| ARTICLES | |
| Hedi Siegel | The Making of Theory and Practice: Looking Back at Volumes 1–15, pp. 1–4 |
| Carl Schachter | The Adventures of an F#: Tonal Narration and Exhortation in Donna Anna's First-Act Recitative and Aria, pp. 5–20 |
| Charles Burkhart | How Rhythm Tells The Story in Là ci darem la mano, pp. 21–38 |
| Eytan Agmon | A Moment of Suspence in the Second Finale of Don Giovanni, pp. 39–50 |
| John L. Snyder | Schenker and the First Movement of Mozart's Sonata, K. 545: An Uninterrupted Sonata-Form Movement, pp. 51–78 |
| Norman L. Wick | Transformations of Middleground Hypermeasures in Selected Mozart Keyboard Sonatas, pp. 79–102 |
| Walter Everett | Voice Leading, Register, and Self-Discipline in Mozart's Die Zauberflöte, pp. 103–26 |
| Taylor Greer | Modal Sensibility in Gabriel Fauré's Harmonic Language, pp. 127–42 |
| Nadine Hubbs | Schenker's Organicism, pp. 143–62 |
| David P. Goldman | A New Look at Zarlino's Theory and Its Effect on His Counterpoint Doctrine, pp. 163–78 |
| ARTICLE-REVIEW | |
| Michèle Fromson | Cadential Structure in the Mid-Sixteenth Century: The Analytic Approaches of Bernhard Meier and Karol Berger Compared, pp. 179–214 |
| REVIEW | |
| L. Poundie Burstein | The Book of The Musical Artwork: An Interpretation of the Musical Theories of Heinrich Schenker by Felix-Eberhard von Cube, trans., with afterword, by David Neumeyer, George R. Bpyd, and Scott Harris (Lewiston/Queenston: The Edward Mellon Press, 1988), pp. 215–19 |