[Footnotes]

[Footnotes]
1
Plato, Republic X.597, trans. Francis MacDonald Cornford (New York, 1945).
Plato
Republic
1945
2
Aristotle, Poetics I.1447a and XXIV.1460a, trans. S. H. Campbell (London, 1929)
Aristotle
Poetics
1929
Samuel Johnson, The Rambler, vol. 3 in The Yale Edition of the Complete Works (New Ha- ven, 1969), p. 22
Johnson
22
3
The Rambler
1969
M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York, 1953), p. 32
Abrams
32
The Mirror and the Lamp: Romantic Theory and the Critical Tradition
1953
3
M. H. Abrams, "Theories of Poetry," in Encyclopedia of Poetry and Poetics (Princeton, 1965), p. 643.
Abrams
Theories of Poetry
643
Encyclopedia of Poetry and Poetics
1965
4
William Wordsworth, "Preface to Lyrical Ballads," in Wordsworth's Literary Criticism, ed. Nowell C. Smith (London, 1905), p. 15.
Wordsworth
Preface to Lyrical Ballads
15
Wordsworth's Literary Criticism
1905
5
Abrams, The Mirror and the Lamp, p. 49
49
Alba H. Warren, Jr., English Poetic Theory: 1825-1865 (Princeton, 1950; New York, 1966), p. 97
Warren
97
English Poetic Theory: 1825-1865
1966
6
Heinrich Schenker, Free Composition, trans. and ed. Ernst Oster, (New York, 1979), I, 122.
Schenker
122
I
Free Composition
1979
7
William Benjamin, "Models of Underlying Tonal Struc- ture: How Can They Be Abstract, and How Should They Be Abstract," Music Theory Spectrum 4 (1982), 33-34.10.2307/746008
33
8
"Art, like nature, is the subject of a systematic study, and has to be distinguished from the study itself, which is criti- cism." Northrup Frye, Fables of Identity (New York, 1963), p. 7.
Art, like nature, is the subject of a systematic study, and has to be distinguished from the study itself, which is criticism
7
Northrup Frye, Fables of Identity
1963
9
Max Black, "More About Metaphor," in Metaphor and Thought, ed. Andrew Ortony (Cambridge, 1979), p. 41.
Black
More About Metaphor
41
Metaphor and Thought
1979
10
John Rahn's discussion of two different interpreta- tions of a movement from Bach's Third Sonata for solo vio- lin, in "Aspects of Musical Explanation," Perspectives of New Music 17 (1979), 216-1710.2307/832840
216
William Benjamin's con- tradictory and thus provocative views of the Sarabande from Bach's B1 Partita, in "Models of Underlying Structure," pp. 43-45
Benjamin
Sarabande from Bach's B1 Partita
43
Models of Underlying Structure
11
Steven Haflich's review of Eugene Narmour's Beyond Schenkerism in The Journal of Music Theory 23 (1979), 287-304
Haflich
287
23
Beyond Schenkerism in The Journal of Music Theory
1979
Haflich's discussion (pp. 296-99)
12
Black, "More About Metaphor," p. 21.
21
13
Schenker, Free Composition I, 51
Schenker
51
I
Free Composition
Oswald Jonas, Introduc- tion to the Theory of Heinrich Schenker, trans. and ed. John Rothgeb [New York, 1982], p. 98
Jonas
98
Introduction to the Theory of Heinrich Schenker
1982
14
Allen Forte, "Schenker's Conception of Musical Struc- ture," in Readings in Schenker Analysis and Other Ap- proaches, ed. Maury Yeston (New Haven, 1977), p. 15
Forte
Schenker's Conception of Musical Structure
15
Readings in Schenker Analysis and Other Approaches
1977
Schenker, Free Composition I, 61
Schenker
61
I
Free Composition
15
Schenker, Free Composition I, 8 and 112
Schenker
8
I
Free Composition
Arnold Schoenberg, Structural Functions of Harmony, rev. edn. [New York, 1969], p. 19
Schoenberg
19
Structural Functions of Harmony
1969
16
Colin Murray Turbayne, The Myth of Metaphor (New Ha- ven, 1962), p. 27.
Turbayne
27
The Myth of Metaphor
1962
17
Robert Bailey, "Das Lied von der Erde: Tonal Language and Formal Design" (paper read before the American Musi- cological Society, October 1978)
Bailey
October
American Musicological Society
1978
Richard Wagner: Prel- ude and Transfiguration from "Tristan and Isolde," a Nor- ton Critical Score, ed. Robert Bailey (New York, 1985), pp. 113-46
Wagner
Tristan and Isolde
113
Norton Critical Score
1985
18
Dika Newlin, Bruckner, Mahler, Schoenberg, 2nd edn. (New York, 1978), p. 129
Newlin
2
129
Bruckner, Mahler, Schoenberg
1978
19
Schenker, Free Composition I, 129.
