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Cited by

• 2011Metaphors of depth in German musical thought : from E. T. A. Hoffmann to Arnold Schoenberg73 cited
• 2003Choreographic Cognition62 cited
• 2002Chromatic Transformations in Nineteenth-Century Music51 cited
• 1996From Gretchen to Tristan: The Changing Role of Harmonic Sequences in the Nineteenth Century50 cited
• 2003Accents and expression in piano performance35 cited
• 2001The Aesthetics of Duke Ellington's Suites: The Case of "Togo Brava"29 cited
• 2004A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan25 cited
• 2020A “Proto-Theme” in Some of J. S. Bach’s Fugal Works21 cited
• 2016Bass-Line Melodies and Form in Four Piano and Chamber Works by Clara Wieck-Schumann19 cited
• 1999Bridging the divide: embedding voice-leading analysis in string pedagogy and performance15 cited
• 2008P erformance , G rouping and S chenkerian A lternative R eadings in S ome P assages from B eethoven ’ s ‘L ebewohl ’ S onata13 cited
• 2008Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas13 cited
• 2010Form-Building Patterns and Metaphorical Meaning12 cited
• 2009Sound-objects, Values and Characters in Åke Parmerud’sLes objets obscurs, 3rd Section