| 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 |
| Bayraktarkatal, Ertuğrul and Cenk Güray |
PROPOSING A MAKÂM MODEL BASED ON MELODIC NUCLEI |
11.1 |
2023 |
| Bernacki, Nathan |
Embodied Metric Transformation in the Greek-Macedonian Dance-Song |
13.1 |
2025 |
| Beyhom, Amine and Bruno Deschênes |
Six Analyses of Kokū (虚空) |
13.2 |
2025-2026 |
| 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 |
| Chiba, Gakuto, Yuto Ozaki, and Patrick E. Savage |
What is a “Note”? Agreement and Disagreement in Transcriptions of Japanese Folk Songs |
13.2 |
2025-2026 |
| Clarke, David |
On Not Losing Heart: A Response to Savage and Brown’s “Toward a New Comparative Musicology” |
3.2 |
2014 |
| Clayton, Martin, and Sayumi Kamata |
Analysis of Unmetered Coordination in the Tōgaku Ensemble of Japanese Court Music (Gagaku) |
13.2 |
2025-2026 |
| 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 and Alex Rossi |
Singing in Tune: Berimbau Tuning and Song Mode in Capoeira (1937–1978) |
12.1 |
2024 |
| 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 |
Musical Improvisation and Elegant Writing: Ālāpana in South Indian Karnatak Music Performed by U. Srinivas
|
11.2 |
2023 |
| 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 |
| Hafizi, Bardia |
Rhythmic Texture of Iranian Music: A Performance Analysis of Mahoor Tasnif by M. Tabrizi-zadeh and Dj. Chemirani |
11.1 |
2023 |
| Hesselink, Nathan |
Cross-Cultural Resonance in the Cadential Hemiola |
10.1 |
2022 |
| 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 |
| Howard, Keith |
Revisiting Korean Kaein changgu nori: Rhythm Writ Large |
13.1 |
2025 |
| Iyer, Rohan |
Interpretations of Melodic Framework and Instrumental Idiom in a Metrically Fluid Piece of Central Javanese Music Performed on a Busking Zither |
10.2 |
2022 |
| 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 |
| Johnston, Jeryl |
Variation Techniques in Four West African Lead Drumming Examples: A Comparative Study
|
11.2 |
2023 |
| Justus, Timothy, et. al. |
Remembering Melodies from Another Culture: Turkish and American Listeners Demonstrate Implicit Knowledge of Musical Scales |
7.1 |
2019 |
| Kamata, Sayumi, and Martin Clayton |
Temporal structure and synchronization in the Tōgaku ensemble of Japanese court music (Gagaku) |
12.1 |
2024 |
| Kan, Joshua Ching Yuet |
Hong Kong Christian Songwriters’ Dilemma: Juggling Sacred Music, Tonal Language, and Christian Faith |
11.1 |
2023 |
| 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 |
| King, John |
Neo-Riemannian Theory and the Melakarta |
11.1 |
2023 |
| 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 |
| Law, Ho Chak |
Redefining Musical Creativity: The Pipa Solo Tradition in Republican China and During the Mao Era |
10.2 |
2022 |
| 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 |
| Li, Edwin K. C., Aaron Carter-Ényì, and David Àìná |
Call-and-Response Form in Ewe Agbadza Songs: Subtle Variety of a Common Practice |
3.1 |
2013 |
| Li, Edwin K. C., Aaron Carter-Ényì, and David Àìná |
Towards a Cross-Cultural Theory of Tone-Tune Mapping: A Comparative Study of Cantonese and Yorùbá |
12.1 |
2024 |
| 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 |
| Malin, Yonatan |
Introduction to the Special Issue on Ethnography and Analysis |
7.2 |
2019 |
| Malin, Yonatan |
Timing in Klezmer Performance |
13.1 |
2025 |
| Manuel, Peter and Brian Bond |
Rāgs of Western India and Sindh |
10.2 |
2022 |
| 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 |
