In April 1975, graduate students at the University of Michigan formed themselves into a Michigan Theory Society and started publishing a theoretical journal called In Theory Only. Issues have since appeared monthly, first by (fading blue) ditto process (which unfairly put off people like professional librarians), then by more durable (black on white) mimeograph process (see Vol. 1, no. 9/10), and finally by offset (Vol. 2, no. 1/2). average issue has been about thirty pages long, packed with short essays, replies, criticism, cries, crossword puzzles, cryptic musical jokes, and in general some of the most provocative thinking and sustained, constructive conversations on specific issues to appear in the last music-theoretical year. A most important editorial policy is speedy publication (sometimes within the month of submission), which has made a unique kind of dialogue possible. For instance, in Vol. 1, no. 9/10, Charles Smith's article The Notations of was published, critical comments on his article by Marion Guck and Edwin were published in that same issue, and Smith published a Reply to Guck and Hantz in the following issue. In Vol. 1, no. 11/12, two articles stimulated lengthy and fruitful published discussion. One was William Benjamin's Interlocking Diatonic Collections as a Source of in Late Nineteenth-Century Music (pp. 31-53), which evinced Henry Martin's The Linear Analysis of Chromaticism in Vol. 2, no. 1/2 (pp. 47-51), and both these articles provoked Charles Smith's The Determinancy of Linear Relations in Vol. 2, no. 3/4 (pp. 29-43). Another editorial policy of importance is broadmindedness as to subject matter, which has ranged from theorems involving pitch-class numbers, through analyses of non-tonal and (especially) tonal work (pre-