| Author |
Title |
Series |
Vol |
No |
Year |
Pages |
NB |
| Jacobi, Erwin R. | Harmonic Theory in England after the Time of Rameau. | JMTheory | 1 | 2 | Nov 1957 | 126-146 | |
| Lenneberg, Hans | Johann Mattheson on Affect and Rhetoric in Music. | JMTheory | 2 | 1, 2 | Apr; Nov 1958 | 47-84; 193-236 | |
| Mekeel, Joyce | The Harmonic Theories of Kirnberger and Marpurg. | JMTheory | 4 | 2 | Nov 1960 | 169-193 | |
| Berard, Wilford W. | The Eleventh and Thirteenth Partials. | JMTheory | 5 | 1 | Spring 1961 | 95-107 | |
| Ricks, R. W. | [on Wilford W. Berard's article 'The Eleventh and Thirteenth Partials'] | JMTheory | 5 | 2 | Winter 1961 | 334-336 | |
| Helm, E. Eugene | Six Random Measures of C. P. E. Bach. | JMTheory | 10 | 1 | Spring 1966 | 139-151 | |
| Serwer, Howard | Marpurg versus Kirnberger: theories of fugal composition. | JMTheory | 14 | 2 | Winter 1970 | 209-236 | |
| Fay, Thomas | Perceived hierarchic Structure in Language and Music. | JMTheory | 15 | 1-2 | Spring-Winter 1971 | 112-137 | |
| Buelow, George J. | Symposium on 17th Century Music Theory: Germany. | JMTheory | 16 | 1-2 | Spring-Winter 1972 | 36-49 | |
| Hall, Donald | The Objective Measurement of Goodness-of-Fit for Tunings and Temperaments. | JMTheory | 17 | 2 | Autumn 1973 | 274-290 | |
| Beach, David W. | The Origins of Harmonic Analysis. | JMTheory | 18 | 2 | Autumn 1974 | 274-306 | |
| Smoliar, Stephen W. | Process Structuring and Music Theory. | JMTheory | 18 | 2 | Autumn 1974 | 308-336 | |
| Dahlhaus, Carl | Some Models of Unity in Musical Form. | JMTheory | 19 | 1 | Spring 1975 | 2-31 | |
| Butler, Gregory G. | Fugue and Rhetoric. | JMTheory | 21 | 1 | Spring 1977 | 49-109 | |
| Lerdahl, Fred; Jackendoff, Ray | Toward a Formal Theory of Tonal Music. | JMTheory | 21 | 1 | Spring 1977 | 111-171 | |
| Grant, Cecil Powell | The Real Relationship between Kirnberger's and Rameau's 'Concept of the Fundamental Bass'. | JMTheory | 21 | 2 | Autumn 1977 | 324-338 | |
| Lester, Joel | The Recognition of Major and Minor Keys in German Theory: 1680-1730. | JMTheory | 22 | 1 | Spring 1978 | 65-103 | |
| Beach, David W.; Thym, Jurgen | The True Principles for the Practice of Harmony by Johann Philip Kirnberger. | JMTheory | 23 | 2 | Autumn 1979 | 163-226 | |
| Lindley, Mark | Mersenne on Keyboard Tuning. | JMTheory | 24 | 2 | 1980 | 167-203 | |
| Knopoff, Leon; Hutchinson, William | Information theory for musical continua. | JMTheory | 25 | 1 | Spring 1981 | 17-44 | |
| Sheldon, David A. | The Ninth Chord in German Theory. | JMTheory | 26 | 1 | Spring 1982 | 61-100 | |
| Nelson, Richard B.; Boomgaarden, Donald R. | Kirnberger's 'Thoughts on the Different Methods of Teaching Composition as Preparation for Understanding Fugue'. | JMTheory | 30 | 1 | Spring 1986 | 71-96 | |
| Christensen, Thomas | Eighteenth-Century Science and the 'Corps Sonore:' The Scientific Background to Rameau's 'Principle of Harmony'. | JMTheory | 31 | 1 | Spring 1987 | 23-50 | |
| Hefling, Stephen E. | 'Of the Manner of Playing the Adagio': Structural Levels and Performance Practice in Quantz's 'Versuch'. | JMTheory | 31 | 2 | Autumn 1987 | 205-223 | |
| Breslauer, Peter | Diminutional rhythm and melodic structure. | JMTheory | 32 | 1 | Spring 1988 | 1-22 | |
| Harrison, Daniel | Some Group Properties of Triple Counterpoint and Their Influence on Compositions by J. S. Bach. | JMTheory | 32 | 1 | Spring 1988 | 23-49 | |
| Burns, Lori | Modal Identity and Irregular Endings in Two Chorale Harmonizations by J. S. Bach. | JMTheory | 38 | 1 | Spring 1994 | 43-77 | |
| Smith, Peter Howard | Structural Tonic or Apparrent Tonic?: Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities. | JMTheory | 39 | 2 | Autumn 1995 | 245-283 | |
| Carey, Norman; Clampitt, David | Regions: A Theory of Tonal Spaces in Early Medieval Treatises. | JMTheory | 40 | 1 | Spring 1996 | 113-147 | |
| Lewin, David | Notes on the Opening of the F# Minor Fugue from WTCI. | JMTheory | 42 | 2 | Autumn 1998 | 235-239 | |
| Smyth, David H. | Schenker's octave lines reconsidered. | JMTheory | 43 | 1 | Spring 1999 | 101-133 | |
| Galand, Joel | The Large-Scale Formal Role of the Solo Entry Theme in the Eighteenth-Century Concerto. | JMTheory | 44 | 2 | Autumn 2000 | 381-450 | |
| Braunschweig, Karl | Enlightenment Aspirations of Progress in Eighteenth-Century German Theory. | JMTheory | 47 | 2 | Fall 2003 | 273-304 | |
| Renwick, William J. | Of time and eternity: Reflections on 'Das alte Jahr vergangen ist'. | JMTheory | 50 | 1 | Spring 2006 | 64-76 | |
| Kielian-Gilbert, Marianne | Inventing a Melody with Harmony. Tonal Potential and Bach's 'Das alte Jahr vergangen ist'. | JMTheory | 50 | 1 | Spring 2006 | 77-101 | |
| Temperley, David | Key Structure in 'Das alte Jahr vergangen ist'. | JMTheory | 50 | 1 | Spring 2006 | 103-110 | |
| Willner, Channan | Metrical displacement and metrically dissonant hemiolas. | JMTheory | 57 | 1 | Spring 2013 | 87-118 | |
| Anson-Cartwright, Mark | The Mutable Subject: Tonal and Rhythmic Transformations in Selected Fugues of J. S. Bach. | JMTheory | 58 | 1 | Spring 2014 | 1-24 | |
| Leaman, Kara Yoo | Musical techniques in Balanchine's jazzy Bach ballet. | JMTheory | 65 | 1 | April 2021 | 139-169 | |
39 matches.
