1. On One on One
  2. Benjamin Boretz
  3. pp. 5-9
  4. DOI: 10.1353/pnm.2018.0008
  5. restricted access contents
  1. Graphics
  3. pp. 10-170
  4. DOI: 10.1353/pnm.2018.0005
  5. restricted access contents
  1. Sound Installation and Time: Becoming, Place, and the Case for Performance
  2. William Davy Cole
  3. pp. 11-33
  4. DOI: 10.1353/pnm.2018.0007
  5. restricted access contents
  1. Me, Myself, and I: Aesthetics and Self-Presentation in Stockhausen's Trans
  2. Ethan Braun
  3. pp. 35-85
  4. DOI: 10.1353/pnm.2018.0000
  5. restricted access contents
  1. In ihiio - In iten - In itlahtol: New Music for the Mexican Orchestra
  2. Mauricio Rodriguez
  3. pp. 87-99
  4. DOI: 10.1353/pnm.2018.0002
  5. restricted access contents
  1. "Don't knock the hybrids": Musical Polystylism in Celso Garrido-Lecca's Duo Concertante
  2. Andrés Carrizo
  3. pp. 101-135
  4. DOI: 10.1353/pnm.2018.0004
  5. restricted access contents
  1. Squaring with the Truth: Peter Maxwell Davies and Vesalii Icones
  2. Nirmali Fenn
  3. pp. 137-169
  4. DOI: 10.1353/pnm.2018.0003
  5. restricted access contents
  1. All-Trichordal Saturated M-Chain Cycles
  2. Kyle Quarles, Daniel Sieburth
  3. pp. 171-190
  4. DOI: 10.1353/pnm.2018.0001
  5. restricted access contents
  1. The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments, Its Precedents, and Its Consequences
  2. Zachary Bernstein
  3. pp. 191-244
  4. DOI: 10.1353/pnm.2018.0006
  5. restricted access contents