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Table of Contents

  1. Introduction
  2. Chris Stover
  3. pp. 7-10
  4. DOI: https://doi.org/10.1353/pnm.2019.0003
  5. restricted access
  1. Nadasonata
  2. Robert Morris
  3. pp. 11-23
  4. DOI: https://doi.org/10.1353/pnm.2019.0012
  5. restricted access
  1. Rethinking Repetition: Interrogating Schoenberg's Writings
  2. Áine Heneghan
  3. pp. 25-74
  4. DOI: https://doi.org/10.1353/pnm.2019.0006
  5. restricted access
  1. Variation/Variarions: What Schoenberg's Approach to Formenlehre Can Reveal about His Musical Language(s)
  2. Andrew Mead
  3. pp. 75-116
  4. DOI: https://doi.org/10.1353/pnm.2019.0010
  5. restricted access
  1. Old School: Some Analytical Notes on Schoenberg, Five Pieces for Orchestra, Op. 16 No. 2 ("Vergangenes")
  2. Jonathan W. Bernard
  3. pp. 117-135
  4. DOI: https://doi.org/10.1353/pnm.2019.0029
  5. restricted access
  1. Musical Backstories In Honor of John Rahn
  2. Lynne Rogers
  3. pp. 137-147
  4. DOI: https://doi.org/10.1353/pnm.2019.0004
  5. restricted access
  1. When Composers Draw: Personalized Music, Formalized Thought
  2. Elizabeth Hoffman
  3. pp. 149-190
  4. DOI: https://doi.org/10.1353/pnm.2019.0008
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  1. (In His Own Words): The Poetry of John Rahn's Sea of Souls
  2. Tom Baker
  3. pp. 191-201
  4. DOI: https://doi.org/10.1353/pnm.2019.0017
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  1. Fractures: Kali 1986
  2. Elaine R. Barkin
  3. pp. 203-210
  4. DOI: https://doi.org/10.1353/pnm.2019.0027
  5. restricted access
  1. The Frame and The Swerve: Music Video's Relationship to Dance
  2. Brad Osborn
  3. pp. 211-221
  4. DOI: https://doi.org/10.1353/pnm.2019.0026
  5. restricted access
  1. On the Swerve and the Flow in Thomas Adès's Polaris, op. 29
  2. Orit Hilewicz
  3. pp. 223-242
  4. DOI: https://doi.org/10.1353/pnm.2019.0007
  5. restricted access
  1. Seminar Reflections
  2. Gary W. Don
  3. pp. 243-249
  4. DOI: https://doi.org/10.1353/pnm.2019.0011
  5. restricted access
  1. A Question, A Rose: for violin alone
  2. Benjamin Boretz
  3. pp. 251-254
  4. DOI: https://doi.org/10.1353/pnm.2019.0018
  5. restricted access
  1. Deterritorialize Yourself! (Four Meta-Musical Vignettes for John Rahn)
  2. Chris Stover
  3. pp. 255-285
  4. DOI: https://doi.org/10.1353/pnm.2019.0025
  5. restricted access
  1. Compositional Qualia in the Princeton School
  2. Scott Gleason
  3. pp. 287-323
  4. DOI: https://doi.org/10.1353/pnm.2019.0021
  5. restricted access
  1. Translator's Introduction: Jacques Rancière, "Autonomy and Historicism: The False Alternative"
  2. Patrick Nickleson
  3. pp. 325-327
  4. DOI: https://doi.org/10.1353/pnm.2019.0028
  5. restricted access
  1. Autonomy and Historicism: The False Alternative (On the Regimes of Historicity of Art)
  2. Jacques Rancière, Patrick Nickleson
  3. pp. 329-351
  4. DOI: https://doi.org/10.1353/pnm.2019.0014
  5. restricted access
  1. This Is the Piece
  2. Christian Asplund
  3. pp. 353-374
  4. DOI: https://doi.org/10.1353/pnm.2019.0020
  5. restricted access
  1. Logic-Programming Models of Music: A Semiotic Evaluation
  2. John Roeder
  3. pp. 375-402
  4. DOI: https://doi.org/10.1353/pnm.2019.0019
  5. restricted access
  1. Wreaths for Rahn, and Valuable Exchanges
  2. Jason Yust
  3. pp. 403-429
  4. DOI: https://doi.org/10.1353/pnm.2019.0013
  5. restricted access
  1. Consciousness, Creativity, and Complex Time in Music
  2. Guerino Mazzola
  3. pp. 431-439
  4. DOI: https://doi.org/10.1353/pnm.2019.0002
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  1. The Structure of Morphological Space
  2. David Kant, Larry Polansky
  3. pp. 441-498
  4. DOI: https://doi.org/10.1353/pnm.2019.0022
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  1. Tiling Six-Part Double Canons on Trichords
  2. Luigi Verdi, Deborah Burton
  3. pp. 499-577
  4. DOI: https://doi.org/10.1353/pnm.2019.0000
  5. restricted access
  1. How Du You Compose Yourself?
  2. Carlton Gamer
  3. pp. 579-590
  4. DOI: https://doi.org/10.1353/pnm.2019.0024
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  1. Afterword
  2. John Rahn
  3. p. 592
  4. DOI: https://doi.org/10.1353/pnm.2019.0005
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  1. Interludes
  2. Various
  3. DOI: https://doi.org/10.1353/pnm.2019.0015
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  1. Personae
  3. pp. 599-603
  4. DOI: https://doi.org/10.1353/pnm.2019.0023
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  1. Acknowledgments
  3. p. 604
  4. DOI: https://doi.org/10.1353/pnm.2019.0001
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