L’analyse musicale, une discipline autonome ? ( abstract )

Rethinking Milton Babbitt's "Serious Music" as Play ( abstract )

Babbitt’s Beguiling Surfaces, Improvised Inside ( abstract )

Analyses de l’œuvre et de sa logique compositionnelle : quelques réflexions méthodologiques articulées autour de Clapping Music de S. Reich ( abstract )

The social, philosophical, and narrative act of music analysis: Towards a theory of the immanent musical subject ( abstract )

Modernism, Nature and Music Analysis ( abstract )

Semiotics of light in music ( abstract )

Fauré’s Nocturne No. 10 and the Twilight of Tonality ( abstract )

Allusion analysis in Fauré’s Fantaisie pour piano et orchestre ( abstract )

Proto-Impressionism in Piano Works of Camille Saint-Saëns ( abstract )

Reading Liszt’s ‘Sospiri!’ (1887): ‘Lateness’, memory, nostalgia and place in the nineteenth-century piano miniature ( abstract )

19th-century song cycle as an object of interdisciplinary analysis. A case of Franz Liszt’s song cycles ( abstract )

Multi-movement work as complete gesture in Liszt and other 19th century composers: towards the concept of two-dimensional cycle ( abstract )

Analysing Intertextually: The Case of the Exposition of the Second Movement of Bartók’s Sonata for Solo Violin Sz. 117 ( abstract )

Melancholy subjects, melancholy objects: Nikos Skalkottas’s 16 Songs ( abstract )

Compositional praxis and historical time in the late works of Jani Christou ( abstract )

Formal Algorithms of Tintinnabuli in Arvo Pärt's Music ( abstract )

Transformation serieller Techniken im Tintinnabuli Stil Arvo Pärts ( abstract )

Aesthetics and style of Arvo Pärt’s work: revolution or evolution? ( abstract )

Melodic Fluency in Keyboard Menuet Improvisation ( abstract )

Style-oriented improvisation and music theory ( abstract )

Analysing Erwin Schulhoff’s improvised performances of the 1930s ( abstract )

“Non-Viennese” sonata form: François-Adrien Boïeldieu and the French classicism ( abstract )

Caractérisation Formelle et Stylistique des Sonates Portugaises pour Clavier Publiées au XVIIIème Siècle ( abstract )

Die Kreation guter Veränderter Reprisen gemäss C.Ph.E. Bach ( abstract )

Louis Andriessen's "De Stijl" and Rendering Mondrian Musical ( abstract )

Analysis of the use of silence in Frédéric Devreese's Passage à 5, Mascarade, Danse de l'Auberge and Valse sacrée ( abstract )

Jonathan Harvey’s music as a path to transcendence ( abstract )

Form and Teleology Beyond the Tonal System Around 1910. ( abstract )

Making sense of pitch in the ‘free atonal’ Second Viennese School repertoire: a teleological approach based on salience conditions ( abstract )

Musical Reference in Alban Berg’s String Quartet, op. 3 ( abstract )

Is the Twelve-Tone System Inherently Organicist? A Reflection on Conflicting Perspectives, with Notes on Analysis ( abstract )

Berg's Piano Sonata and Reverse Organicism ( abstract )

Henri Dutilleux’s dodecaphonism in Métaboles and Tout un monde lointain ( abstract )

The Characters beyond Fusion. Practical approaches to models in Henri Dutilleux’ works ( abstract )

Memory in Music Analysis: Referential Appeals to Proustian Memory in Dutilleux’s Ainsi la Nuit ( abstract )

Birdsong as Compositional and Theological Determinants in Olivier Messiaen’s Opera, Saint François d’Assise ( abstract )

The exploration of contemporary music: an analytical “hovercraft”? Colinda Balada by György Kurtág – a case study ( abstract )

The Rite of Spring Briefly Revisited; Stravinsky's Stratifications, the Psychology of Meter, and African Polyrhythm ( abstract )

Contrapuntal Elements in Selected Passages from Igor Stravinsky’s Concerto for Two Pianos (1932–35) ( abstract )

Density 21.5 : Segmentations comparées et interprétations ( abstract )

Stravinsky's Serial Games ( abstract )

Stravinsky and Boulez: Compositional Process, Form and Development ( abstract )

