Select bibliography
Agawu, V. K., Playing with Signs: A Semiotic Interpretation of Classic Music, Princeton University Press, 1991
Agawu, V. K., Review of R. S. Hatten: Musical Meaning in Beethoven, Current Musicology 60–61 (1996), pp. 147–161
Agawu, V. K., Music as Discourse: Semiotic Adventures in Romantic Music, Oxford University Press, 2009
Agmon, E., “The First Movement of Beethoven’s Cello Sonata, Op. 69: The Opening Solo as a Structural and Motivic Source,” The Journal of Musicology 16 (1998), pp. 394–409
Alegant, B., “A-Major Events,” in Keys to the Drama: Nine Perspectives on Sonata Form, ed. Sly, G., Farnham: Ashgate, 2009, pp. 199–224
Almén, B., A Theory of Musical Narrative, Bloomington: Indiana University Press, 2008
Amon, R., Lexikon der Harmonielehre, Munich: Doblinger, 2005
Arthurs, D. J., “Irony and Illusion in the Second Movement of Beethoven’s Piano Sonata, Op. 101,” Journal of Schenkerian Studies 7 (2013), pp. 63–81
Barry, B., “In Beethoven’s Clockshop: Discontinuity in the Opus 18 Quartets,” The Musical Quarterly 88 (2005), pp. 320–337
Beach, D. W., “Motivic Repetition in Beethoven’s Piano Sonata Op. 110; Part I: The First Movement,” Intégral 1 (1987), pp. 1–29; “Motivic Repetition in Beethoven’s Piano Sonata Op. 110; Part II: The Trio of the Second Movement and the Adagio-Arioso,” Intégral 2 (1988), pp. 75–97
Beach, D. W., “The Analytic Process: A Practical Demonstration; The Opening Theme from Beethoven’s Op. 26,” Journal of Music Theory Pedagogy 3 (1989), pp. 25–46
Beach, D. W., “Phrase Expansion: Three Analytical Studies,” Music Analysis 14 (1995), pp. 27–47
Beach, D. W., “The Submediant as Third Divider: Its Representation at Different Structural Levels,” in Music Theory in Concept and Practice, ed. Baker, J. M., Beach, D. W., and Bernard, J. W., University of Rochester Press, 1997, pp. 309–335
Bergé, P., “Die neapolitanische Themenwendung als formal-harmonisches Muster in einigen Sonatensätzen von Beethoven und Brahms,” Musiktheorie 19 (2004), pp. 261–268
Bergé, P. ed., Musical Form, Forms & Formenlehre: Three Methodological Reflections, Leuven University Press, 2009
Bishop, D. M., “Chromatic and Diatonic Pitch-Class Motives and Their Influence on Closural Strategies: Analytical Studies of Three Middle-Period String Quartets of Ludwig van Beethoven,” Ph.D. dissertation, The University of Texas at Austin, 1999
Black, L. A. S., “Syntactic Irregularities in the Early and Middle Period Works of Beethoven,” Ph.D. dissertation, Yale University, 1999
Boirio, G., “Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation,” Journal of the Royal Musical Association 126 (2001), pp. 250–274
Bonds, M. E., Wordless Rhetoric: Musical Form and the Metaphor of the Oration, Cambridge, MA: Harvard University Press, 1991
Boss, J., “‘Schenkerian-Schoenbergian Analysis’ and Hidden Repetition in the Opening Movement of Beethoven’s Piano Sonata Op. 10, No. 1,” Music Theory Online 5/1 (1999)
Boykan, M., The Power of the Moment: Essays on the Western Musical Canon, Hillsdale, NY: Pendragon Press, 2011
Britton, J. G., “Harmony, Voice Leading, and Motive in Beethoven’s Last Quartet,” Ph.D. dissertation, The University of Oregon, 2008
Brown, M., Dempster, D., and Headlam, D., “The ♯IV(♭V) Hypothesis: Testing the Limits of Schenker’s Theory of Tonality,” Music Theory Spectrum 19 (1997), pp. 155–183
