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Published online by Cambridge University Press:  22 September 2009

David Kopp
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University of Washington
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References

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Apel, Willi. The Harvard Dictionary of Music, 2nd ed. Cambridge, Mass.: Harvard University Press, 1969
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Burnham, Scott. “Method and Motivation in Hugo Riemann's History of Harmonic Theory.”Music Theory Spectrum, vol. 14, no. 1, Spring 1992, pp. 1–14CrossRef
Burnham, Scott. Musical Form in the Age of Beethoven. Cambridge: Cambridge University Press, 1997
Catel, Charles-Simon. Traite d’harmonie … adopte par le Conservatoire pour servir a l’etude dans cet establissement. Leipzig: A. Kuhnel, early 1800s, with German trans. Also trans. L. Mason as A Treatise on Harmony. Boston: J. Loring, 1832
Childs, Adrian P.“Moving Beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 181–193CrossRefGoogle Scholar
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Christensen, Thomas. Review of Carl Dahlhaus’Studies on the Origin of Harmonic Tonality. Music Theory Spectrum, vol. 15, no. 1, Spring 1993, pp. 94–111
Christensen, Thomas. “Music Theory and its Histories.” In Music Theory and the Exploration of the Past, ed. D. Bernstein and C. Hatch. Chicago: University of Chicago Press, 1993, pp. 9–39
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Cohn, Richard. “Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations.”Journal of Music Theory, vol. 42, no. 1, Spring 1997, pp. 1–66
Cohn, Richard. “Square Dances With Cubes.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 283–295CrossRef
Cohn, Richard. “Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 167–179CrossRef
Cohn, Richard. “As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert.”19th Century Music, vol. 22, no. 3, Spring 1999, pp. 213–232CrossRef
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Jesson, Ronald. “Third Relation in the Late Eighteenth and Early Nineteenth Centuries.” Ph.D. dissertation, Indiana University, 1958
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Bailey, Robert. “An Analytical Study of the Sketches and Drafts.” In Richard Wagner: Prelude and Transfiguration from Tristan und Isolde, ed. R. Bailey. New York: Norton, 1985, pp. 121–122
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Bernstein, David. “Symmetry and Symmetrical Inversion in Turn-of-the-Century Theory and Practice.” In Music Theory and the Exploration of the Past, ed. D. Bernstein and C. Hatch. Chicago: University of Chicago Press, 1993, pp. 377–408
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Burnham, Scott. “Aesthetics, Theory and History in the Works of Adolph Bernhard Marx.” Ph.D. dissertation, Brandeis University, 1988
Burnham, Scott. “Method and Motivation in Hugo Riemann's History of Harmonic Theory.”Music Theory Spectrum, vol. 14, no. 1, Spring 1992, pp. 1–14CrossRef
Burnham, Scott. Musical Form in the Age of Beethoven. Cambridge: Cambridge University Press, 1997
Catel, Charles-Simon. Traite d’harmonie … adopte par le Conservatoire pour servir a l’etude dans cet establissement. Leipzig: A. Kuhnel, early 1800s, with German trans. Also trans. L. Mason as A Treatise on Harmony. Boston: J. Loring, 1832
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Christensen, Thomas. Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press, 1993
Christensen, Thomas. Review of Carl Dahlhaus’Studies on the Origin of Harmonic Tonality. Music Theory Spectrum, vol. 15, no. 1, Spring 1993, pp. 94–111
Christensen, Thomas. “Music Theory and its Histories.” In Music Theory and the Exploration of the Past, ed. D. Bernstein and C. Hatch. Chicago: University of Chicago Press, 1993, pp. 9–39
Cinnamon, Howard. “Tonic Arpeggiation and Successive Equal Third Relations as Elements of Tonal Evolution.”Music Theory Spectrum, vol. 8, 1986, pp. 1–24CrossRefGoogle Scholar
Cohn, Richard. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late Romantic Triadic Progressions.”Music Analysis, vol. 15, no. 1, 1996, pp. 9–40CrossRefGoogle Scholar
Cohn, Richard. “Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations.”Journal of Music Theory, vol. 42, no. 1, Spring 1997, pp. 1–66
