Analytical Practices in Western Music Theory: A Comparison and Mediation of Schenkerian and Post-Riemannian Traditions

Forfattere

Thomas Jul Kirkegaard-Larsen
Aarhus Universitet

Nøgleord:

Schenkerian analysis, functional analysis, Schenkerian theory, function theory, Funktionstheorie, funktionsteori, schenkeranalyse, Riemannian, post-Riemannian, music theory history, music theory, music analysis, harmonic analysis, analytical traditions, theoretical traditions, western music theory

Synopsis

This dissertation is a study of two of the most influential traditions in 20th and 21st-century Western music theory: post-Riemannian function theory and Schenkerian theory, dominating in European and Anglo-American music scholarship, respectively. The purpose is to investigate, chart and provide a path beyond the antagonism that have long existed between these two music-theoretical and ‑analytical traditions. Divided into three main parts, the dissertation aims to achieve this purpose by providing 1) a thorough historical study of the theoretical traditions since Schenker and Riemann (with a special focus on the relatively uncharted territory of post-WWII history); 2) a comparison of theoretical assumptions and analytical practices prevailing in the respective traditions; and 3) a mediation between the two approaches to tonal music in the form of new analytical methods which combine Schenkerian and function-theoretical perspectives.

Forfatterbiografi

Thomas Jul Kirkegaard-Larsen, Aarhus Universitet

Forfatteren har efter aflevering af afhandlingen skiftet navn til Thomas Husted Kirkegaard.

ORCID: https://orcid.org/0000-0002-2949-2569 

Referencer

• Agawu, Kofi. 1996. “Analyzing Music Under the New Musicological Regime.” Music Theory Online 2 (4).

• Agawu, Kofi. 2009. Music as Discourse: Semiotic Adventures in Romantic Music. New York: Oxford University Press.

• Agmon, Eytan. 1995. “Functional Harmony Revisited: A Prototype-Theoretic Approach.” Music Theory Spectrum 17 (2): 196–214.

• Agmon, Eytan. 1996. “Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb.” Music Theory Online 2 (3).

• Aldwell, Edward, and Carl Schachter. 1978. Harmony and Voice Leading, vol. 1. New York: Harcourt Brace Jovanovich.

• Aldwell, Edward, and Carl Schachter. 1979. Harmony and Voice Leading, vol. 2. New York: Harcourt Brace Jovanovich.

• Aldwell, Edward, Carl Schachter and Allen Cadwallader. 2018. Harmony and Voice Leading, 5th ed. Boston, MA: Cengage Learning.

• Allen Forte Electronic Archive. 2017. “Allen Forte’s After-party Discussion of Early Schenkerian Movement,” video interview with Allen Forte, recorded April 2007. https://www.youtube.com/watch?v=onnqjiHUB4Y (accessed February 18, 2020).

• Almada, Carlos de Lemos, Guilherme Sauerbronn de Barros, Rodolfo Coelho de Souza, Cristina Capparelli Gerling, and Ilza Nogueira. 2018. “The Reception and Dissemination of European Music Theories in Brazil.” Zeitschrift der Gesellschaft für Musiktheorie 15 (2): 129–154.

• Alphonce, Bo. 1988. Review of Generalized Musical Intervals and Transformations by David Lewin. Intégral 2: 161–178.

• Arntz, Michael. 1999. Hugo Riemann (1849–1919): Leben, Werk und Wirkung. Cologne: Concerto Verlag.

• Auerbach, Jennifer Sadoff. 2009. Drafts, Page Proofs, and Revisions of Schenker’s Der freie Satz: The Collection at the Austrian National Library and Schenker’s Generative Process. PhD dissertation, University of North Texas.

• Azzaroni, Loris. 1989. “Elusività dei processi cadenzali in Brahms: Il ruolo della sottodominante.” Rivista Italiani di Musicologia 24 (1): 74–94.

• Azzaroni, Loris, ed. 1991. La teoria funzionale dell’armonia. Bologna: Cooperative Libraria Universitaria Editrice Bologna.

• Babbitt, Milton. 1952. Review of Structural Hearing by Felix Salzer. Journal of the American Musicological Society 5 (3): 260–265.

• Babbitt, Milton. 1965. “The Structure and Function of Musical Theory: I.” College Music Symposium (5): 49–60.

• Babbitt, Milton. 2011 [1999]. “My Vienna Triangle at Washington Square.” In The Collected Essays of Milton Babbitt, edited by Stephen Peles et al., 466–487. Princeton: Princeton University Press.

• Baker, Michael. 2018. Review of Structurally Sound: Seven Musical Masterworks Deconstructed by Eric Wen. Music Theory Online 24 (1).

• Bard-Schwarz, David, and Richard Cohn. 2015. David Lewin’s Morgengruß. New York: Oxford University Press.

• Beach, David. 1985. “The Current State of Schenkerian Research.” Acta Musicologica 57 (2): 275–307.

• Beach, David. 1987. “On Analysis, Beethoven, and Extravagance: A Response to Charles J. Smith.” Music Theory Spectrum 9: 173–185.

• Beach, David. 1989. “The Analytic Process: A Practical Demonstration. The Opening Theme from Beethoven’s Op. 26.” Journal of Music Theory Pedagogy 2 (1): 25–46.

• Beach, David. 1994. “Harmony and Linear Progression in Schubert’s Music.” Journal of Music Theory 38 (1): 1–20.

• Beach, David. 2012. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. New York: Routledge.

• Beach, David. 2014. “The Analytic Process: A Practical Demonstration. The Opening Theme from Beethoven’s Op. 26.” Journal of Music Theory Pedagogy 28 (1): 7–25. [Corrected version of Beach 1989]

• Beach, David. 2019. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form, 2nd ed. New York: Routledge.

• Beach, David, and Yosef Goldenberg. 2015. “Introduction.” In Bach to Brahms: Essays on Musical Design and Structure, edited by David Beach and Yosef Goldenberg, 1–6. Rochester: University of Rochester Press.

• Beach, David, and Su Yin Mak. 2016, eds. Explorations in Schenkerian Analysis. Rochester: University of Rochester Press.

• Becker, Heinz. 2002. “Grabner, Hermann.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personen¬teil” vol. 7, edited by Ludwig Finscher, 1448¬¬–1449. Kassel: Bärenreiter.

• Bengtsson, Ingmar. 1982. Review of Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Svensk tidskrift för musikforskning 64: 84–86.

• Bent, Ian, and Anthony Pople. 2001. “Analysis.” In Grove Music Online (accessed February 6, 2019).

• Bent, Ian, and Hedi Siegel. n.d. “Ein Beitrag zur Ornamentik.” In Schenker Documents Online (accessed February 11, 2020).

• Bent, Ian, William Drabkin, and Hedi Siegel. n.d. “Der Dreiklang.” In Schenker Documents Online (accessed February 13, 2020).

• Bernstein, David. 1992. “Schoenberg Contra Riemann: Stufen, Regions, Verwandtschaft, and the Theory of Tonal Function.” Theoria 6: 23–53.

• Bernstein, David. 2002. “Nineteenth-Century Harmonic Theory: the Austro-German Legacy.” In The Cambridge History of Western Music Theories, edited by Thomas Christensen, 778¬–811. Cambridge: Cambridge University Press.

• Berry, David Carson. 2002. “The Role of Adele T. Katz in the Early Expansion of the New York ‘Schenker School’.” Current Musicology 74: 103–151.

• Berry, David Carson. 2003. “Hans Weisse and the Dawn of American Schenkerism.” The Journal of Musicology 20 (1): 104–156.

• Berry, David Carson. 2004. A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices. Hillsdale, NY: Pendragon Press.

• Berry, David Carson. 2005a. “Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S.” Journal of Schenkerian Studies 1: 92–117.

• Berry, David Carson. 2005b. “Schenkerian Theory in the United States. A Review of Its Establishment and a Survey of Current Research Topics.” Zeitschrift der Gesellschaft für Musiktheorie 2 (2–3): 101–137.

• Berry, David Carson. 2006. “Hans Weisse (1892–1940).” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemi¬nation, edited by Martin Eybl and Evelyn Fink-Mennel, 91–103. Vienna: Böhlau Verlag.

• Berry, David Carson. 2011. “Schenker’s First ‘Americanization’: George Wedge, the Institute of Musical Art, and the ‘Appreciation Racket’.” Gamut 4 (1): 143–230.

• Berry, David Carson. 2012. Review of Advanced Schenkerian Analysis by David Beach. Intégral 26: 159–197.

• Berry, David Carson. 2016. “Schenkerian Analysis and Anglo-American Music Criticism in the 1930s: A Quest for ‘Objectivity’ and a Path Toward Disciplinary Music Theory.” Theory and Practice 41: 141–205.

• Berry, David Carson, and Sherman van Solkema. 2014. “Theory.” In Grove Music Online (accessed February 6, 2019).

• Biamonte, Nicole. 2008. “Augmented-Sixth Chords vs. Tritone Substitutes.” Music Theory Online 14 (2).

• Bitzan, Wendelin. 2018. “Sonatentheorien des Ostens. Zum Transfer einer westeuropäischen Formidee nach Russland und die Sowjetunion bis 1945.” Zeitschrit der Gesellschaft für Musiktheorie 15 (2): 23–43.

• Black, Brian C. 2009. “The Functions of Harmonic Motives in Schubert’s Sonata Forms.” Intégral 23: 1–63.

• Black, Brian C. 2018. “Schubert’s Development of Harmonic Motives in his Early String Quartets.” Music Theory Online 24 (3).

• Boenke, Patrick. 2005. “Zur amerikanischen Rezeption der Schichtenlehre Heinrich Schenkers.” Zeitschrift der Gesellschaft für Musiktheorie 2 (2–3): 181–188.

• Boenke, Patrick. 2006. “Zur österreichischen und deutschen Rezeption der Schichtenlehre Heinrich Schenkers.” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemi¬nation, edited by Martin Eybl and Evelyn Fink-Mennel, 149–154. Vienna: Böhlau Verlag.Böhme-Mehner, Tatjana, and Klaus Mehner, eds. 2001. Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch. Cologne: Böhlau Verlag.

• Bresnick, Martin. 1978. Review of Harmonielehre by Diether de la Motte. Journal of music Theory 22 (2): 319–324.

• Broman, Per. 2002. “Reger and Riemann: Some Analytical and Pedagogical Prospects.” Svensk tidskrift för musikforskning 84: 13–25.

• Brown, Matthew. 1998. “Rothstein’s Paradox and Neumeyer’s Fallacies.” Intégral 12: 95–132.

• Burkhart, Charles. 1978. “Schenker’s ‘Motivic Parallelisms’.” Journal of Music Theory 22 (2): 145–175.

• Burstein, L. Poundie. 2005. “Unraveling Schenker’s Concept of the Auxiliary Cadence.” Music Theory Spectrum 27 (2): 159–186.

• Burstein, L. Poundie. 2014. “The Half Cadence and Other Such Slippery Events.” Music Theory Spectrum 36 (2): 203–227.

• Burstein, L. Poundie, and Joseph Straus. 2016. Concise Introduction to Tonal Harmony. New York: W. W. Norton and Company, Inc.

• Cadwallader, Allen. 1982. Multileveled Motivic Repetition in Selected Intermezzi for Piano of Johannes Brahms. PhD Dissertation, The University of Rochester, Eastman School of Music.

• Cadwallader, Allen. 1983. “Motivic Unity and Integration of Structural Levels in Brahms’s B minor Intermezzo, Op. 119, No. 1.” Theory and Practice 8 (2): 5–24.

• Cadwallader, Allen. 1984. “Schenker’s Unpublished Graphic Analysis of Brahms’s Intermezzo Op. 117, No. 2: Tonal Structure and Concealed Motivic Repetition.” Music Theory Spectrum 6 (1): 1–13.

