¹ Banfield, Stephen, “From Harry Partch to Dolly Parton,” Journal of American Studies, 22 (1988), 281–84.CrossRefGoogle Scholar

² Ibid., 284.

³ Kerman, Joseph, Musicology (London: Fontana, 1985).Google Scholar Published in the United States as Contemplating Music: Challenges to Musicology (Cambridge: Harvard University Press, 1985).Google Scholar All subsequent references are to the British edition.

⁴ Ibid., 124.

⁵ Ibid., 123. See also Kerman, Joseph, “A Profile for American Musicology,” journal of the American Musicological Society, 18 (Spring, 1965), 62–63.CrossRefGoogle Scholar

⁶ Kerman, Joseph, “How we got into Analysis, and How to get out,” Critical Inquiry, 7 (Winter, 1980), 311–31.CrossRefGoogle Scholar

⁷ Ruston, Julian, Review of Joseph Kerman, Musicology (London: Fontana, 1985)Google Scholar, Music and Letters, 67, (1986), 196.Google Scholar

⁸ Gibbs, Christopher, Review of Joseph Kerman, Contemplating Music: Challenges to Musicology (Cambridge: Harvard University Press, 1985)Google Scholar, Current Musicology, 39 (1985), 72.Google Scholar

⁹ Treitler, Leo, “Structural and Critical Analysis,” Musicology in the 1980s, eds. Holoman, D. Kern and Palisca, Claude V. (New York: Da Capo Press), 77.Google Scholar

¹⁰ Ibid., 72 (my emphasis).

¹¹ Subotnik, Rose Rosengard, “Musicology and Criticism,” Musicology in the 1980s, eds. Holoman, D. Kern and Palisca, Claude V. (New York: Da Capo Press), 151.Google Scholar

¹² Ibid., 152.

¹³ Ibid., 154.

¹⁴ Bukofzer, Manfred F., Music in the Baroque Era (New York: Norton, 1947. London: J. M. Dent, 1947), xiii.Google Scholar

¹⁵ Ibid., xiii.

¹⁶ Ibid., 59.

¹⁷ Tomlinson, Gary, Monteverdi and the End of the Renaissance (London: Oxford University Press, 1987), 136.Google Scholar