[Footnotes]

[Footnotes]
1
Joseph Kerman, "How We Got into Analysis, and How to Get Out," Critical Inquiry 7 (1980), 311-3110.2307/1343130
311
Leo Treitler, Music and the Historical Imagination (Cam- bridge, Mass. 1989).
Treitler
Music and the Historical Imagination
1989
2
Treitler, Music and the Historical Imagination, p. 32
Treitler
32
Music and the Historical Imagination
Tovey, Beethoven (London, 1944), p. 84.
Tovey
84
Beethoven
1944
4
V. Kofi Agawu's recent book Playing with Signs (Prince- ton, 1991)
Agawu
Recent book Playing with Signs
1991
6
Roman Jakobson, "A Glance at the Development of Semiotics," in Roman Jakobson: Selected Writings, vol. VII (New York, 1985), pp. 214-17.
Jakobson
A Glance at the Development of Semiotics
214
VII
Roman Jakobson: Selected Writings
1985
7
David Lewin, "Behind the Beyond: A Response to Edward T. Cone," Perspectives of New Music 7 (1969), 61.10.2307/832293
8
Leonard B. Meyer, Style and Music: Theory, History, and Ideology (Philadelphia, 1989), pp. 14-16.
Meyer
14
Style and Music: Theory, History, and Ideology
1989
9
Richard Kramer's suggestive study entitled "Gradus ad Parnassum: Beethoven, Schubert, and the Ro- mance of Counterpoint," this journal 11 (1987), 107-20.10.2307/746726
107
11
Allan Keiler, "On Some Properties of Schenker's Pitch Derivations," Music Perception 1 (1983), esp. 203-11.
Keiler
203
1
Music Perception
1983
13
William Pastille, "Strict Counterpoint and Free Composition: Re- view/Essay on the Rothgeb/Thym translation of Schen- ker's Kontrapunkt," Theoria 3 (1988), 165-66.
Pastille
165
3
Theoria
1988
14
Kramer, Music as Cultural Practice, 1800-1900 (Berkeley and Los Angeles, 1990), p. 132.
Kramer
132
Music as Cultural Practice, 1800-1900
1990
This content is only available via PDF.

Article PDF first page preview

Article PDF first page preview