• Cadwallader, Allen. 1988a. “Foreground Motivic Ambiguity: Its Clarification at Middleground Levels in Selected Piano Pieces of Johannes Brahms.” Music Analysis 7 (1): 59–91.

• Cadwallader, Allen. 1988b. “Prolegomena to a General Description of Motivic Relation¬ships in Tonal Music.” Intégral 2: 1–35.

• Cadwallader, Allen, and David Gagné. 1998. Analysis of Tonal Music: A Schenkerian Approach. New York: Oxford University Press.

• Cadwallader, Allen, and David Gagné. 2006. “The Spirit and Technique of Schenker Pedagogy.” In Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter, edited by L. Poundie Burstein and David Gagné, 43–53. Hillsdale, NY: Pendragon Press.

• Cadwallader, Allen, and David Gagné. 2011 [1998]. Analysis of Tonal Music: A Schenkerian Approach, 3rd ed. New York: Oxford University Press.

• Capellen, Georg. 1901. “Die Unmöglichkeit und Überflüssigkeit der dualistischen Molltheorie Riemann’s.” Neue Zeitschrift für Musik 97. 529–531, 541–543, 553–555, 569–572, 585–587, 601–603, 617–619.

• Caplin, William. 1986. Review of Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg by Robert W. Wason. Music Theory Spectrum 8: 140–143.

• Caplin, William. 1987. “The ‘Expanded Cadential Progression’: A Category for the Analysis of Classical Form.” Journal of Musicological Research 7 (2–3): 215–257.

• Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.

• Caplin, William. 2004. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 (1): 51–118.

• Caplin, William. 2011. “Criteria for Analysis: Perspectives on Riemann’s Mature Theory of Meter.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 419–439. New York: Oxford University Press.

• Cheong, Wai Ling, and Ding Hong. 2017. “Eine Altlast – das Brigaden-Lehrbuch in China.” Zeitschrift ästhetische Bildung 9.

• Cheong, Wai Ling, and Ding Hong. 2018. “Sposobin Remains: A Soviet Harmony Textbook’s Twisted Fate in China.” Zeitschrift der Gesellschaft für Musiktheorie 15 (2): 45–77.

• Christensen, Thomas. 1982. “The Schichtenlehre of Hugo Riemann.” In Theory Only 6 (4): 37–44.

• Christensen, Thomas, ed. 2002. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press.

• Christensen, Thomas. 2018. “Music Theory, Cultural Transfer, and Colonial Hybridity.” Zeitschrift der Gesellschaft für Musiktheorie 15 (2): 15–21.

• Clark, Suzannah. 2011. “The Imagination of Tone in Schubert’s Liedesend (D473), Trost (D523), and Gretchens Bitte (D564).” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 294–321. New York: Oxford University Press.

• Cohen, David E., Roger Mathew Grant, Andrew Hicks, Nathan John Martin, Caleb Mutch, Carmel Raz, Malenie Wald-Fuhrmann, Felix Wörner, and Anna Zayaruznaya. 2019. “Going Global, In Theory.” IMS Musicological Brainfood 3 (1): 3–5.

• Cohn, Richard. 1992. “The Autonomy of Motives in Schenkerian Accounts of Tonal Music.” Music Theory Spectrum 14 (2): 150–170.

• Cohn, Richard. 1996. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15 (1): 9–40.

• Cohn, Richard. 1997. “Neo-Riemannian Operations, Parsimonious Tricords, and their Tonnetz Representations.” Journal of Music Theory 41 (1): 1–66.

• Cohn, Richard. 1998. “Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective.” Journal of Music Theory 42 (2): 167–180.

• Cohn, Richard. 1999. “As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert.” 19th-century Music 22 (3): 213–232.

• Cohn, Richard. 2012. Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature. New York: Oxford University Press.

• Cone, Edward T. 1967. “Beyond Analysis.” Perspectives of New Music 6 (1): 33–51.

• Cone, Edward T. 1968. Musical Form and Musical Performance. New York: Norton.

• Cook, Nicholas. 1989a. “Music Theory and ‘Good Comparison’: A Viennese Perspective.” Journal of Music Theory 33 (1): 117–141.

• Cook, Nicholas. 1989b. “Schenker’s Theory of Music as Ethics.” The Journal of Musicology 7 (4): 415–439.

• Cook, Nicholas. 2007. The Schenker Project. New York: Oxford University Press.

• Cube, Felix-Eberhard von. 1949. Letter to Knud Jeppesen, dated July 31- The Royal Danish Library, Copenhagen, DK-Kk, Inaccesible 635.

• Cubero, Diego. 2017a. “Schopenhauer, Schenker, and the Will of Music.” In The Palgrave Schopenhauer Handbook, edited by Sandra Shapshay, 213–235. New York: Palgrave Macmillan.

• Cubero, Diego. 2017b. “Downward Arpeggiations: Prolongational Issues and Their Expressive Implications.” Journal of Music Theory 61 (1): 29–57.

• Dahlhaus, Carl. 1959. Review of Neue musikalische Theorien und Phantasien III: Der freie Satz by Heinrich Schenker, edited by Oswald Jonas. Die Musikforschung 12 (4): 523–525.

• Dahlhaus, Carl. 1966. “Über den Begriff der tonalen Funktion.” In Beiträge zur Musiktheorie des 19. Jahrhunderts, edited by Martin Vogel, 93–102. Regensburg: Gustav Bosse.

• Dahlhaus, Carl. 1967. Musikästhetik. Köln: Musikverlag Hans Gerig.

• Dahlhaus, Carl. 1970. Analyse und Werturteil. Mainz: B. Schott’s Söhne.

• Dahlhaus, Carl. 1975. “Terminologisches zum Begriff der harmonischen Funktion.” Die Musikforschung 28 (2): 197–202.

• Dahlhaus, Carl. 1977. “Musikalische Form als Transformation.” Beethoven-Jahrbuch 9: 27–36.

• Dahlhaus, Carl. 1983. “Im Namen Schenkers.” Die Musikforschung 36 (2): 82–87.

• Dahlhaus, Carl. 1989. Die Musiktheorie im 18. und 19. Jahrhundert. Zweiter Teil: Deutschland (= Geschichte der Musiktheorie, vol. 11). Darmstadt: Wissenschaftliche Buchgesellschaft.

• Dahlhaus, Carl. 1990 [1968]. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press.

• Damschroder, David. 2008. Thinking About Harmony: Historical Perspectives on Analysis. Cambridge: Cambridge University Press.

• Damschroder, David. 2010. Harmony in Schubert. Cambridge: Cambridge University Press.

• Damschroder, David. 2012. Harmony in Haydn and Mozart. Cambridge: Cambridge University Press.

• Damschroder, David. 2015. Harmony in Chopin. Cambridge: Cambridge University Press.

• Damschroder, David. 2016. Harmony in Beethoven. Cambridge: Cambridge University Press.

• Damschroder, David. 2017. Harmony in Mendelssohn and Schumann. Cambridge: Cambridge University Press.

• Damschroder, David. 2018. Tonal Analysis: A Schenkerian Perspective. New York: W. W. Norton & Company.

• Damschroder, David, and David Russell Williams. 1990. Music Theory from Zarlino to Schenker: A Bibliography and Guide. Stuyvesant, NY: Pendragon Press.

• Daniel, Thomas. 2001. “Bach und die Funktionstheorie.” Musiktheorie 16 (4): 325–332.

• D’Indy, Vincent. 1912. Cours de composition musicale, 3 vols. Paris: A. Durand et Fils.

• Diergarten, Felix. 2003–05. “Riemann-Rezeption und Reformpädagogik: Der Musiktheoretiker Johannes Schreyer.” Zeitschrift der Gesellschaft für Musiktheorie 1–2 (2/1): 163–170.

• Drabkin, William. 1983. Review of Untersuchungen zu Heinrich Schenkers Stimmführungsanalyse by Karl-Otto Plum and Akkord und Stimmfüh¬rung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Music Analysis 2 (1): 102–105.

• Drabkin, William. 1984–85. “Felix-Eberhard von Cube and the North-German Tradition of Schenkerism.” Proceedings of the Royal Musical Association 111: 180–207.

• Drabkin, William. 2002. “Heinrich Schenker.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 812–843. Cambridge: Cambridge University Press.

• Dubiel, Joseph. 1990. “‘When You are a Beethoven’: Kinds of Rules in Schenker’s Counterpoint.” Journal of Music Theory 34 (2): 291–340.

• Dunsby, Jonathan. 1990. “Schenkerian Theory in Great Britain: Developments and Responses.” In Schenker Studies, edited by Hedi Siegel, 182–190. Cambridge: Cambridge University Press.

• Edlund, Lars, and Arne Mellnäs. 1968. Det musikaliska hantverket. Stockholm: Sveriges Radios Förlag.

• Eken, Thorleif. 1948. Harmonilære. Oslo: Norsk Notestik & Forlag.

• Ergo, Emil. 1914. Ueber Richard Wagner’s Harmonik und Melodik: Ein Beitrag zur Wagnerschen Harmonik. Leipzig: Breitkopf und Härtel.

• Ewell, Philip. 2019. “Music Theory’s White Racial Frame.” Plenary paper at the Annual Meeting of the Society for Music Theory, November 9, 2019. https://vimeo.com/372726003 (accessed February 13, 2020).

• Eybl, Martin. 1995. Ideologie und Methode: Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie. Tutzing: Hans Schneider.

• Eybl, Martin. 2003. “Rebell und Visionär. Heinrich Schenker in Wien.” In Rebell und Visionär. Heinrich Schenker in Wien: Katalog zur Ausstellung vom 12. Juni bis 3. Juli 2003 an der Universität für Musik und darstel¬lende Kunst Wien, edited by Evelyn Fink, 6–10. Vienna: Verlag Lafite.

• Eybl, Martin. 2005. “Tonale Musik als vernetztes Stückwerk: Ein Merkmalkatalog der harmonischen Tonalität.” In Zwischen Komposition und Hermeneutik: Festschrift für Hartmut Fladt, edited by Ariane Jeßulat, Andreas Ickstadt, and Martin Ullrich, 54–66. Würzburg: Königs¬hausen & Neumann.

• Eybl, Martin, and Evelyn Fink-Mennel, eds. 2006. Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination. Vienna: Böhlau Verlag.

• Federhofer, Hellmut. 1956. “Zur Einheit von Stimmführung und Harmonik in Instrumentalwerken Mozarts.” Mozart-Jahrbuch 56: 75–87.

• Federhofer, Hellmut. 1958. “Die Funktionstheorie Hugo Riemanns und die Schichtenlehre Heinrich Schenkers.” In Bericht über den internationalen musikwissenschaftlichen Kongress Wien, Mozartjahr 1956, edited by Erich Schenk, 183–190. Graz: Böhlau.

• Federhofer, Hellmut. 1972. “Zur Analyse des zweiten Satzes von L. van Beethovens Klaviersonate op. 10, Nr. 3.” In Festskrift Jens Peter Larsen, edited by Nils Schiørring, Henrik Glahn, and Carsten E. Hatting, 339–350. Copenhagen: Wilhelm Hansen Musik-Forlag.

• Federhofer, Hellmut. 1981. Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker. Vienna: Verlag der österreichischen Akademie der Wissenschaften.

• Federhofer, Hellmut. 1984. “Im Namen Schenkers: Eine Erwiderung.” Die Musikforschung 37 (1): 21–24.

• Federhofer, Hellmut. 1985a. Heinrich Schenker. Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection, University of California, Riverside. Hildesheim: Georg Olms Verlag.

• Federhofer, Hellmut. 1985b. Musikwissenschaft und Musikpraxis. Vienna: Böhlau.

