Volume 1, No. 1 - Spring 1977
Volume 1, No. 2 - Summer 1977
Volume 1, No. 3 - Fall 1977
Volume 1, No. 4 - Winter 1977
Volume 2, No. 1 - Spring 1978
Volume 2, No. 2 - Summer 1978
Volume 2, No. 3 - Fall 1978
Volume 2, No. 4 - Winter 1978
Volume 3, No. 1 - Spring 1979
Volume 3, No. 2 - Summer 1979
Volume 3, No. 3 - Fall 1979
Volume 3, No. 4 - Winter 1979
Volume 4, No. 1 - Spring 1980
Volume 4, No. 2 - Summer 1980
Volume 4, No. 3 - Fall 1980
Volume 4, No. 4 - Winter 1980
Volume 5, No. 1 - Spring 1981
Volume 5, No. 2 - Summer 1981
Volume 5, No. 3 - Fall 1981
Volume 5, No. 4 - Winter 1981
Volume 6, No. 1 - Spring 1982
Volume 6, No. 2 - Summer 1982
Volume 6, No. 3 - Fall 1982
Volume 6, No. 4 - Winter 1982
Volume 7, No. 1 - Spring 1983
Volume 7, No. 2 - Summer 1983
Volume 7, No. 3 - Fall 1983
Volume 7, No. 4 - Winter 1983
Volume 8, No. 1 - Spring 1984
Volume 8, No. 2 - Summer 1984
Volume 8, No. 3 - Fall 1984
Volume 8, No. 4 - Winter 1984
Volume 9, No. 1 - Spring 1985
Volume 9, No. 2 - Summer 1985
Volume 9, No. 3 - Fall 1985
Volume 9, No. 4 - Winter 1985
Volume 10, No. 1 - Spring 1986
Volume 10, No. 2 - Summer 1986
Volume 10, No. 3 - Fall 1986
Volume 10, No. 4 - Winter 1986
Volume 11, No. 1 - Spring 1987
Volume 11, No. 2 - Summer 1987
Volume 11, No. 3 - Fall 1987
Volume 11, No. 4 - Winter 1987
Volume 12, No. 1 - Spring 1988
Volume 12, No. 2 - Summer 1988
Volume 12, No. 3 - Fall 1988
Volume 12, No. 4 - Winter 1988

Volume 14, No. 1 - Spring 1990 New Performance Interfaces - 1
Volume 14, No. 2 - Summer 1990 New Performance Interfaces - 2
Volume 14, No. 3 - Fall 1990 Analysis/Synthesis, Pitch Detection 1
Volume 14, No. 4 - Winter 1990 Analysis/Synthesis Methods and LISP Programming
Volume 15, No. 1 - Spring 1991 Interactive Algorithmic Composition
Volume 15, No. 2 - Summer 1991 Performance Rules and the CAMP Project
Volume 15, No. 3 - Fall 1991 IRCAM Musical Workstation
Volume 15, No. 4 - Winter 1991 Dream Machines: John Pierce at 80
Volume 16, No. 1 - Spring 1992 Advances in AI for Music - 1
Volume 16, No. 2 - Summer 1992 Advances in AI for Music - 2
Volume 16, No. 3 - Fall 1992 Computer Music Systems
Volume 16, No. 4 - Winter 1992 Physical Modeling of Musical Instruments - 1
Volume 17, No. 1 - Spring 1993 Physical Modeling of Musical Instruments - 2
Volume 17, No. 2 - Summer 1993 Synthesis and Transformations
Volume 17, No. 3 - Fall 1993 Music Representation and Scoring - 1
Volume 17, No. 4 - Winter 1993 Music Representation and Scoring - 2
Volume 18, No. 1 - Spring 1994 Music Representation and Scoring - 3
Volume 18, No. 2 - Summer 1994 Composition and Performance in the 1990s - 1
Volume 18, No. 3 - Fall 1994 Composition and Performance in the 1990s - 2
Volume 18, No. 4 - Winter 1994 The ZIPI Music Interface Language
Volume 19, No. 1 - Spring 1995 Synthesis and Transformation
Volume 19, No. 2 - Summer 1995 Artifical Intelligence and Music
Volume 19, No. 3 - Fall 1995 Synthesis and Transformation
Volume 19, No. 4 - Winter 1995 Sound Spatialization and Spatial Perception
Volume 20, No. 1 - Spring 1996 20th Anniversary Issue: The State of the Art
Volume 20, No. 2 - Summer 1996 Bringing Digital Music to Life
Volume 20, No. 3 - Fall 1996 The Search for Musical Constructs
Volume 20, No. 4 - Winter 1996 Accomplishments and Challenges
Volume 21, No. 1 - Spring 1997 Composition and Performance in the 1990s - 3
Volume 21, No. 2 - Summer 1997 Synthesis and Transformation
Volume 21, No. 3 - Fall 1997 Machine Tongues: Nyquist
Volume 21, No. 4 - Winter 1997 Modeling Analog Synthesis
Volume 22, No. 1 - Spring 1998 New Performance Interfaces
Volume 22, No. 2 - Summer 1998 Nonlinear Systems
Volume 22, No. 3 - Fall 1998 Physical Modeling of Musical Instruments
Volume 22, No. 4 - Winter 1998 Dancing the Music
Volume 23, No. 1 - Spring 1999 Modeling Meter and Harmony
Volume 23, No. 2 - Summer 1999 Compositional Processes
Volume 23, No. 3 - Fall 1999 Research and Development at IRCAM
Volume 23, No. 4 - Winter 1999 Tonal Analysis and Genetic Techniques
Volume 24, No. 1 - Spring 2000 Expressive Deviations
Volume 24, No. 2 - Summer 2000 New Implementations of Electroacoustic Classics
Volume 24, No. 3 - Fall 2000 Winners of the Bourges Software Competition
Volume 24 No. 4 - Composition and Performance - Winter 2000
Volume 25 No. 1 - Aesthetics in Computer Music - Spring 2001
Volume 25 No. 2 - Performance Interfaces and Dynamic Modeling of Sound - Summer 2001
Volume 25 No. 3 - Synthesis and Transformation - Spring 2001
Volume 25 No. 4 - Sound Spatialization and Spatial Imagery - Winter 2001
Volume 26 No. 1 - In Memoriam Iannis Xenakis - Spring 2002
Volume 26 No. 2 - Music Information Processing - Summer 2002
Volume 26 No. 3 - New Performance Interfaces - Fall 2002
Volume 26 No. 4 - Languages and Environments for Computer Music - Winter 2002
Volume 27 No 1 - Allusion, Expression and Physical Models – Spring 2003
Volume 27 No. 2 - Live Electronics in Recent Music of Luciano Berio – Summer 2003
Volume 27 No. 3 - Sonic Morphing and Stochastic Synthesis – Fall 2003
Volume 27 No. 4 - Linux As a Music Platform – Winter 2003
Volume 28 No. 1 - Real-Time Computer Music in 1951 – Winter 2004
Volume 28 No. 2 - Music Information Retrieval – Summer 2004
Volume 28 No. 3 - Metrical, Harmonic and Motivic Analysis – Fall 2004
Volume 28 No. 4 - Modeling Pitch Curves in Nonwestern Music – Winter 2004
Volume 29 No. 1 - Rhythm Detection – Spring 2005
Volume 29 No. 2 - Networks for Interdependent Music Performances– Summer 2005
Volume 29 No. 3 - Connectinc Score to Synthesis in a Visual Environnement – Fall 2005
Volume 29 No. 4 - Visual Music – Winter 2005