| ARTICLES | |
| Eric McKee | Extended Anacruses in Mozart's Instrumental Music, pp. 1–38 |
| James S. MacKay | Musical Proportion and Formal Function in Classical Sonata Form: Three Case Studies From Late Haydn and Early Beethoven, pp. 39–68 |
| Ryan McClelland | Brahms's Capriccio in C Major, Op. 76, No. 8: Ambiguity, Conflict, Musical Meaning, and Performance, pp. 69–94 |
| Yosef Goldenberg | "Negative Texture" and the Prolongation of Seventh Chords, pp. 95–124 |
| Ken Stephenson | "A Hit by Varèse": Idiomatic Syntax in the PC Counterpoint of Three Songs by Chicago, pp. 125–34 |
| (RE)TRANSITIONS | |
| Carl Friedrich Weitzmann | The Augmented Triad (1853), trans. Janna Saslaw |
REVIEWS |
| Carl Wiens | Joseph N. Straus. Stravinsky's Late Music (Cambridge: Cambridge University Press, 2001), pp. 229 –40 |
| REVIEW SYMPOSIUM | |
| Robert Pascall, Phyllis Weliver, and Patrick McCreless | Kevin Korsyn. Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003), pp. 241–66 |