The Musical Quarterly


Digitalisate 
1915–1922 einsehbar bei JSTOR
Bd.01, 1915 
Bd.02, 1916 
Bd.03, 1917 =
Bd.04, 1918 =
Bd.05, 1919 =
Bd.06, 1920 =
Bd.07, 1921 =
Bd.08, 1922 =
Bd.09, 1923 
Bd.10, 1924

01. Jg. 1915

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

Nr. 2
 John F. Runciman: Noises, Smells and Colours. S. 149–161 
 Charles H. Farnsworth: The Judgment of Paris – Or The Worth of Beauty. S. 162–168 
 Henry F. Gilbert: The American Composer. S. 169–180 
 Cyril Scott: Music and Material Expression (A Plea for Aristotle). S. 181–186 
 Frances Densmore: The Study of Indian Music. S. 187–197 
 William Gorham Rice: Tower Music of Belgium and Holland. S. 198–215 
 J. G. Prod’homme, Richard Wagner, Julia Gregory: Wagner and the Paris Opéra – Unpublished Letters (February – March, 1861). S. 216–231 
 Charles Villiers Stanford: Some Thoughts concerning Folk-Song and Nationality. S. 232–245 
 Edward Burlingame Hill: Vincent d’Indy – An Estimate. S. 246–259 
 Edgar Istel, Janet Wylie: German Opera since Richard Wagner. S. 260–290 
 Sigmund Spaeth: Translating to Music. S. 291–298 
 Henry J. Harris: The Occupation of Musician in the United States. S. 299–311

Nr. 3
 Hubert Parry: Things That Matter. S. 313–328 
 Natalie Curtis: The Classic Dance of Japan. S. 329–335 
 Viktor von Herzfeld: Robert Volkmann (1815–1883). S. 336–349 
 Pauline Viardot-Garcia: Pauline Viardot-Garcia to Julius Rietz (Letters of Friendship). S. 350–380 
 Frederick Corder: On the Cult of Wrong Notes. S. 381–386 
 Charles Wakefield Cadman: The „Idealization“ of Indian Music. S. 387–396 
 William Barclay Squire: Gluck’s London Operas. S. 397–409 
 Louis C. Elson: Acoustics – Suggestions in Behalf of an Unpopular Subject. S. 410–415 
 Percy Grainger: The Impress of Personality in Unwritten Music. S. 416–435 
 Fausto Torrefranca, Theodore Baker: Opera as a „Spectacle for the Eye“. S. 436–452 
 David C. Taylor: Voice Culture Past and Present – A General View of a Perplexing Subject. S. 453–471

Nr. 4
 Rutland Boughton: The Soul of Music – A Rhapsody for Amateurs. S. 473–496 
 Hans Kleemann, Frank Lester: Robert Franz (June 28, 1815 – October 24, 1892). S. 497–518 
 James Huneker: The Classic Chopin. S. 519–525 
 Pauline Viardot-Garcia: Pauline Viardot-Garcia to Julius Rietz (Letters of Friendship) [Continued]. S. 526–559 
 Arthur Hinton: The Gift of Musical Appreciation. S. 560–568 
 Frank Kidson: A Study of Old English Song and Popular Melody prior to the 19th Century. S. 569–582 
 Lewis M. Isaacs: A Friend of Dr. Johnson. S. 583–591 
 Edwin Hughes: Musical Memory in Piano Playing and Piano Study. S. 592–603 
 Hugo Leichtentritt: The Renaissance Attitude towards Music. S. 604–622 
 W. J. Baltzell: The American College Man in Music. S. 623–636 
 George Coleman Gow: Rhythm – The Life of Music. S. 637–652