Love and History in Berlioz's 'Chasse Royale et Orage', a semiotic-Schenkerian perspective ( abstract )

Form and structural narrative in Debussy’s _Prélude à l’après-midi d’un faune_ ( abstract )

Analysing Debussy Today ( abstract )

Qu'est-ce qu'une technique de composition ? ( abstract )

Features of form building in Debussy’s music in the light of Bergson’s conception of la durée ( abstract )

Between Overlaps and Elisions ( abstract )

The Loosely-Knit Subordinate Theme in the Classical Style: A Phrase Rhythmic Perspective ( abstract )

Das Medium ist das Metrum: Ein Aspekt der Analysegeschichte von Beethovens 5. Sinfonie ( abstract )

Redirecting the Temporal Flow: Brief Meter Changes in German Lieder ( abstract )

Shostakovich’s Passacaglias: Crossroads of Meter and Form ( abstract )

The fulfillment of Mattheson's 'Quart-Wunder': 18th-century performance practice and the gradual standardization of a new cadential pattern ( abstract )

An investigation of the cadence in early nineteenth-century syntax ( abstract )

Family Resemblance and the Classical Cadence Typology: Classification Using Phylogenetic Trees ( abstract )

The "Reopened" Half Cadence: A Striking Cadential Anomaly ( abstract )

On Metrically Weak Cadential 6/4s ( abstract )

A Study of Tonality in Electronic Dance Music ( abstract )

Transcendence in Pop-Rock Music ( abstract )

Rock Minimalism: loop and motivic transformations in the music of King Crimson (1981-84) ( abstract )

Multimodality and Tonal Ambiguity in Rock’s Aeolian Progression ( abstract )

Profiling performers: Analysing tempo, rubato and expressive timing in recordings of Alexander Scriabin’s early piano preludes ( abstract )

Analyser l’expression musicale : le cas des « Hiboux » de Baudelaire/Vierne/Delunsch ( abstract )

Completing the incomplete: the first eight bars of W.A. Mozart’s Lacrimosa in the 19th-20th centuries ( abstract )

Performative knowledge as an analytical tool: Embodying Beethoven’s musical dynamic ( abstract )

Concerto form, analysis, and conversation: From performance practice to cultural knowledge ( abstract )

"Embedded" Voice Exchanges: The Gateway to Tonal (and Metaphorical) Transformation ( abstract )

Collection Vectors and the Octatonic Scale ( abstract )

Microtonality and Transformation: Analyzing Easley Blackwood’s "19 Notes" with a Modified Tonal GIS ( abstract )

Skryabin’s Late Acceleration through Hexatonic and Octatonic Space ( abstract )

Lewin's Figure 0.1, Freud's Analysis Interminable, and Their Implications for Music Analysis ( abstract )

On physico-acoustical bases of sonance and tension ( abstract )

What Text Painting Can Tell Us about Musical Structure ( abstract )

Hearing Voices in Their Hands: Performing and Perceiving Polyphony ( abstract )

The challenges of aurally connecting structurally similar but superficially dissimilar musical events: Important considerations in analytical listening ( abstract )

Measuring and modelling perceived distance among collections in post-tonal music: Music theory meets music psychology ( abstract )

La musique parmi d'autres ( abstract )

Józef Michał Chomiński’s Concept of Sonoristic Harmony ( abstract )

Frédéric Chopins Prélude a-Moll op. 28, 2 – eine metapherntheoretische Perspektive ( abstract )

“Tierisch Unmittelbarer Ausdruck”: Analyzing Timbre in Schoenberg’s Sprechmelodie" (working title) ( abstract )

Two metrical problems in Webern’s Streichquartett, Op. 28 ( abstract )

Tonal Pairing as a Strategy of Lyrical Time: Anton Webern's Langsamer Satz (1905) ( abstract )

Interval Pairing in a Serial Context: Webern’s Variations, Op. 30 ( abstract )

Webern’s Op. 12, No. 2, “Die Geheimnisvolle Flöte”: Pitch Orthography, Text Setting, & Form ( abstract )

Towards objectivity in automatic segmentation of music score by XML/MIDI language. ( abstract )

Micro-Diatonicism and Formal Structure in 20th-Century Music ( abstract )