• Federhofer, Hellmut. 1989. “Methoden der Analyse im Vergleich.” Musiktheorie 4 (1): 61–69.

• Federhofer, Hellmut. 1990. Heinrich Schenker als Essayist und Kritiker. Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891–1901. Hildesheim: Georg Olms Verlag.

• Federhofer, Hellmut. 2006. “Heinrich Schenker und die deutschsprachige Musikwissenschaft.” Die Musikforschung 59 (3): 246–251.

• Federhofer, Hellmut. 2013. Theorie als Brücke zur Praxis. Gesammelte musiktheoretische Aufsätze, edited by Josef Karner. Hildesheim: Georg Olms Verlag.

• Fernström, John. 1951. Vår tids tonalitetsbegrepp. Stockholm: Carl Gehrmans Musikförlag.

• Fétis, François-Joseph. 2008 [1844]. Complete Treatise on the Theory and Practice of Harmony, translated by Peter Landey. Hillsdale, NY: Pendragon Press.

• Fink, Evelyn. 2003. “Analyse nach Heinrich Schenker an Wiener Musiklehranstalten. Ein Beitrag zur Schenker-Rezeption in Wien.” In Rebell und Visionär. Heinrich Schenker in Wien: Katalog zur Ausstellung vom 12. Juni bis 3. Juli 2003 an der Universität für Musik und darstellende Kunst Wien, edited by Evelyn Fink, 18–35. Vienna: Verlag Lafite.

• Fjeldsøe, Michael. 1999. Den fortrængte modernisme: Den ny musik i dansk musikliv 1920–1940. PhD dissertation, University of Copenhagen.

• Ford, Clifford. 2007. “Edward Laufer.” In The Canadian Encyclopedia (accessed February 24, 2020).

• Forster, Walter von. 1966. “Heutige Praktiken im Harmonielehreunterricht an Musikhochschulen und Konservatorien.” In Beiträge zur Musiktheorie des 19. Jahrhunderts, edited by Martin Vogel, 257–279. Regensburg: Gustav Bosse Verlag.

• Forster, Walter von. 1976. “Aus der Stellungnahme Walter von Forsters zum Aufsatz ‘Eine Bezeichnungsweise tonaler Harmonie’ (Zeitschrift für Musiktheorie 75/1).” Zeitschrift für Musiktheorie 7 (1): 106¬–110.

• Forte, Allen. 1959. “Schenker’s Conception of Musical Structure.” Journal of Music Theory 3 (1): 1–30.

• Forte, Allen. 1962. Tonal Harmony in Concept and Practice. New York: Holt, Rinehart & Winston.

• Forte, Allen. 1974 [1962]. Tonal Harmony in Concept and Practice, 2nd ed. New York: Holt, Rinehart & Winston.

• Forte, Allen. 2006. “Schenkerians and Schoenbergians in America.” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination, edited by Martin Eybl and Evelyn Fink-Mennel, 83–88. Vienna: Böhlau Verlag.

• Forte, Allen, and Stephen Gilbert. 1982. Introduction to Schenkerian Analysis. New York: W. W. Norton & Company.

• Franck, Peter. 2018. “Schenker’s Leading Linear Progressions.” Gamut 8 (1): 3–42.

• Ganter, Claus. 1976. “Stellungnahme zum Aufsatz ‘Eine Bezeichnungsweise tonaler Harmonie’.” Zeitschrift für Musiktheorie 7 (1): 73¬¬–101.

• Gauldin, Robert. 2004 [1997]. Harmonic Practice in Tonal Music, 2nd ed. New York: W. W. Norton & Company, Inc.

• Gerigk, Herbert, and Theophil Stengel. 1940. Lexicon der Juden in der Musik. Berlin: Bernhard Hahnefeld Verlag.

• Gjerdingen, Robert. 2007. Music in the Galant Style. New York: Oxford University Press.

• Goldenberg, Yosef. 2007. “Schenkerian Voice-Leading and Neo-Riemannian Operations: Analytical Integration without Theoretical Reconcilia¬tion.” Journal of Schenkerian Studies 2: 65–84.

• Gollin, Edward, and Alexander Rehding, eds. 2011. The Oxford Handbook of Neo-Riemannian Music Theories. New York: Oxford University Press.

• Grabner, Hermann. 1920. Regers Harmonik. Munich: Otto Halbreiter.

• Grabner, Hermann. 1923. Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse. Munich: Otto Halbreiter Musikverlag.

• Grabner, Hermann. 1924. Allgemeine Musiklehre als Vorschule für das Studium der Harmonielehre, der Kontrapunkt, der Formen- und Instrumentations¬lehre. Stuttgart.

• Grabner, Hermann. 1925. Lehrbuch der musikalischen Analyse. Leipzig: C. F. Kahnt.

• Grabner, Hermann. 1930. Der lineare Satz. Ein neues Lehrbuch des Kontrapunktes. Stuttgart: Ernst Klett.

• Grabner, Hermann. 1935. Die wichtigsten Regeln des funktionellen Tonsatzes: Eine Zusammenstellung sämtlicher, für den praktischen Harmonielehre-Unterricht aller Systeme geltenden Stimmführungsvorschriften. Leipzig: Kistner & Siegel.

• Grabner, Hermann. 1944. Handbuch der Harmonielehre: Praktische Anleitung zum funktionellen Tonsatz, 2 vols. Berlin: Max Hesses Verlag.

• Grabner, Hermann. 1950. Musikalische Werkbetrachtung. Stuttgart: Ernst Klett Verlag.

• Grabner, Hermann. 1950 [1930]. Der lineare Satz. Ein Lehrbuch des Kontrapunktes, 2nd ed. Stuttgart: Ernst Klett.

• Grabner, Hermann. 1974 [1944]. Handbuch der funktionellen Harmonielehre, 7th ed. Regensburg: Gustav Bosse Verlag.

• Gritten, Anthony. 2008. Review of Layers of Musical Meaning by Finn Egeland Hansen. Music & Letters 90 (1): 153–156.

• Gruber, Gerold W. 1994. “Analyse.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Sachteil” vol. 1, edited by Ludwig Finscher, 578–591. Kassel: Bärenreiter.

• Grünzweig, Wegner. 1993. “Vom ‘Schenkerismus’ zum ‘Dahlhaus-Projekt’: Einflüsse deutschsprachiger Musiker und Musikwissenschaftler in den Vereinigten Staaten – Anfänge und Ausblick.” Österreichische Musikzeitschrift 48 (3–4): 161–170.

• Guck, Marion. 1978. “The Functional Relations of Chords: A Theory of Musical Intuitions.” In Theory Only 4 (6): 29–42

• Gut, Serge. 1986. “Analyse musicale et musicologie: Le choix des méthodes pour l’analyse d’un lied de Hugo Wolf.” Analyse musicale 2: 52–58.

• Gut, Serge. 1996. “Schenker et la ‘schenkéromanie’: Essai d’appréciation d’une méthode d’analyse musicale.” Revue de Musicologie 82 (2): 344–356.

• Haagmans, Dirk. 1916. Scales, Intervals, Harmony: (Revised Method Harmony Instruction) Eliminating the Old Figured Bass System, vol. 1. New York: J. Fischer & Bro.

• Hamburger, Povl. 1951. Harmonisk analyse. Copenhagen: Aschehoug.

• Hamburger, Povl. 1955. Subdominante und Wechseldominante. Copenhagen: Nyt Nordisk Forlag Arnold Busck.

• Hamburger, Povl, and Hakon Godske-Nielsen. 1939. Harmonilære. Copenhagen: Aschehoug.

• Hansen, Finn Egeland. 2006. Layers of Musical Meaning. Copenhagen: Museum Tusculanum Press.

• Hansen, Niels Christian. 2010–11. “The Legacy of Lerdahl and Jackendoff’s A Generative Theory of Tonal Music: Bridging a Significant Event in the History of Music Theory and Recent Developments in Cognitive Music Research.” Danish Yearbook of Musicology 38: 33–55.

• Hansen, Thomas Holme. 1998. Fra modus til toneart: En undersøgelse af 1600-tallets europæiske toneartsteori. Aarhus: Musikvidenskabeligt Institut, Aarhus Universitet.

• Hansen, Thomas Holme. 2001. Report from 1. Kongress der Deutschen Gesellschaft für Musiktheorie, Dresden 2001. Dansk Årbog for Musikforskning 29: 115–116.

• Hansen, Thomas Holme. 2011. Knud Jeppesen Katalog: Skriftlige arbejder, kompositioner og editioner – diskografi og bibliografi. Copenhagen: The Royal Library. http://www5.kb.dk/export/sites/kb_dk/da/nb/publikationer/fundogforskning-online/pdf/kjkatalog.pdf (accessed February 18, 2020).

• Harrison, Daniel. 1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents. Chicago: The University of Chicago Press.

• Harrison, Daniel. 1995. “Supplement to the Theory of Augmented-Sixth Chords.” Music Theory Spectrum 17 (2): 170–195.

• Harrison, Daniel. 2005. Review of Hugo Riemann and the Birth of Modern Musical Thought by Alexander Rehding. Music Theory Online 11 (2).

• Harrison, Daniel. 2016. Pieces of Tradition: An Analysis of Contemporary Tonal Music. New York: Oxford University Press.

• Hayes, Deborah. 1968. Rameau’s Theory of Harmonic Generation: An Annotated Translation and Commentary of Génération harmonique by Jean-Philippe Rameau. PhD dissertation, Stanford University.

• Headlam, David. 2012. “The Shape of Things to Come? Seeking the Manifold Attractions of Tonality.” Music Theory Spectrum 34 (1): 123–143.

• Heilgendorff, Simone. 2017. “William Rothstein: Phrase Rhythm.” In Lexicon Schriften über Musik. Band 1: Musiktheorie von der Antike bis zur Gegenwart, edited by Ullrich Scheideler and Felix Wörner, 433–435. Kassel: Bärenreiter.

• Hepokoski, James, and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press.

• Holtmeier, Ludwig. 1999. “Ist die Funktionstheorie am Ende?” Tijdschrift voor Muziektheorie 4 (1): 72–77.

• Holtmeier, Ludwig. 2002. “Der Tristanakkord und die Neue Funktionstheorie.” Musiktheorie, 17 (4): 361–365.

• Holtmeier, Ludwig. 2003. “Von der Musiktheorie zum Tonsatz. Zur Geschichte eines geschichtenlosen Faches.” Zeitschrift der Gesellschaft für Musik¬theorie 1 (1): 11–34.

• Holtmeier, Ludwig. 2004a. “From ‘Musiktheorie’ to ‘Tonsatz’: National Socialism and German Music Theory after 1945.” Music Analysis 23 (2–3): 245–266. Edited translation of Holtmeier 2003.

• Holtmeier, Ludwig. 2004b. “Maler, Wilhelm.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personen¬teil” vol. 11, edited by Ludwig Finscher, 907–909. Kassel: Bärenreiter.

• Holtmeier, Ludwig. 2005a. “Schenker, Heinrich.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personen¬teil” vol. 14, edited by Ludwig Finscher, 1288–1300. Kassel: Bärenreiter.

• Holtmeier, Ludwig. 2005b. “Schenk, (Edmund) Paul.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personen¬teil” vol. 14, edited by Ludwig Finscher, 1285–1286. Kassel: Bärenreiter.

• Holtmeier, Ludwig. 2005c. “Stufen und Funktionen: Gedanken zur praktischen Harmonielehre im 19. Jahrhundert.” In Musiktheorie, edited by Helga de la Motte-Haber and Oliver Schwab-Felisch, 224–229. Laaber: Laaber-Verlag.

• Holtmeier, Ludwig. 2005d. “Grundzüge der Riemann-Rezeption.” In Musiktheorie, edited by Helga de la Motte-Haber and Oliver Schwab-Felisch, 230–262. Laaber: Laaber-Verlag.

