’s Lessons in Form and Orchestration, 1861–63. S. 336–361
  • Morten Solvik: The International Bruckner Society and the N. S. D. A. P. – A Case Study of Robert Haas and the Critical Edition. S. 362–382
• Primary Sources
  • Thomas McGeary: Farinelli in Madrid – Opera, Politics, and the War of Jenkins’ Ear. S. 383–421

Nr. 3/4

• Notes from the Editor
  • Leon Botstein: Toward a History of Listening. S. 427–431
• Introduction
  • Rob C. Wegman: Music as Heard – Listeners and Listening in Late-Medieval and Early Modern Europe (1300–1600): A Symposium at Princeton University, 27–28 September 1997. S. 432–433
• Listening and Musical Scholarship
  • Rob C. Wegman: Das musikalische Hören in the Middle Ages and Renaissance – Perspectives from Pre-War Germany. S. 434–454
  • Shai Burstyn: Pre-1600 Music Listening – A Methodological Approach. S. 455–465
• Listening in the Medieval and Early Modern Intellectual Traditions
  • Sarah Fuller: Delectabatur in hoc auris – Some Fourteenth-Century Perspectives on Aural Perception. S. 466–481
  • Cristle Collins Judd: Musical Commonplace Books, Writing Theory, and „Silent Listening“ – The Polyphonic Examples of the „Dodecachordon“. S. 482–516
  • Timothy R. McKinney: Hearing in the Sixth Sense. S. 517–536
• Listening and Death
  • Robert Nosow: Song and the Art of Dying. S. 537–550
  • Grayson Wagstaff: Music for the Dead and the Control of Ritual Behavior in Spain, 1450–1550. S. 551–563
• Listening and Ideology in Reformation and Counter-Reformation
  • Richard Freedman: The Lassus Chansons and Their Protestant Listeners of the Late Sixteenth Century. S. 564–585
  • Todd Borgerding: Preachers, „Pronunciatio," and Music – Hearing Rhetoric in Renaissance Sacred Polyphony. S. 586–598
  • Paul D. Wiebe: Music, the Emblematic, and „The Mystery of Holy Matrimony“. S. 599–613
• Listening and the Erotic in Early Modern Europe
  • Linda Phyllis Austern: For, Love’s a Good Musician – Performance, Audition, and Erotic Disorders in Early Modern Europe. S. 614–653
  • Louise K. Stein: Eros, Erato, Terpsíchore and the Hearing of Music in Early Modern Spain. S. 654–677
  • Kate van Orden: An Erotic Metaphysics of Hearing in Early Modern France. S. 678–691

83. Jg. 1999

Nr. 1

• Notes from the Editor
  • Leon Botstein: Musings on the History of Performance in the Twentieth Century. S. 1–5
• American Musics
  • Marta Robertson: Musical and Choreographic Integration in Copland’s and Graham’s „Appalachian Spring“. S. 6–26
• Music and Culture
  • Peter Ward Jones: Letter to the Editor. S. 27–30
  • Michael P. Steinberg: Mendelssohn’s Music and German-Jewish Culture – An Intervention. S. 31–44
  • Leon Botstein: Mendelssohn, Werner, and the Jews – A Final Word. S. 45–50
  • Stephan D. Lindeman: Mendelssohn and Moscheles – Two Composers, Two Pianos, Two Scores, One Concerto. S. 51–74
• The Twentieth Century
  • Jairo Moreno: Body’n'Soul? – Voice and Movement in Keith Jarrett’s Pianism. S. 75–92
• Institutions, Industries, Technologies
  • Sabine M. Feisst: Arnold Schoenberg and the Cinematic Art. S. 93–113
• Primary Sources
  • W. Dean Sutcliffe: Chopin’s Counterpoint – The Largo from the Cello Sonata, Opus 65. S. 114–133
  • Beth L. Glixon: More on the Life and Death of Barbara Strozzi. S. 134–141

Nr. 2

• Notes from the Editor
  • Leon Botstein: Rethinking the Twentieth Century. S. 145–149
• American Musics
  • Allen Forte: Reflections upon the Gershwin-Berg Connection. S. 150–168
• Music and Culture
  • Simon P. Keefe: Dramatic Dialogue in Mozart’s Viennese Piano Concertos – A Study of Competition and Cooperation in Three First Movements. S. 169–204
• The Twentieth Century
  • Jeanne Jaubert: Some Ideas about Meter in the Fourth Tableau of Stravinsky’s „Les Noces“, or Stravinsky, Nijinska, and Particle Physics. S. 205–226
• Institutions, Industries, Technologies
  • John Belton: Awkward Transitions – Hitchcock’s „Blackmail“ and the Dynamics of Early Film Sound. S. 227–246
• Primary Sources
  • Anne MacNeil: A Portrait of the Artist as a Young Woman. S. 247–279
  • Jeffrey S. Sposato: Mendelssohn, „Paulus“, and the Jews – A Response to Leon Botstein and Michael Steinberg. S. 280–291

Nr. 3

• Notes from the Editor
  • Leon Botstein: Preserving Memory – Felix Galimir in Memoriam (1910–1999). S. 295–300
• American Musics
  • Joseph N. Straus: The Myth of Serial „Tyranny“ in the 1950s and 1960s. S. 301–343
• Music and Culture
  • Gary Tomlinson: Vico’s Songs – Detours at the Origins of (Ethno) Musicology. S. 344–377
• The Twentieth Century
  • Austin E. Clarkson: Stefan Wolpe in Conversation with Eric Salzman. S. 378–412
• Institutions, Industries, Technologies
  • Richard N. Burke: Film, Narrative, and Shostakovich’s Last Quartet. S. 413–429
• Primary Sources
  • Mary E. Davis: Modernity à la mode – Popular Culture and Avant-Gardism in Erik Satie’s „Sports et divertissements“. S. 430–473