Budday, W., Harmonielehre Wiener Klassik: Theorie – Satztechnik – Werkanalyse, Stuttgart: Berthold & Schwerdtner, 2002
Burnham, S., “Reading Between the Lines: Hugo Riemann and Beethoven’s Op. 31 Piano Sonatas,” in The Oxford Handbook of Neo-Riemannian Music Theories, ed. Gollin, E. and Rehding, A., Oxford University Press, 2011, pp. 440–461
Burstein, L. P., “Surprising Returns: The VII♯ in Beethoven’s Op. 18, No. 3, and Its Antecedents in Haydn,” Music Analysis 17 (1998), pp. 295–312
Burstein, L. P., “Recomposition and Retransition in Beethoven’s String Quintet, op. 4,” The Journal of Musicology 23 (2006), pp. 62–96
Burstein, L. P., “Beethoven’s Tempest Sonata: A Schenkerian Approach,” in Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Bergé, P., Leuven: Peeters, 2009, pp. 61–85
Burstein, L. P., “Beethoven’s Tempest Sonata (First Movement): A Schenkerian Approach,” in Beethoven’s Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars, ed. Bergé, P., Leuven: Peeters, 2012, pp. II/1–32
Byros, V., “Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality, with Beethoven’s Eroica Symphony as a Case Study,” Ph.D. dissertation, Yale University, 2009
Byros, V., “Topics and Harmonic Schemata: A Case from Beethoven,” in The Oxford Handbook of Topic Theory, ed. Mirka, D., Oxford University Press, 2014, pp. 381–414
Caplin, W. E., “Structural Expansion in Beethoven’s Symphonic Forms,” in Beethoven’s Compositional Process, ed. Kinderman, W., Lincoln: University of Nebraska Press, 1991, pp. 27–54
Caplin, W. E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, Oxford University Press, 1998
Caplin, W. E., “Harmonic Variants of the Expanded Cadential Progression,” in A Composition as a Problem II: Proceedings of the Second Conference on Music Theory, Tallinn, April 17–18, 1998, ed. Humal, M., Tallinn: Eesti Muusikaakadeemia, 1999, pp. 49–71
Caplin, W. E., “Beethoven’s Tempest Exposition: A Springboard for Form-Functional Considerations,” in Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Bergé, P., Leuven: Peeters, 2009, pp. 87–125
Caplin, W. E., “Beethoven’s ‘Tempest’ Exposition: A Response to Janet Schmalfeldt,” Music Theory Online 16/2 (2010)
Caplin, W. E., “Beethoven’s Tempest Sonata (First Movement): Form-Functional Analysis,” in Beethoven’s Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars, ed. Bergé, P., Leuven: Peeters, 2012, pp. III/1–44
Caplin, W. E., Analyzing Classical Form: An Approach for the Classroom, Oxford University Press, 2013
Caplin, W. E., “Topics and Formal Functions,” in The Oxford Handbook of Topic Theory, ed. Mirka, D., Oxford University Press, 2014, pp. 415–452
Chua, D. K. L., The “Galitzin” Quartets of Beethoven: Opp. 127, 132, 130, Princeton University Press, 1995
Chua, D. K. L., Absolute Music and the Construction of Meaning, Cambridge University Press, 1999
Churgin, B., “Harmonic and Tonal Instability in the Second Key Area of Classic Sonata Form,” in Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner, ed. Allanbrook, W. J., Levy, J. M., and Mahrt, W. P., Stuyvesant, NY: Pendragon, 1992, pp. 23–57
Churgin, B., Transcendent Mastery: Studies in the Music of Beethoven, Hillsdale, NY: Pendragon, 2008
Clark, S., “Terzverwandtschaft in der ‘Unvollendeten’ von Schubert und der ‘Waldstein-Sonate’ von Beethoven,” trans. Aigner, T., Schubert durch die Brille: Internationales Franz Schubert Institut—Mitteilungen 20 (1998), pp. 123–130
