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The flagship of Guild publications, the Journal of the Conductors Guild is recognized as an invaluable tool for the serious conductor. Appearing semi-annually, the Journal publishes scholarly articles by prominent conductors and musicologists, current reviews of new books of interest to conductors, transcripts of selected sessions from Guild conferences and seminars, reprints of outstanding articles relating to the history and craft of conducting, and list of errata in the scores and parts of standard orchestral and choral masterworks.

If you are a Conductors Guild member, you receive an electronic copy of the Journal as part of your membership or a hard copy if you opt in. If you would like to join the Guild, click here or contact the Guild office.

 
VOLUME 01/1
The Publishers’ Corner, “To Mark. . . or not to Mark”. 01/1.
Bloch, Henry. Joseph A. Mussulman, “Dear People. . . Robert Shaw, A Biography”. 01/1.
Bloch, Henry. Philip Hart, “Conductors, a New Generation”. 01/1.
Dennison, Sam. Philadelphia’s Fleisher Collection: Fifty Years of Service to the Orchestras of the World. 01/1.
Piecuch, Martin. A Survey of Analyzed and Annotated Orchestral Works. 01/1.
Rudolf, Max. The Metronome Indications in Beethoven’s Symphonies. 01/1.
Thompson, Leon. Orchestral Auditions– Help Wanted, Part 2 of 5. 01/1.

VOLUME 01/2
Publisher’s Corner: Christmas 1980. 01/2.
Bloch, Henry. Virginia P. White, “Grants for the Arts”. 01/2.
Hohstadt, Thomas. The Manager as Artist. 01/2.
Lehrman, Phillip. Orchestral Auditions– Help Wanted. 01/2.
Lert, Richard. A Measure by Measure Interpretation of Brahms’ Symphony No. 3 in F Major. 01/2.
O’Bourke, Mercy. Harvey Sachs, “Toscanini”. 01/2.
Rockwell, John. The Foreign Conductors Take Over the U.S. Podiums. 01/2.
Rockwell, John. What Hope for the Young American Conductors?. 01/2.

VOLUME 01/3
Bloch, Henry. Paul Robinson, “Solti”. 01/3.
Bloch, Henry. Joe Sack, (ed.), “Orchestra World”. 01/3.
Jory, Margaret. The American Music Center. 01/3.
Kess, Rohnda. The Arnold Schoenberg Institute: A Conductor’s Resource. 01/3.
Lert, Ernst. The Conductor Gustav Mahler. 01/3.
Munford, Gordon. Pops Page. 01/3.
Pearlmutter, Alan. Conducting Competitions. 01/3.

VOLUME 01/4
Publisher’s Corner: Youth concert Suggestions. 01/4.
Conference. A Discussion of Gunther Schuller’s “The Trouble with Orchestras”. 01/4.
Conference. Career Development for Conductors. 01/4.
Conference. The Conductor and Musicology. 01/4.
Jory, Margaret. American Orchestral Music. 01/4.
Munford, Gordon. Pops Page. 01/4.

VOLUME 02/1
Bloch, Henry. Max Rudolf, “The Grammar of Conducting”. 02/1.
Bloch, Henry. Ronald Sanders, “The Days Grow Short: The Life and Music of Kurt Weill”. 02/1.
de Lancie, John. Conductors and Conducting. 02/1.
Munford, Gordon. Pops Page. 02/1.
Robbins- Landon, H. The Classical Tradition of the 20th Century. 02/1.
Ward, Robert. Conductors and Composers. 02/1.

VOLUME 02/2
Bartos, Michael. Bibliography: Books and Articles Authored by Conductors. 02/2.
Bloch, Henry. Andre Previn (ed.), “Orchestra”. 02/2.
Munford, Gordon. Pops Page. 02/2.
Neumann, Frederick. The Dotted Note and the So- Called French Style. 02/2.
Pearlmutter, Alan. Conductor Training: After Orkney Springs, What Now?. 02/2.
Peters, Gordon. Bartok: A Thirty-Five Year Old Mistake in the “Concerto for Orchesra”. 02/2.
Rudolf, Max. Pamina’s Aria. 02/2.
Rudolf, Max. Contemoprary Mozart Peformance: A Diverse Landscape. 02/2.
Sternberg, Jonathan. Introduction. 02/2.

VOLUME 02/3
Original Metronome Indications for Bela Bartok’s Dance Suite (1924 Universal Edition). 02/3.
Bloch, Henry. Robert Winter and Bruce Carr, (ed.), “Beethoven, Performers and Critics”. 02/3.
Fuller, David. Dotting, the “French Style” and Frederick Neumann’s Counter Reformation. 02/3.
Munford, Gordon. Pops Page. 02/3.
Neumann, Frederick. Once More: the “French Overture Style”. 02/3.
Pearlmutter, Alan. Rehearsal Efficiency and Score Analysis. 02/3.
Peters, Gordon. Programming Criteria for Symphony Orchestras: A Sampling. 02/3.
Schmid, Paul. Voices from the Past. 02/3.
Stein, Gerald. Giulini: On Preparation, Rehearsal and Performance. 02/3.
Sternberg, Jonathan. Scores and Parts: Stravinsky’s “Firebird Suite” (1919 ed.). 02/3.

VOLUME 02/4
Contemporary Opera Conducting: Problems and Potential– A Panel Discussion. 02/4.
Bloch, Henry. Jerrold Northrop Moore, (ed.), “Music and Friends, the Letters to Adrian Boult”. 02/4.
Bloch, Henry. Antal Dorati, “Notes of Aeven Decades”. 02/4.
Horowitz, Joseph. Understadning Toscanini– A Re-Examination of His American Success. 02/4.
Munford, Gordon. Pops Page. 02/4.
Rich, Alan. Records– Maestro Maestroso. 02/4.
Rudolf, Max. Musical Musings from Maine. 02/4.
Sternberg, Jonathan. Scores and Parts: Franck’s Symphony No. 2 in d minor. 02/4.
Waxman, Donald. Publishers Corner. 02/4.

VOLUME 03/1
Bloch, Henry. Erich Leinsdorf, “The Composer’s Advocate, A Radical Orthodoxy for Musicians”. 03/1.
Fuchs, Peter. Freedom of Choice. 03/1.
Hohstadt, Thomas. Hung Up on Hang- Ups. 03/1.
Munford, Gordon. Pops Page. 03/1.
Newland, Dika. Mahler: A Composer for the Future. 03/1.
Sternberg, Jonathan. Scores and Parts: Eroica Symphony, Part 1. 03/1.

VOLUME 03/2
Bloch, Henry. Abram Chasins, “Leopold Stokowsky– A Profile”. 03/2.
Bloch, Henry. Norman Del Mar, “Orchestral Variations, Confusion and Error in the Orchestral Repertoire”. 03/2.
Fuchs, Peter. Random Thoughts on Opera Conducting. 03/2.
Hornstein, Daniel. Theodore Thomas: American Conductor, American Music Educator, Part 1. 03/2.
Pines, Kirby. The Publishers’ Corner: U.S. Agency Listing of Foreign Publications. 03/2.
Rudolf, Max. Monday, October 29, 1787. 03/2.
Sternberg, Jonathan. Scores and Parts: Eroica Symphony, Part 2. 03/2.
Tindall, Jill. The Relationship of the Conductor and the Stage Director in Operatic Production. 03/2.

VOLUME 03/3
Biba, Otto. Schubert’s Position in Viennese Musical Life. 03/3.
Blackton, Jay. Fifty Years of the New York Musical Theater: A Personal Perspective. 03/3.
Bloch, Henry. John Culshaw, “Putting the Record Straight”. 03/3.
Bloch, Henry. Arthur Cohn, “‘Recorded Classical Music,’ “A Critical Guide to Compositions and Performances”. 03/3.
Bloch, Henry. Virgil Thomas, “A Virgil Thomas Reader”. 03/3.
Fuchs, Peter. Programming. 03/3.
Jones, Samuel. A Study Session with Richard Lert: Orchestral Balance in “Don Juan”. 03/3.
Macdonald, Hugh. Modest Mussorgsky: Boris Godunov, ed. David Lloyd-Jones. 03/3.
Munger, Shirley. Stephen Douglas Burton, “Orchestration”. 03/3.
Munger, Shirley. Alfred Blatter, “Instrumentation/Orchestration”. 03/3.
Munger, Shirley. Samuel Adler, “The Study of Orchestration”. 03/3.
Rudolf, Max. Remarks on Current Editions of Mozart and Beethoven Symphonies. 03/3.
Swift, Richard. Mahler’s Ninth and Cooke’s Tenth. 03/3.

VOLUME 03/4
Fuchs, Peter. Programming, Part 2. 03/4.
Jones, Samuel. A Study Session with Richard Lert: Pacing and Tempo in “Don Juan”. 03/4.
Jones, Samuel. Theodore Thomas: American Conductor, American Music Educator, Part 2. 03/4.
Munford, Gordon. Pops Page. 03/4.
Peters, Gordon. Publishers’ Corner: Condition of Symphonic Music. 03/4.
Peters, Gordon. Condition of Symphonic Music. 03/4.
Rudolf, Max. Inner Repeats in the Da Capo of Classical Minuets and Scherzos. 03/4.

VOLUME 04/1
Bloch, Henry. Donald Barra, “The Dynamic Performance”. 04/1.
Bloch, Henry. David Daniels, “Orchestral Music, a Handbook”, 2nd Ed. 04/1.
Fuchs, Peter. Programming, Part 3. 04/1.
Hagberg, James. Interpretational Concepts of Richard Lert on Performing the First Symphony in c minor by Johannes Brahms. 04/1.
Kresge, Kristine. Arthur Nikisch: A Brief Biography and Survey of His Conducting Technique. 04/1.
Moon, Eugene. Publishers’ Corner: Concert Works with Two or More Soloists. 04/1.
Munford, Gordon. Pops Page. 04/1.
Sternberg, Jonathan. Scores and Parts: Firebird Suite. 04/1.

VOLUME 04/2
Bloch, Henry. Oliver Daniel, “Stokowski, A Counterpoint of View”. 04/2.
Fuchs, Peter. Programming, Part 4. 04/2.
Gilbert, David. Conducting in Mainland China: 1980-82. 04/2.
Gossett, Philip. The Overtures of Rossini, Part 1. 04/2.
Hagberg, James. Richard Lert’s Interpretation of Dynamics in Performing the First Symphony in c minor by Johannes Brahms. 04/2.
Sternberg, Jonathan. Scores and Parts: Ravel’s “La Valse”. 04/2.

VOLUME 04/3
Burke III, Leon. Intermezzi: Toscanini and Klemperer: A Comparative Examination. 04/3.
Carpenter, Clinton. Mahler’s Tenth Symphony, Part 1. 04/3.
Fuchs, Peter. Programming, Part 5. 04/3.
Gossett, Philip. The Overtures of Rossini, Part 2. 04/3.
Hohstadt, Thomas. Intonation Suggestions. 04/3.
Peters, Gordon. Symphony Auditions– Help Wanted: A Study. 04/3.
Sternberg, Jonathan. Scores and Parts: Tchaikowsky’s Nutcracker Ballet. 04/3.

VOLUME 04/4
Publishers’ Corner: A Selection of Openers and Closers. 04/4.
Albrecht, T. Bribe, Borrow, and Steal: Johann Herbeck’s Conducting Activities in Vienna, 1852-1777. 04/4.
Barstow, Barbara. Gustav Mahler: Conductor. 04/4.
Bloch, Henry. Spike Hughes, “Glyndebourne: A History of the Festival Opera”. 04/4.
Bloch, Henry. Charles Osborn, “The Complete Operas of Puccini”. 04/4.
Bloch, Henry. Johannes Brahms, “Alto Rhapsody, Op. 53″, New York Public Library Edition. 04/4.
Bloch, Henry. Rudolf Hartmann, “Richard Strauss: The Staging of His Operas and Ballets”. 04/4.
Bloch, Henry. Martin Gregor-Dellin, “Richard Wagner: His Life, His Works, His Century”. 04/4.
Bloch, Henry. Derek Watson, “Richard Wagner”. 04/4.
Davis, Dorothy. Gustav Mahler: Conductor. 04/4.
Fuchs, Peter. Programming, Part 6. 04/4.
Goodman, Amy. Gustav Mahler: Conductor. 04/4.
Sternberg, Jonathan. Scores and Parts: Tchaikowsky’s Symphony No. 2 in c minor. 04/4.
Topilow, Carl. Amahl and the Night Visitors– A New Perspective. 04/4.

VOLUME 05/1
Contemporary Conductors– A Portrait in Prose: Stanislaw Skrowaczewski. 05/1.
Bloch, Henry. Helena Matheopoulos, “Maestro”. 05/1.
Bloch, Henry. Oswald Georg Bauer, “Richard Wagner, the Stage Designs and Productions from the Premieres to the Present”. 05/1.
Brown, Marshall. Havergal Brian and His Music for Orchestra: An Introduction. 05/1.
Burdick, Alan. Interpretational Concepts of Dr. Richard Lert in Beethoven’s Seventh Symphony. 05/1.
Fuchs, Peter. Programming, Part 7. 05/1.
Runyan, Alan. Appropriate Brass Timbre: A Conductor’s Responsibility. 05/1.
Sternberg, Jonathan. Scores and Parts: Moussorgsky/Rimsky-Korsakov’s “Night on Bald Mountain”. 05/1.

VOLUME 05/2
Contemporary Conductors: A Portrait in Prose: Sir John Pritchard. 05/2.
Bloch, Henry. John Rockwell, “All-American Music”. 05/2.
Bloch, Henry. Composium, “Annual Index of Contemporary Compositions”. 05/2.
Block, Glenn. Attitudes Towards Textual Authenticity in Orchestral Performance: Part 1. 05/2.
Fuchs, Peter. Programming, Part 8. 05/2.
Melichar, Alois. Lessons Derived from Richard Strauss’ Exemplary Conducting Style (from “The Perfect Conductor. Development and Decay of an Art”). 05/2.
Sternberg, Jonathan. Scores and Parts: Stravinsky’s “The Rite of Spring”. 05/2.

VOLUME 05/3
Block, Glenn. Attitudes Towards Textual Authenticity in Orchestral Performance: Part 2. 05/3.
Sternberg, Jonathan. Scores and Parts: Ravel’s “Rapsodie Espagnole”. 05/3.
Winter, Robert. Performers and Instruments: Performing Nineteenth-Century Music on Nineteenth-Century Instruments. 05/3.

VOLUME 05/4
Bloch, Henry. Norman Del Mar, “Anatomy of the Orchestra”. 05/4.
Fuchs, Peter. Programming, Part 9. 05/4.
Lang, Morris. “A Journey to the Source” on L’Histoire Due Soldat. 05/4.
Ramesy, Stephen. Notational Ambiguities in Schubert’s First Symphony. 05/4.
Sternberg, Jonathan. Scores and Parts: Ravel’s “Daphnis and Chloe, Suite No. 1″. 05/4.

VOLUME 06/1
Albrecht, T. Index to the Journal of the Conductors Guild, Vol 1-5 (1980-1984). 06/1.
Banks, Paul. An Early Symphonic Prelude by Mahler?. 06/1.
Burlingame, Marshall. Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. 06/1.
Field, Corey. Publishers’ Corner: Composer Anniversaries in 1985. 06/1.
Fuchs, Peter. Programming, Part 10. 06/1.
Melichar, Alois. Lessons Derived from Richard Strauss’ Exemplary Conducting Style, Parts 3, 4, and 5 (from “The Perfect Conductor. Development and Decay of an Art”. 06/1.
Van Winkle, John. Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. 06/1.

VOLUME 06/2
Albrecht, T. A Gentle Protest: Hans Pfitzner’s Symphony in C, Op. 46 (1940). 06/2.
Clapman, John. Dvorak on the American Scene. 06/2.
Foss, Lukas. Notes on a Programming Philosophy. 06/2.
Lantz, Jere. New and Unusual Programming. 06/2.
Sternberg, Jonathan. Scores and Parts: Richard Strauss’ “Don Juan”. 06/2.

VOLUME 06/3
Albrecht, T. On the Performance of the Symphonies of Mozart (by Felix Weingartner). 06/3.
Bloch, Henry. Frederick Prausnitz, “Score and Podium”. 06/3.
Bloch, Henry. Peter Hayworth, “Otto Klemperer, His Life and Times; Vol. 1, 1885-1933″. 06/3.
Fuchs, Peter. Programming, Part 11. 06/3.
Rudolf, Max. A Medley of Thoughts on Conductors and Composers. 06/3.
Wright, Gordon. In Search of Lost Music. 06/3.

VOLUME 06/4
Albrecht, T. George R. Marek, “Schubert”. 06/4.
Fuchs, Peter. Programming, Part 12. 06/4.
Hohstadt, Thomas. Teodor Romanic, “Sviranje Partitura I Izrada Klavirskih Izvoda (Playing Scores and Piano Reductions)”. 06/4.
Lantz, Jere. New and Unusual Programming. 06/4.
Lantz, Jere. Harold C. Schonberg, “The Glorious Ones: Classical Music’s Legendary Performers”. 06/4.
Mayer, William. A Composer’s Dream. 06/4.
Peters, Gordon. At the Conducting Workshop: Some Personal Observations. 06/4.
Sternberg, Jonathan. Scores and Parts: Ravel’s “Daphnis and Chloe, Suite No.2″. 06/4.

VOLUME 07/1
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 1. 07/1.
Rudolf, Max. Daniel J. Koury, “Orchestral Performance Practices in the Nineteenth Century: Size, Proportions and Seating”. 07/1.
Rudolf, Max. Four Years Later: Editions of Classical Symphonies. 07/1.
Sternberg, Jonathan. Scores and Parts: Ravels’ “Daphnis and Chloe, Suite No. 2″, Durand Ed. 07/1.

VOLUME 07/2
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 2. 07/2.
Rudolf, Max. Verdi Vs. Verdi. 07/2.

VOLUME 07/3-4
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 3. 07/3-4.
Canarina, John. Pierre Monteux: A Conductor for All Repertoire. 07/3-4.
Farberman, Harold. A Personal Observation on “Some Personal Observations”. 07/3-4.
Hohstadt, Thomas. Current Resources for Orchestral Pops Programming. 07/3-4.
Sternberg, Jonathan. Scores and Parts: Shostakovich’s Symphonie No. 10, Op. 93. 07/3-4.

VOLUME 08/1
Charry, Michael. Max Rudulf: An Appreciation. 08/1.
Galkin, Elliott. Gustav Mahler as Conductor. 08/1.
Lees, Benjamin. Reflections on the Contemporary Music Scene: One Composer’s Perspective. 08/1.
Sonnleithner, Leopold. The Contrabass Recitatives of Beethoven’s Ninth Symphony at Its 1824 Premiere. 08/1.

VOLUME 08/2-3
Fry, Hunter. Occupation- Related Physical Problems of Conductors. 08/2-3.
Hohstadt, Thomas. Pops Programming: Art or Entertainment. 08/2-3.
Lipman, Samuel. A Conductor in History. 08/2-3.
Lipman, Samuel. Mme Pierre Monteux. 08/2-3.
Pearlmutter, Alan. William Schuman’s “New England Tritych” and the Music of William Billings. 08/2-3.
Peters, Gordon. An Interview with Leonard Slatkin. 08/2-3.
Peters, Gordon. Occupation– Related Physical Problems of Conductors. 08/2-3.
Sprenkle, David. David DeVenney, “Early American Choral Music: An Annotated Guide”. 08/2-3.
Sternberg, Jonathan. Scores and Parts: Antonin Dvorak’s Symphony No. 8 in G, Op. 88. 08/2-3.
Voois, Jacques. William Schuman’s New England Triptych” and the Music of William Billings. 08/2-3.