Schenker
129
I
Free Composition
20
Harald Krebs, "Alternatives to Monotonality in Early Nineteenth-Century Music," Journal of Music Theory 25 (1981), 1-16.10.2307/843464
1
21
Bailey, Tristan, pp. 125-30.
Bailey
125
Tristan
22
William Mitchell's brilliant voice-leading analysis (in The Music Forum 1 [1967], 162-203)
Mitchell
162
1
The Music Forum
1967
23
Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley and Los Angeles, 1978), p. 153.
Schoenberg
153
Theory of Harmony
1978
24
Bailey, "Das Lied von der Erde."
25
Patrick McCreless, Wagner's "Siegfried": Its Drama, His- tory and Music (Ann Arbor, 1982), p. 89.
McCreless
Wagner's "Siegfried
89
Its Drama, History and Music
1982
26
Robert Bailey, Tristan, pp. 127-29
Bailey
127
Tristan
Benjamin Boretz, "Meta-Variations, part IV: Ana- lytic Fallout (I)," Perspectives of New Music 11 (1972), 16910.2307/832467
169
Edward T. Cone, "Sound and Syntax: An Introduction to Schoenberg's Harmony," Perspectives of New Music 13 (1974), 2410.2307/832367
24
27
Bailey, Tristan, p. 124
Bailey
124
Tristan
Schoenberg, Structural Functions, p. 77
Schoenberg
77
Structural Functions
Edward T. Cone, "Yet Once More, O Ye Laurels," Perspectives of New Music 14/15 (1976), 299 - 30110.2307/832643
299
28
p. 193 of the Dover full score
Richard Wagner, Tristan und Isolde, rpt. edn. [New York, 1973]
Wagner
Tristan und Isolde
1973
Bailey, Tristan, p. 122
Bailey
122
Tristan
29
Bailey, Tristan, p. 137
Bailey
137
Tristan
Philip Friedheim, Tonality and Structure in the Early Works of Schoenberg (Ph.D. diss., New York University, 1963), pp. 41-42
30
Benjamin, "Models of Underlying Structure," p. 40.
Benjamin
40
Models of Underlying Structure
31
Cone, "Sound and Syntax," p. 30-31.
30
34
Christopher Wintle, "Schoenberg's Harmony: Theory and Practice," Journal of the Arnold Schoenberg Institute 4 (1980), 57.
Wintle
57
4
Journal of the Arnold Schoenberg Institute
1980
33
Schoenberg, Theory of Harmony, p. 357
Schoenberg
357
Theory of Harmony
34
Ibid., p. 345.
345
35
Ibid., p. 348.
348
36
Ibid., pp. 366-67 and 380-82
366
exs. 314b and 314d
37
Structural Functions, p. 99, ex. 106, m. 6
99
Structural Functions
38
Cone, "Sound and Syntax," p. 22.
22
39
Ibid., p. 31.
31
40
Cone asks (ibid., p. 37)
37
41
Arnold Schoenberg, "Composition With Twelve Tones [2]"in Style and idea.rev ed.Leonard B.Stein(Lon- don, 1975), p245
Schoenberg
245
Composition With Twelve Tones [2]
1975
42
Schoenberg, Theory of Harmony, pp. 383- 84.
Schoenberg
383
Theory of Harmony
43
Ibid., p. 153.
153
44
Schoenberg, Structural Functions, p. 112.
Schoenberg
112
Structural Functions
45
Ibid., p. 111.
111
46
Allen Forte, "Schoenberg's Creative Evolution: The Path to Atonality," Musical Quarterly 64 (1978), 133-7610.2307/741443
133
Forte, p. 155
155
47
Charles Rosen, Sonata Forms (New York, 1980), p. 222.
Rosen
222
Sonata Forms
1980
48
"Schoenberg's Creative Evolu- tion," p. 157
157
49
Schoenberg in Structural Functions, p. 111
Schoenberg
111
Structural Functions
50
Schoenberg, Theory of Harmony, p. 252.
Schoenberg
252
Theory of Harmony
51
Theory of Harmony, pp. 366-67
366
Theory of Harmony
52
Arnold Schoenberg, "My Evolution," in Style and Idea, p. 84.
Schoenberg
My Evolution
84
Style and Idea
53
Voll iener Siisse (No- vember 1904)
Voll iener Siisse
1904
Traumleben (Decem- ber 1903)
Traumleben
1903
Lockung (October 1905)
October
Lockung
1905
Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schbnberg, (Copenhagen, 1972), I, 38, 40- 41, 44
Maegaard
38
I
Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schbnberg
1972
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