Jump to ContentJump to Main Navigation
Conceptualizing MusicCognitive Structure, Theory, and Analysis$

Lawrence M. Zbikowski

Print publication date: 2002

Print ISBN-13: 9780195140231

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195140231.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: null; date: 29 May 2017

(p.335) BIBLIOGRAPHY

(p.335) BIBLIOGRAPHY

Source:
Conceptualizing Music
Publisher:
Oxford University Press

Books and Articles

Abelson, Robert P., and John B. Black. “Introduction.” In Knowledge Structures, edited by James A. Galambos, Robert P. Abelson, and John B. Black. Hillsdale, N.J.: Erlbaum Associates, 1986.

Abrams, Meyer Howard. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford: Oxford University Press, 1953.

Agawu, Victor Kofi. Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton, N.J.: Princeton University Press, 1991.

———. “Theory and Practice in the Analysis of the Nineteenth‐Century Lied.” Music Analysis 11 (1992): 3–36.

Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. 2nd ed. San Diego: Har‐court Brace Jovanovich, 1989.

Ames, David W., and Anthony V. King. Glossary of Hausa Music and Its Social Contexts. Evanston, 111.: Northwestern University Press, 1971.

Aristotle. On the Sublime. Transated by W. Hamilton Fyfe. Loeb Classical Library, 199. Cambridge, Mass.: Harvard University Press, 1995.

Aristoxenus. Elementa harmonica. In Harmonic and Acoustic Theory. Vol. 2 of Greek Musical Writings. Edited and translated by Andrew Barker, 126–84. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989.

Armstrong, Sharon Lee, Lila R. Gleitman, and Henry Gleitman. “What Some Concepts Might Not Be.” Cognition 13 (1983): 263 –308.

Arom, Simha. African Polyphony and Polyrhythm: Musical Structure and Methodology. Translated by Martin Thorn, Barbara Tuckett, and Raymond Bond. Cambridge: Cambridge University Press, 1991.

———. “New Perspectives for the Description of Orally Transmitted Music.” World of Music 23 (1981):40–58.

Attali, Jacques. Noise: The Political Economy of Music. Translated by Brian Massumi, with a foreword by Fredric Jameson, with an afterword by Susan McClary. Theory and History of Literature, 16. Minneapolis: University of Minnesota Press, 1985.

Bailey, Robert, ed. Prelude and Transfiguration from Tristan and Isolde. New York: W. W. Norton, 1985.

Bakan, Michael B. Music of Death and New Creation: Experiences in the World of Balinese Game‐Ian Beleganjur. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1999.

(p.336) Baker, Nancy Kovaleff, and Thomas Christensen, eds. and trans. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge Studies in Music Theory and Analysis, 7. Cambridge: Cambridge University Press, 1995.

Bakhtin, Mikhail Mikhailovich. Problems of Dostoevsky's Poetics. Edited and translated by Caryl Emerson, with an introduction by Wayne C. Booth. Theory and History of Literature, 8. Minneapolis: University of Minnesota Press, 1984.

Bamberger, Jeanne. “Cognitive Issues in the Development of Musically Gifted Children.” In Conceptions of Gifle dness, edited by Robert J. Sternberg and Janet E. Davidson, 388–413. Cambridge: Cambridge University Press, 1986.

———. The Mind behind the Musical Ear: How Children Develop Musical Intelligence. Cambridge, Mass.: Harvard University Press, 1991.

Barbera, C. André. “The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of Ancient Pythagoreanism.” Journal of Music Theory 28 (1984): 191–223.

Barchas, Janine. “The Engraved Score in Clarissa: An Intersection of Music, Narrative, and Graphic Design.” Eighteenth‐Century Life 20 (1996): 1–20.

Barker, Andrew, ed. Harmonic and Acoustic Theory. Vol. 2 of Greek Musical Writings. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989.

Barsalou, Lawrence W. Cognitive Psychology: An Overview for Cognitive Scientists. Hillsdale, N.J.: Erlbaum Associates, 1992.

———. “Deriving Categories to Achieve Goals.” The Psychology of Learning and Motivation, Advances in Research and Theory 27 (1991): 1–64.

———. “Flexibility, Structure, and Linguistic Vagary in Concepts: Manifestations of a Compositional System of Perceptual Symbols.” In Theories of Memory, edited by A. F. Collins, S. E. Gathercole, M. A. Conway and P. E.Morris, 29–

———. “Frames, Concepts, and Conceptual Fields.” In Frames, Fields, and Contrasts: New Essays in Semantic and Lexical Organization, edited by Adrienne Lehrer and Eva Feder Kittay, 21–74. Hillsdale, N.J.: Erlbaum Associates,

———. “Intraconcept Similarity and Its Implications for Interconcept Similarity.” In Similarity and Analogical Reasoning, edited by S.Vosniadou and A. Ortony, 76–121. Cambridge: Cambridge University Press, 1989.

———. “Perceptual Symbol Systems.” Behavioral and Brain Sciences 22 (1999): 577–609.

Barsalou, Lawrence W., Karen Olseth Solomon, and Ling‐Ling Wu. “Perceptual Simulation in Conceptual Tasks.” In Cultural, Psychological, and Typological Issues in Cognitive Linguistics: Selected Papers of the Bi‐Annual ICLA Meeting in Albuquerque, July 1998, edited by Masako K. Hiraga, Chris Sinha, and Sherman Wilcox, 209 – 28. Amsterdam: John Benjamins, 1999.

Barsalou, Lawrence W.,WenchiYeh, Barbara J. Luka, Karen L. Olseth, Kelly S. Mix, and Ling‐Ling Wu. “Concepts and Meaning.” In Chicago Linguistics Society 29: Papers from the Parasession on the Correspondence of Conceptual, Semantic, and Grammatical Representations, edited by Katharine Beals, Gina Cooke, David Kathman, Sotaro Kita, Karl‐Erik McCul‐lough, and David Testen. Chicago: University of Chicago, Chicago Linguistics Society, 1993:23–61.

Bayard, Samuel P. “Prolegomena to a Study of the Principal Melodic Families of British‐American Folk Song.” Journal of American Folklore 63 (1950): 1–44.

Belzner, William. “Music, Modernization, and Westernization among the Macuma Shuar.” In (p.337) Cultural Transformations and Ethnicity in Modern Ecuador, edited by Norman E. Whitten, Jr., 731 – 48. Urbana: University of Illinois Press, 1981.

Bent, Ian. “The ‘Compositional Process’ in Music Theory, 1713–1850.” Music Analysis 3 (1984): 29–55.

———, ed. Fugue, Form and Style.Vol. 1 of Music Analysis in the Nineteenth Century. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1994.

Berger, Karol. Musica Ficta: Theories of Accidental Inflection in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987.

Berlin, Brent. “Ethnobotanical Classification.” In Cognition and Categorization, edited by Eleanor Rosch and Barbara B. Lloyd, 9–26. Hillsdale, N.J.: Erlbaum Associates, 1978.

———. Ethnobiological Classification: Principles of Categorization of Plants and Animals in Traditional Societies. Princeton, N.J.: Princeton University Press, 1992.

———. “How a Folkbotanical System Can Be Both Natural and Comprehensive: One Maya Indian's View of the Plant World.” In Folkbiology, edited by Douglas L. Medin and Scott Atran, 71–89. Cambridge, Mass.: MIT Press, 1999.

———. “Speculations on the Growth of Ethnobotanical Nomenclature.” Language in Society 1 (1972): 51–86.

Berlin, Brent, Dennis E. Breedlove, and Peter H. Raven. Principles of Tzeltal Plant Classification: An Introduction to the Botanical Ethnography of a Mayan‐Speaking People of Chiapas. New York: Academic Press, 1974.

Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago Studies in Ethno‐musicology. Chicago: University of Chicago Press, 1994.

Bernard, Jonathan W. “Messiaen's Synaesthesia: The Correspondence between Color and Sound Structure in His Music.” Music Perception 4 (1986): 41–68.

