References

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Cited by

• 1996Atonality, Analysis, and the Intentional Fallacy91 cited
• 1994Brahms and Schenker: A Mutual Response to Sonata Form77 cited
• 1999Late-Nineteenth-Century Chamber Music and the Cult of the Classical Adagio65 cited
• 2013Tonal Pairing and Monotonality in Instrumental Forms of Beethoven, Schubert, Schumann, and Brahms57 cited
• 2012Emotions in Music56 cited
• 2013The Viennese symphony 1750 to 182735 cited
• 2002Thematic and motivic analysis34 cited
• 2018Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvořák’s Later Chamber Music33 cited
• 2013Brahms, Kierkegaard and Repetition: Three Intermezzi27 cited
• 1988Brahms' integration of traditional and progressive tendencies: A look at three sonata expositions25 cited
• 2019Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid24 cited
• 2023Leitmotivic Strategies in Nobuo Uematsu’s Final Fantasy Soundtracks22 cited
• 2013The Cambridge Companion to the Symphony22 cited
• 2007Fanny Hensel's Op. 8, No. 1: A Special Case of ‘multum in parvo’?21 cited
• 1991