Cohn, R., “‘This music crept by me upon the waters’: Introverted Motives in Beethoven’s ‘Tempest’ Sonata,” in Engaging Music: Essays in Music Analysis, ed. Stein, D., Oxford University Press, 2005, pp. 226–235
Cone, E. T., “Analysis Today,” The Musical Quarterly 46 (1960), pp. 172–188
Cone, E. T., “Beethoven’s Experiments in Composition: The Late Bagatelles,” in Music: A View From Delft. Selected Essays, ed. Morgan, R. P., University of Chicago Press, 1989, pp. 179–200
Cook, N., “Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph,” Music Analysis 14 (1995), pp. 89–105
Dahlhaus, C., Ludwig von Beethoven und seine Zeit, Laaber: Laaber Verlag, 1987; as Ludwig van Beethoven: Approaches to His Music, trans. M. Whittall, Oxford University Press, 1991
Damschroder, D., “Schubert, Chromaticism, and the Ascending 5–6 Sequence,” Journal of Music Theory 50 (2006), pp. 253–275
Damschroder, D., Thinking About Harmony: Historical Perspectives on Analysis, Cambridge University Press, 2008
Damschroder, D., Harmony in Schubert, Cambridge University Press, 2010
Damschroder, D., Review of Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance (ed. Bergé, P.), Music Theory Online 16/2 (June 2010)
Damschroder, D., “Schenker, Schubert, and the Subtonic Chord,” in A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part II), ed. Berry, D. C., Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 3 (2010), pp. 127–166
Damschroder, D., Harmony in Haydn and Mozart, Cambridge University Press, 2012
Damschroder, D., Harmony in Chopin, Cambridge University Press, 2015
Damschroder, D., Tonal Analysis: A Schenkerian Perspective, New York: W. W. Norton, forthcoming
Diergarten, F., “‘Ancilla Secundae’: Akkord und Stimmführung in der Generalbass-Kompositionslehre,” in Musik und ihre Theorien, ed. Diergarten, F., Holtmeier, L., Leigh, J., and Metzner, E., Dresden: Sandstein Verlag, 2010, pp. 132–148
Diergarten, F., and Holtmeier, L., “Nicht zu disputieren: Beethoven, der Generalbass und die Sonate op. 109,” Musiktheorie 26 (2011), pp. 123–146
Dodson, A., “Performance, Grouping and Schenkerian Alternative Readings in Some Passages from Beethoven’s ‘Lebewohl’ Sonata,” Music Analysis 27 (2008), pp. 107–134
Drabkin, W., “The Agnus Dei of Beethoven’s Missa Solemnis: The Growth of Its Form,” in Beethoven’s Compositional Process, ed. Kinderman, W., Lincoln: University of Nebraska Press, 1991, pp. 131–159
Drabkin, W., “Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven’s Sonata Op. 26,” Music Analysis 15 (1996), pp. 149–189
Drabkin, W., “The Introduction to Beethoven’s ‘Kreutzer’ Sonata: A Historical Perspective,” in The Beethoven Violin Sonatas: History, Criticism, Performance, ed. Lockwood, L. and Kroll, M., Urbana and Chicago: University of Illinois Press, 2004, pp. 83–109
Dudeque, N., Music Theory and Analysis in the Writings of Arnold Schoenberg (1874–1951), Aldershot: Ashgate, 2005
Earp, L., “Tovey’s ‘Cloud’ in the First Movement of the Eroica: An Analysis Based on Sketches for the Development and Coda,” Beethoven Forum 2 (1993), pp. 55–84
Ellis, M., A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler, Farnham: Ashgate, 2010
Ellison, P., “The Largo/Allegro from Beethoven’s ‘Tempest’ Sonata, opus 31, no. 2: Affective Tonality as a Key to Meaning,” The Beethoven Journal 27/1 (2012), pp. 13–25
Ellison, P., The Key to Beethoven: Connecting Tonality and Meaning in His Music, Hillsdale, NY: Pendragon Press, 2014
