In this Issue

Table of Contents

Personae / Acknowledgments

DOI: https://doi.org/10.1353/pnm.2005.0008
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Textural "Klangfarben" in James Dillon's "La femme invisible" (1989): An Explanatory Model

Elizabeth Hoffman
pp. 4-33
DOI: https://doi.org/10.1353/pnm.2005.0000
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Timespan Hierarchies and Posttonal Pitch Structure: A Composer's Strategies

Paul Nauert
pp. 34-53
DOI: https://doi.org/10.1353/pnm.2005.0001
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Color-Class and Pitch-Class Isomorphisms: Composition and Phenomenology

Wayne Slawson
pp. 54-119
DOI: https://doi.org/10.1353/pnm.2005.0006
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Surface Elaboration of Pitch-Class Sets Using Nonpitched Musical Dimensions

Jason Eckardt
pp. 120-140
DOI: https://doi.org/10.1353/pnm.2005.0005
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Form as an Outgrowth of Timbre and Rhythm: Wesley Fuller's "Sherds of Five"

Stephen Lilly
pp. 142-170
DOI: https://doi.org/10.1353/pnm.2005.0003
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Of Art and Artifice: Style and Technique in the Music of Morris Rosenzweig

Brian Hulse
pp. 172-196
DOI: https://doi.org/10.1353/pnm.2005.0007
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A Few Points about Burt Bacharach...

Mihai Cucos
pp. 198-211
DOI: https://doi.org/10.1353/pnm.2005.0004
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Budapest ♥ NY: The New Music Studio 1971-1980

Alan Williams
pp. 212-235
DOI: https://doi.org/10.1353/pnm.2005.0002
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