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PLURAL STYLES, PERSONAL STYLE: THE MUSIC OF THOMAS ADÈS
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- 10 May 2012, pp. 2-14
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PHILL NIBLOCK: THE ORCHESTRA PIECES
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- 08 August 2012, pp. 2-11
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THE DRAMA OF HARRISON BIRTWISTLE'S ‘THE TRIUMPH OF TIME’
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- 18 October 2012, pp. 2-11
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OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE
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- 10 February 2012, pp. 2-14
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ELLIOTT CARTER'S STRUCTURAL POLYRHYTHMS IN THE 1970S: ‘A MIRROR ON WHICH TO DWELL’
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- 08 August 2012, pp. 12-25
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HOW OLD! HOW NEW!: SOME NOTES ON SCHOENBERG'S PETRARCH SETTING FOR THE ‘SERENADE’, OP. 24
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- 10 February 2012, pp. 15-23
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KALEIDOSCOPES AND A LABYRINTH – THE MUSICAL VISION OF JUSTIN CONNOLLY
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- 10 May 2012, pp. 15-22
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CONDITIONS OF IMMEDIACY: HOWARD SKEMPTON IN INTERVIEW
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- 18 October 2012, pp. 13-28
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THE START OF PERFORMANCE, OR, DOES COLLABORATION MATTER?
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- 08 August 2012, pp. 26-36
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LIGETI'S ‘LE GRAND MACABRE’: HOW HE SOLVED THE PROBLEM OF WRITING A MODERNIST OPERA
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- 18 October 2012, pp. 29-38
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THE INTERACTION OF FORM AND MATERIAL IN SCHOENBERG'S KLAVIERSTÜCK OP. 33B
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- 10 February 2012, pp. 24-30
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BAROQUE MINIMALISM IN JOHN ADAMS'S VIOLIN CONCERTO
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- 10 May 2012, pp. 23-33
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THE EVOLUTION OF FORM IN THE MUSIC OF ROGER REYNOLDS (II)
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- 10 May 2012, pp. 34-49
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‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA
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- 10 February 2012, pp. 31-35
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WALTON'S FINAL WORK: HARMONY AND THE ART OF (MAKE-BELIEVE) FUGUE
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- 18 October 2012, pp. 39-47
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MEDIUM/FORM RELATIONS IN BRIAN FERNEYHOUGH'S FOURTH STRING QUARTET1
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- 08 August 2012, pp. 37-50
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THE EVOLUTION OF FORM IN THE MUSIC OF ROGER REYNOLDS (I)
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- 10 February 2012, pp. 36-48
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First Performances
FIRST PERFORMANCES
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- 10 May 2012, pp. 50-64
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FIRST PERFORMANCES
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- 18 October 2012, pp. 49-62
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Research Article
HOW DID HOLST CONDUCT ‘THE PLANETS’?
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- 08 August 2012, pp. 51-58
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