References

• 1996Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions376 cited
• 1995Reimag(in)ing Riemann151 cited
• 1977The Structure of the "Ring" and Its Evolution127 cited
• 1976Dissonant Prolongation: Theoretical and Compositional Precedents115 cited
• 1991Towards a New Poetics of Musical Influence108 cited
• 1987Liszt's Experimental Idiom and Music of the Early Twentieth Century104 cited
• 1980Influence: Plagiarism and Inspiration75 cited
• 1984Amfortas's Prayer to Titurel and the Role of D in "Parsifal": The Tonal Spaces of the Drama and the Enharmonic C♭/B75 cited
• 1993Brahms as Liberal: Genre, Style, and Politics in Late Nineteenth-Century Vienna74 cited
• 1990Haydn's Theater Symphonies68 cited
• 1991Debussy and the Octatonic52 cited
• 1999Mozart's C minor Fantasy, K.475: An Editorial ‘Problem’ and its Analytical and Critical Consequences45 cited
• 1992The Two Versions of Bruckner's Eighth Symphony41 cited
• 1987Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality38 cited
• 1991The "Anxiety of Influence" in Twentieth-Century Music37 cited