Epstein, D., Beyond Orpheus: Studies in Musical Structure, Cambridge, MA: MIT Press, 1979
Eybl, M., “Zweckbestimmung und historische Voraussetzungen der Analytik Heinrich Schenkers,” in Zur Geschichte der Musikalischen Analyse: Bericht über die Tagung München 1993, ed. Gruber, G., Laaber: Laaber Verlag, 1996, pp. 145–156
Federhofer, H., “Zur Analyse des zweiten Satzes von L. van Beethovens Klaviersonate Op. 10, No. 3,” in Festskrift Jens Peter Larsen, ed. Schiørring, N., Glahn, H., and Hatting, C. E., Copenhagen: Hansen, 1972, pp. 339–350
Forte, A., The Compositional Matrix, Baldwin, NY: Music Teachers National Association, 1961
Forte, A., and Gilbert, S. E., Introduction to Schenkerian Analysis, New York: W. W. Norton, 1982
Gauldin, R., “Beethoven’s Interrupted Tetrachord and the Seventh Symphony,” Intégral 5 (1991), pp. 77–100
Goldenberg, Y., Prolongation of Seventh Chords in Tonal Music, 2 vols., Lewiston, NY: Mellen, 2008
Greene, D. B., Temporal Processes in Beethoven’s Music, New York: Gordon and Breach, 1982
Halm, A., Beethoven, Berlin: Max Hesses Verlag, 1926
Hanninen, D. A., A Theory of Music Analysis: On Segmentation and Associative Organization, University of Rochester Press, 2012
Hatch, C., “Normality and Disruption in Beethoven’s Bagatelle Op. 119, No. 8,” in Music Theory and the Exploration of the Past, ed. Hatch, C. and Bernstein, D. W., University of Chicago Press, 1993, pp. 341–355
Hatten, R. S., “An Approach to Ambiguity in the Opening of Beethoven’s String Quartet, Op. 59, No. 3,” Indiana Theory Review 3/3 (1980), pp. 28–35
Hatten, R. S., Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, Bloomington: Indiana University Press, 1994
Hatten, R. S., Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert, Bloomington: Indiana University Press, 2004
Hatten, R. S., “Plenitude as Fulfillment: The Third Movement of Beethoven’s String Quartet in B♭, Op. 130,” in The String Quartets of Beethoven, ed. Kinderman, W., Urbana: University of Illinois Press, 2006, pp. 214–233
Hepokoski, J., “Approaching the First Movement of Beethoven’s Tempest Sonata through Sonata Theory,” in Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Bergé, P., Leuven: Peeters, 2009, pp. 181–212
Hepokoski, J., “Beethoven’s Tempest Sonata (First Movement): Sonata Theory Analysis,” in Beethoven’s Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars, ed. Bergé, P., Leuven: Peeters, 2012, pp. IV/1–38
Hepokoski, J., and Darcy, W., Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, Oxford University Press, 2006
Hyer, B., “Second Immediacies in the Eroica,” in Music Theory in the Age of Romanticism, ed. Bent, I., Cambridge University Press, 1996, pp. 77–104
Jones, T., Beethoven: The “Moonlight” and Other Sonatas, Op. 27 and Op. 31, Cambridge University Press, 1999
Kamien, R., “Chromatic Details in Beethoven’s Piano Sonata in E-flat Major, Op. 7,” The Music Review 35 (1974), pp. 149–156
Kamien, R., “Aspects of the Recapitulation in Beethoven Piano Sonatas,” The Music Forum 4 (1976), pp. 195–235
Kamien, R., “Subtle Enharmonic Connections, Modal Mixture, and Tonal Plan in the First Movement of Beethoven’s Piano Sonata in C Major, Opus 53 (‘Waldstein’),” in Beethoven Forum 1 (1992), pp. 93–110
Kamien, R., “Non-tonic Settings of the Primary Tone in Beethoven Piano Sonatas,” The Journal of Musicology 16 (1998), pp. 379–393
