ex tempore


George Arasimowicz, State University of California at Dominguez Hills
John MacKay,
West Springfield MA



Past Issues:                    

Vol. I/1: January 1981, Vol. I/2: October 1981, Vol. II\1: January 1982 (in one volume)

Deborah O'Grady

Toru Takemitsu's Valeria

John Felder

The Structural Function of Wind Role Transformations in Equivalences

by J.C. Eloy

Scott Makeig

Means, Meaning and Music: Pythagoras, Archytas and Plato

Jeri Kotani

Comprehensibility and Function in Webern's Six Pieces for Orchestra Op. 6

Thomas Amos

Isometrics and the Origin of Modal Systems: A Brief Experimental Inquiry

John MacKay

Some Comments on the Visual/Spatial Analogy in Studies of the Perception of Musical Texture

Jan Jarvlepp

Pitch and Texture Analysis of Ligeti's Lux Aeterna

George Arasimowicz

Luigi Dallapiccola's Canti di Prigonia

Robert Strizich

Notation in Elliot Carter's Double Concerto


Vol. III/1: April 1985

David Evan Jones

Concerning Orchestration in Webern's Concerto Op.24

Deborah Kavash

An Introduction to Extended Vocal Techniques: Some Compositional Aspects and Performance Problems

Larry Polansky

History and the Word: Form and Tonality in Schoenberg's Phantasy for Violin and Piano Accompaniment

Gerald Gabel

Compositional Uses of the Crossing Phenomenon in Recent Music


Vol. III/2: Fall-Winter 1985-1986

Brad Dow

On Improvisation KIVA

John Cage

Song for C.W.

Christian Wolff


Christian Wolff

Fragments to Make Up An Interview

Gerald Gabel

An Interview with Christian Wolff

Margo MacKay-Simmons

Aspects of Orchestration in Bengt Hambraeus' Transfiguration for Orchestra: Composed Resonance as a Generator of Musical Texture

John MacKay

An Interview with Rudolf Komorous


Vol. IV/1: Spring/Summer 1986

Nicola Bernardini

Sound Reproduction, Semiotics and Computer Music Composition

Richard Boulanger

Two New Digital Techniques for the Transfiguration of Speech into Musical Sound

Durand Begault

Spatial Manipulation and Computers: A Tutorial for Composers

Robert Boury and Michel Klein

"Composing is Composing": Interdisciplinary Heuristics for Composition Teachers and Researchers


Vol. IV/2: Spring/Summer 1987-1988

David Keane

Architecture and Aesthetics: The Construction and the Objectives of Electronikus Mosaik

Jarrad Powell


E. Michael Harrington

Density in a Musical Context

Dwight Winenger

The Nature of Change and Schoenbergian Harmony

William S. Cratty

The Role of Vagrant Harmonies in Selected Lieder of Wolf, Strauss and Schoenberg

John Welsh

John Cages TRIO from Amores (1943): A Study of Rhythmic Structure and Density

Wendy Salkind

Language and Percussion: An Actor's Perspective

David Evan Jones

Text and Music in Luciano Berio's Circles

Marylin Ziffrin

Carl Ruggles and the University of Miami


Vol. V/1: Spring/Summer 1989

Barney Childs

Aporia as Parataxis or "I had one of them once, but the wheels came off."

Paul Paccione

Time-Space Synthesis: The Relationship of the Grid to Twentieth-Century Music

Will Ogdon

How Tonality Functions in Webern's Opus 9, nr. 1 and 4.

Timothy J. Buell

The Harmonic Language of Stravinsky' Abraham and Isaac

Cynthia Folio

Unity and Pluralism in Selected Works of Joseph Schwantner

Igor Korneitchouk

New Applications for Loudspeakers in an Acoustical Space: A Composer's Perspective on Alternative Loudspeaker Placement


Vol. V/2: Fall 1991

Robert Strizich

Texture in Post-World War II Music

Brent Heisinger

Compositional Devices in Steve Reich's Octet

David Loucky

Contemporary Notation and Limited Indeterminacy: Roger Reynolds' "... From Behind the Unreasoning Mask"

Marc Beaulieu

Cyclical Structures and Linear Voice-Leading in the Music of Ivan Wyschnegradsky

Ezra Simms

Harmonic Ordering in Quintet

Tom North

A Technical Explanation of Theme and Variations: A Computer Music Work Utilizing the Network Compositional Algorithm


Vol. VI/1: Fall 1992

Roger Savage

The Legacy of the Avant Garde

Molly and Paul Paccione

Did Modernism Fail Morton Feldman?

