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Cited by

• 1997The ♯IV(♭V) Hypothesis: Testing the Limits of Schenker's Theory of Tonality29 cited
• 1995Chromatic Third-Relations and Tonal Structure in the Songs of Debussy27 cited
• 2004Twentieth-Century Chamber Music26 cited
• 2002Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music24 cited
• 2001Debussy's Late Style and the Devices of the Early Silent Cinema23 cited
• 2017Harmonic qualities in Debussy's “Les sons et les parfums tournent dans l'air du soir”21 cited
• 1999Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-190817 cited
• 2015Scale Systems and Large-Scale Form in the Music of Yes6 cited
• 2002Traversing distances: Pitch organization, gesture and imagery in the late works of T l ru Takemitsu6 cited
• 2001Styles and languages around the turn of the century6 cited
• 2003Enlivening analysis through performance: ‘Practising set theory’5 cited
• 2017A Voicing-Based Model for Additive Harmony5 cited
• 2004Transformational Streams: Unraveling Melodic Processes in Twentieth-Century Motivic Music5 cited
• 2005Mapping the Geometries of Pitch-Class Set Similarity Measures via Multidimensional Scaling5 cited