Bernstein, Susan. Virtuosity of the Nineteenth Century: Performing Music and Language in Heine, Liszt, and Baudelaire. Stanford, Calif: Stanford University Press, 1998.

Biederman, Irving. “Recognition‐by‐Components: A Theory of Human Image Understanding.” Psychological Review 94 (1987) : 115 – 47.

Blacking, John. “Music, Culture, and Experience.” In Music, Culture, and Experience: Selected Papers of John Blacking, edited by Reginald Byron, with a foreword by Bruno Nettl, 223–42. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1995.

Boethius, Ancius Manlius Severinus. Fundamentals of Music. Edited by Claude V. Palisca. Translated by Calvin Bower. Music Theory Translation Series. New Haven, Conn.: Yale University Press, 1989.

Bohlman, Philip V. “Ontologies of Music.” In Rethinking Music, edited by Nicholas Cook and Mark Everist, 17–34. Oxford: Oxford University Press, 1999.

Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of Oration. Studies in the History of Music, 4. Cambridge, Mass.: Harvard University Press, 1991.

Brailoiu, Constantin. “Le Folklore musicale.” In Musica aeterna: La Vie et la production musicales de tous les temps et de tous les peuples, en tenant compte particulièrement de la Suisse, de la Belgique, de la France et de la musique de nos jours, edited by Gottfried Schmid, vol. 2, 277–332. Zurich: M. S. Metz, 1949.

Brinkmann, Reinhold. Schumann und Eichendorff: Studien zum Liederkreis Opus 39. Musik‐Konzepte, 95. Munich: Edition Text + Kritik, 1997.

Brown, Roger. “How Shall a Thing Be Called?” Psychological Review 65 (1958): 14–21.

———. Social Psychology. New York: Free Press, 1965.

Burmeister, Joachim. Musical Poetics [1606]. Translated by Benito Rivera. Music Theory Translation Series. New Haven, Conn.:Yale University Press, 1993.

Burnham, Scott. “The Second Nature of Sonata Form.” In Music Theory and Natural Order (p.338) from the Renaissance to the Early Twentieth Century, edited by Suzannah Clark and Alexander Rehding, 111–41. Cambridge: Cambridge University Press, 2001.

Carroll, Lewis. The Annotated Alice: Alice's Adventures in Wonderland and Through the Looking Glass. Introduction and notes by Martin Gardner, illustrated by John Tenniel. New York: W.W. Norton, 2000.

Chambers, Jack. Milestones I: The Music and Times of Miles Davis to 1960. Toronto: University of Toronto Press, 1983.

Christensen, Thomas. “Fétis and Emerging Tonal Consciousness.” In Music Theory in the Age of Romanticism, edited by Ian Bent, 37–56. Cambridge: Cambridge University Press, 1996.

———. Rameau and Musical Thought in the Enlightenment. Cambridge Studies in Music Theory and Analysis, 4. Cambridge: Cambridge University Press, 1993.

Chua, Daniel K. L. The “Galitzin” Quartets of Beethoven: Opp. 127, 132, 130. Princeton, N.J.: Princeton University Press, 1995.

Coleman, Linda, and Paul Kay. “Prototype Semantics: The English Word Lie.” Language 57 (1981): 26–44.

Cone, Edward T. “Analysis Today.” The Musical Quarterly 46 (1960): 172–88.

———. Music, a View from Delft: Selected Essays. Edited by Robert P. Morgan. Chicago: University of Chicago Press, 1989.

———. Musical Form and Musical Performance. New York: W.W. Norton, 1968.

———. “On Derivation: Syntax and Rhetoric.” Music Analysis 6 (1987): 237–55.

Cook, Nicholas. Analysing Musical Multimedia. Oxford: Clarendon Press, 1998.

———. “At the Borders of Musical Identity: Schenker, Corelli and the Graces.” Music Analysis 18 (1999): 179–233.

Cooper, Grosvenor W., and Leonard B. Meyer. The Rhythmic Structure of Music. Chicago: University of Chicago Press, 1960.

Coulson, Seana. Semantic Leaps: Frame‐Shifting and Conceptual Blending in Meaning Construction. Cambridge: Cambridge University Press, 2001.

Cowdery James R. The Melodic Tradition of Ireland. Kent, Oh.: Kent State University Press, 1990.

Cox, Arnie Walter. “The Metaphoric Logic of Musical Motion and Space.” Ph.D. diss., University of Oregon, 1999.

Crawford, Richard. “George Gershwin's ‘I Got Rhythm’ (1930).” In The American Musical Landscape, 213 –36. Berkeley: University of California Press, 1993.

Dahlhaus, Carl. Nineteenth‐Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989.

———. Richard Wagner's Music Dramas. Translated by Mary Whitall. Cambridge: Cambridge University Press, 1979.

Damasio, Antonio R. Descartes' Error: Emotion, Reason, and the Human Brain. New York: Avon, 1994.

———. The Feeling of What Happens: Body and Emotion in the Making of Consciousness. New York: Harcourt Brace, 1999.

D'Andrade, Roy G. The Development of Cognitive Anthropology. Cambridge: Cambridge University Press, 1995.

D'Andrade, Roy G., and Claudia Strauss, eds. Human Motives and Cultural Models. Publications of the Society for Psychological Anthropology. Cambridge: Cambridge University Press, 1992.

Darwin, Charles. The Voyage of the Beagle. With an introduction by Leonard Engel. Garden City N.Y.: Doubleday, 1962.

Davis, Ruth. “The Effects of Notation on Performance Practice in Tunisian Art Music.” The World of Music 34 (1992): 85–114.

(p.339) DeBellis, Mark. Music and Conceptualization. Cambridge: Cambridge University Press, 1995.

Deffaa, Chip. Traditionalists and Revivalists in Jazz. Studies in Jazz, 16. Metuchen: Scarecrow Press; Institute of Jazz Studies, Rutgers, The State University of New Jersey, 1993.

Deutsch, Otto Erich. “Mit Würfeln komponieren.” Zeitschrift für Musikwissenschaft 12 (1930): 595.

Duchez, Marie‐Elisabeth. “La Representation spatio‐verticale du caractère musical grave‐aigu et l'élaboration de la notion de hauteur de son dans la conscience musicale occidentale.” Acta musicologica 51 (1979): 54–73.

Dupré,John. “Are Whales Fish?” In Folkbiology, edited by Douglas L. Medin and Scott Atran, 461–76. Cambridge,Mass.:MIT Press, 1999.

Eco, Umberto. A Theory of Semiotics. Advances in Semiotics. Bloomington: Indiana University Press, 1976.

Edelman, Gerald M. Bright Air, Brilliant Fire: On the Matter of Mind. New York: Basic Books, 1992.

———. The Remembered Present: A Biological Theory of Consciousness. New York: Basic Books, 1989.

Eichendorff Joseph Freiherr von. Viel Lärmen um nichts. Neue Gesamtausgabe der Werke und Schriften, 2. Stuttgart: J. G. Cotta'sche Buchhandlung Nachf, 1957.

Emge, Charles. “Meet‘Jazzman’Jack Webb: Swing Era Helped Make Him Music‐Conscious.” Downbeat 22 (10 August 1955): 8.

Fahnestock, Jeanne. Rhetorical Figures in Science. New York: Oxford University Press, 1999.

Fauconnier, Gilles. Mappings in Thought and Language. Cambridge: Cambridge University Press, 1997.

———. Mental Spaces: Aspects of Meaning Construction in Natural Language. 2nd ed.With a foreword by George Lakoff and Eve Sweetser. Cambridge: Cambridge University Press, 1994.

Fauconnier, Gilles, and Eve Sweetser, eds. Spaces, Worlds, and Grammar. Chicago: University of Chicago Press, 1996.

Fauconnier, Gilles, and Mark Turner. “Blending as a Central Process of Grammar.” In Conceptual Structure, Discourse and Language, edited by Adele E. Goldberg, 113– 30. Stanford, Calif: Center for the Study of Language and Information, 1996. [Based on papers presented at the First Conceptual Structure, Discourse and Language Conference, San Diego, 1995.]