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Cohn, Richard. “Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 167–179CrossRef
Cohn, Richard. “As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert.”19th Century Music, vol. 22, no. 3, Spring 1999, pp. 213–232CrossRef
Dahlhaus, Carl. “Terminologisches zum Begriff der harmonischen Funktion.”Die Musikforschung 28, no. 2, 1975, pp. 197–202Google Scholar
Dahlhaus, Carl. “Über den Begriff der tonalen Funktion.” In Beiträge zur Musiktheorie des 19. Jahrhundert, ed. Martin Vogel. Regensburg: Gustav Bolle, 1966, pp. 93–102
Dahlhaus, Carl. Studies on the Origin of Harmonic Tonality, trans. Robert Gjerdingen. Princeton: Princeton University Press, 1990
Dehn, Siegfried. Theoretische-Praktische Harmonielehre, mit angefugten Generalbaβbeispielen. Berlin: W. Thome, 1840
Ferris, Joan. “The Evolution of Rameau's Harmonic Theories.”Journal of Music Theory, vol. 3, no. 1, Nov. 1959, pp. 231–256CrossRefGoogle Scholar
Fétis, François-Joseph. Esquisse de l’histoire de l’harmonie (1840), trans. Mary Ⅰ. Arlin. Stuyvesant, NY: Pendragon Press, 1994
Forte, Allan, and Steven Gilbert. Introduction to Schenkerian Analysis. New York: W. W. Norton, 1982
Goetschius, Percy. The Theory and Practice of Tone-Relations, 28th ed. New York: G. Schirmer, 1931
Gollin, Edward. “Some Aspects of Three-Dimensional Tonnetze.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 195–205CrossRefGoogle Scholar
Grabner, Hermann. Handbuch der funktionellen Harmonielehre, vol. Ⅰ. Berlin: Max Hesse, 1950
Harrison, Daniel. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents. Chicago: University of Chicago Press, 1994
Hauptmann, Moritz. Die Natur der Harmonik und der Metrik. Leipzig: Breitkopf & Härtel, 1853. Also trans. W. E. Heathcote as The Nature of Harmony and Metre. London: Swan Sonnenschein, 1888
Hauptmann, Moritz. Die Lehre von der Harmonik. Leipzig: Breitkopf & Härtel, 1868
Hayes, Deborah. “Rameau's Theory of Harmonic Generation: an Annotated Translation and Commentary of Génération harmonique of Jean-Philippe Rameau.” Ph.D. dissertation, Stanford University, 1968. Ann Arbor: UMI Research Press, 1983
Heinichen, Johann David. Neu erfundene und grundliche anweisung wie ein Music-liebender … konne zu vollkommener Erlernung des Generalbaβes. Hamburg: B. Schillers, 1711
Helmholtz, Hermann. On the Sensations of Tone [1877, 4th ed.], trans. A. J. Ellis. New York: Dover, 1954
Hoffman, Mark. “A Study of German Theoretical Treatises of the Nineteenth Century.” Ph.D. dissertation, Eastman School of Music, 1953
Hyer, Brian. “Tonal Intuitions in Tristan und Isolde.” Ph.D. dissertation, Yale University, 1989
Hyer, Brian. “Reimag(in)ing Riemann.”Journal of Music Theory, vol. 39, no. 1, Spring 1995, pp. 101–138CrossRef
Imig, Renate. Systeme der Functionsbezeichnung in den Harmonielehren seit Hugo Riemann. Düsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft, 1970
Jesson, Ronald. “Third Relation in the Late Eighteenth and Early Nineteenth Centuries.” Ph.D. dissertation, Indiana University, 1958
Jorgenson, Dale. Moritz Hauptmann of Leipzig. Lewiston, NY: The Edwin Mellen Press, 1986
Karg-Elert, Sigfrid. Polaristische Klang- und Tonalitätslehre. Leipzig: F. E. C. Leuckart, 1931
Keiler, Allan. “The Syntax of Prolongation.”In Theory Only, vol. 3, no. 5, Aug. 1977, pp. 3–27Google Scholar
Keiler, Allan. “Music as Metalanguage: Rameau's Fundamental Bass.” In Music Theory: Special Topics. New York: Academic Press, 1981
Keiler, Allan. “On Some Properties of Schenker's Pitch Derivations.”Music Perception, vol. 1, no. 2, Winter 1983/84, pp. 200–228CrossRef
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  • Bibliography
  • David Kopp, University of Washington
  • Book: Chromatic Transformations in Nineteenth-Century Music
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481932.011
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  • Bibliography
  • David Kopp, University of Washington
  • Book: Chromatic Transformations in Nineteenth-Century Music
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481932.011
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  • Bibliography
  • David Kopp, University of Washington
  • Book: Chromatic Transformations in Nineteenth-Century Music
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481932.011
Available formats
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