| Author |
Title |
Issue |
Year |
| Abrahams, Rosa |
Mimicry as Movement Analysis |
7.2 |
2019 |
| Àiná, David |
Tonal Counterpoint Revisited: From Yorùbá Pop to American Hip-Hop |
9.2 |
2021 |
| Bauer, Amy |
Response to “Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis” |
8.2 |
2020 |
| Browner, Tara |
Response to “Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis” |
8.2 |
2020 |
| Burnett, Henry |
Response to Professor Loeb |
2.1 |
2012 |
| Burnett, Henry |
Voice-Leading Considerations in Edo-Period Jiuta-Tegotomono: A New Analytical Approach |
1.2 |
2011 |
| Burns, James |
Response to “Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis” |
8.2 |
2020 |
| Carter-Ényi, Aaron |
Tonal Counterpoint Revisited: From Yorùbá Pop to American Hip-Hop |
9.2 |
2021 |
| Chiarofonte, Lorenzo |
Do Ko Gyi Kyaw: Analyzing the Interactions between Rhythms, Melodies, and Sonic Structures of a Burmese Spirit Song Performance |
9.1 |
2021 |
| Clarke, David |
On Not Losing Heart: A Response to Savage and Brown's "Toward a New Comparative Musicology" |
3.2 |
2014 |
| Clements, Carl |
Tradition and Innovation in the Bānsurī Performance Style of Pannalal Ghosh |
1.2 |
2011 |
| Cooper, Alec |
Micro-temporal Interactions in Sitar and Tabla Duo Performance: An Analysis of a Vilambit Performance by Pt. Nikhil Banerjee and Zamir Ahmed Khan |
7.1 |
2019 |
| Diaz, Juan Diego |
Experimentations with Timelines: Strategies of Rhythmic Complication in Afro-Bahian Jazz |
6.1 |
2017 |
| Dor, George Worlasi Kwasi |
Response to “Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis” |
8.2 |
2020 |
| Ferlaino, Christian |
Generative principles of dance music in Central Calabria |
7.1 |
2019 |
| Field, Garrett |
Improvising Rhythmic-Melodic Designs in South Indian Karnatak Music |
6.2 |
2018 |
| Fossum, David |
Principles of Transmission and Collective Composition in Turkmen Dutar Performance |
5.2 |
2017 |
| Garzoli, John |
The Myth of Equidistance in Thai Tuning |
4.2 |
2015 |
| Gerstin, Julian |
Comparisons of African and Diasporic Music: The Ewe, Cuba, and Martinique |
5.2 |
2017 |
| Goldberg, Daniel |
What’s the Meter of Elenino Horo?
Rhythm and Timing in Drumming for a Bulgarian Folk Dance |
7.2 |
2019 |
| Grauer, Victor |
Toward a New Comparative Musicology: Some Comments on the Paper by Savage and Brown |
3.2 |
2014 |
| Gray, Nicholas |
Reflections on Composing for Balinese Gendér Wayang: The Birth of Kala |
2.2 |
2013 |
| Hijleh, Mark |
Review of Michael Church, ed., The Other Classical Musics: Fifteen Great Traditions (Boydell and Brewer, 2015) |
5.1 |
2016 |
| Hynes-Tawa, Liam |
Tonic, Final, Kyū: Tonal Mappings in the Meiji Period and Beyond |
9.1 |
2021 |
| Jankowsky, Richard C. |
Rhythmic Elasticity and Metric Transformation in Tunisian Sṭambēlī |
3.1 |
2013 |
| Jiménez de Cisneros Puig, Bernat |
Discovering Flamenco Metric Matrices through a Pulse-Level Analysis |
6.1 |
2017 |
| Justus, Timothy, et. al. |
Remembering Melodies from Another Culture: Turkish and American Listeners Demonstrate Implicit Knowledge of Musical Scales |
7.1 |
2019 |
| Keogh, Brent |
Between Theory, Representation, and Practice of Maqām: Rethinking the Representation of the Arabic Maqāmāt |
