1. Patrick McCreless, "Music Theory as Community: A Perspective from the Late '90s," Music Theory Online 4.2 (1998) <http://societymusictheory.org/mto/issues//mto.98.4.2/toc.4.2.html>; Janet Schmalfeldt, "On Keeping the Score," ibid.
2. Eric F. Clarke, "Subject-Position and the Specification of Invariants in Music by Frank Zappa and P. J. Harvey," Music Analysis 18.3 (October 1999): 347-74.
3. Newsletter of the Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, <http://depthome.brooklyn.cuny.edu/isam/newslet.html>.
4. Ellie M. Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge: Cambridge University Press, in press).
5. Ellie M. Hisama, "Voice, Race, and Sexuality in the Music of Joan Armatrading," in Audible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley (Zurich: Carciofoli Verlagshaus, 1999), 115-32.
6. Nicholas Cook, "Music Theory and the Postmodern Music: An Afterword," in Concert Music, Rock and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester: University of Rochester Press, 1995), 433.
7. Ibid. Ellie M. Hisama, "The Question of Climax in Ruth Crawford's String Quartet, Mvt. 3," in Concert Music, Rock and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester: University of Rochester Press, 1995), 285-312.
End of Footnotes