• Holtmeier, Ludwig. 2011. “The Reception of Hugo Riemann’s Music Theory.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 3–54. New York: Oxford University Press.

• Huber, Annegret. 2004. “Motte, Diether de la.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personenteil” vol. 12, edited by Ludwig Finscher, 546–547. Kassel: Bärenreiter.

• Huber, Annegret. 2005. “Wegweiser und Scheinwerfer. Impulse zur Reform des Musiktheorieunterrichts durch Diether de la Motte.” In Musiktheorie, edited by Helga de la Motte-Haber and Oliver Schwab-Felisch, 477–488. Laaber: Laaber-Verlag.

• Hussong, Hanno. 2005. Untersuchungen zu praktischen Harmonielehren seit 1945. Berlin: dissertation.de.

• Hvidtfelt Nielsen, Svend. 2012. “Alternative Neo-Riemannian Approaches to Carl Nielsen.” Carl Nielsen Studies 5: 196–235.

• Hvidtfelt Nielsen, Svend. 2015. “Hvem er altereret? Historisk motiveret argument for en kopernikansk vending i funktionsteorien.” Danish Musicology Online 7: 5¬–46.

• Hvidtfelt Nielsen, Svend. 2018–19. “Parallel og Stedfortræder.” Danish Musicology Online 9: 23–61.

• Hvidtfelt Nielsen, Svend. forthcoming. “Sverige og Norge.” Excerpt of unpublished manuscript. Aarhus: Aarhus University Press.

• Hyer, Brian. 1989. Tonal Intuitions in Tristan und Isolde. PhD dissertation, Yale University.

• Hyer, Brian. 1995. “Reimag(in)ing Riemann.” Journal of Music Theory 39 (1): 101–138.

• Hyer, Brian. 2001. “Tonality.” In The New Grove Dictionary of Music and Musicians, 2nd ed., vol. 25, edited by Stanley Sadie, 583–594. London: Macmillan.

• Hyer, Brian. 2002a. “Tonality.” In The Cambridge History of Western Music Theories, edited by Thomas Christensen, 726–752. Cambridge: Cambridge University Press.

• Hyer, Brian. 2002b. “A Reply to William Rothstein.” Journal of Music Theory 46 (1–2): 347–363.

• Hyer, Brian. 2011. “What Is a Function?” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 92–139. New York: Oxford University Press.

• Høffding, Finn. 1933. Harmonilære. Copenhagen: Wilhelm Hansen.

• Imig, Renate. 1970. Systeme der Funktionsbezeichnung in den Harmonie¬lehren seit Hugo Riemann. Düsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft.

• Ingelf, Sten. 1980. Praktisk harmonilära och ackordspel: visharmonik. Stockholm: Reuter & Reuter.

• Ingelf, Sten. 2008. Lär av mästarna: Klassisk harmonilära. Hjärup: Sting Musik.

• Ingelf, Sten. 2010. Learn from the Masters: Classical Harmony. Hjärup: Sting Musik.

• Jadassohn, Salomon. 1883. Lehrbuch der Harmonie. Leipzig: Breitkopf und Härtel.

• Jansson, Roine, and Ulla-Britt Åkerberg. 1995. Traditionell harmonilära. Stockholm: KMH Förlaget.

• Janz, Tobias, and Jan Phillipp Sprick. 2010. “Editorial.” Zeitschrift der Gesellschaft für Musiktheorie, special issue: “Musiktheorie | Musik¬wis¬senschaft. Geschichte – Methoden – Perspektiven”: 5–7.

• Jeppesen, Knud. 1951. “Zur Kritik der klassischen Harmonielehre.” In Kongress-Bericht: Internationale Gesellschaft für Musikwissenschaft, Basel 1949, edited by der Schweizerischen musikforschenden Gesell-schaft, Ortsgruppe Basel, 23–34. Basel: Bärenreiter.

• Jeppesen, Knud. 1952. Kritiske bemærkninger til den klassiske harmonilære: Et foredrag. Copenhagen: Ejnar Munksgaard.

• Jersild, Jørgen. 1970. De funktionelle principper i romantikkens harmonik belyst med udgangspunkt i César Francks harmoniske stil. Copen¬hagen: Wilhelm Hansen.

• Jersild, Jørgen. 1971a. “Kommentarer til en anmeldelse.” Dansk Musik Tidsskrift 46 (2): 45–49.

• Jersild, Jørgen. 1971b. “Et svar fra Jørgen Jersild.” Dansk Musik Tidsskrift 46 (5): 148–150.

• Jersild, Jørgen. 1982. “Harmoniske sekvenser i dur- og mol-tidens funktionelle harmonik.” Dansk Årbog for Musikforskning 13: 73–108.

• Jonas, Oswald. 1934. Das Wesen des musikalischen Kunstwerks: Einführung in die Lehre Heinrich Schenkers. Vienna: Saturn-Verlag.

• Jonas, Oswald. 1953. Review of Structural Hearing by Felix Salzer. Notes 10 (3): 439.

• Jonas, Oswald. 1972 [1934]. Einführung in die Lehre Heinrich Schenkers: Das Wesen des musikalischen Kunstwerkes, 2nd ed. Vienna: Universal Edition.

• Jonas, Oswald. 1982 [1972/1934]. Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art. Translated and edited by John Rothgeb. New York: Longman.

• Jost, Christina. 1992. “In Mutual Reflection: Historical, Biographical, and Structural Aspects of Mendelssohn’s Variations Sérieuses.” In Mendelssohn Studies, edited by R. Larry Todd, 33–63. Cambridge: Cambridge University Press.

• Kamien, Roger. 1983. “Aspects of Motivic Elaboration in the Opening Movement of Haydn’s Piano Sonata in C# minor.” In Aspects of Schenkerian Theory, edited by David Beach, 77–93. New Haven: Yale University Press.

• Katz, Adele T. 1935. “Heinrich Schenker’s Method of Analysis.” The Musical Quarterly 31 (3): 311–329. Reprinted in 1985 in Theory and Practice 10: 75–95.

• Katz, Adele T. 1945. Challenge to Musical Tradition: A New Concept of Tonality. New York: Alfred A. Knopf.

• Keiler, Allan R. 1977. “The Syntax of Prolongation (Part I).” In Theory Only 3 (5): 3–27.

• Keiler, Allan R. 1978. “Bernstein’s ‘The Unanswered Question’ and the Problem of Musical Competence.” The Musical Quarterly 64 (2): 195–222.

• Khlybova, Svetlana. 2003. “Versuch über die ‘russische Musiktheorie’.” Musiktheorie 18 (4): 313–320.

• Kieffer, Alexandra. 2016. “Riemann in France: Jean Marnold and the ‘Modern’ Music-Theoretical Ear.” Music Theory Spectrum 38 (1): 1–15.

• Kinderman, William, and Harald Krebs, eds. 1996. The Second Practice of Nineteenth-Century Tonality. Lincoln: University of Nebraska Press.

• Kirkegaard-Larsen, Thomas Jul. 2016. Report from The Second Congress of the Russian Society for Theory of Music, Moscow, September 26 to 29, 2015. Danish Yearbook of Musicology 40: 112–114.

• Kirkegaard-Larsen, Thomas Jul. 2017a. Riemannian Ramifications? The Reception and Development of Hugo Riemann’s Harmonic Theories in Scandinavian and Neo-Riemannian Traditions. Unpublished MA thesis, Aarhus University.

• Kirkegaard-Larsen, Thomas Jul. 2017b. “Analyzing Analyses: Towards a Reconciliation of Schenkerism and Riemannism.” In Pre-Proceedings for EuroMAC 2017, edited by Xavier Hascher et al. (full version forthcoming in proceedings).

http://euromac2017.unistra.fr/wp-content/uploads/2017/05/Ext.-Kirkegaard-Larsen-Thomas.pdf (accessed March 29, 2019).

• Kirkegaard-Larsen, Thomas Jul. 2018. “Transformational Attitudes in Scandinavian Function Theories.” Theory and Practice 43: 77–110.

• Kirkegaard-Larsen, Thomas Jul. 2019a. “The Influence of Riemann (and Richter) on Music Theory in Scandinavia.” History of Music Theory, blog of AMS/SMT interest/study group. https://historyofmusictheory.wordpress.com/2019/03/04/the-influence-of-riemann-and-richter-on-music-theory-in-scandinavia/

(accessed March 28, 2019).

• Kirkegaard-Larsen, Thomas Jul. 2019b. “A History of Swedish Function Theory.” Svensk Tidskrift för Musikforskning / Swedish Journal of Music Research 100: 137-163.

• Kirkegaard-Larsen, Thomas Jul. 2019c. “Schenker (not) in Scandinavia.” Paper presented at the Southampton Music Analysis Conference (SotonMAC), July 31, 2019.

• Kirkegaard-Larsen, Thomas Jul. 2019d. Report from Southampton Music Analysis Conference (SotonMAC), Southampton, 29–31 July 2019. Danish Yearbook of Musicology 43 (5): 3–5.

• Kirkegaard-Larsen, Thomas Jul. forthcoming. “Riemann in Scandinavia: Receptions and Rejections.” In Hugo Riemann: Netzwerke und internationale Ausstrahlung, edited by Stefan Keym and Christoph Hust. Hildesheim: Georg Olms.

• Kirkegaard-Larsen, Thomas Jul, and Thomas Holme. 2017. Report from The Ninth European Music Analysis Conference, Strasbourg, 28 June to 1 July, 2017. Danish Yearbook of Musicology 41 (4): 3–9.

• Kirnberger, Johann Philipp. 1773. Die wahren Grundsätze zum Gebrauch der Harmonie. Berlin and Königsberg: G. J. Decker and G. L. Hartung.

• Klumpenhouwer, Henry. 1994. “Some Remarks on the Use of Riemann Transformations.” Music Theory Online 0 (9).

• Klumpenhouwer, Henry. 2002. “Dualist Tonal Space and Transformation in Nineteenth-Century Musical Thought.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 456–476. Cambridge: Cambridge University Press.

• Klumpenhouwer, Henry. 2011. “Harmonic Dualism as Historical and Structural Imperative.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gauldin and Alexander Rehding, 194–217. New York: Oxford University Press.

• Knorr-Cetina, Karin. 1999. Epistemic Cultures: How the Sciences make Knowledge. Cambridge, MA: Harvard University Press.

• Kofroň, Jaroslav. 2015 [1961]. Učebnice harmonie, 10th edition. Prague: Bärenreiter.

• Komar, Arthur. 1971. Review of The Music Forum, vol. 1, edited by William J. Mitchell and Felix Salzer. Perspectives of New Music 10 (1): 314–322.

• Kopp, David. 1995. “On the Function of Function.” Music Theory Online 1 (3).

• Kopp, David. 2002. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press.

• Kopp, David. 2011. “Chromaticism and the Question of Tonality.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 400–416. New York: Oxford University Press.

• Koslovsky, John. 2009. From Sinn und Wesen to Structural Hearing: The Development of Felix Salzer's Ideas in Interwar Vienna and Their Transmission in Postwar United States. PhD dissertation, Eastman School of Music, University of Rochester.

• Koslovsky, John. 2014. “The Early Schenkerians and the ‘Concept of Tonality’.” Gamut 7 (1): 151–185.

• Koslovsky, John. forthcoming. “Schenkerizing Tristan, Past and Present.” Unpublished article manuscript under review.

• Kostka, Stefan, and Dorothy Payne. 2012. Tonal Harmony with an Introduction to Twentieth-Century Music, 4th ed. New York: McGraw-Hill.

• Kraus, Joseph. 2015. Report from The Second Congress of the Russian Society for the Theory of Music, Moscow, September 26 to 29, 2015. Music Theory Online 21 (4).