02. Jg. 1916

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

Nr. 2
 Herbert Antcliffe: The Essential Nature of Music. S. 163–170 
 Daniel Gregory Mason: A Study of Strauss. S. 171–190 
 W. H. Grattan Flood: An Eighteenth Century Essayist on Poetry and Music. S. 191–198 
 Orlando A. Mansfield: Some Anomalies in Orchestral Accompaniments to Church Music. S. 199–209 
 J. G. Prod’homme, Julia Gregory: Rosalie Levasseur, Ambassadress of Opera. S. 210–243 
 Sophie P. Gibling: Problems of Musical Criticism. S. 244–248 
 C. Stanley Wise: Impressions of Igor Strawinsky. S. 249–256 
 Arthur Nevin: Two Summers with the Blackfeet Indians of Montana. S. 257–270 
 Edward J. Dent: The Pianoforte and Its Influence on Modern Music. S. 271–294 
 Philip Greeley Clapp: Sebastian Bach, Modernist. S. 295–313 
 John Palmer: Gesture and Scenery in Modern Opera. S. 314–330

Nr. 3
 George Whitfield Andrews: Music as an Expression of Religious Feeling. S. 331–338 
 W. J. Henderson: A Note on Floridity. S. 339–348 
 Edwin Hughes: Rafael Joseffy’s Contribution to Piano Technic. S. 349–364 
 Henry F. Gilbert: The Survival of Music. S. 365–374 
 Edgar Istel, Theodore Baker: The „Othello“ of Verdi and Shakespeare. S. 375–386 
 Carl Van Vechten: Shall We Realize Wagner’s Ideals? S. 387–401 
 Oscar Bie, Theodore Baker: Melody. S. 402–417 
 Frank Lester: Kluckhuhn’s Chord. S. 418–424 
 Cyril Scott: Percy Grainger the Music and the Man. S. 425–433 
 Helen Ware: The American-Hungarian Folk-Song. S. 434–441 
 Percy A. Scholes: Henry Purcell – A Sketch of a Busy Life. S. 442–464 
 Clement Antrobus Harris: Musical Allusions of Great Writers. S. 465–476 
 Ernest Bruncken: The Philosophy of Copyright. S. 477–496

Nr. 4
 W. S. B. Mathews: Of Strength, Beauty and Satisfaction in Music. S. 497–506 
 Ferdinand Schumann, Jacques Mayer: Brahms and Clara Schumann. S. 507–515 
 Daniel Gregory Mason: Edward J. de Coppet. S. 516–522 
 Edward J. Dent: The Musical Interpretation of Shakespeare on the Modern Stage. S. 523–537 
 Rutland Boughton: Shakespeare’s Ariel – A Study of Musical Character. S. 538–551 
 Philip Gordon: Franz Grillparzer – Critic of Music. S. 552–561 
 Herbert J. Wrightson: The Secret of Technique. S. 562–565 
 Jean Huré, Theodore Baker: The Rôle of France in Musical Art. S. 566–582 
 J. A. Fuller-Maitland: Facts and Fictions about „God Save the King“. S. 583–589 
 Arthur Hartmann: The Czimbalom, Hungary’s National Instrument. S. 590–600 
 A. Eaglefield Hull, Alexander Scriabin: A Survey of the Pianoforte Works of Scriabin. S. 601–614 
 G. Edward Stubbs: Secularization of Sacred Music. S. 615–627 
 Charles Villiers Stanford: William Sterndale Bennett – 1816–1875. S. 628–657 
 Wilhelm Peterson-Berger, Hester Coddington: The Life Problem in Wagner’s Dramas. S. 658–668

03. Jg. 1917

Nr. 1
 Lawrence Gilman: Taste in Music. S. 1–8 
 W. J. Lawrence: The English Theatre Orchestra – Its Rise and Early Characteristics. S. 9–27 
 J. Lawrence Erb: Music in the American University. S. 28–33 
 Edgar Istel, Otto Kinkeldey: A Genetic Study of the Aida Libretto. S. 34–52 
 Jaroslaw de Zielinski: Russian Hunting Music. S. 53–59 
 A. Redgrave Cripps: The Study of Theory in Music Teaching. Is It Sound? S. 60–68 
 Hugo Leichtentritt: Ferruccio Busoni as a Composer. S. 69–97 
 Frank Kidson: Some Guesses about Yankee Doodle. S. 98–103 
 Frederic W. Root: Imagination and Fact in Voice Culture. S. 104–114 
 Cornelius Rubner: Niels Wilhelm Gade – „In Remembrance of the Centenary of His Birth“. S. 115–122 
 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 
 D. C. Parker: Exoticism in Music in Retrospect. S. 134–161