Keller, H., and Wintle, C., Beethoven’s String Quartets in F minor, Op. 95, and C♯ minor, Op. 131: Two Studies, University of Nottingham Department of Music, 1995
Kerman, J., The Beethoven Quartets, New York: Knopf, 1967
Kinderman, W., “Beethoven’s Compositional Models for the Choral Finale of the Ninth Symphony,” in Beethoven’s Compositional Process, ed. Kinderman, W., Lincoln: University of Nebraska Press, 1991, pp. 160–188
Klein, M. L., Intertextuality in Western Art Music, Bloomington: Indiana University Press, 2005
Kopp, D., Chromatic Transformations in Nineteenth-Century Music, Cambridge University Press, 2002
Korsyn, K., “Integration in Works of Beethoven’s Final Period,” Ph.D. dissertation, Yale University, 1983
Kramer, E., “Lebewohl, Abwesenheit, and Wiedersehn: Cyclic Integration in Beethoven’s ‘Grand Characteristic Sonata’ in E flat, Op. 81a,” Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 10/19 (2012), pp. 129–163
Kreft, E., Harmonische Prozesse im Wandel der Epochen, Frankfurt am Main: Peter Lang, vol. 1, 1995
Laufer, E., Review of H. Schenker: Free Composition, Music Theory Spectrum 3 (1981), pp. 158–184
Laufer, E., “On the Fantasy,” Intégral 2 (1988), pp. 99–133
Laufer, E., “Voice-Leading Procedures in Development Sections,” Studies in Music from The University of Western Ontario 13 (1991), pp. 69–120
Lerdahl, F., Tonal Pitch Space, Oxford University Press, 2001
Lockwood, L., “‘Eroica’ Perspectives: Strategy and Design in the First Movement,” in Beethoven Studies 3, ed. Tyson, A., Cambridge University Press, 1982, pp. 85–105
Marston, N., “Schenker and Forte Reconsidered: Beethoven’s Sketches for the Piano Sonata in E, Op. 109,” 19th-Century Music 10 (1986–1987), pp. 24–42
Marston, N., “Trifles or a Multi-Trifle? Beethoven’s Bagatelles, Op. 119, Nos. 7–11,” Music Analysis 5 (1986), pp. 193–206
Marston, N., “Analysing Variations: The Finale of Beethoven’s String Quartet Op. 74,” Music Analysis 8 (1989), pp. 303–324
Marston, N., Beethoven’s Piano Sonata in E, Op. 109, Oxford: Clarendon Press, 1995.
Marston, N., “Notes to a Heroic Analysis: A Translation of Schenker’s Unpublished Study of Beethoven’s Piano Variations, Op. 35,” in Nineteenth-Century Piano Music: Essays in Performance and Analysis, ed. Witten, D., New York: Garland, 1997, pp. 15–52
Marston, N., “Voicing Beethoven’s Distant Beloved,” in Beethoven and His World, ed. Burnham, S. and Steinberg, M. P., Princeton University Press (2000), pp. 124–147
Marston, N., Heinrich Schenker and Beethoven’s ‘Hammerklavier’ Sonata, Farnham: Ashgate, 2013
Marx, A. B., Ludwig van Beethoven: Leben und Schaffen, 2 vols., Leipzig: Adolph Schumann, 1902
McClary, S., Conventional Wisdom: The Content of Musical Form, Berkeley: University of California Press, 2000
McCreless, P., “The Pitch-Class Motive in Tonal Analysis: Some Historical and Critical Observations,” Res musica 3 (2011), pp. 52–67
McKee, E., “Alternative Meanings in the First Movement of Beethoven’s String Quartet in E♭ Major Op. 127: Emergence and Growth from Stagnation and Decline,” in Beethoven: Studien und Interpretationen, ed. Tomaszewski, M. and Chrenkoff, M., Cracow: Akademia Muzyczna, vol. 1 (2000), pp. 133–161
McKee, E., “E Major and Spirituality in Beethoven’s Instrumental Music,” in Beethoven: Studien und Interpretationen, ed. Tomaszewski, M. and Chrenkoff, M., Cracow: Akademia Muzyczna, vol. 2 (2003), pp. 125–143