• Kraus, Joseph. 2017. Review of The Art of Tonal Analysis by Carl Schachter. Theory and Practice 42: 199–213.

• Krebs, Harald. 1980. Third Relation and Dominant in Late 18th- and Early 19th-Century Music. PhD dissertation, Yale University.

• Kruger, Theodore Howard. 1960. “Der freie Satz” by Heinrich Schenker: A Complete Translation and Re-Editing. Vol. I: The Complete Text. Vol. II: Supplement of the Musical Examples. PhD dissertation, University of Iowa.

• Kuhn, Thomas. 2012 [1962]. The Structure of Scientific Revolutions, 4th ed. Chicago: The University of Chicago Press.

• Kurth, Ernst. 1913. Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme. Bern: Akademische Buchhandlung von Max Drechsel.

• Laitz, Steven G. 2003. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press.

• Lamm, Robert Carson. 1954. The Evolution of the Secondary Dominant Concept. PhD dissertation, Indiana University.

• Lang, Paul Henry. 1946. “Editorial.” The Musical Quarterly 32 (2): 296–302.

• Lange, Gustav Fredrik. 1897. Praktisk harmonilære. Kristiania: Warmuths Musikforlag.

• Larsen, Teresa Waskowska, and Jan Maegaard. 1981. Indføring i romantisk harmonik. Copenhagen: Engstrøm & Sødring.

• Lave, Jean, and Etienne Wenger. 1991. Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge University Press.

• Lerdahl, Fred. 1988. “Tonal Pitch Space.” Music Perception 5 (3): 315–349.

• Lerdahl, Fred, and Ray Jackendoff. 1977. “Toward a Formal Theory of Tonal Music.” Journal of Music Theory 21 (1): 111–171.

• Lerdahl, Fred, and Ray Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge, MA: The MIT Press.

• Lerner, Neil, and Joseph Straus, eds. 2006. Sounding Off: Theorizing Dis¬ability in Music. New York: Routledge.

• Lester, Joel. 2002. “Rameau and Eighteenth-Century Harmonic Theory.” In The Cambridge History Western Music Theory, edited by Thomas Christensen, 753–777. Cambridge: Cambridge University Press.

• Levenson, Irene Montefiore. 1984. “Smooth Moves: Schubert and Theories of Modulation in the Nineteenth Century.” In Theory Only 7 (5–6): 35–53.

• Levy, Morten. 1975. “The Naive Structuralism of Heinrich Schenker.” Musik & Forskning 1: 20–32.

• Lewin, David. 1969. “Behind the Beyond: A Response to Edward T. Cone.” Perspectives of New Music 7 (2): 59–69.

• Lewin, David. 1982. “A Formal Theory of Generalized Tonal Functions.” Journal of Music Theory 26: 23–60.

• Lewin, David. 1986. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3 (4): 327–392.

• Lewin, David. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press.

• Liljefors, Ingemar. 1951. Harmonisk analys enligt funktionsteorien. Stockholm: C. A. V. Lundholms Aktiebolag.

• Lloyd, Norman. 1953. Review of Structural Hearing by Felix Salzer. Notes 10 (3): 438.

• Louis, Rudolf. 1907. “Zu Hugo Riemanns Besprechung der Louis-Thuilleschen Harmonielehre.” Süddeutsche Monatshefte 4 (1): 614–620.

• Louis, Rudolf. 1914 [1908]. Grundriss der Harmonielehre, 3rd ed. Stuttgart: Verlag von Carl Grüninger Nachf. Ernst Klett.

• Louis, Rudolf. 1912. Schlüssel zur Harmonielehre von Louis und Thuille: Lösungen der in dem Louis-Thuilleschen Harmonielehrbuche und in dem dazu gehörigen Louisschen Aufgabenbuche enthaltenen Übungsaufgaben. Stuttgart: Verlag von Carl Grüninger (Klett & Hartmann).

• Louis, Rudolf. 1927 [1911]. Aufgaben für den Unterricht in der Harmonielehre: Im Anschluss an die Harmonielehre von Rudolf Louis and Ludwig Thuille, 5th ed. Stuttgart: Verlag von Carl Grüninger Nachf. Ernst Klett.

• Louis, Rudolf, and Ludwig Thuille. 1910 [1907]. Harmonielehre, 3rd ed. Stuttgart: Verlag von Carl Grüninger (Klett & Hartmann).

• Louis, Rudolf, and Ludwig Thuille. 1927 [1907]. Harmonielehre, 9th ed. Stuttgart: C. Grüninger.

• Lyshow, Grigorij Iwanowitsch, and Sergei Nikolajewitsch Lebedew. 2017. “Juri Nikolajewitsch Cholopow: Harmonielehre.” In Lexicon Schriften über Musik. Band 1: Musiktheorie von der Antike bis zur Gegenwart, edited by Ullrich Scheideler and Felix Wörner, 87–90. Kassel: Bärenreiter.

• Maegaard, Jan. 1971a. “Romantikkens harmonik?” Dansk Musik Tidsskrift 46 (1): 11–18.

• Maegaard, Jan. 1971b. “Et svar fra Jan Maegaard.” Dansk Musik Tidsskrift 46 (2): 49–50.

• Maegaard, Jan. 1971c. “Harmoni-debat – et pausesignal.” Dansk Musik Tidsskrift 46 (6): 182–183.

• Maegaard, Jan. 1989–90. “Harmonisk analyse af det 19. århundredes musik: En teoretisk overvejelse.” Musik & Forskning 15: 79–110.

• Maegaard, Jan. 1990. “Zur harmonischen Analyse der Musik des 19. Jahrhunderts.” In Musikkulturgeschichte: Festschrift für Constantin Floros zum 60. Geburtstag, edited by Peter Petersen, 61–86. Wiesbaden: Breitkopf und Härtel.

• Mahnkopf, Claus-Steffen. 1995. “Zur harmonischen Analyse.” Musica 49 (4): 239–244.

• Mak, Su Yin. 2015. “Felix Salzer’s ‘Sonata Form in Franz Schubert’ (1928): An English Translation and Edition with Critical Commentary.” Theory and Practice 40: 1¬–121.

• Maler, Wilhelm. 1931. Beitrag zur Harmonielehre. Leipzig: F. E. C. Leuckart.

• Maler, Wilhelm. 1975 [1931]. Beitrag zur durmolltonalen Harmonielehre, 8th ed., 2 vols. Leipzig: F. E. C. Leuckart.

• Marston, Nicholas. 2019. “The Analyst’s Voice.” Nineteenth-Century Music Review 16: 333–346.

• Martin, Nathan John. 2019. “History for Theorists.” Music Theory Online 25 (3).

• Méeus, Nicolas. 1989. Glossaire et bibliographie de l’analyse schenkerienne. Paris: Société française d’Analyse musicale.

• Méeus, Nicolas. 1993. Heinrich Schenker: Une introduction. Liège: P. Mardaga.

• Méeus, Nicolas. 2018. “Übergreifen.” Gamut 8 (1): 97–122.

• Menke, Johannes. 2005. “Harmonielehren ‘nach’ Hugo Riemann.” In Musiktheorie, edited by Helga de la Motte-Haber and Oliver Schwab-Felisch, 263–280. Laaber: Laaber-Verlag.

• Mickelsen, William. 1977. Hugo Riemann’s Theory of Harmony with a translation of Riemann’s History of Music Theory, Book III. Lincoln: University of Nebraska Press.

• Mirka, Danuta. 2009. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791. New York: Oxford University Press.

• Mitchell, William J. 1939. Elementary Harmony. New York: Prentice-Hall.

• Mitchell, William J. 1946. “Heinrich Schenker’s Approach to Detail.” Musicology 1: 117–128. Reprinted in Theory and Practice 10 (1–2): 51–62.

• Mooney, Kevin. 2000. “Hugo Riemann’s Debut as a Music Theorist.” Journal of Music Theory 44 (1): 81–99.

• Motte, Diether de la. 1968. Musikalische Analyse, mit kritischen Anmer¬kungen von Carl Dahlhaus. Kassel: Bärenreiter.

• Motte, Diether de la. 1976. Harmonielehre. Kassel: Bärenreiter.

• Motte, Diether de la. 1981 [1976]. Epokernas harmonik – en harmonilära. Translated by Martin Tegen. Stockholm: Edition Reimers.

• Motte, Diether de la. 1991 [1976]. The Study of Harmony: An Historical Perspective. Translated by Jeffrey L. Prater. Dubuque, IA: Wm. C. Brown Publishers.

• Motte, Diether de la. 1995. Review of Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents by Daniel Harrison. Die Musikforschung 48 (3): 334–335.

• Motte, Diether de la, Renate Birnstein, and Clemens Kühn. 1972. “Plädoyer für eine Reform der Harmonielehre. Für Wilhelm Malers zum siebzigsten Geburtstag.” Musica 25 (3): 233–238.

• Motte-Haber, Helga de la. 2005. “Musikalische Logik. Über das System von Hugo Riemann.” In Musiktheorie, edited by Helga de la Motte-Haber and Oliver Schwab-Felisch, 203–223. Laaber: Laaber-Verlag.

• Motte-Haber, Helga de la, and Oliver Schwab-Felisch, eds. 2005. Musiktheorie. Laaber: Laaber-Verlag.

• Mugglestone, Erica and Guido Adler. 1981. “Guido Adler’s ‘The Scope, Method, and Aim of Musicology’ (1885): An English Translation with an Historico-Analytical Commentary.” Yearbook for Traditional Music 13: 1–21.

• Neumeyer, David. 1983. Review of Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Journal of Music Theory 27 (1): 99¬–110.

• Neumeyer, David. 1987. “The Urlinie from 8 as a Middleground Phenomenon.” In Theory Only 9: 3–25.

• Neumeyer, David. 1988. “The Ascending Urlinie.” Journal of Music Theory 31: 271–303.

• Neumeyer, David, and Julian Hook. 1997. Review of Analysis of Tonal Music: A Schenkerian Approach by Allen Cadwallader and David Gagné. Intégral 12: 205–222.

• Neumeyer, David, and Susan Tepping. 1992. A Guide to Schenkerian Analysis. Cliffs, NJ: Prentice-Hall.

• Nowak, Adolf. 2001. “Wandlungen des Begriffs ‘musikalische Logik’ bei Hugo Riemann.” In Hugo Riemann (1849–1919): Musikwissen¬schaftler mit Universalanspruch, edited by Tatjana Böhme-Mehner and Klaus Mehner, 35–48. Cologne: Böhlau Verlag.

• Nowak, Adolf. 2015. Musikalische Logik: Prinzipien und Modelle musikalischen Denkens in ihren geschichtlichen Kontexten. Hildesheim: Georg Olms Verlag.

• Oster, Ernst. 1947. “The Fantasie-Impromptu: A Tribute to Beethoven.” Musicology 1 (4): 407–429.

• Oster, Ernst. 1949. “The Dramatic Character of the Egmont Overture.” Musicology 2 (3): 269–285.

• Oster, Ernst. 1960. “Re: A New Concept of Tonality (?)” Journal of Music Theory 4 (1): 85–98.

• Pankhurst, Tom. 2008. SchenkerGUIDE: A Brief Handbook and Website for Schenkerian Analysis. New York: Routledge.

• Parks, Richard S. 1994. “Pitch Structure in Carl Nielsen’s Wind Quintet.” In The Nielsen Companion, edited by Mina Miller, 541–596. London: Faber and Faber.

• Pastille, William. 1990a. “The Development of the Ursatz in Schenker’s Published Works.” In Trends in Schenkerian Research, edited by Allen Cadwallader, 71–85. New York: Schirmer Books.

• Pastille, William. 1990b. “Goethe’s Influence on Schenker’s Thought.” In Schenker Studies, edited by Hedi Siegel, 29–44. Cambridge: Cambridge University Press.