———. “Conceptual Integration Networks.” Cognitive Science 22 (1998): 133–87.

———. “Conceptual Projection and Middle Spaces.” UCSD Department of Cognitive Science Technical Report 9401. San Diego: University of California, San Diego, 1994.

———.“Principles of Conceptual Integration.” In Discourse and Cognition: Bridging the Gap: [Second] Conceptual Structure, Discourse, and Language Conference, Buffalo, 1996, edited by Jean‐Pierre Koenig, 269 – 83. Stanford, Calif.

———. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.

Feld, Steven. “Flow Like a Waterfall: The Metaphors of Kaluli Musical Theory.” Yearbook for Traditional Music 13 (1981): 22–47.

Ferris, David. Schumann's Eichendorff Liederkreis and the Genre of the Romantic Cycle. New York: Oxford University Press, 2000.

Finnegan, Ruth. “The Relation between Composition and Performance: Three Alternative Modes.” In The Oral and the Literate in Music, edited by Yoshihiko Tokumaru and Osamu Yamaguti, 73–87. Tokyo: Academia Music, 1986.

Finson, Jon W. “The Intentional Tourist: Romantic Irony in the Eichendorff Liederkreis (p.340) of Robert Schumann.” In Schumann and His World, edited by R. Larry Todd, 156––70. Princeton, N.J.: Princeton University Press, 1994.

Fodor, Jerry A. Concepts: Where Cognitive Science Went Wrong. Oxford: Clarendon Press, 1998.

———. The Mind Doesn't Work That Way. Cambridge, Mass.: MIT Press, 2000.

———. The Modularity of Mind: An Essay on Faculty Psychology. Cambridge, Mass.: MIT Press, 1983.

Forte, Allen. The Structure of Atonal Music. New Haven, Conn.:Yale University Press, 1973.

Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York:Vintage Books, 1973.

Freudenthal, Gideon. Atom and Individual in the Age of Newton: On the Genesis of the Mechanistic World View. Translated by Peter McLaughlin. Boston Studies in the Philosophy of Science, 88. Dordrecht: D. Reidel, 1986.

Gärdenfors, Peter. “Semantics, Conceptual Spaces and the Dimensions of Music.” In Essays on the Philosophy of Music, edited by Veikko Rantala, Lewis Rowell, and Eero Tarasti, 9–27. Acta Philosophica Fennica, 43. Helsinki: Philosophical Society of Finland, 1988.

Gates, Henry Louis, Jr. The Signifying Monkey: A Theory of African‐American Literary Criticism. New York: Oxford University Press, 1988.

Geertz, Clifford. “Religion as a Cultural System.” In Anthropological Approaches to the Study of Religion, edited by Michael Banton, 1–46. New York: Frederick A. Praeger, 1966.

———. “Thick Description: Toward an Interpretive Theory of Culture.” In The Interpretation of Cultures: Selected Essays, 3–30. New York: Basic Books, 1973.

Gendron, Bernard. “‘Moldy Figs’ and Modernists: Jazz at War (1942–1946).” In Jazz among the Discourses, edited by Krin Gabbard, 31–56. Durham, N.C.: Duke University Press, 1995.

Gentner, Dedre, and Albert L. Stevens, eds. Mental Models. Hillsdale, N.J.: Erlbaum Associates, 1983.

Gerigk, Herbert. “Würfelmusik.” Zeitschrift für Musikwissenschaft 16 (1934): 359–63.

Geselle, Cynthia M. “The Institutionalization of Music Theory in France: 1764–1802.” Ph.D. diss., Princeton University, 1989.

Gibbs, Raymond W, Jr. The Poetics of Mind: Figurative Thought, Language, and Understanding. Cambridge: Cambridge University Press, 1994.

Gibbs, Raymond W, Jr., and Herbert L. Colston. “The Cognitive Psychological Reality of Image Schemas and Their Transformations.” Cognitive Linguistics 6 (1995): 347–78.

Gjerdingen, Robert O. A Classic Turn of Phrase: Music and the Psychology of Convention. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylvania Press, 1988.

———. “Courtly Behaviors.” Music Perception 13 (1996): 365–82.

———. “Revisiting Meyer's‘Grammatical Simplicity and Relational Richness’.” In Cognitive Bases of Musical Communication, edited by Mari Riess Jones and Susan Holleran, 225–43. Washington, DC: American Psychological Association, 1992.

Gleitman, Lila R., Sharon Lee Armstrong, and Henry Gleitman. “On Doubting the Concept ‘Concept.’” In New Trends in Conceptual Representation: Challenges to Piaget's Theory? edited by Ellin Kofsky Scholnick, 87–110. Hillsdale, N.J.: Erlbaum Associates, 1983.

Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press, 1992.

———. The Quest for Voice: Music, Politics, and the Limits of Philosophy. Berkeley: University of California Press, 1998.

Goetschius, Percy. Lessons in Music Form: A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition. Bryn Mawr, Penn.: Oliver Ditson, 1904.

Goldman, Herbert G. Banjo Eyes: Eddie Cantor and the Birth of Modern Stardom. New York: Oxford University Press, 1997.

(p.341) Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. 2nd ed. Indianapolis: Hackett Publishing, 1976.

Gopnik, Alison, and Andrew N. Meltzoff. Words, Thoughts, and Theories. Cambridge, Mass.: MIT Press, 1997.

Gopnik, Alison, Andrew N. Meltzoff, and Patricia K. Kuhl. The Scientist in the Crib: Minds, Brains, and How Children Team. New York: William Morrow, 1999.

Gosnell, Harold F. Negro Politicians: The Rise of Negro Politics in Chicago. With an introduction by James Q.Wilson. Chicago: University of Chicago Press, 1966; originally published with an introduction by Robert Park, Social Science Studies, 35. Chicago, 1935.

Grey, Thomas S. Wagner's Musical Prose: Texts and Contexts. Cambridge: Cambridge University Press, 1995.

Griffin, Donald R. Animal Minds. Chicago: University of Chicago Press, 1992.

Groth, Renate. Die französische Kompositionlehre des 19. Jahrhunderts. Wiesbaden: Franz Steiner, 1983.

Hampton, James. “Prototype Models of Concept Representation.” In Categories and Concepts: Theoretical Views and Inductive Analysis, edited by Iven van Mechelen, James Hampton, Ryszard S. Michalski, and Peter Theuns, 67–95. Cognitive Science Series. London: Academic Press, 1993.

Hampton, James, and Danièle Dubois. “Psychological Models of Concepts.” In Categories and Concepts: Theoretical Views and Inductive Analysis, edited by Iven van Mechelen, James Hampton, Ryszard S. Michalski, and Peter Theuns, 11–33. Cognitive Science Series. London: Academic Press, 1993.

Harris, Paul L. “Thinking by Children and Scientists: False Analogies and Neglected Similarities.” In Mapping the Mind: Domain Specificity in Cognition and Culture, edited by Lawrence A. Hirschfield and Susan A. Gelman, 294–315. Cambridge: Cambridge University Press, 1994.

Harriss, Ernest C. Johann Mattheson's Der vollkommene Capellmeister: A Revised Translation with Critical Commentary. Studies in Musicology, 21. Ann Arbor, Mich.: UMI Research Press, 1981.

Hauptmann, Moritz. The Nature of Harmony and Metre. 2nd ed. Translated by W E. Heathcote. London: Sonnenschein, 1893; reprinted with a new foreword by Sigmund Levarie, New York: Da Capo Press, 1991.

Hedges, Stephen A. “Dice Music in the Eighteenth Century.” Music and Tetters 59 (1978): 180–87.

Hill, John Walter. “The Logic of Phrase Structure in Joseph Riepel's Anfangsgründe zur musikalischen Setzkunst, Part 2 (1755).” In Testa musicologica: Essays in Honor of George J. Buelow, edited by Thomas J. Mathiesen and Benito V. Rivera, 467–87. Festschrift Series, 14. Stuyvesant, N.Y.: Pendragon Press, 1995.

