The Discipline of Music Theory

Agawu, Kofi. “How We Got Out of Analysis, and How to Get Back In Again.” Music Analysis 23/2–
3 (2004): 267–86.

Broman, Per F., and Nora A. Engebretsen (eds.). What Kind of Theory Is Music Theory?
Epistemological Exercises in Music Theory and Analysis. Stockholm: Acta Universitatis
Stockholmiensis, 2007.

Korsyn, Kevin. Decentering Music: A Critique of Contemporary Musical Research. New York:
Oxford University Press, 2003.

Leong, Daphne. “SMT’s Interest Groups: A Synopsis.” Music Theory Online 24/3 (2018).

Maus, Fred Everett. “LGBTQ+ Lives in Professional Music Theory.” Music Theory Online 26/1
(2020).

McCreless, Patrick. “Rethinking Contemporary Music Theory.” In Keeping Score: Music,

Disciplinarity, Culture, ed. David Bard-Schwarz, Anahid Kassabian, and Lawrence Siegel, 1–49.
Charlottesville: University of Virginia Press, 1997.

Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music. Trans. Carolyn Abbate.
Princeton, NJ: Princeton University Press, 1990.

Cultural Theory
Feminist Theory
Cusick, Suzanne G. “Feminist Theory, Music Theory, and the Mind/Body Problem.” Perspectives of
New Music 32/1 (1994): 8–27.

Guck, Marion A. “A Woman’s (Theoretical) Work.” Perspectives of New Music 32/1 (1994): 28–43.

Hisama, Ellie M. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and
Miriam Gideon. New York: Cambridge University Press, 2001.

Kielian-Gilbert, Marianne. “Of Poetics and Poiesis, Pleasure and Politics: Music Theory and
Modes of the Feminine.” Perspectives of New Music 32/1 (1994): 44–67.

Lumsden, Rachel. “‘The Music Between Us’: Ethyl Smyth, Emmeline Pankhurst, and ‘Possession.’”
Feminist Studies 41/2 (2015): 335–70.

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

Solie, Ruth A. “Whose Life? The Gendered Self in Schumann’s Frauenliebe Songs.” In Music and
Text: Critical Inquiries, ed. Steven Paul Scher, 219–40. New York: Cambridge University Press,
1992.

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Queer Theory
Brett, Philip. “Piano Four-Hands: Schubert and the Performance of Gay Male Desire.” 19th-
Century Music 21/2 (1997): 149–76.

Hubbs, Nadine. The Queer Composition of America’s Sound: Gay Modernists, American Music, and
National Identity. Berkeley: University of California Press, 2004.

Lee, Gavin. “Queer Music Theory.” Music Theory Spectrum 42/1 (2020): 143–53.

Luong, Vivian. “Rethinking Music Loving.” Music Theory Online 23/2 (2017).

Maus, Fred Everett. “Masculine Discourse in Music Theory.” Perspectives of New Music 31/2
(1993): 264–93.

Maus, Fred Everett. “Sexual and Musical Categories.” In The Pleasure of Modernist Music:
Listening, Meaning, Intention, Ideology, ed. Arved Ashby, 153–75. Rochester, NY: University of
Rochester Press, 2004.

Sofer, Danielle. “Specters of Sex: Tracing the Tools and Techniques of Contemporary Music
Analysis.” Zeitschrift der Gesellschaft für Musiktheorie 17/1 (2020): 31–63.

Critical Race Theory

Cimini, Amy, and Jairo Moreno. “On Diversity.” Gamut 2 (2009): 111–96.

Ewell, Philip A. “Music Theory and the White Racial Frame.” Music Theory Online 26/2 (2020).

Gopinath, Sumanth. “Diversity, Music Theory, and the Neoliberal Academy.” Gamut 2 (2009): 61–
88.

Maxile, Horace J., Jr. “On Vernacular Emblems and Signification in David N. Baker’s The Black
Experience.” American Music 32/2 (2014): 223–51.

Disability Theory
Honisch, Stefan S. “‘Re-Narrating Disability’ Through Musical Performance.” Music Theory Online
15/3–4 (2009).

Howe, Blake. “Music and the Agents of Obsession.” Music Theory Spectrum 38/2 (2016): 218–40.

