Type | List | Title [further info] | Series | Vol | No | Year | Pages | Status |
| 1. | Exempli gratia: J.S. Bach, Cantata no. 198 Lass, Fürstin, lass noch einen Strahl (no. 4, recitative). |
InTheoryOnly |
1 | 3 | Jun 1975 |
30-31 |
|
| 2. | J.S. Bach, Six suites pour violoncelle seul: interpretation musicale et instrumentale. |
InTheoryOnly |
1 | 8 | Nov 1975 |
20-27 |
|
| 3. | J. S. Bach, invention no.1 in C major: reduction and graph. |
InTheoryOnly |
2 | 7 | Oct 1976 |
3-7 |
|
| 4. | J. S. Bach, invention no.13 in A minor: reduction and graph. |
InTheoryOnly |
2 | 8 | Nov 1976 |
29-33 |
|
| 5. | Analysis Symposium: Bach, 2-clavier Concerto in C minor (S. 1060), Mvt. I: Interaction of Structural Designs. |
InTheoryOnly |
2 | 9 | Dec 1976 |
3-8 |
|
| 6. | Analysis Symposium: Bach, 2-clavier Concerto in C minor (S. 1060), Mvt. I: A Case for Synthesis |
InTheoryOnly |
2 | 9 | Dec 1976 |
9-16 |
|
| 7. | Bach's C Major Fugue (WTC I): A Subjective View. |
InTheoryOnly |
2 | 3-4 | Jun-Jul 1976 |
13-17 |
|
| 8. | J. S. Bach's Fugue in D-sharp Minor (WTC I, No.8): A Naive Approach to Linear Analysis. |
InTheoryOnly |
2 | 10 | Jan 1977 |
4-7 |
|
| 9. | On thinking about thinking. |
InTheoryOnly |
4 | 8 | Feb-Mar 1979 |
16-17 |
|
| 10. | Inversional invariants in diatonic music. |
InTheoryOnly |
5 | 4 | May 1981 |
21-27 |
|
| 11. | Simultaneity structures and harmonic functions in tonal music. |
InTheoryOnly |
5 | 5 | Jun 1981 |
3-28 |
|
| 12. | On analysis and performance: the contribution of durational reduction to the performance of J.S. Bach's two-part invention in C major. |
InTheoryOnly |
7 | 1 | May 1983 |
31-45 |
|
| 13. | Durational reduction and Bach's C-major invention: an alternative view. |
InTheoryOnly |
7 | 4 | Nov 1983 |
25-35 |
|
| 14. | Eighteenth-century harmonic theory in concept and practice: Kollmann's analysis of J.S. Bach's Chromatic fantasy. |
InTheoryOnly |
8 | 3 | Oct 1984 |
11-29 |
|
| 15. | J. S. Bach's invention in A minor: A re-view. |
InTheoryOnly |
8 | 7 | Nov 1985 |
15-27 |
|
| 16. | The three-part Ursatz. |
InTheoryOnly |
10 | 1-2 | Aug 1987 |
3-29 |
|
| 17. | C.P.E. Bach: Kurze und leichte Klavierstücke mit veränderten Reprisen (1766), no. 1, allegro. |
InTheoryOnly |
10 | 4 | Dec 1987 |
5-10 |
|
| 18. | Questions about the Ursatz: A response to Neumeyer. |
InTheoryOnly |
10 | 4 | Dec 1987 |
11-31 |
|
| 19. | The Urlinie from 8 as a middleground phenomenon. |
InTheoryOnly |
9 | 5-6 | Jan 1987 |
3-25 |
|
| 20. | Parsing Debussy: Proposal for a grammar of his melodic practice. |
InTheoryOnly |
9 | 8 | May 1987 |
5-19 |
|
| 21. | Fragile octaves, broken lines: On some limitations of Schenkerian theory and practice. |
InTheoryOnly |
11 | 3 | Jul 1989 |
13-30 |
|
| 22. | Meter and the Play of Ambiguity in the Third Brandenburg Concerto. |
InTheoryOnly |
11 | 4 | Feb 1990 |
1-35 |
|
| 23. | Metric Ambiguity (?) in Bach's Brandenburg Concerto No.3. |
InTheoryOnly |
11 | 7-8 | Feb 1991 |
21-53 |
|