3.2 |
2014 |
| Killick, Andrew |
Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis |
8.2 |
2020 |
| Kirilov, Kalin |
Petar Ralchev’s “Bulgarian Suite”: Explorations of Asymmetry, Modality, and Metrical Dissonances |
9.1 |
2021 |
| Klein, Amit |
Changing Performance Styles of Twentieth Century Ashkenazi Cantorial Recitatives |
3.2 |
2014 |
| Lawson, Francesca, and Shawn Nissen |
The Significance of the Vocal Signature in Chinese Narrative Performance: A Look at Pitch and Duratin Using Praat Acoustic Analysis Software |
6.1 |
2017 |
| Locke, David |
Call-and-Response Form in Ewe Agbadza Songs: Subtle Variety of a Common Practice |
3.1 |
2013 |
| Locke, David |
Let It Be Called "Comparative Ethnomusicology" |
3.2 |
2014 |
| Locke, David |
The Metric Matrix: Simultaneous Multidimensionality in African Music |
1.1 |
2011 |
| Loeb, David |
A Response to Professor Burnett |
2.1 |
2012 |
| Lwanga, Charles |
Bridging Ethnomusicology and Composition in the First Movement of Justinian Tamusuza's String Quartet Mu Kkubo e ry'Omusaalaba |
3.1 |
2013 |
| Malin, Yonatan |
Ethnography and Analysis in the Study of Jewish Music |
7.2 |
2019 |
| McGraw, Andrew |
Preliminary Remarks on a Helical Representation of Time |
2.2 |
2013 |
| McGraw, Andrew, with Christine Kohnen |
The Byar: An Ethnographic and Empirical Study of a Balinese Musical Moment |
5.1 |
2016 |
| Mills, Simon |
"Release Hitting": An Analytical Study Commemorating the Artistry of the South Korean Shaman Musician Kim Yongt'aek |
8.1 |
2020 |
| Mirelman, Sam |
Tuning Procedures in Ancient Iraq |
2.2 |
2013 |
| Morris, Robert |
Tana Varnam-s: An Entry into Raga Delineation in Carnatic Music |
1.1 |
2011 |
| Ozah, Marie Agatha, HHJC |
Building Bridges between African Traditional and Western Art Music: A Study of Joshua Uzoigwe's Egwu Amala |
3.1 |
2013 |
| Pacciolla, Paolo |
The Brimming Vessel: An Analysis of the Ritual Repertoire of the Miḻāvu from a Tantric Perspective |
9.1 |
2021 |
| Peiris, Eshantha |
Changing Conceptualizations of Rhythm in Sri Lankan Up-Country Percussion Music |
6.2 |
2018 |
| Pohlit, Stefan |
Julien Jalâl Ed-Dine Weiss: A Novel Proposal for the Middle Eastern Qānūn |
2.1 |
2012 |
| Pohlit, Stefan |
Makam and Beyond: A Unified Theory in Julien Jalâl Ed-Dine Weiss’s Last Composition |
8.1 |
2020 |
| Priore, Irna, and Chris Stover |
The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship |
3.2 |
2014 |
| Racanelli, David |
Formulaic Variation Procedures in Mande Griot (Jeli) Guitar Playing and Improvisation |
2.1 |
2012 |
| Rahn, Jay |
Coordinating Analyses of Tuning with Analyses of Pieces |
5.1 |
2016 |
| Rahn, Jay |
The Hurrian Pieces, ca. 1350 BCE: Part One—Notation and Analysis |
1.1 |
2011 |
| Rahn, Jay |
The Hurrian Pieces, ca. 1350 BCE: Part Two—From Numbered Strings to Tuned Strings |
1.2 |
2011 |
| Rahn, Jay |
Response to Mirelman: Orality and Aristoxenus; Pedagogy and Practice |
3.2 |
2014 |
| Rehding, Alexander |
The Dream of a Universal Notation: An Appreciation |
8.2 |
2020 |
| Roeder, John |
Timely Negotiations: Formative Interactions in Cyclic Duets |
7.1 |
2019 |
| Roeder, John |
Fluctuant Grouping in a Silk-and-Bamboo Melody |
1.2 |