Hillach, Ansgar, and Klaus‐Dieter Krabiel. Eichendoff‐Kommentar. 2 vols. Munich: Winkler, 1971.

Hjelmslev, Louis. Prolegomena to a Theory of Language. Rev. ed. Translated by Francis J. Whitfield. Madison: University of Wisconsin Press, 1963.

Hobbes, Thomas. Leviathan, or the Matter, Forme, and Power of a Common‐Wealth Ecclesiasticall and Civill. London: Andrew Crooke, 1651.

Hockenberry John. Moving Violations: War Zones, Wheelchairs, and Declarations of Independence. New York: Hyperion, 1995.

Hoegi, Pierre. A Tabular System Whereby the Art of Composing Minuets Is Made So Easy That Any Person, without the Least Knowledge of Musick, May Compose Ten Thousand, All Different, and in the Most Pleasing and Correct Manner. London: Welcker, 1770.

Hofstadter, Douglas R., and the Fluid Analogies Research Group. Fluid Concepts and Creative (p.342) Analogies: Computer Models of the Fundamental Mechanisms of Thought. New York: Basic Books, 1995.

Holy, Ladislav, and Milan Stuchlik. “The Structure of Folk Models.” In The Structure of Folk Models, edited by Ladislav Holy and Milan Stuchlik, 1–34. London: Academic Press, 1981.

Hood, Mantle. “The Reliability of Oral Tradition.” Journal of the American Musicological Society 12 (1959): 201–09.

Hosier, Bellamy. Changing Aesthetic Views of Instrumental Music in 18th‐Century Germany. Studies in Musicology, 42. Ann Arbor, Mich.: UMI Research Press, 1981.

Hoyt, Peter. “The Concept of Développement in the Early Nineteenth Century.” In Music Theory in the Age of Romanticism, edited by Ian Bent, 141–62. Cambridge: Cambridge University Press, 1996.

———. “Review of Mark Evan Bonds, Wordless RhetoricJournal of Music Theory 38 (1994): 123–43.

Hughes, R. I. G. “Reason and Experiment in Newton's Opticks: Comments on Peter Achin‐stein.” In Philosophical Perspectives on Newtonian Science, edited by Phillip Bricker and R. I. G. Hughes, 175–84. Cambridge, Mass.: MIT Press, 1990.

Hurte, Michael. Musik, Bild, Bewegung: Theorie und Praxis auditiv‐visueller Konvergenzen. Bonn: Verlag für systematische Musikwissenschaft, 1982.

Hutchins, Edwin. Cognition in the Wild. Cambridge, Mass.: MIT Press, 1995.

Irving, John. Mozart: The “Haydn” Quartets. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1998.

Jackendoff, Ray. Consciousness and the Computational Mind. Cambridge, Mass.: MIT Press, 1987.

Johnson, Graham. “Die schöne Müllerin: The Poems and Their Background.” In Die schöne Müllerin, D795. Compact disk. Hyperion, [CD] CDJ 33025, 1996.

Johnson, Mark. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: University of Chicago Press, 1987.

Johnson‐Laird, Philip Nicholas. Mental Models: Towards a Cognitive Science of Language, Inference, and Consciousness. Cambridge, Mass.: Harvard University Press, 1983.

Kargon, Robert H. “Atomism in the Seventeenth Century.” In Dictionary of the History of Ideas: Studies of Selected Pivotal Ideas, vol. 1, edited by Philip P.Wiener, 132–41. New York: Charles Scribner's Sons, 1973.

Keil, Charles. Tiv Song. Chicago: University of Chicago Press, 1979.

Keil, Frank C. Concepts, Kinds, and Cognitive Development. Cambridge, Mass.: MIT Press, 1989.

Keil, Frank C, Daniel T. Levin, Bethany A. Richman, and Grant Gutheil. “Mechanism and Explanation in the Development of Biological Thought: The Case of Disease.” In Folk‐biology, edited by Douglas L.Medin and Scott Atran, 285–319. Cambridge, Mass.: MIT Press, 1999.

Keiler, Allan. “Music as Metalanguage: Rameau 's Fundamental Bass.” In Music Theory: Special Topics, edited by Richmond Browne, 83–100. New York: Academic Press, 1981.

———. “The Origins of Schenker's Thought: How Man Is Musical.” Journal of Music Theory 33 (1989): 273–98.

Keller, Hans. “Functional Analysis no. 9a: Mozart's Piano Sonata in A Minor, K. 310.” In Essays on Music, edited by Christopher Wintle, 129–38. Cambridge: Cambridge University Press, 1994.

———. “The Musical Analysis of Music.” In Essays on Music, edited by Christopher Wintle, 126–28. Cambridge: Cambridge University Press, 1994.

———. “Wordless Functional Analysis no. 1 : Mozart, K. 421.” The Score and I.M.A. Magazine 22 (1958): 56–64.

(p.343) Kerman, Joseph. The Beethoven Quartets. New York: W.W. Norton, 1966.

Klotz, Sebastian. “Ars combinatoria oder‘Musik ohne Kopfzerbrechen’: Kalküle des Musikalischen von Kircher bis Kirnberger.” Musiktheorie 14 (1999): 231–45.

Knaus, Herwig. Musiksprache und Werkstruktur in Robert Schumanns “Liederkreis”: Mit dem Faksimile des Autographs. Schriften zur Musik, 27. Munich: Emil Katzbichler, 1974.

Knouse, Nola Reed. “Joseph Riepel and the Emerging Theory of Form in the Eighteenth Century.” Current Musicology 4 (1986): 46–62.

Koch, Carl. Bernhard Klein (1783–1832): Sein Leben und seine Werke. Leipzig: Oscar Brandstetter, 1902.

Koch, Heinrich Christoph. Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4. Translated by Nancy Kovaleff Baker. Music Theory Translation Series. New Haven, Conn.:Yale University Press, 1983.

———. Versuch einer Anleitung zur Composition. Leipzig: Adam Friedrich Böhme; Rudolstadt: gedruckt mit Schriften der Löwischen Erben, und Schirach, 1782 (vol. 1); Leipzig: Adam Friedrich Böhme, 1787–93 (vols. 2–3); reprinted, Hildesheim: Georg Olms, 1969.

Köchel, Ludwig Ritter von. Chronologisch‐thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts. 8th ed. Edited by Franz Giegling, Alexander Weinmann, and Gerd Sievers. Wiesbaden: Breitkopf and Härtel, 1983.

Koffka, Kurt. Principles of Gestalt Psychology. London: Routledge and Kegan Paul, 1935.

Kramer, Lawrence. Music and Poetry: The Nineteenth Century and After. Berkeley: University of California Press, 1984.

Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999.

———. “Schenker's Changing View of Rameau: A Comparison of Remarks in Harmony, Counterpoint, and ‘Rameau or Beethoven?’” Theoria 3 (1989): 59–72.

Kropfinger, Klaus. Wagner and Beethoven: Richard Wagner's Reception of Beethoven. Translated by Peter Palmer. Cambridge: Cambridge University Press, 1991.

Kuhn, Thomas S. “A Function for Thought Experiments.” In The Essential Tension: Selected Studies in Scientific Tradition and Change, 240–65. Chicago: University of Chicago Press, 1977.

Kuntz, Paul G. “A Formal Preface and an Informal Conclusion to The Great Chain of Being: The Universality and Necessity of Hierarchical Thought.” In Jacob's Ladder and the Tree of Life: Concepts of Hierarchy and the Great Chain of Being, edited by Marion Leathers Kuntz and Paul Grimley Kuntz, 3–14. American University Studies, Series V, Philosophy, 14. New York: Peter Lang, 1987.

Kurth, Ernst. Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme. Berne: Akademische Buchhandlungen von Max Dreschel, 1913.

Lakoff, George. “The Contemporary Theory of Metaphor.” In Metaphor and Thought, 2nd ed., edited by Andrew Ortony 202–51. Cambridge: Cambridge University Press, 1993.