Mitchell, W. J., “Beethoven’s La Malinconia from the String Quartet, Opus 18, No. 6: Techniques and Structure,” The Music Forum 3 (1973), pp. 269–280
Morgan, R. P., “Coda as Culmination: The First Movement of the ‘Eroica’ Symphony,” in Music Theory and the Exploration of the Past, ed. Hatch, C. and Bernstein, D. W., University of Chicago Press, 1993, pp. 357–376
Morgan, R. P., “The Concept of Unity and Musical Analysis,” Music Analysis 22 (2003), pp. 7–50
Moßburger, H., Ästhetische Harmonielehre: Quellen – Analysen – Aufgaben, 2 vols., Wilhelmshaven: Florian Noetzel Verlag, 2012
Moßburger, H., and Weißgerber, L., “Anmerkungen zur Harmonik in der 20. Diabelli-Variation,” Musiktheorie 14 (1999), pp. 269–274
Oster, E., “The Dramatic Character of the Egmont Overture,” in Aspects of Schenkerian Theory, ed. Beach, D., New Haven, CT: Yale University Press, 1983, pp. 209–222
Ratner, L. G., Classic Music: Expression, Form, and Style, New York: Schirmer, 1980
Redmann, B., “Zum (Schein-)Antipodentum von Hugo Riemann und Heinrich Schenker,” in Zur Geschichte der musikalischen Analyse: Bericht über die Tagung München 1993, ed. Gruber, G., Laaber: Laaber Verlag, 1996, pp. 131–144
Rehding, A., “Tonality Between Rule and Repertory; Or, Riemann’s Functions – Beethoven’s Function,” Music Theory Spectrum 33 (2011), pp. 109–123
Réti, R., Thematic Patterns in Sonatas of Beethoven, ed. Cooke, D., London: Faber, 1967
Reynolds, C. A., Motives for Allusion: Context and Content in Nineteenth-Century Music, Cambridge, MA: Harvard University Press, 2003
Riemann, H., L. van Beethovens sämtliche Klavier-Solosonaten: Ästhetische und formal-technische Analyse mit historischen Notizen, 3 vols., Berlin: Max Hesses Verlag, 1917–1919
Ronge, J., Beethovens Lehrzeit: Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Antonio Salieri, Bonn: Verlag Beethoven-Haus, 2011
Rosen, C., The Classical Style: Haydn, Mozart, Beethoven, New York: W. W. Norton, 1971
Rosen, C., Sonata Forms, New York: W. W. Norton, 1980
Rosen, C., Beethoven’s Piano Sonatas: A Short Companion, New Haven, CT: Yale University Press, 2002
Rothgeb, J., “Salient Features,” in Music Theory in Concept and Practice, ed. Baker, J. M., Beach, D. W., and Bernard, J. W., University of Rochester Press, 1997, pp. 181–196
Rothstein, W., Phrase Rhythm in Tonal Music, New York: Schirmer, 1989; reprint edn., Ann Arbor, MI: Musicalia, 2007
Rothstein, W., “Beethoven with and without Kunstgepräng’: Metrical Ambiguity Reconsidered,” Beethoven Forum 4 (1995), pp. 165–193
Rothstein, W., “Riding the Storm Clouds: Tempo, Rhythm, and Meter in Beethoven’s Tempest Sonata,” in Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance, ed. Bergé, P., Leuven: Peeters, 2009, pp. 235–271
Rothstein, W., “Beethoven’s Tempest Sonata (First Movement): Metrical Analysis,” in Beethoven’s Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars, ed. Bergé, P., Leuven: Peeters, 2012, pp. V/1–44
Rumph, S., “Op. 132 and the Search for a Deep Structure,” Beethoven Forum 14/1 (2007), pp. 73–89
Rumph, S., “What Beethoven Learned from K. 464,” Eighteenth-Century Music 11 (2014), pp. 55–77
Salzer, F., Structural Hearing: Tonal Coherence in Music, 2 vols., New York: Boni, 1952; reprint edn., New York: Dover, 1962
Samarotto, F., “A Theory of Temporal Plasticity in Tonal Music: An Extension of the Schenkerian Approach to Rhythm with Special Reference to Beethoven’s Late Music,” Ph.D. dissertation, The City University of New York, 1999