Computergestützte Analyse und ihr praktischer Einsatz in der musiktheoretischen Lehre ( abstract )

Computer Generated Orchestration: Towards Using Musical Timbre in Composition ( abstract )

Stylometric Analysis of Music in Search of Cross-cultural Similarities ( abstract )

Prometeo, Tragedia dell’ascolto – ‘A new way of thinking music’ in Nono ( abstract )

Micrological Listening: Molecularity and the State in Luigi Nono’s Late Electro-Acoustic Music. ( abstract )

"Altri spazi, altri cieli": Komponieren und Denken in Luigi Nonos "Das atmende Klarsein" ( abstract )

Charting the Expansions in Pitch and Pitch-Class Space in Luciano Berio’s Sincronie, Nones, and the First Movement of Sinfonia ( abstract )

Analyse de Jour, contre jour de Gérard Grisey: une approche perceptive ( abstract )

'Intertextuelle Improvisation' in Romitellis Werk am Beispiel der Querverweise zwischen "Trash Tv Trance" und der Cadenza von "An Index of Metals" ( abstract )

Interactions between Topics and Schemata: The Case of the Sacred Romanesca ( abstract )

A Dorian Middleground Schema in Bach's Minor-Key Fugue Expositions ( abstract )

Fonte And Monte in the Symphonies of Joseph Haydn ( abstract )

On footprints of "Galant Style" in Mendelssohn's music learning ( abstract )

Partimenti, un metodo per imparare, fare, comporre musica ieri e oggi ( abstract )

Gjerdingen's Schemata Re-Examined ( abstract )

Expressive performance analysis of children aged 4-5 years: teaching models and vocal abilities ( abstract )

Solfeggi: Sounding their hidden Depths ( abstract )

Mobile Way to Music Analysis: Learning Fundamentals Digitally ( abstract )

J.S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source ( abstract )

Processus d'analyse dans le contexte d'un Cours d'Ecriture-Composition ( abstract )

Watch this space: On Blended Learning and Music Analysis in the Classroom ( abstract )

Aleksandr Kastal’skijs Kompositionstechnik und -theorie als Inbegriff des 'russischen Stils' und 'Erlösung' von der Funktionsharmonik ( abstract )

The evolution of Scriabin’s language through the evolution of the mystic chord ( abstract )

Hearing Function in Post-Tonal Contexts ( abstract )

Chord Superimposition in Two Late Orchestral Works by Ferruccio Busoni ( abstract )

Reframing music theorizing and analytical acts on twentieth-century multi-layered harmony ( abstract )

A Model of Triadic Post-tonality for a Neoconservative Postmodern String Quartet by Sky Macklay ( abstract )

Le « trois sur quatre » dans la musique écrite en circulation à la Nouvelle-Orléans d’avant le jazz enregistré, 1835-1917. Application de trois méthodes d’analyse du rythme. ( abstract )

Twentieth Century Compositional Techniques Applied to Jazz Pitch-Class Sets in Jazz Composition and Improvisation ( abstract )

Wayne Shorter and the 12-bar Blues Form ( abstract )

Wayne Meets World: Compositional Methods in Three Wayne Shorter Pieces ( abstract )

The Sighing Motif (Seufzermotiv) and Related Stylistic Features in the Jazz Compositions of Brad Mehldau ( abstract )

Compositional Strategies in non-Western music. The case of Turkmen music ( abstract )

Metric elements in free rhythm Taksim Improvisations. ( abstract )

ANALYSE MUSICALE ET CULTURALITE : DES DEFIS POSES PAR L’ACTE MUSICAL A LA PARTITION EN TANT QU’OUTIL D’INTERPRETATION ET D’ANALYSE DANS LES TRADITIONS MODALES ARABO-MUSULMANES ( abstract )

L'analyse de la musique modale enregistrée : nouvelles approches, nouvelles méthodes ( abstract )

Réécriture grammaticale modale générative-transformationnelle de l’improvisation taqsīm violonistique selon la tradition du Mašriq ( abstract )

Les rôles respectifs du sujet et de l’objet en analyse de l’orientalisme musical ( abstract )

What is the ‘sound of the revolt’ and how to make music-analytical sense out of it? ( abstract )