Nr. 4

• Notes from the Editor
  • Leon Botstein: The Audience. S. 479–486
• American Musics
  • Tammy L. Kernodle: Arias, Communists, and Conspiracies – The History of Still’s „Troubled Island“. S. 487–508
• Music and Culture
  • Marshall Brown: Mozart, Bach, and Musical Abjection. S. 509–535
• The Twentieth Century
  • Caroline Potter: Nadia and Lili Boulanger – Sister Composers. S. 536–556
• Institutions, Industries, Technologies
  • Arved Ashby: Frank Zappa and the Anti-Fetishist Orchestra. S. 557–606
• Primary Sources
  • Mark A. Radice: The Nature of the „Style Galant“ – Evidence from the Repertoire. S. 607–647

84. Jg. 2000

Nr. 1

• Notes from the Editor
  • Leon Botstein: Revisions and Emendations. S. 1–4
• American Musics
  • Vincent J. Panetta: For Godsake Stop! – Improvised Music in the Streets of New Orleans, ca. 1890. S. 5–29
  • Anne C. Shreffler: The Myth of Empirical Historiography – A Response to Joseph N. Straus. S. 30–39
  • Joseph N. Straus: A Response to Anne C. Shreffler. S. 40
• Music and Culture
  • Jane F. Fulcher: A Political Barometer of Twentieth-Century France – Wagner as Jew or Anti-Semite. S. 41–57
• The Twentieth Century and beyond
  • Kim H. Kowalke: Burying the Past – Carl Orff and His Brecht Connection. S. 58–83
• Institutions, Technology, and Economics
  • Christina Bashford: The Late Beethoven Quartets and the London Press, 1836-ca. 1850. S. 84–122
• Texts and Contexts
  • Martin Boykan: Reflections on Words and Music. S. 123–136
  • Richard G. King: The First „Abduction“ Opera – Lewis Theobald’s and John Ernest Galliard’s „The Happy Captive“ (1741). S. 137–163

Nr. 2

• Notes from the Editor
  • Leon Botstein: Music between Metaphysics and Politics. S. 169–174
• American Musics
  • Howard Pollack: Samuel Barber, Jean Sibelius, and the Making of an American Romantic. S. 175–205
  • Marva Griffin Carter: Removing the „Minstrel Mask“ in the Musicals of Will Marion Cook. S. 206–220
• Music and Culture
  • David Gramit: Between „Täuschung“ and „Seligkeit –" Situating Schubert’s Dances. S. 221–237
• Twentieth Century and beyond
  • Charles Youmans: The Twentieth-Century Symphonies of Richard Strauss. S. 238–258
• Institutions, Technology, and Economics
  • Gavin James Campbell: A Higher Mission than Merely to Please the Ear – Music and Social Reform in America, 1900–1925. S. 259–286
• Texts and Contexts
  • David J. Buch: Eighteenth-Century Performing Materials from the Archive of the Theater an der Wien and Mozart’s „Die Zauberflöte“. S. 287–322

Nr. 3

• Notes from the Editor
  • Leon Botstein: The Training of Musicians. S. 327–332
• American Musics
  • Warren R. Pinckney: Toward a History of Jazz in Bermuda. S. 333–371
  • Mickey Thomas Terry, Ingrid Monson, George Walker: An Interview with George Walker. S. 372–388
• Music and Culture
  • Jeanne Swack: Anti-Semitism at the Opera – The Portrayal of Jews in the „Singspiels“ of Reinhard Keiser. S. 389–416
  • Rachel Nussbaum: Wagner’s „Rienzi“ and the Creation of a People. S. 417–425
• The Twentieth Century and beyond
  • James Porter: Bartók and Janáček – Ideological Convergence and Critical Value. S. 426–451
  • Joshua R. Jacobson: Tsen Brider – A Jewish Requiem. S. 452–474
• Institutions, Technology, and Economics
  • Roberta Montemorra Marvin: Music at Court during the Reign of Maria Luigia, Duchess of Parma, Piacenza, and Guastalla – A Partial Survey. S. 475–496
• Texts and Contexts
  • Robert L. Marshall: Toward a Twenty-First-Century Bach Biography. S. 497–525

Nr. 4

• Notes from the Editor
  • Leon Botstein: Memory and Nostalgia as Music-Historical Categories. S. 531–536
• American Musics
  • Jeffrey Magee: Irving Berlin’s „Blue Skies“ – Ethnic Affiliations and Musical Transformations. S. 537–580
• Music and Culture
• Memory and Schubert’s Instrumental Music
  • Walter Frisch: Introduction. S. 581
  • Walter Frisch: You Must Remember This – Memory and Structure in Schubert’s String Quartet in G Major, D. 887. S. 582–603
  • John Daverio: One More Beautiful Memory of Schubert – Schumann’s Critique of the Impromptus, D. 935. S. 604–618
  • John M. Gingerich: Remembrance and Consciousness in Schubert’s C-Major String Quintet, D. 956. S. 619–634
  • Charles Fisk: Schubert Recollects Himself – The Piano Sonata in C Minor, D. 958. S. 635–654
  • Scott Burnham: Schubert and the Sound of Memory. S. 655–663
• The Twentieth Century and beyond
  • Teresa Davidian: From Crawford to Cage – Parallels and Transformations. S. 664–695
• Carl Orff: Revisiting the Past
  • Hans Jörg Jans, J. Bradford Robinson: Behind the Scenes – Composer Institutes and the Semblance of Censorship. S. 696–704
  • Kim H. Kowalke: A Reply to Hans Jörg Jans. S. 705–710
  • Michael H. Kater: In Answer to Hans Jörg Jans. S. 711–712
• Institutions, Industries, and Economics
  • Mark Mazullo: The Man Whom the World Sold – Kurt Cobain, Rock’s Progressive Aesthetic, and the Challenges of Authenticity. S. 713–749
  • Greil Marcus: Comment on Mark Mazullo, „The Man Whom the World Sold“. S. 750–753
  • Mark Mazullo: Response to Greil Marcus. S. 754–755
• Texts and Contexts
  • Peter Williams: Witting and Unwitting Allusion in Certain Keyboard Music of J. S. Bach. S. 756–775

