| ARTICLES | |
| Teresa Davidian | Intervallic Oricess and Autonomy in the First Movement of Debussy's Sonata for Cello and Piano, pp. 1–12 |
| Roger Graybill | Intervallic Transformation and Closure in the Music of Stravinsky, pp. 13–34 |
| Timothy L. Jackson | Schoenberg's Op. 14 Songs: Textual Sources and Analytical Perception, pp. 35–58 |
| Louis Karchin | Pitch Centricity as an Organizing Principle in Speculum Speculi of Charles Wuorinen, pp. 59–82 |
| Judy Lochhead | The Metaphor of Musical Motion: Is There An Alternative, pp. 83–104 |
| Paul W. Metz | The Clock Diagram: An Effective Visual Tool in Set Theory Pedagogy, pp. 105–122 |
| Marianne Richert Pfau | The Potential and the Actual: Process Philosophy and Arnold Schoenberg's Violin Concerto, Op. 36, pp. 123–38 |
| Charles Porter | Interval Cycles in Alban Berg's String Quartet Opus 3, pp. 139–78 |
| Paul Wilson | Function and Pitch Hierarchy in Movement II of Bartók's Fifth Quartet, pp. 179–86 |
| ARTICLE-REVIEW | |
| Stephen Dembski | The Context of Composition: The Reception of Robert Morris's Theory of Compositional Design, pp. 187–202 |
| REVIEWS | |
| George Fisher | Michael L. Friedmann, Ear Training for Twentieth-Century Music (New Haven: Yale University Press, 1990), pp. 203–08 |
| J. Philip Lambert | Joel Lester, Analytical Approaches to Twentieth-Century Music (New York: W. W. Norton & Co., 1989), pp. 209–15 |