Sonus Index - Volumes 1/1 - 33 /1
Fall 1980 - Fall 2012
| Author | Article | Volume | |
| Abraham, Mariann | A Hungarian Composer in the 20th Century Jozsef Soproni's Note Pages |
Vol. 26, No. 1 |
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| Agassi, Joseph | The Artistic Metaphor, Progress in the Arts and Sciences |
Vol. 6, No. 1 |
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| Progress in the Arts and Sciences | Vol. 18, No. 2 |
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| Agawu, Kofi | On an African Song from Akpatu | Vol. 10, No. 1 |
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| Ahlstrom, David | The Problem of the Unfinished, Ives' Third Symphony | Vol. 11, No. 2 |
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| Anderson, Andrew | The Epistemology of Transcription | Vo. 22, No. 1 |
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| Azzaroni, Loris | What Does the Analyst Analyze? | Vol. 22, No. 2 |
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| Babbitt, Milton | Aspects of Twelve-Tone Composition | Vol. 13, No. 1 |
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| Discussion with Babbit by Frank Oteri (1-5) | Vol. 27, No. 1 |
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| Discussion with Babbit by Frank Oteri (6-12) | Vol. 28, No. 1 |
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| Notes on Some of My Compositions | Vol. 13, No. 1 |
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| Bach-Webern | Spectrograph of The Musical Offering, "Ricercar" | Vol. 15, No. 1 |
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| Barkin, Elaine | Rhetorical Variations | Vol. 2, No. 1 |
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| Barry, Barbara | Plato's Musical Theory/Practice | Vol. 5, No. 2 |
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| Les Noces, Genesis of a Wedding | Vol. 9 No. 2 |
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| Barthes, Roland | The Grain of the Voice | Vol. 6, No. 2 |
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| Beckler, Stanworth | Twentieth Century Composition - A View From Escondido | Vol. 22, No. 1 |
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| Harry Partch: An Appreciation | Vol. 25, No. 2 |
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| Berard, Jesus M. | Major/Minor Relations in Mahler's Lieder eines f. G. | Vol 30 No. 2 |
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| Black, Peter | Rhythmic Games in Bach's Sinfonia No. 15 for Keyboard | Vol. 15, No. 1 |
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| A Zuni Squaw Dance | Vol. 16, No. 1 |
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| Inroads for Analysis: Roger Sessions, When Lilacs Last in the Dooryard Bloom 'd | Vol. 30, No. 1 |
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| From Landscape to Soundscape | Vol. 30, No. 1 |
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| Borg, Scott | Melodic Rhythmic Explorations in the Didgeridoo | Vol. 30, No. 2 |
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| Boulez, Pierre | On my Structures for Two Pianos | Vol. 24, No. 2 |
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| Bronk, William | The Nature of Musical Form (poem) | Vol. 23, No. 2 |
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| Bugallo, Helena | Concealed Structures in Nancarrow's Study #20 for Player Piano | Vol. 26, No. 1 |
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| Bulwa, Lillian | Musical Structures in Ionesco's The Bald Soprano | Vol. 8, No. 1 |
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| A Musical Time Piece: L'Assasinat de Jean-Marie Leclaire | Vol. 23, No. 2 |
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| Bunge, John | Arithmetic, Music, Silence: Boethius and Cage | Vol. 4, No. 2 |
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| Cage, John | Interview by Laura Fletcher and Thomas Moore | Vol. 3, No. 2 |
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| Cai, Liang-Yu | Ah-Bing, A Chinese Performer/Composer |
Vol. 3, No. 2 |
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| Interview with Robert Cogan | Vol. 6, No. 1 |
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| In Memory of Aaron Copland | Vol. 12, No. 2 |
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| Interview with Pozzi Escot | Vol 24, No. 1 |
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| Carbon, Jim | Astrological Symbolic Order in George Crumb's Makrokosmos | Vol. 10, No. 2 |
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| Carl, Robert | "A Fearful Symmetry", Micro/Macro Structure in Carl Ruggles' Sun-Treader | Vol. 15, No. 2 |
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| Chalmiers, Harry | Interview with Pozzi Escot | Vol. 24, No. 1 |
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| Chesnut, Jolm | A Theory of Value for Tonal Music | Vol. 10 No. 2 |
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| The Localized Fractal Dimension as an Indicator of Melodic Clustering | Vol. 16, No. 2 |