Tamas Ungvary and Simon Waters

The Sonogram: A Tool for the Documentation of Musical Structure

David Little

Composing with Chaos: Applications of a New Science to Music

Rick Bidlack

Music From Chaos: Nonlinear Systems as Generators of Musical Materials


Vol. VI/2: Summer 1993

Robert Rollin

On Words, Music and Voices

Michael Friedmann

Motive, Meter and Row: Conflicting Imperatives to the Performer in Schoenberg's Klavierstück, op.33b

Robert Maggio

A Source of Richness in the Main Themes of Samuel Barber's Violin Concerto and Piano Concerto: Hierarchical Conflict and the Implication Realization Model

Robert Erickson

The Musical System of Archytas

Robert Erickson

LOOPS: An Informal Timbral Experiment

John MacKay

On the Recent Music of Robert Erickson


Vol. VII/1: Summer 1994

Gary Washington

The Myth of Postmodernism

William Pastille

Music Theory and the Spirit of Science: Perspectives from the Vantage of the New Physics

James Caldwell

Meter and Perspective

Leslie Kearney

Time and Truth

Craig Cummings

The Musical "Culture of Time and Space"

Erhard Karkoschka

trans. Yehuda Yannay

 Musical Time: Some Aspects and Possibilities 

Chris Meister

Convergence as a Mode of Composing Musical Organization: Comparing Varèse's Hyperprism with Penderečki’s Polymorphia

Rosemary Mountain

Time and Texture: Lutoslawski's Concerto for Orchestra and Ligeti's Chamber Concerto


Vol. VII/2: Summer 1995

Eric Richards

Observation and Obsession: An American Way of Art

Roger Savage

Chance as Poeticizing Strategy

Eugene Montague

The Limits of Logic: Structure and Aesthetics in XenakisHerma

Thomas Putsché

Equivalent Union and Subsets as Progression: "Theme Song and Variations for Six Saxophones" an Example

Timothy J. Bowlby

"In Memoriam Alban Berg?": An Analysis of René Leibowitz's Five Pieces for Clarinet and Piano, op. 29

Meijane Quong

On the Recent Music of Claudio Ambrosini

Stewart Smith / Christine Humphries

Thoughts of Stuart Saunders Smith on Quakerism, Trans-media and Democracy


Vol. VIII/1: Summer 1996

John Cage / Maureen Mary

Letters: the brief love of John Cage for Pauline Schindler, 1934-35

Robert Rollin

A Conversation with Karel Husa in Honor of his 75th Birthday

Nancy Lee Harper

Rodolfo Halffter and the Superposiciones of Manuel de Falla

John MacKay

Series, Form and Function: Aspects of Tonal Form in the Twelve-Tone Music of Schoenberg and Webern

Murray Dineen

Schoenberg's Vergangenes op. 16 no. 2,: Social Critique and Analysis


Vol. VIII/2: Spring/Summer 1997

Jorge Peixinho

Canto de Amore e de Morte: Introduction and Essay in Morphological Interpretation

John MacKay

The Concerto for Harp and Instrumental Ensemble of Jorge Peixinho

Gil Miranda

Libera Me by Constança Capedeville

Joao Rafael

The Fertile Development: An Analysis of Wandlungen of Emmanuel Nunes

Chris Howard

Completing the Circle: Bengt Hambræus's Concerto for Piano and Orchestra

Laraine Olson Waters

Bengt Hamræus's Livre d'Orgue: An Exploration of the French Classic Tradition and Beyond

Anton Rovner

An Interview with Daniel Goode


Vol. IX/1: Spring/Summer 1998

Anton Machleder

Serialism and Poetry in Reginald Smith Brindle’s El Polifemo de Oro

Helena Santana

Terretêktorh: Space and Timbre, Timbre and Space

Rosário Santana

Musical Discourse and Rhythm in Elliott Carter

Brenda Ravenscroft

The Anatomy of a Song: Text and Texture in Elliott Carter's "O Breath"

