Volume 45, Number 1

David Bessell, "Formant Synthesis, Granular Synthesis, and Waveshaping in Halo, Bells and Voices, Bessell," 236–252 (JSTOR):

• Halo, Bells and Voices

Volume 43, Number 1

Paul Nauert, "Timespan Hierarchies and Posttonal Pitch Structure: A Composer's Strategies," 34–53 (JSTOR):

• Arabesque
• Chapter and Verse

Volume 42, Number 2

Julio Estrada, "Emanation of the Voice," 88–120 (JSTOR):

• Example 2
• Example 3
• Example 4

Volume 40, Number 2

Andrew Kohn, "Wolpe and the Poets of Black Mountain," 134–154 (JSTOR):

• Olson poem
• Creeley poem

Volume 40, Number 1

Wayne Vitale, "Balinese Kebyar Music Breaks the Five-Tone Barrier: New Composition for Seven-Tone Gamelan," 5–69 (JSTOR).

From the Vital Records CD, "Çudamani: The Seven-Tone Gamelan Orchestra from the Village of Pengosekan, Bali" (Vital Records 440). Used by permission.

Note: this file is a 17.3MB mp3 file.

• Geregel, by Dewa Ketut Alit

Volume 39, Number 1

Julio Estrada, "The Radiance of Iannis Xenakis (1922–2001)," trans. Brandon Derfler, 215–230 (JSTOR):

• eolo'oolin

Volume 39, Number 2

Julia Werntz, "Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's 'Forum: Microtonality Today,'": 159–210. (JSTOR):

• Example 2
  Béla Bartók, Sonata for Solo Violin, Movement IV.
  Erica Kiesewetter, violin.
  

  From Pitch for the International Microtonalist Vol. 1, no. 3 (Winter 1988–89), © 1988 American Festival of Microtonal Music. Used with permission by Johnny Reinhard.

• Example 3a
• Example 3b
• Example 4a
• Example 4b
  Alois Hába, String Quartet No. 12.

  With kind approval by SUPRAPHON, Prague and the year of first publishing (P) 1964.

• Example 4c

  Ivan Wyshnegradsky, Composition pour quatuor a cordes, op. 43.

  Soldier String Quartet:
  Laura Seaton and David Soldier, violin
  Drew Tretick, viola
  Mary Wooten, cello

  From Pitch for the International Microtonalist Vol. 1, no. 3 (Winter 1988–89). Copyright © 1988 American Festival of Microtonal Music. Used with permission by Johnny Reinhard.

• Example 6
• Example 7a
• Example 8
• Example 10a
• Example 10d

Volume 35, Number 2

Robert Morris, "Listening to Milton Babbitt's Electronic Music: The Medium and the Message," 85–99. (JSTOR):

• Sound Example AA: First half of introduction to Composition for Synthesizer
• Sound Example BB: First melody twice
• Sound Example CC: First chord
• Sound Example DD: Fourth melodic subsection
• Sound Example EE: Entire introduction to Composition for Synthesizer
• Sound Example FF: Refrain of Part 1
• Sound Example GG: Beginning of Part 2
• Sound Example HH: Ensembles excerpt 1
• Sound Example II: Ensembles excerpt 2
• Sound Example JJ: Opening of Reflections
• Sound Example KK: Excerpt from middle of Part 2 of Reflections

Volume 3, Number 2

Stefan Bauer-Mengelberg and Melvin Ferentz, "On Eleven-Interval Twelve-Tone Rows," 93–103. (JSTOR):

• List of All-Interval Rows: Please note that the list as originally published in Perspectives of New Music is no longer available. The list presented here, with the kind permission of co-author Robert Morris, was originally published in Morris, Robert, and Daniel Starr, "The Structure of All-Interval Series," The Journal of Music Theory 8/2:364–89 (1974).