• Pau, Andrew. 2018. “The Harmonic Theories of Jean-Adam Serre.” Intégral 32: 1–13.

• Pearce, Trevor. 2008. “Tonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology.” Intégral 22: 81–116.

• Pell, Nathan. 2018. “Key Profiles in Bruckner’s Symphonic Expositions: “Ein Potpourri von Exaltationen”?” Music Theory Online 24 (1).

• Pelster, Philipp. 2015. Hermann Grabner: Pägagoge, Musiktheoretiker und Komponist. Cologne: Verlag Dohr.

• Plum, Karl-Otto. 1979. Untersuchungen zu Heinrich Schenkers Stimm¬führungs¬analyse. Regensburg: Gustav Bosse Verlag.

• Plum, Karl-Otto. 1984. “Zu Carl Dahlhaus’ Beitrag ‘Im Namen Schenkers’.” Die Musikforschung 37 (1): 24–26.

• Polth, Michael. 2000. Sinfonieexpositionen des 18. Jahrhunderts. Form und Ästhetik. Kassel: Bärenreiter.

• Polth, Michael. 2001. “Ist die Funktionstheorie eine Theorie der Funktionalität?” Musiktheorie 16 (4): 319–324.

• Porter, Steve. 2002. Schenker Made Simple. Studio City, CA: Phantom Publ. in assoc. with Players Press.

• Probst, Stephanie. 2012. “Musiktheorie als Kompositionslehre und Komposition(slehre) als Musiklehre—Hugo Riemann zwischen Theorie und Praxis: Eine Studie zu tonalen Funktionen und dem dialektischen Kadenzmodell.” Zeitschrift der Gesellschaft für Musiktheorie 9 (2): 259–278.

• Puffett, Derrick. 1984. Article guide to “Im Namen Schenkers” by Carl Dahlhaus; “Im Namen Schenkers: Eine Erwiderung” by Hellmut Federhofer; and “Zu Carl Dahlhaus’ Beitrag ‘Im Namen Schenkers’” by Karl-Otto Plum. Music Analysis 3 (3): 289–292.

• Ramirez, Miguel. 2013. “Chromatic-Third Relations in the Music of Bruckner: A Neo-Riemannian Perspective.” Music Analysis 32 (2): 155–209.

• Rasmussen, Jens. 2011. Harmonik og tonalitet i Brahms’ sene klaverværker og “Vier ernste Gesänge” med henblik på den funktionsanalytiske metodes anvendelighed i forhold til såkaldt romantisk harmonik. Unpublished thesis, Aarhus University.

• Rasmussen, Jens. 2017. “‘Fra asken til ilden’: En sen replik til Svend Hvidtfelt Nielsen.” Unpublished article draft from 2017.

• Rasmussen, Jens. 2018. Review of Klaverworkshop & Modelkomposition by Jens Westergaard Madsen. Danish Yearbook of Musicology 42 (2): 27–33.

• Rathert, Wolfgang. 2005. “Riemann, (Karl Wilhelm Julius) Hugo.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 2nd ed., “Personenteil” vol. 14, edited by Ludwig Finscher, 63–78. Kassel: Bärenreiter.

• Ratner, Leonard. 1962. Harmony: Structure and Style. New York: McGraw-Hill.

• Ratner, Leonard. 1980. Classic Music: Expression, Form, and Style. New York: Schirmer Books.

• Raz, Carmel. 2018a. “Anne Young’s Musical Games (1801): Music Theory, Gender, and Game Design.” SMT-V 4 (2).

• Raz, Carmel. 2018a. 2018b. “Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory.” SMT-V 4 (3).

• Reckwitz, Andreas. 2002. “Toward a Theory of Social Practices: A Development in Culturalist Theorizing.” European Journal of Social Theory 5 (2): 243–263.

• Redmann, Bernd. 1996. “Zum (Schein-)Antipodentum von Hugo Riemann und Heinrich Schenker.” In Zur Geschichte der musikalischen Analyse. Bericht über die Tagung München 1993, edited by Gernot Gruber, 131–144. Munich: Laaber-Verlag.

• Redmann, Bernd. 2009. “Funktionstheorie.” In Systeme der Musiktheorie, edited by Clemens Kühn and John Leigh, 56¬–69. Dresden: Sandstein Verlag.

• Rehding, Alexander. 2003. Hugo Riemann and the Birth of Modern Musical Thought. Cambridge: Cambridge University Press.

• Rehding, Alexander. 2011. “Tonality between Rule and Repertory; Or, Riemann’s Functions—Beethoven’s Function.” Music Theory Spectrum 33 (2): 109–123.

• Richter, Ernst. 1853. Lehrbuch der Harmonie. Leipzig: Breitkopf und Härtel.

• Riemann, Hugo [Hugibert Ries, pseud.]. 1872. “Musikalische Logik: Ein Beitrag zur Theorie der Musik” Neue Zeitschrift für Musik 68: 28–29, 36–38, 279–282, 287–288, 353–355, 363–364, 373–374. Reprinted in Präludien und Studien. Gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der musik, vol. 3, 1–22. Leipzig: Hermann Seemann Nachfolger, 1901.

• Riemann, Hugo. 1877. Musikalische Syntaxis. Leipzig: Breitkopf und Härtel.

• Riemann, Hugo. 1880. Skizze einer neuen Methode der Harmonielehre. Leipzig: Breitkopf und Härtel.

• Riemann, Hugo. 1882. “Die Natur der Harmonik.” Sammlung musikalischer Vorträge 4: 157–190.

• Riemann, Hugo. 1891. “Neugestaltung der Harmonielehre.” Musikalisches Wochenblatt 22 (40–42): 513–514, 529–531, 541–543.

• Riemann, Hugo. 1893. Vereinfachte Harmonielehre; oder, Die Lehre von den tonalen Funktionen der Akkorde. London: Augener.

• Riemann, Hugo. 1895. Harmony Simplified; or, the Theory of the Tonal Functions of Chords. Translated by Henry Bewerunge. London: Augener.

• Riemann, Hugo. 1898a. Geschichte der Musiktheorie im IX.–XIX. Jahrhundert. Leipzig: Max Hesses Verlag.

• Riemann, Hugo. 1898b [1887/1880]. Handbuch der Harmonielehre, 3rd ed. Leipzig: Breitkopf und Härtel.

• Riemann, Hugo. 1902. Große Kompositionslehre, vol. 1: “Der homophone Satz (Melodielehre und Harmonielehre).” Berlin: W. Spemann.

• Riemann, Hugo. 1905 [1889]. Grundriß der Kompositionslehre, 3rd ed. Leipzig: Max Hesses Verlag.

• Riemann, Hugo. 1907. “Eine neue Harmonielehre: Harmonielehre von Rudolf Louis u. Ludwig Thuille.” Süddeutsche Monatshefte 4 (1): 500–504.

• Riemann, Hugo. 1909 [1882]. Musik-Lexicon, 7th ed. Leipzig: Max Hesse Verlag.

• Riemann, Hugo. 1914–15. “Ideen zu einer ‘Lehre von den Tonvorstellungen’.” Jahrbuch der Musikbibliothek Peters 21–22: 1–26.

• Riemann, Hugo. 1917a [1887/1880]. Handbuch der Harmonielehre, 6th ed. Leipzig: Breitkopf und Härtel.

• Riemann, Hugo. 1917b [1903]. Anleitung zum Generalbaß-Spielen (Harmonie-Übungen am Klavier). Berlin: Max Hesses Verlag.

• Riemann, Hugo. 1919a [1917]. L. van Beethovens sämtliche Klavier-Solosonaten: Ästhetische und formal-technische Analyse mit historischen Notizen, 3rd ed. 3 vols. Berlin: Max Hesses Verlag.

• Riemann, Hugo. 1919b [1882]. Musiklexicon, 9th ed., edited by Alfred Einstein. Berlin: Max Hesses Verlag.

• Riemann, Hugo. 1920 [1906/1890]. Handbuch der Harmonie- und Modulationslehre, 8th ed. Berlin: Max Hesses Verlag.

• Riemann, Hugo. 1929 [1882]. Musiklexicon, 11th ed., edited by Alfred Einstein. Berlin: Max Hesses Verlag.

• Riemann, Hugo. 1992 [1914–15]. “Ideas for a Study ‘On the Imagination of Tone’.” Translated by Robert Wason and Elizabeth West Marvin. Journal of Music Theory 36 (1): 81–117.

• Riemann, Hugo. [Hugibert Ries, pseud.]. 2000 [1872]. “Musical Logic: A Contribution to the Theory of Music.” Translated by Kevin Mooney. Journal of Music Theory 44 (1): 100–126.

• Rings, Steven. 2011a. “Riemannian Analytical Values, Paleo- and Neo-.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 487–511. New York: Oxford University Press.

• Rings, Steven. 2011b. Tonality and Transformation. New York: Oxford University Press.

• Rosen, Charles. 1988. Sonata Forms, revised edition. New York: W. W. Norton & Company, Inc.

• Rothgeb, John. 1981. “Schenkerian Theory: Its Implications for the Undergraduate Curriculum.” Music Theory Spectrum 3: 142–149.

• Rothgeb, John. 1982. Review of Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Music Theory Spectrum 4: 131–137.

• Rothgeb, John. 1983. “Thematic Content: A Schenkerian View.” In Aspects of Schenkerian Theory, edited by David Beach, 39–60. New Haven: Yale University Press.

• Rothgeb, John. 1996. “Re: Eytan Agmon on Functional Theory.” Music Theory Online 2 (1).

• Rothgeb, John. 2006. “Oswald Jonas (1897–1978).” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination, edited by Martin Eybl and Evelyn Fink-Mennel, 113–120. Vienna: Böhlau Verlag.

• Rothstein, William. 1981. Rhythm and the Theory of Structural Levels. PhD dissertation, Yale University.

• Rothstein, William. 1986. “The Americanization of Heinrich Schenker.” In Theory Only 9 (1): 5–17.

• Rothstein, William. 1988. Review of Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection by Hellmut Federhofer. Music Analysis 7 (2): 233–238.

• Rothstein, William. 1989. Phrase Rhythm in Tonal Music. New York: Schirmer Books.

• Rothstein, William. 1990a. “The Americanization of Schenker Pedagogy?” Journal of Music Theory Pedagogy 4 (2): 295–300.

• Rothstein, William. 1990b. “Rhythmic Displacement and Rhythmic Normalization.” In Trends in Schenkerian Research, edited by Allen Cadwallader. New York: Schirmer Books.

• Rothstein, William. 1990c. “The Americanization of Heinrich Schenker.” In Schenker Studies, edited by Hedi Siegel, 193–203. Cambridge: Cambridge University Press. [Slightly revised version of Rothstein 1986]

• Rothstein, William. 1991. “On Implied Tones.” Music Analysis 10 (3): 289–328.

• Rothstein, William. 1992. “The True Principles for the Practice of Harmony: Or, Schulz, Schenker, and the Stufe.” Unpublished paper presented at the Second International Schenker Symposium, The Mannes College of Music, New York City, March 1992.

• Rothstein, William. 2001. “Articles on Schenker and Schenkerian Theory in The New Grove Dictionary of Music and Musicians, 2nd Edition by Stanley Sadie, John Tyrrell.” Journal of Music Theory 45 (1): 204–227.

• Rothstein, William. 2002. “Conservatory Schenker vs. University Schenker.” Tijdschrift voor Muziektheorie 7 (3): 239–241.

• Rothstein, William. 2003. “A Reply to Brian Hyer.” Journal of Music Theory 47 (1): 215–222.

• Rothstein, William. 2006. “Ernst Oster (1908–1977).” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination, edited by Martin Eybl and Evelyn Fink-Mennel, 121–135. Vienna: Böhlau Verlag.