———. “The Invariance Hypothesis: Is Abstract Reason Based on Image‐Schemas?” Cognitive Linguistics 1 (1990): 39–74.

———. Women, Fire, and Dangerous Things: What Categories Reveal about the Mind. Chicago: University of Chicago Press, 1987.

Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.

———. Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. New York: Basic Books, 1999.

Lakoff, George, and Mark Turner. More Than Cool Reason: A Field Guide to Poetic Metaphor. Chicago: University of Chicago Press, 1989.

(p.344) Lang, Paul Henry, ed. Problems of Modem Music: The Princeton Seminar in Advanced Musical Studies. New York:W.W. Norton, 1960.

Langacker, Ronald W. “Conceptualization, Symbolization, and Grammar.” In The New Psychology of Language: Cognitive and Functional Approaches to Language Structure, edited by Michael Tomasello, 1–39. Mahwah, N.J.: Erlbaum Associates, 1998.

———. Descriptive Application.Vol. 2 of Foundations of Cognitive Grammar. Stanford, Calif.: Stanford University Press, 1992.

———. Grammar and Conceptualization. Berlin: Mouton de Gruyter, 2000.

———. Theoretical Prerequisites.Vol. 1 of Foundations of Cognitive Grammar. Stanford, Calif., Stanford University Press, 1987.

Langer, Susanne K. Feeling and Form: A Theory of Art Developed from Philosophy in a New Key. New York: Charles Scribner's Sons, 1953.

Lassaline, Mary E., Edward J. Wisniewski, and Douglas L. Medin. “Basic Levels in Artificial and Natural Categories: Are All Basic Levels Created Equal?” In Percepts, Concepts and Categories: The Representation and Processing of Information, edited by Barbara Burns, 327–78. Advances in Psychology, 93. Amsterdam: North‐Holland, 1992.

Miss Peggy Lee: An AutobiographyMiss Peggy Lee: An Autobiography. New York: Donald I. Fine, 1989.

Lenat, Douglas B., and R.V. Guha. Building Large Knowledge‐Based Systems: Representation and Inference in the Cyc Project. Reading, Mass.: Addison Wesley, 1989.

Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, Mass.: MIT Press, 1983.

Levy, Janet M. Beethoven's Compositional Choices: The Two Versions of Opus 18, No. 1, First Movement. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylvania Press, 1982.

———. “Gesture, Form, and Syntax in Haydn's Music.” In Haydn Studies: Proceedings of the International Haydn Conference, Washington, D.C., 1975, edited by Jens Peter Larsen, Howard Serwer, and James Webster, 355–62. New York:W.W. Norton, 1981.

Lewin, David. “Auf dem Flusse: Image and Background in a Schubert Song.” In Schubert: Critical and Analytical Studies, edited by Walter Frisch, 126–52. Lincoln: University of Nebraska Press, 1986.

———. Generalized Musical Intervals and Transformations. New Haven, Conn.: Yale University Press, 1987.

———. Musical Form and Transformation: Four Analytic Essays. New Haven, Conn.:Yale University Press, 1993.

London, Justin. “Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in 18th‐century Theory.” Journal of Musicology 8 (1990): 505–19.

Louis, Rudolf, and Ludwig Thuille. Harmonielehre. 7th ed. Stuttgart: Carl Grüninger Nachf. Ernst Klett, 1920.

Lovejoy, Arthur O. The Great Chain of Being: A Study of the History of an Idea. Cambridge, Mass.: Harvard University Press, 1936.

Loveland, Franklin O. “Snakebite Cure among the Rama Indians of Nicaragua.” In Medical Anthropology, edited by Francis X. Grollig and Harold B. Haley, 81–102. The Hague: Mouton, 1976.

Löwenstein, Paul. “Mozart‐Kuriosa.” Zeitschrift für Musikwissenschaft 12 (1930): 342–46.

Lutz, Catherine. “Ethnopsychology Compared to What? Explaining Behavior and Consciousness among the Ifaluk.” In Person, Self and Experience: Exploring Pacific Ethnopsy‐chologies, edited by Geoffrey M. White and John Kirkpatrick, 35–79. Berkeley: University of California Press, 1985.

Lyle, Wilson. “Colour and Music: An Introduction.” Music Review 43 (1982): 261–64.

McCauley Robert N. “The Role of Theories in a Theory of Concepts.” In Concepts and (p.345) Conceptual Development: Ecological and Intellectual Factors in Categorization, edited by Ulric Neisser, 288–309. Cambridge: Cambridge University Press, 1987.

McClary, Susan. Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press, 2000.

McCreless, Patrick. “Song Order in the Song Cycle: Schumann's Liederkreis, Op. 39.” Music Analysis 5 (1986): 5–40.

McNeill, David. Hand and Mind: What Gestures Reveal about Thought. Chicago: University of Chicago Press, 1992.

Macpherson, Stewart. Form in Music: With Special Reference to the Designs of Instrumental Music. London: Joseph Williams, 1908.

Macrobius, Ambrosius Aurelius Theodosius. Commentary on the Dream of Scipio. Edited and translated by William Harris Stahl. New York: Columbia University Press, 1990.

Macy, Laura. “Speaking of Sex: Metaphor and Performance in the Italian Madrigal.” Journal of Musicology 14 (1996): 1–34.

Marks, Lawrence E. The Unity of the Senses: Interrelations among the Modalities. New York: Academic Press, 1978.

Marx, Adolph Bernhard. Die Lehre von der musikalischen Komposition, praktisch‐theoretisch. 4 vols. 4th ed. Leipzig: Breitkopf and Härtel, 1841–47.

———. Ludwig van Beethoven: Leben und Schaffen. 6th ed. Edited by Gustav Behncke. Berlin: Otto Janke, 1908.

———. Musical Form in the Age of Beethoven: Selected Writings on Theory and Method. Edited and translated by Scott G. Burnham. Cambridge Studies in Music Theory and Analysis, 12. Cambridge: Cambridge University Press, 1997.

Mathiesen, Thomas J. Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press, 2000.

Mattheson, Johann. Kern melodischer Wissenschaft. Hamburg: C. Herold, 1737; reprinted, Hildesheim: Georg Olms, 1976.

———. Das neu‐eröffnete Orchestre. Hamburg: Printed for the author, 1713; reprinted, Hildesheim: Georg Olms, 1993.

———. Der vollkommene Capellmeister. Hamburg: C. Herold, 1739; reprinted, Dokumenta musicologica, 1. Reihe, Druckschriften‐Faksimiles, 5, edited by Margarete Reimann, Kassel: Bärenreiter‐Verlag, 1954.

Mervis, Carolyn B., and Eleanor Rosch. “Categorization of Natural Objects.” Annual Review of Psychology 32 (1981): 89–115.

Meyer, Leonard B. Explaining Music: Essays and Explorations. Berkeley: University of California Press, 1973; reprinted, Chicago: University of Chicago Press, 1978.

Milne, A. A. The World of Pooh: The Complete Winnie‐the‐Pooh and the House at Pooh Corner. Illustrated by E. H. Shepard. New York: E. P. Dutton, 1957.

Minsky Marvin. “A Framework for Representing Knowledge.” In The Psychology of Computer Vision, edited by Patrick Henry Winston, 211–77. New York: McGraw‐Hill, 1975.

———. The Society of Mind. New York: Simon and Schuster, 1985.

MomignyJérôme‐Joseph de. Cours complet d'harmonie et de composition, d'après une théorie neuve et générale de la musique. 3 vols. Paris: Chez l'auteur, 1806.

———. “Musique,” in Musique, Series 36 of Encyclopédie méthodique, ou par ordre de matières, edited by Nicolas Etienne Framéry, Pierre Louis Ginguené, and Jérôme‐Joseph de Momigny,

Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1996.

Morgan, Robert P. “Circular Form in the Tristan Prelude.” Journal of the American Musicological Society 53 (2000): 69– 103.

(p.346) ———. “Symmetrical Form and Common‐Practice Tonality.” Music Theory Spectrum 20 (1998): 1–47.

