Abstract is missing.
- Subsumption of Vertical Viewpoint PatternsMathieu Bergeron, Darrell Conklin. 1-12 [doi]
- Building Topological Spaces for Musical ObjectsLouis Bigo, Jean-Louis Giavitto, Antoine Spicher. 13-28 [doi]
- A Model for Collective Free ImprovisationClément Canonne, Nicolas Garnier. 29-41 [doi]
- θNorman Carey. 42-55 [doi]
- Sensitive Interval Property for Scales as Words in the Free Group F2David Clampitt. 56-68 [doi]
- Commuting Groups and the Topos of TriadsThomas M. Fiore, Thomas Noll. 69-83 [doi]
- Spelled HeptachordsJulian L. Hook. 84-97 [doi]
- Fundamental Passacaglia: Harmonic Functions and the Modes of the Musical TetractysKarst de Jong, Thomas Noll. 98-114 [doi]
- Musical Tonality, Neural Resonance and Hebbian LearningEdward W. Large. 115-125 [doi]
- Two-Dimensional Visual Inspection of Pitch-Space, Many Time-Scales and Tonal Uncertainty over TimeAgustín Martorell, Emilia Gómez. 140-150 [doi]
- Musical Composition and Gestural DiagramsGuerino Mazzola, Florian Thalmann. 151-164 [doi]
- Tonal Scales and Minimal Simple Pitch Class CyclesDavid Meredith. 165-179 [doi]
- Scratching the Scale LabyrinthAndrew J. Milne, Martin Carlé, William A. Sethares, Thomas Noll, Simon Holland. 180-195 [doi]
- th Roots of Pitch-Class InversionRobert W. Peck. 196-206 [doi]
- Indeterminate Music and Probability Spaces: The Case of John Cage's Number PiecesAlexandre Popoff. 220-229 [doi]
- Voice-Leading Prototypes and Harmonic Function in Two Chorale CorporaIan Quinn, Panayotis Mavromatis. 230-240 [doi]
- Emergent Formal Structures of Factor Oracle-Driven Musical ImprovisationsIsaac Schankler, Jordan B. L. Smith, Alexandre R. J. François, Elaine Chew. 241-254 [doi]
- Open Form and Two Combinatorial Musical Models: The Cases of ::::Domaines:::: and ::::Duel::::Benny Sluchin, Mikhail Malt. 255-269 [doi]
- Mazzola's Model of Fuxian CounterpointDmitri Tymoczko. 297-310 [doi]
- Introduction to Scale Theory over Words in Two DimensionsMarek Zabka. 311-325 [doi]
- The Planet-4D Model: An Original Hypersymmetric Music Space Based on Graph TheoryGilles Baroin. 326-329 [doi]
- Motivic Topologies: Mathematical and Computational Modelling in Music AnalysisChantal Buteau, Christina Anagnostopoulou. 330-333 [doi]
- Exploring Rameau and Beyond: A Corpus Study of Root Progression TheoriesThomas Hedges, Martin Rohrmeier. 334-337 [doi]
- Melodic Morphing Algorithm in FormalismKeiji Hirata, Satoshi Tojo, Masatoshi Hamanaka. 338-341 [doi]
- From 2D to 3D: Using Geometry and Group Theory to Model Motivic Structure in Musical CompositionJocelyn Ho. 342-345 [doi]
- Clustering and Classification of Music by Interval CategoriesAline K. Honingh, Rens Bod. 346-349 [doi]
- Plactic Classification of ModesFranck Jedrzejewski. 350-353 [doi]
- Feature Extraction Using Pitch Class Profile Information EntropyMaximos A. Kaliakatsos-Papakostas, Michael G. Epitropakis, Michael N. Vrahatis. 354-357 [doi]
- Catastrophe Theory: An Enhanced Structural and Ontological Space in Music CompositionFani Kosona, Leontios J. Hadjileontiadis. 358-361 [doi]
- Enriched Score Access for Computer Assisted Composition in PWGLMika Kuuskankare. 362-365 [doi]
- Historical Development of Tonal Syntax: Counting Pitch-Class Sets in 13:::th:::-16:::th::: Century Polyphonic Vocal MusicRichard Parncutt, Fabio Kaiser, Craig Sapp. 366-369 [doi]