1. Edward D. Latham, Review of Ethan Haimo's Article "Atonality, Analysis, and the Intentional Fallacy," Music Theory Spectrum 18.2 (Fall 1996): 167-199; Music Theory Online 3.2 (1997).

2.. The article that first outlined this method is: Allen Forte, "New Approaches to Linear Analysis," Journal of the American Musicological Society 41.2 (Summer 1988): 315-48.

3. Allen Forte, "Pitch-Class Set Genera and the Origin of the Modern Harmonic Species," Journal of Music Theory 32.2 (Fall 1988): 187-270.

4. Allen Forte, "The Magical Kaleidoscope: Schoenberg's First Atonal Masterwork, Opus 11, No. 1," Journal of the Arnold Schoenberg Institute 5.2 (November 1981): 127-68.

5. Allen Forte, "Sets and Nonsets in Schoenberg's Atonal Music," Perspectives of New Music 11 (1972): 43-64.

6. Allen Forte, "Concepts of Linearity in Schoenberg's Atonal Music: A Study of the Opus 15 Song Cycle," Journal of Music Theory 36.2 (Fall 1992): 285-382.

7. It is revealing to compare the fictitious ciphers imposed by Forte on Schoenberg's music with genuine ciphers placed in a composition by a composer of Schoenberg's circle. See Barbara Dalen, "'Freundschaft, Liebe, und Welt': the secret programme of the Chamber Concerto," The Berg Companion, ed. Douglas Jarman, 123-140. Dalen makes an absolutely airtight case for the ciphers she finds, backed up by clear, unequivocal, documentary and musical evidence. Forte has no such support.