1 See, for example, Taruskin, Richard, The Oxford History of Western Music, 5 vols (Oxford and New York: Oxford University Press, 2010 [2005]), vol. 3, Chapter 8, ‘Midcentury’Google Scholar, and vol. 4, in which much of Chapters 1–7 deals with Taruskin's concept of maximalism.

2 See especially Hepokoski, , ‘Modalities of National Identity: Sibelius Builds a First Symphony’, in The Oxford Handbook of the New Cultural History of Music, ed. Fulcher, Jane F. (Oxford and New York: Oxford University Press, 2011), 453–82Google Scholar.

3 Harper-Scott, J. P. E., Edward Elgar: Modernist (Cambridge: Cambridge University Press, 2006)CrossRefGoogle Scholar.

4 A selected list of Grimley, 's publications: Grieg: Music, Landscape, and Norwegian Identity (Woodbridge: The Boydell Press, 2006)Google Scholar; Jean Sibelius and His World (Princeton: Princeton University Press, 2011); ‘Music, Landscape, Attunement: Listening to Sibelius's Tapiola’, Journal of the American Musicological Society 64/2 (2011), 394–8; ‘Storms, Symphonies, Silence: Sibelius's Tempest Music and the Invention of Late Style’, in Jean Sibelius and His World, 186–226; The Cambridge Companion to Elgar, ed. Daniel Grimley and Julian Rushton (Cambridge: Cambridge University Press, 2004).

5 Jensen, , Carl Nielsen: Danskeren (Copenhagen: Gyldendal, 1991)Google Scholar.

6 See Grimley's discussion at 23–30 and 50–52.

7 Cone, Edward T., ‘Analysis Today’, in Music: a View from Delft, ed. Morgan, Robert P. (Chicago: University of Chicago Press, 1989), 54Google Scholar. I am aware of harsh critiques of this claim of Cone's, particularly Kramer, Lawrence, ‘Haydn's Chaos, Schenker's Order; or, Hermeneutics and Music Analysis, Can They Mix?’, 19th-Century Music 16/1 (1992), 3CrossRefGoogle Scholar.