Nr. 2
 Ananda Coomaraswamy: Indian Music. S. 163–172 
 Amédée Gastoué, H. Morette: Three Centuries of French Mediæval Music – New Conclusions and Some Notes. S. 173–188 
 N. Lindsay Norden: The Boy Choir Fad. S. 189–197 
 Harold Flammer: Advertising as a Fine Art. S. 198–205 
 W. Barclay Squire: Some Novello Correspondence. S. 206–242 
 Constantin von Sternberg: Singing or Music – A Suggestion. S. 243–248 
 J. G. Prod’homme, Marguerite Barton: Gluck’s French Collaborators. S. 249–271 
 Arthur Elson: Literary Errors about Music. S. 272–281 
 F. Corder: The Classical Tradition. S. 282–287 
 Daniel Gregory Mason: A Study of Elgar. S. 288–303 
 Henri de Curzon, Christine Groncke: History and Glory of the Concert-Hall of the Paris Conservatory (1811–1911). S. 304–318

Nr. 3
 Guido Alberto Fano, Julia Gregory: The Creators of Modern Musical Idealities. S. 319–339 
 Michel Brenet, Mariola Chardon: French Military Music in the Reign of Louis XIV. S. 340–357 
 Francis Rogers: Some Memories of Ethelbert Nevin. S. 358–363 
 Josephine McGill: Following Music in a Mountain Land. S. 364–384 
 Sophie P. Gibling: Types of Musical Listening. S. 385–389 
 Edwin Hughes: Liszt as Lieder Composer. S. 390–409 
 H. T. Henry: Choir-Boys in Catholic Churches. S. 410–415 
 G. Edward Stubbs: Why We Have Male Choirs in Churches. S. 416–427 
 R. A. Streatfeild: Handel, Rolli, and Italian Opera in London in the Eighteenth Century. S. 428–445 
 Sheldon Cheney: The Book-Plates of Musicians and Music-Lovers. S. 446–452 
 Julien Tiersot, Theodore Baker: Hector Berlioz and Richard Wagner. S. 453–492

Nr. 4
 Carl Engel: De Gustibus. S. 493–502 
 W. J. Lawrence: An Old English Music Handkerchief. S. 503–508 
 D. C. Parker: A View of Giacomo Puccini. S. 509–516 
 Reginald Gatty: The Musical Public and Its Opinions. S. 517–538 
 Carl Van Vechten: Notes on Gluck’s Armide. S. 539–547 
 Jenny Lind Goldschmidt, V. M. Holmstrom: Jenny Lind’s Singing Method. S. 548–551 
 John C. Griggs: The Influence of Comedy upon Operatic Form. S. 552–561 
 Orlando A. Mansfield: Some Characteristics and Peculiarities of Mendelssohn’s Organ Sonatas. S. 562–576 
 Henry F. Gilbert: Folk-Music in Art-Music – A Discussion and a Theory. S. 577–601 
 Katharine Schermerhorn Oliver: On Friendship. S. 602–604 
 Edward J. Dent: Music in University Education. S. 605–619 
 J. G. Prod’homme, Ludwig van Beethoven, Theodore Baker: An Unpublished Letter of Beethoven. S. 620–628 
 Henry Edward Krehbiel: Alexander Thayer and His Life of Beethoven. S. 629–640 
 Daniel Gregory Mason: Democracy and Music. S. 641–657