———. “The Theory and Analysis of Tonal Rhythm.” The Musical Quarterly 64 (1978): 43 5–73.

Mozart, Wolfgang Amadeus. Musikalisches Würfelspiel: Eine Anleitung “Walzer oder Schleifer mit zwei Würfeln zu componieren ohne Musikalisch zu seyn, noch von der Composition etwas zu verstehen.” Edited by Karl Heinz Taubert. Mainz: B. Schott's Söhne, 1956.

Müller, Wilhelm. Vermischte Schriften. 5 vols. Edited by Gustav Schwab. Leipzig: F. A. Brockhaus, 1830.

Murphy Gregory L., and Douglas L. Medin. “The Role of Theories in Conceptual Coherence.” Psychological Review 92 (1985): 289–316.

Musica enchiriadis and Scolica enchiriadis. Edited by Claude V. Palisca. Translated by Raymond Erickson. Music Theory Translation Series. New Haven, Conn.:Yale University Press, 1995.

Narmour, Eugene. The Analysis and Cognition of Basic Melodic Structures: The Implication‐Realization Model. Chicago: University of Chicago Press, 1990.

———. The Analysis and Cognition of Melodic Complexity: The Implication‐Realization Model. Chicago: University of Chicago Press, 1992.

———. “Some Major Theoretical Problems Concerning the Concept of Hierarchy in the Analysis of Tonal Music.” Music Perception 1/2 (1983–84): 129–99.

Nattiez, Jean‐Jacques. Proust as Musician. Translated by Derrick Puffett. Cambridge: Cambridge University Press, 1989.

Newton, Isaac. Opticks, or a Treatise of the Reflections, Refractions, Inflections and Colours of Light. 4th ed. London:W Innys, 1730; reprinted, New York: Dover, 1952.

Nicomachus. Enchiridion. In Harmonic and Acoustic Theory. Vol. 2 of Greek Musical Writings. Edited and translated by Andrew Barker, 247–69. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989.

Noguchi, Hideo. “Mozart— Musical Game in C Major, K.516f.” Mitteilungen der Internationalen Stiftung Mozarteum 38 (1990): 89–101.

Oakhill, Jane, and Alan Garnham, eds. Mental Models in Cognitive Science: Essays in Honour of Phil Johnson‐Laird. East Sussex, U.K.: Psychology Press, 1996.

Patrides, C. A. “Hierarchy and Order.” In Dictionary of the History of Ideas: Studies of Selected Pivotal Ideas, edited by Philip P.Wiener, vol. 2, 434–49. New York: Charles Scribner's Sons, 1973.

Pinker, Steven. How the Mind Works. New York: W.W. Norton, 1997.

Pollard‐Gott, Lucy. “Emergence of Thematic Concepts in Repeated Listening to Music.” Cognitive Psychology 15 (1983): 66–94.

Porter, James. “Context, Epistemics, and Value: A Conceptual Performance Model Reconsidered.” In Selected Reports in Ethnomusicology : Issues in the Conceptualization of Music, 7, edited by James Porter and Ali Jihad Racy, 69–97. Los Angeles: University of California, Department of Ethnomusicology, 1988.

———. “Jeannie Robertson's My Son David: A Conceptual Performance Model.” Journal of American Folklore 89 (1976): 7–26.

Powers, Richard. Galatea 2.2. New York: Farrar, Straus Giroux, 1995.

Proust, Marcel. Swann's Way. Vol. 1 of Remembrance of Things Past. Translated by C. K. Scott Moncrieff and Terence Kilmartin. New York: Vintage Books, 1981.

Prout, Ebenezer. Musical Form. London: Augener, 1893.

Ptolemy. Harmonics. In Harmonic and Acoustic Theory .Vol. 2 of Greek Musical Writings. Edited and translated by Andrew Barker, 275–391. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989.

Quinn, Naomi, and Dorothy Holland. “Culture and Cognition.” In Cultural Models in Language and Thought, edited by Dorothy Holland and Naomi Quinn, 3 –40. Cambridge: Cambridge University Press, 1987.

(p.347) Rameau, Jean‐Philippe. Génération harmonique ou traité de musique théorique et pratique. Paris: Prault fils, 1737. Facsimile edition; Monuments of Music and Music Literature in Facsimile. Second Series, Music Literature, 6. New York: Broude Brothers, 1966.

———. Nouveau système de musique théorique et pratique. Paris: Ballard, 1726.

———. Observations sur notre instinct pour la musique, et sur son principe. Paris: Prault fils, 1754. Facsimile edition; Monuments of Music and Music Literature in Facsimile. Second Series, Music Literature, 54. New York: Broude Brothers, 1967.

Ratner, Leonard G. “Ars combinatorial Chance and Choice in Eighteenth‐Century Music.” In Studies in Eighteenth‐Century Music: A Tribute to Karl Geringer on His Seventieth Birthday, edited by H. C. Robbins Landon, 343 –63. New York: Da Capo Press, 1979.

———. The Beethoven String Quartets: Compositional Strategies and Rhetoric. Stanford, Calif: Stanford Bookstore, 1995.

———. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980.

———. “Harmonic Aspects of Classic Form.” Journal of the American Musicological Society 2 (1949): 159–68.

Réti, Rudolph. The Thematic Process in Music. New York: Macmillan, 1951.

Riemann, Hugo. Musikalische Logik: Hauptzüge der physiologischen und psychologischen Begründung unseres Musiksystems. Leipzig: C. F. Kahnt, 1874.

———. Musik‐Lexikon. Leipzig:Verlag des Bibliographischen Instituts, 1882.

———. System der musikalischen Rhythmik und Metrik. Leipzig: Breitkopf and Härtel, 1903.

Riepel, Joseph. Grundregln zur Tonordnung insgemein. Vol. 2 of Anfangsgründe zur musicalischen Setzkunst. Regensburg: Johann Leopold Montag, 1755.

———. Sämtliche Schriften zur Musiktheorie. Edited by Thomas Emmerig. Wiener musikwissenschaftliche Beiträge, 20.Vienna: Böhlau, 1996.

Robertson‐DeCarbo, Carol E. “Tayil as Category and Communication among the Argentine Mapuche: A Methodological Suggestion.” Yearbook of the International Folk Music Council 8 (1976): 35–52.

Rosch, Eleanor. “Categorization.” In Encyclopedia of Human Behavior, vol. 1,V. S. Ramachan‐dran, gen. ed., 513–23. San Diego: Academic Press, 1994.

———. “Cognitive Representations of Semantic Categories.” Journal of Experimental Psychology: General 104 (1975): 192–233.

———. “Human Categorization.” In Studies in Cross‐Cultural Psychology, 1, edited by Neil Warren, 1–49. London: Academic Press, 1977.

———. “On the Internal Structure of Perceptual and Semantic Categories.” In Cognitive Development and the Acquisition of Language, edited by Timothy E. Moore, 111–44. New York: Academic Press, 1973.

———. “Principles of Categorization.” In Cognition and Categorization, edited by Eleanor Rosch and Barbara B. Lloyd, 27–48. Hillsdale, N.J.: Erlbaum Associates, 1978.

Rosch, Eleanor, and Carolyn B. Mervis. “Family Resemblances.” Cognitive Psychology 7 (1975): 573–605.

Rosch, Eleanor, Carolyn B. Mervis, Wayne D. Gray, David M.Johnson, and Penny Boyes‐Braem. “Basic Objects in Natural Categories.” Cognitive Psychology 8 (1976): 382–439.

Rousseau, Jean‐Jacques. “Essay on the Origin of Languages (c. 1763).” In Essay on the Origin of Languages and Writings Related to Music, translated and edited by John T. Scott, 289–332. Collected Writings of Rousseau, 7. Hanover, N.H.: University Press of New England, 1998.

———. “Letter on French Music.” In Essay on the Origin of Languages and Writings Related to Music, translated and edited by John T. Scott, 141–74. Collected Writings of Rousseau, 7. Hanover, N.H.: University Press of New England,

Rowell, Lewis. Music and Musical Thought in Early India. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1992.

