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Cited by

• 2013The Viennese symphony 1750 to 182735 cited
• 2018Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvořák’s Later Chamber Music33 cited
• 2013The Cambridge Companion to the Symphony22 cited
• 2021Parallel Binary or Tripartite? Formal Hybridisation of Sonata Types in the Nineteenth Century16 cited
• 2018Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony10 cited
• 2013Chromatic‐Third Relations in the Music of B ruckner: a Neo‐ R iemannian Perspective8 cited
• 2021Formalising Star Clusters: Sonata Process and Breakthrough Function in the Adagio of Mahler's Tenth Symphony6 cited
• 2013Cyclical thematic processes in the nineteenth-century symphony5 cited
• 2013Other classical repertories4 cited
• 2013The symphony in Britain: guardianship and renewal3 cited
• 2013Introduction: understanding the symphony3 cited
• 2013Beethoven’s shadow: the nineteenth century3 cited
• 2013The symphony since Mahler: national and international trends2 cited
• 2013Harmonies and effects: Haydn and Mozart in parallel2 cited
• 2013