Lerner, Neil, and Joseph N. Straus (eds.). Sounding Off: Theorizing Disability in Music. New York:
Routledge, 2006.

Maler, Anabel. “Songs for Hands: Analyzing Interactions of Sign Language and Music.” Music
Theory Online 19/1 (2013).

Straus, Joseph N. Broken Beauty: Musical Modernism and the Representation of Disability. New
York: Oxford University Press, 2018.

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Straus, Joseph N. Extraordinary Measures: Disability in Music. New York: Oxford University Press,
2011.

Postcolonial Theory
Agawu, Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York:
Routledge, 2003.

Agawu, Kofi. The African Imagination in Music. New York: Oxford University Press, 2016.

Attas, Robin. “Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music
Analysis Course.” Canadian Journal of Higher Education 49/1 (2019): 125–39.

Hisama, Ellie M. “Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and
John Zorn.” Popular Music 12/2 (1993): 91–104.

Scherzinger, Martin. “Negotiating the Music-Theory/African-Music Nexus: A Political Critique of

Ethnomusicological Anti-Formalism and a Strategic Analysis of the Harmonic Patterning of
the Shona Mbira Song Nyamaropa.” Perspectives of New Music 39/1 (2001): 5–117.

Embodied Cognition
Brower, Candace. “A Cognitive Theory of Musical Meaning.” Journal of Music Theory 44/2 (2000):
323–79.

Cox, Arnie. Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking.
Bloomington: Indiana University Press, 2016.

De Souza, Jonathan. Music at Hand: Instruments, Bodies, and Cognition. New York: Oxford
University Press, 2017.

Fisher, George, and Judy Lochhead. “Analyzing from the Body.” Theory and Practice 27 (2002):
37–67.

Iyer, Vijay. “Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American
Music.” Music Perception 19/3 (2002): 387–414.

Kozak, Mariusz. Enacting Musical Time: The Bodily Experience of New Music. New York: Oxford
University Press, 2019.

Margulis, Elizabeth Hellmuth. On Repeat: How Music Plays the Mind. New York: Oxford University
Press, 2013.

Saslaw, Janna. “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the
Conceptualization of Music.” Journal of Music Theory 40/2 (1996): 217–43.

Zbikowski, Lawrence M. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New
York: Oxford University Press, 2002.

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Semiotics
Agawu, Kofi. Music as Discourse: Semiotic Adventures in Romantic Music. New York: Oxford
University Press, 2014.

Agawu, Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton, NJ:
Princeton University Press, 1991.

Frymoyer, Johanna. “The Musical Topic in the Twentieth Century: A Case Study of Schoenberg’s
Ironic Waltzes.” Music Theory Spectrum 39/1 (2017): 83–108.

Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert.
Bloomington: Indiana University Press, 2004.

Mirka, Danuta (ed.). The Oxford Handbook of Topic Theory. New York: Oxford University Press,
2014.

Monelle, Raymond. The Sense of Music: Semiotic Essays. Princeton, NJ: Princeton University Press,
2000.

Robinson, Jenefer, and Robert S. Hatten. “Emotions in Music.” Music Theory Spectrum 34/2
(2012): 71–106.

Literary Theory
Almén, Byron. A Theory of Musical Narrative. Bloomington: Indiana University Press, 2008.

Karl, Gregory. “Structuralism and Musical Plot.” Music Theory Spectrum 19/1 (1997): 13–34.

Klein, Michael L. Intertextuality in Western Art Music. Bloomington: Indiana University Press,
2005.

Korsyn, Kevin. “Towards a New Poetics of Musical Influence.” Music Analysis 10/1–2 (1991): 3–72.

Palfy, Cora S. “Formal Reminiscence Space and Memory in Sufjan Stevens’s Storytelling.” Music
Theory Online 26/1 (2020).

Rusch, René. “Beyond Homage and Critique? Schubert’s Sonata in C Minor, D. 958, and
Beethoven’s Thirty-Two Variations in C Minor, WoO 80.” Music Theory Online 19/1 (2013).

Straus, Joseph N. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition.
Cambridge, MA: Harvard University Press, 1990.