Samarotto, F., “Multiple Voices and Metrical Dramas in Beethoven’s Goethe-Songs, Op. 83,” Beethoven Forum 12 (2005), pp. 151–175
Samarotto, F., “The Divided Tonic in the First Movement of Beethoven’s Op. 132,” in Keys to the Drama: Nine Perspectives on Sonata Form, ed. Sly, G., Farnham: Ashgate, 2009, pp. 1–26
Schachter, C., “Rhythmic and Linear Analysis, Durational Reduction,” The Music Forum 5 (1980), pp. 197–232; reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J. N. Straus, Oxford University Press, 1999, pp. 54–78
Schachter, C., “Beethoven’s Sketches for the First Movement of Op. 14, No. 1: A Study in Design,” Journal of Music Theory 26 (1982), pp. 1–21
Schachter, C., “Analysis by Key: Another Look at Modulation,” Music Analysis 6 (1987), pp. 289–318
Schachter, C., “Rhythm and Linear Analysis: Aspects of Meter,” The Music Forum 6/1 (1987), pp. 1–59; reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J. N. Straus, Oxford University Press, 1999, pp. 79–117
Schachter, C., “Mozart’s Last and Beethoven’s First: Echoes of K. 551 in the First Movement of Opus 21,” in Mozart Studies, ed. Eisen, C., Oxford University Press, 1991, pp. 227–251
Schachter, C., “The Triad as Place and Action,” Music Theory Spectrum 17 (1995), pp. 149–169; reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J. N. Straus, Oxford University Press, 1999, pp. 161–183
Schachter, C., “Che Inganno! The Analysis of Deceptive Cadences,” in Essays from the Third International Schenker Symposium, ed. Cadwallader, A., Hildesheim: Georg Olms, 2006, pp. 279–298
Schenker, H., Harmonielehre: Neue musikalische Theorien und Phantasien I, Stuttgart: Cotta, 1906; as Harmony (abridged), ed. O. Jonas, trans. E. M. Borgese, University of Chicago Press, 1954
Schenker, H., Beethovens neunte Sinfonie: Eine Darstellung des musikalischen Inhaltes, unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur, Vienna: Universal, 1912; as Beethoven’s Ninth Symphony: A Portrayal of Its Musical Content, with Running Commentary on Performance and Literature As Well, trans. J. Rothgeb, New Haven. CT: Yale University Press, 1992
Schenker, H., Die letzten fünf Sonaten Beethovens: Krtitische Ausgabe mit Einführung und Erläuterung, 4 vols., Vienna: Universal, 1913, 1914, 1915, 1920
Schenker, H., Der Tonwille: Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst, einer neuen Jugend dargebracht, 2 vols., Vienna: A. J. Gutmann, Leipzig: F. Hofmeister, 1921–1924; as Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music, Offered to a New Generation of Youth, ed. W. Drabkin, trans. I. Bent et al., Oxford University Press, 2004–2005
Schenker, H., Das Meisterwerk in der Musik: Ein Jahrbuch, 3 vols., Munich: Drei Masken, 1925, 1926, 1930; as The Masterwork in Music, ed. W. Drabkin, trans. I. Bent et al., 3 vols., Cambridge University Press, 1994–1997
Schenker, H., Der freie Satz: Neue musikalische Theorien und Phantasien III, Vienna: Universal, 1935; rev. edn., ed. O. Jonas, Vienna: Universal, 1956; as Free Composition, trans. and ed. E. Oster, New York: Longman, 1979; reprint of trans. edn., Stuyvesant, NY: Pendragon Press, 2001
Schmalfeldt, J. “On the Relation of Analysis to Performance: Beethoven’s Bagatelles Op. 126, Nos. 2 and 5,” Journal of Music Theory 29 (1985), pp. 1–31
Schmalfeldt, J., “Cadential Processes: The Evaded Cadence and the ‘One More Time’ Technique,” Journal of Musicological Research 12 (1992), pp. 1–52