(p.348) Russolo, Luigi. The Art of Noises (1916). Translated by Barclay Brown. New York: Pendragon Press, 1986.

Rust, Brian. The American Dance Band Discography 1917–1942. New Rochelle, N.Y.: Arlington House, 1975.

Saint‐Saëns, Camille. Le Carnaval des animaux: Grande fantasie zoologique. Edited by Felix Aprahamian. Zurich: Eulenberg, 1974.

Sams, Eric. The Songs of Johannes Brahms. New Haven, Conn.:Yale University Press, 2000.

Schank, Roger C., and Robert P. Abelson. Scripts, Plans, Goals and Understanding: An Inquiry into Human Knowledge Structures. Hillsdale, N.J.: Erlbaum Associates, 1977.

Schelling, Friedrich Wilhelm Joseph von. Philosophy of Art. Edited, translated, and introduced by Douglas W. Stott, with a foreword by David Simpson. Theory and History of Literature, 58. Minneapolis: University of Minnesota Press, 1989.

Schenker, Heinrich. Counterpoint: Book I: Cantus Firmus and Two‐ Voice Counterpoint. Edited by John Rothgeb. Translated by John Rothgeb and Jürgen Thym. New Musical Theories and Fantasies, 2. New York: Schirmer Books, 1987.

———. Free Composition (Der freie Satz). Edited and translated by Ernst Oster. New Musical Theories and Fantasies, 3. New York: Schirmer Books, 1979.

———. Der freie Satz. Neue musikalische Theorien und Phantasien, 3. Vienna: Universal‐Edition A. G., 1935.

———. Harmonielehre. Neue musikalische Theorien und Phantasien, 1. Stuttgart: J. G. Cotta'sche, 1906.

———. “Rameau or Beethoven? Creeping Paralysis or Spiritual Potency in Music?” In The Masterwork in Music: A Yearbook, 1–9. Translated by Ian Bent, edited by William Drabkin. Cambridge Studies in Music Theory and Analysis, 5. Cambridge: Cambridge University Press, 1994.

Schmid, Hans, ed. Musica et Scolica enchiriadis una cum aliquibus tratatulis adiunctis. Veröffentlichungen der Musikhistorischen Kommission, Bayerische Akademie der Wissenschaften, 3. Munich: Verlag der Bayerische Akademie der Wissenschaften, 1981.

Schoenberg, Arnold. “Brahms the Progressive (1947).” In Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein, translated by Leo Black, 398–441. New York: St. Martin's Press, 1975.

———. Coherence, Counterpoint, Instrumentation, Instruction in Form. Edited by Severine Neff. Translated by Severine Neff and Charlotte M. Cross. Lincoln: University of Nebraska Press, 1994.

———. Fundamentals of Musical Composition. Edited by Gerald Strang and Leonard Stein. London: Faber and Faber, 1967.

———. Harmonielehre. Leipzig:Verlagseigentum der Universal‐Edition, 1911.

———. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Edited and translated by Patricia Carpenter and Severine Neff. New York: Columbia University Press, 1995.

———. “My Evolution (1949).” In Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein, translated by Leo Black, 79–92. New York: St. Martin's Press, 1975.

———. “Opinion or Insight? (1926).” In Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein, translated by Leo Black, 258–64. New York: St. Martin's Press, 1975.

———. Theory of Harmony. Translated by Roy E. Carter. Berkeley: University of California Press, 1978.

Sectio canonis. In Harmonic and Acoustic Theory. Vol. 2 of Greek Musical Writings. Edited by Andrew Barker, 191–208. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1989.

(p.349) Seeger, Anthony. Why Suyá Sing: A Musical Anthropology of an Amazonian People. Cambridge: Cambridge University Press, 1987.

Seeger, Charles. “Oral Tradition in Music.” In Funk and Wagnalls Standard Dictionary of Folklore, Mythology, and Legend, edited by Maria Leach and Jerome Fried, vol. 2, 825–29. New York: Funk and Wagnalls, 1950.

Sessions, Roger. The Musical Experience of Composer, Peformer, Listener. Princeton, N.J.: Princeton University Press, 1950.

Shore, Bradd. Culture in Mind: Cognition, Culture, and the Problem of Meaning. New York: Oxford University Press, 1996.

Smith, Edward E., and Douglas L. Medin. Categories and Concepts. Cambridge, Mass.: Harvard University Press, 1981.

Snarrenberg, Robert. “Competing Myths: The American Abandonment of Schenker's Organicism.” In Theory, Analysis and Meaning in Music, edited by Anthony Pople, 29–56. Cambridge: Cambridge University Press, 1994.

Spitzer, Mark. “Marx's ‘Lehre' and the Science of Education: Towards the Recuperation of Music Pedagogy.” Music and Letters 79 (1998): 489–526.

Stark, Lucien. A Guide to the Solo Songs of Johannes Brahms. Bloomington: Indiana University Press, 1995.

Stone, Ruth M. Let the Inside Be Sweet: The Interpretation of Music Event among the Kpelle of Liberia. Bloomington: Indiana University Press, 1982.

Sweetser, Eve E. “The Definition of Lie: An Examination of the Folk Models Underlying a Semantic Prototype.” In Cultural Models in Language and Thought, edited by Dorothy Holland and Naomi Quinn, 43–66. Cambridge: Cambridge University Press, 1987.

Talbot, Michael, ed. The Musical Work: Reality or Invention? Liverpool: University of Liverpool, 2000.

Talmy, Leonard. Concept Structuring Systems. Vol. 1 of Toward a Cognitive Semantics. Cambridge, Mass.: MIT Press, 2000.

Tanaka, James W., and Marjorie Taylor. “Object Categories and Expertise: Is the Basic Level in the Eye of the Beholder?” Cognitive Psychology 23 (1991): 457–82.

Taubert, Karl Heinz, ed. Das Menuett: Musikalisches Würfelspiel, Paris 1786. Zurich: Musikhaus Pan, 1988.

Temperley, David. “Motivic Perception and Modularity.” Music Perception 13 (1995): 141–69.

Thomas, Downing A. Music and the Origins of Language: Theories from the French Enlightenment. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 1995.

Tomasello, Michael. “Introduction: A Cognitive‐Functional Perspective on Language Structure.” In The New Psychology of Language: Cognitive and Functional Approaches to Language Structure, edited by Michael Tomasello, vii‐xxiii. Mahwah, N.J.: Erlbaum Associates, 1998.

Tovey, Donald Francis. Symphonies. Vol. 1 of Essays in Musical Analysis. Oxford: Oxford University Press, 1935.

Treitler, Leo. “History and the Ontology of the Musical Work.” Journal of Aesthetics and Art Criticism 51 (1993): 483–97.

———. “Transmission and the Study of Music History.” In Report of the Twelfth Congress, Berkeley 1977, edited by Daniel Heartz and Bonnie Wade, 202–11. Kassel: Bärenreiter‐Verlag; Philadelphia: The American Musicological Society, 1981.

Turner, Mark. “Aspects of the Invariance Hypothesis.” Cognitive Linguistics 1 (1990): 247–55.

———. “Design for a Theory of Meaning.” In The Nature and Ontogenesis of Meaning, edited by Willis F. Overton and David S. Palermo, 91–108. Hillsdale, N.J.: Erlbaum Associates, 1994.

(p.350) ———. “Figure.” In Figurative Language and Thought, edited by Albert N. Katz, Cristina Cacciari, Raymond W. Gibbs,Jr., and Mark Turner, 44–87. New York: Oxford University Press, 1998.

———. “An Image‐Schematic Constraint on Metaphor.” In Conceptualizations and Mental Processing in Language, edited by Richard A. Geiger and Brygida Rudzka‐Ostyn, 291–306. Cognitive Linguistics Research, 3. Berlin: Mouton de Gruyter, 1993.

———. The Literary Mind. New York: Oxford University Press, 1996.