Jazz
Bleij, Barbara. “Three Multifaceted Compositions by Wayne Shorter: ‘E.S.P.,’ ‘Infant Eyes,’ and
‘Virgo.’” Music Theory Online 25/4 (2019).

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Block, Steven. “Pitch-Class Transformations in Free Jazz.” Music Theory Spectrum 12/2 (1990):
181–202.

Givan, Benjamin. “Gunther Schuller and the Challenge of Sonny Rollins: Stylistic Context,
Intentionality, and Jazz Analysis.” Journal of the American Musicological Society 67/1 (2014):
167–237.

Hannaford, Marc E. “Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of

Five Female Improvisers.” Music Theory Online 23/2 (2017).

Larson, Steve. “Schenkerian Analysis of Modern Jazz: Questions About Method.” Music Theory
Spectrum 20/2 (1998): 209–41.

Love, Stefan Caris. “Subliminal Dissonance or ‘Consonance’? Two Views of Jazz Meter.” Music
Theory Spectrum 35/1 (2013): 48–61.

Martin, Henry. Charlie Parker and Thematic Improvisation. Lanham, MD: Scarecrow Press, 1996.

Rusch, René, Keith Salley, and Chris Stover. “Capturing the Ineffable: Three Transcriptions of a
Jazz Solo by Sonny Rollins.” Music Theory Online 22/3 (2016).

Smither, Sean R. “Guide-Tone Space: Navigating Voice-Leading Syntax in Tonal Jazz.” Music
Theory Online 25/2 (2019).

Steinbeck, Paul. Message to Our Folks: The Art Ensemble of Chicago. Chicago: University of
Chicago Press, 2017.

Waters, Keith. The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford
University Press, 2011.

Pop/Rock Music
General
Everett, Walter. The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” New
York: Oxford University Press, 2009.

Everett, Walter (ed.). Expression in Pop-Rock Music: Critical and Analytical Essays. 2nd ed. New
York: Routledge, 2008.

Moore, Allan F. Song Means: Analyzing and Interpreting Recorded Popular Song. Burlington, VT:
Ashgate, 2012.

Stephenson, Ken. What to Listen for in Rock: A Stylistic Analysis. New Haven, CT: Yale University
Press, 2002.

Temperley, David. The Musical Language of Rock. New York: Oxford University Press, 2018.

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Von Appen, Ralf, André Doehring, Dietrich Helms, and Allan F. Moore (eds.). Song Interpretation
in 21st-Century Pop Music. Burlington, VT: Ashgate, 2015.

Harmony
Biamonte, Nicole. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum
32/2 (2010): 95–110.

Doll, Christopher. Hearing Harmony: Toward a Tonal Theory for the Rock Era. Ann Arbor:
University of Michigan Press, 2017.

Nobile, Drew. Form as Harmony in Rock Music. New York: Oxford University Press, 2020.

Spicer, Mark. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory
Online 23/2 (2017).

Temperley, David. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26/2 (2007): 323–42.

Temperley, David. “Scalar Shift in Popular Music.” Music Theory Online 17/2 (2011).

Form
Attas, Robin. “Form as Process: The Buildup Introduction in Popular Music.” Music Theory
Spectrum 37/2 (2015): 275–96.

De Clercq, Trevor. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–
1991.” Music Theory Online 23/3 (2017).

Osborn, Brad. “Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent
Rock Music.” Music Theory Spectrum 35/1 (2013): 23–47.

Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1/1 (2004): 29–
64.

Rhythm and Meter

Biamonte, Nicole. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online
20/2 (2014).

Butler, Mark J. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance
Music. Bloomington: Indiana University Press, 2006.

Capuzzo, Guy. “Rhythmic Deviance in the Music of Meshuggah.” Music Theory Spectrum 40/1
(2018): 121–37.

Hesselink, Nathan D. “Radiohead’s ‘Pyramid Song’: Ambiguity, Rhythm, and Participation.” Music
Theory Online 19/1 (2013).

Lucas, Olivia R. “‘So Complete in Beautiful Deformity’: Unexpected Beginnings and Rotated Riffs
in Meshuggah’s obZen.” Music Theory Online 24/3 (2018).

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Pieslak, Jonathan. “Re-Casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music
Theory Spectrum 29/2 (2007): 219–45.

