2. Jeff Pressing, "Cognitive Isomorphisms Between Pitch and Rhythm in World Musics: West Africa, the Balkans and Western Tonality," Studies in Music (Australia) 17 (1983): 38-61.
3. John Clough and Jack Douthett, "Maximally Even Sets," Journal of Music Theory 35 (1991): 93-173.
4. Jack Douthett and Richard Krantz, "Energy Extreme and Spin Configurations for the One-Dimensional Antiferromagnetic Ising Model with Arbitrary-Range Interaction," Journal of Mathematical Physics 37.7 (July 1996): 3334-3353.
5. Eytan Agmon, "Linear Transformations Between Cyclically Generated Chords," Musikometrika (1991): 15-40.
6. Steve Larson, "Scale-Degree Function: A Theory of Expressive Meaning and its Application to Aural-Skills Pedagogy," Journal of Music Theory Pedagogy 7 (1993): 69-84.
7. David E. Cohen, "Aristotelian Physics and the Early Concept of Harmonic Progression," unpublished paper presented at the joint meeting of the American Musicological Society and the Society for Music Theory, October 30, 1997.
8. David Lewin, Generalized Musical Intervals and Transformations (New Haven: Yale University Press, 1987), pp. 175-180; idem., "Some Notes on Analyzing Wagner: The Ring and Parsifal," 19th-Century Music 16 (1992): 49-58; Brian Hyer, "Reimag(in)ing Riemann," Journal of Music Theory 39 (1995): 101-138; Richard Cohn, "Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations," Journal of Music Theory 41 (1997): 1-66.
9. Thomas Christensen, Rameau and Musical Thought in the Enlightenment (Cambridge: Cambridge University Press, 1993).
10. Janna Saslaw, "Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music," Journal of Music Theory 40 (1996): 217-243; Lawrence Zbikowski, "Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy," Journal of Music Theory 41, no. 2 (1997; in press).
11. Marion Guck, "Two Types of Metaphoric Transference," in Metaphor--A Musical Dimension, ed. Jamie C. Kassler (Sydney, Australia: The Currency Press), 1-12; Judy Lochhead, "The Metaphor of Musical Motion: Is There an Alternative?" Theory & Practice 14/15 (1989/1990), 83-104; Nicholas Cook, "Music Theory and 'Good Comparison': A Viennese Perspective," Journal of Music Theory 33 (1989): 117-141. Zbikowski's recent "Metaphor and Music Theory: Reflections from Cognitive Science" (Music Theory Online 4.1, 1998) and the electronic dialog that it stimulated on mto-talk are but the most recent manifestations.
12. Adele Katz, Challenge to Musical Tradition (New York: Alfred A. Knopf, 1945); Felix Salzer, Structural Hearing (New York: Charles Boni, 1952); Benjamin Boretz, "Meta-Variations: Studies in the Foundations of Musical Thought," Ph.D. diss, Princeton University, 1970; John Clough, "Diatonic Interval Sets and Transformational Structures," Perspectives of New Music 18 (1979-80): 461-482.
13. Jay Rahn, A Theory for All Music (Toronto: University of Toronto Press, 1982); Kofi Agawu, African Rhythm: a Northern Ewe Perspective (Cambridge: Cambridge University Press, 1995).
14. Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge: MIT Press, 1983).
15. Lewin, Generalized Musical Intervals, op. cit.; idem, Musical Form and Transformation: Four Analytical Essays (New Haven: Yale University Press, 1994); Henry Klumpenhouwer, "An Instance of Parapraxis in the Gavotte of Schoenberg's Opus 25," Journal of Music Theory 38 (1994): 217-248.
16. Deborah Stein and Robert Spillman, Poetry into Song: Performance and Analysis of Lieder (New York: Oxford University Press, 1996); Joel Lester, The Rhythms of Tonal Music (Carbondale: Southern Illinois University Press, 1986); William Rothstein, Phrase Rhythm in Tonal Music (New York: Schirmer, 1990).
17. Martha M. Hyde, "Twentieth-Century Analysis during the Past Decade: Achievements and New Directions," Music Theory Spectrum 11 (1989): 38-39.
18. Paul Berliner, Thinking in Jazz (Chicago: University of Chicago Press, 1994); Simha Arom, African Polyphony and Polyrhythm: Musical Structure and Methodology, trans. Martin Thom, Barbara Tuckett, and Raymond Boyd (Cambridge: Cambridge University Press; Paris: Editions de la Maison des Sciences de l'Homme, 1991); Steven Feld, Sound and Sentiment: Birds, Weeping, Poetics and Song in Kaluli Expression (Philadelphia: University of Pennsylvania Press, 1982).
19. The initial English-language report of this discovery is Lee Yuan-Yuan, "An Amazing Discovery in Chinese Music," Chinese Music 2.2 (1979): 16-17. A more comprehensive report by the same author is "The Music of the Zenghou Zhong," Chinese Music 3.1 (1980): 3-15.
20. See Lothar von Falkenhausen, Suspended Music: Chime-Bells in the Culture of Bronze-Age China (Berkeley and Los Angeles: University of California Press, 1993) and Cheng-Yih Chen, ed., Two-Tone Set-Bells of Marquis Yi (Singapore: World Scientific, 1994). Falkenhausen's book has been reviewed by a music theorist, Lewis Rowell, although not in a music journal. (See Journal of Asian History 29.1 (1995): 91).
21. Jean-Jacques Nattiez, Music and Discourse, trans. Carolyn Abbate (Princeton: Princeton University Press, 1990); Anatol Vieru, The Book of Modes (Bucharest: Editura Musicala, 1993).
22. Loris Azzaroni, Canone Infinito: Lineamenti di teoria della musica (Bologna: Cooperativa Libreria Universitaria Editrice Bologna, 1997).
End of Footnotes