85. Jg. 2001

Nr. 1

• American Musics
  • Guthrie P. Ramsey Jr.: Who Hears Here? Black Music, Critical Bias, and the Musicological Skin Trade. S. 1–52
  • Michael P. Steinberg: Opera and Cultural Analysis – The Case of Hans Pfitzner’s „Palestrina“. S. 53–62
• Leon Botstein: Pfitzner and Musical Politics. S. 63–75
• Gottfried Scholz: The Image of Giovanni Pierluigi da Palestrina in Pfitzner’s „Palestrina“. S. 76–84
• Christopher Morris: Sympathy with Death – Narcissism and Nostalgia in the Post-Wagnerian Orchestra. S. 85–116
• Karen Painter: Symphonic Ambitions, Operatic Redemption – „Mathis der Maler and Palestrina“ in the Third Reich. S. 117–166
• David J. Levin: Father Knows Best – Paternity and Mise-en-Scène in Hans Pfitzner’s „Palestrina“. S. 167–183
• Siegfried Mattl: Metapolitics and the Avant-Garde. S. 184–193
• Texts and Contexts
  • John Byrt: Alteration in Handel – A Fresh Approach. S. 194–219
  • Erratum – Witting and Unwitting Allusion in Certain Keyboard Music of J. S. Bach. S. 220

Nr. 2

• Notes from the Editor
  • Leon Botstein: Analysis and Criticism. S. 225–231
• American Musics
  • Elizabeth Bergman Crist: Critical Politics – The Reception History of Aaron Copland’s Third Symphony. S. 232–263
• Music and Culture
  • Stanley Cavell: Impressions of Revolution. S. 264–273
  • Emanuele Senici: Verdi’s „Falstaff“ at Italy’s Fin de Siècle. S. 274–310
• The Twentieth Century and beyond
  • Pamela M. Potter: The Politicization of Handel and His Oratorios in the Weimar Republic, the Third Reich, and the Early Years of the German Democratic Republic. S. 311–341
• Institutions, Technology, and Economics
  • Julian Horton: Postmodernism and the Critique of Musical Analysis. S. 342–366
• Texts and Contexts
  • Pauline Fairclough: Mahler Reconstructed – Sollertinsky and the Soviet Symphony. S. 367–390
  • Robert Craft: Bungled Biography. S. 391–400
  • Jane Gottlieb: Letter to the Editor. S. 401

Nr. 3

• Erratum
• Notes from the Editor
  • Leon Botstein: In the Shadows of September 11, 2001. S. 405–412
• American Musics
  • Martin Brody: Haunted by Envisioned Romance – John Harbison’s Gatsby. S. 413–455
• Music and Culture
  • Michael P. Steinberg: Introduction. S. 456–457
  • Thomas Eisner: Fritz Busch – A Friend Remembered. S. 458–476
• The Twentieth Century and beyond
  • Neil Lerner: Copland’s Music of Wide Open Spaces – Surveying the Pastoral Trope in Hollywood. S. 477–515
  • Antony John: The Moment That I Dreaded and Hoped for – Ambivalence and Order in Bernard Herrmann’s Score for Vertigo. S. 516–544
• Institutions, Technology, and Economics
  • Leta E. Miller: Cage, Cunningham, and Collaborators – The Odyssey of „Variations V“. S. 545–567
• Texts and Contexts
  • Anatole Leikin: Repeat with Caution – A Dilemma of the First Movement of Chopin’s Sonata op. 35. S. 568–582

Nr. 4

• Notes from the Editor
  • Leon Botstein: Artur Schnabel and the Ideology of Interpretation. S. 587–594
• American Musics
  • Nancy Yunhwa Rao: American Compositional Theory in the 1930s – Scale and Exoticism in „The Nature of Melody“ by Henry Cowell. S. 595–640
• Research Update
  • Marianne Betz: New Light on George Whitefield Chadwick – Recent Discovery of Unknown Material. S. 641–643
• Music and Culture
  • Judith A. Peraino: Monophonic Motets – Sampling and Grafting in the Middle Ages. S. 644–680
• The Twentieth Century and beyond
  • Philip V. Bohlman, Brian Currid: Suturing History, Healing Europe – German National Temporality in Wolokolamsk Highway. S. 681–717
• Institutions, Technology, and Economics
  • Frederic M. Scherer: Servility, Opportunity, and Freedom in the Choice of Music Composition as a Profession. S. 718–734
• Texts and Contexts
  • Suzanne Aspden: Ariadne’s Clew – Politics, Allegory, and Opera in London (1734). S. 735–770

86. Jg. 2002

Nr. 1

• Notes from the Editor
  • Leon Botstein: An Unpublished Piece of Mahleriana. S. 1–5
• American Musics
  • Dorothy Lamb Crawford: Arnold Schoenberg in Los Angeles. S. 6–48
• Music and Culture
  • Philip Ford: Somewhere/Nowhere – Hipness as an Aesthetic. S. 49–81
  • Gabriel Solis: Hearing Monk – History, Memory, and the Making of a „Jazz Giant“. S. 82–116
• The Twentieth Century and beyond
  • Severine Neff: Schoenberg’s „Kristallnacht“ Fugue – Contrapuntal Exercise or Unknown Piece? S. 117–148
  • Daniel M. Grimley: Modernism and Closure – Nielsen’s Fifth Symphony. S. 149–173
• Institutions, Technology, and Economics
  • Laura E. DeMarco: The Fact of the Castrato and the Myth of the Countertenor. S. 174–185
• Texts and Contexts
  • Karen Painter: Mozart at Work – Biography and a Musical Aesthetic for the Emerging German Bourgeoisie. S. 186–235