• Rothstein, William. 2019. “VORSICHT: STUFE (Mind the step!).” Unpublished manuscript of keynote held at the 6th Mannes Graduate Student Conference, January 13, 2019.

• Rummenhöller, Peter. 1975. “Eine Bezeichnungsweise tonaler Harmonie.” Zeitschrift für Musiktheorie 6 (1): 28–47.

• Rummenhöller, Peter. 1977. “Abschliessende Bemerkungen zu meinem Vorschlag ‘Eine Bezeichnungsweise tonaler Harmonie’.” Zeitschrift für Musiktheorie 8 (1): 42–47.

• Rummenhöller, Peter. 1986. Review of Akkord und Stimmführung in den musik¬theoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Die Musikforschung 39 (4): 383–385.

• Rummenhöller, Peter. 1989. Romantik in der Musik. Kassel: Bärenreiter.

• Salzer, Felix. 1928. “Die Sonatenform bei Franz Schubert.” Studien zur Musikwissenschaft 15: 86–125.

• Salzer, Felix. 1935. Sinn und Wesen der abendländischen Mehrstimmigkeit. Vienna: Saturn-Verlag.

• Salzer, Felix. 1952. Structural Hearing: Tonal Coherence in Music. New York: Charles Boni.

• Salzer, Felix. 1960. Strukturelles Hören: Der tonale Zusammenhang in der Musik. Translated by Felix Salzer and Hans Wolf. Wilhelmshaven: O. H. Noetzel.

• Salzer, Felix. 1967. “A Glossary of the Elements of Graphic Analysis.” Music Forum 1: 260–268.

• Salzer, Felix, and Carl Schachter. 1969. Counterpoint in Composition. New York: McGraw-Hill.

• Savage, Roger W. H. 2018. Music, Time, and Its Other: Aesthetic Reflections on Finitude, Temporality, and Alterity. London: Routledge.

• Schachter, Carl. 1976. “Rhythm and Linear Analysis: A Preliminary Study.” The Music Forum 4: 281–334.

• Schachter, Carl. 1981. “A Commentary on Schenker’s Free Composition.” Journal of Music Theory 25 (1): 115–142.

• Schachter, Carl. 1983. “Motive and Text in Four Schubert Songs.” In Aspects of Schenkerian Theory, edited by David Beach, 61–76. New Haven: Yale University Press.

• Schachter, Carl. 1987. “Analysis by Key: Another Look at Modulation.” Music Analysis 6 (3): 289–318.

• Schachter, Carl. 1988. “Chopin’s Fantasy, Op. 49: The Two-Key Scheme.” In Chopin Studies, edited by Jim Samson, 221–253. Cambridge: Cambridge University Press.

• Schachter, Carl. 1990. “Either/or.” In Schenker Studies, edited by Hedi Siegel, 165–179. Cambridge: Cambridge University Press.

• Schachter, Carl. 2006a. “Felix Salzer (1904–1986).” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination, edited by Martin Eybl and Evelyn Fink-Mennel, 105–111. Vienna: Böhlau Verlag.

• Schachter, Carl. 2006b. “Che Inganno! The Analysis of Deceptive Cadences.” In Essays from the Third International Schenker Symposium, edited by Allen Cadwallader, 279–298. Hildesheim: Georg Olms Verlag.

• Schachter, Carl. 2016. The Art of Tonal Analysis, edited by Joseph N. Straus. New York: Oxford University Press.

• Schenker, Heinrich. 1906. Harmonielehre (= Neue musikalische Theorien und Phantasien, vol. 1). Stuttgart: J. G. Cotta’sche Buchhandlung Nachfolger.

• Schenker, Heinrich. 1908 [1903]. Ein Beitrag zur Ornamentik als Einführung zu Ph. Em. Bachs Klavierwerken mitumfassend auch die Ornamentik Haydns, Mozarts, Beethovens etc., 2nd ed. Vienna: Universal Edition.

• Schenker, Heinrich. 1910. Kontrapunkt, vol. 1: “Cantus Firmus und zweistimmiger Satz” (= Neue musikalische Theorien und Phantasien, vol. 2, book 1). Stuttgart: J. G. Cotta’sche Buchhandlung Nachfolger.

• Schenker, Heinrich. 1922. Kontrapunkt, vol. 2: “Drei- und mehrstimmiger Satz. Übergänge zum freien Satz” (= Neue musikalische Theorien und Phantasien, vol. 2, book 2). Vienna: Universal-Edition.

• Schenker, Heinrich. 1954 [1906]. Harmony (= New Musical Theories and Fantasies, vol. 1). Edited by Oswald Jonas, translated by Elisabeth Mann Borgese. Chicago: The University of Chicago Press.

• Schenker, Heinrich. 1956 [1935]. Der freie Satz (= Neue musikalische Theorien und Phantasien, vol. 3), 2nd ed., 2 vols. Edited and revised by Oswald Jonas. Vienna: Universal Edition.

• Schenker, Heinrich. 1969 [1932]. Five Graphic Music Analyses. New York: Dover Publications, Inc.

• Schenker, Heinrich. 1971 [1913]. Beethoven: Die letzten Sonaten. Sonate E Dur op. 109: Kritische Einführung und Erläuterung von Heinrich Schenker (= Die letzten fünf Sonaten von Beethoven / Erläuterungsausgabe, vol. 1), new edition, edited by Oswald Jonas. Vienna: Universal Ediion.

• Schenker, Heinrich. 1972 [1914]. Beethoven: Die letzten Sonaten. Sonate As Dur op. 110: Kritische Einführung und Erläuterung von Heinrich Schenker

(= Die letzten fünf Sonaten von Beethoven / Erläuterungsausgabe, vol. 2), new edition, edited by Oswald Jonas. Vienna: Universal Edition.

• Schenker, Heinrich. 1979 [1956/1935]. Free Composition (= New Musical Theories and Fantasies, vol. 3), 2 vols. Translated and edited by Ernst Oster. Hillsdale, NY: Pendragon Press.

• Schenker, Heinrich. 1987 [1922/1910]: Counterpoint (= New Musical Theories and Fantasies, vol. 2), 2 vols. Translated by John Rothgeb and Jürgen Thym, edited by John Rothgeb. New York: Schirmer Books.

• Schenker, Heinrich. 1993 [1935]. L’écriture libre. Translated by Nicolas Méeus. Liège: P. Mardaga.

• Schenker, Heinrich. 1994a [1925]. The Masterwork in Music, vol. 1, edited by William Drabkin. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1994b [1925]. “The Art of Improvisation,” translated by Richard Kramer. In The Masterwork in Music, vol. 1, edited by William Drabkin. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1996a [1926]. The Masterwork in Music, vol. 2, edited by William Drabkin. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1996b [1926]. “The Organic Nature of Fugue,” translated by Hedi Siegel. In The Masterwork in Music, vol. 2, edited by William Drabkin, 31–54. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1996c [1926]. “A Counter-Example: Max Reger’s Variations and Fugue on a Theme by Bach, Op. 81, for Piano,” translated by John Rothgeb. In The Masterwork in Music, vol. 2, edited by William Drabkin, 106–117. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1997a [1930]. The Masterwork in Music, vol. 3, edited by William Drabkin. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 1997b [1930]. “Rameau or Beethoven? Creeping Paralysis or Spiritual Potency in Music?” translated by Ian Bent. In The Masterwork in Music, vol. 3, edited by William Drabkin, 1–9. Cambridge: Cambridge University Press.

• Schenker, Heinrich. 2004a [1921–23]. Der Tonwille, vol. 1, edited by William Drabkin. New York: Oxford University Press.

• Schenker, Heinrich. 2004b [1922]. “Beethoven’s Sonata in F minor, Op. 2, No. 1,” translated by Joseph Dubiel. In Der Tonwille, vol. 1, edited by William Drabkin, 72–95. New York: Oxford University Press.

• Schenker, Heinrich. 2005 [1923–24]. Der Tonwille, vol. 2, edited by William Drabkin. New York: Oxford University Press.

• Schenker, Heinrich. 2005 [1925]. “Mendelssohn’s Venetian Gondola Song, Op. 30, No. 6,” translated by Joseph Lubben. In Der Tonwille, vol. 2, edited by William Drabkin, 146–153. New York: Oxford University Press.

• Schenker Documents Online, CA 5–6. Handwritten letter from Schenker to Cotta, dated November 22, 1905. Transcribed and translated by Ian Bent (2005/2017). http://www.schenkerdocumentsonline.org/documents/correspondence/CA-5-6.html (accessed February 25, 2019).

• Schenker Documents Online, CA 68. Handwritten letter from Schenker to Cotta, dated September 13, 1907. Transcribed and translated by Ian Bent (2005/2017). http://www.schenkerdocumentsonline.org/documents/correspondence/CA-68.html (accessed January 21, 2020).

• Schenker Documents Online, CA 71. Handwritten letter from Schenker to Cotta, dated December 16, 1907. Transcribed and translated by Ian Bent (2005/2017). http://www.schenkerdocumentsonline.org/documents/correspondence/CA-71.html (accessed February 25, 2019).

• Schenker Documents Online, “Hugo Riemann.” Unknown author and date. http://www.schenkerdocumentsonline.org/profiles/person/entity-000712.html (accessed February 25, 2019).

• Schenker Documents Online, OJ 1–2/11–12, 608–609. Diary entry by Schenker July 3, 1914. Transcribed my Marko Deisinger, translated by William Drabkin. http://www.schenkerdocumentsonline.org/documents/diaries/OJ-01-15_1914-07/r0006.html (accessed February 26, 2019).

• Schenker Documents Online, OJ 3/6, 2692–2693. Diary entry by Schenker July, 1924. Transcribed by Marko Deisinger, translated by Scott Witmer. http://www.schenkerdocumentsonline.org/documents/diaries/OJ-03-06_1924-07/r0015.html (accessed February 28, 2019).

• Schmalfeldt, Janet. 1991. “Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form.” Music Analysis 10 (3): 233–87.

• Schmalfeldt, Janet. 1992. “Cadential Processes: The Evaded Cadence and the ‘One More Time’ Technique.” Journal of Musicological Research 12 (1–2): 1–52.

• Schmalfeldt, Janet. 1997. “Coming to Terms: Speaking of Phrase, Cadence, and Form.” In Theory Only 13 (1–4): 95–116.

• Schmalfeldt, Janet. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press.

• Schmitz, Eugen. 1911. Harmonielehre als Theorie, Ästhetik und Geschichte der musikalischen Harmonik. Munich: Verlag der Jos. Kösel’schen Buchhandlung.

• Schoenberg, Arnold. 1969 [1948]. Structural Functions of Harmony, 2nd ed., edited by Leonard Stein. London: Faber & Faber.

• Schreyer, Johannes. 1903. Von Bach bis Wagner: Ein Beitrag zur Psychologie des Musikhörens. Dresden: Holze & Pahl.

• Schreyer, Johannes. 1905. Harmonielehre: Völlig umgearbeitete Ausgabe der Schrift ‘Von Bach bis Wagner’. Dresden: Holze & Pahl.

• Schreyer, Johannes. 1911. Lehrbuch der Harmonie und der Elementarkomposition: Neue, vollständig umgearbeitete Ausgabe der ‘Harmonielehre’. Leipzig: Carl Merseburger.

• Schröder, Gesine. 2017. “Researching the Transfer of Central-European Music Theory and Composition Treatises to China.” In History of Music Theory, blog of AMS/SMT interest/study group. https://historyofmusictheory.wordpress.com/2017/12/03/researching-the-transfer-of-central-european-music-theory-and-composition-treatises-to-china/ (accessed September 18, 2019).

• Schulenberg, David. 1985–86. “Modes, Prolongations, and Analysis.” The Journal of Musicology 4 (3): 303–329.