VOLUME 08/4
Johnson, L. Stravinsky’s “Symphonies of Wind Instruments”. 08/4.
Leedy, Douglas. A Question of Intonation. 08/4.
Nieweg, Clint. Prokoviev’s “Classical Symphony”. 08/4.
Rudolf, Max. The Conductor’s Dilemma or the Hazards of Being Judged. 08/4.
Rudolf, Max. A New Edition of Beethoven’s “Pastorale” Symphony. 08/4.
Sternberg, Jonathan. Scores and Parts: Stravinsky’s Complete “Firebird” Ballet Score. 08/4.

VOLUME 09/1
Jones, Samuel. Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. 09/1.
Peress, Maurice. Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. 09/1.
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 1. 09/1.
Rudolf, Max. A Musical Comedy of Errors. 09/1.
Sprenkle, David. Harold A. Decker and Julius Herford, Eds., “Choral Conducting Symposium”. 09/1.
Voois, Jacques. An American Ballet Tradition, Part 1: Two Centuries of Preparation. 09/1.

VOLUME 09/2
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 2. 09/2.
Steinem, Gloria. The Women’s Issue: Personal Narratives of Four American Conductors. 09/2.
Voois, Jacques. An American Ballet Tradition, Part 2; Twentieth-Century Ballet Music, a Full Partnership. 09/2.

VOLUME 10/1-2
Albrecht, T. An Encounter with a Contemporary of Beethoven (Felix Weingartner). 10/1-2.
Beck, Crafton. Use of the Dot for Articulation and Accent in Orchestral Repertoire (1880- 1920). 10/1-2.
Bloch, Henry. Richard Dufallo, “Trackings”. 10/1-2.
Bloch, Henry. Vlado Perlemuter and Helene Hourdan-Morhange, “Ravel According to Ravel”. 10/1-2.
Brieff, Frank. Stuart Edward Dunkel, “The Audition Process”. 10/1-2.
DeVoto, Mark. Stravinsky’s “Les Noces”. 10/1-2.
Gieraczynski, Bogdan. Witold Lutoslawski: A Twentieth- Century Classic. 10/1-2.
Janower, David. Franz Joseph Haydn’s “Missa in Angustiis (Lord Nelson Mass)”. 10/1-2.
Nieweg, Clint. Scores and Parts: Respighi’s “The Pines of Rome” and “The Fountains of Rome”. 10/1-2.

VOLUME 10/3-4
Aldwell, Edward. Tempo in “The Art of Fugue”: An Approach Through Figured Bass. 10/3-4.
Crurchfield, Will. Some Thoughts on Reconstructing Singing Styles of the Past. 10/3-4.
Mostovoy, Marc. The Modern Orchestra and Period Performance Practice. 10/3-4.
Newman, William. Authenticity– Some Options and Priorities. 10/3-4.
Newman, William. Symposium Afterthoughts. 10/3-4.
Party, Lionel. Three Important and Useful Eighteenth- Century Ornament Tables. 10/3-4.
Rosenblum, Sandra. Potholes in the Road to Critical Editions. 10/3-4.
Rudolf, Max. Keynote Address: Authenticity in Musical Performance. 10/3-4.
Rudolf, Max. Symposium Afterthoughts. 10/3-4.
Weiss, Piero. Zeitgeist, Klangideal and Other Imponderables in the Reconstruction of Authentic Performances. 10/3-4.

VOLUME 11/1-2
Bird, Steven. A Comparison of the Autograph Manuscript of Maurice Ravel’s “Daphnis et Chloe” with the Durand Edition of Suites 1 & 2. 11/1-2.
Garcia, Emanuel. Bruno Walter Consults Sigmund Freud: Notes on an Unconventional Theraputic Cure. 11/1-2.
Kamerman, Jack. The Rationalization of Symphony Orchestra Conductors’ Interpretive Styles. 11/1-2.
Meyerson, Kathryn. Index to the “Journal of the Conductors Guild”, Volumes 6-10. 11/1-2.
Miller, Stephen. Darius Milhaud’s “Fanfare de la liberte”. 11/1-2.
Rudolf, Max. Good Taste in Music and Related Matters. 11/1-2.
Sprenkle, David. David P. Devenney, “American Masses and Requiems: A Descriptive Guide”. 11/1-2.
Stravinsky, Igor. On Conductors and Conducting. 11/1-2.

VOLUME 11/3-4
Bloch, Henry. Jeanine Wagar, “Conductors in Conversation”. 11/3-4.
Bloch, Henry. Winton Dean, “Essays on Opera”. 11/3-4.
Bond, Victoria. Towards Creating a Composer- Friendly Environment, Part 1. 11/3-4.
Field, Corey. “A Rose by any other name…”. 11/3-4.
Friedel, Lance. Rehearsal Notes for Aaron Copland, “Appalachian Spring Suite”, Complete Ballet for Thirteen Instruments. 11/3-4.
Griffith, Michael. Aaron Copland’s “Appalachian Spring Suite”, Version for Thirteen Instruments. 11/3-4.
King, Jr., John. Perlis on Copland: An Interview. 11/3-4.
King, Jr., John. Aaron Copland and Vivian Perlis, “Copland: 1900 through 1942″ and “Copland: Since 1943″. 11/3-4.
Kirby, Paul. Jean-Pierre Marty, “The Tempo Indications of Mozart”. 11/3-4.
Marty, Jean-Pierre. Mozart’s Tempo Indications and the Problems of Interpretation. 11/3-4.
Marty, Jean-Pierre. Interpreting Mozart. 11/3-4.
Perlis, Vivian. Oral History, American Music. 11/3-4.
Rudolf, Max. A Broadcast of “Le Nozze de Figaro”. 11/3-4.

VOLUME 12/1-2
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 2. 12/1-2.
Charry, Michael. The Metamorphosis of a Title. 12/1-2.
Garcia, Emanuel. A New Look at Gustav Mahler’s Fateful Encounter with Sigmond Freud. 12/1-2.
Hastings, Baird. A Performer’s Guide to: “Thamos, Konig in Aegypten”. 12/1-2.
Kella, John. Medicine in the Service of Music: Health and Injury on the Podium. 12/1-2.
Sataloff, Robert. Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 1. 12/1-2.
Setapen, James. Four Orchestral Works of Anatol Liadov. 12/1-2.
Simkin, Benjamin. The Case for Mozart’s Affliction with Tourette Syndrome. 12/1-2.
Simkin, Benjamin. Dr. Mesmer and Mozart: When Medicine and Music Converged. 12/1-2.
Vermel, Paul. “Firebird” Revisited. 12/1-2.

VOLUME 12/3-4
Dissertations and Theses on Conducting, 1952-1992. 12/3-4.
Barber, Charles. Lost in the Stars: A Forgotten Career in Conducting. 12/3-4.
Bartos, Michael. About Recording. 12/3-4.
Bloch, Henry. John Warrak and Ewan West, “Oxford Dictionary of Opera”. 12/3-4.
Bloch, Henry. Julian Budden, “The Operas of Verdi, Revised Ed.” 12/3-4.
Bloch, Henry. Norman Del Mar, “Conducting Beethoven, Volume 1: The Symphonies”. 12/3-4.
Bloch, Henry. Daniel Barenboim, “A Life in Music”. 12/3-4.
Friedel, Lance. Tempo Relations in the Finale of Brahms’ First Symphony. 12/3-4.
Hillis, Margaret. Anton Brukner’s Mass in E Minor: A Performer’s Guide. 12/3-4.
Sataloff, Robert. Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 2. 12/3-4.

VOLUME 13/1
Arts Medicine Centers Resource List. 13/1.
Block, Glenn. Shotoakovich’s Symphony No.6 in B Minor, Op. 53. 13/1.
Buxbaum, Erica. Stravinsky, Tempo and “Le Sacre”. 13/1.
Daniels, David. Richard Koshgarian, “American Orchestral Music: A Performance Catalog”. 13/1.
Friday, Raymond. Julie Yarbrough, “Modern Languages for Musicians”. 13/1.
Hilfiger, John. Victor Rangel-Riberio and Robert Markel, “Chamber Music: An International Guide to Works and their Instrumentation”. 13/1.
Jones, Samuel. Max Rudolf, “The Grammar of Conducting”, 3rd Ed. 13/1.
Kirby, Paul. The Impact of Haydn’s Conducted Performances of “The Creation” on the Work and the History of Conducting. 13/1.
Masur, Kurt. Conductors, Orchestras and Society: A Contemporary View. 13/1.
Parker, Harlan. An Annotated Bibliography of Selected Wind Ensemble/Band Repertoire Texts. 13/1.
Polisi, Joseph. Performing Arts and the Nation: A Challenge for Today. 13/1.
Voois, Judy. Humphrey Carpenter, “Benjamin Britten: A Biography”. 13/1.

VOLUME 13/2
Ball, James. Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 1. 13/2.
Barber, Charles. Legendary Conductors on Film. 13/2.
Bloch, Henry. William Scott (compiler), “A Conductor’s Repertory of Chamber Music: Compositions for Nine to Fifteen Solo Instruments”. 13/2.
Bloch, Henry. Sam H. Shirakawa, “The Devil’s Music Master: The Controversial Life and Career of Wilhelm Furtwangler”. 13/2.
Bloch, Henry. Jeffrey H. Renshaw, “The American Wind Symphony Commissioning Project: A Descriptive Catalog of Published Editions, 1957- 1991″. 13/2.
Bloch, Henry. Joan Evans, “Hans Rosbaud, A Bio-Bibliography”. 13/2.
Bloch, Henry. Heinz Gartner, “Constanze Mozart: After the Requiem”. 13/2.
Bloch, Henry. Ronald Taylor, “Furtwangler on Music: Essays and Addresses”. 13/2.
Burton, James. Gustav Mahler’s “Symphony No. 9″, Part 1. 13/2.
Gottling, Philip. Gustav Mahler’s “Symphony No. 9″, Part 1. 13/2.
Green, Jonathan. From Classroom to Podium: Teaching All of the Craft. 13/2.
Hilfiger, John. Franz Schubert, “Symphony No. 7 in E, D. 729″, realization by Brian Newbould. 13/2.
Hilfiger, John. Brian Newbould, “Schubert and the Symphony: A New Perspective”. 13/2.
Mitchell, Jon. In Search of Pasodoble. 13/2.
Munn, Zae. The Conductor as a Compositional Resource, Part 1. 13/2.

VOLUME 14/1
Bloch, Henry. Mary Jane Phillips-Matz, “Verdi, A Biography”. 14/1.
Bloch, Henry. Pierluigi Petrobelli, “Music in the Theatre”. 14/1.
Brauner, Patricia. The “Opera Omina” of Giaochino Rossini. 14/1.
Gibeau, Peter. Heinrich Schenker, “Beethoven’s Ninth Symphony”. 14/1.
Gottling, Philip. Gustav Mahler’s “Symphony No. 9″, Part 2. 14/1.
Hastings, Baird. Barry Millington and Stewart Spencer, eds., “Wagner in Performance”. 14/1.
Hilfiger, John. The Chamber Orchestra: An Annotated Bibliography. 14/1.
Hilfiger, John. Mark Lammers, “Nordic Instrumental Music for Colleges and Universities. 14/1.
Munn, Zae. The Conductor as a Compositional Resource, Part 2. 14/1.
Voois, Judy. Diane Peacock Jezic, “Women Composers: The Lost Tradition Found”, 2nd Edition. 14/1.
Whalen, Meg. Fanny Mendelssohn Hensel’s Sunday Musicales. 14/1.

VOLUME 14/2
Ball, James. Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 2. 14/2.
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 3. 14/2.
Daniels, David. Stravinsky’s “Firebird Suite”, 1945 Version. 14/2.
Gibeau, Peter. An Introduction to the Theories of Heinrich Schenker, Part 1. 14/2.
Gottlieb, Stephen. Gustav Mahler’s “Ruckert Lieder” and the Art of Error in Interpretation. 14/2.
Hilfiger, John. William H. Haverson, ed., “Edward Grieg Today: A Symposium”. 14/2.
Kamerman, Jack. The Ledger and the Score: Administrative and Artistic Conflict at the Royal Philharmonic Society of London, 1916-1918. 14/2.
Morgan, Kenneth. Fritz Reiner and the Technique of Conducting. 14/2.
Parker, Harlan. Frank J. Cipolla and Donald Hunsberger, eds. “The Wind Ensemble Repertoire”. 14/2.

VOLUME 15/1
Bernstein, Alexander. The Arts Experience: A Prescription for Education. 15/1.
Bloch, Henry. Arthur Weisberg, “Performing Twentieth-Century Music”. 15/1.
Bloch, Henry. Norman Del Mar,”Conducting Brahms”. 15/1.
Bloch, Henry. Christopher Fifield, “True Artists and True Friend, A Biography of Hans Richter”. 15/1.
Bloch, Henry. Richard Taruskin, “Musorgsky, Eight Essays and an Epilogue”. 15/1.
Bloch, Henry. Helen Conway, “Sir John Pritchard, His Life in Music”. 15/1.
Chilcote, Kathryn. Sara K. Schneider, “Concert Song as Seen: Kinesthetic Aspects of Musical Interpretation”. 15/1.
Gibeau, Peter. An Introduction to the Theories of Heinrich Schenker, Part 2. 15/1.
Hastings, Baird. Barry Millington, ed., “The Wagner Compendium: A Guide to Wagner’s Life and Music”. 15/1.
Hilfiger, John. Glenda Dawn Goss, “Jean Sibelius and Olin Downes: Music, Friendship, Criticism”. 15/1.
Levin, Andrew. Conductors and the Internet: New Tools for Communication and Information Exchange. 15/1.
Trotter, William. Dimitri Mitropoulos: The Forgotten Giant. 15/1.

VOLUME 15/2
Adams, Douglas. Aaron Copland’s An Outdoor Overture. 15/2.
Adams, Douglas. Alberto Ginastera’s “Estancia”, Movement IV. Danza final “Malambo”. 15/2.
Bloch, Henry. Arthur Jacobs, “Henry J. Wood, Maker of the Proms”. 15/2.
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 4. 15/2.
Boulez, Pierre. Score: Imagination and Reality. 15/2.
Cahis, Juan. The Bruckner Symphonies Problem Reconsidered. 15/2.
Hilfiger, John. Grieg and the Chamber Orchestra. 15/2.
Malloch, William. Toward a “New” (Old) Minuet. 15/2.
Pearlmutter, Alan. Concept to Concert: Evolution of a Chamber Orchestra. 15/2.
Webster, Daniel. That Hegelian Swing. 15/2.

VOLUME 16/1
Albrecht, T. Index to the “Journal of the Conductors Guild”, Volumes 11-15 (1990-1994). 16/1.
Begian, Harry. Alfred Reed’s “Armenian Dances”: A Rehearsal Analysis. 16/1.
Braun, William. Wagner’s Development, Work and Influence as a Conductor. 16/1.
Catalano, Peter. Bernard Haitink: A Perfect Patrician of the Podium. 16/1.
Tabler, Roger. Conducting a Comedy Concerto. 16/1.

VOLUME 16/2
Bloch, Henry. Philip Hart, “Fritz Reiner”. 16/2.
Bloch, Henry. Michael Kennedy, (ed.), “The Oxford Dictionary of Music”. 16/2.
Bloch, Henry. Henry-Louis de La Grange, “Gustav Mahler, Vol. 2, “Vienna, The Years of Challenge (1897-1904)”. 16/2.
Bloch, Henry. Roger Parker, (ed.), “The Oxford Illustrated History of Opera”. 16/2.
Brown, Michael. The Band Music of William Schumann. 16/2.
Burton, J. A Survey of World Folk Music Literature. 16/2.
Burton, J. Native American Repertoire: The Indigenous Component of Multicultural Music. 16/2.
Hilfiger, John. William R. Trotter, “Priest of Music: The Life of Dimitri Mitropoulos”. 16/2.
Koehler, Elisa. The Italian Wind Band: Its Heritage and Legacy. 16/2.
Leibowitz, Rene. The Thousand and One Errors. 16/2.
Mitchell, Jon. C.P.E. Bach’s Double Concerto in E-Flat, Wq 47. 16/2.
Richter, Jane. Harold Meek, “Horn & Conductor, Reminiscences of a Practitioner with a Few Words of Advice”. 16/2.
Ricks, Robert. Are Our Audiences “Skeered: to Clap?: A Brief Summary of Applause Practices. 16/2.
Tobias, Paul. The Rocky Road of an American Orchestral Masterpiece. 16/2.

VOLUME 17/1
Bloch, Henry. Bruce Allen Brown, “W.A. Mozart. Cosi fan tutte”. 17/1.
Bloch, Henry. Charles Rosen, “The Romantic Generation”. 17/1.
Eisen, Cliff. Mozart’s Salzburg Orchestras. 17/1.
Erdmann, Thomas. Vincent Persichetti’s Divertimento for Band: A Rehearsal Analysis. 17/1.
Lloyd, Thomas. Am I Being Followed?: Finding the Ultimate Dynamic Between Conductor and Ensemble. 17/1.
Malloch, William. Bach and the French Overture. 17/1.
Rayl, David. Choral-Orchestral Works for the Small Choir with a Small Budget. 17/1.
Simons, Harriet. Harold Farberman, “The Art of Conducting Technique”. 17/1.
Zaltsberg, Ernst. Samuel Samosud, A Pioneer of Modern Russian Opera. 17/1.

VOLUME 17/2
Bloch, Henry. Elaine Siseman, (ed.), “Haydn and His World”. 17/2.
Canarina, John. Uncle Sam’s Orchestra. 17/2.
Dunn, Richard. The Fourth Horn in Beethoven’s Ninth Symphony. 17/2.
Falletta, JoAnn. The Twenty-First Century Maestro: An Imperative of Versatility and Dedication. 17/2.
Kiesler, Kenneth. The Never Ending Story. 17/2.
Kreuger, Raymond. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.
MacPherson, Scott. German Choral Literature since 1975: A Survey of Selected Works. 17/2.
Mikkelson, Russel. Interpreting Leslie Bassett’s Sounds, Shapes and Symbols. 17/2.
Mitchell, Jon. Bruno Walter’s Correspondence to Adrian Boult: A Forty-Year Friendship. 17/2.
Morgan, Kenneth. Gunther Schuller, “The Compleat Conductor”. 17/2.
Nieweg, Clint. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.
Plaine, Mary. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.

VOLUME 18/1
Bloch, Henry. Edward Heath, “Music. A Joy for Life”. 18/1.
Gold, Edward. Franz Lehár: The Complete Cosmopolitan. 18/1.
Hilfiger, John. Erich Leinsdorf, Erich Leinsdorf on Music. 18/1.
Morgan, Kenneth. Walter Frisch, Brahms: The Four Symphonies”. 18/1.
Sloniger, Kristi. Hansel and Gretel by Englebert Humperdinck. 18/1.
Thomas, David. Conversations with Lukas Foss. 18/1.
Tuckwell, Barry. Both Sides of the Fence. 18/1.

