| ARTICLES | |
| David Løberg Code | ¦ [not equal]: Feminism, Tuning, and Theory Pedagogy, pp. 1–12 |
| Edward Gollin | Transformational Techniques in Bartók's Etude Op. 18, No. 2, pp. 13–30 |
| Dora A. Haninen | The Variety of Order Relations in Webern's Music: Studies of Passages from the Quartet Op. 22 and the Variations Op. 30, pp. 31–56 |
| Tiina Koivisto | Musical Continuities in Schoenberg's Variations for Orchestra Op. 30, pp. 57–90 |
| Elizabeth West Marvin and Robert W. Wason | On Preparing Anton Webern's Early Songs for Performance: A Collaborators' Dialogue, pp. 91–124 |
| Cynthia Pace | Accent on Form-Against-Form: Ruth Crawford's Piano Study in Mixed Accents, pp. 125–48 |
| Naphtali Wagner | No Crossing Branches? The Overlapping Technique in Schenkerian Analysis, pp. 149–76 |
| REVIEW-ESSAY | |
| Richard Kurth | Schoenberg's Notes on "Coherence": Theory or Prolegomena to the Twelve-Tone Method?, pp. 177–92 |
| REVIEW | |
| Dave Headlam | David Epstein. Shaping Time: Music, The Brain, and Performance (New York: Schirmer Books, 1995), pp. 193–204 |