Musica Theorica - Publication of v. 11.1

2026-07-31

Volume 11, Issue 1 features eight articles addressing a wide range of topics in music theory and analysis. The issue opens with three articles presenting original theoretical proposals, a trend that has become increasingly prominent in our recent issues. André Codeço introduces the concepts of continuity and discontinuity of sonic time from the perspective of the Theory of the Sonic Domain, also developed by the author. Gabriel Mesquita presents the Intertextual Compass, a framework that situates diverse intertextual approaches within a conceptual map comprising nine categories. Max Kühn and Pauxy Gentil-Nunes, in turn, propose a functional conception of the natural modes based on the concept of the singular interval.

In addition, the issue includes four articles devoted to analyses of twentieth-century works. Marcelo José Bellini Dino and Adriana Lopes Moreira examine "dissonant counterpoint" in Henry Cowell's String Quartet No. 1; Rita de Cássia Domingues dos Santos and Rodolfo Coelho de Souza offer a reading based on multiple perspctives of Gilberto Mendes's Diálogo de Ruptura (1985) for solo piano; Alejandro Barbot investigates the manifestation of cadential gestures in Héctor Tosar's Cinco madrigales para coro mixto; and Matheus Valdevino de Sousa examines the musical representation of physical, psychological, and verbal violence in Claudio Santoro's opera Alma.

The issue concludes with an article by Juliano Abramovay reflecting on the conceptual, methodological, and, consequently, analytical challenges posed by the notion of "free time" for music theorists and analysts.

Volume 11, Issue 1 (2026): January–July

Sonic Time in the Theory of the Sonic Domain: Continuity and Discontinuity

André Codeço

https://doi.org/10.52930/mt.v11i1.370

The Intertextual Compass and the Nine Principal Intertextual Typologies

Gabriel Mesquita

https://doi.org/10.52930/mt.v11i1.367

Modal Harmonic Fields: A Functional Approach to the Natural Modes

Max Kühn and Pauxy Gentil-Nunes

https://doi.org/10.52930/mt.v11i1.382

Dissonant Counterpoint in Henry Cowell's String Quartet No. 1 (Pedantic): An Alternative Proposal for Atonalism to That of the Second Viennese School

Marcelo José Bellini Dino and Adriana Lopes da Cunha Moreira

https://doi.org/10.52930/mt.v11i1.393

Analyzing Gilberto Mendes's Diálogo de Ruptura from Multiple Perspectives

Rita de Cássia Domingues dos Santos and Rodolfo Coelho de Souza

https://doi.org/10.52930/mt.v11i1.352

Harmonic Materials and the Cadential Organization of Leading Tones in Cinco madrigales para coro mixto by Héctor Tosar

Alejandro Barbot

https://doi.org/10.52930/mt.v11i1.383

Free Time as an Analytical Problem: Concepts, Parameters, and Methodological Perspectives

Juliano Abramovay

https://doi.org/10.52930/mt.v11i1.388

Gender-Based Violence in Music: An Analysis of Three Scenes from Claudio Santoro's Opera Alma