VOLUME 18/2
Bloch, Henry. Mary Hunter and James Webster (eds.), “Opera Buffa in Mozart’s Vienna”. 18/2.
Bowen, José. Mendelssohn, Berlioz, and Wagner: Early Practitioners of “Fidelity to the Composer”. 18/2.
Brown, Emily. Zarathustra: Reflections of Form. 18/2.
Garcia, Emanuel. Jonathan Carr, “Mahler: A Biography”. 18/2.
Hawkshaw, Mary. David Epstein, “Shaping Time”. 18/2.
Hilfiger, John. Glenda D. Goss, “Jean Sibelius: A Guide to Research”. 18/2.
Mitchell, Michael. Jonathan Green, “A Conductor’s Guide to Choral- Orchestral Works, Twentieth- Century, Part II; The Music of Rachmaninov through Penderecki”. 18/2.
Mitchell, Michael. Jonathan Green, “A Conductor’s Guide to Choral-Orchestral Works”. 18/2.
O’Neal, Melinda. An Introduction to Performance Practice: Considerations for Mozart’s “Requiem”. 18/2.
Rayl, David. An Annotated Listing of Mozart’s Smaller Sacred Works. 18/2.
Sataloff, Robert. David Epstein, “Shaping Time”. 18/2.
Wulfhorst, Martin. Louis Spohr and the Modern Concept of Performance. 18/2.

VOLUME 19/1
Bloch, Henry. Walter B. Bailey (ed.), “The Arnold Schoenberg Companion”. 19/1.
Bradburd, Nancy. Scores and Parts: Rachmaninoff’s Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). 19/1.
Daniels, David. Glossary of German Terms for Mahler’s Symphony No. 1. 19/1.
Devenney, David. Brock McElheran, “Music Reading by Intervals: A Modern Sight-Reading and Ear-Training Method for Singers, Conductors, and Teachers”. 19/1.
Devenney, David. Robert C. Marsh, “Dialogues and Discoveries: James Levine, His Life and His Music”. 19/1.
Epstein, David. Brahms and the Mechanisms of Motion: The Composition of Performance. 19/1.
Green, Jonathan. The Everchanging Orchestra in J. S. Bach’s Choral Works. 19/1.
Luxner, Michael. Brian Newbould (ed.), “Schubert Studies”. 19/1.
Michael, Luxner. Neil Butterworth, “The American Symphony”. 19/1.
Morgan, Kenneth. Richard Osborne, “Herbert von Karajan: A Life in Music”. 19/1.
Osborne, Richard. “Herbert von Karajan: A Life in Music”. 19/1.
Van Winkle, John. Scores and Parts: Rachmaninoff’s Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). 19/1.

VOLUME 19/2
Blair, Christopher. Acoustics: the Performers’ Perspective. 19/2.
Bloch, Henry. Tim Ashley, “Richard Strauss”. 19/2.
Daniels, David. Michael J. Esselstrom, “A Conductors Guide to Symphonies I, II, and III of Gustav Mahler”. 19/2.
Destro, Pierluigi. A Transcription of Beethoven’s Seventh Symphony for Nine Wind Instruments. 19/2.
Green, Jonathan. Douglas M. Jordan, “Alfred Reed: A Bio-Bibliography”. 19/2.
Hardy, Martin. Michael Oliver, “Benjamin Oliver”. 19/2.
Hardy, Martin. Mervyn Cooke, “Britten: War Requiem”. 19/2.
Morgan, Kenneth. Fritz Reiner in Dresden. 19/2.
O’Neal, Melinda. Coming to Terms with Historical Performance Practices. 19/2.
Prestamo, Manuel. Miguel Ficher, Martha Furman Schleifer, John M. Furman, “Latin American Classical Composers: A Biographical Dictionary”. 19/2.
Sutherland, Robert. Concerto for Piano No. 1, Op. 15 in D minor by Johannes Brahms. 19/2.
Wulfhorst, Martin. Wyndham Thomas (ed.), “Composition– Performance– Reception: Studies in the Creative Process in Music”. 19/2.

VOLUME 20/1-2
History of Conductors Guild Educational Activities. 20/1-2.
Commemorative Festschrift. 20/1-2.
Ansbacher, Charles. Charles A. Ansbacher, President (1979-1981). 20/1-2.
Bloch, Henry. Henry Bloch, Report from the Archivist. 20/1-2.
Charry, Michael. Michael Charry, (1991-1992). 20/1-2.
Farberman, Harold. Harold Farberman, President (1975-1979). 20/1-2.
Gnam, Adrian. Adrian Gnam, President (1995-1996). 20/1-2.
Johnson, Roland. Roland Johnson, Founding Member. 20/1-2.
Jones, Samuel. Samuel Jones, President (1987-1988). 20/1-2.
Kenney, Wes. Wes Kenney, President (1999-2000). 20/1-2.
Newland, Larry. Larry Newland, President (1993-1994). 20/1-2.
Peress, Maurice. Maurice Peress, President (1981-1983). 20/1-2.
Portnoy, Donald. Donald Protnoy, President (1983-1986). 20/1-2.
Schubert, Barbara. Barbara Schubert, President (1997-1998). 20/1-2.
Voois, Judy. Judy A. Voois, Administrative Director (1986-1999). 20/1-2.
Voois, Jacques. Brief History of the Conductors Guild. 20/1-2.
Whallon, Evan. Evan Whallon, President (1989-1990). 20/1-2.

VOLUME 21/1-2
Brion, Keith. Sousa’s Marches for Orchestra: A Brief Examination. 21/1-2.
Brown, Emily. Zheng Xiaoying: The Story of a Chinese Conductor. 21/1-2.
Hastings, Baird. Reik Ryding and Rebecca Pechevsky, “Bruno Walter: A World Elsewhere”. 21/1-2.
Hillis, Margaret. Anton Bruckner’s E Minor: A Performers Guide. 21/1-2.
Mitchell, Jon. John Philip Sousa: A Comparative Instrumentation Study of the Manuscripts and Published Scores of Selected Works. 21/1-2.
Morgan, Kenneth. John Ardoin (ed.), “The Philadelphia Orchestra: A Century of Music”. 21/1-2.
Morgan, Kenneth. John Gritten, “A Musician before his Time: Constantine Silvestri: Conductor, Composer, Pianist”. 21/1-2.
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro. 21/1-2.

 

VOLUME 22/1-2
Barrow, Lee. Francis Poulenc’s Gloria: Corrections to the New (1969) Full Score. 22/1-2.
Bloch, Henry. John Canarina, Uncle Sam’s Orchestra, Memories of the Seventh Army Symphony. 22/1-2.
Bloch, Henry. Carl S. Leafsteadt, Inside Bluebeard’s Castle, (Music and Drama in Bela Bartôk’s Opera). 22/1-2.
Braem, Penny. A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors. 22/1-2.
Bräm, Thüring. A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors. 22/1-2.
Canarina, John. Michael Stern (Ed.), Max Rudolf: A Musical Life, Writings and Letters. 22/1-2.
Erdmann, Tom. Craig Kirchhoff, Series Advisor, Windependence: A Reportoire Series for Wind Bands. 22/1-2.
Murphy, Brian. Beauty’s Plea: An Introduction to the Music of William Alwyn. 22/1-2.
Rose, Rebecca. A Study of Student Community Orchestras in the United States and Canada. 22/1-2.
Rudolf, Max. The Metronome Indications in Beethoven’s Symphonies. 22/1-2.
Schenbeck, Lynn. A Study of Student Community Orchestras in the United States and Canada. 22/1-2.
Vallo, Victor. Organizing and Conducting the College-Community Orchestra. 22/1-2.
Young, Welborne. Engaging the Head Voice: Simple Exercises for Amateur Community Choirs. 22/1-2.

VOLUME 23/1-2
Bloch, Henry. John Ardoin, Valery Gergiev and the Kirov. 23/1-2.
Camphouse, Mark. John Koshak, The Conductor’s Role: Preparation for Individual Study, Rehearsal and Performance. 23/1-2.
Cusato, Elizabeth. Scores & Parts: Joaquín Rodrigo’s Fantasía para un Gentilhombre. 23/1-2.
Garcia, Emanuel. Rachmaninoff’s First Symphony: Emotional Crisis and Genius Interred. 23/1-2.
Hanson, Jeffrey. Topical Discourse: Toward a Finer Understanding of 18th-Century Musical Expression. 23/1-2.
Nieweg, Clinton. Scores & Parts: Joaquín Rodrigo’s Fantasía para un Gentilhombre. 23/1-2.
Perkins, Reed. Interview with Augusta Read Thomas. 23/1-2.
Ricks, Robert. Jean-Baptiste Lully and the Establishment of the Orchestra. 23/1-2.
Simkin, Benjamin. Mozart’s Musical Aesthetics. 23/1-2.
Vermel, Paul. Benjamin Britten’s War Requiem: Notes on Conducting. 23/1-2.
Weait, Christopher. Are Large Ensembles Getting Too Loud? 23/1-2.

VOLUME 24/1-2
Bloch, Henry. Vincent J. Cincotta, Zarzuela, The Spanish Lyric Theatre. 24/1-2.
Erdmann, Thomas Rocco Di Pietro, Dialogues with Boulez. 24/1-2.
Fairtile, Linda. Toscanini and the Myth of Textual Fidelity. 24/1-2.
Jacobson, Bernard. Once More with Feeling: A Polemic on Repeats. 24/1-2.
Jennifer, Johnson. Scores & Parts: Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. 24/1-2.
McGuire, Kathleen. Kammersympbonie No. 1, Op. 9, by Arnold Schoenberg (1906): Considerations for the Conductor. 24/1-2.
Mitchell, Jon. Holst, Stock, and The Planets. 24/1-2.
Morgan, Kenneth. Jane F. Fulcher, ed, Debussy and his World. 24/1-2.
Nieweg, Clinton. Scores & Parts: Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. 24/1-2.
Pearlmutter, Alan. Programming and The Hummanities: The Mystique of Legend. 24/1-2.

VOLUME 25/1
Barber, Charles. Pierre Monteux On Film. 25/1.
Bloch, Henry. Myer Fredman, From Idomeneo to Die Zauberflöte. 25/1.
Bloch, Henry. Piero Weiss, Opera, A History in Documents. 25/1.
Erdmann, Thomas. An Interview with Joan Tower. 25/1.
Johnson, Jennifer. Benjamin Britten’s Young Person’s Guide to the Orchestra Variations and Fugue on a theme of Purcell Op. 34 (1946). 25/1.
Leach, Brenda. Ilya Musin: A Life in Music. 25/1.
Nieweg, Clinton. Benjamin Britten’s Young Person’s Guide to the Orchestra Variations and Fugue on a theme of Purcell Op. 34 (1946). 25/1.

VOLUME 25/2
Castilano, Edward. Arturo Toscanini as an Anti-Fascist. 25/2.
Erdmann, Thomas. Maurice Peress, Dvorák to Duke Ellington. 25/2.
Ferencz, George. Robert Russell Bennett (1894-1981), Orchestrator and Composer. 25/2.
Friedel, Lance. Lesley Stephenson, Symphony of Dreams: The Conductor and Patron Paul Sacher. 25/2.
Meier, Gustav. The Common Denominator. 25/2.
Vermel, Paul. Scores & Parts: Claude Debussy’s Prélude de l’après-midi d’un faune. 25/2.

VOLUME 26/1-2
Bell, Wishart. Requiem KV 626 by W. A. Mozart: Conductor’s Notes to Performing Musicians, Completed by Robert Levin. 26/1-2.
Mitchell, Jon. Scores & Parts: William Grant Still’s Wood Notes. 26/1-2.
Setapen, James. An Interview with Samuel Adler. 26/1-2.
Zaltsberg, Ernst Evgeny Mravinsky: Conductor Devoted to Shostakovich’s Music. 26/1-2.

VOLUME 27/1-2
Carlisle, Ben. The Orchestral Music of Herbert Howells: An Introduction. 27/1-2.
Cozens, Charles. Conducting for the Recording Orchestra. 27/1-2.
Erdmann, Thomas. An Interview with Dennis Russell Davies. 27/1-2.
Farberman, Harold. Conducting Cannot Be Taught. 27/1-2.
Green, Jonathan. The Shaping Forces of Sacred Music. 27/1-2.

VOLUME 28/1-2
Garofalo, Robert. Ralph Vaughan Williams’s Sea Songs. 28/1-2.
Nieweg, Clinton. Scores & Parts: Mussorgsky’s Night on Bare Mountain. 28/1-2.
Peters, Gordon. The Marcia funebre from the ‘Eroica': Beethoven’s Most Misunderstood Metronome Marking. 28/1-2.
Ting, Chao-Wen. To Cut off or Not to Cut off, That is the Question. 28/1-2.
Vaught, Gregory. Scores & Parts: Mussorgsky’s Night on Bare Mountain. 28/1-2.

VOLUME 29/1-2
Brame, Jason. Mussorgsky/Ravel’s Pictures at an Exhibition: Faithful to the Wrong Source. 29/1-2.
Jones, Rufus. Maestro Dean Dixon (1915-1976): A Forgotten American Conductor. 29/1-2.
Klein, Nancy. Visionary Leadership and the Conductor. 29/1-2.
Gambetta, Charles. Creating a Fresh Approach to Conducting Gesture. 29/1-2.
Nieweg, Clinton and Bradburd, Nancy. Score and Parts: Maurice Ravel’s Bolero. 29/1-2.

VOLUME 30
Biba, Otto. Schubert’s Position in Viennese Musical Life. 30.
Fairtile, Linda. Toscanini and the Myth of Textual Fidelity. 30.
Farberman, Harold. Conducting Cannot Be Taught. 30.
Green, Jonathan. From Classroom to Podium: Teaching All of the Craft. 30.
Kamerman, Jack. The Rationalization of Symphony Orchestra Conductors’ Interpretive Styles. 30.
Kella, John. Medicine in the Service of Music; Health and Injury on the Podium. 30.
Lert, Ernst. The Conductor Gustav Mahler, A Psychological Study. 30.
Pearlmutter, Alan. Rehearsal Efficiency and Score Analysis. 30.
Perlis, Vivian. Oral History, American Music. 30.
Ricks, Robert. Are Our Audiences “Skeered to Clap”?: A Brief Survey of Applause Practices. 30.
Rudolf, Max. Contemporary Mozart Performance: A Diverse Landscape. 30.
Runyan, William. Appropriate Brass Timbre: A Conductor’s Responsibility. 30.
Trotter, William. Dimitri Mitropoulos: The Forgotten Giant. 30.
Vermel, Paul. Benjamin Britten’s WAR REQUIEM: Notes on Conducting. 30.

VOLUME 31/1
Burkett, Eugene. A New Direction: Educational Outreach that Moves Beyond Exposure. 31/1.
McConnell, David. An Analysis of Britten’s War Requiem, Op.66. 31/1.
Nieweg, Clinton. Villa-Lobos: “Bachianas Brasileiras.” 31/1.

VOLUME 31/2
Bernard, David. Scores & Parts: Tchaikovsky Romeo & Juliet Fantasy – Overture: A guide to preparing a correct score and parts. 31/2.
Burkett, Eugene. Conducting Agon; the Balanchine/Stravinsky Contribution to the Development of a Specialism. 31/2.
Luxner, Michael. A Conductors’ Philosopher: Susanne Langer on Music. 31/2.
Parker, Nathaniel. Bruno Walter, Leonard Bernstein, and Tempo Interpretation in Mahler Scores. 31/2.

AUTHOR UNAVAILABLE
The Publishers’ Corner, “To Mark. . . or not to Mark”. 01/1.
Publisher’s Corner: Christmas 1980. 01/2.
Publisher’s Corner: Youth concert Suggestions. 01/4.
Career Development for Conductors. 01/4.
The Conductor and Musicology. 01/4.
A Discussion of Gunther Schuller’s “The Trouble with Orchestras”. 01/4.
Original Metronome Indications for Bela Bartok’s Dance Suite (1924 Universal Edition). 02/3.
Contemporary Opera Conducting: Problems and Potential– A Panel Discussion. 02/4.
Publishers’ Corner: A Selection of Openers and Closers. 04/4.
Contemporary Conductors– A Portrait in Prose: Stanislaw Skrowaczewski. 05/1.
Contemporary Conductors: A Portrait in Prose: Sir John Pritchard. 05/2.
Dissertations and Theses on Conducting, 1952-1992. 12/3-4.
Arts Medicine Centers Resource List. 13/1.
Commemorative Festschrift. 20/1-2.
History of Conductors Guild Educational Activities. 20/1-2.

A
Adams, Douglas. Alberto Ginastera’s “Estancia”, Movement IV. Danza final “Malambo”. 15/2.
Adams, Douglas. Aaron Copland’s An Outdoor Overture. 15/2.
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 1. 07/1.
Albrecht, T. Orchestra Personnel in Vienna, 1795.
Albrecht, T. Bribe, Borrow, and Steal: Johann Herbeck’s Conducting Activities in Vienna, 1852-1777. 04/4.
Albrecht, T. Index to the Journal of the Conductors Guild, Vol 1-5 (1980-1984). 06/1.
Albrecht, T. A Gentle Protest: Hans Pfitzner’s Symphony in C, Op. 46 (1940). 06/2.
Albrecht, T. On the Performance of the Symphonies of Mozart (by Felix Weingartner). 06/3.
Albrecht, T. George R. Marek, “Schubert”. 06/4.
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 2. 07/2.
Albrecht, T. On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 3. 07/3-4.
Albrecht, T. An Encounter with a Contemporary of Beethoven (Felix Weingartner). 10/1-2.
Albrecht, T. Index to the “Journal of the Conductors Guild”, Volumes 11-15 (1990-1994). 16/1.
Aldwell, Edward. Tempo in “The Art of Fugue”: An Approach Through Figured Bass. 10/3-4.
Ansbacher, Charles A. Charles A. Ansbacher, President (1979-1981). 20/1-2.

