| ARTICLES | |
| Byron Almén | Modes of Analysis, pp. 1–38 |
| José António Martins | Stravinsky's Discontinuities, Harmonic Practice, and the Guidonian Space in the "Hymne" from Serenade in A, pp. 39–64 2004 Patricia Carpenter Emerging Scholar Award |
| Samuel Ng | The Hemiolic Cycle and Metric Dissonance in the First Movement of Brahms's Cello Sonata in F Major, Op. 99, pp. 65–96 2005 Patricia Carpenter Emerging Scholar Award |
| Jonathan R. Pieslak | Conflicting Analytical Approaches to Late Nineteenth- and Early Twentieth-Century Tonal Music: An Archaeological Examination, pp. 97–132 |
| Deborah Rifkin | Making it Modern: Chromaticism and Phrase Structure in Twentieth-Century Tonal Music, pp. 133–58 |
| (RE)TRANSITIONS | |
| Denys Bouliane | Ligeti's Six Études pour Piano: The Fine Art of Composing Using Cultural Referents, trans. Anouk Lang Introduction, pp. 159–62 English text, pp. 163–208 |
| REVIEWS | |
| Ryan McClelland | Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet, by Peter Smith (Bloomington: Indiana U. Press, 2005), pp. 209–224 |
| Elizabeth West Marvin | Engaging Music: Essays in Music Analysis, edited by Deborah Stein (New York: Oxford U. Press), pp. 225–238 |