04. Jg. 1918

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

Nr. 2
 E. Sapir: Representative Music. S. 161–167 
 Wesley Weyman: The Science of Pianoforte Technique. S. 168–173 
 Charles L. Buchanan: Ornstein and Modern Music. S. 174–183 
 Clement Antrobus Harris: The War between the Fixed and Movable Doh. S. 184–195 
 N. Lindsay Norden: A Plea for Pure Church Music. S. 196–208 
 Orlando A. Mansfield: W. T. Best – His Life, Character, and Works. S. 209–249 
 Arthur Elson: Sound and Its Uses. S. 250–267 
 Henri de Curzon, Theodore Baker: Jean-Baptiste Faure. S. 268–281 
 J. N. Burk: The Fetish of Virtuosity. S. 282–292 
 Josephine McGill: Old Ballad Burthens. S. 293–306 
 D. C. Parker: Reflections on Romanticism. S. 307–322

Nr. 3
 Daniel Gregory Mason: Folk-Song and American Music (A Plea for the Unpopular Point of View). S. 323–332 
 Herbert Antcliffe, Granville Bantock: A Brief Survey of the Works of Granville Bantock. S. 333–346 
 W. J. Lawrence: A Forgotten Thackerayan Episode. S. 347–352 
 Harvey B. Gaul: Bonnet – Bossi – Karg-Elert – Three Aperçus. S. 353–364 
 James Frederick Rogers: Music as Medicine. S. 365–375 
 Eva Augusta Vescelius: Music and Health. S. 376–401 
 Charles Quef, E. Adcock: Breton Music. S. 402–408 
 Julien Tiersot, Theodore Baker: Charles Gounod – A Centennial Tribute. S. 409–439 
 Frederick H. Martens: The Attitude of the Dancer toward Music. S. 440–449 
 M. Montagu-Nathan: Belaiev – Mæcenas of Russian Music. S. 450–465 
 Elizabeth Foerster-Nietzsche: Wagner and Nietzsche – The Beginning and End of Their Friendship. S. 466–489

Nr. 4
 Carl Engel: Music We Shall Never Hear. S. 491–506 
 Carl E. Seashore: The Sense of Rhythm as a Musical Talent. S. 507–515 
 Frank Kidson: John Playford, and 17th-Century Music Publishing. S. 516–534 
 Clara T. Nichols: Music in Our Public Schools. S. 535–541 
 G. Jean-Aubry, Frederick H. Martens: Claude Debussy. S. 542–554 
 J. G. Prod’homme, Marguerite Barton: Claude Achille Debussy. S. 555–571 
 John F. Runciman: Weather and the Artist. S. 572–578 
 Ernest Hart: British Regimental Marches – Their History and Romance. S. 579–586 
 J. C. Deagan: A = 440 Pitch Adopted – Pitch versus Temperature. S. 587–592 
 Ludwig Bonvin: On Syrian Liturgical Chant. S. 593–603 
 Carl Van Vechten: De Senectute Cantorum. S. 604–617 
 D. A. Clippinger: Scientific Voice Training. S. 618–629 
 J.-G. Prod’homme, Charles Gounod, Theodore Baker: Miscellaneous Letters by Charles Gounod. S. 630–653

05. Jg. 1919

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

Nr. 2
 Cyril Scott: The Two Attitudes. S. 149–159 
 D. C. Parker: Balzac, the Musician. S. 160–168 
 Rudhyar D. Chennevière, Frederick H. Martens: The Two Trends of Modern Music in Stravinsky’s Works. S. 169–174 
 Edward Speyer: Notes on the Iconography of Wolfgang Amadeus Mozart. S. 175–191 
 G. Jean-Aubry: British Music through French Eyes. S. 192–212 
 Edwin Evans: John Ireland. S. 213–220 
 Eugene Gruenberg: Stage-Fright. S. 221–230 
 Ernst C. Krohn: The Bibliography of Music. S. 231–254 
 Brander Matthews: The Conventions of the Music-Drama. S. 255–263 
 William Barclay Squire, Robert Lucas Pearsall: Letters of Robert Lucas Pearsall. S. 264–297

