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Cited by

• 2012M eyer's Anvil: Revisiting the Schema Concept83 cited
• 2012Harmony in Haydn and Mozart74 cited
• 2018Beyond the Classical Cadence: Thematic Closure in Early Romantic Music66 cited
• 2014Meaning construction in verbomusical environments: Conceptual disintegration and metonymy64 cited
• 2013TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA50 cited
• 2013Magnified Vision, Mediated Listening and the ‘Point of Audition’ of Early Romanticism45 cited
• 2016Parametric Interaction in Tonal Repertoires29 cited
• 2023On Figaro’s Alleged Minuet and Some Challenges and Opportunities of Topic Theory27 cited
• 2013Metrical Displacement and Metrically Dissonant Hemiolas25 cited
• 2020The Volta: A Galant Gesture of Culmination25 cited
• 2016Perceiving Irony in Music24 cited
• 2018Cadential Syntax and Tonal Expectation in Late Sixteenth-Century Homophony24 cited
• 2015Historical Hypermetrical Hearing19 cited
• 2016Bass-Line Melodies and Form in Four Piano and Chamber Works by Clara Wieck-Schumann19 cited
• 2019The Cambridge Haydn Encyclopedia