Gender and Sexuality

Boone, Christine. “Gendered Power Relationships in Mashups.” Music Theory Online 24/1 (2018).

Burns, Lori, and Marc Lafrance. Disruptive Divas: Feminism, Identity, and Popular Music. New
York: Routledge, 2002.

Hubbs, Nadine. Rednecks, Queers, and Country Music. Berkeley: University of California Press,
2014.

Maus, Fred Everett. “Glamour and Evasion: The Fabulous Ambivalence of the Pet Shop Boys.”
Popular Music 20/3 (2001): 379–93.

Sterbenz, Maeve. “Movement, Music, Feminism: An Analysis of Movement-Music Interactions

and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video.” Music
Theory Online 23/2 (2017).

Intertextuality
Burns, Lori, Alyssa Woods, and Marc Lafrance. “The Genealogy of a Song: Lady Gaga’s Musical
Intertexts on The Fame Monster (2009).” Twentieth-Century Music 12/1 (2015): 3–35.

Burns, Lori, and Serge Lacasse (eds.). The Pop Palimpsest: Intertextuality in Recorded Popular
Music. Ann Arbor: University of Michigan Press, 2018.

Butler, Mark. “Taking It Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop
Boys.” Popular Music 22/1 (2003): 1–19.

Spicer, Mark. “Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs.” Gamut 2
(2009): 347–75.

Vocal Subjectivity
Burns, Lori, Marc Lafrance, and Laura Hawley. “Embodied Subjectivities in the Lyrical and Musical
Expression of PJ Harvey and Björk.” Music Theory Online 14/4 (2008).

Clarke, Eric F. “Subject-Position and the Specification of Invariants in Music by Frank Zappa and
P.J. Harvey.” Music Analysis 18/3 (1999): 347–74.

Eidsheim, Nina Sun. The Race of Sound: Listening, Timbre, and Vocality in African American Music.
Durham, NC: Duke University Press, 2018.

Heidemann, Kate. “A System for Describing Vocal Timbre in Popular Song.” Music Theory Online
22/1 (2016).

Malawey, Victoria. A Blaze of Light in Every Word: Analyzing the Popular Singing Voice. New York:
Oxford University Press, 2020.

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Rap
Adams, Kyle. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15/5
(2009).

Adams, Kyle. “What Did Danger Mouse Do? The Grey Album and Musical Composition in
Configurable Culture.” Music Theory Spectrum 37/1 (2015): 7–24.

Komaniecki, Robert. “Analyzing Collaborative Flow in Rap Music.” Music Theory Online 23/4
(2017).

Krims, Adam. Rap Music and the Poetics of Identity. New York: Cambridge University Press, 2000.

Manabe, Noriko. “Globalization and Japanese Creativity: Adaptations of Japanese Language to

Rap.” Ethnomusicology 50/1 (2006): 1–36.

Ohriner, Mitchell. Flow: The Rhythmic Voice in Rap Music. New York: Oxford University Press,
2019.

Williams, Justin A. Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. Ann Arbor: University of
Michigan Press, 2013.

Musical Theater
Buchler, Michael. “Modulation as a Dramatic Agent in Frank Loesser’s Broadway Songs.” Music
Theory Spectrum 30/1 (2008): 35–60.

Hutchinson, Kyle. “Retrospective Time and the Subdominant Past: Tonal Hermeneutics in
Contemporary Broadway Megamusicals.” Music Theory Online 26/2 (2020).

Film Music
Cook, Nicholas. Analysing Musical Multimedia. New York: Oxford University Press, 1998.

Lehman, Frank. Hollywood Harmony: Musical Wonder and the Sound of Cinema. New York:
Oxford University Press, 2018.

Murphy, Scott. “The Major Tritone Progression in Recent Hollywood Science Fiction Films.” Music
Theory Online 12/2 (2006).

Murphy, Scott. “Scoring Loss in Some Recent Popular Film and Television.” Music Theory
Spectrum 36/2 (2014): 295–314.

Neumeyer, David. Meaning and Interpretation of Music in Cinema. Bloomington: Indiana

University Press, 2015.

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Video Game Music
Atkinson, Sean. “Soaring Through the Sky: Topics and Tropes in Video Game Music.” Music
Theory Online 25/2 (2019).

