2. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991).
3. McClary, "Terminal Prestige: The Case of Avant-Garde Music Composition," Cultural Critique 12 (1989), republished in Keeping Score: Music, Disciplinarity, Culture, ed. David Schwarz, Anahid Kassabian, and Lawrence Siegel (Charlottesville: University of Virginia Press, 1997), 64.
4. Patrick McCreless, "Rethinking Contemporary Music Theory," in Keeping Score, 21, passim. See also, for example, Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989; orig. pub. as Die Idee der absoluten Musik [Kassel: Baerenreiter, 1978]); Janet Schmalfeldt, "Form as the Process of Becoming: The Beethoven-Hegelian Tradition and 'Tempest' Sonata," Beethoven Forum 4 (1995): 37-71.
5. McCreless, "Rethinking Contemporary Music Theory," 31-32.
6. Joseph Kerman, "How We Got into Analysis, and How We Can Get Out," Critical Inquiry 7 (1980): 311-31; Leo Treitler, "To Worship That Celestial Sound: Motives for Analysis," Journal of Musicology 1 (1982): 153-70 (reprinted in his Music and the Historical Imagination [Cambridge, Mass: Harvard University Press, 1989] as chap. 2). See also Kerman's Contemplating Music (Cambridge, M.A.: Harvard University Press, 1985), chap. 3: "Analysis, Theory, and New Music."
7. McCreless, "Rethinking Contemporary Music Theory," 16.
9. Richard Rorty, Contingency, Irony, and Solidarity (Cambridge: Cambridge University Press, 1989).
10. Milton Babbitt, Words about Music, ed. Stephen Dembski and Joseph N. Straus (Madison: University of Wisconsin Press, 1987), 121.
11. Solomon, Beethoven (New York: Schirmer Books, 1977); Beethoven Essays (Cambridge, MA: Harvard University Press, 1988); "Charles Ives: Some Questions of Veracity," Journal of the American Musicological Society 40 (1987): 466-69; Mozart: A Life (New York: HarperCollins, 1995). See also note 1.
12. Lawrence Kramer, Music and Poetry: The Nineteenth Century and After (Berkeley and Los Angeles: University of California Press, 1984); Music and Cultural Practice, 1800-1900 (Berkeley and Los Angeles, University of California Press, 1990); Classical Music and Postmodern Knowledge (Berkeley and Los Angeles: University of California Press, 1995).
13. Carolyn Abbate, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991).
14. Jeffrey Kallberg, "The Rhetoric of Genre: Chopin's Nocturne in G Minor," 19th-Century Music 11.3 (1988): 238-61; Kallberg, "Small Fairy Voices: Sex, History and Meaning in Chopin," in Chopin Studies 2, ed. John Rink and Jim Samson, pp. 50-71 (Cambridge: Cambridge University Press, 1994); Kristina Muxfeldt, "Political Crimes and Liberty, or Why Would Schubert Eat a Peacock?," 19th-Century Music 17 (1993): 47-64; Muxfeldt, "Schubert, Platen, and the Myth of Narcissus," Journal of the American Musicological Society 49.3 (1996): 480-527.
15. Kofi Agawu, "Schubert's Sexuality: A Prescription for Analysis?"; McClary, "Music and Sexuality: On the Steblin/Solomon Debate"; James Webster, "Music, Pathology, Sexuality, Beethoven, Schubert"; and Robert S. Winter, "Whose Schubert?," in 19th-Century Music 17.1 (1993): Special Issue, ed. Lawrence Kramer, pp. 79-101.
16. Fred Everett Maus, "Masculine Discourse in Music Theory," Perspectives of New Music 31.2 (1993): 264-93; Marion Guck, "Analytical Fictions," Music Theory Spectrum 16.2 (1994): 217-30; Joseph Dubiel, "On Getting Deconstructed," Music Theory Online 2.2 (1996).
17. Ruth A. Solie, "Whose Life? The Gendered Self in Schumann's Frauenliebe Songs," in Music and Text: Critical Inquiries, ed. Steven Paul Scher (Cambridge: Cambridge University Press, 1992), 219-40; "What Do Feminists Want? A Reply to Pieter van den Toorn," Journal of Musicology 9 (1991): 399-410; Solie, ed., Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley and Los Angeles: University of California Press, 1993); "Defining 'Feminism': Conundrums, Context, Communities," Women and Music: A Journal of Gender and Culture 1 (1997); Pieter van den Toorn, "Politics, Feminism, and Contemporary Music Theory," Journal of Musicology 9 (1991): 275-99.
18. van den Toorn, Music, Politics, and the Academy (Berkeley and Los Angeles: University of California Press, 1995).
19. Marianne Kielian-Gilbert, "Invoking Motives and Immediacy: Foils and Contexts for Pieter C. van den Toorn's Music, Politics, and the Academy," 19th-Century Music 20.3 (1997): 253-78.
20. Paul Higgins, "Women in Music, Feminist Criticism, and Guerrilla Musicology: Reflections on Recent Polemics," 19th-Century Music 17.2 (1993): 174-92.
21. Janet Wolff, "Forward: The Ideology of Autonomous Art," in Music and Society: The Politics of Composition, Performance and Reception, ed. Richard Leppert and Susan McClary (Cambridge: Cambridge University Press, 1987), 1-12.
22. Scott Burnham, "A. B. Marx and the Gendering of Sonata Form," in Music Theory in the Age of Romanticism, ed. Ian Bent, (Cambridge: Cambridge University Press, 1996), 163-86. See, for example, McClary, Feminine Endings, p. 69 and pp. 13-17.
23. Burnham, Beethoven Hero (Princeton, N.J.: Princeton University Press, 1995).
24. See Joseph N. Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, M.A.: Harvard University Press, 1990); and Kevin Korsyn, "Towards a New Poetics of Musical Influence," Music Analysis 10.1-2 (1991): 3-72.
25. Straus, ed., Music by Women for Study and Analysis (Englewood Cliffs, N.J.: Prentice Hall, 1993); The Music of Ruth Crawford Seeger (Cambridge: Cambridge University Press, 1995).
26. Allen Forte, The American Popular Ballad of the Golden Era, 1924-1950 (Princeton: Princeton University Press, 1995); The Atonal Music of Anton Webern (New Haven: Yale University Press, forthcoming, Spring 1998).
27. Elizabeth West Marvin and Richard Hermann, eds., Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies (Rochester, N.Y.: University of Rochester Press, 1995).
28. Steven Block, "'Bemsha Swing': The Transformation of a Bebop Classic to Free Jazz," Music Theory Spectrum 19.2 (1997): 206-231.
End of Footnotes