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| Chmaj, John | Generative Theory as a Tool for Analysis: Multiple Metric Implications in Schubert's Der Leierman | Vol. 6, No. 1-2 |
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| Chun, In-Pyong | Man Zhong Kuai Musical Form in Chinese and Korean Music | Vol. 20, No. 2 |
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| Corbalan, Mara | Relations Between Cognitive Psychology and Music Memory: An Empirical Approach | Vol. 31, No. 1 |
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| Cleary, David | Vertigo, Rashomon, The Lion King: Parallels to Music | Vol. 28, No. 1 |
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| Codina, Maria | Prehispanic Music Instruments: A Tradition | Vol. 21, No. 2 |
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| Cogan, Robert | Tone Color: The New Understanding | Vol. 1, No. 1 |
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| Stravinsky the Progressive Le Sacre du Printemps, "Introduction", a Sound Spectrum Photo | Vol. 2, No. 2 |
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| In Memory of Roger Sessions | Vol. 5 No. 2 |
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| Interview by Cai Liang-Yu | Vol. 6, No. 1 |
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| Science, Music Values and the Study of Music: Mozart, Tibetan Chant, Boulez, Part I | Vol. 7, No. 2 |
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| Science, Music Values and the Study of Music: Mozart, Tibetan Chant, Boulez, Part II | Vol. 8, No. 2 |
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| Hildegard's Fractal Antiphon | Vol. 11, No. 1 |
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| Varese: An Oppositional Sonic Poetics | Vol. 11, No. 2 |
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| In Memoriam John Cage and Olivier Messiaen | Vol. 13 No. 2 |
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| Mingus: Oppositional Design, Composition, and Improvisation | Vol. 14, No. 2 |
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| Two Chronotopic Mini-Essays on J.S. Bach
The Design of Fugues The Rhythm of a Sarabande |
Vol. 15, No. 1 |
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| Events of His Life | Vol. 16, No. 1 |
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| A New Vision of Music Theory | Vol. 17, No. 2 |
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| Teaching Composers and Performers for the New Millennium | Vol. 17, No. 2 |
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| A View of Global Music Theory | Vol. 17, No. 2 |
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| Spectrographic Analysis of Musical Design: Fractals in Bartok's Melodia | Vol. 18, No. 1 |
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| Elliott Carter at Ninety | Vol. 19, No. 1 |
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| Thanks for the Century, The Millennia | Vol. 20, No. 1 |
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| An Interview With Ralph Shapey (3/1984) | Vol. 21, No. 1 |
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| A Note on Music and the Arts in America Today After Isaiah Berlin | Vol. 22, No. 1 |
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| Ives' Farewell | Vol. 22, No. 2 |
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| An Assemblage of Questions: Robert Cogan Interviewed by Peter Black, John Latertara, Jung-Mi Lee, Jonathan Saggau, Jon Sakata, Matthias Truniger | Vol. 24, No. 2 |
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| Music History: An Alternative View | Vol. 24, No. 2 |
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| Toscanini: Then and Now | Vol. 29, No. 2 |
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| Beethoven's "Joy" | Vol. 30, No. 1 |
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| The architecture of Contrapunctus I: A Third Chronotopic Mini-Essay on J. S. Bach | Vol. 32, No. 1 |
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| Cohn, Richard | The 12x12 Latin Square in Babbitt String Quartet No.2 | Vol. 3, No. 1 |
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| Commins, Adele | An Irishman in an English Musical Garden: Perceptions of Stanford's Piano Music | Vol. 33, No. 1 |
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| Conde, Gerard | Hector Berlioz: Form and Pretext | Vol. 12, No. 2 |
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| Corey, Kirk | My Algorithmic Muse | Vol. 18, No. 1 |
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| Cucchiara, David | Heinrich Schenker's Kontrapunkt, A Review | Vol. 29, No. 2 |
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| Cunha, Antionio | Conlon Nancarrow: Studies 31, 32 | Vol. 29, No. 2 |
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| Cunio, Kim | Opera in Australia | Vol. 26, No. 2 |
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| Curtin, Phyllis | Prefactory Note: Virgil Thomson | Vol. 7, No. 2 |