Nr. 2

• Notes from the Editor
  • Leon Botstein: Schenker the Regressive – Observations on the Historical Schenker. S. 239–247
• American Musics
  • Deborah Schwartz-Kates: Alberto Ginastera, Argentine Cultural Construction, and the Gauchesco Tradition. S. 248–281
  • Marc Rice: Break o’ Day Blues – The 1923 Recordings of the Bennie Moten Orchestra. S. 282–306
• Music and Culture
  • Lydia Goehr: In the Shadow of the Canon. S. 307–328
• The Twentieth Century and beyond
  • Amy C. Beal: A Place to Ply Their Wares with Dignity – American Composer-Peformers in West Germany, 1972. S. 329–348
• Texts and Contexts
  • Derek K. Alsop: Artful Anthology – The Use of Literary Sources for Handel’s „Jephtha“. S. 349–362

Nr. 3

• Notes from the Editor
  • Leon Botstein: Miscellany. S. 367–371
• American Musics
  • Kyra D. Gaunt: The Two O’Clock Vibe – Embodying the Jam of Musical Blackness in and out of Its Everyday Context. S. 372–397
• Music and Culture
  • Anya Suschitzky: Debussy’s Rameau – French Music and Its Others. S. 398–448
  • Jane F. Fulcher: The Politics of Transcendence – Ideology in the Music of Messiaen in the 1930s. S. 449–471
• The Twentieth Century and beyond
  • Jeremy Grimshaw: High, „Low," and Plastic Arts – Philip Glass and the Symphony in the Age of Postproduction. S. 472–507
  • Rob Haskins, Philip Glass, Michael Riesman: Philip Glass and Michael Riesman – Two Interviews. S. 508–529
• Texts and Contexts
  • William Horne: Through the Aperture – Brahms’s Gigues, Wo0 4. S. 530–581

Nr. 4

• Notes from the Editor
  • Leon Botstein: On Conductors, Composers, and Music Directors – Serge Koussevitzky in Retrospect. S. 583–590
• American Musics
  • Gayle Murchison: Mary Lou Williams’s Hymn „Black Christ of the Andes (St. Martin de Porres) –" Vatican II, Civil Rights, and Jazz as Sacred Music. S. 591–629
• Music and Culture
  • Jesse Rosenberg: Abramo Basevi – A Music Critic in Search of a Context. S. 630–688
• The Twentieth Century and beyond
  • Morten Kristiansen: Richard Strauss, „Die Moderne," and the Concept of „Stilkunst“. S. 689–749
• Institutions, Technology, and Economics and Texts and Contexts
  • Victor Yuzefovich, Marina Kostalevsky: Chronicle of a Non-Friendship – Letters of Stravinsky and Koussevitzky. S. 750–885
  • Erratum to Schwartz-Kates and Rice. S. 886–889

87. Jg. 2004

Nr. 1

• Notes from the Editor
  • Leon Botstein: Recent Books on Music. S. 1–5
• American Musics
  • Carol K. Baron: Efforts on Behalf of Democracy by Charles Ives and His Family – Their Religious Contexts. S. 6–43
• Music and Culture
  • Olivia A. Bloechl: Protestant Imperialism and the Representation of Native American Song. S. 44–86
• The Twentieth Century and beyond
  • Martin Iddon: The Haus That Karlheinz Built – Composition, Authority, and Control at the 1968 Darmstadt Ferienkurse. S. 87–118
• Institutions, Technology, and Economics
  • Lawrence Kramer: Analysis Worldly and Unworldly. S. 119–139
• Texts and Contexts
  • Caryl Clark: Reading and Listening – Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa. S. 140–175

Nr. 2

• Notes from the Editor
  • Leon Botstein: Why Music Matters. S. 177–187
• American Musics
  • Benjamin Givan: Duets for One – Louis Armstrong’s Vocal Recordings. S. 188–218
• The Twentieth Century and beyond and Music and Culture
  • Carl Leafstedt: Asheville, Winter of 1943–44 – Béla Bartók and North Carolina. S. 219–258
• Institutions, Technology, and Economics
  • Leslie A. Sprout: Messiaen, Jolivet, and the Soldier – Composers of Wartime France. S. 259–304
  • Danuta Mirka: Górecki’s „Musica Geometrica“. S. 305–332
• Texts and Contexts
  • Thomas Bauman: Becoming Original – Haydn and the Cult of Genius. S. 333–357

Nr. 3

• Notes from the Editor
  • Review by Leon Botstein: The Oxford History of Western Music – An Appreciation. The Oxford History of Western Music (6 vols.) by Richard Taruskin. S. 359–369
• American Musics
  • Kara Anne Gardner: Edward MacDowell, Antimodernism, and „Playing Indian“ in the „Indian Suite“. S. 370–422
• Music and Culture
  • Marcia J. Citron: Operatic Style and Structure in Coppola’s „Godfather Trilogy“. S. 423–467
• The Twentieth Century and beyond and Institutions, Technology, and Economics
  • Pieter C. van den Toorn: Stravinsky, Adorno, and the Art of Displacement. S. 468–509
  • Berthold Hoeckner: Homage to Adorno’s „Homage to Zerlina“. S. 510–522
  • Daniel K. L. Chua: Adorno’s Metaphysics of Mourning – Beethoven’s Farewell to Adorno. S. 523–545
• Texts and Contexts
  • Laura Tunbridge: Schumann as Manfred. S. 546–569
  • Richard Will: Pergolesi’s „Stabat Mater“ and the Politics of Feminine Virtue. S. 570–614