Gibbons, William, and Steven Reale (eds.). Music in the Role-Playing Game: Heroes and
Harmonies. New York: Routledge, 2020.

Medina-Gray, Elizabeth. “Analyzing Modular Smoothness in Video Game Music.” Music Theory
Online 25/3 (2019).

Reale, Steven. “Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari
Damacy.” Act: Zeitschrift für Musik & Performance 2 (2011).

Summers, Tim. Understanding Video Game Music. New York: Cambridge University Press, 2016.

Opera
Davis, Andrew. “Il Trittico,” “Turandot,” and Puccini’s Late Style. Bloomington: Indiana University
Press, 2010.

Huebner, Steven. “Lyric Form in Ottocento Opera.” Journal of the Royal Musical Association 117/1
(1992): 123–47.

Lee, Ji Yeon. “Climax Building in Verismo Opera: Archetype and Variants.” Music Theory Online
26/2 (2020).

Pau, Andrew. “‘Sous le rythme de la chanson’: Rhythmic, Text, and Diegetic Performance in
Nineteenth-Century French Opera.” Music Theory Online 21/3 (2015).

Rothstein, William. “Common-Tone Tonality in Italian Romantic Opera: An Introduction.” Music

Theory Online 14/1 (2008).

Sherrill, Paul. “Susanna’s ‘Deh vieni.’” Music Theory Online 24/4 (2018).

Early Music
Adams, Kyle. “A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth
Century.” Journal of Music Theory 53/2 (2009): 255–304.

Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley: University of
California Press, 2005.

DeFord, Ruth I. Tactus, Mensuration, and Rhythm in Renaissance Music. New York: Cambridge
University Press, 2015.

Judd, Cristle Collins. Reading Renaissance Music Theory: Hearing with the Eyes. New York:
Cambridge University Press, 2000.
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Judd, Cristle Collins (ed.). Tonal Structures in Early Music. New York: Garland, 1998.

Long, Megan Kaes. Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth
Century. New York: Oxford University Press, 2020.

Roig-Francolí, Miguel. “From Renaissance to Baroque: Tonal Structures in Tomás Luis de

Victoria’s Masses.” Music Theory Spectrum 40/1 (2018): 27–51.

Wild, Jonathan. “Genus, Species, and Mode in Vicentino’s 31-Tone Compositional Theory.” Music
Theory Online 20/2 (2014).

Zayaruznaya, Anna. “Intelligibility Redux: Motets and the Modern Medieval Sound.” Music Theory
Online 23/2 (2017).

Zayaruznaya, Anna. The Monstrous New Art: Divided Forms in the Late Medieval Motet. New York:
Cambridge University Press, 2015.

Post-1945 Music
Bauer, Amy. Ligeti’s Laments: Nostalgia, Exoticism, and the Absolute. Burlington, VT: Ashgate,
2011.

Bazayev, Inessa, and Christopher Segall (eds.). Analytical Approaches to 20th-Century Russian
Music: Tonality, Modernism, Serialism. New York: Routledge, 2020.

Drott, Eric. “The End(s) of Genre.” Journal of Music Theory 57/1 (2013): 1–45.

Emmery, Laura. Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches. New
York: Routledge, 2019.

Helgeson, Aaron. “What Is Phenomenological Music, and What Does It Have to Do with
Salvatore Sciarrino?” Perspectives of New Music 51/2 (2013): 4–36.

Howland, Patricia. “Formal Structures in Post-Tonal Music.” Music Theory Spectrum 37/1 (2015):
71–97.

Iverson, Jennifer. Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde. New
York: Oxford University Press, 2018.

Levy, Benjamin R. Metamorphosis in Music: The Compositions of György Ligeti in the 1950s and
1960s. New York: Oxford University Press, 2017.

Lochhead, Judy. Reconceiving Structure in Contemporary Music: New Tools in Music Theory and
Analysis. New York: Routledge, 2015.

Losada, C. Catherine. “Between Modernism and Postmodernism: Strands of Continuity in Collage

Compositions by Rochberg, Berio, and Zimmermann.” Music Theory Spectrum 31/1 (2009):
57–100.

