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Cited by

• 2004Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice132 cited
• 1993The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal84 cited
• 1994Minimalism: Aesthetic, Style, or Technique?61 cited
• 2012American Stravinsky : The Style and Aesthetics of Copland's New American Music, the Early Works, 1921-193833 cited
• 2007THE TRADITION OF ALL THE DEAD GENERATIONS28 cited
• 2007Dismantling a Dystopia: On the Historiography of Music in the Third Reich26 cited
• 2015"No Restrictions in Any Way on Style": The Ford Foundation’s Composers in Public Schools Program, 1959-196914 cited
• 2010The Jazz Image13 cited
• 2008“What I Call a Sound”: Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers12 cited
• 1991Ruth Crawford's "Spiritual Concept": The Sound-Ideals of an Early American Modernist, 1924-193011 cited
• 2006Music and the Allegory of Memory in Margaret Garner8 cited
• 2005An examination of notation in selected repertoire for multiple percussion5 cited
• 2012The American Stravinsky: the style and aesthetics of Copland's new American music, the early works, 1921-19385 cited
• 2007From Neume toFolio: Mediaeval Influences on Earle Brown's Graphic Notation