Nr. 4

• Notes from the Editor
  • Leon Botstein: History and Max Reger. S. 617–627
• Introduction
  • Walter Frisch: The Music of Max Reger. S. 628–630
• The Music of Max Reger
  • Reinhold Brinkmann, Antonius Bittmann: A „Last Giant in Music“ – Thoughts on Max Reger in the Twentieth Century. S. 631–659
  • Daniel Harrison: Max Reger Introduces Atonal Expressionism. S. 660–680
  • Andrew Mead: Listening to Reger. S. 681–707
  • Antonius Bittmann: Brahms, Strauss, Sheep, and Apes – Reger’s „Heroic“ Struggle with Tradition. S. 708–731
  • Walter Frisch: Reger’s Historicist Modernism. S. 732–748
  • Christopher Anderson: Reger in Bach’s Notes – On Self-Image and Authority in Max Reger’s Bach Playing. S. 749–770

88. Jg. 2005

Nr. 1

• Notes from the Editor
  • Leon Botstein: History and Performance Practices. S. 1–6
• American Musics
  • Sarah Hamilton-Tyrrell: Mário de Andrade, Mentor – Modernism and Musical Aesthetics in Brazil, 1920–1945. S. 7–34
• Music and Culture
  • Michal Grover-Friedlander: The Afterlife of Maria Callas’s Voice. S. 35–62
• The Twentieth Century and beyond and Texts and Contexts
  • Julie Hubbert: Modernism at the Movies – „The Cabinet of Dr. Caligari“ and a Film Score Revisited. S. 63–94
  • Joy H. Calico: Jüdische Chronik – The Third Space of Commemoration between East and West Germany. S. 95–122
• Institutions, Technology, and Economics
  • Alexander Rehding: Wax Cylinder Revolutions. S. 123–160

Nr. 2

• Notes from the Editor
  • Leon Botstein: On the Power of Music. S. 163–166
• American Musics
  • Lloyd Whitesell: Concerto Macabre. S. 167–203
• Music and Culture
  • Maribeth Clark: The Role of Gustave, ou Le bal masqué in Restraining the Bourgeois Body of the July Monarchy. S. 204–231
• The Twentieth Century and Beyond
  • William Kinderman: Ich bin der Welt abhanden gekommen – Mahler’s Rückert Setting and the Aesthetics of Integration in the Fifth Symphony. S. 232–273
• Institutions, Technology, and Economics
  • Lynn Hooker: Modernism on the Periphery – Béla Bartók and the New Hungarian Music Society of 1911–1912. S. 274–319
• Texts and Contexts
  • Barbara Barry: In Beethoven’s „Clock Shop“ – Discontinuity in the Opus 18 Quartets. S. 320–337

Nr. 3

• Notes from the Editor
  • Leon Botstein: Anonymous Deceit. S. 339–341
• American Musics
  • Ray Allen, George P. Cunningham: Cultural Uplift and Double-Consciousness – African American Responses to the 1935 Opera „Porgy and Bess“. S. 342–369
• Music and Culture
  • Dana Gooley: La Commedia del Violino – Paganini’s Comic Strains. S. 370–427
• The Twentieth Century and beyond and Institutions, Technology, and Economics
  • Pamela M. Potter: What Is „Nazi Music“? S. 428–455
• Texts and Contexts
  • Peter Mercer-Taylor: Stupid, Stupid Signs – Incomprehensibility, Memory, and the Meaning (Maybe) of R.E.M.'s „Sidewinder Sleeps Tonite“. S. 456–486

Nr. 4

• Notes from the Editor
  • Leon Botstein: Art and the State – The Case of Music. S. 487–495 8
• Music and Culture
  • Judit Frigyesi: Bence Szabolcsi’s Unfinished Work – Jewish Identity and Cultural Ideology in Communist Hungary. S. 496–522 9
• Special Section: The Culture of Dance
  • Lynette Miller Gottlieb: Images, Technology, and Music – The Ballets Suédois and „Les mariés de la Tour Eiffel“. S. 523–555 0
  • John McGinness: Vaslav Nijinsky’s Notes for „Jeux“. S. 556–589 1
  • Bryan Gilliam: Strauss, Dance, and the Interwar Years in Vienna. S. 590–593 2
  • Wayne Heisler, Jr.: To Drive Away All Cloudy Thoughts – Heinrich Kröller’s and Richard Strauss’s 1923 „Ballettsoirée“ and Interwar Viennese Cultural Politics. S. 594–629 3
  • Philip Graydon: Rückkehr in Die Heimat – Postwar Cultural Politics and the 1924 Reworking of Beethoven’s „Die Ruinen von Athen“ by Richard Strauss and Hugo von Hofmannsthal. S. 630–671 4
  • Erratum – Anonymous Deceit. S. 672 5

89. Jg. 2006

Nr. 1

• Notes from the Editor
  • Leon Botstein: Music in History – The Perils of Method in Reception History. S. 1–16 9
• Music and Culture
  • Nicholas Mathew: History under Erasure – „Wellingtons Sieg“, the Congress of Vienna, and the Ruination of Beethoven’s Heroic Style. S. 17–61 0
  • Rita Steblin: Who Died? The Funeral March in Beethoven’s „Eroica“ Symphony. S. 62–79 1
• The Twentieth Century and Beyond and Institutions, Technology, and Economics
  • Eric Drott: Class, Ideology, and il caso Scelsi. S. 80–120 2
• Texts and Contexts
  • Maynard Solomon: Some Images of Creation in Music of the Viennese Classical School. S. 121–135 3
• American Musics
  • Arnold T. Schwab: Edward MacDowell’s Mysterious Malady. S. 136–151 4