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Parsons, Laurel, and Brenda Ravenscroft (eds.). Analytical Essays on Music by Women Composers:
Concert Music, 1960–2000. New York: Oxford University Press, 2016.

Reed, S. Alexander. “In C on Its Own Terms: A Statistical and Historical View.” Perspectives of New
Music 49/1 (2011): 47–78.

Wannamaker, Robert. “Rhythmicon Relationships, Farey Sequences, and James Tenney’s Spectral
CANON for CONLON Nancarrow (1974).” Music Theory Spectrum 34/2 (2012): 48–70.

Musical Transformation
Transformation Theory
Buchler, Michael. “Are There Any Bad (or Good) Transformational Analyses?” Intégral 30 (2017):
41–51.

Lewin, David. Generalized Musical Intervals and Transformations. New Haven, CT: Yale University
Press, 1987.

Lewin, David. Musical Form and Transformation: Four Analytic Essays. New Haven, CT: Yale
University Press, 1993.

Rings, Steven. Tonality and Transformation. New York: Oxford University Press, 2011.

Roeder, John. “Constructing Transformational Signification: Gesture and Agency in Bartók’s

Scherzo, Op. 14, No. 2, Measures 1–32,” Music Theory Online 15/1 (2009).

Neo-Riemannian Theory
Cohn, Richard. Audacious Euphony: Chromaticism and the Triad’s Second Nature. New York:
Oxford University Press, 2012.

Gollin, Edward, and Alexander Rehding (eds.). The Oxford Handbook of Neo-Riemannian Music
Theories. New York: Oxford University Press, 2011.

Harrison, Daniel. “Nonconformist Notions of Nineteenth-Century Enharmonicism.” Music

Analysis 21/2 (2002): 115–60.

Hook, Julian. “Uniform Triadic Transformations.” Journal of Music Theory 46/1–2 (2002): 57–126.

Kopp, David. Chromatic Transformations in Nineteenth-Century Music. New York: Cambridge

University Press, 2002.

Segall, Christopher. “Alfred Schnittke’s Triadic Practice.” Journal of Music Theory 61/2 (2017):
243–87.

Geometrical Music Theory

Callender, Clifton, Ian Quinn, and Dmitri Tymoczko. “Generalized Voice-Leading Spaces.” Science
320 (2008): 346–48.

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Frederick, Leah. “Generic (Mod-7) Voice-Leading Spaces.” Journal of Music Theory 63/2 (2019):
167–207.

Morris, Robert D. “Voice-Leading Spaces.” Music Theory Spectrum 20/2 (1998): 175–208.

Straus, Joseph N. “Uniformity, Balance, and Smoothness in Atonal Voice Leading.” Music Theory
Spectrum 25/2 (2003): 305–52.

Straus, Joseph N. “Voice Leading in Set-Class Space.” Journal of Music Theory 49/1 (2005): 45–
108.

Tymoczko, Dmitri. A Geometry of Music: Harmony and Counterpoint in the Extended Common
Practice. New York: Oxford University Press, 2011.

Discrete Fourier Transform

Amiot, Emmanuel. Music Through Fourier Space: Discrete Fourier Transform in Music Theory.
Cham, Switzerland: Springer, 2016.

Quinn, Ian. “General Equal-Tempered Harmony (Introduction and Part I).” Perspectives of New
Music 44/2 (2006): 114–58.

Quinn, Ian. “General Equal-Tempered Harmony: Parts 2 and 3.” Perspectives of New Music 45/1
(2007): 4–63.

Tymoczko, Dmitri. “Set-Class Similarity, Voice Leading, and the Fourier Transform.” Journal of
Music Theory 52/2 (2008): 251–72.

Yust, Jason. “Special Collections: Renewing Set Theory.” Journal of Music Theory 60/2 (2016):
213–62.

Twelve-Tone Theory
Bernstein, Zachary. “The Problem of Completeness in Milton Babbitt’s Music and Thought.”
Music Theory Spectrum 38/2 (2016): 241–64.

Bisciglia, Sebastiano. “A Quantitative View of Serial Analysis.” Music Theory Spectrum 39/1 (2017):
109–23.

Boss, Jack. Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea. New York:
Cambridge University Press, 2014.