| Mills, Simon and Sung-Hee Park |
Everyday Temple Chant in South Korean Chogye Sect Buddhism: An Analytical Study of the Personal Styles Cultivated by Monks |
10.1 |
2022 |
| 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 |
| Morris, Robert |
Recent Developments Coordinating Melody and Harmony |
11.1 |
2023 |
| Mukherji, Somangshu |
From Bernstein to Bhatkhande: (Indian and Other) Music as the Universal Language |
11.1 |
2023 |
| Nicely, Tiffany, and James B. Morford |
Introduction to the Special Issue on Rhythm and Meter |
13.1 |
2025 |
| Olson, Judith E. |
Hitting the Beat: Transylvanian Roma Musicians and Village Dancers in Community Improvisation |
13.1 |
2025 |
| 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 |
Vocal Models and Musical Rhtyhm in Central Sri Lanka |
10.1 |
2022 |
| 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 |
| Poole, Adrian |
Timing and Groove in the Performance of Cuban Bass and Conga Patterns |
10.2 |
2022 |
| Poorhaydari, Kioumars |
Empirical Evaluation of Intervals and Fretting Systems in Persian Art Music |
11.2 |
2023 |
| Prahlad, Achintya |
Quantifying Alpatva (Scarcity) and Bahutva (Abundance): A Comparative Study of the Scale-identical Hindustānī Rāgas Bhūpālī and Deskār |
11.1 |
2023 |
| Priore, Irna, and Chris Stover |
The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship |
3.2 |
2014 |
| Polina Proutskova, Gakuto Chiba, Miranda Crowdus, Yulia Nikolaenko, Yuto Ozaki, Lawrence Shuster, Olga Velichkina, Zhaoxin Yu, Wei Yue, Gabriel Zuckerberg, Yukun Li, Andrew Killick, John M. McBride, Elizabeth Phillips, and Patrick E. Savage |
VocalNotes: Investigating the Perception of Note Pitch and Boundaries through Varying Transcriptions of Vocal Performances from Five Musical Cultures |
13.2 |
2025-2026 |
| 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 |
| Reindl, Tomáš |
Indian Rhythmic Systems as Sources of Inspiration for Western Composers |
11.2 |
2023 |
| Robison, John O. |
John Mayer’s “Pawitra Naukari” (A Sacred Service): In God’s Eyes, We Are All Equal |
11.2 |
2023 |
| Roeder, John |
Fluctuant Grouping in a Silk-and-Bamboo Melody |
1.2 |
2011 |
| Roeder, John |
Timely Negotiations: Formative Interactions in Cyclic Duets |
7.1 |
2019 |
| Roeder, John |
Slow 5-cycles and their Special Properties Heard in World Music |
13.1 |
2025 |
| 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 |
| Simha, Arom |
African Meter: Measured Music Without “Measures” |
13.1 |
2025 |
| 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 |
| Stover, Chris |
Senghor, Rhythm, and Music Analysis: Some Musicological Implications of African Philosophy
|
13.1 |
2025 |
| 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 |
| Winikoff, Jason |
Mungongi: Metric Ambiguity and Analytical Uncertainty in Zambian Luchazi Percussion |
13.1 |
2025 |
| Williams, Duncan |
A Short Cross-Analysis of Brazilian Capoeira and Thai Sarama Music and Shared Ritual Practices |
4.1 |
2015 |
| Yu, Zhaoxin, Yukun Li, and Wei Yue |
A Computational Analysis of Melodic Characteristics in Hebei Bangzi Opera: A Case Study of the “Sha Miao” Aria |
13.2 |
2025-2026 |
| Zadeh, Chloe |
Formulas and Building Blocks of Ṭhumrī Style: A Study in “Improvised” Music |
2.1 |
2012 |
| Zagalaz, Juan |
Paco de Lucía and Jazz: Melodic-Harmonic Improvisation as a Central Element in “Zyryab” (1990) |
10.2 |
2022 |
| Ziporyn, Zhoushu |
Linguistic-Syllabic Cognitive Mapping of Sound in Japanese Culture, Interpreted through Japanese Gagaku Music |
10.1 |
2022 |