Analyse musicale et sociologie : comment se saisir de processus de socialisation de l'oreille ? ( abstract )

Score, Record, and Bytes: Influence of Musical Medium on Analysis ( abstract )

Thème et rhème comme éléments structurels du discours musical : quelques exemples chez Dohnányi, Weiner et Lajtha (1890-1930) en marge de la culture occidentale savante ( abstract )

Goehr’s Piano Sonata through a Transformational Lens ( abstract )

Exploring Linear-Analytical Elements in the Writings of Leo Mazel ( abstract )

A Synthesis of Schenkerian and Neo-Riemannian Theories: The First Movement of Paul Hindemith’s Piano Sonata No. 1 as a Case Study. ( abstract )

Questioning Theoretical Robustness: Quasi-Integration of Neo-Riemannian and Schenkerian Theories ( abstract )

Analyzing Analyses: Towards a Reconciliation of Schenkerism and Riemannism ( abstract )

Exploring the limits of neo-Riemannian theory ( abstract )

A Long Path to Closely Related Key: Modulation in Bach’s Allemande BWV 816 ( abstract )

Cognitive Aspects of Gradual Modulation ( abstract )

1917 Modulating the World into a Different Key ( abstract )

Psychoanalytic Reflections on Modulation ( abstract )

Modulation as Structure and as an Act ( abstract )

The Do-Re-Mi revisited: Historical Underpinnings of a Schema ( abstract )

Teaching Partimento Analysis and Realization in Paris ( abstract )

Verdi and the Eighteenth century Neapolitan Tradition ( abstract )

(Re)Creating Bach’s Weimar Organ Fugues: Model-Learning, Externalization, and Conceptual Combination in Musical Creativity ( abstract )

Bungled Schemata, Accent, and Class Prejudice in Haydn's 'Joke' Quartet ( abstract )

Describing prosody in Debussy’s songs ( abstract )

L’effet des mimiques de l’interprète dans la perception de l’humour debussyste ( abstract )

Expectancy situations, sound and form in Debussy’s Nocturnes ( abstract )

Desperately seeking a ‘Debussy style’ in the performance of the orchestral music ( abstract )

Paul Ben-Haim: Between East and West ( abstract )

Interaction between noisy instrumental timbre and traditional intervallic systems in composers from Sicily, 1960-1985 ( abstract )

Post-tonal harmonic theories in Italy from the beginning of the twentieth century to present day. In search of a tradition ( abstract )

The Role of Cultural Constraints in the Development of Music Theory and Analysis in Modern Cyprus ( abstract )

Italy, Israel and Cyprus: Identifying intrinsic elements, addressing diversity and continuity ( abstract )

Theoretical Aspects of the Modal and Tonal Organization of Renaissance Polyphony ( abstract )

Tonal coherence in pre-modal polyphony. The secular repertoires of the ars subtilior. ( abstract )

Lasso, Meier, Powers. The Reality of the Modes under Scrutiny ( abstract )

Is modality still a compositional tool in Monteverdi's 1610 Mass? ( abstract )

Modal and Tonal Organization in Polyphonic Compositions ( abstract )

Striking Approaches to Recapitulations ( abstract )

Processual Strategies in Schubert's Earliest String Quartets: a Generative Response to Recapitulation ( abstract )

A Theory of Tonal Alterations in Sonata Recapitulations ( abstract )

Et Tu, Debussy and Ravel: fin-de-siècle Recapitulations, 1890-1925 ( abstract )

Vanishing S Themes: Recapitulatory Truncation in Prokofiev's Early Instrumental Concertos ( abstract )

Paul Hindemith and the Spectralists ( abstract )

Jean-Louis Florentz: Hospitality and Spectralism ( abstract )

Spectral Aesthetics and ecological listening in the music of Helena Tulve ( abstract )

Giving Voice to Spectralism: Donnacha Dennehy and the Embodiment of Sound ( abstract )

Analysis at the crossroads of different traditions, methodologies and concepts of sound ( abstract )

Sound as epistemic construct and music as experience: new perspectives on musical sense-making ( abstract )

Conceptualizing the "perceptualization" of timbre: epistemic and analytic reflections ( abstract )