Brown, Stephen C. “Twelve-Tone Rows and Aggregate Melodies in the Music of Shostakovich.”
Journal of Music Theory 59/2 (2015): 191–234.

Emmery, Laura. “Elliott Carter’s and Luigi Nono’s Analyses of Schoenberg’s Variations for
Orchestra, Op. 31: Divergent Approaches to Serialism.” Twentieth-Century Music 16/2 (2019):
191–229.

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Losada, C. Catherine. “Complex Multiplication, Structure, and Process: Harmony and Form in
Boulez’s Structures II.” Music Theory Spectrum 36/1 (2014): 86–120.

Maxile, Horace J., Jr. “Hale Smith’s ‘Evocation’: The Interaction of Cultural Symbols and Serial
Composition.” Perspectives of New Music 42/2 (2004): 122–43.

Rao, Nancy Yunhwa. “Hearing Pentatonicism Through Serialism: Integrating Different Traditions
in Chinese Contemporary Music.” Perspectives of New Music 40/2 (2002): 190–231.

Segall, Christopher. “Klingende Buchstaben: Principles of Alfred Schnittke’s Monogram

Technique.” Journal of Musicology 30/2 (2013): 252–86.

Segall, Christopher. “Prokofiev’s Symphony No. 2, Yuri Kholopov, and the Theory of Twelve-Tone
Chords.” Music Theory Online 24/2 (2018).

Straus, Joseph N. Twelve-Tone Music in America. New York: Cambridge University Press, 2009.

Russian Music Theory

Bakulina, Ellen. “Tonality and Mutability in Rachmaninoff’s All-Night Vigil, Movement 12.” Journal
of Music Theory 59/1 (2015): 63–97.

Bazayev, Inessa. “The Politics of Atonality During the Thaw and Beyond.” Music and Politics 14/2
(2020).

Cairns, Zachary. “Svetlana Kurbatskaya on Serial Music: Twelve Categories of ‘Twelve-Toneness.’”

Gamut 5 (2012): 99–132.

Carpenter, Ellon D. “Russian Theorists on Modality in Shostakovich’s Music.” In Shostakovich

Studies, ed. David Fanning (New York: Cambridge University Press, 1995), 76–112.

Ewell, Philip A. “On Rimsky-Korsakov’s False (Hexatonic) Progressions Outside the Limits of a
Tonality.” Music Theory Spectrum 42/1 (2020): 122–42.

Ewell, Philip A. “Russian Pitch-Class Set Analysis and the Music of Webern.” Gamut 6/1 (2013):
219–76.

Haas, David. Leningrad’s Modernists: Studies in Composition and Musical Thought, 1917–1932.
New York: Peter Lang, 1998.

McQuere, Gordon D. (ed.). Russian Theoretical Thought in Music. Rochester, NY: University of
Rochester Press, 1983.

Rofe, Michael. Dimensions of Energy in Shostakovich’s Symphonies. Burlington, VT: Ashgate, 2012.

Segall, Christopher. “Expanding Harmonic Function: Yuri Kholopov’s Twelve-Step System.”

Theoria 26 (2020): 113–40.

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Segall, Christopher. “Yuri Kholopov and Twelve-Toneness.” Music and Politics 14/2 (2020).

Zavlunov, Daniil. “Defining and Defending Music Analysis in the Soviet 1930s.” Music and Politics
14/2 (2020).

Classical Form
Brody, Christopher. “Parametric Interaction in Tonal Repertoires.” Journal of Music Theory 60/2
(2016): 97–148.

Burstein, L. Poundie. “The Half Cadence and Other Such Slippery Events.” Music Theory Spectrum
36/2 (2014): 203–27.

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of
Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

Caplin, William E., James Hepokoski, and James Webster. Musical Form, Forms and Formenlehre:
Three Methodological Reflections. Ed. Pieter Bergé. Leuven: Leuven University Press, 2009.

Hepokoski, James, and William Darcy. Elements of Sonata Theory: Norms, Types, and
Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press,
2006.

Monahan, Seth. Mahler’s Symphonic Sonatas. New York: Oxford University Press, 2015.

