2. Joseph H. Auner, "In Schoenberg's Workshop: Aggregates and Rerential Collections in Die glueckliche Hand," Music Theory Spectrum 18 (1996): 77-105; Brian Alegant, "Unveiling Schoenberg's op. 33b," Music Theory Spectrum 18 (1996): 143- 166; Ethan Haimo, "Atonality, Analysis, and the Intentional Fallacy," Music Theory Spectrum 18 (1996): 167-199; Martha M. Hyde, "Neoclassic and Anachronistic Impulses in Twentieth- Century Music," Music Theory Spectrum 18 (200-235).

3. David Beach, "A Recurring Pattern in Mozart's Music," Journal of Music Theory 27 (1983): 1-29.

4. Ian Bent, ed. Music Analysis in the Nineteenth Century.

5. Peter Westergaard, "Geometries in Musical Sound," Music Theory Spectrum 18 (1996): 1-21; Nicholas Cook, "Review Essay: Putting the Meaning Back into Music, or Semiotics Revisited," Music Theory Spectrum 18 (1996): 106-123.

End of Footnotes