Nr. 2/3

• Notes from the Editor
  • Leon Botstein: An Unforgettable Life in Music – Mstislav Rostropovich (1927–2007). S. 153–163 8
• American Musics
  • Geoffrey Block: Bigger than a Show—Better than a Circus – The Broadway Musical, Radio, and Billy Rose’s „Jumbo“. S. 164–198 9
• Music & Culture
  • Marian Wilson Kimber: Reading Shakespeare, Seeing Mendelssohn – Concert Readings of „A Midsummer Night’s Dream“, ca. 1850–1920. S. 199–236 0
  • Carl Niekerk: Mahler’s Goethe. S. 237–272 1
• The Twentieth Century
  • Steve Swayne: William Schuman, World War II, and the Pulitzer Prize. S. 273–320 2
• The Twentieth Century and Beyond and Institutions, Technology, and Economics
  • H. Colin Slim: Stravinsky’s Four Star-Spangled Banners and His 1941 Christmas Card. S. 321–447 3

Nr. 4

• Tamara Levitz, Annegret Fauser: Preface. S. 449–451 7
• Ronald Radano: Introduction. S. 452–458 8
• Jann Pasler: Theorizing Race in Nineteenth-Century France – Music as Emblem of Identity. S. 459–504 9
• David F. García: Going Primitive to the Movements and Sounds of Mambo. S. 505–523 0
• Annegret Fauser: Aaron Copland, Nadia Boulanger, and the Making of an „American“ Composer. S. 524–554 1
• Jocelyn R. Neal: Dancing around the Subject – Race in Country Fan Culture. S. 555–579 2
• Mark Katz: Men, Women, and Turntables – Gender and the DJ Battle. S. 580–599 3
• Tamara Levitz: The Aestheticization of Ethnicity – Imagining the Dogon at the Musée du quai Branly. S. 600–642 4

90. Jg. 2007

Nr. 1

• Notes from the Editor
  • Leon Botstein: The State of the Business – Chamber Music America after Thirty Years. S. 1–5
• American Musics and Music and Culture
  • Blake Howe: Norman Rockwell’s „Shuffleton’s Barbershop“ – A Musical-Iconographical Riddle. S. 6–42
• The Twentieth Century and Beyond and Institutions, Technology, and Economics
  • László Vikárius: Bartók contra Möller or a Hidden Scholarly ars poetica. S. 43–71
  • Kristy K. Riggs: Bartók in the Desert – Challenges to a European Conducting Research in North Africa in the Early Twentieth Century. S. 72–89
• Texts and Contexts
  • Paul Hawkshaw: Anton Bruckner’s Counterpoint Studies at the Monastery of Saint Florian, 1845–55. S. 90–122
  • James R. Currie: Waiting for the Viennese Classics. S. 123–166

Nr. 2

• Notes from the Editor
  • Leon Botstein: Music in Times of Economic Distress. S. 167–175
• American Musics
  • Bryan R. Simms: Serialism in the Early Music of Aaron Copland. S. 176–196
• Music and Culture and Texts and Contents
  • Daniel Goldmark: Creating Desire on Tin Pan Alley. S. 197–229
• The Twentieth Century and Beyond
  • Alexander Rothe: Rethinking Postwar History – Munich’s Musica Viva during the Karl Amadeus Hartmann Years (1945–63). S. 230–274
• Institutions, Technology, and Economics
  • Jewel A. Smith: Academic and Music Curricula in Nineteenth-Century American Women’s Education – A Comparison of the Moravian Young Ladies’ Seminary and Nazareth Hall. S. 275–306
• Erratum: Norman Rockwell’s „Shuffleton’s Barbershop“ – A Musical-Iconographical Riddle. S. 307

Nr. 3/4

• Notes from the Editor
  • Leon Botstein: Reinventing Life and Career – The Perils of Emigration. S. 309–318
• American Musics
  • John Howland: The Blues Get Glorified – Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. S. 319–370
• Music and Culture
  • Ralph P. Locke: Unacknowledged Exoticism in Debussy – The Incidental Music for Le martyre de saint Sébastien (1911). S. 371–415
  • James R. Noyes: Debussy’s „Rapsodie pour orchestre et saxophone“ Revisited. S. 416–445
• The Twentieth Century and Beyond
  • Matthew McDonald: Death and the Donkey – Schubert at Random in „Au Hasard, Balthazar“. S. 446–468
  • Lily E. Hirsch: The Berlin „Jüdischer Kulturbund“ and the „After-Life“ of Franz Schubert – Musical Appropriation and Identity Politics in Nazi Germany. S. 469–507
  • Lily E. Hirsch, Anneliese Landau: Anneliese Landau and the Kulturbund – In Her Own Words. S. 508–520
  • Don Traut: More on Displacement in Stravinsky – A Response to van den Toorn. S. 521–535
  • Pieter C. van den Toorn: Still More on Displacement. S. 536–538
• Institutions, Technology, and Economics
  • Robert Adlington: Organizing Labor – Composers, Performers, and „The Renewal of Musical Practice“ in the Netherlands, 1969–72. S. 539–577
• Texts and Contents
  • Giuseppe Gerbino: Skeptics and Believers – Music, Warfare, and the Political Decline of Renaissance Italy according to Francesco Bocchi. S. 578–603