• Schwab-Felisch, Oliver. 2005. “Zur Rezeption der Schichtenlehre Heinrich Schenkers in der deutschsprachigen Musikwissenschaft nach 1945.” Zeitschrift der Gesellschaft für Musiktheorie 2 (2–3): 243–247.

• Schwab-Felisch, Oliver. 2009. “Wie totalitär ist die Schichtenlehre Heinrich Schenkers?” In Systeme der Musiktheorie, edited by Clemens Kühn and John Leigh, 33–55. Dresden: Sandstein Verlag.

• Sechter, Simon. 1853. Die Grundsätze der musikalischen Komposition, 3 vols. Leipzig: Breitkopf und Härtel.

• Seidel, Elmar. 1966. “Die Harmonielehre Hugo Riemanns.” In Beiträge zur Musiktheorie des 19. Jahrhunderts, edited by Martin Vogel, 39¬–92. Regensburg: Gustav Bosse Verlag.

• Siegel, Hedi. 2006. “Looking at the Urlinie.” In Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter, edited by L. Poundie Burstein and David Gagné, 79–99. Hillsdale, NY: Pendragon Press.

• Silberman, Israel. 1949. A Comparative Study of Four Theories of Chord Function. PhD dissertation, Columbia University.

• Silberman, Israel. 1964. “Teaching Composition via Schenker’s Theory.” Journal of Research in Music Education 12 (4): 295–303.

• Skowron, Zbigniew. 1986. Review of Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Muzyka 31 (4:123): 85–91.

• Slottow, Stephen. 2005. “Analytical Process in Schenkerian Pedagogy: An Introspective Exercise.” Journal of Schenkerian Studies 1: 44–65.

• Slottow, Stephen. 2008. “Schenkerian Pedagogy in the Salzer and Oster Teaching Lines: An Oral History Approach.” In Essays from the Fourth International Schenker Symposium, vol. 1, edited by Allen Cadwallader, 259–278. Hildesheim: Georg Olms Verlag.

• Slottow, Stephen. 2016. “An Interview with Edward Laufer.” In Explorations in Schenkerian Analysis, edited by David Beach and Su Yin Mak, 328–348. Rochester: University of Rochester Press.

• Slottow, Stephen. 2018. “To Be or Not to Be: Schenker’s Versus Schenkerian Attitudes Towards Sequences.” Gamut 8 (1): 72–96.

• Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.

• Smedeby, Sune. 1978. Från treklang till nonackord: Harmonilära. Stockholm: Eriks Förlaget.

• Smith, Charles J. 1981. “Prolongations and Progressions as Musical Syntax.” In Music Theory: Special Topics, edited by Richmond Browne, 139–174. New York: Academic Press.

• Smith, Charles J. 1986. “The Functional Extravagance of Chromatic Chords.” Music Theory Spectrum 8: 94–139.

• Smith, Charles J. 1987. “A Rejoinder to David Beach.” Music Theory Spectrum 9: 186–194.

• Smith, Peter H. 2009. “Brahms’s Motivic Harmonies and Contemporary Tonal Theory: Three Case Studies from the Chamber Music.” Music Analysis 28 (1): 63¬–110.

• Snarrenberg, Robert. 1994. “Competing Myths: The American Abandonment of Schenker’s Organicism.” In Theory, Analysis and Meaning in Music, edited by Anthony Pople, 29–56. Cambridge: Cambridge University Press.

• Snarrenberg, Robert. 1996. “The Art of Translating Schenker: A Commentary on The Masterwork in Music, vol. 1.” Music Analysis 15 (2/3): 301–342.

• Snarrenberg, Robert. 1997. Schenker’s Interpretive Practice. Cambridge: Cambridge University Press.

• Spahlinger, Mathias. 1977. “Antwort auf Peter Rummenhöllers Vorschlag zur Vereinheitlichung der Bezeichnungsweise tonaler Harmonie.” Zeitschrift für Musiktheorie 8 (1): 40–42.

• Sprick, Jan Philipp. 2012. Die Sequenz in der deutschen Musiktheorie um 1900. Hildesheim: Georg Olms Verlag.

• Sprick, Jan Philipp. 2014. “Reger, Riemann und die neo-riemannian theory.” In Musiktheorie und Vermittlung, edited by Ralf Kubicek, 277–285. Hildesheim: Georg Olms Verlag.

• Sprick, Jan Philipp. 2018. “Sequences: Between Affirmation and Destruction of Tonality.” Music Theory Online 24 (2).

• Spurný, Lubomír. 2003–05. “Schenker in Böhmen. Beitrag zur Rezeption von Schenkers Musiktheorie.” Sborník prací Filozofické brněnske univerzity. H, Řada hudebněvědná/Studia minora facultatis philosophicae universitatis Brunensis. H, series musicologica 52–54 (H38–40): 245–252.

• Steege, Benjamin. 2011. “‘The Nature of Harmony’: A Translation and Commentary.” In The Oxford Handbook of Neo-Riemannian Music Theories, edited by Edward Gollin and Alexander Rehding, 55–91. New York: Oxford University Press.

• Stegemann, Benedikt. 2013. Theorie der Tonalität. Wilhelmshaven: Florian Noetzel Verlag.

• Stier, Alfred. 1929. “Johannes Schreyer zum Gedächtnis.” Zeitschrift für Kirchenmusiker 10: 175–177.

• Stigar, Petter. 2004. Elementær harmonilære: Koralharmonisering, kontrapunkt, generalbass og variasjonssatser. Bergen: Fakbokforlaget.

• Straus, Joseph N. 1987. “The Problem of Prolongation in Post-Tonal Music.” Journal of Music Theory 31 (1): 1–21.

• Straus, Joseph N. 2016. “Editor’s Preface.” In The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory, by Carl Schachter, edited by Joseph N. Straus. New York: Oxford University Press.

• Straus, Joseph N. 2018. Broken Beauty: Musical Modernism and the Representation of Disability. New York: Oxford University Press.

• Suurpää, Lauri. 2014. “Deferral of a Cadentially Confirmed Tonic and Play with Changing Conventions in the First Movement of Haydn’s F# Minor Piano Trio (Hob. XV:26).” Music Theory Spectrum 36 (2): 228–246.

• Svensson, Sven E., and Carl-Allan Moberg. 1933. Harmonilära. Stockholm: Carl Gehrmans Musikförlag.

• Swinden, Kevin. 2005a. “When Functions Collide: Aspects of Plural Function in Chromatic Music.” Music Theory Spectrum 27 (2): 249–282.

• Swinden, Kevin. 2005b. “Toward Analytic Reconciliation of Outer Form, Harmonic Prolongation and Function.” College Music Symposium 45: 108–123.

• Taruskin, Richard. 2010 [2005]. The Oxford History of Western Music, 2nd ed., vol. 2: “Music in the Seventeenth and Eighteenth Centuries.” New York: Oxford University Press.

• Tegen, Martin. 1974. Musikteori I. Stockholm: Stockholms Universitet – Musikvetenskap.

• Tepping, Susan. 1982–83. “An Interview with Felix-Eberhard von Cube.” Indiana Theory Review 6 (1–2): 77–100.

• Tepping, Susan. 1988. “A Lesson in Analysis: An Account of the Study of Bach’s E major Invention with Felix-Eberhard von Cube.” Indiana Theory Review 9 (1): 63–73.

• Tovey, Donald Francis. 1924. Forty-Eight Preludes and Fugues, vol. 1, edited by Donald Francis Tovey. London: Associated Board.

• Tovey, Donald Francis. 1928. “Tonality.” Music & Letters 9 (4): 341–363. Reprinted 1949 as “Tonality in Schubert.” In The Main Stream of Music and Other Essays, edited by Hubert Foss, 134–159. New York: Oxford University Press.

• Travis, Roy. 1959. “Towards a New Concept of Tonality?” Journal of Music Theory 3 (2): 257–284.

• Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press.

• Tymoczko, Dmitri. 2012. “Hey, Wait a Minute!” Music Theory Spectrum 34 (1): 144–149.

• Vinther, Orla. 1992. Musikalsk analyse – otte essays om oplevelse og eftertanke. Egtved: Edition Egtved.

• Väisälä, Olli. 2008. “A Review Essay: Analyzing Bach—and How Bach Actually Wrote.” Journal of Schenkerian Studies 3: 159–210.

• Väisälä, Olli. 2011. “Schenker’s Disservice to Schenkerianism: Three Bach Examples.” Res Musica 3: 30–51.

• Wadsworth, Benjamin K. 2016. “Schenkerian Analysis for the Beginner.” Journal of Music Theory Pedagogy 30: 177–218.

• Wason, Robert. 1985. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor: UMI Research Press.

• ¬Wason, Robert, and Elizabeth West Marvin. 1992. “Riemann’s “Ideen zu einer ‘Lehre von den Tonvorstellungen’”: An Annotated Translation.” Journal of Music Theory 36 (1): 69–79.

• Weber, Gottfried. 1830–32 [1817–21]. Versuch einer geordneten Theorie der Tonsetzkunst, 3rd ed., 2 vols. Mainz: B. Schott’s Söhne.

• Webster, James. 1978. “Schubert’s Sonata Form and Brahms’s First Maturity.” 19th-century Music 2 (1): 18–35.

• Wen, Eric. 2017. Structurally Sound: Seven Musical Masterworks Deconstructed. Mineola, NY: Dover Publications.

• Wen, Eric. 2019. Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice. New York: Rowman & Littlefield.

• Wenger, Etienne. 1998. Communities of Practice: Learning, Meaning, and Identity. Cambridge: Cambridge University Press.

• Westergaard, Peter. 1975. An Introduction to Tonal Theory. New York: Norton.

• Westergaard, Svend. 1961. Harmonilære, 2 vols. Copenhagen: Wilhelm Hansen.

• Whaples, Miriam. 1968. “On Structural Integration in Schubert’s Instrumental Works.” Acta Musicologica 40 (2–3): 186–195.

• White, Christopher Wm., and Ian Quinn. 2018. “Chord Context and Harmonic Function in Tonal Music.” Music Theory Spectrum 40 (2): 314–337.

• Willner, Channan. 1982. Review of Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker by Hellmut Federhofer. Notes 38 (4): 843–844.

• Wintle, Christopher. 1985. “Kontra-Schenker: Largo e Mesto from Beethoven’s Op. 10 No. 3.” Music Analysis 4 (1–2): 145–182.

• Wozonig, Thomas. 2018. “Die frühe Schenker-Rezeption Hellmut Federhofers.” Zeitschrift der Gesellschaft für Musiktheorie 15 (1): 121–158.

• Yeston, Maury. 1976. The Stratification of Musical Rhythm. New Haven: Yale University Press.

• Ying, Wang, and Nikola Komatović. 2017. “Ein prächtiges Wachstum! Vorbilder, Originalität und Auswirkungen von Igor Sposobins Harmonielehrbuch, unter Berücksichtigung der Situation in China und in Serbien.” Zeitschrift ästhetische Bildung 9.

• Ziehn, Bernhard. 1890. “Der Weise aus Großmehlra.” Allgemeine Musik-Zeitung 17: 355–361.

• Zuckerkandl, Victor. 1959. The Sense of Music. Princeton, NJ: Princeton University Press.

• Øien. Anfinn. 1971. Grunnbok i funksjonell harmonilære. Oslo: Universitets¬forlaget.

• Øien. Anfinn. 1975. Harmonilære: Funksjonell harmonik i homofon sats. Oslo: Norsk Musikforlag.

Ph.d.-afhandlingens forside med titlen: Analytical Practices in Western Music Theory.

Downloads

Publiceret

maj 12, 2022

Detaljer om denne monografi

ISBN-13 (15)

978-87-7507-524-9