Course Bibliography

Last updated on August 9th, 2019 at 04:47 pm GMT.

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 5. http://flipcamp.org/engagingstudents5/essays/buchler.html.
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.” Ph.D. 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.
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. http://openmusictheory.com/.
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.