91. Jg. 2008

Nr. 1/2

• Byron Adams: Foreword. S. 1–7
• Charles Edward McGuire: Edward Elgar – „Modern“ or „Modernist?" Construction of an Aesthetic Identity in the British Music Press, 1895–1934. S. 8–38
• Eric Saylor: It’s Not Lambkins Frisking at All – English Pastoral Music and the Great War. S. 39–59
• Anthony Barone: Modernist Rifts in a Pastoral Landscape – Observations on the Manuscripts of Vaughan Williams’s Fourth Symphony. S. 60–88
• Jenny Doctor: The Parataxis of „British Musical Modernism“. S. 89–115
• Daniel M. Grimley: Music, Ice, and the „Geometry of Fear“ – The Landscapes of Vaughan Williams’s „Sinfonia Antartica“. S. 116–150

Nr. 3/4

• Notes from the Editor
  • Leon Botstein: Elliott Carter – An Appreciation. S. 151–157
• American Musics
  • James M. Doering: In Search of Quality – George Colburn, George Kleine, and the Film Score for „Antony and Cleopatra“ (1914). S. 158–199
• Music and Culture
  • Jonathan Kregor: Stylistic Reconstructions in Liszt’s Late Arrangements. S. 200–239
  • Jeremy Barham: Scoring Incredible Futures – Science-Fiction Screen Music, and „Postmodernism“ as Romantic Epiphany. S. 240–274
• The Twentieth Century and Beyond
  • Philip Rupprecht: Something Slightly Indecent – British Composers, the European Avant-Garde, and National Stereotypes in the 1950s. S. 275–326
• Institutions, Technology, and Economics
  • John Haines: The Origins of the Musical Staff. S. 327–378
• Texts and Contexts
  • Joshua S. Walden: Composing Character in Musical Portraits – Carl Philipp Emanuel Bach and „L’Aly Rupalich“. S. 379–411

92. Jg. 2009

Nr. 1/2

• Leon Botstein: Notes from the Editor – Mendelssohn as Jew: Revisiting Controversy on the Occasion of the Composer’s 200th Birthday. S. 1–8
• Music and Culture
  • Stephen C. Meyer: Illustrating Transcendence – „Parsifal“, Franz Stassen, and the Leitmotif. S. 9–32
  • Elizabeth Wood: On Deafness and Musical Creativity – The Case of Ethel Smyth. S. 33–69
• The Twentieth Century and Beyond
  • David Larkin: Aus Italien – Retracing Strauss’s Journeys. S. 70–117
• Texts and Contexts and Institutions, Technology, and Economics
  • Dietrich Helms: Henry VIII’s Book – Teaching Music to Royal Children. S. 118–135
  • Raymond G. Siemens: Henry VIII as Writer and Lyricist. S. 136–166

Nr. 3/4

• Walter A. Clark: Preface – What Makes Latin American Music „Latin“? Some Personal Reflections. S. 167–176
• Carolina Santamaría-Delgado: Tango’s Reterritorialization in Medellín – Gardel’s Myth and the Construction of a tanguero Local Identity. S. 177–209
• Rebecca Bodenheimer: La Habana no aguanta más – Regionalism in Contemporary Cuban Society and Dance Music. S. 210–241
• Melanie Plesch: The Topos of the Guitar in Late Nineteenth- and Early Twentieth-Century Argentina. S. 242–278
• Leonora Saavedra: Manuel M. Ponce’s „Chapultepec“ and the Conflicted Representations of a Contested Space. S. 279–328
• Cristina Magaldi: Cosmopolitanism and World Music in Rio de Janeiro at the Turn of the Twentieth Century. S. 329–364
• Craig H. Russell: Serra and Sacred Song at the Founding of California’s First Missions. S. 365–401

93. Jg. 2010

Nr. 1

• Leon Botstein: Notes from the Editor – Two American Masters in Memoriam: George Perk (1915–2009) and Lukas Foss (1922–2009). S. 1–5
• American Musics: Correction – Notes from the Editor: Mendelssohn as Jew: Revisiting Controversy on the Occasion of the Composer’s 200th Birthday. S. 5
  • Timothy Wise: Jimmie Rodgers and the Semiosis of the Hillbilly Yodel. S. 6–44
• Music and Culture
  • Benedict Taylor: Cyclic Form, Time, and Memory in Mendelssohn’s A-Minor Quartet, Op. 13. S. 45–89
• The Twentieth Century and Beyond and Institutions, Technology, and Economics
  • Sally Bide: A Double Life in Hollywood – Harms Eisler’s Score for the Film Hangmen also Die and the Covert Expressions of a Marxist Composer. S. 90–143
• Texts and Contexts
  • Alexander Carpenter: Schoenbergs Vienna, Freud’s Vienna – Re-Examining the Connections between the Monodrama Erwartung and the Early History of Psychoanalysis. S. 144–181

Nr. 2

• Leon Botstein: Notes from the Editor – Max Weber and Music History. S. 183–191
• Music and Culture
  • Robert Samuels: The Double Articulation of Schubert – Reflections on Der Doppelgänger. S. 192–233
• The Twentieth Century and Beyond
  • Christopher W. Lemelin: To Name or Not to Name – The Question of Shostakovich’s Interpretation of Tsvetaeva. S. 234–261
  • James Wierzbicki: Max Weber and Musicology – Dancing on Shaky Foundations. S. 262–296
• Texts and Contexts
  • Amanda Eubanks Winkler: Sexless Spirits? – Gender Ideology and Dryden’s Musical Magic. S. 297–328
  • Carl B. Schmidt: Francis Poulenc and Robert Shaw – A Remarkable Symbiotic Relationship. S. 329–359
• Erratum: Debussy’s Rapsodie pour orchestre et saxophone Revisited. S. 360

