1. Chen Ming-Zhi, "Analysis of Anton Webern's Symphony (Op.21)," AM 23 (1985); Qian Ren-Kang, "Berg's Violin Concerto: a moving composition in the twelve-tone system (I & II)," AM 23-4 (1985-6); Zhu Jian, "Schoenberg's Variations for Orchestra," AM 37 (1989).

2. Yang Ru-Huai, "The twelve-tone technique that unfolded in carrying on past tradition and forging ahead into the future--the analysis of Berg's Violin Concerto (I & II)," JCCM 62-3 (1996).

3. Yang Yan-Di, "A critical survey of analytical theories in twentieth-century musicology (1): musical analysis--a historical review and philosophical reflections," AM 60 (1995); "A critical survey of analytical theories in twentieth-century musicology (2): Schenkerian analysis," AM 61 (1995); "A critical survey of analytical theories in twentieth-century musicology (3): The expansion and modification of Schenkerian analysis," AM 62 (1995); "A critical survey of analytical theories in twentieth-century musicology (4): motivic analysis--Schoenberg and his influences," AM 63 (1995); "A critical survey of analytical theories in twentieth-century musicology (5): Meyer's theory--psychological approach," AM 64 (1996); "A critical survey of analytical theories in twentieth-century musicology (6): conclusions--critique and prospect," AM 65 (1996). According to the author, a discussion of set theory is omitted as it has already been widely circulated in China in the late 80s.

4. Schenkerian analysis was offered as an elective course at the Central Conservatory starting from 1987. It could well be Alexander Goehr who first introduced Schenker's ideas to the Central Conservatory during his 1980 visit.

5. Luo Zhong-Rong, "A Handy Way of Defining the Basic Form of the Set," JCCM 26 (1987); Zhou Yu, Luo Zhong-Rong, "Inquiry into the Defining of the Basic Form of the Set," JCCM 33 (1988); Luo Zhong-Rong, "Logic in organizing pitches," AM 45 (1991); Zhao Ziao-Sheng, "Tone-sets motion--assembling and dispersion," AM 64 (1996).

6. He Qian-San, "L.B. Meyer's Emotion and Meaning in Music: one of the representative works of western musical aesthetics (I & II)," JCCM (1990), 38-39.

7. "On the relationship of analytical theory to performance and interpretation," JCCM 48 (1992); "The 'Genetic code' of melody, cognitive structures generated by the implication-realization model," JCCM 49 (1992); "The top-down and bottom-up systems of musical implication: Building on Meyer's theory of emotional syntax," JCCM 50 (1993); "Melodic implication and realization in Debussy's La terrasse des audiences du clair de lune," JCCM 52 (1993); and "The Melodic Structures of Music: Applications and Dimensions of the Implication-Realization Model," JCCM 53 (1993).

End of Footnotes