1. I understand analysis and theory as sub-disciplines within the larger category of musicology.

2. In his New Grove article on analysis (with Anthony Pople), Bent also shows the relation of analytic practice to "criticism" and "aesthetics." His restriction to theory and history here should not be read as a repudiation of the earlier position but simply a narrowing for the purposes of the series. See Ian Bent and Anthony Pople, �Analysis,� The New Grove Dictionary of Music Online, ed. L. Macy (Accessed 2 June 2003),

3. I have left out some of the detail of Hisama's argument here, choosing instead to give a sense of her larger point.

4. Hisama takes this term and concept from Elaine Showalter: see her "Feminist Criticism in the Wilderness," The New Feminist Criticism: Essays on Women, Literature, and Theory, ed. Elaine Showalter (New York: Pantheon Books, 1985): 243-70. Quoted in Hisama, p. 19.

5. Robert Morris, Composition with Pitch-Classes: A Theory of Compositional Design (New Haven: Yale University Press, 1987) and "New Directions in the Theory and Analysis of Musical Contour," Music Theory Spectrum 15/2 (1993), 205-208; Michael Friedmann, "A Methodology for the Discussion of Contour: Its Application to Schoenberg's Music," Journal of Music Theory 29/2 (1985), 223-48; and Elizabeth West Marvin and Paul A. Laprade, "Relating Musical Contours: Extensions of a Theory for Contour," Journal of Music Theory 31/2 (1987), 225-67.

6. Suzanne Cusick, "On a Lesbian Relation with Music: A Serious Effort Not to Think Straight," Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett, Gary C. Thomas and Elizabeth Wood (New York: Routledge, 1994), 67-83.

7. Mary Poovey, A History of the Modern Fact: Problems of Knowledge in the Sciences of Wealth and Society (Chicago and London: University of Chicago Press, 1998).

8. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991); Fred Everett Maus, "Masculine Discourse in Music Theory," Perspectives of New Music 31/2 (1993), 264-93; Cusick, "On a Lesbian Relation with Music" (note 6 above); Joseph Kerman, "How We Got Into Analysis and How to Get Out," Critical Inquiry 7/2 (Winter 1980), 311-332; and Leo Treitler, "'To Worship That Celestial Sound': Motives for Analysis," Journal of Musicology 1/2 (April 1982): 153-70.

9. I cannot fully develop the sense in which I use the term presence. Simply stated, there must be some perceptual awareness of a phenomenon that can be correlated with the concept. This does not mean that a model needs to be perceived "as such" but only that it have a perceptual referent.

End of footnotes