Theory and Practice
Index to Volumes 14-15 (1989–1990)

Frank Samarotto, Editor


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