B
Ball, James S. Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 1. 13/2.
Ball, James S. Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 2. 14/2.
Banks, Paul. An Early Symphonic Prelude by Mahler? 06/1.
Barber, Charles. Lost in the Stars: A Forgotten Career in Conducting. 12/3-4.
Barber, Charles. Legendary Conductors on Film. 13/2.
Barber, Charles. Pierre Monteux On Film. 25/1.
Barrow, Lee. Francis Poulenc’s Gloria: Corrections to the New (1969) Full Score. 22/1-2.
Barstow, Barbara. Gustav Mahler: Conductor. 04/4.
Bartos, Michael. Bibliography: Books and Articles Authored by Conductors. 02/2.
Bartos, Michael. About Recording. 12/3-4.
Beck, Crafton. Use of the Dot for Articulation and Accent in Orchestral Repertoire (1880- 1920). 10/1-2.
Begian, Harry. Alfred Reed’s “Armenian Dances”: A Rehearsal Analysis. 16/1.
Bell, Wishart. Requiem KV 626 by W. A. Mozart: Conductor’s Notes to Performing Musicians, Completed by Robert Levin. 26/1-2.
Bernstein, Alexander. The Arts Experience: A Prescription for Education. 15/1.
Bernard, David. Scores & Parts: Tchaikovsky Romeo & Juliet Fantasy – Overture: A guide to preparing a correct score and parts. 31/2.
Biba, Otto. Schubert’s Position in Viennese Musical Life. 03/3 & 30 (reprint).
Bird, Steven Carl. A Comparison of the Autograph Manuscript of Maurice Ravel’s “Daphnis et Chloe” with the Durand Edition of Suites 1 & 2. 11/1-2.
Blackton, Jay. Fifty Years of the New York Musical Theater: A Personal Perspective. 03/3.
Blair, Christopher. Acoustics: the Performers’ Perspective. 19/2.
Bloch, Henry. Joseph A. Mussulman, “Dear People. . . Robert Shaw, A Biography”. 01/1.
Bloch, Henry. Philip Hart, “Conductors, a New Generation”. 01/1.
Bloch, Henry. Virginia P. White, “Grants for the Arts”. 01/2.
Bloch, Henry. Paul Robinson, “Solti”. 01/3.
Bloch, Henry. Joe Sack, (ed.), “Orchestra World”. 01/3.
Bloch, Henry. Ronald Sanders, “The Days Grow Short: The Life and Music of Kurt Weill”. 02/1.
Bloch, Henry. Max Rudolf, “The Grammar of Conducting”. 02/1.
Bloch, Henry. Andre Previn (ed.), “Orchestra”. 02/2.
Bloch, Henry. Robert Winter and Bruce Carr, (ed.), “Beethoven, Performers and Critics”. 02/3.
Bloch, Henry. Jerrold Northrop Moore, (ed.), “Music and Friends, the Letters to Adrian Boult”. 02/4.
Bloch, Henry. Antal Dorati, “Notes of Aeven Decades”. 02/4.
Bloch, Henry. Erich Leinsdorf, “The Composer’s Advocate, A Radical Orthodoxy for Musicians”. 03/1.
Bloch, Henry. Abram Chasins, “Leopold Stokowsky– A Profile”. 03/2.
Bloch, Henry. Norman Del Mar, “Orchestral Variations, Confusion and Error in the Orchestral Repertoire”. 03/2.
Bloch, Henry. Virgil Thomas, “A Virgil Thomas Reader”. 03/3.
Bloch, Henry. Arthur Cohn, “‘Recorded Classical Music,’ “A Critical Guide to Compositions and Performances”. 03/3.
Bloch, Henry. John Culshaw, “Putting the Record Straight”. 03/3.
Bloch, Henry. David Daniels, “Orchestral Music, a Handbook”, 2nd Ed. 04/1.
Bloch, Henry. Donald Barra, “The Dynamic Performance”. 04/1.
Bloch, Henry. Oliver Daniel, “Stokowski, A Counterpoint of View”. 04/2.
Bloch, Henry. Rudolf Hartmann, “Richard Strauss: The Staging of His Operas and Ballets”. 04/4.
Bloch, Henry. Spike Hughes, “Glyndebourne: A History of the Festival Opera”. 04/4.
Bloch, Henry. Martin Gregor-Dellin, “Richard Wagner: His Life, His Works, His Century”. 04/4.
Bloch, Henry. Johannes Brahms, “Alto Rhapsody, Op. 53″, New York Public Library Edition. 04/4.
Bloch, Henry. Derek Watson, “Richard Wagner”. 04/4.
Bloch, Henry. Charles Osborn, “The Complete Operas of Puccini”. 04/4.
Bloch, Henry. Oswald Georg Bauer, “Richard Wagner, the Stage Designs and Productions from the Premieres to the Present”. 05/1.
Bloch, Henry. Helena Matheopoulos, “Maestro”. 05/1.
Bloch, Henry. Composium, “Annual Index of Contemporary Compositions”. 05/2.
Bloch, Henry. John Rockwell, “All-American Music”. 05/2.
Bloch, Henry. Norman Del Mar, “Anatomy of the Orchestra”. 05/4.
Bloch, Henry. Peter Hayworth, “Otto Klemperer, His Life and Times; Vol. 1, 1885-1933″. 06/3.
Bloch, Henry. Frederick Prausnitz, “Score and Podium”. 06/3.
Bloch, Henry. Vlado Perlemuter and Helene Hourdan-Morhange, “Ravel According to Ravel”. 10/1-2.
Bloch, Henry. Richard Dufallo, “Trackings”. 10/1-2.
Bloch, Henry. Jeanine Wagar, “Conductors in Conversation”. 11/3-4.
Bloch, Henry. Winton Dean, “Essays on Opera”. 11/3-4.
Bloch, Henry. Daniel Barenboim, “A Life in Music”. 12/3-4.
Bloch, Henry. John Warrak and Ewan West, “Oxford Dictionary of Opera”. 12/3-4.
Bloch, Henry. Norman Del Mar, “Conducting Beethoven, Volume 1: The Symphonies”. 12/3-4.
Bloch, Henry. Julian Budden, “The Operas of Verdi, Revised Ed.”. 12/3-4.
Bloch, Henry. Sam H. Shirakawa, “The Devil’s Music Master: The Controversial Life and Career of Wilhelm Furtwangler”. 13/2.
Bloch, Henry. Jeffrey H. Renshaw, “The American Wind Symphony Commissioning Project: A Descriptive Catalog of Published Editions, 1957- 1991″. 13/2.
Bloch, Henry. Ronald Taylor, “Furtwangler on Music: Essays and Addresses”. 13/2.
Bloch, Henry. Heinz Gartner, “Constanze Mozart: After the Requiem”. 13/2.
Bloch, Henry. Joan Evans, “Hans Rosbaud, A Bio-Bibliography”. 13/2.
Bloch, Henry. William Scott (compiler), “A Conductor’s Repertory of Chamber Music: Compositions for Nine to Fifteen Solo Instruments”. 13/2.
Bloch, Henry. Pierluigi Petrobelli, “Music in the Theatre”. 14/1.
Bloch, Henry. Mary Jane Phillips-Matz, “Verdi, A Biography”. 14/1.
Bloch, Henry. Norman Del Mar,”Conducting Brahms”. 15/1.
Bloch, Henry. Arthur Weisberg, “Performing Twentieth-Century Music”. 15/1.
Bloch, Henry. Helen Conway, “Sir John Pritchard, His Life in Music”. 15/1.
Bloch, Henry. Richard Taruskin, “Musorgsky, Eight Essays and an Epilogue”. 15/1.
Bloch, Henry. Christopher Fifield, “True Artists and True Friend, A Biography of Hans Richter”. 15/1.
Bloch, Henry. Arthur Jacobs, “Henry J. Wood, Maker of the Proms”. 15/2.
Bloch, Henry. Philip Hart, “Fritz Reiner”. 16/2.
Bloch, Henry. Michael Kennedy, (ed.), “The Oxford Dictionary of Music”. 16/2.
Bloch, Henry. Henry-Louis de La Grange, “Gustav Mahler, Vol. 2, “Vienna, The Years of Challenge (1897-1904)”. 16/2.
Bloch, Henry. Roger Parker, (ed.), “The Oxford Illustrated History of Opera”. 16/2.
Bloch, Henry. Charles Rosen, “The Romantic Generation”. 17/1.
Bloch, Henry. Bruce Allen Brown, “W.A. Mozart. Cosi fan tutte”. 17/1.
Bloch, Henry. Elaine Siseman, (ed.), “Haydn and His World”. 17/2.
Bloch, Henry. Edward Heath, “Music. A Joy for Life”. 18/1.
Bloch, Henry. Mary Hunter and James Webster (eds.), “Opera Buffa in Mozart’s Vienna”. 18/2.
Bloch, Henry. Walter B. Bailey (ed.), “The Arnold Schoenberg Companion”. 19/1.
Bloch, Henry. Tim Ashley, “Richard Strauss”. 19/2.
Bloch, Henry. Henry Bloch, Report from the Archivist. 20/1-2.
Bloch, Henry. John Canarina, Uncle Sam’s Orchestra, Memories of the Seventh Army Symphony. 22/1-2.
Bloch, Henry. Carl S. Leafsteadt, Inside Bluebeard’s Castle, (Music and Drama in Bela Bartôk’s Opera). 22/1-2.
Bloch, Henry. John Ardoin, Valery Gergiev and the Kirov. 23/1-2.
Bloch, Henry. Vincent J. Cincotta, Zarzuela, The Spanish Lyric Theatre. 24/1-2.
Bloch, Henry. Myer Fredman, From Idomeneo to Die Zauberflöte. 25/1.
Bloch, Henry. Piero Weiss, Opera, A History in Documents. 25/1.
Block, Glenn Arthur. Attitudes Towards Textual Authenticity in Orchestral Performance: Part 1. 05/2.
Block, Glenn. Attitudes Towards Textual Authenticity in Orchestral Performance: Part 2. 05/3.
Block, Glenn. Shotoakovich’s Symphony No.6 in B Minor, Op. 53. 13/1.
Bond, Victoria. Towards Creating a Composer- Friendly Environment, Part 1. 11/3-4.
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 2. 12/1-2.
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 3. 14/2.
Bond, Victoria. Towards Creating a Composer-Friendly Environment, Part 4. 15/2.
Boulez, Pierre. Score: Imagination and Reality. 15/2.
Bowen, José A. Mendelssohn, Berlioz, and Wagner: Early Practitioners of “Fidelity to the Composer”. 18/2.
Bradburd, Nancy M. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). 19/1.
Braem, Penny. A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors. 22/1-2.
Braun, William. Wagner’s Development, Work and Influence as a Conductor. 16/1.
Brauner, Patricia B. The “Opera Omina” of Giaochino Rossini. 14/1.
Bräm, Thüring. A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors. 22/1-2.
Brame, Jason. Mussorgsky/Ravel’s Pictures at an Exhibition: Faithful to the Wrong Source. 29/1-2.
Brieff, Frank. Stuart Edward Dunkel, “The Audition Process”. 10/1-2.
Brion, Keith. Sousa’s Marches for Orchestra: A Brief Examination. 21/1-2
Brown, Emily. Zheng Xiaoying: The Story of a Chinese Conductor. 21/1-2.
Brown, Marshall. Havergal Brian and His Music for Orchestra: An Introduction. 05/1.
Brown, Michael R. The Band Music of William Schumann. 16/2.
Brown, Emily Freeman. Zarathustra: Reflections of Form. 18/2.
Burdick, Alan R. Interpretational Concepts of Dr. Richard Lert in Beethoven’s Seventh Symphony. 05/1.
Burke III, Leon. Intermezzi: Toscanini and Klemperer: A Comparative Examination. 04/3.
Burkett, Eugene. A New Direction: Educational Outreach that Moves Beyond Exposure. 31/1.
Burkett, Eugene. Conducting Agon; the Balanchine/Stravinsky Contribution to the Development of a Specialism. 31/2.
Burlingame, Marshall. Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. 06/1.
Burton, James. Gustav Mahler’s “Symphony No. 9″, Part 1. 13/2.
Burton, J. Bryan. A Survey of World Folk Music Literature. 16/2.
Burton, J. Bryan. Native American Repertoire: The Indigenous Component of Multicultural Music. 16/2.
Buxbaum, Erica Heisler. Stravinsky, Tempo and “Le Sacre”. 13/1.

C
Cahis, Juan I. The Bruckner Symphonies Problem Reconsidered. 15/2.
Camphouse, Mark. John Koshak, The Conductor’s Role: Preparation for Individual Study, Rehearsal and Performance. 23/1-2.
Canarina, John. Pierre Monteux: A Conductor for All Repertoire. 07/3-4.
Canarina, John. Uncle Sam’s Orchestra. 17/2.
Canarina, John. Michael Stern (Ed.), Max Rudolf: A Musical Life, Writings and Letters. 22/1-2.
Carlisle, Ben. The Orchestral Music of Herbert Howells: An Introduction. 27/1-2.
Carpenter, Clinton. Mahler’s Tenth Symphony, Part 1. 04/3.
Castilano, Edward. Arturo Toscanini as an Anti-Fascist. 25/2.
Catalano, Peter. Bernard Haitink: A Perfect Patrician of the Podium. 16/1.
Charry, Michael. Max Rudulf: An Appreciation. 08/1.
Charry, Michael. The Metamorphosis of a Title. 12/1-2.
Charry, Michael. Michael Charry, (1991-1992). 20/1-2.
Chilcote, Kathryn. Sara K. Schneider, “Concert Song as Seen: Kinesthetic Aspects of Musical Interpretation”. 15/1.
Clapman, John. Dvorak on the American Scene. 06/2.
Cozens, Charles. Conducting for the Recording Orchestra. 27/1-2.
Crutchfield, Will. Some Thoughts on Reconstructing Singing Styles of the Past. 10/3-4.
Cusato, Elizabeth. Scores & Parts: Joaquín Rodrigo’s Fantasía para un Gentilhombre. 23/1-2.

D
Daniels, David. Richard Koshgarian, “American Orchestral Music: A Performance Catalog”. 13/1.
Daniels, David. Stravinsky’s “Firebird Suite”, 1945 Version. 14/2.
Daniels, David. Glossary of German Terms for Mahler’s Symphony No. 1. 19/1.
Daniels, David. Michael J. Esselstrom, “A Conductors Guide to Symphonies I, II, and III of Gustav Mahler”. 19/2.
Davis, Dorothy Ann. Gustav Mahler: Conductor. 04/4.
de Lancie, John. Conductors and Conducting. 02/1.
Dennison, Sam. Philadelphia’s Fleisher Collection: Fifty Years of Service to the Orchestras of the World. 01/1.
Destro, Pierluigi. A Transcription of Beethoven’s Seventh Symphony for Nine Wind Instruments. 19/2.
Devenney, David P. Robert C. Marsh, “Dialogues and Discoveries: James Levine, His Life and His Music”. 19/1.
Devenney, David P. Brock McElheran, “Music Reading by Intervals: A Modern Sight-Reading and Ear-Training Method for Singers, Conductors, and Teachers”. 19/1.
DeVoto, Mark. Stravinsky’s “Les Noces”. 10/1-2.
Dunn, Richard. The Fourth Horn in Beethoven’s Ninth Symphony. 17/2.

E
Ehle, Robert C. Gustav Mahler and the Nineteenth-Century Sound World.
Eisen, Cliff. Mozart’s Salzburg Orchestras. 17/1.
Epstein, David. Brahms and the Mechanisms of Motion: The Composition of Performance. 19/1.
Erdmann, Thomas R. Vincent Persichetti’s Divertimento for Band: A Rehearsal Analysis. 17/1.
Erdmann, Tom. Craig Kirchhoff, Series Advisor, Windependence: A Reportoire Series for Wind Bands. 22/1-2.
Erdmann, Thomas Rocco Di Pietro, Dialogues with Boulez. 24/1-2.
Erdmann, Thomas. An Interview with Joan Tower. 25/1.
Erdmann, Thomas. Maurice Peress, Dvorák to Duke Ellington. 25/2.
Erdmann, Thomas. An Interview with Dennis Russell Davies. 27/1-2.

F
Fairtile, Linda. Toscanini and the Myth of Textual Fidelity. 24/1-2 & 30 (reprint).
Falletta, JoAnn. The Twenty-First Century Maestro: An Imperative of Versatility and Dedication. 17/2.
Farberman, Harold. A Personal Observation on “Some Personal Observations”. 07/3-4.
Farberman, Harold. Harold Farberman, President (1975-1979). 20/1-2.
Farberman, Harold. Conducting Cannot Be Taught. 27/1-2 & 30 (reprint).
Ferencz, George. Robert Russell Bennett (1894-1981), Orchestrator and Composer. 25/2.
Field, Corey. Publishers’ Corner: Composer Anniversaries in 1985. 06/1.
Field, Corey. “A Rose by any other name…”. 11/3-4.
Foss, Lukas. Notes on a Programming Philosophy. 06/2.
Friday, Raymond. Julie Yarbrough, “Modern Languages for Musicians”. 13/1.
Friedel, Lance. Rehearsal Notes for Aaron Copland, “Appalachian Spring Suite”, Complete Ballet for Thirteen Instruments. 11/3-4.
Friedel, Lance. Tempo Relations in the Finale of Brahms’ First Symphony. 12/3-4.
Friedel, Lance. Lesley Stephenson, Symphony of Dreams: The Conductor and Patron Paul Sacher. 25/2.
Fry, Hunter. Occupation- Related Physical Problems of Conductors. 08/2-3.
Fuchs, Peter Paul. Freedom of Choice. 03/1.
Fuchs, Peter Paul. Random Thoughts on Opera Conducting. 03/2.
Fuchs, Peter Paul. Programming, Part 1. 03/3.
Fuchs, Peter Paul. Programming, Part 2. 03/4.
Fuchs, Peter Paul. Programming, Part 3. 04/1.
Fuchs, Peter Paul. Programming, Part 4. 04/2.
Fuchs, Peter Paul. Programming, Part 5. 04/3.
Fuchs, Peter Paul. Programming, Part 6. 04/4.
Fuchs, Peter Paul. Programming, Part 7. 05/1.
Fuchs, Peter Paul. Programming, Part 8. 05/2.
Fuchs, Peter Paul. Programming, Part 9. 05/4.
Fuchs, Peter Paul. Programming, Part 10. 06/1.
Fuchs, Peter Paul. Programming, Part 11. 06/3.
Fuchs, Peter Paul. Programming, Part 12. 06/4.
Fuller, David. Dotting, the “French Style” and Frederick Neumann’s Counter Reformation. 02/3.

G
Galkin, Elliott W. Gustav Mahler as Conductor. 08/1.
Gambetta, Charles. Creating a Fresh Approach to Conducting Gesture. 29/1-2.
Garcia, Emanuel E. Bruno Walter Consults Sigmund Freud: Notes on an Unconventional Theraputic Cure. 11/1-2.
Garcia, Emanuel E. A New Look at Gustav Mahler’s Fateful Encounter with Sigmond Freud. 12/1-2.
Garcia, Emanuel E. Jonathan Carr, “Mahler: A Biography”. 18/2.
Garcia, Emanuel. Rachmaninoff’s First Symphony: Emotional Crisis and Genius Interred. 23/1-2.
Garofalo, Robert. Ralph Vaughan Williams’s Sea Songs. 28/1-2.
Gibeau, Peter. Heinrich Schenker, “Beethoven’s Ninth Symphony”. 14/1.
Gibeau, Peter. An Introduction to the Theories of Heinrich Schenker, Part 1. 14/2.
Gibeau, Peter. An Introduction to the Theories of Heinrich Schenker, Part 2. 15/1.
Gieraczynski, Bogdan. Witold Lutoslawski: A Twentieth- Century Classic. 10/1-2.
Gilbert, David. Conducting in Mainland China: 1980-82. 04/2.
Gnam, Adrian. Adrian Gnam, President (1995-1996). 20/1-2.
Gold, Edward Michael. Franz Lehár: The Complete Cosmopolitan. 18/1.
Goodman, Amy. Gustav Mahler: Conductor. 04/4.
Gossett, Philip. The Overtures of Rossini, Part 1. 04/2.
Gossett, Philip. The Overtures of Rossini, Part 2. 04/3.
Gottlieb, Stephen A. Gustav Mahler’s “Ruckert Lieder” and the Art of Error in Interpretation. 14/2.
Gottling, Philip. Gustav Mahler’s “Symphony No. 9″, Part 1. 13/2.
Gottling, Philip. Gustav Mahler’s “Symphony No. 9″, Part 2. 14/1.
Green, Jonathan D. From Classroom to Podium: Teaching All of the Craft. 13/2 & 30 (reprint)
Green, Jonathan D. The Everchanging Orchestra in J. S. Bach’s Choral Works. 19/1.
Green, Jonathan D. Douglas M. Jordan, “Alfred Reed: A Bio-Bibliography”. 19/2.
Griffith, Michael. Aaron Copland’s “Appalachian Spring Suite”, Version for Thirteen Instruments. 11/3-4.

