2. Svensk Tidskrift för Musikforskning 52 (1970): 71-88. The entire paper is published in English.
3. "The Three-Part Ursatz," In Theory Only 10/1-2 (August 1987), 3-29. I'm grateful to Professor Don McLean of McGill University for providing me with the reference to Neumeyer's article as well as for showing me in a most convincing way how to incorporate the important foreground features within a more orthodox five-line sketch.
4. "Musical Form and Fundamental Structure: An Investigation of Schenker's Formenlehre," Music Analysis 15/2-3 (July-October 1996), 191-297.
5. Translated by Joel E. Cohen (Urbana, University of Illinois Press, 1966).
6. Guldbrandsen gave a lecture similar to this one in Copenhagen in 1996. It is published as "New Light on Pierre Boulez and Postwar Modernism: On the Composition of Improvisation I-III sur Mallarmé," In the Plural: Institutions, Pluralism and Critical Self-Awareness in Contemporary Music [Papers from three seminars on contemporary music organized by the Department of Musicology, University of Copenhagen, as part of ISCM's World Music Days 1996], Søren Møller Sørensen, ed. (Copenhagen: University of Copenhagen, 1997), 15-28. (Free copies can be ordered from the Department of Musicology, University of Copenhagen, firstname.lastname@example.org.) The quotes above were taken from this publication. See also Guldbrandsen's dissertation Tradisjon og tradisjonsbrudd: En studie i Pierre Boulez: Pli selon pli--portrait de Mallarmé (Oslo: Scandinavian University Press, 1997).
7. See Maus's two articles "Music as Drama," Music Theory Spectrum 10 (1988), 56-73; and "Music as Narrative," Indiana Theory Review 12 (1991), 1-34.
8. Maus, 1991.
9. Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956).
10. "A Commonsense View of All Music": Reflections on Percy Graininger's Contribution to Ethnomusicology and Music Education (Cambridge: Cambridge University Press, 1987), 129.
11. See Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge, Mass.: Harvard University Press, 1996).
12. Drawing from Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, Mass: MIT Press, 1996).
End of Footnotes