1. Joseph N. Straus, Introduction to Post-Tonal Theory (Englewood Cliffs: Prentice-Hall, 1990); Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, MA: Harvard University Press, 1990).

2. Allen Forte, The American Popular Ballad of the Golden Era, 1924-1950 (Princeton: Princeton University Press, 1995).

3. Forte acknowledges his debt to Milton Babbitt, who introduced the concepts of pitch class, pitch-class set, normal form, etc. in his early analytical work, on the very first page of SAM. See Milton Babbitt, "Some Aspects of Twelve-Tone Composition," The Score and I.M.A. Magazine No.12 (June 1955); "Twelve-Tone Invariants as Compositional Determinants," Musical Quarterly 46, no. 2 (1960); "Set Structure as a Compositional Determinant," Journal of Music Theory 5 no. 1 (1961).

4. Kathryn Bailey, The Twelve-Note Music of Anton Webern: Old Forms in a New Language (Cambridge: Cambridge University Press, 1991).

5. Forte 1999, 2-4.

6. The worst thing is the lamentably large number of technical mistakes -- miscaptioned examples and so on -- that were allowed to slip by the editorial process. Forte's ex. 4.2, for example, is apparently miscaptioned: it is an analysis of the beginning of the String Quartet of 1905, not of the Langsamer Satz. Forte 1999, 65; further errata available on request from the reviewer.

7. In the preface (p. x, fn 3), Forte states that "As I began work on the present volume I destroyed all the filed analytical material I had accumulated on the various pieces I was about to investigate, just in order to get a fresh start, unencumbered by opinions and hypotheses that belong to an earlier era in my own studies," thus proving that he himself is willing to approach this repertoire afresh. Forte 1999, p. x, fn 3.

8. Forte 1999, 193.

9. Unfortunately, Forte cites this as "Brinkmann 1987," but there is no corresponding entry in his bibliography. I assume that this is a misattribution to Reinhold Brinkmann, "Ein Webern-Manuscript in Berlin," in Ernst Herrtirch and Hans Schneider, eds., Festscrift Rudolf Elvers zum 60. Geburtstag (Tutzing: Hans Schneider, 1985).

10. Joseph N. Straus, "The Problem of Prolongation in Post-Tonal Music". Journal of Music Theory 31.1 (Spring 1987), 1-21.

11. Forte 1999, 288.

12. Forte 1999, 337-338.

13. Forte 1999, 114.

14. Susan McClary, Feminine Endings: Music, Gender and Sexuality (Minneapolis: University of Minnesota Press, 1991), 109.

15. Perhaps the most famous and well-reasoned critique of Forte's procedures is found in William E. Benjamin, review of The Structure of Atonal Music. Perspectives of New Music Vol. 13 No. 1 (Fall-Winter 1974), 170-171. With respect to the present volume, Forte lists three "interesting analytical issues" which are, in essence, things that happen in Webern's atonal music that he himself seems to feel his octatonic modus operandi does not adequately address: 1. "Short direct chromatic successions." 2. "Dissonant monads" that don't fit into the octatonic schema.3. The "prismatic phenomenon" -- i.e. multiple possible (octatonic) readings. Forte 1999, 315.

16. Forte 1999, p. 89.

17. Forte 1999, 126.

18. Forte 1999, 141.

19. Roy Travis and Allen Forte, "Analysis Symposium: Webern Orchestral Pieces (1913), Movement I ('Bewegt')." Journal of Music Theory 18:6-43 (1974).

End of Footnotes