H
Hagberg, James Carl. Interpretational Concepts of Richard Lert on Performing the First Symphony in c minor by Johannes Brahms. 04/1.
Hagberg, James Carl. Richard Lert’s Interpretation of Dynamics in Performing the First Symphony in c minor by Johannes Brahms. 04/2.
Hanson, Jeffrey. Topical Discourse: Toward a Finer Understanding of 18th-Century Musical Expression. 23/1-2.
Hardy, Martin. Mervyn Cooke, “Britten: War Requiem”. 19/2.
Hardy, Martin. Michael Oliver, “Benjamin Oliver”. 19/2.
Hastings, Baird. A Performer’s Guide to: “Thamos, Konig in Aegypten”. 12/1-2.
Hastings, Baird. Barry Millington and Stewart Spencer, eds., “Wagner in Performance”. 14/1.
Hastings, Baird. Barry Millington, ed., “The Wagner Compendium: A Guide to Wagner’s Life and Music”. 15/1.
Hastings, Baird. Reik Ryding and Rebecca Pechevsky, “Bruno Walter: A World Elsewhere”. 21/1-2.
Hawkshaw, Mary. David Epstein, “Shaping Time”. 18/2.
Hilfiger, John Jay. Victor Rangel-Riberio and Robert Markel, “Chamber Music: An International Guide to Works and their Instrumentation”. 13/1.
Hilfiger, John Jay. Brian Newbould, “Schubert and the Symphony: A New Perspective”. 13/2.
Hilfiger, John Jay. Franz Schubert, “Symphony No. 7 in E, D. 729″, realization by Brian Newbould. 13/2.
Hilfiger, John Jay. Mark Lammers, “Nordic Instrumental Music for Colleges and Universities. 14/1.
Hilfiger, John Jay. The Chamber Orchestra: An Annotated Bibliography. 14/1.
Hilfiger, John Jay. William H. Haverson, ed., “Edward Grieg Today: A Symposium”. 14/2.
Hilfiger, John Jay. Glenda Dawn Goss, “Jean Sibelius and Olin Downes: Music, Friendship, Criticism”. 15/1.
Hilfiger, John Jay. Grieg and the Chamber Orchestra. 15/2.
Hilfiger, John Jay. William R. Trotter, “Priest of Music: The Life of Dimitri Mitropoulos”. 16/2.
Hilfiger, John Jay. Erich Leinsdorf, Erich Leinsdorf on Music. 18/1.
Hilfiger, John Jay. Glenda D. Goss, “Jean Sibelius: A Guide to Research”. 18/2.
Hillis, Margaret. Anton Brukner’s Mass in E Minor: A Performer’s Guide. 12/3-4.
Hillis, Margaret. Anton Bruckner’s E Minor: A Performers Guide. 21/1-2.
Hohstadt, Thomas. The Manager as Artist. 01/2.
Hohstadt, Thomas. Hung Up on Hang- Ups. 03/1.
Hohstadt, Thomas. Intonation Suggestions. 04/3.
Hohstadt, Thomas. Teodor Romanic, “Sviranje Partitura I Izrada Klavirskih Izvoda (Playing Scores and Piano Reductions)”. 06/4.
Hohstadt, Thomas. Current Resources for Orchestral Pops Programming. 07/3-4.
Hohstadt, Thomas. Pops Programming: Art or Entertainment. 08/2-3.
Hornstein, Daniel. Theodore Thomas: American Conductor, American Music Educator, Part 1. 03/2.
Horowitz, Joseph. Understadning Toscanini– A Re-Examination of His American Success. 02/4.

J
Jacobson, Bernard. Once More with Feeling: A Polemic on Repeats. 24/1-2.
Janower, David. Franz Joseph Haydn’s “Missa in Angustiis (Lord Nelson Mass)”. 10/1-2.
Johnson, Jennifer. Scores & Parts: Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. 24/1-2.
Johnson, Jennifer. Benjamin Britten’s Young Person’s Guide to the Orchestra Variations and Fugue on a theme of Purcell Op. 34 (1946). 25/1.
Johnson, L. Keating. Stravinsky’s “Symphonies of Wind Instruments”. 08/4.
Johnson, Roland. Roland Johnson, Founding Member. 20/1-2.
Jones, Rufus. Maestro Dean Dixon (1915-1976): A Forgotten American Conductor. 29/1-2.
Jones, Samuel. A Study Session with Richard Lert: Orchestral Balance in “Don Juan”. 03/3.
Jones, Samuel. A Study Session with Richard Lert: Pacing and Tempo in “Don Juan”. 03/4.
Jones, Samuel. Theodore Thomas: American Conductor, American Music Educator, Part 2. 03/4.
Jones, Samuel. Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. 09/1.
Jones, Samuel. Max Rudolf, “The Grammar of Conducting”, 3rd Ed. 13/1.
Jones, Samuel. Samuel Jones, President (1987-1988). 20/1-2.
Jory, Margaret. The American Music Center. 01/3.
Jory, Margaret. American Orchestral Music. 01/4.

K
Kamerman, Jack B. The Rationalization of Symphony Orchestra Conductors’ Interpretive Styles. 11/1-2 & 30 (reprint).
Kamerman, Jack B. The Ledger and the Score: Administrative and Artistic Conflict at the Royal Philharmonic Society of London, 1916-1918. 14/2.
Kella, John J. Medicine in the Service of Music: Health and Injury on the Podium. 12/1-2 & 30 (reprint).
Kenney, Wes. Wes Kenney, President (1999-2000). 20/1-2.
Kess, Rohnda. The Arnold Schoenberg Institute: A Conductor’s Resource. 01/3.
Kiesler, Kenneth. The Never Ending Story. 17/2.
King, Jr., John S. Aaron Copland and Vivian Perlis, “Copland: 1900 through 1942″ and “Copland: Since 1943″. 11/3-4.
King, Jr., John S. Perlis on Copland: An Interview. 11/3-4.
Kirby, Paul. Jean-Pierre Marty, “The Tempo Indications of Mozart”. 11/3-4.
Kirby, Paul. The Impact of Haydn’s Conducted Performances of “The Creation” on the Work and the History of Conducting. 13/1.
Klein, Nancy. Visionary Leadership and the Conductor. 29/1-2.
Koehler, Elisa. The Italian Wind Band: Its Heritage and Legacy. 16/2.
Kresge, Kristine H. Arthur Nikisch: A Brief Biography and Survey of His Conducting Technique. 04/1.
Kreuger, Raymond. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.

L
Lang, Morris. “A Journey to the Source” on L’Histoire Due Soldat. 05/4.
Lantz, Jere. New and Unusual Programming. 06/2.
Lantz, Jere. Harold C. Schonberg, “The Glorious Ones: Classical Music’s Legendary Performers”. 06/4.
Lantz, Jere. New and Unusual Programming. 06/4.
Leach, Brenda. Ilya Musin: A Life in Music. 25/1.
Leedy, Douglas. A Question of Intonation. 08/4.
Lees, Benjamin. Reflections on the Contemporary Music Scene: One Composer’s Perspective. 08/1.
Lehrman, Phillip. Orchestral Auditions– Help Wanted. 01/2.
Leibowitz, Rene. The Thousand and One Errors. 16/2.
Lert, Richard. A Measure by Measure Interpretation of Brahms’ Symphony No. 3 in F Major. 01/2 & 30 (reprint).
Lert, Ernst J. M. The Conductor Gustav Mahler. 01/3.
Levin, Andrew Reed. Conductors and the Internet: New Tools for Communication and Information Exchange. 15/1.
Lipman, Samuel. Mme Pierre Monteux. 08/2-3.
Lipman, Samuel. A Conductor in History. 08/2-3.
Lloyd, Thomas. Am I Being Followed?: Finding the Ultimate Dynamic Between Conductor and Ensemble. 17/1.
Luxner, Michael. A Conductors’ Philosopher: Susanne Langer on Music. 31/2.
Luxner, Michael. Brian Newbould (ed.), “Schubert Studies”. 19/1.

M
Macdonald, Hugh. Modest Mussorgsky: Boris Godunov, (ed.) David Lloyd-Jones. 03/3.
MacPherson, Scott. German Choral Literature since 1975: A Survey of Selected Works. 17/2.
Malloch, William. Toward a “New” (Old) Minuet. 15/2.
Malloch, William. Bach and the French Overture. 17/1.
Marty, Jean-Pierre. Interpreting Mozart. 11/3-4.
Marty, Jean-Pierre. Mozart’s Tempo Indications and the Problems of Interpretation. 11/3-4.
Masur, Kurt. Conductors, Orchestras and Society: A Contemporary View. 13/1.
Mayer, William. A Composer’s Dream. 06/4.
McConnell, David. An Analysis of Britten’s War Requiem, Op.66. 31/1.
McGuire, Kathleen. Kammersympbonie No. 1, Op. 9, by Arnold Schoenberg (1906): Considerations for the Conductor. 24/1-2.
Meier, Gustav. The Common Denominator. 25/2.
Melichar, Alois. Lessons Derived from Richard Strauss’ Exemplary Conducting Style (from “The Perfect Conductor. Development and Decay of an Art”). 05/2.
Melichar, Alois. Lessons Derived from Richard Strauss’ Exemplary Conducting Style, Parts 3, 4, and 5 (from “The Perfect Conductor. Development and Decay of an Art”. 06/1.
Meyerson, Kathryn. Index to the “Journal of the Conductors Guild”, Volumes 6-10. 11/1-2.
Michael, Luxner. Neil Butterworth, “The American Symphony”. 19/1.
Mikkelson, Russel C. Interpreting Leslie Bassett’s Sounds, Shapes and Symbols. 17/2.
Miller, Stephen W. Darius Milhaud’s “Fanfare de la liberte”. 11/1-2.
Mitchell, Jon C. In Search of Pasodoble. 13/2.
Mitchell, Jon C. C.P.E. Bach’s Double Concerto in E-Flat, Wq 47. 16/2.
Mitchell, Jon C. Bruno Walter’s Correspondence to Adrian Boult: A Forty-Year Friendship. 17/2.
Mitchell, Jon. John Philip Sousa: A Comparative Instrumentation Study of the Manuscripts and Published Scores of Selected Works. 21/1-2.
Mitchell, Jon. Holst, Stock, and The Planets. 24/1-2.
Mitchell, Jon. Scores & Parts: William Grant Still’s Wood Notes. 26/1-2.
Mitchell, Michael A. Jonathan Green, “A Conductor’s Guide to Choral-Orchestral Works”. 18/2.
Mitchell, Michael A. Jonathan Green, “A Conductor’s Guide to Choral- Orchestral Works, Twentieth Century, Part II; The Music of Rachmaninov through Penderecki”. 18/2.
Moon, Eugene. Publishers’ Corner: Concert Works with Two or More Soloists. 04/1.
Morgan, Kenneth. Fritz Reiner and the Technique of Conducting. 14/2.
Morgan, Kenneth. Gunther Schuller, “The Compleat Conductor”. 17/2.
Morgan, Kenneth. Walter Frisch, Brahms: The Four Symphonies”. 18/1.
Morgan, Kenneth. Richard Osborne, “Herbert von Karajan: A Life in Music”. 19/1.
Morgan, Kenneth. Fritz Reiner in Dresden. 19/2.
Morgan, Kenneth. John Ardoin (ed.), “The Philadelphia Orchestra: A Century of Music”. 21/1-2.
Morgan, Kenneth. John Gritten, “A Musician before his Time: Constantine Silvestri: Conductor, Composer, Pianist”. 21/1-2.
Morgan, Kenneth. Jane F. Fulcher, ed, Debussy and his World. 24/1-2.
Mostovoy, Marc. The Modern Orchestra and Period Performance Practice. 10/3-4.
Munford, Gordon. Pops Page. 01/3.
Munford, Gordon. Pops Page. 01/4.
Munford, Gordon. Pops Page. 02/1.
Munford, Gordon. Pops Page. 02/2.
Munford, Gordon. Pops Page. 02/3.
Munford, Gordon. Pops Page. 02/4.
Munford, Gordon. Pops Page. 03/1.
Munford, Gordon. Pops Page. 03/4.
Munford, Gordon. Pops Page. 04/1.
Munger, Shirley. Stephen Douglas Burton, “Orchestration”. 03/3.
Munger, Shirley. Samuel Adler, “The Study of Orchestration”. 03/3.
Munger, Shirley. Alfred Blatter, “Instrumentation/Orchestration”. 03/3.
Munn, Zae. The Conductor as a Compositional Resource, Part 1. 13/2.
Munn, Zae. The Conductor as a Compositional Resource, Part 2. 14/1.
Murphy, Brian. Beauty’s Plea: An Introduction to the Music of William Alwyn. 22/1-2.

N
Neumann, Frederick. The Dotted Note and the So- Called French Style. 02/2.
Neumann, Frederick. Once More: the “French Overture Style”. 02/3.
Newland, Dika. Mahler: A Composer for the Future. 03/1.
Newland, Larry. Larry Newland, President (1993-1994). 20/1-2.
Newman, William S. Authenticity– Some Options and Priorities. 10/3-4.
Newman, William S. Symposium Afterthoughts. 10/3-4.
Nieweg, Clinton. Benjamin Britten’s Young Person’s Guide to the Orchestra Variations and Fugue on a theme of Purcell Op. 34 (1946). 25/1.
Nieweg, Clinton. Prokoviev’s “Classical Symphony”. 08/4.
Nieweg, Clinton. Respighi’s “The Pines of Rome” and “The Fountains of Rome”. 10/1-2.
Nieweg, Clinton. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.
Nieweg, Clinton. Scores & Parts: Joaquín Rodrigo’s Fantasía para un Gentilhombre. 23/1-2.
Nieweg, Clinton. Scores & Parts: Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. 24/1-2.
Nieweg, Clinton. Scores & Parts: Mussorgsky’s Night on Bare Mountain. 28/1-2.
Nieweg, Clinton. Villa-Lobos: “Bachianas Brasileiras.” 31/1.
Nieweg, Clinton and Bradburd, Nancy. Scores & Parts: Maurice Ravel’s Bolero. 29/1-2.

O
O’Bourke, Mercy. Harvey Sachs, “Toscanini”. 01/2.
O’Neal, Melinda. An Introduction to Performance Practice: Considerations for Mozart’s “Requiem”. 18/2.
O’Neal, Melinda. Coming to Terms with Historical Performance Practices. 19/2.
Osborne, Richard. “Herbert von Karajan: A Life in Music”. 19/1.

P
Parker, Harlan D. An Annotated Bibliography of Selected Wind Ensemble/Band Repertoire Texts. 13/1.
Parker, Harlan D. Frank J. Cipolla and Donald Hunsberger, eds. “The Wind Ensemble Repertoire”. 14/2.
Parker, Nathaniel. Bruno Walter, Leonard Bernstein, and Tempo Interpretation in Mahler Scores. 31/2.
Party, Lionel. Three Important and Useful Eighteenth- Century Ornament Tables. 10/3-4.
Pearlmutter, Alan. Conducting Competitions. 01/3.
Pearlmutter, Alan. Conductor Training: After Orkney Springs, What Now?. 02/2.
Pearlmutter, Alan. Rehearsal Efficiency and Score Analysis. 02/3 & 30 (reprint).
Pearlmutter, Alan. William Schuman’s “New England Tritych” and the Music of William Billings. 08/2-3.
Pearlmutter, Alan. Concept to Concert: Evolution of a Chamber Orchestra. 15/2.
Pearlmutter, Alan. Programming and The Hummanities: The Mystique of Legend. 24/1-2.
Peress, Maurice. Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. 09/1.
Peress, Maurice. Maurice Peress, President (1981-1983). 20/1-2.
Perkins, Reed. Interview with Augusta Read Thomas. 23/1-2.
Perlis, Vivian. Oral History, American Music. 11/3-4 & 30 (reprint).
Peters, Gordon. Bartok: A Thirty-Five Year Old Mistake in the “Concerto for Orchesra”. 02/2.
Peters, Gordon. Programming Criteria for Symphony Orchestras: A Sampling. 02/3.
Peters, Gordon. Condition of Symphonic Music. 03/4.
Peters, Gordon. Publishers’ Corner: Condition of Symphonic Music. 03/4.
Peters, Gordon. Symphony Auditions– Help Wanted: A Study. 04/3.
Peters, Gordon. At the Conducting Workshop: Some Personal Observations. 06/4.
Peters, Gordon. An Interview with Leonard Slatkin. 08/2-3.
Peters, Gordon. Occupation– Related Physical Problems of Conductors. 08/2-3.
Peters, Gordon. The Marcia funebre from the ‘Eroica': Beethoven’s Most Misunderstood Metronome Marking. 28/1-2.
Piecuch, Martin. A Survey of Analyzed and Annotated Orchestral Works. 01/1.
Pines, Kirby. The Publishers’ Corner: U.S. Agency Listing of Foreign Publications. 03/2.
Plaine, Mary C. Scores and Parts: Debussy, L’Après-Midi d’un Faun. 17/2.
Polisi, Joseph. Performing Arts and the Nation: A Challenge for Today. 13/1.
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 1. 09/1.
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 2. 09/2.
Polkow, Dennis. Solti Speaks: A Rare and Candid Conversation with the Maestro. 21/1-2.
Portnoy, Donald. Donald Protnoy, President (1983-1986). 20/1-2.
Prestamo, Manuel. Miguel Ficher, Martha Furman Schleifer, John M. Furman, “Latin American Classical Composers: A Biographical Dictionary”. 19/2.

R
Ramesy, Stephen J. Notational Ambiguities in Schubert’s First Symphony. 05/4.
Rayl, David C. Choral-Orchestral Works for the Small Choir with a Small Budget. 17/1.
Rayl, David C. An Annotated Listing of Mozart’s Smaller Sacred Works. 18/2.
Rich, Alan. Records– Maestro Maestroso. 02/4.
Richter, Jane K. Harold Meek, “Horn & Conductor, Reminiscences of a Practitioner with a Few Words of Advice”. 16/2.
Ricks, Robert. Are Our Audiences “Skeered: to Clap?: A Brief Summary of Applause Practices. 16/2 & 30 (reprint).
Ricks, Robert. Jean-Baptiste Lully and the Establishment of the Orchestra. 23/1-2.
Robbins- Landon, H. C. The Classical Tradition of the 20th Century. 02/1.
Rockwell, John. What Hope for the Young American Conductors?. 01/2.
Rockwell, John. The Foreign Conductors Take Over the U.S. Podiums. 01/2.
Rose, Rebecca. A Study of Student Community Orchestras in the United States and Canada. 22/1-2.
Rosenblum, Sandra. Potholes in the Road to Critical Editions. 10/3-4.
Rudolf, Max. The Metronome Indications in Beethoven’s Symphonies. 01/1.
Rudolf, Max. Contemoprary Mozart Peformance: A Diverse Landscape. 02/2 & 30 (reprint).
Rudolf, Max. Pamina’s Aria. 02/2.
Rudolf, Max. Musical Musings from Maine. 02/4.
Rudolf, Max. Monday, October 29, 1787. 03/2.
Rudolf, Max. Remarks on Current Editions of Mozart and Beethoven Symphonies. 03/3.
Rudolf, Max. Inner Repeats in the Da Capo of Classical Minuets and Scherzos. 03/4.
Rudolf, Max. A Medley of Thoughts on Conductors and Composers. 06/3.
Rudolf, Max. Daniel J. Koury, “Orchestral Performance Practices in the Nineteenth Century: Size, Proportions and Seating”. 07/1.
Rudolf, Max. Four Years Later: Editions of Classical Symphonies. 07/1.
Rudolf, Max. Verdi Vs. Verdi. 07/2.
Rudolf, Max. A New Edition of Beethoven’s “Pastorale” Symphony. 08/4.
Rudolf, Max. The Conductor’s Dilemma or the Hazards of Being Judged. 08/4.
Rudolf, Max. A Musical Comedy of Errors. 09/1.
Rudolf, Max. Keynote Address: Authenticity in Musical Performance. 10/3-4.
Rudolf, Max. Symposium Afterthoughts. 10/3-4.
Rudolf, Max. Good Taste in Music and Related Matters. 11/1-2.
Rudolf, Max. A Broadcast of “Le Nozze de Figaro”. 11/3-4.
Rudolf, Max. The Metronome Indications in Beethoven’s Symphonies. 22/1-2.
Runyan, Alan E. Appropriate Brass Timbre: A Conductor’s Responsibility. 05/1 & 30 (reprint).

