Further resources

 

Agawu, Kofi. Playing with Signs: a Semiotic Interpretation of Classical Music. Princeton: Princeton University Press, 1991.

Agawu, Kofi. ‘The Challenge of Semiotics’, in Rethinking Music, ed. Cook, and Everist, Oxford: Oxford University Press, 1999, 138–61.

Agawu, Kofi. Music as Discourse: Semiotic Adventures in Romantic Music. Oxford: Oxford University Press, 2009.

Bernard, Jonathan W. “Chord, Collection, and Set in Twentieth-Century Theory.” In Music Theory in Concept and Practice, edited by David Beach James M. Baker, Jonathan W. Bernard, 11–51. Rochester: University of Rochester Press, 1997.

Burnham, Scott, "Musical and Intellectual Values: Interpreting the History of Tonal Theory," Current Musicology 53 (1993), 76–88.

Cherlin, Michael. "Why We Got Into Analysis and What to Get Our of It." Theory and Practice 11 (1986), 53–74.

Christensen, Thomas, ed. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2002.

Christensen, Thomas, ed. Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press, 1993.

Christensen, Thomas, ed. Stories of tonality in the age of François-Joseph Fétis. Chicago: The University of Chicago Press, 2019.

Cook, Nicholas. "Schenker's Theory of Music as Ethics," The Journal of Musicology 7/4 (1989), 415–39.

Dahlhaus, Carl, Studies on the Origin of Harmonic Tonality.Princeton: Princeton University Press, 2014.

Drabkin, William. “Heinrich Schenker.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, Cambridge: Cambridge University Press, 2002, 812–43.

Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1974.

Forte, Allen. “Pitch-Class Set Analysis Today.” Music Analysis 4/1-2 (1985): 29–58.

p>Grant, M. J. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge: Cambridge University Press, 2001.

Johnson, Timothy A. Foundations of diatonic theory : a mathematically based approach to music fundamentals. Lanham, MD: Scarecrow Press, 2008.

Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994.

Hatten, Robert. "A Theory of Musical Gesture and its Application to Beethoven and Schubert." in Music and Gesture, ed. Gritten, and King. Abingdon: Routledge, 2016, 1–23.

Keiler, Allan and Schenker, "The Origins of Schenker's Thought: How Man Is Musical," Journal of Music Theory 33/2 (1989), 273–98.

Kerman, Joseph. How We Got into Analysis, and How to Get Out," Critical Inquiry 7/2 (1980), 311–31.

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

Lewin, David. Studies in Music With Text. Oxford: Oxford University Press, 2006.

McCreless, Patrick. “Contemporary Music Theory and the New Musicology: An Introduction,” Music Theory Online2/2 (1996): np.

Mirka, Danuta. "Intoduction," In The Oxford Handbook of Topic Theory. Danuta Mirka, ed. Oxford: Oxford University Press, 2013.

Monelle, Raymond. Linguistics and Semiotics in Music. London: Harwood, 1992.

Moreno, Jairo Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber. Bloomington: Indiana University Press, 2004.

Morris, Robert D. Composition With Pitch-Classes: A Theory of Compositional Design. New Haven: Yale University Press, 1987.

Nattiez, Jean-Jacquez. Music and Discourse: Toward a Semiology of Music. Princeton: Princeton University Press, 1990.

Palisca, Claude, Humanism in Italian Renaissance Musical Thought. New Haven: Yale University Press, 1986.

Palisca, Claude, Music and Ideas in the Sixteenth and Seventeenth Centuries. Urbana and Chicago: University of Illinois Press, 2006.

Parkhurst, Bryan J. "Making a Virtue of Necessity; Schenker and Kantian Teleology," Journal of Music Theory 61/1 (2017), 59–109.

Rahn, John. Basic Atonal Theory. NY: Longman, 1980.

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

Roeder, John. “Transformation in Post-Tonal Music.” Oxford: Oxford University Press, 2014.

Rothstein, William. "The Americanization of Heinrich Schenker." In Schenker Studies, dited by Hedi Siegel, Cambridge: Cambridge University Press, 1990, 193–203.

Salzer, Felix. Structural Hearing: Tonal Coherence in Music. New York: Charles Boni; rep. Dover, 1952.

Samuels, Robert. Mahler's Sixth Symphony: a Study in Musical Semiotics. Cambridge: Cambridge University Press, 1995

Schachter, Carl, “Elephants, Crocodiles, and Beethoven: Schenker's Politics and the Pedagogy of Schenkerian Analysis,” Theory abd Practice 26 (2001), 1–20.

Street, Alan, “Superior Myths, Dogmatic Allegories: The Resistance to Musical Unity,” Music Analysis 8 (1989), 77–123.

Straus, Joseph N. Introduction to Post-Tonal Theory. NY: W. W. Norton, 2016.

Tarasti, Eero. “The Emancipation of the Sign: On the Corporeal and Gestural Meanings in Music.” Applied Semiotics/Sémiotique appliquée 2/4 (1997): 15–26.

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

Wason, Robert W. Viennese Harmonic Theory From Albrechtsberger to Schenker and Schoenberg. Ann Arbor: UMI Research Press, 1985.

 

Further Topics

 

Chromaticism, Jazz Theory

 

Music Theory and Philosophy

 

The Turn Toward Embodiment

 

Theories of Improvisation

 

 

Videos and further research

 

History of Music Theory Study Group

 

Schenker Documents Online