Theoria is an annual peer-reviewed journal on all aspects of the history of music theory. It includes critical articles representing the current stage of research, and editions of newly discovered or mostly unknown theoretical texts with translation and commentary. Analytical articles on recent or unknown repertory and methods are also published, as well as review articles on recent secondary literature and textbooks. Back issues are available from Texas A&M University Press.

Volume 16 (2009) will include articles by James MacKay,“Into the Composer’s Workshop: Pre-Compositional Planning and Contrapuntal Design in William Byrd’s Imitative Points”; Kenneth Smith, “Sébastien de Brossard’s Entry for Cadenza in the Manuscript Draft of His Dictionnaire, F-Pn n.a.f. 5269, ff. 88r – 91r:”; and Ildar Khannanov, “Revisiting Russian Music Theory: Victor Bobrovsky’s Functional Foundations of Musical Form.”

FRANK HEIDLBERGER is professor of music theory at the University of North Texas. He received his degrees in musicology at Würzburg University (Germany). He has published numerous books and articles on music history and theory of the 16th to 20th centuries, particularly on Italian instrumental music around 1600, 19th century composers Carl Maria von Weber, Hector Berlioz, and Giacomo Meyerbeer, and 20th century composer and theorist Paul Hindemith.