Form as Timbral Mapping: Process Ontologies for Recorded Popular Music ( abstract )

Music as Sound Process: Kurth’s Bruckner and the Timbral Insider ( abstract )

Against Timbre, Harmony: The Case of African Music ( abstract )

A Paradigm for Studying the Transition from Modality to Tonality in the Seventeenth Century ( abstract )

Musical gesture as a means of composition in recent music: some observations ( abstract )

Performance and analysis : an empirical research on the interactions between analysts and performers ( abstract )

Emerging Musical Structures in Electroacoustic Music ( abstract )

Janáček’s Rhythmic Freedom ( abstract )

Harmonic syntax and vocabulary in tonal music ( abstract )

Deconstructing Systematic Musicology: Aims, Motivations, and Music-Theoretical Implications ( abstract )

An Approach to Analysis in the Context of Theory of Musical Content: Holistic Analysis-Interpretation ( abstract )

Organic Transcription as an Embodied Artistic-Analytic Process ( abstract )

In Defense of Augmented Intervals ( abstract )

Une analyse pluridisciplinaire de Guero de Helmut Lachenmann ( abstract )

The language(s) of contemporary music analysis ( abstract )

L'analyse musicale pour tous ( abstract )

Anaysis of the score and performance analysi: two different approaches to' the music of Karlheinz Stockhausen ( abstract )

From Process to Performance: Text-Based Improvisation in Henry Brant’s “Instant Music” ( abstract )

Der Begriff „Klangfläche“ dargestellt an Atmosphères von Ligeti ( abstract )

Trouver des chemins jamais parcourus : alliage entre recherche musico-logique et compositionnelle, transmission, introspection, auto-analyse, et d'autres outils pour l'émancipation ( abstract )

Unseulmotnesuffitpas : une analyse de terrain, spectromorphologique et génétique d'une œuvre de « musique mixte » ( abstract )

Excavating John Cage's 4'33" ( abstract )

Imitations, Analogs, and Filters: John Cage Erases and Recomposes Satie ( abstract )

Analysis of ‘Open Forms’: Problems and Approaches ( abstract )

Confident Chromaticism in Satie’s Nocturnes as Determined by Hindemith’s Harmonic Fluctuation ( abstract )

Les Embryons Désséchés d'Erik Satie: perspectives d'interprétation pianistique ( abstract )

Vexation di Satie: studio comparativo sul disorientamento formale ed esecutivo ( abstract )

Rossini's Harmonic Materialities: Syntactic and Statistical ( abstract )

Interpolation and superfetation. The Archeological restoration of an unfinished work. Donizetti-Battistelli's Le Duc d'Albe ( abstract )

Vincenzo Bellini and the Art of Nineteenth Century Counterpoint: an analytical approach ( abstract )

The Function of Rhythm in the Pitch / Sound Continuum: The Case of I. Xenakis' Thallein ( abstract )

Théorie des jeux et structure formelle dans Duel (1959) de Xenakis ( abstract )

Examining Historical Precedents for Directional Motion in Ligeti's Mid-Century Works ( abstract )

The Supplementum in Motets: Evolution, Style, and Structure ( abstract )

Vers une analyse informatique des textures dans le quatuor classique ( abstract )

Suspension Theory: A Repertoire-Based Approach to Understanding and Codifying late-15th-century Dissonance Treatment ( abstract )

Le Kyrie du Requiem d’Ockeghem : entre la transmission et la transformation ( abstract )

Analyse historiographique des « nouveaux gestes musicaux » de la musique savante occidentale entre 1850 et 1950 ( abstract )

Solfège et analyse: l'invention du geste ( abstract )

Analyse musicale, déclamation et improvisation dans la musique entre XVII et XVIII siècle: indication méthodologiques pour lire une partition "non-finie". ( abstract )

Vom Klavier- zum Orchesterlied. Entwurf einer Methode für die Analyse klanglicher Umwandlungen. ( abstract )

La Ballade romantique allemande en action : interpréter un poème ou interpréter une musique ? ( abstract )

Expressivity in choral performance: the role of text diction ( abstract )

The Schema-Topic Construction ( abstract )

Meaning construction through conceptual blending - A hermeneutical analysis of "Samuel Goldenberg und Schmuÿle" from Modest Musorgsky's "Pictures at an exhibition" ( abstract )