Marina Lupishko

A Pupil of Webern in the USSR: The Writings of Philip Herschkowitz (1906-1989)


Vol. IX/2: Spring/Summer 1999

Erick Parris

An Analysis of Piece for Solo Cello: A Semiotic Approach

David Pope

Diverse Compositional Techniques in Yusef Lateef's African American Epic Suite "First Movement - The African as Non-American"

Christien Ledroit

Sergio Barrosso's Íreme: An Examination of the Music, the Ceremony and Its Representation

Christien Ledroit

trilogy by alcides lanza

alcides lanza

Varèse: looking for the new....

Eleanor F. Trawick

Order, Progression, and Time in the Music of Messiaen

Ross Feller

Slippage and Strata in Brian Ferneyhough's Terrain


Vol. X/1: Summer 2000

Patrick Cardy, Per Broman, Angelo Emmanouelides, Hope Lee

Bengt Hambraeus 1928 - 2000 Laus Deo!: Some Reminiscences

Bengt Hambraeus

 Between Ivory Tower and Shopping Mall 

Per Broman

Bengt Hambraeus and the Canadian Dream

John MacKay

"Les Jeux Sont Faits!" : Ensemble Strategies and Historical "Borrowing" in the Music of Bengt Hambraeus

Olga Malyshko

The Evolution of the 6/3 and its Relationship to Other Dissonance Formations in the English Conductus

Kevin Holm-Hudson

Just Intonation and Indian Aesthetic in Terry Riley's The Harp of New Albion

Timothy J. Bowlby

The Influence of Bach's Well-Tempered Clavier on the Opp.34 and 87 Piano Pieces of Dmitry Shostakovich


Vol. X/2: Spring/Summer 2001

Alain J.-J. Cohen

János Négyesy: Ut Pictura Musica

F. Richard Moore

Musical Magic

David Lidov

Resisting Representation

Helena Santana

The "Itinerant Sonorities" of Pirâmides de Cristal by João Pedro Oliveira

André Villeneuve

Souffles (Champs II), the Mobile, and the Musical Language of Gilles Tremblay


Vol. XI/1: Spring/Summer 2002

John MacKay

 An Overview of Karel Janeček's Foundations of Modern Harmony

Bruce Mather    

Three Études for Two Pianos (1974) by John Hawkins and String Quartet

(1994) by John Burke                 

Margaret Thomas

The "departing landscape": Temporal and Timbral Elasticity in Morton

Feldman's i met heine on the rue fürstenberg

Yuri Kholopov    

Signs from Above

Roman Yakub

An Interview with Edisson Denisov

Rebecca Jemian and

Anne Marie de Zeeuw


Simon Bainbridge, On Composing Ad Ora Incerta


Vol. XI/2: Spring/Summer 2003

David Walters  

 Boulez and the Concept of Chance

Roger W.H. Savage

Le marteau sans maître and the Logic of Late Capitalism

Bruce Mather

 Offrande III by Serge Garant, De subitement lointain by François Morel

and Quatuor à Cordes No. 2 "Ad Pacem" by André Prévost

Johanna Devaney

 Some Elements of Structure in Elliott Carter's "Insomnia" from

A Mirror on Which to Dwell

Matthew Albert Gould

 Toward the "SEA" of Toru Takemitsu

Matthew Greenbaum

 Debussy, Wolpe and Dialectical Form

Roxane Prevost 

Conversations With Ursula Mamlok


Vol. XII/1: Spring/Summer 2004

Paul Paccione

The Ecology of Listening: How We Experience Sound

John W. White

 Analyzing Free Improvisation: Orgeon’s “Taos” and the Negotiation

of Metric Coherence

Robert Rollin

 Viktor Ullmann’s The Emperor of Atlantis (1943): An Opera Composed in Terezin Concentration Camp