Schmalfeldt, J., “Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the Tempest Sonata,” in Beethoven Forum 4 (1995), pp. 37–71; rev. edn. in Schmalfeldt, J., In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music, Oxford University Press, 2011, pp. 23–57
Schmalfeldt, J., “Beethoven’s ‘Bridgetower’ Sonata, Op. 47,” in New Paths: Aspects of Music Theory and Aesthetics in the Age of Romanticism, Leuven University Press, 2009, pp. 37–67
Schmalfeldt, J., In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music, Oxford University Press, 2011
Schoenberg, A., Structural Functions of Harmony, rev. edn., ed. Stein, L., New York: W. W. Norton, 1954
Schwab-Felisch, O., “Functions of the Unclear: Chromaticism in Beethoven’s String Quartet in E-flat Major, Op. 74,” Dutch Journal of Music Theory 6 (2001), pp. 188–194
Seidel, W., “Riemann und Beethoven,” in Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch, ed. Böhme-Mehner, T. and Mehner, K., Cologne: Böhlau Verlag, 2001, pp. 139–151
Smith, C. J., “The Functional Extravagance of Chromatic Chords,” Music Theory Spectrum 8 (1986), pp. 94–139; response by D. Beach and reply by C. J. Smith in Music Theory Spectrum 9 (1987), pp. 173–194
Smith, P. H., “Structural Tonic or Apparent Tonic? Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities,” Journal of Music Theory 39 (1995), pp. 245–283
Smith, P. H., “Tonal Pairing and Monotonality in Instrumental Forms of Beethoven, Schubert, Schumann, and Brahms,” Music Theory Spectrum 35 (2013), pp. 77–102
Smyth, D. H., “Beethoven’s Last Bagatelle,” Intégral 13 (1999), pp. 117–142
Song, M. K., “The Evolution of Sonata-Form Design in Ludwig van Beethoven’s Early Piano Sonatas, WoO 47 to Opus 22,” Ph.D. dissertation, University of Texas at Austin, 2009
Spitzer, M., “The Significance of Recapitulation in the Waldstein Sonata,” Beethoven Forum 5 (1996), pp. 103–118
Spitzer, M., Metaphor and Musical Thought, University of Chicago Press, 2004
Spitzer, M., Music as Philosophy: Adorno and Beethoven’s Late Style, Bloomington: Indiana University Press, 2006
Stanley, G., “Voices and Their Rhythms in the First Movement of Beethoven’s Piano Sonata Op. 109: Some Thoughts on the Performance and Analysis of a Late-Style Work,” in Beethoven and His World, ed. Burnham, S. and Steinberg, M. P., Princeton University Press, 2000, pp. 88–123
Suurpää, L., “Non-Tonic Openings in Three Beethoven Introductions,” in Essays from the Third International Schenker Symposium, ed. Cadwallader, A., Hildesheim: Georg Olms, 2006, pp. 51–66
Suurpää, L., “The Undivided Ursatz and the Omission of the Tonic Stufe at the Beginning of the Recapitulation,” Journal of Schenkerian Studies 1 (2006), pp. 66–91
Taylor, B., “The Problem of the ‘Introduction’ in Beethoven’s Late Quartets,” Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 3/6 (2005), pp. 45–64
Tovey, D. F., A Companion to Beethoven’s Pianoforte Sonatas: Bar-to-Bar Analysis, London: Associated Board of the Royal Schools of Music, 1931, 1947; ed. B. Cooper, 1998
Tusa, M. C., “Beethoven and Opera: The Grave-Digging Duet in Leonore (1805),” Beethoven Forum 5 (1996), pp. 1–63
Wen, E., “Beethovens’s Meditation on Death: The Funeral March of the ‘Eroica’ Symphony,” Dutch Journal of Music Theory 10 (2005), pp. 9–25
Wintle, C., “Kontra-Schenker: Largo e mesto from Beethoven’s Op. 10 No. 3,” Music Analysis 4 (1985), pp. 145–182