2011 |
| Savage, Patrick E., and Steven Brown |
Toward a New Comparative Musicology |
2.2 |
2013 |
| Savage, Patrick E., Emily Merritt, Tom Rzeszutek, and Steven Brown |
CantoCore: A New Cross-Cultural Song Classification Scheme |
2.1 |
2012 |
| Schachter, Michael |
Andrew Killick's "Global Notation" and the Paradox of Universal Specificity |
8.2 |
2020 |
| Scherzinger, Martin |
Fractal Geometries of an African Music |
3.1 |
2013 |
| Shuster, Lawrence |
Global Musical Possibilities: An Interview with Composer-Theorist Robert Cogan |
4.2 |
2015 |
| Simon, Amy D. |
Shakuhachi honkyoku: Motivic Analysis of Sokaku Reibo |
5.2 |
2017 |
| Stephens, John |
The Microtones of Bharata's Natyashastra |
6.1 |
2017 |
| Stover, Chris |
Contextual Theory, or Theorizing between the Discursive and the Material |
7.2 |
2019 |
| Sykes, Jim |
South Asian Drumming Beyond Tala: The Problem with "Meter" in Buddhist Sri Lanka |
6.2 |
2018 |
| Sykes, Jim |
On the Sonic Materialization of Buddhist History: Drum Speech in Southern Sri Lanka |
6.2 |
2018 |
| Szczepanski, Beth |
Impossible Melodies: Octave Cycles and Illusory Pitch Shifts in a North Chinese Wind Repertoire |
4.1 |
2015 |
| Tallotte, William |
Meaningful Adjustments: Musical Performance and Ritual Action in a South Indian Temple |
4.1 |
2015 |
| Tanprasert, Teerapaun and Joti Rockwell |
Sounding Thai: Instrumental Translation, Language-Melody Correlation, and Vocal Expressivity in Thai Sakon Music from the 2010s |
9.2 |
2021 |
| Tarsi, Boaz |
Uncovering the Music Theory of the Ashkenazi Liturgical Music: "Adonai Malach" as a Case Study |
8.2 |
2020 |
| Tenzer, Michael |
Global Notation: Swapping Freedoms |
8.2 |
2020 |
| Tenzer, Michael |
Temporal Transformations in Cross-Cultural Perspective: Augmentation in Baroque, Carnatic, and Balinese Music |
1.1 |
2011 |
| Toussaint, Godfried T. |
The Pairwise Variability Index as a Measure of Rhythmic Complexity |
2.2 |
2013 |
| Toussaint, Godfried T. |
Quantifying Musical Meter: How Similar Are African and Western Rhythm? |
4.2 |
2015 |
| Toussaint, Godfried T., Malcolm Campbell, and Naor Brown |
Computational Models of Symbolic Rhythm Similarity: Correlation with Human Judgments |
1.2 |
2011 |
| Tse, Chun-Yan and Chun-Fung Wong |
Metrical Structure and Freedom in Qin Music of the Chinese Literati |
8.2 |
2020 |
| Vitale, Wayne and William Sethares |
Balinese Gamelan Tuning: The Toth Archives |
9.2 |
2021 |
| Weiss, Sarah |
Analyzing Javanese Grimingan: Seeking Form, Finding Process |
1.1 |
2011 |
| Wells, Robert |
Theorizing Trikāla: A Generalized Intervallic Approach to Pulse Transformation in South Indian Carnatic Music |
8.1 |
2020 |
| Wey, Yannick |
Transformations of Tonality: A Longitudinal Study of Yodeling in the Muotatal Valley, Central Switzerland |
8.1 |
2020 |
| Widdess, Richard |
From Staff to Global: A Response to Killick |
8.2 |
2020 |
| Widdess, Richard |
Implicit Rāga Knowledge in the Kathmandu Valley |
1.1 |
2011 |
| Williams, Duncan |
A Short Cross-Analysis of Brazilian Capoeira and Thai Sarama Music and Shared Ritual Practices |
4.1 |
2015 |
| Zadeh, Chloe |
Formulas and Building Blocks of Ṭhumrī Style: A Study in "Improvised" Music |
2.1 |
2012 |