Eva Mantzourani

 Tonal Influences and the Reinterpretation of Classical Forms in the

Twelve-Note Works of Nikos Skalkottas

William Pfaff

 When Lilacs Last in the Dooryard Bloom’d

Martin Kutnowski

 Dementia and Voice Leading in “The Sentry” from Peter Maxwell

 Davies’s  Eight Songs for Mad King Songs for Mad King

Robert Rollin

A Conversation with Multifaceted Film Composer Johnterryl Plumeri


Vol. XII/2: Spring/Summer 2005

Marina Lupishko

Stravinsky and Russian Poetic Folklore

Edward D. Latham

 Reuniting the Muses: Cross-Disciplinary Analysis of Debussy’s

Pelléas and L’après midi d’un faune

John MacKay

 The Games of Jeux: On Debussy’s Intrigue of Motive, Proportion and Narrative

Eduardo Larín

“Waves” in Debussy’s Jeux


Vol. XIII/1: Spring/Summer 2006

Friedmann Arthur Sallis

Segmenting the Labyrinth: Sketch Studies and the Scala Enigmatica in the Finale of Luigi Nono’s Quando stanno morendo, Diario Polacco n.2 (1982)

Angela Ida de Benedictis

 Can Text Itself Become Music? : On the Text-Music Relationship in Luigi Nono’s Compositions of the Early 1960s

Bruce Mather

 Poème du Délire

John Cole

 An Introduction to Jo Kondo’s Sen no ongaku Music of 1973 to 1980  


Vol. XIII/2: Spring/Summer 2007

Marina Lupishko

The Rejoicing Discovery Revisited: Re-accentuation on Russian Folklore and Stravinsky's Music

Jeffrey Brukman

Kárpáti's "Mistuning Theory Reconsidered in the Context of Bártok's "Supradiatonicism" and Friedrich Hartmann's Fully-Chromaticized Scales

Craig Cummings

Compositional Techniques in Karel Husa's Early Serial Works Poème and Mosaïques 

John MacKay

Form and Moment: Will Ogdon's String Quartet #3         

Alfred Fisher

God's, Girls and Depravity: Some Reflections on Lawrence Kramer's Opera and Modern Culture

Sylvia Smith

Family Portraits: "Delbert (great-grandfather)" and Self Interview on the Thirtieth year of Smith Publications and Sonic Art Editions


Vol. XIV/1: Spring/Summer 2008

Claudia Vincis  and Paolo Dal Molin


Stravinsky and Gesualdo’s  Mo(nu)mento                                                                                                                                                       

Polina Samotina  and Oksana Verba

J. S. Bach’s Well-Tempered Clavier as a Semantic Whole:      

Peculiarities of Dramaturgic Structure                            

Ludmila Yurina

Modern Ukrainian Music: 1980 - 2000              

Gerald Gabel

Fourteen Composers in Today’s Ukraine

Stuart Saunders Smith

A Composer’s Mosaic: Selected Entries from the

Composing Journals of Stuart Saunders Smith (1985-1986)    

Jude Traxler

Interview with Stuart Saunders Smith 


Vol. XIV/2: Spring/Summer 2009

Thomas D. Svatos


  A Clash over Julietta: the Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture


Matthew Greenbaum

  Dialectic in Miniature: Arnold Schoenberg’s

  Sechs Kleine Klavierstücke Opus 19


Marina Lupishko

  Stravinsky's Bayka (1915-16): Prose or Poetry?         

Sundar Subramanian


   Pitch Structures in Reginald Smith Brindle’s El Polifemo de Oro                                                                                                    

Jean-Louis Leleu

   Rhythmic Cells and Organic Development: The Function of Harmonic

   Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez

John MacKay

   Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI


Vol. XV/1: Spring/Summer 2010

Jean-Louis Leleu


  Intervallic Structure and Formal Design in Debussy: 

   A Reading of Sirènes        


Marina Lupishko

 Stravinsky's Svadebka (1914-23) as the

"Direct Quotation of Popular – i.e. Non-Literary – Verse"    


Robert Piencikowski


  De-ciphering Boulez?   

Marinella Ramazotti


   Luciano Berio’s Sequenza III: From Electronic Modulation

   to Extended Vocal                                                                                        


Angela Carone


  When the Returns Take Shape: Some Observations on the Genesis

  and Structure of Luciano Berio´s Ritorno degli


Deborah Rifkin


   Musical Stories: Gesture and Texture in

  Jennifer Higdon’s Music 1998-2003