Nr. 3
 J. A. Fuller-Maitland: Hubert Parry. S. 299–307 
 J. Lawrence Erb: Music in the Education of the Common Man. S. 308–315 
 John N. Burk: The Democratic Ideal in Music. S. 316–328 
 Gabriel Grovlez: Jacques Offenbach – A Centennial Sketch. S. 329–337 
 Herbert Sanders: Counterpoint Revolutionized. S. 338–347 
 F. Corder: Major versus Minor – Some Curious Statistics. S. 348–356 
 Frederick H. Martens: The Modern Russian Pianoforte Sonata (Based on an Interview with M. Serge Prokofieff). S. 357–363 
 Charles L. Buchanan: The Unvanquishable Tchaikovsky. S. 364–389 
 Constantin von Sternberg: On Plagiarism. S. 390–397 
 J. G. Prod’homme, Hector Berlioz, Theodore Baker, Marguerite Barton: Unpublished Berlioziana. S. 398–412 
 Francis Rogers: The Male Soprano. S. 413–425 
 N. Lindsay Norden: A Brief Study of the Russian Liturgy and Its Music. S. 426–450

Nr. 4
[Hg]Rudolph E. Schirmer †. S. 451–452
 Carl Engel: The Miraculous Appeal of Mediocrity. S. 453–462 
 W. H. Grattan Flood: Fair Harvard – Irish Origin of the Tune. S. 463–468 
 Rudhyar D. Chennevière, Frederick H. Martens: Erik Satie and the Music of Irony. S. 469–478 
 Orlando A. Mansfield: Musical Discrepancies. S. 479–493 
 Edward Rimbault Dibdin, Felix Mendelssohn Bartholdy: Some Letters of Mendelssohn. S. 494–498 
 Natalie Curtis-Burlin: Black Singers and Players. S. 499–504 
 James Frederick Rogers: The Three Beethovens. S. 505–512 
 J.-G. Prod’homme, Theodore Baker: Two Hundred and Fifty Years of the Opéra (1669–1919). S. 513–537 
 William Barclay Squire: Handel’s Clock Music. S. 538–552 
 Carl Van Vechten: On the Relative Difficulties of Depicting Heaven and Hell in Music. S. 553–560 
 D. C. Parker: Camille Saint-Saëns – A Critical Estimate. S. 561–577 
 Phillips Barry: Greek Music. S. 578–613

06. Jg. 1920

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

Nr. 2
 Henry F. Gilbert: Progress in Art. S. 159–174 
 Natalie Curtis: A Plea for Our Native Art. S. 175–178 
 Guido M. Gatti, Frederick H. Martens: Alfredo Casella. S. 179–191 
 W. J. Lawrence: Music in the Elizabethan Theatre. S. 192–205 
 Louis C. Elson: Atrocities and Humors of Opera. S. 206–213 
 Isidor Philipp, Frederick H. Martens: The French National Conservatory of Music. S. 214–226 
 César Saerchinger: Musical Landmarks in New York. S. 227–256 
 Arthur W. Locke: The Background of the Romantic Movement in French Music. S. 257–271 
 Jean Huré, Frederick H. Martens: The French School of Organ Playing in Its Own Land. S. 272–275 
 Georges de St. Foix, Ottomar King: Mozart and the Young Beethoven. S. 276–295 
 William Barclay Squire, Robert Lucas Pearsall: Letters of Robert Lucas Pearsall [Continued]. S. 296–315