La musique d’Anouer Brahem dans les films « Halfaouine » et « Les silences du Palais » ( abstract )

La sonata concertata in stil moderno (1600 env. – 1640 env.) : modèles stylistiques et idiomes instrumentaux à l’aube de la sonate vénitienne ( abstract )

Visti dal basso. La pratica del continuo monteverdiano come esperienza di analisi ( abstract )

Epifania della seconda prattica nel Quarto libro di Monteverdi ( abstract )

Claudio Monteverdi e la raccolta del 1610: luci e ombre di un Vespro atipico ( abstract )

Itinerari d’analisi per la musica italiana d’inizio Seicento nel 450° anniversario della nascita di Claudio Monteverdi ( abstract )

De l'emprunt à la formule : une nouvelle échelle d'analyse de l'œuvre d'Olivier Messiaen ( abstract )

Composition formulaire et montage chez Olivier Messiaen : nouvelles réponses, nouvelles questions pour l'analyse ( abstract )

Models for Variation and Development in Messiaen's Early Sketches ( abstract )

Discontinuous vs. linear? Olivier Messiaen and 19th-Century Formal Traditions ( abstract )

New Approaches for Analysing the Music of Olivier Messiaen ( abstract )

Ontologie musicale et analyse de la performance ( abstract )

Contribution de l’analyse de scène auditive à l’analyse de la performance ( abstract )

Les pratiques instrumentales à l’épreuve de la scène : une interface entre écriture et improvisation dans les musiques d’après 1960 ( abstract )

Analyse esthésique des processus d’improvisation (et de création) des musiques de tradition orale en Méditerranée ( abstract )

Musical analysis by means of multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for piano solo ( abstract )

Pathos and Ethos in Mozart’s Idomeneo: “Vedrommi intorno” and “Il padre adorato” ( abstract )

The Schematic World of Mozart's Figaro ( abstract )

Aria-Sonata Forms?: Taking Formenlehre to the Opera Once More ( abstract )

On the Form Functionality of Recitative Intrusions in Le nozze di Figaro ( abstract )

Osmin's Rage Aria ( abstract )

Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music ( abstract )

Rock Logic ( abstract )

Persistence time series: an application to music classification ( abstract )

Towards Structural (Popular) Music Information Research ( abstract )

Analyzing Form in Popular Music: History, Style, Aesthetics, and Data ( abstract )

Liszt vers la flamme lumineuse de Skrjabin ( abstract )

Franz Liszt dans le miroir de Claude Debussy ( abstract )

Liszt and Scriabin. A case of continuity in some twentieth-century compositional techniques ( abstract )

Busoni’s Elegies on the path of Liszt’s late style ( abstract )

Changes and heritage in musical style at the end of the 19th and at the beginning of the 20th century: between originality and remembering ( abstract )

Zweite Diatonik und musikalische Zeit: Engführungspattern und mehrfacher Kontrapunkt als Basis erweiterter Tonalität ( abstract )

Running for long distances:The resilience of the Geographic chords ( abstract )

Integrating transformational and hierarchical models of extended tonality ( abstract )

Making Harmonic Ambiguity Sound – Schoenberg, Escher, Brahms ( abstract )

The analytical challenge of harmonic ambiguity: can a single model depict multiple concurrent readings? ( abstract )

The Svago: Methodological Reflections on a Schema in Solfeggi by Leonardo Leo (1694-1744) ( abstract )

Approaching the Lexicon and the Combinatorics of Tonal Schemata ( abstract )

Schemata and tonality in Froberger’s “Mediation sur ma mort future” ( abstract )

Voice-leading schemata and formal functions: Reinvestigating schema concatenation ( abstract )

Waltz for Debby: Nested Structural Modes and Prolongation ( abstract )

New repertoires, new corpus: reformulations of analytic practice in electroacoustic music ( abstract )

Conceptual Blending and Musical Emotion ( abstract )

Mr. Bungle thinks it through: finding coherence in California (1999) ( abstract )

The Tech-Processual Construction of Siouxsie and the Banshees’ Panoramic Peepshow ( abstract )

Metric Dissonance in Hip-Hop Music: An Exploration of Interpretive Multiplicity ( abstract )

