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

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

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

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

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

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

Micro-Diatonicism and Formal Structure in 20th-Century Music

Computergestützte Analyse und ihr praktischer Einsatz in der musiktheoretischen Lehre

Computer Generated Orchestration: Towards Using Musical Timbre in Composition

Stylometric Analysis of Music in Search of Cross-cultural Similarities

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

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

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

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

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

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

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

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

Fonte And Monte in the Symphonies of Joseph Haydn

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

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

Gjerdingen's Schemata Re-Examined

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

Solfeggi: Sounding their hidden Depths

Mobile Way to Music Analysis: Learning Fundamentals Digitally

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

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

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

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

The evolution of Scriabin’s language through the evolution of the mystic chord

Hearing Function in Post-Tonal Contexts

Chord Superimposition in Two Late Orchestral Works by Ferruccio Busoni

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

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

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.

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

Wayne Shorter and the 12-bar Blues Form

Wayne Meets World: Compositional Methods in Three Wayne Shorter Pieces

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

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

Metric elements in free rhythm Taksim Improvisations.

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

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

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

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

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

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

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

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

Goehr’s Piano Sonata through a Transformational Lens

Exploring Linear-Analytical Elements in the Writings of Leo Mazel

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

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

Analyzing Analyses: Towards a Reconciliation of Schenkerism and Riemannism

Exploring the limits of neo-Riemannian theory

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

Cognitive Aspects of Gradual Modulation

1917 Modulating the World into a Different Key

Psychoanalytic Reflections on Modulation

Modulation as Structure and as an Act

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

Teaching Partimento Analysis and Realization in Paris

Verdi and the Eighteenth century Neapolitan Tradition

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

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

Describing prosody in Debussy’s songs

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

Expectancy situations, sound and form in Debussy’s Nocturnes

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

Paul Ben-Haim: Between East and West

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

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

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

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

Theoretical Aspects of the Modal and Tonal Organization of Renaissance Polyphony

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

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

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

Modal and Tonal Organization in Polyphonic Compositions

Striking Approaches to Recapitulations

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

A Theory of Tonal Alterations in Sonata Recapitulations

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

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

Paul Hindemith and the Spectralists

Jean-Louis Florentz: Hospitality and Spectralism

Spectral Aesthetics and ecological listening in the music of Helena Tulve

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

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

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

Conceptualizing the "perceptualization" of timbre: epistemic and analytic reflections

Form as Timbral Mapping: Process Ontologies for Recorded Popular Music

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

Against Timbre, Harmony: The Case of African Music

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

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

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