The bibliography given below is automatically generated using Zotero, in Chicago author-date format. The citation may have errors—if you notice any, please let me know.
Some of the sources below may be available on our course Blackboard page, under Readings. If you need help getting access to a source, just email me.
Almén, Byron. 2003. “Narrative Archetypes: A Critique, Theory, and Method of Narrative Analysis.” Journal of Music Theory 47 (1): 1–39.
Austin, J. L. 1975. How to Do Things with Words: Second Edition. Edited by J. O. Urmson and Marina Sbisà. 2 edition. Cambridge, Mass: Harvard University Press.
Barthes, Roland. (1968) 1989. “The Death of the Author.” In The Rustle of Language, translated by Richard Howard. University of California Press.
Beach, David. 2012. Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition. 1 edition. New York, NY ; Abingdon, Oxon: Routledge.
Boone, Christine. 2018. “Gendered Power Relationships in Mashups.” Music Theory Online
24 (1). http://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.boone.html
Buchler, Michael. 2017. “A Case Against Teaching Set Classes to Undergraduates.” Engaging Students: Essays in Music Pedagogy
Burns, Lori. 2002. “‘Close Readings’ of Popular Song: Intersections among Sociocultural, Musical, and Lyrical Meanings.” In Disruptive Divas: Feminism, Identity and Popular Music, by Lori Burns and Melissa Lafrance, 31–62. New York: Routledge.
Burns, Lori. 2010. “Vocal Authority and Listener Engagement: Musical and Narrative Expressive Strategies in the Songs of Female Pop-Rock Artists, 1993–95.” In Sounding Out Pop: Analytical Essays in Popular Music, edited by Mark Spicer and John Covach, 154–92. Ann Arbor: University of Michigan Press.
Chatman, Seymour. 1978. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, NY: Cornell University Press.
Covach, John. 2005. “Form in Rock Music: A Primer.” Engaging Music: Essays in Music Analysis, 65–76.
Hepokoski, James A., and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. Oxford ; New York: Oxford University Press.
James, Robin. 2018. “Toned down for What? How ‘chill’ Turned Toxic.” The Guardian
, July 2, 2018. https://www.theguardian.com/music/2018/jul/02/toned-down-for-what-how-chill-turned-toxic
Klein, Michael L. 2012. “Musical Story.” In Music and Narrative since 1900, edited by Michael L. Klein and Nicholas Reyland, 3–25. Musical Meaning and Interpretation. Bloomington: Indiana University Press.
Lavengood, Megan. 2017. “A New Approach to the Analysis of Timbre.” PhD diss., New York: City University of New York.
McAdams, Stephen. 1999. “Perspectives on the Contribution of Timbre to Musical Structure.” Computer Music Journal 23 (3): 85–102.
Monahan, Seth. 2011. “Sonata Theory in the Undergraduate Classroom.” Journal of Music Theory Pedagogy 25: 63–128.
Nobile, Drew F. 2015. “Counterpoint in Rock Music: Unpacking the ‘Melodic-Harmonic Divorce.’” Music Theory Spectrum
37 (2): 189–203. https://academic.oup.com/mts/article-abstract/37/2/189/1083396
Rogers, Lynne, Karen M Bottge, and Sara Haefeli. 2020. Writing in Music: A Brief Guide. New York: Oxford University Press.
Rothstein, William. 1989. Phrase Rhythm in Tonal Music. New York: Schirmer Books.
Saussure, Ferdinand de. 1959. Course in General Linguistics. Edited by Charles Bally and Albert Sechehaye. Translated by Wade Baskin. New York: The Philosophical Library, Inc.
Schachter, Carl. 2016. The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory. Edited by Joseph N. Straus. New York: Oxford University Press.
Shaffer, Kris, Bryn Hughes, and Brian Moseley. 2018. Open Music Theory
Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory Online
23 (2). http://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html
Stanyek, Jason. 2014. “Forum on Transcription.” Twentieth-Century Music
11 (01): 101–61. https://doi.org/10.1017/S1478572214000024
Straus, Joseph Nathan. 2016. Introduction to Post-Tonal Theory. 4th ed. Upper Saddle River, NJ: Prentice Hall.