S
Sataloff, Robert Thayer. Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 1. 12/1-2.
Sataloff, Robert Thayer. Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 2. 12/3-4.
Sataloff, Robert Thayer. David Epstein, “Shaping Time”. 18/2.
Schenbeck, Lynn. A Study of Student Community Orchestras in the United States and Canada. 22/1-2.
Schmid, Paul B. Voices from the Past. 02/3.
Schubert, Barbara. Barbara Schubert, President (1997-1998). 20/1-2.
Setapen, James. Four Orchestral Works of Anatol Liadov. 12/1-2.
Setapen, James. An Interview with Samuel Adler. 26/1-2.
Simkin, Benjamin. Dr. Mesmer and Mozart: When Medicine and Music Converged. 12/1-2.
Simkin, Benjamin. The Case for Mozart’s Affliction with Tourette Syndrome. 12/1-2.
Simkin, Benjamin. Mozart’s Musical Aesthetics. 23/1-2.
Simons, Harriet. Harold Farberman, “The Art of Conducting Technique”. 17/1.
Sloniger, Kristi. Hansel and Gretel by Englebert Humperdinck. 18/1.
Sonnleithner, Leopold. The Contrabass Recitatives of Beethoven’s Ninth Symphony at Its 1824 Premiere. 08/1.
Sprenkle, David. David DeVenney, “Early American Choral Music: An Annotated Guide”. 08/2-3.
Sprenkle, David. Harold A. Decker and Julius Herford, Eds., “Choral Conducting Symposium”. 09/1.
Sprenkle, David. David P. Devenney, “American Masses and Requiems: A Descriptive Guide”. 11/1-2.
Stein, Gerald M. Giulini: On Preparation, Rehearsal and Performance. 02/3.
Steinem, Gloria. The Women’s Issue: Personal Narratives of Four American Conductors. 09/2.
Sternberg, Jonathan. Introduction. 02/2.
Sternberg, Jonathan. Stravinsky’s “Firebird Suite” (1919 ed.). 02/3.
Sternberg, Jonathan. Franck’s Symphony No. 2 in d minor. 02/4.
Sternberg, Jonathan. Eroica Symphony, Part 1. 03/1.
Sternberg, Jonathan. Eroica Symphony, Part 2. 03/2.
Sternberg, Jonathan. Firebird Suite. 04/1.
Sternberg, Jonathan. Ravel’s “La Valse”. 04/2.
Sternberg, Jonathan. Tchaikowsky’s Nutcracker Ballet. 04/3.
Sternberg, Jonathan. Tchaikowsky’s Symphony No. 2 in c minor. 04/4.
Sternberg, Jonathan. Moussorgsky/Rimsky-Korsakov’s “Night on Bald Mountain”. 05/1.
Sternberg, Jonathan. Stravinsky’s “The Rite of Spring”. 05/2.
Sternberg, Jonathan. Ravel’s “Rapsodie Espagnole”. 05/3.
Sternberg, Jonathan. Ravel’s “Daphnis and Chloe, Suite No. 1″. 05/4.
Sternberg, Jonathan. Richard Strauss’ “Don Juan”. 06/2.
Sternberg, Jonathan. Ravel’s “Daphnis and Chloe, Suite No.2″. 06/4.
Sternberg, Jonathan. Ravels’ “Daphnis and Chloe, Suite No. 2″, Durand Ed. 07/1.
Sternberg, Jonathan. Shostakovich’s Symphonie No. 10, Op. 93. 07/3-4.
Sternberg, Jonathan. Antonin Dvorak’s Symphony No. 8 in G, Op. 88. 08/2-3.
Sternberg, Jonathan. Stravinsky’s Complete “Firebird” Ballet Score. 08/4.
Stravinsky, Igor. On Conductors and Conducting. 11/1-2.
Sutherland, Robert. Concerto for Piano No. 1, Op. 15 in D minor by Johannes Brahms. 19/2.
Swift, Richard. Mahler’s Ninth and Cooke’s Tenth. 03/3.

T
Tabler, Roger. Conducting a Comedy Concerto. 16/1.
Thomas, David. Conversations with Lukas Foss. 18/1.
Thompson, Leon. Orchestral Auditions– Help Wanted, Part 2 of 5. 01/1.
Tindall, Jill Denise. The Relationship of the Conductor and the Stage Director in Operatic Production. 03/2.
Ting, Chao-Wen. To Cut off or Not to Cut off, That is the Question. 28/1-2.
Tobias, Paul. The Rocky Road of an American Orchestral Masterpiece. 16/2.
Topilow, Carl. Amahl and the Night Visitors– A New Perspective. 04/4.
Trotter, William. Dimitri Mitropoulos: The Forgotten Giant. 15/1 & 30 (reprint).
Tuckwell, Barry. Both Sides of the Fence. 18/1.

V
Vallo, Victor. Organizing and Conducting the College-Community Orchestra. 22/1-2.
Van Winkle, John G. Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. 06/1.
Van Winkle, John G. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). 19/1.
Vaught, Gregory. Scores & Parts: Mussorgsky’s Night on Bare Mountain. 28/1-2.
Vermel, Paul. “Firebird” Revisited. 12/1-2.
Vermel, Paul. Benjamin Britten’s War Requiem: Notes on Conducting. 23/1-2 & 30 (reprint).
Vermel, Paul. Scores & Parts: Claude Debussy’s Prélude de l’après-midi d’un faune. 25/2.
Voois, Jacques. William Schuman’s New England Triptych” and the Music of William Billings. 08/2-3.
Voois, Jacques. An American Ballet Tradition, Part 1: Two Centuries of Preparation. 09/1.
Voois, Jacques. An American Ballet Tradition, Part 2; Twentieth-Century Ballet Music, a Full Partnership. 09/2.
Voois, Judy A. Humphrey Carpenter, “Benjamin Britten: A Biography”. 13/1.
Voois, Judy A. Diane Peacock Jezic, “Women Composers: The Lost Tradition Found”, 2nd Edition. 14/1.
Voois, Jacques. Brief History of the Conductors Guild. 20/1-2.
Voois, Judy A. Judy A. Voois, Administrative Director (1986-1999). 20/1-2.

W
Ward, Robert. Conductors and Composers. 02/1.
Waxman, Donald. Publishers Corner. 02/4.
Weait, Christopher. Are Large Ensembles Getting Too Loud? 23/1-2.
Webster, Daniel. That Hegelian Swing. 15/2.
Weiss, Piero. Zeitgeist, Klangideal and Other Imponderables in the Reconstruction of Authentic Performances. 10/3-4.
Whalen, Meg Freeman. Fanny Mendelssohn Hensel’s Sunday Musicales. 14/1.
Whallon, Evan. Evan Whallon, President (1989-1990). 20/1-2.
Winter, Robert. Performers and Instruments: Performing Nineteenth-Century Music on Nineteenth-Century Instruments. 05/3.
Wright, Gordon. In Search of Lost Music. 06/3.
Wulfhorst, Martin. Louis Spohr and the Modern Concept of Performance. 18/2.
Wulfhorst, Martin. Wyndham Thomas (ed.), “Composition– Performance– Reception: Studies in the Creative Process in Music”. 19/2.

Y
Young, Welborne. Engaging the Head Voice: Simple Exercises for Amateur Community Choirs. 22/1-2.

Z
Zaltsberg, Ernst. Samuel Samosud, A Pioneer of Modern Russian Opera. 17/1.
Zaltsberg, Ernst Evgeny Mravinsky: Conductor Devoted to Shostakovich’s Music. 26/1-2.

A
“A Journey to the Source” on L’Histoire Due Soldat. Morris Lang. 05/4.
“A Rose by any other name. . .”. Corey Field. 11/3-4.
“Firebird” Revisited. Paul Vermel. 12/1-2.
“Herbert von Karajan: A Life in Music”. Richard Osborne. 19/1.
A Broadcast of “Le Nozze de Figaro”. Max Rudolf. 11/3-4.
A Comparison of the Autograph Manuscript of Maurice Ravel’s “Daphnis et Chloe” with the Durand Edition of Suites 1 & 2. Steven Carl Bird. 11/1-2.
A Composer’s Dream. William Mayer. 06/4.
A Conductor in History. Samuel Lipman. 08/2-3.
A Conductors’ Philosopher: Susanne Langer on Music. Michael Luxner.   31/2.
A Discussion of Gunther Schuller’s “The Trouble with Orchestras”. 01/4.
A Gentle Protest: Hans Pfitzner’s Symphony in C, Op. 46 (1940). T. Albrecht. 06/2.
A Measure by Measure Interpretation of Brahms’ Symphony No. 3 in F Major. Richard Lert. 01/2.
A Medley of Thoughts on Conductors and Composers. Max Rudolf. 06/3.
A Musical Comedy of Errors. Max Rudolf. 09/1.
A New Direction: Educational Outreach that Moves Beyond Exposure. Eugene Burkett. 31/1.
A New Edition of Beethoven’s “Pastorale” Symphony. Max Rudolf. 08/4.
A New Look at Gustav Mahler’s Fateful Encounter with Sigmond Freud. Emanuel E. Garcia. 12/1-2.
A Performer’s Guide to: “Thamos, Konig in Aegypten”. Baird Hastings. 12/1-2.
A Personal Observation on “Some Personal Observations”. Harold Farberman. 07/3-4.
A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors. Penny Braem and Thüring Bräm. 22/1-2.
A Question of Intonation. Douglas Leedy. 08/4.
A Study of Student Community Orchestras in the United States and Canada. Rebecca Rose and Lynn Schenbeck. 22/1-2.
A Study Session with Richard Lert: Orchestral Balance in “Don Juan”. Samuel Jones. 03/3.
A Study Session with Richard Lert: Pacing and Tempo in “Don Juan”. Samuel Jones. 03/4.
A Survey of Analyzed and Annotated Orchestral Works. Martin Piecuch. 01/1.
A Survey of World Folk Music Literature. J. Bryan Burton. 16/2.
A Transcription of Beethoven’s Seventh Symphony for Nine Wind Instruments. Pierluigi Destro. 19/2.
Aaron Copland and Vivian Perlis, “Copland: 1900 through 1942″ and “Copland: Since 1943″. John S. King, Jr. 11/3-4.
Aaron Copland’s “Appalachian Spring Suite”, Version for Thirteen Instruments. Michael Griffith. 11/3-4.
Aaron Copland’s An Outdoor Overture. Douglas Adams. 15/2.
About Recording. Michael Bartos. 12/3-4.
Abram Chasins, “Leopold Stokowsky– A Profile”. Henry Bloch. 03/2.
Acoustics: the Performers’ Perspective. Christopher Blair. 19/2.
Adrian Gnam, President (1995-1996). Adrian Gnam. 20/1-2.
Alberto Ginastera’s “Estancia”, Movement IV. Danza final “Malambo”. Douglas Adams. 15/2.
Alfred Blatter, “Instrumentation/Orchestration”. Shirley Munger. 03/3.
Alfred Reed’s “Armenian Dances”: A Rehearsal Analysis. Harry Begian. 16/1.
Am I Being Followed?: Finding the Ultimate Dynamic Between Conductor and Ensemble. Thomas Lloyd. 17/1.
Amahl and the Night Visitors– A New Perspective. Carl Topilow. 04/4.
American Orchestral Music. Margaret Jory. 01/4.
An American Ballet Tradition, Part 1: Two Centuries of Preparation. Jacques Voois. 09/1.
An American Ballet Tradition, Part 2; Twentieth-Century Ballet Music, a Full Partnership. Jacques Voois. 09/2.
An Analysis of Britten’s War Requiem, Op.66. David McConnell. 31/1.
An Annotated Bibliography of Selected Wind Ensemble/Band Repertoire Texts. Harlan D. Parker. 13/1.
An Annotated Listing of Mozart’s Smaller Sacred Works. David C. Rayl. 18/2.
An Early Symphonic Prelude by Mahler?. Paul Banks. 06/1.
An Encounter with a Contemporary of Beethoven (Felix Weingartner). T. Albrecht. 10/1-2.
An Interview with Dennis Russell Davies. Thomas Erdmann. 27/1-2.
An Interview with Joan Tower. Thomas Erdmann. 25/1.
An Interview with Leonard Slatkin. Gordon Peters. 08/2-3.
An Interview with Samuel Adler. James Setapen. 26/1-2.
An Introduction to Performance Practice: Considerations for Mozart’s “Requiem”. Melinda O’Neal. 18/2.
An Introduction to the Theories of Heinrich Schenker, Part 1. Peter Gibeau. 14/2.
An Introduction to the Theories of Heinrich Schenker, Part 2. Peter Gibeau. 15/1.
Andre Previn (ed.), “Orchestra”. Henry Bloch. 02/2.
Antal Dorati, “Notes of Aeven Decades”. Henry Bloch. 02/4.
Anton Bruckner’s Mass in E Minor: A Performers Guide. Margaret Hillis. 21/1-2.
Anton Bruckner’s Mass in E Minor: A Performer’s Guide. Margaret Hillis. 12/3-4.
Antonin Dvorak’s Symphony No. 8 in G, Op. 88. Jonathan Sternberg. 08/2-3.
Appropriate Brass Timbre: A Conductor’s Responsibility. Alan E. Runyan. 05/1.
Are Large Ensembles Getting Too Loud? Christopher Weait. 23/1-2.
Are Our Audiences “Skeered: to Clap?: A Brief Summary of Applause Practices. Robert Ricks. 16/2.
Arthur Cohn, “‘Recorded Classical Music,’ “A Critical Guide to Compositions and Performances”. Henry Bloch. 03/3.
Arthur Jacobs, “Henry J. Wood, Maker of the Proms”. Henry Bloch. 15/2.
Arthur Nikisch: A Brief Biography and Survey of His Conducting Technique. Kristine H. Kresge. 04/1.
Arthur Weisberg, “Performing Twentieth-Century Music”. Henry Bloch. 15/1.
Arts Medicine Centers Resource List. 13/1.
Arturo Toscanini as an Anti-Fascist. Edward Castilano. 25/2.
At the Conducting Workshop: Some Personal Observations. Gordon Peters. 06/4.
Attitudes Towards Textual Authenticity in Orchestral Performance: Part 1. Glenn Block. 05/2.
Attitudes Towards Textual Authenticity in Orchestral Performance: Part 2. Glenn Block. 05/3.
Authenticity– Some Options and Priorities. William S. Newman. 10/3-4.

B
Bach and the French Overture. William Malloch. 17/1.
Barbara Schubert, President (1997-1998). Barbara Schubert. 20/1-2.
Barry Millington and Stewart Spencer, eds., “Wagner in Performance”. Baird Hastings. 14/1.
Barry Millington, ed., “The Wagner Compendium: A Guide to Wagner’s Life and Music”. Baird Hastings. 15/1.
Bartok: A Thirty-Five Year Old Mistake in the “Concerto for Orchesra”. Gordon Peters. 02/2.
Beauty’s Plea: An Introduction to the Music of William Alwyn. Brian Murphy. 22/1-2.
Benjamin Britten’s Young Person’s Guide to the Orchestra Variations and Fugue on a theme of Purcell Op. 34 (1946). Jennifer Johndon and Clinton Nieweg. 25/1.
Benjamin Britten’s War Requiem: Notes on Conducting. Paul Vermel. 23/1-2.
Bernard Haitink: A Perfect Patrician of the Podium. Peter Catalano. 16/1.
Bibliography: Books and Articles Authored by Conductors. Michael Bartos. 02/2.
Both Sides of the Fence. Barry Tuckwell. 18/1.
Brahms and the Mechanisms of Motion: The Composition of Performance. David Epstein. 19/1.
Brian Newbould (ed.), “Schubert Studies”. Michael Luxner. 19/1.
Brian Newbould, “Schubert and the Symphony: A New Perspective”. John Jay Hilfiger. 13/2.
Bribe, Borrow, and Steal: Johann Herbeck’s Conducting Activities in Vienna, 1852-1777. T. Albrecht. 04/4.
Brief History of the Conductors Guild. Jacques Voois. 20/1-2.
Brock McElheran, “Music Reading by Intervals: A Modern Sight-Reading and Ear-Training Method for Singers, Conductors, and Teachers”. David P. Devenney. 19/1.
Bruce Allen Brown, “W.A. Mozart. Cosi fan tutte”. Henry Bloch. 17/1.
Bruno Walter Consults Sigmund Freud: Notes on an Unconventional Theraputic Cure. Emanuel E. Garcia. 11/1-2.
Bruno Walter’s Correspondence to Adrian Boult: A Forty-Year Friendship. Jon C. Mitchell. 17/2.
Bruno Walter, Leonard Bernstein, and Tempo Interpretation in Mahler Scores. Nathaniel Parker. 31/2.

C
C.P.E. Bach’s Double Concerto in E-Flat, Wq 47. Jon C. Mitchell. 16/2.
Career Development for Conductors. 01/4.
Carl S. Leafsteadt, Inside Bluebeard’s Castle, (Music and Drama in Bela Bartôk’s Opera). Henry Bloch. 22/1-2.
Charles A. Ansbacher, President (1979-1981). Charles A. Ansbacher. 20/1-2.
Charles Osborn, “The Complete Operas of Puccini”. Henry Bloch. 04/4.
Charles Rosen, “The Romantic Generation”. Henry Bloch. 17/1.
Choral-Orchestral Works for the Small Choir with a Small Budget. David C. Rayl. 17/1.
Christopher Fifield, “True Artists and True Friend, A Biography of Hans Richter”. Henry Bloch. 15/1.
Coming to Terms with Historical Performance Practices. Melinda O’Neal. 19/2.
Commemorative Festschrift. 20/1-2.
Composium, “Annual Index of Contemporary Compositions”. Henry Bloch. 05/2.
Concept to Concert: Evolution of a Chamber Orchestra. Alan Pearlmutter. 15/2.
Concerto for Piano No. 1, Op. 15 in D minor by Johannes Brahms. Robert Sutherland. 19/2.
Condition of Symphonic Music. Gordon Peters. 03/4.
Conducting a Comedy Concerto. Roger Tabler. 16/1.
Conducting Agon; the Balanchine/Stravinsky Contribution to the Development of a Specialism. Eugene Burkett.  31/2.
Conducting Cannot Be Taught. Harold Farberman. 27/1-2.
Conducting Competitions. Alan Pearlmutter. 01/3.
Conducting for the Recording Orchestra. Charles Cozens. 27/1-2.
Conducting in Mainland China: 1980-82. David Gilbert. 04/2.
Conductor Training: After Orkney Springs, What Now?. Alan Pearlmutter. 02/2.
Conductors and Composers. Robert Ward. 02/1.
Conductors and Conducting. John de Lancie. 02/1.
Conductors and the Internet: New Tools for Communication and Information Exchange. Andrew Reed Levin. 15/1.
Conductors, Orchestras and Society: A Contemporary View. Kurt Masur. 13/1.
Contemoprary Mozart Peformance: A Diverse Landscape. Max Rudolf. 02/2.
Contemporary Conductors– A Portrait in Prose: Stanislaw Skrowaczewski. 05/1.
Contemporary Conductors: A Portrait in Prose: Sir John Pritchard. 05/2.
Contemporary Opera Conducting: Problems and Potential– A Panel Discussion. 02/4.
Conversations with Lukas Foss. David Thomas. 18/1.
Craig Kirchhoff, Series Advisor, Windependence: A Reportoire Series for Wind Bands. Tom Erdmann. 22/1-2.
Creating a Fresh Approach to Conducting Gesture. Charles Gambetta.  29/1-2.
Current Resources for Orchestral Pops Programming. Thomas Hohstadt. 07/3-4.

