¹ Kahan notes that the Prince's father, Prince Jules de Polignac ‘had been condemned by the French courts to mort civile, a total privation of his civil rights’ and that, ‘as a consequence, [Prince Edmond's] birth certificate and baptismal record identified him as … son of the Marquis de Chalançon, “currently away on a trip.”’ (Kahan, p. 9)

² I discuss Schenker's understanding of the nature of ‘genius’ and ‘non-genius’ in my dissertation. See Benjamin McKay Ayotte, ‘Incomplete Ursatzformen Transferences in the Vocal Music of Heinrich Schenker’ (PhD diss., Michigan State University, 2008): 36–37Google Scholar.

³ See Berger, Arthur, ‘Problems of Pitch Organization in Stravinsky’, Perspectives of New Music 2 (1963): 11–42Google Scholar; van, Pieter C. den Toorn, The Music of Igor Stravinsky (New Haven: Yale University Press, 1983)Google Scholar; Taruskin, Richard, Stravinsky and The Russian Tradition: A Biography of the Works through Marva, 2 vols. (Berkeley and Los Angeles: University of California Press, 1986)Google Scholar; Forte, Allen, ‘Debussy and the Octatonic’, Music Analysis 10 (1991): 125–169Google Scholar; ibid. ‘An Octatonic Essay by Webern: No. 1 of the Six Bagatelles for String Quartet, Op. 9’, Music Theory Spectrum 16 (1994): 171–95.

⁴ Perle, George, ‘Pitch-Class Set Analysis: An Evaluation’, Journal of Musicology 8 (1990): 151–172Google Scholar.

⁵ Two examples of her artwork, En Bourgogne and En Hoggar, are found on pp. 267–8.

⁶ Adapted from Kant's Critique of Pure Judgment (London, Oxford: Clarendon Press, 1973): 176Google Scholar (cited on p. 153), which states ‘Genius is the talent that gives the rule to art.’