Nr. 3/4

• Leon Botstein: Notes from the Editor – Why Beethoven? S. 361–365
• L. Poundie Burstein: Lebe wohl tönt überall and a „Reunion after So Much Sorrow“ – Beethoven’s Op. 81a and the Journeys of 1809. S. 366–413
• Birgit Lodes, Sabine Ladislav: Le congrès danse – Set Form and Improvisation in Beethoven’s Polonaise for Piano, Op. 89. S. 414–449
• John M. Gingerich: Ignaz Schuppanzigh and Beethoven’s Late Quartets. S. 450–513
• Anna Harwell Celenza: Darwinian Visions – Beethoven Reception in Mahler’s Vienna. S. 514–559
• Beate Kutschke: The Celebration of Beethoven’s Bicentennial in 1970 – The Antiauthoritarian Movement and Its Impact on Radical Avant-garde and Postmodern Music in West Germany. S. 560–615

94. Jg. 2011

Nr. 1

• Leon Botstein: Notes from the Editor – Witnessing Music: The Consequences of History and Criticism. S. 1–8
• American Musics and Institutions, Technology, and Economics
  • Susan Neimoyer: George Gershwin and Edward Kilenyi, Sr. – A Reevaluation of Gershwin’s Early Musical Education. S. 9–62
  • Wayne Schneider: Gershwin in the Heartland – Critical and Public Reception of the 1934 Leo Reisman Tour. S. 63–92
  • George J. Ferencz: Porgy and Bess on the Concert Stage – Gershwin’s 1936 Suite (Catfish Row) and the 1942 Gershwin-Bennett Symphonic Picture. S. 93–155
• Music and Culture
  • Benjamin M. Korstvedt: Reading Music Criticism beyond the Fin-de-siècle Vienna Paradigm. S. 156–210
• Texts and Contexts
  • Zinaïda Kartasheva: Valentina Konen’s Early Years in America – An Excerpt from „100 Years of Musical Impressions“. S. 211–233
• The Twentieth Century and Beyond
  • Kimberly Francis: A Most Unsuccessful Project – Nadia Boulanger, Igor Stravinsky, and the Symphony in C, 1939–45. S. 234–270

Nr. 3

• Leon Botstein: Notes from the Editor – Sanctioned Daydreams: Music, Pictures, and Architecture. S. 271–277
• American Musics and The Twentieth Century and Beyond
  • Suzanne Robinson: Percy Grainger and Henry Cowell – Concurrences Between Two „Hyper-Moderns“. S. 278–324
• Music and Culture
  • Katherine R. Syer: It left me no peace – From Carlo Gozzi’s La donna serpente to Wagner’s Parsifal. S. 325–380
  • Karen Ahlquist: Musical Assimilation and „the German Element“ at the Cincinnati Sängerfest, 1879. S. 381–416
• Texts and Contexts
  • Jonathan D. Bellman: Musical Voyages and Their Baggage – Orientalism in Music and Critical Musicology. S. 417–438

Nr. 4

• Leon Botstein: Notes from the Editor – The Jewish Question in Music. S. 439–453
• Music and Culture
  • Jane F. Fulcher: Debussy as National Icon – From Vehicle of Vichy’s Compromise to French Resistance Classic. S. 454–480
• Texts and Contexts
  • Don Harrán: Another Look at the Curious Fifteenth-Century Hebrew-Worded Motet „Cados cados“. S. 481–517
  • Raymond Erickson: The Early Enlightenment, Jews, and Bach. S. 518–547
  • Robert W. Eshbach: Joachim’s Youth—Joachim’s Jewishness. S. 548–592

95. Jg. 2012

Nr. 1

• Leon Botstein: Notes from the Editor – Recording and Reality: The Musical Subject. S. 1–14
• American Musics
  • Jeremy Yudkin: The Naming of Names – „Flamenco Sketches“ or „All Blues“? Identifying the Last Two Tracks on Miles Davis’s Classic Album Kind of Blue. S. 15–35
• Music and Culture
  • Ruth E. Rosenberg: Among Compatriots and Savages – The Music of France’s Lost Empire. S. 36–70
  • David Trippett: Bayreuth in Miniature – Wagner and the Melodramatic Voice. S. 71–138
• Texts and Contexts
  • Rebecca Cypess: Die Natur und Kunst zu betrachten – Carlo Farina’s Capriccio stravagante (1627) and the Cultures of Collecting at the Court of Saxony. S. 139–192

Nr. 2/3

• Leon Botstein: Notes from the Editor – Richard Wagner at Two Hundred. S. 193–206
• American Musics
  • Stephanie Vander Wel: The Lavender Cowboy and „The She Buckaroo“ – Gene Autry, Patsy Montana, and Depression-Era Gender Roles. S. 207–251
• Music and Culture
  • Marie Rolf: General Meredith Read and Claude Debussy’s „Marche Écossaise“. S. 252–298
  • Christopher Moore: Camp in Francis Poulenc’s Early Ballets. S. 299–342
  • Colin Roust: Reaching a „Plus Grand Public“ – Georges Auric as Populist. S. 343–367
• The Twentieth Century and Beyond
  • Keith Negus: Narrative, Interpretation, and the Popular Song. S. 368–395
• Text and Contexts
  • Martin Nedbal: How Moral Is „Fidelio?" Didacticism in the Finales of Beethoven’s „Leonore“ Operas. S. 396–449

Nr. 4

• Leon Botstein: Notes from the Editor – Patronage, Performance, and Scholarship. S. 451–458
• Music and Culture and The Twentieth Century and Beyond
  • Cindy Bylander: Responses to Adversity – The Polish Composers Union and Musical Life in the 1970s and 1980s. S. 459–509
  • Alexandra Monchick: Paul Hindemith and the Cinematic Imagination. S. 510–548
• Texts and Contexts
  • James Brooks Kuykendall: Recitative in the Savoy Operas. S. 549–612
  • Robert J. Ball: Joseph Machlis and the Enjoyment of Music – A Biographical Appreciation of a Great Teacher. S. 613–643