D
Daniel Barenboim, “A Life in Music”. Henry Bloch. 12/3-4.
Daniel J. Koury, “Orchestral Performance Practices in the Nineteenth Century: Size, Proportions and Seating”. Max Rudolf. 07/1.
Darius Milhaud’s “Fanfare de la liberte”. Stephen W. Miller. 11/1-2.
David Daniels, “Orchestral Music, a Handbook”, 2nd Ed. Henry Bloch. 04/1.
David DeVenney, “Early American Choral Music: An Annotated Guide”. David Sprenkle. 08/2-3.
David Epstein, “Shaping Time”. Mary Hawkshaw. 18/2.
David Epstein, “Shaping Time”. Robert Thayer Sataloff. 18/2.
David P. Devenney, “American Masses and Requiems: A Descriptive Guide”. David Sprenkle. 11/1-2.
Derek Watson, “Richard Wagner”. Henry Bloch. 04/4.
Diane Peacock Jezic, “Women Composers: The Lost Tradition Found”, 2nd Edition. Judy A. Voois. 14/1.
Dimitri Mitropoulos: The Forgotten Giant. William Trotter. 15/1.
Dissertations and Theses on Conducting, 1952-1992. 12/3-4.
Donald Barra, “The Dynamic Performance”. Henry Bloch. 04/1.
Donald Protnoy, President (1983-1986). Donald Portnoy. 20/1-2.
Dotting, the “French Style” and Frederick Neumann’s Counter Reformation. David Fuller. 02/3.
Douglas M. Jordan, “Alfred Reed: A Bio-Bibliography”. Jonathan D. Green. 19/2.
Dr. Mesmer and Mozart: When Medicine and Music Converged. Benjamin Simkin. 12/1-2.
Dvorak on the American Scene. John Clapman. 06/2.

E
Edward Heath, “Music. A Joy for Life”. Henry Bloch. 18/1.
Elaine Siseman, (ed.), “Haydn and His World”. Henry Bloch. 17/2.
Engaging the Head Voice: Simple Exercises for Amateur Community Choirs. Welborne Young. 22/1-2.
Erich Leinsdorf, “The Composer’s Advocate, A Radical Orthodoxy for Musicians”. Henry Bloch. 03/1.
Erich Leinsdorf, Erich Leinsdorf on Music. John Jay Hilfiger. 18/1.
Eroica Symphony, Part 1. Jonathan Sternberg. 03/1.
Eroica Symphony, Part 2. Jonathan Sternberg. 03/2.
Evgeny Mravinsky: Conductor Devoted to Shostakovich’s Music. Ernst Zaltsberg. 26/1-2.
Evan Whallon, President (1989-1990). Evan Whallon. 20/1-2.

F
Fanny Mendelssohn Hensel’s Sunday Musicales. Meg Freeman Whalen. 14/1.
Fifty Years of the New York Musical Theater: A Personal Perspective. Jay Blackton. 03/3.
Firebird Suite. Jonathan Sternberg. 04/1.
Four Orchestral Works of Anatol Liadov. James Setapen. 12/1-2.
Four Years Later: Editions of Classical Symphonies. Max Rudolf. 07/1.
Francis Poulenc’s Gloria: Corrections to the New (1969) Full Score. Lee Barrow. 22/1-2.
Franck’s Symphony No. 2 in d minor. Jonathan Sternberg. 02/4.
Frank J. Cipolla and Donald Hunsberger, eds. “The Wind Ensemble Repertoire”. Harlan D. Parker. 14/2.
Franz Joseph Haydn’s “Missa in Angustiis (Lord Nelson Mass)”. David Janower. 10/1-2.
Franz Lehár: The Complete Cosmopolitan. Edward Michael Gold. 18/1.
Franz Schubert, “Symphony No. 7 in E, D. 729″, realization by Brian Newbould. John Jay Hilfiger. 13/2.
Frederick Prausnitz, “Score and Podium”. Henry Bloch. 06/3.
Freedom of Choice. Peter Paul Fuchs. 03/1.
Fritz Reiner and the Technique of Conducting. Kenneth Morgan. 14/2.
Fritz Reiner in Dresden. Kenneth Morgan. 19/2.
From Classroom to Podium: Teaching All of the Craft. Jonathan D. Green. 13/2.

G
George R. Marek, “Schubert”. T. Albrecht. 06/4.
German Choral Literature since 1975: A Survey of Selected Works. Scott MacPherson. 17/2.
Giulini: On Preparation, Rehearsal and Performance. Gerald M. Stein. 02/3.
Glenda D. Goss, “Jean Sibelius: A Guide to Research”. John Jay Hilfiger. 18/2.
Glenda Dawn Goss, “Jean Sibelius and Olin Downes: Music, Friendship, Criticism”. John Jay Hilfiger. 15/1.
Glossary of German Terms for Mahler’s Symphony No. 1. David Daniels. 19/1.
Good Taste in Music and Related Matters. Max Rudolf. 11/1-2.
Grieg and the Chamber Orchestra. John Jay Hilfiger. 15/2.
Gunther Schuller, “The Compleat Conductor”. Kenneth Morgan. 17/2.
Gustav Mahler as Conductor. Elliott W. Galkin. 08/1.
Gustav Mahler: Conductor. Barbara Barstow. 04/4.
Gustav Mahler: Conductor. Amy Goodman. 04/4.
Gustav Mahler: Conductor. Dorothy Ann Davis. 04/4.
Gustav Mahler’s “Ruckert Lieder” and the Art of Error in Interpretation. Stephen A. Gottlieb. 14/2.
Gustav Mahler’s “Symphony No. 9″, Part 1. James Burton. 13/2.
Gustav Mahler’s “Symphony No. 9″, Part 1. Philip Gottling. 13/2.
Gustav Mahler’s “Symphony No. 9″, Part 2. Philip Gottling. 14/1.

H
Hansel and Gretel by Englebert Humperdinck. Kristi Sloniger. 18/1.
Harold A. Decker and Julius Herford, Eds., “Choral Conducting Symposium”. David Sprenkle. 09/1.
Harold C. Schonberg, “The Glorious Ones: Classical Music’s Legendary Performers”. Jere Lantz. 06/4.
Harold Farberman, “The Art of Conducting Technique”. Harriet Simons. 17/1.
Harold Farberman, President (1975-1979). Harold Farberman. 20/1-2.
Harold Meek, “Horn & Conductor, Reminiscences of a Practitioner with a Few Words of Advice”. Jane K. Richter. 16/2.
Harvey Sachs, “Toscanini”. Mercy O’Bourke. 01/2.
Havergal Brian and His Music for Orchestra: An Introduction. Marshall Brown. 05/1.
Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. John G. Van Winkle. 06/1.
Haydn’s Symphonies Nos. 6, 7, 8, 44, and 98. Marshall Burlingame. 06/1.
Heinrich Schenker, “Beethoven’s Ninth Symphony”. Peter Gibeau. 14/1.
Heinz Gartner, “Constanze Mozart: After the Requiem”. Henry Bloch. 13/2.
Helen Conway, “Sir John Pritchard, His Life in Music”. Henry Bloch. 15/1.
Helena Matheopoulos, “Maestro”. Henry Bloch. 05/1.
Henry Bloch, Report from the Archivist. Henry Bloch. 20/1-2.
Henry-Louis de La Grange, “Gustav Mahler, Vol. 2, “Vienna, The Years of Challenge (1897-1904)”. Henry Bloch. 16/2.
History of Conductors Guild Educational Activities. 20/1-2.
Holst, Stock, and The Planets. Jon Mitchell. 24/1-2.
Humphrey Carpenter, “Benjamin Britten: A Biography”. Judy A. Voois. 13/1.
Hung Up on Hang- Ups. Thomas Hohstadt. 03/1.

I
Ilya Musin: A Life in Music. Brenda Leach. 25/1.
In Search of Lost Music. Gordon Wright. 06/3.
In Search of Pasodoble. Jon C. Mitchell. 13/2.
Index to the “Journal of the Conductors Guild”, Volumes 11-15 (1990-1994). T. Albrecht. 16/1.
Index to the “Journal of the Conductors Guild”, Volumes 6-10. Kathryn Meyerson. 11/1-2.
Index to the Journal of the Conductors Guild, Vol 1-5 (1980-1984). T. Albrecht. 06/1.
Inner Repeats in the Da Capo of Classical Minuets and Scherzos. Max Rudolf. 03/4.
Intermezzi: Toscanini and Klemperer: A Comparative Examination. Leon Burke III. 04/3.
Interpretational Concepts of Dr. Richard Lert in Beethoven’s Seventh Symphony. Alan R. Burdick. 05/1.
Interpretational Concepts of Richard Lert on Performing the First Symphony in c minor by Johannes Brahms. James Carl Hagberg. 04/1.
Interpreting Leslie Bassett’s Sounds, Shapes and Symbols. Russel C. Mikkelson. 17/2.
Interpreting Mozart. Jean-Pierre Marty. 11/3-4.
Interview with Augusta Read Thomas. Reed Perkins. 23/1-2.
Intonation Suggestions. Thomas Hohstadt. 04/3.
Introduction. Jonathan Sternberg. 02/2.

J
Jane F. Fulcher, ed, Debussy and his World. Kenneth Morgan. 24/1-2.
Jeanine Wagar, “Conductors in Conversation”. Henry Bloch. 11/3-4.
Jean-Baptiste Lully and the Establishment of the Orchestra. Robert Ricks. 23/1-2.
Jean-Pierre Marty, “The Tempo Indications of Mozart”. Paul Kirby. 11/3-4.
Jeffrey H. Renshaw, “The American Wind Symphony Commissioning Project: A Descriptive Catalog of Published Editions, 1957- 1991″. Henry Bloch. 13/2.
Jerrold Northrop Moore, (ed.), “Music and Friends, the Letters to Adrian Boult”. Henry Bloch. 02/4.
Joan Evans, “Hans Rosbaud, A Bio-Bibliography”. Henry Bloch. 13/2.
Joe Sack, (ed.), “Orchestra World”. Henry Bloch. 01/3.
Johannes Brahms, “Alto Rhapsody, Op. 53″, New York Public Library Edition. Henry Bloch. 04/4.
John Ardoin (ed.), “The Philadelphia Orchestra: A Century of Music”. Kenneth Morgan. 21/1-2.
John Ardoin, Valery Gergiev and the Kirov. Henry Bloch. 23/1-2.
John Canarina, Uncle Sam’s Orchestra, Memories of the Seventh Army Symphony. Henry Bloch. 22/1-2.
John Culshaw, “Putting the Record Straight”. Henry Bloch. 03/3.
John Gritten, “A Musician before his Time: Constantine Silvestri: Conductor, Composer, Pianist”. Kenneth Morgan. 21/1-2.
John Koshak, The Conductor’s Role: Preparation for Individual Study, Rehearsal and Performance. Mark Camphouse. 23/1-2.
John Philip Sousa: A Comparative Instrumentation Study of the Manuscripts and Published Scores of Selected Works. Jon Mitchell. 21/1-2.
John Rockwell, “All-American Music”. Henry Bloch. 05/2.
John Warrak and Ewan West, “Oxford Dictionary of Opera”. Henry Bloch. 12/3-4.
Jonathan Carr, “Mahler: A Biography”. Emanuel E. Garcia. 18/2.
Jonathan Green, “A Conductor’s Guide to Choral-Orchestral Works, Twentieth Century, Part II; The Music of Rachmaninov through Penderecki”. Michael A. Mitchell. 18/2.
Jonathan Green, “A Conductor’s Guide to Choral-Orchestral Works”. Michael A. Mitchell. 18/2.
Joseph A. Mussulman, “Dear People. . . Robert Shaw, A Biography”. Henry Bloch. 01/1.
Judy A. Voois, Administrative Director (1986-1999). Judy A. Voois. 20/1-2.
Julian Budden, “The Operas of Verdi, Revised Ed.”. Henry Bloch. 12/3-4.
Julie Yarbrough, “Modern Languages for Musicians”. Raymond Friday. 13/1.

K
Kammersympbonie No. 1, Op. 9, by Arnold Schoenberg (1906): Considerations for the Conductor. Kathleen McGuire. 24/1-2.
Keynote Address: Authenticity in Musical Performance. Max Rudolf. 10/3-4.

L
Larry Newland, President (1993-1994). Larry Newland. 20/1-2.
Legendary Conductors on Film. Charles Barber. 13/2.
Lesley Stephenson, Symphony of Dreams: The Conductor and Patron Paul Sacher. Lance Friedel. 25/2.
Lessons Derived from Richard Strauss’ Exemplary Conducting Style (from “The Perfect Conductor. Development and Decay of an Art”). Alois Melichar. 05/2.
Lessons Derived from Richard Strauss’ Exemplary Conducting Style, Parts 3, 4, and 5 (from “The Perfect Conductor. Development and Decay of an Art”. Alois Melichar. 06/1.
Lost in the Stars: A Forgotten Career in Conducting. Charles Barber. 12/3-4.
Louis Spohr and the Modern Concept of Performance. Martin Wulfhorst. 18/2.

M
Maestro Dean Dixon (1915-1976): A Forgotten American Conductor.Rufus Jones.  29/1-2.
Mahler: A Composer for the Future. Dika Newland. 03/1.
Mahler’s Ninth and Cooke’s Tenth. Richard Swift. 03/3.
Mahler’s Tenth Symphony, Part 1. Clinton Carpenter. 04/3.
Mark Lammers, “Nordic Instrumental Music for Colleges and Universities. John Jay Hilfiger. 14/1.
Martin Gregor-Dellin, “Richard Wagner: His Life, His Works, His Century”. Henry Bloch. 04/4.
Mary Hunter and James Webster (eds.), “Opera Buffa in Mozart’s Vienna”. Henry Bloch. 18/2.
Mary Jane Phillips-Matz, “Verdi, A Biography”. Henry Bloch. 14/1.
Maurice Peress, Dvorák to Duke Ellington. Thomas Erdmann. 25/2.
Maurice Peress, President (1981-1983). Maurice Peress. 20/1-2.
Max Rudolf, “The Grammar of Conducting”. Henry Bloch. 02/1.
Max Rudolf, “The Grammar of Conducting”, 3rd Ed. Samuel Jones. 13/1.
Max Rudulf: An Appreciation. Michael Charry. 08/1.
Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 1. Robert Thayer Sataloff. 12/1-2.
Medical Care of the Professional Voice: The Conductor’s Responsibility, Part 2. Robert Thayer Sataloff. 12/3-4.
Medicine in the Service of Music: Health and Injury on the Podium. John J. Kella. 12/1-2.
Mendelssohn, Berlioz, and Wagner: Early Practitioners of “Fidelity to the Composer”. José A. Bowen. 18/2.
Mervyn Cooke, “Britten: War Requiem”. Martin Hardy. 19/2.
Michael Charry, (1991-1992). Michael Charry. 20/1-2.
Michael J. Esselstrom, “A Conductors Guide to Symphonies I, II, and III of Gustav Mahler”. David Daniels. 19/2.
Michael Kennedy, (ed.), “The Oxford Dictionary of Music”. Henry Bloch. 16/2.
Michael Oliver, “Benjamin Oliver”. Martin Hardy. 19/2.
Michael Stern (Ed.), Max Rudolf: A Musical Life, Writings and Letters. John Canarina. 22/1-2.
Miguel Ficher, Martha Furman Schleifer, John M. Furman, “Latin American Classical Composers: A Biographical Dictionary”. Manuel Prestamo. 19/2.
Mme Pierre Monteux. Samuel Lipman. 08/2-3.
Modest Mussorgsky: Boris Godunov, ed. David Lloyd-Jones. Hugh Macdonald. 03/3.
Monday, October 29, 1787. Max Rudolf. 03/2.
Moussorgsky/Rimsky-Korsakov’s “Night on Bald Mountain”. Jonathan Sternberg. 05/1.
Mozart’s Musical Aesthetics. Benjamin Simkin. 23/1-2.
Mozart’s Salzburg Orchestras. Cliff Eisen. 17/1.
Mozart’s Tempo Indications and the Problems of Interpretation. Jean-Pierre Marty. 11/3-4.
Musical Musings from Maine. Max Rudolf. 02/4.
Mussorgsky/Ravel’s Pictures at an Exhibition: Faithful to the Wrong Source. Jason Brame.  29/1-2.
Myer Fredman, From Idomeneo to Die Zauberflöte. Henry Bloch. 25/1.

N
Native American Repertoire: The Indigenous Component of Multicultural Music. J. Bryan Burton. 16/2.
Neil Butterworth, “The American Symphony”. Luxner Michael. 19/1.
New and Unusual Programming. Jere Lantz. 06/2.
New and Unusual Programming. Jere Lantz. 06/4.
Norman Del Mar, “Anatomy of the Orchestra”. Henry Bloch. 05/4.
Norman Del Mar, “Conducting Beethoven, Volume 1: The Symphonies”. Henry Bloch. 12/3-4.
Norman Del Mar, “Orchestral Variations, Confusion and Error in the Orchestral Repertoire”. Henry Bloch. 03/2.
Norman Del Mar,”Conducting Brahms”. Henry Bloch. 15/1.
Notational Ambiguities in Schubert’s First Symphony. Stephen J. Ramesy. 05/4.
Notes on a Programming Philosophy. Lukas Foss. 06/2.

O
Occupation- Related Physical Problems of Conductors. Hunter Fry. 08/2-3.
Occupation– Related Physical Problems of Conductors. Gordon Peters. 08/2-3.
Oliver Daniel, “Stokowski, A Counterpoint of View”. Henry Bloch. 04/2.
On Conductors and Conducting. Igor Stravinsky. 11/1-2.
On the Performance of the Symphonies of Mozart (by Felix Weingartner). T. Albrecht. 06/3.
On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 1. T. Albrecht. 07/1.
On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 2. T. Albrecht. 07/2.
On the Performance of the Symphonies of Schubert and Schumann (by Felix Weingartner) Part 3. T. Albrecht. 07/3-4.
Once More: the “French Overture Style”. Frederick Neumann. 02/3.
Once More with Feeling: A Polemic on Repeats. Jacobson, Bernard. 24/1-2.
Oral History, American Music. Vivian Perlis. 11/3-4.
Orchestral Auditions– Help Wanted. Phillip Lehrman. 01/2.
Orchestral Auditions– Help Wanted, Part 2 of 5. Leon Thompson. 01/1.
Organizing and Conducting the College-Community Orchestra. Victor Vallo. 22/1-2.
Original Metronome Indications for Bela Bartok’s Dance Suite (1924 Universal Edition). 02/3.
Oswald Georg Bauer, “Richard Wagner, the Stage Designs and Productions from the Premieres to the Present”. Henry Bloch. 05/1.

