SMT-V Archives
Volume 10 (2024)
Editor: Megan Long; Associate Editor: Jonathan De Souza
- 10.1: L. Poundie Burstein with Quynh Nguyen and Jennifer Roderer, “The Best Laid Plans . . . and Others: An 18th-Century Compositional Outline”
- 10.2: Brad Osborn, “Dual Leading-Tone Loops in Recent Television Dramas”
- 10.3: Christoph Neidhöfer, “Directionality in Twelve-Tone Composition” (forthcoming)
- 10.4: Guy Capuzzo, “Simultaneous Distinct Headbanging Patterns in Heavy Metal” (forthcoming)
- 10.5: Zachary Cairns, “Whole-Tone Collections and Temporal Dislocation in Film Music” (forthcoming)
- 10.6: Liam Hynes-Tawa: “Japanese Tetrachordal Theory in Settings Old and New” (forthcoming)
Volume 9 (2023)
Editor: Megan Long; Associate Editor: Jonathan De Souza
- 9.1: Chelsea Oden, “‘We are dancing, We are flying’: The Feeling of Flight in Dance Scenes from Recent Popular Film”
- 9.2: Christine Boone, “Algorithmic Remixes”
- 9.3: Rachel Short, “Interactions Between Music and Dance in Two Musical Theater Tap Breaks”
- 9.4: Nathaniel Mitchell, “Variations on a Theme by K. K. Slider: Memory and Play in Animal Crossing: New Horizons”
- 9.5: Yi-Cheng Daniel Wu, “Poetry and Musical Organization in JIA Guoping’s The Wind Sounds in the Sky (2002)”
- 9.6: Jeremy Orosz, “The Unbreakable Kimmy Schmidt: A New Model for Television Sound-Alikes?”
Volume 8 (2022)
8.1–8.2: Editor: L. Poundie Burstein; Associate Editor: Seth Monahan
8.3–8.6: Editor: Megan Long; Associate Editor: Jonathan De Souza
- 8.1: Noriko Manabe: “Abe Road: Kuwata Keisuke’s Beatles Parody”
- 8.2: Scott Murphy: “Clara Schumann’s op. 16 no. 3 and ‘Fifth Above, Third Below’: Discerning Inverted Canonic Potential”
- 8.3: Nicholas Shea, “The Feel of the Guitar in Popular Music Performance”
- 8.4: Stanley V. Kleppinger, “Appropriating Copland’s Fanfare”
- 8.5: Eron F.S., “Flat 2 as Hotness in Post-Millennial Pop”
- 8.6: Ben Duinker, “When Hip-Hop Accents Collide (They Create Syncopation)”
Volume 7 (2021)
Editor: L. Poundie Burstein, Associate Editor: Seth Monahan
- 7.1: Stephanie Probst, “Music Appreciation Through Animation: Percy Scholes’s ‘AudioGraphic’ Piano Rolls”
- 7.2: Kara Yoo Leaman, “Dance as Music in George Balanchine’s Concerto Barocco”
- 7.3: Orit Hilewicz and Stephen Sewell, “A Film Scene for Schoenberg’s Begleitungsmusik zu einer Lichtspielscene”
- 7.4: Michael Buchler, “I Don’t Care if I Never Get Back: Optimism and Ascent in ‘Take Me Out to The Ball Game’”
- 7.5: Adem Merter Birson, “Understanding Turkish Classical Makam: Identifying Modes Through Characteristic Melodies”
- 7.6: Megan Lavengood, “‘Oops!…I Did It Again’: The Complement Chorus in Britney Spears, the Backstreet Boys, and *NSYNC”
Volume 6 (2020)
Editor: L. Poundie Burstein, Associate Editor: Seth Monahan
- 6.1: Cecilia Oinas, “Sensitivity, Intimacy, and Bodily Interaction in Kurtág’s Four-Handed Piano Works”
- 6.2: Brian Edward Jarvis and John Peterson, “Detour or Bridge? Contrasting Sections and Storytelling in Musical Theater”
- 6.3: Daniel Ketter, “Discovering Essential Voices in Johann Sebastian Bach’s Solo Instrumental Suite Movements”
- 6.4: Alyssa Barna, “The Dance Chorus in Recent Top-40 Music”
- 6.5: Aaron Carter-Ényì and Quintina Carter-Ényì, “Melodic Language and Linguistic Melodies: Text Setting in Ìgbò”
Volume 5 (2019)
5.1 - 5.3: Editor: Scott Murphy, Associate Editors Anna Gawboy and Bryn Hughes
5.4 - 5.5.: Editor: L. Poundie Burstein, Associate Editor: Seth Monahan
- 5.1: Joshua Banks Mailman, “Babbitt’s Beguiling Surfaces, Improvised Inside; Part I: Freedoms”
- 5.2: Joshua Banks Mailman, “Babbitt’s Beguiling Surfaces, Improvised Inside; Part II: Diversities”
- 5.3: Joshua Banks Mailman, “Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities”
- 5.4: Scott Murphy, “‘Fifth Above, Third Below’: Discerning Canonic Potential”
- 5.5: Matthew E. Ferrandino and Brad Osborn, “Seeing Stories, Hearing Stories in Narrative Music Video”
Volume 4 (2018)
Editor: L. Poundie Burstein, Associate Editor: Seth Monahan
- 4.1: Christopher Doll, “Was it Diegetic, or Just a Dream? Music’s Paradoxical Place in the Film Inception”
- 4.2: Carmel Raz, “Anne Young’s Musical Games (1801): Music Theory, Gender, and Game Design”
- 4.3: Carmel Raz, “Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory”
Volume 3 (2017)
Editor: Scott Murphy, Associate Editors Anna Gawboy and Bryn Hughes
- 3.1: L. Poundie Burstein with Quynh Nguyen, “Parenthetic Aside in a 1789 Analysis of Mozart’s K. 284”
- 3.2: J. Daniel Jenkins, “Schoenberg’s ‘Advice for Beginners in Composition with Twelve Tones’”
- 3.3: Stephen Rodgers, “Music, Poetry, and Performance in a Song by Maria Schneider”
Volume 2 (2016)
Editor: Scott Murphy, Associate Editors Anna Gawboy and Bryn Hughes
- 2.1: Harald Krebs, “The Influence of Clara Schumann’s Lieder on Declamation in Robert Schumann’s Late Songs”
- 2.2: Steven Reale, “Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2” (Part 1)
- 2.3: Steven Reale, “Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2” (Part 2)
Volume 1 (2015)
Editor: Scott Murphy, Associate Editors Anna Gawboy and Bryn Hughes
- 1.1: Elizabeth Hellmuth Margulis, “Repetition and Musicality”
- 1.2: Peter Schubert, “Contrapuntal Thinking in Haydn”
- 1.3: Edward Klorman, “Multiple Agency in Mozart’s Chamber Music”
For a list of the SMT-V Editorial Boards by year, see the SMT Archives