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Cited by

• 2019Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid24 cited
• 2016In Search of Liberated Time, or Schubert's Quartet in G Major, D. 887: Once More Between Sonata and Variation18 cited
• 2019The First Movement of Mahler’s Tenth Symphony and the “Burden” of Romantic Form15 cited
• 2017Interactions between Harmony and Form in a Corpus of Rock Music15 cited
• 2014Schumann’s Continuous Expositions and the Classical Tradition14 cited
• 2018Form—Function—Content13 cited
• 2017Of Beginnings and Ends12 cited
• 2013Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata12 cited
• 2018Steven Vande Moortele, The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge: Cambridge University Press, 2017), Hardback: £64.99. 302 pp. ISBN 9781107163195. Julian Horton, Brahms’ Piano Concerto No. 2, Op. 83: Analytical and Contextual Studies (Analysis in Context: Leuven Studies in Musicology, 4) (Peeters: Leuven, 2017), Hardback: €110.00. xii + 366 pp. ISBN 9789042933408.11 cited
• 2018Haydn’s Impropriety10 cited
• 2023Organising music’s structures: The classification of musical forms in Western art music6 cited
• 2012Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design?4 cited
• 2016Harmony in Beethoven