Modular Form in Popular Music ( abstract )

Tonal Distortion in Radiohead ( abstract )

Harmony, Counterpoint, Partimento ( abstract )

L'apport du partimento dans l'analyse harmonique en France au 18e siècle ( abstract )

Conservatori vs. Conservatoire. The Neapolitan Partimento tradition and the Méthodes of the Paris Conservatoire at the beginning of the 19th century. ( abstract )

La fugue où on ne l'attend pas : transmission du style sévère à travers les Principes élémentaires de musique et les Solfèges du Conservatoire ( abstract )

Problems in Appropriating Seventeenth Century Repertoire into Present-Day Theory Class (Henry Purcell as a Case Study) ( abstract )

'You Could Compose a Missa "Surfin' USA"': Counterpoint teaching and the History of Its Justification ( abstract )

Tristan and the Act of Music Analysis: Conflicts, Limits, Potentialities ( abstract )

Time–Pitch Isomorphisms in /Die Walkuere/ ( abstract )

Anton Bruckner’s Slow Movements: Dialogic Perspectives ( abstract )

Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvorak's Later Chamber Music ( abstract )

Reconsidering Strauss's 'Metamorphosen' ( abstract )

Integrating Tonal Transformations and Prolongations: A Case Study of Richard Strauss’s “September,” from Vier Letzte Lieder (1948) ( abstract )

Ten years of melodic analysis in ethnomusicology : methods & results ( abstract )

Considering anisochronous meters and polymeters in Afro-Brazilian music: analytic and didactic issues ( abstract )

"Pitch and rhythmical realization of traditional song music and their presentation in research interpretation" ( abstract )

A framework for the analysis of Jiuta and Sôkyoku music of the Kansai area ( abstract )

Analysing Chinese sacrificial hymn: Mutated theories and layered legacies in French modernity ( abstract )

Analyzing the Semiotic Contribution of Traditional Aesthetics to Contemporary Chinese Music ( abstract )

The piano sonatas of Schumann and Brahms: Approaching analysis through aesthetics ( abstract )

Correlations between Developing Variation and Genetic Processes in the Analysis of Brahms' Violin Sonata Op.78 ( abstract )

Brahms's Non-Strophic Settings of Stanzaic Poetry ( abstract )

Brahms, Twilight, and the Muting of Leading-Tone Energies ( abstract )

The Art of Lamenting: Resurrection of the Past in Brahms's "Es steht ein Lind," WoO33, no. 41 ( abstract )

Elgar's 'Introduction and Allegro': brief thoughts on musical in-between-ness ( abstract )

Tonal space in terms of practical and theoretical approaches in westernised choral idiom in Russia from 1670s to mid-18th century ( abstract )

[Titel] Ein Mönch, zwei kurze Regeln und drei Stimmen zum Fundament [Untertitel] Untersuchungen zur Modellhaftigkeit von Cantionalsätzen und den daraus resultierenden Implikationen für deren Klanglichkeit. ( abstract )

Zacconi, Banchieri and the counterpoint species: reconstructing the Klanglichkeit of the contrapunto in compagnia ( abstract )

On the Technique of Canon in Russian Baroque Music (on the Example of Polychoral Works by Vassily Titov) ( abstract )

Der Akt des Komponierens als Temperierung – Zum Verhältnis von Kontrapunkt, Chromatik und Harmonik im Schaffen von Heinrich Schütz ( abstract )

Cultural and Political Overtones: Understanding multiple identity through performance-led analyses of Isang Yun’s Interludium A (1982) ( abstract )

Timbre and Variations: Exploring Sound in Vivier’s Zipangu (1980) ( abstract )

Alfred Schnittke's String Quartet No. 3 and the Uses of Quotation ( abstract )

Seeking Schubert in Aribert Reimann's _Mignon_ (1995) ( abstract )

Considérations sur Une méthode d’analyse musicale et de composition de Marina Scriabine (1953) ( abstract )

Analyse génétique à long terme des pratiques compositionnelles. Le cas d’Alberto Posadas (1967) ( abstract )

The Simpfonie according to Riepel ( abstract )

The Minor-Mode Sonata Rondo as Expressive Subgenre ( abstract )