P
Pamina’s Aria. Max Rudolf. 02/2.
Paul Robinson, “Solti”. Henry Bloch. 01/3.
Performers and Instruments: Performing Nineteenth-Century Music on Nineteenth-Century Instruments. Robert Winter. 05/3.
Performing Arts and the Nation: A Challenge for Today. Joseph Polisi. 13/1.
Perlis on Copland: An Interview. John S. King, Jr. 11/3-4.
Peter Hayworth, “Otto Klemperer, His Life and Times; Vol. 1, 1885-1933″. Henry Bloch. 06/3.
Philadelphia’s Fleisher Collection: Fifty Years of Service to the Orchestras of the World. Sam Dennison. 01/1.
Philip Hart, “Conductors, a New Generation”. Henry Bloch. 01/1.
Philip Hart, “Fritz Reiner”. Henry Bloch. 16/2.
Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). John G. Van Winkle. 19/1.
Piano Concerto No. 1 in F-sharp minor, Op. 1 (1919). Nancy M. Bradburd. 19/1.
Pierluigi Petrobelli, “Music in the Theatre”. Henry Bloch. 14/1.
Piero Weiss, Opera, A History in Documents. Henry Bloch. 25/1.
Pierre Monteux: A Conductor for All Repertoire. John Canarina. 07/3-4.
Pierre Monteux On Film. Charles Barber. 25/1.
Pops Page. Gordon Munford. 01/3.
Pops Page. Gordon Munford. 01/4.
Pops Page. Gordon Munford. 02/1.
Pops Page. Gordon Munford. 02/2.
Pops Page. Gordon Munford. 02/3.
Pops Page. Gordon Munford. 02/4.
Pops Page. Gordon Munford. 03/1.
Pops Page. Gordon Munford. 03/4.
Pops Page. Gordon Munford. 04/1.
Pops Programming: Art or Entertainment. Thomas Hohstadt. 08/2-3.
Potholes in the Road to Critical Editions. Sandra Rosenblum. 10/3-4.
Programming and The Hummanities: The Mystique of Legend. Alan Pearlmutter. 24/1-2.
Programming Criteria for Symphony Orchestras: A Sampling. Gordon Peters. 02/3.
Programming Part 1. Peter Paul Fuchs. 03/3.
Programming, Part 2. Peter Paul Fuchs. 03/4.
Programming, Part 3. Peter Paul Fuchs. 04/1.
Programming, Part 4. Peter Paul Fuchs. 04/2.
Programming, Part 5. Peter Paul Fuchs. 04/3.
Programming, Part 6. Peter Paul Fuchs. 04/4.
Programming, Part 7. Peter Paul Fuchs. 05/1.
Programming, Part 8. Peter Paul Fuchs. 05/2.
Programming, Part 9. Peter Paul Fuchs. 05/4.
Programming, Part 10. Peter Paul Fuchs. 06/1.
Programming, Part 11. Peter Paul Fuchs. 06/3.
Programming, Part 12. Peter Paul Fuchs. 06/4.
Prokoviev’s “Classical Symphony”. Clint Nieweg. 08/4.
Publishers’ Corner. Donald Waxman. 02/4.
Publishers’ Corner: A Selection of Openers and Closers. 04/4.
Publishers’ Corner: Christmas 1980. 01/2.
Publishers’ Corner: Composer Anniversaries in 1985. Corey Field. 06/1.
Publishers’ Corner: Concert Works with Two or More Soloists. Eugene Moon. 04/1.
Publishers’ Corner: Condition of Symphonic Music. Gordon Peters. 03/4.
Publishers’ Corner: Youth concert Suggestions. 01/4.

R
Rachmaninoff’s First Symphony: Emotional Crisis and Genius Interred. Emanuel Garcia. 23/1-2.
Ralph Vaughan Williams’s Sea Songs. Robert Garofalo. 28/1-2.
Random Thoughts on Opera Conducting. Peter Paul Fuchs. 03/2.
Ravel’s “Daphnis and Chloe, Suite No. 1″. Jonathan Sternberg. 05/4.
Ravels’ “Daphnis and Chloe, Suite No. 2″, Durand Ed. Jonathan Sternberg. 07/1.
Ravel’s “Daphnis and Chloe, Suite No.2″. Jonathan Sternberg. 06/4.
Ravel’s “La Valse”. Jonathan Sternberg. 04/2.
Ravel’s “Rapsodie Espagnole”. Jonathan Sternberg. 05/3.
Records– Maestro Maestroso. Alan Rich. 02/4.
Reflections on the Contemporary Music Scene: One Composer’s Perspective. Benjamin Lees. 08/1.
Rehearsal Efficiency and Score Analysis. Alan Pearlmutter. 02/3.
Rehearsal Notes for Aaron Copland, “Appalachian Spring Suite”, Complete Ballet for Thirteen Instruments. Lance Friedel. 11/3-4.
Reik Ryding and Rebecca Pechevsky, “Bruno Walter: A World Elsewhere”. Baird Hastings. 21/1-2.
Remarks on Current Editions of Mozart and Beethoven Symphonies. Max Rudolf. 03/3.
Requiem KV 626 by W. A. Mozart: Conductor’s Notes to Performing Musicians, Completed by Robert Levin. Wishart Bell. 26/1-2.
Respighi’s “The Pines of Rome” and “The Fountains of Rome”. Clint Nieweg. 10/1-2.
Richard Dufallo, “Trackings”. Henry Bloch. 10/1-2.
Richard Koshgarian, “American Orchestral Music: A Performance Catalog”. David Daniels. 13/1.
Richard Lert’s Interpretation of Dynamics in Performing the First Symphony in c minor by Johannes Brahms. James Carl Hagberg. 04/2.
Richard Osborne, “Herbert von Karajan: A Life in Music”. Kenneth Morgan. 19/1.
Richard Strauss’ “Don Juan”. Jonathan Sternberg. 06/2.
Richard Taruskin, “Musorgsky, Eight Essays and an Epilogue”. Henry Bloch. 15/1.
Robert C. Marsh, “Dialogues and Discoveries: James Levine, His Life and His Music”. David P. Devenney. 19/1.
Robert Russell Bennett (1894-1981), Orchestrator and Composer. Ferencz, George. 25/2.
Robert Winter and Bruce Carr, (ed.), “Beethoven, Performers and Critics”. Henry Bloch. 02/3.
Rocco Di Pietro, Dialogues with Boulez. Thomas Erdmann. 24/1-2.
Roger Parker, (ed.), “The Oxford Illustrated History of Opera”. Henry Bloch. 16/2.
Roland Johnson, Founding Member. Roland Johnson. 20/1-2.
Ronald Sanders, “The Days Grow Short: The Life and Music of Kurt Weill”. Henry Bloch. 02/1.
Ronald Taylor, “Furtwangler on Music: Essays and Addresses”. Henry Bloch. 13/2.
Rudolf Hartmann, “Richard Strauss: The Staging of His Operas and Ballets”. Henry Bloch. 04/4.

S
Sam H. Shirakawa, “The Devil’s Music Master: The Controversial Life and Career of Wilhelm Furtwangler”. Henry Bloch. 13/2.
Samuel Adler, “The Study of Orchestration”. Shirley Munger. 03/3.
Samuel Jones, President (1987-1988). Samuel Jones. 20/1-2.
Samuel Samosud, A Pioneer of Modern Russian Opera. Ernst Zaltsberg. 17/1.
Sara K. Schneider, “Concert Song as Seen: Kinesthetic Aspects of Musical Interpretation”. Kathryn Chilcote. 15/1.
Schubert’s Position in Viennese Musical Life. Otto Biba. 03/3.
Score: Imagination and Reality. Pierre Boulez. 15/2.
Scores & Parts: Claude Debussy’s Prélude de l’après-midi d’un faune. Paul Vermel. 25/2.
Scores and Parts: Debussy, L’Après-Midi d’un Faun. Mary C. Plaine. 17/2.
Scores and Parts: Debussy, L’Après-Midi d’un Faun. Raymond Kreuger. 17/2.
Scores and Parts: Debussy, L’Après-Midi d’un Faun. Clint Nieweg. 17/2.
Scores & Parts: Joaquín Rodrigo’s Fantasía para un Gentilhombre. Elizabeth Cusato and Clinton Nieweg. 23/1-2.
Scores & Parts: Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. Jennifer Johnson and Clinton Nieweg. 24/1-2.
Score and Parts: Maurice Ravel’s Bolero. Nieweg, Clinton and Nancy Bradburd.  29/1-2.
Scores & Parts: Mussorgsky’s Night on Bare Mountain. Clinton Nieweg and Gregory Vaught. 28/1-2.
Scores & Parts: Tchaikovsky Romeo & Juliet Fantasy – Overture: A guide to preparing a correct score and parts. David Bernard. 31/2.
Scores & Parts: William Grant Still’s Wood Notes. Jon Mitchell. 26/1-2.
Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 1. James S. Ball. 13/2.
Selected Contemporary American Orchestral Compositions: A Conductor’s Guide, Part 2. James S. Ball. 14/2.
Shostakovich’s Symphonie No. 10, Op. 93. Jonathan Sternberg. 07/3-4.
Shotoakovich’s Symphony No.6 in B Minor, Op. 53. Glenn Block. 13/1.
Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 1. Dennis Polkow. 09/1.
Solti Speaks: A Rare and Candid Conversation with the Maestro, Part 2. Dennis Polkow. 09/2.
Solti Speaks: A Rare and Candid Conversation with the Maestro. Dennis Polkow. 21/1-2.
Some Thoughts on Reconstructing Singing Styles of the Past. Will Crutchfield. 10/3-4.
Sousa’s Marches for Orchestra: A Brief Examination. Keith Brion. 21/1-2.
Spike Hughes, “Glyndebourne: A History of the Festival Opera”. Henry Bloch. 04/4.
Stephen Douglas Burton, “Orchestration”. Shirley Munger. 03/3.
Stravinsky, Tempo and “Le Sacre”. Erica Heisler Buxbaum. 13/1.
Stravinsky’s “Firebird Suite” (1919 ed.). Jonathan Sternberg. 02/3.
Stravinsky’s “Firebird Suite”, 1945 Version. David Daniels. 14/2.
Stravinsky’s “Les Noces”. Mark DeVoto. 10/1-2.
Stravinsky’s “Symphonies of Wind Instruments”. L. Keating Johnson. 08/4.
Stravinsky’s “The Rite of Spring”. Jonathan Sternberg. 05/2.
Stravinsky’s Complete “Firebird” Ballet Score. Jonathan Sternberg. 08/4.
Stuart Edward Dunkel, “The Audition Process”. Frank Brieff. 10/1-2.
Symphony Auditions– Help Wanted: A Study. Gordon Peters. 04/3.
Symposium Afterthoughts. Max Rudolf. 10/3-4.
Symposium Afterthoughts. William S. Newman. 10/3-4.

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Tchaikowsky’s Nutcracker Ballet. Jonathan Sternberg. 04/3.
Tchaikowsky’s Symphony No. 2 in c minor. Jonathan Sternberg. 04/4.
Tempo in “The Art of Fugue”: An Approach Through Figured Bass. Edward Aldwell. 10/3-4.
Tempo Relations in the Finale of Brahms’ First Symphony. Lance Friedel. 12/3-4.
Teodor Romanic, “Sviranje Partitura I Izrada Klavirskih Izvoda (Playing Scores and Piano Reductions)”. Thomas Hohstadt. 06/4.
That Hegelian Swing. Daniel Webster. 15/2.
The “Opera Omina” of Giaochino Rossini. Patricia B. Brauner. 14/1.
The American Music Center. Margaret Jory. 01/3.
The Arnold Schoenberg Institute: A Conductor’s Resource. Rohnda Kess. 01/3.
The Arts Experience: A Prescription for Education. Alexander Bernstein. 15/1.
The Band Music of William Schumann. Michael R. Brown. 16/2.
The Bruckner Symphonies Problem Reconsidered. Juan I. Cahis. 15/2.
The Case for Mozart’s Affliction with Tourette Syndrome. Benjamin Simkin. 12/1-2.
The Chamber Orchestra: An Annotated Bibliography. John Jay Hilfiger. 14/1.
The Classical Tradition of the 20th Century. H. C. Robbins- Landon. 02/1.
The Common Denominator. Gustav Meier. 25/2.
The Conductor and Musicology. 01/4.
The Conductor as a Compositional Resource, Part 1. Zae Munn. 13/2.
The Conductor as a Compositional Resource, Part 2. Zae Munn. 14/1.
The Conductor Gustav Mahler. Ernst J. M. Lert. 01/3.
The Conductor’s Dilemma or the Hazards of Being Judged. Max Rudolf. 08/4.
The Contrabass Recitatives of Beethoven’s Ninth Symphony at Its 1824 Premiere. Leopold Sonnleithner. 08/1.
The Dotted Note and the So- Called French Style. Frederick Neumann. 02/2.
The Everchanging Orchestra in J. S. Bach’s Choral Works. Jonathan D. Green. 19/1.
The Foreign Conductors Take Over the U.S. Podiums. John Rockwell. 01/2.
The Fourth Horn in Beethoven’s Ninth Symphony. Richard Dunn. 17/2.
The Impact of Haydn’s Conducted Performances of “The Creation” on the Work and the History of Conducting. Paul Kirby. 13/1.
The Italian Wind Band: Its Heritage and Legacy. Elisa Koehler. 16/2.
The Ledger and the Score: Administrative and Artistic Conflict at the Royal Philharmonic Society of London, 1916-1918. Jack B. Kamerman. 14/2.
The Manager as Artist. Thomas Hohstadt. 01/2.
The Marcia funebre from the ‘Eroica': Beethoven’s Most Misunderstood Metronome Marking. Gordon Peters. 28/1-2.
The Metamorphosis of a Title. Michael Charry. 12/1-2.
The Metronome Indications in Beethoven’s Symphonies. Max Rudolf. 01/1.
The Metronome Indications in Beethoven’s Symphonies. Max Rudolf. 22/1-2.
The Modern Orchestra and Period Performance Practice. Marc Mostovoy. 10/3-4.
The Never Ending Story. Kenneth Kiesler. 17/2.
The Orchestral Music of Herbert Howells: An Introduction. Ben Carlisle. 27/1-2.
The Overtures of Rossini, Part 1. Philip Gossett. 04/2.
The Overtures of Rossini, Part 2. Philip Gossett. 04/3.
The Publishers’ Corner, “To Mark. . . or not to Mark”. 01/1.
The Publishers’ Corner: U.S. Agency Listing of Foreign Publications. Kirby Pines. 03/2.
The Rationalization of Symphony Orchestra Conductors’ Interpretive Styles. Jack B. Kamerman. 11/1-2.
The Relationship of the Conductor and the Stage Director in Operatic Production. Jill Denise Tindall. 03/2.
The Rocky Road of an American Orchestral Masterpiece. Paul Tobias. 16/2.
The Shaping Forces of Sacred Music. Jonathan Green. 27/1-2.
The Thousand and One Errors. Rene Leibowitz. 16/2.
The Twenty-First Century Maestro: An Imperative of Versatility and Dedication. JoAnn Falletta. 17/2.
The Women’s Issue: Personal Narratives of Four American Conductors. Gloria Steinem. 09/2.
Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. Maurice Peress. 09/1.
Theodore Thomas Award for 1989, Recipient: Leonard Bernstein. Samuel Jones. 09/1.
Theodore Thomas: American Conductor, American Music Educator, Part 1. Daniel Hornstein. 03/2.
Theodore Thomas: American Conductor, American Music Educator, Part 2. Samuel Jones. 03/4.
Three Important and Useful Eighteenth- Century Ornament Tables. Lionel Party. 10/3-4.
Tim Ashley, “Richard Strauss”. Henry Bloch. 19/2.
To Cut off or Not to Cut off, That is the Question. Ting, Chao-Wen. 28/1-2.
Topical Discourse: Toward a Finer Understanding of 18th-Century Musical Expression. Jeffrey Hanson. 23/1-2.
Toscanini and the Myth of Textual Fidelity. Linda Fairtile. 24/1-2.
Toward a “New” (Old) Minuet. William Malloch. 15/2.
Towards Creating a Composer-Friendly Environment, Part 1. Victoria Bond. 11/3-4.
Towards Creating a Composer-Friendly Environment, Part 2. Victoria Bond. 12/1-2.
Towards Creating a Composer-Friendly Environment, Part 3. Victoria Bond. 14/2.
Towards Creating a Composer-Friendly Environment, Part 4. Victoria Bond. 15/2.

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Uncle Sam’s Orchestra. John Canarina. 17/2.
Understadning Toscanini– A Re-Examination of His American Success. Joseph Horowitz. 02/4.
Use of the Dot for Articulation and Accent in Orchestral Repertoire (1880-1920). Crafton Beck. 10/1-2.

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Verdi Vs. Verdi. Max Rudolf. 07/2.
Victor Rangel-Riberio and Robert Markel, “Chamber Music: An International Guide to Works and their Instrumentation”. John Jay Hilfiger. 13/1.
Villa-Lobos: “Bachianas Brasileiras.” Clinton Nieweg. 31/1.
Vincent J. Cincotta, Zarzuela, The Spanish Lyric Theatre. Henry Bloch. 24/1-2.
Vincent Persichetti’s Divertimento for Band: A Rehearsal Analysis. Thomas R. Erdmann. 17/1.
Virgil Thomas, “A Virgil Thomas Reader”. Henry Bloch. 03/3.
Virginia P. White, “Grants for the Arts”. Henry Bloch. 01/2.
Vlado Perlemuter and Helene Hourdan-Morhange, “Ravel According to Ravel”. Henry Bloch. 10/1-2.
Visionary Leadership and the Conductor.Nancy Klein.  29/1-2.
Voices from the Past. Paul B. Schmid. 02/3.

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Wagner’s Development, Work and Influence as a Conductor. William Braun. 16/1.
Walter B. Bailey (ed.), “The Arnold Schoenberg Companion”. Henry Bloch. 19/1.
Walter Frisch, Brahms: The Four Symphonies”. Kenneth Morgan. 18/1.
Wes Kenney, President (1999-2000). Wes Kenney. 20/1-2.
What Hope for the Young American Conductors?. John Rockwell. 01/2.
William H. Haverson, ed., “Edward Grieg Today: A Symposium”. John Jay Hilfiger. 14/2.
William R. Trotter, “Priest of Music: The Life of Dimitri Mitropoulos”. John Jay Hilfiger. 16/2.
William Schuman’s “New England Tritych” and the Music of William Billings. Alan Pearlmutter. 08/2-3.
William Schuman’s New England Triptych” and the Music of William Billings. Jacques Voois. 08/2-3.
William Scott (compiler), “A Conductor’s Repertory of Chamber Music: Compositions for Nine to Fifteen Solo Instruments”. Henry Bloch. 13/2.
Winton Dean, “Essays on Opera”. Henry Bloch. 11/3-4.
Witold Lutoslawski: A Twentieth- Century Classic. Bogdan Gieraczynski. 10/1-2.
Wyndham Thomas (ed.), “Composition– Performance– Reception: Studies in the Creative Process in Music”. Martin Wulfhorst. 19/2.

Z
Zarathustra: Reflections of Form. Emily Freeman Brown. 18/2.
Zeitgeist, Klangideal and Other Imponderables in the Reconstruction of Authentic Performances. Piero Weiss. 10/3-4.
Zheng Xiaoying: The Story of a Chinese Conductor. Emily Freeman Brown. 21/1-2.

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