1. Personae / Acknowledgments
  2. DOI: 10.1353/pnm.2005.0008
  3. restricted access contents
  1. Textural "Klangfarben" in James Dillon's "La femme invisible" (1989): An Explanatory Model
  2. Elizabeth Hoffman
  3. pp. 4-33
  4. DOI: 10.1353/pnm.2005.0000
  5. restricted access contents
  1. Timespan Hierarchies and Posttonal Pitch Structure: A Composer's Strategies
  2. Paul Nauert
  3. pp. 34-53
  4. DOI: 10.1353/pnm.2005.0001
  5. restricted access contents
  1. Color-Class and Pitch-Class Isomorphisms: Composition and Phenomenology
  2. Wayne Slawson
  3. pp. 54-119
  4. DOI: 10.1353/pnm.2005.0006
  5. restricted access contents
  1. Surface Elaboration of Pitch-Class Sets Using Nonpitched Musical Dimensions
  2. Jason Eckardt
  3. pp. 120-140
  4. DOI: 10.1353/pnm.2005.0005
  5. restricted access contents
  1. Form as an Outgrowth of Timbre and Rhythm: Wesley Fuller's "Sherds of Five"
  2. Stephen Lilly
  3. pp. 142-170
  4. DOI: 10.1353/pnm.2005.0003
  5. restricted access contents
  1. Of Art and Artifice: Style and Technique in the Music of Morris Rosenzweig
  2. Brian Hulse
  3. pp. 172-196
  4. DOI: 10.1353/pnm.2005.0007
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  1. A Few Points about Burt Bacharach...
  2. Mihai Cucos
  3. pp. 198-211
  4. DOI: 10.1353/pnm.2005.0004
  5. restricted access contents
  1. Budapest ♥ NY: The New Music Studio 1971-1980
  2. Alan Williams
  3. pp. 212-235
  4. DOI: 10.1353/pnm.2005.0002
  5. restricted access contents