Mozart’s “Great” C-Minor Mass and the New Formenlehre: An Exercise in Comparative Analysis ( abstract )

"Punctuation Form" and Expressive Contents in the First Main Period of Selected G minor Symphonies' First Movements of the Classical Era—A Neo-Kochian-Schenkerian Approach ( abstract )

Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy ( abstract )

Choose your own sonata form: Adventures in analysis ( abstract )

"Double Function" Sonata Forms in Franck's Late Chamber Music ( abstract )

Chopin's Ternary Preludes ( abstract )

Chopin’s Semitonal Modulations in Formal Designs ( abstract )

Form in Mendelssohn’s late chamber music: Thematic, textural and timbral saliency in the Quartet Op. 80 and Quintet Op. 87 ( abstract )

La Barcarolle op. 60 de Chopin : esthétique du dernier style et métaphore de l’apothéose ( abstract )

Form, Syntax and the Problem of Late Style in Mendelssohn’s String Quartet Op. 80 ( abstract )

Charles Ives's Associations with Kaiser Wilhelm II, Compositional Effects, and Present-day Listening Strategies ( abstract )

Tonality and Prolongation in Roger Sessions' Second Symphony ( abstract )

"I Saw You and the World Went Away": Leonard Bernstein and Modulatory Practices in the Broadway Musical ( abstract )

To weave time: the late music of Morton Feldman through the example of Violin and String Quartet ( abstract )

Narrative and Metaphor in Elliott Carter’s String Quartet No. 1 ( abstract )

The Role of the Medial Caesura in Schubert’s Over-Determined Transitions ( abstract )

Becoming Time: Cyclicity in Schubert’s Extended Secondary Theme ( abstract )

Formal Function Anomalies in Schubert's Late Sonata Forms and the Lyrical Impulse" ( abstract )

Pure Theory, Impure Analysis ( abstract )

L’herméneutique au regard de la tripartition de Jean Molino ; l’exemple de la Scène aux champs d’Hector Berlioz ( abstract )

analysis, hermeneutics, communication ( abstract )

Playing with Shadows: The Reinjection Loop as Historical Memory in Georg Friedrich Haas’s Live-elektronische Musik ( abstract )

Spectral Processes in Alvin Lucier’s Twonings ( abstract )

Collaborative Creation in Electroacoustic Music. Comparative analysis of three case studies. ( abstract )

Analysis of digital e-sketches: case study Marco Stroppa ( abstract )

The analysis of music for performers and real-time electronics: an interactive aural approach from the [ANONYMISED] project ( abstract )

Transformation analysis of the relations between acoustic instruments and electronics in mixed concert music ( abstract )

Music Analysis and Process ( abstract )

Classical Phenomenology and the Epistemological Clarification of Music Analysis ( abstract )

Musique, sémiologie musicale, musicologie : apports de l'heuristique musicale et de la philosophie de la complexité ( abstract )

Meta-Music and the Analytical Challenges of Jan W. Morthenson’s Music ( abstract )

An analytical study of repetition in recent Western art music: Bernhard Lang’s Differenz/Wiederholung 12 (Cellular Automata) for solo piano (2003). ( abstract )

Analysing early 17th century music with concepts of music theorica and musica poetica – The analytical implications of early triadic concepts of Baryphonus and Lippius ( abstract )

A New Model for Modal Analysis in Baroque Music ( abstract )

François Couperin's La Flore (Fifth Ordre): Motivic Replication, Approach to III, and Analytic Methodology ( abstract )

Harmony as Cultural Hybrid: Reflection on the First Nationwide Music Theory Conference in China (Wuhan, 1979) ( abstract )

Tonality: semantic aspect ( abstract )

Dynamic Grammar of Tonality: the real-time understanding of tonal music ( abstract )

Closing a Gap Between Theory and Praxis. Friedrich Kalkbrenner’s Treatise on Harmony for Pianists ( abstract )

The Role of Embodiment and Imagined, Supplemental Sound in the Analysis of Nineteenth-Century Piano Music ( abstract )

Il Capriccio VI di Niccolò Paganini: percorsi analitici attorno al problema performativo ( abstract )

Deep Music: The Global Art-Science Music After Six Millennia ( abstract )