Nr. 3
 J. A. Fuller-Maitland: Towards Ugliness – A Revision of Old Opinions. S. 317–325 
 Henry Prunières, Loraine Wyman: G. Francesco Malipiero. S. 326–341 
 Herbert Antcliffe: The Effect of the War on English Choral Music. S. 342–353 
 Orlando A. Mansfield: About Basses. S. 354–365 
 J.-G. Prod’homme, Theodore Baker: The Baron de Trémont – Souvenirs of Beethoven and Other Contemporaries. S. 366–391 
 Sumner Salter: The Ornaments in Bach’s Organ Works. S. 392–402 
 Colin McAlpin: Musical Appreciation – A Plea for Catholicity. S. 403–416 
 Clement Antrobus Harris: Musical Animals in Ornament. S. 417–425 
 L. L. Thurstone: The Problem of Melody. S. 426–429 
 Frank Kidson: Handel’s Publisher, John Walsh, His Successors, and Contemporaries. S. 430–450 
 S. Camillo Engel: The Mission of the Singer. S. 451–454 
 Annie W. Patterson: The Folk-Music of Ireland – Its Past, Present, and Future Aspects. S. 455–467

Nr. 4
 Marion Bauer: Natural Law – Its Influence on Modern Music. S. 469–477 
 G. Jean-Aubry: A Music-Lover of the Past – Eugène Delacroix. S. 478–499 
 Rudhyar D. Chennevière, Frederick H. Martens: The Rise of the Musical Proletariat. S. 500–509 
 Carl Engel: Why Do We Dance? S. 510–531 
 Fausto Torrefranca, Julia Gregory: Arrigo Boito. S. 532–552 
 Zdzislaw Jachimecki: Polish Music. S. 553–572 
 Carl Van Vechten: The Cat in Music. S. 573–585 
 C. E. Seashore: The Inheritance of Musical Talent. S. 586–598 
 Julien Tiersot, O. T. Kindler: Historic and National Songs of France. S. 599–632

07. Jg. 1921

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

Nr. 2
 Karl H. Eschman: The Rhetoric of Modern Music. S. 157–166 
 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 
 Sydney Grew: National Music and the Folk-Song. S. 172–185 
 E. H. C. Oliphant: The Songs of Charles Koechlin. S. 186–197 
 Frederick H. Martens: Music, Monarchs, and „The Savage Breast“. S. 198–217 
 Hans Schneider: The Enjoyment of Music. S. 218–225 
 Edgar Istel, Theodore Baker: Beethoven’s „Leonore“ and „Fidelio“. S. 226–251 
 Arthur L. Manchester: Practical Music and the College Curriculum. S. 252–260 
 Orlando A. Mansfield: The Cuckoo and Nightingale in Music. S. 261–277 
 William Barclay Squire, Robert Franz: Letters of Robert Franz. S. 278–283 
 Lionel de La Laurencie, Frederick H. Martens: America in the French Music of the Seventeenth and Eighteenth Centuries. S. 284–302

Nr. 3
 Babette Deutsch: America in the Arts. S. 303–308 
 A. Walter Kramer: The Things We Set to Music. S. 309–313 
 George Cecil: Impressions of Opera in France. S. 314–330 
 Jean Chantavoine, Harriet Lanier: Busoni. S. 331–343 
 F. Joseph Kelly: Plain Chant, the Handmaid of the Liturgy – A Challenge and a Prophecy. S. 344–350 
 Charles Van den Borren, Frederick H. Martens: The General Trends in Contemporary Belgian Music. S. 351–365 
 Otto Ortmann: Notes on the Nature of Harmony. S. 366–375 
 Julien Tiersot, Frederick H. Martens: Russian Composers as Described by Themselves. S. 376–398 
 H. H. Bellamann: Of Notable Piano Concertos, Neglected and Otherwise. S. 399–407 
 R. D. Welch: The Assault on Modernism in Music. S. 408–417 
 Guido M. Gatti, Claude Debussy, Frederick H. Martens: The Piano Works of Claude Debussy. S. 418–460