Turner, Mark, and Gilles Fauconnier. “Conceptual Integration and Formal Expression.” Metaphor and Symbolic Activity 10 (1995): 183–204.

———. “Conceptual Integration in Counterfactuals.” In Discourse and Cognition: Bridging the Gap: [Second] Conceptual Structure, Discourse, and Language Conference, Buffalo, 1996, edited by Jean‐Pierre Koenig, 285–96. Stanford, Calif: Center for the Study of Language and Information, 1998.

Tversky, Barbara, and Kathleen Hemenway. “Categories of Environmental Scenes.” Cognitive Psychology 15 (1983): 121–49.

———. “Objects, Parts, and Categories.” Journal of Experimental Psychology: General 113 (1984): 169–93.

Verba, E. Cynthia. “The Development of Rameau’s Thoughts on Modulation and Chromatics.” Journal of the American Musicological Society 26 (1973): 69–91.

Waidelich, Till Gerrit, ed. Franz Schubert: Dokumente, 1817–1830. Veröffentlichungen des Internationalen Franz Schubert Instituts, 10. Tutzing, Germany: Hans Schneider, 1993.

Walser, Robert. “‘Out of Notes’: Signification, Interpretation, and the Problem of Miles Davis.” In Jazz among the Discourses, edited by Krin Gabbard, 165–88. Durham, N.C.: Duke University Press, 1995.

Weber, Gottfried. Theory of Musical Composition, Treated with a View to a Naturally Consecutive Arrangement of Topics. Edited by John Bishop. Translated by James F.Warner. London: Robert Cocks, 1851.

Welker, Robert L. “Abstraction of Themes from Melodic Variations.” Journal of Experimental Psychology: Human Perception and Peformance 8 (1982): 435–47.

Wendt, Lloyd, and Herman Kogan. Big Bill of Chicago. Indianapolis: Bobbs‐Merrill, 1953.

Will, Richard. “Time, Morality, and Humanity in Beethoven’s Pastoral Symphony.” Journal of the American Musicological Society 50 (1997): 271–329.

Wittgenstein, Ludwig. Philosophical Investigations. Translated by G. E. M. Anscombe. New York: Macmillan, 1953.

Wolff, Viktor Ernst. Lieder Robert Schumanns in ersten und späteren Fassungen. Berlin: H. S. Hermann, 1913.

Wolzogen, Hans von. Guide through the Musical Motives of Richard Wagner’s Tristan and Isolde: With a Preface on the Legend and the Poem of Wagner’s Drama. Leipzig: Feodor Reinboth, 1889.

———. Thematischer Leitfaden durch die Musik zu Richard Wagner’s Tristan und Isolde: Nebste einem Vorworte über den Sagenstoff des Wagner’sehen Dramas. Leipzig: Feodor Reinboth, 1890.

Youens, Susan. “Behind the Scenes: Die schöne Müllerin before Schubert.” 19th Century Music 15 (1991):3–22.

———. Retracing a Winter’s Journey: Schubert’s Winterreise. Ithaca, N.Y: Cornell University Press, 1991.

———. Schubert: Die schöne Müllerin. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1992.

———. Schubert, Müller, and Die schöne Müllerin. Cambridge: Cambridge University Press, 1997.

(p.351) Zanten,Wim van. “The Tone Material of the Kacapi in Tembang Sunda in West Java.” Ethnomusicology 30 (1986): 84–112.

Zbikowski, Lawrence. “The Blossoms of ‘Trockne Blumen’: Music and Text in the Early Nineteenth Century.” Music Analysis 18 (1999): 307–45.

———.“Large‐Scale Rhythm and Systems of Grouping.” Ph.D. diss.,Yale University, 1991.

Ziolkowski, Theodore. German Romanticism and Its Institutions. Princeton, N.J.: Princeton University Press, 1990.

Recordings

This reference list makes use of the following abbreviations: CD = compact disc; LP = 33 rpm record; 78 = 78 rpm record.

Bennie Krueger’s Orchestra. “Bye Bye Blackbird.” Brunswick, [78] no. 3186, 1926.

Benny Goodman Sextet. “I Got Rhythm.” In Benny Goodman. CBS Records, [LP] P5 15536 CP, 1981.

Bobby Short. “Bye Bye Blackbird.” In Bobby Short. Atlantic, [LP] 1230, 1956.

Charlie and His Orchestra. “Bye Bye Blackbird.” In Charlie and His Orchestra: German Propaganda Swing 1941–1942. Harlequin, [CD] HQ CD 03, 1990.

Charlie Parker and others. “I Got Rhythm.” In Bird: The Complete Charlie Parker on Verve. Verve/Polygram Classics, [CD] 837 142–2, 1988.

Chick Webb and His Little Chicks. “I Got Rhythm.” In Spinnin’ the Webb: Chick Webb and His Orchestra. GRP Records, [CD] 513678L, 1994.

Derek Bailey, Pat Metheny, Gregg Bendian, and Paul Wertico. The Sign of 4. Knitting Factory Works, [CD] KFW 197, 1997.

Don Redman and His Orchestra. “I Got Rhythm.” In Don Redman and His Orchestra, 1931–1933. Classics, [CD] 543 Classics, 1990.

Eddie Cantor. “Bye Bye Blackbird.” In Songs by Eddie Cantor from The Eddie Cantor Story.Capitol, [LP] L‐46, 1954.

Fletcher Henderson and His Orchestra. “Yeah Man.” In Fletcher Henderson, Developing an American Orchestra, 1923–1937. Smithsonian Collection, [LP] R 006, 1977.

Fred Rich and His Orchestra. “I Got Rhythm.” In 1930—You’re Driving Me Crazy: Portrait of a Year in Music. Phontastic, [CD] PHONT CD 7618, 1992.

Freddie “Schnickelfritz” Fisher and His Orchestra. “Bye Bye Blackbird.” Decca, [78] no. 25357/3788, 1941.

Gene Austin. “Bye Bye Blackbird.” Victor, [78] no. 20044‐B, 1926.

George Gershwin. “I Got Rhythm.” In Gershwin Performs Gershwin: Rare Recordings 1931–1935. Musical Heritage Society, [CD] 512923A, 1991.

George Gershwin and Ira Gershwin. Girl Crazy. Elektra Nonesuch, [CD] 79250‐2, 1990.

Jimmy Dorsey and His Orchestra. “I Got Rhythm.” In Jimmy Dorsey and His Orchestra, Vol. 2: 1942–44. Hindsight Records, [LP] HSR‐153, 1980.

Johnny Maddox. “Bye Bye Blackbird.” In Tap Dance Rhythms. Dot, [LP] DLP 3008, 1955.

Lester Young with the Kansas City Six. “I Got Rhythm.” In The Tenor Sax: Lester Young, Chu Berry and Ben Webster: The Commodore Years. Atlantic, [LP] SD 2–307, 1973.

Marlene Fingerle and Arthur Schutt. “Medley: T Know That You Know,’ ‘Baby Face,’ ‘Bye Bye Blackbird.’” In Song Hits of 1926. Songs of Our Times. Decca, [LP] DL 5170, 1950.

Miles Davis. ’Round about Midnight. Columbia, [CD] CK 40610, 1987.

Peggy Lee. “Bye Bye Blackbird.” In Songs from Pete Kelly’s Blues. Decca, [LP] DL 8166,1955.

“Pete Kelly and His Big Seven” (Matty Matlock and others). Pete Kelly’s Blues. BMG Special Products; [CD] DRC12081, 1998.

(p.352) Red Nichols and His Five Pennies. “I Got Rhythm.” In Rarest Brunswick Masters, 1926–1931: Red Nichols and His Five Pennies. MCA Records, [LP] MCA 1518, 1982.

Red Norvo and His Swing Sextette. “I Got Rhythm.” In Red Norvo. Time‐Life Records, [LP] STL‐J14, 1980.

Sidney Bechet and the New Orleans Feetwarmers. “Shag.” In Sidney Bechet. Time‐Life Records, [LP] STL‐J09, 1980.