Neuwirth, Markus, and Pieter Bergé (eds.). What Is a Cadence? Theoretical and Analytical
Perspectives on Cadences in the Classical Repertoire. Leuven: Leuven University Press, 2015.

Schmalfeldt, Janet. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in
Early Nineteenth-Century Music. New York: Oxford University Press, 2011.

Tan, Daphne. “‘As Forming Becomes Form’: Listening, Analogizing, and Analysis in Kurth’s
Bruckner and Musikpsychologie.” Journal of Music Theory 61/1 (2017): 1–28.

Vande Moortele, Steven. The Romantic Overture and Musical Form from Rossini to Wagner. New
York: Cambridge University Press, 2017.

Yust, Jason. Organized Time: Rhythm, Tonality, and Form. New York: Oxford University Press,
2018.

Harmonic Theory
Clark, Suzannah. Analyzing Schubert. New York: Cambridge University Press, 2011.

Harrison, Daniel. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an
Account of Its Precedents. Chicago: University of Chicago Press, 1994.

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Harrison, Daniel. Pieces of Tradition: An Analysis of Contemporary Tonal Music. New York: Oxford
University Press, 2016.

Kinderman, William, and Harald Krebs (eds.). The Second Practice of Nineteenth-Century Tonality.
Lincoln: University of Nebraska Press, 1996.

White, Christopher Wm., and Ian Quinn. “Chord Context and Harmonic Function in Tonal Music.”
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Rhythm and Meter

Grant, Roger Mathew. Beating Time and Measuring Music in the Early Modern Era. New York:
Oxford University Press, 2014.

Hasty, Christopher. Meter as Rhythm. New York: Oxford University Press, 1997.

Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York:
Oxford University Press, 1999.

Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT
Press, 1983.

London, Justin. Hearing in Time: Psychological Aspects of Musical Meter. New York: Oxford
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Mirka, Danuta. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–
1791. New York: Oxford University Press, 2009.

Murphy, Scott (ed.). Brahms and the Shaping of Time. Rochester, NY: University of Rochester
Press, 2018.

Ng, Samuel. “Phrase Rhythm as Form in Classical Instrumental Music.” Music Theory Spectrum
34/1 (2012): 51–77.

Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer, 1989.

Schema Theory
Byros, Vasili. “Meyer’s Anvil: Revisiting the Schema Concept.” Music Analysis 31/3 (2012): 273–
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Gjerdingen, Robert O. Music in the Galant Style. New York: Oxford University Press, 2007.

Rabinovitch, Gilad. “Gjerdingen’s Schemata Reexamined.” Journal of Music Theory 62/1 (2018):
41–84.

Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice. New York: Oxford
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Sherrill, Paul, and Matthew Boyle. “Galant Recitative Schemas.” Journal of Music Theory 59/1
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Performance and Analysis

Klorman, Edward. Mozart’s Music of Friends: Social Interplay in the Chamber Works. New York:
Cambridge University Press, 2016.

Leong, Daphne. Performing Knowledge: 20th-Century Music in Analysis and Performance. New
York: Oxford University Press, 2019.

Ohriner, Mitchell. “Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin’s

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Swinkin, Jeffrey. Performative Analysis: Reimagining Music Theory for Performance. Rochester,
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Pedagogy
Duker, Philip, Anna Gawboy, Bryn Hughes, and Kris P. Shaffer. “Hacking the Music Theory
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Karpinski, Gary S. Aural Skills Acquisition: The Development of Listening, Reading, and Performing
Skills in College-Level Musicians. New York: Oxford University Press, 2000.

Lumsden, Rachel, and Jeffrey Swinkin (eds.). The Norton Guide to Teaching Music Theory. New
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Palfy, Cora S., and Eric Gilson. “The Hidden Curriculum in the Music Theory Classroom.” Journal
of Music Theory Pedagogy 32 (2018): 79–110.

Rogers, Michael R. Teaching Approaches in Music Theory: An Overview of Pedagogical

Philosophies. 2nd ed. Carbondale: Southern Illinois University Press, 2004.

Snodgrass, Jennifer. Teaching Music Theory: New Voices and Approaches. New York: Oxford
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VanHandel, Leigh (ed.). The Routledge Companion to Music Theory Pedagogy. New York:
Routledge, 2019.

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