Nr. 4
 Carl Engel: Music, Melodious and Odious. S. 461–468 
 Arthur Elson: Architectural Acoustics. S. 469–482 
 Alexander W. Thayer: The Man Beethoven – An Estimate of His Character. S. 483–492 
 Edgar Istel, Janet Wylie Istel: Carmen – Novel and Libretto – A Dramaturgic Analysis. S. 493–510 
 Frank Patterson: Whither? S. 511–519 
 Béla Bartók, Franz Liszt, Frederick H. Martens: Two Unpublished Liszt Letters to Mosonyi. S. 520–526 
 Fielding H. Garrison: Medical Men Who Have Loved Music. S. 527–548 
 Natalie Curtis: American Indian Cradle-Songs. S. 549–558 
 Carl Van Vechten: On Hearing What You Want When You Want It. S. 559–564 
 William Barclay Squire: The Music of Shadwell’s „Tempest“. S. 565–578 
 J.-G. Prod’homme, Frederick H. Martens: Napoleon, Music and Musicians. S. 579–605

08. Jg. 1922

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

Nr. 2
 D. C. Parker: Music and the Grand Style. S. 161–179 
 Herbert Antcliffe: Some Notes on Coleridge-Taylor. S. 180–192 
 Marc Pincherle, Ottomar King: The Social Condition of Violinists in France before the Eighteenth Century. S. 193–198 
 Howard Markel: An „Instrumental“ Aesthetics of Music. S. 199–212 
 Edgar Istel: Is the Marseillaise a German Composition? (The History of a Hoax). S. 213–226 
 E. H. C. Oliphant: Poetry and the Composer. S. 227–241 
 W. B. Olds: Bird-Music. S. 242–255 
 Arthur George: Notes versus Tones. S. 256–264 
 W. G. Whittaker: A Reply to „Tonic-Solfa – Pro and Con“. S. 265–272 
 Frederick H. Martens, O. G. Sonneck, Heinrich Heine: Heinrich Heine’s Musical Feuilletons [Continued]. S. 273–295 
 Carl Engel: Views and Reviews. S. 296–311

Nr. 3
 John Tasker Howard: The American Composer – The Victim of His Friends. S. 313–318 
 Ivor Gurney: The Springs of Music. S. 319–322 
 Guido M. Gatti, Theodore Baker: The Academy of St. Cecilia and the Augusteo in Rome. S. 323–345 
 Lazare Saminsky: The Music of the Peoples of the Russian Orient. S. 346–352 
 Herbert F. Peyser: Some Observations on Translation. S. 353–371 
 Harold D. Phillips: The Anomalous Place of Mozart in Music. S. 372–376 
 D. Jenness: Eskimo Music in Northern Alaska. S. 377–383 
 Ernest Brennecke: The Two Reger-Legends. S. 384–396 
 W. J. Lawrence: Early Irish Ballad Opera and Comic Opera. S. 397–412 
 Gilbert Elliott, Jr.: Our Musical Kinship with the Spaniards. S. 413–418 
 Colin McAlpin: On Hearing Music. S. 419–434 
 Heinrich Heine, O. G. Sonneck, Frederick H. Martens: Heinrich Heine’s Musical Feuilletons [Concluded]. S. 435–468

Nr. 4
 J.-G. Prod’homme, Frederick H. Martens: Camille Saint-Saëns (Oct. 9, 1835-Dec. 16, 1921). S. 469–486 
 Rosario Scalero, Theodore Baker: A Contribution to the Pedagogy of Composition. S. 487–494 
 Edgar Istel, Theodore Baker: Wagner and Shakespeare. S. 495–509 
 R. D. Welch: Shakespeare – Musician. S. 510–527 
 Frederick H. Martens: Music in Chinese Fairytale and Legend. S. 528–554 
 Sydney Grew: Some Conversations. S. 555–565 
 Orlando A. Mansfield: Mozart’s Organ Sonatas. S. 566–594 
 Arthur L. Manchester: The Small College as a Factor in the Development of a Musical Nation. S. 595–604 
 Carl Van Vechten: Back to Delibes. S. 605–610 
 Carl Engel: Views and Reviews. S. 611–632

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

1987 nicht erschienen

1988 nicht erschienen

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

2003 nicht erschienen

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