| Autor | Jahr | Titel unselbstständig | Titel selbstständig | Herausgeber | Ort und Verlag | Weitere Veröffentlichung |
| Adorno, Theodor W. | 1968 | "Analyse und Berg" | Österreichische Musikzeitschrift 23/11 (1968), 601-606 | |||
| Adorno, Theodor W. | 1982 | "On the Problem of Musical Analysis" | Music Analysis 1/2 (1982), 169-187 | |||
| Adrian, Jack [John S.] | 1977 | Heinrich Schenker's Early Theory of Scale-Step | DM diss.: Univ. of Alberta [Canada] | |||
| Adrian, Jack [John S.] | 1985 | "J. S. Bach's Invention in A Minor: A Re-view" | In Theory Only 8/7 (1985), 15-27 | |||
| Adrian, Jack [John S.] | 1990 | "The Ternary-Sonata Form" | Journal of Music Theory 34/1 (1990), 57-80 | |||
| Adrian, Jack [John S.] | 1991 | "The Function of the Apparent Tonic at the Beginning of Development Sections" | Intégral 5 (1991), 1-53 | |||
| Agawu, V. Kofi | 1987 | "The First Movement of Beethoven's Opus 132 and the Classical Style" | College Music Symposium 27 (1987), 30-45 | |||
| Agawu, V. Kofi | 1989 | "Schenkerian Notation in Theory and Practice" | Music Analysis 8/3 (1989), 275-301 | |||
| Agawu, V. Kofi | 1989 | "Stravinsky's Mass and Stravinsky Analysis" | Music Theory Spectrum 11/2 (1989), 139-163 | |||
| Agawu, V. Kofi | 1989 | "The Future of Theory" | Indiana Theory Review 10 (1989), 66-67 | |||
| Agawu, V. Kofi | 1992 | "Extended Tonality in Mahler and Strauss" | in: Richard Strauss: New Perspectives on the Composer and His Work | hg. von Bryan Gilliam | Durham, NC: Duke Univ. Press, 55-75 | |
| Agawu, V. Kofi | 1992 | "Theory and Practice in the Analysis of the Nineteenth-Century Lied" | Music Analysis 11/1 (1992), 3-36 | |||
| Agawu, V. Kofi | 1994 | "Ambiguity in Tonal Music: A Preliminary Study" | in: Theory, Analysis and Meaning in Music | hg. von Anthony Pople | Cambridge: Cambridge Univ. Press, 86-107 | |
| Agawu, V. Kofi | 1996 | "Prospects for a Theory-Based Analysis of the Instrumental Music" | in: Wolfgang Amadè Mozart: Essays on His Life and His Music | hg. von Stanley Sadie | New York: Oxford Univ. Press, 121-131 | |
| Agawu, V. Kofi | 1998 | "Music Analysis versus Musical Hermeneutics" | The American Journal of Semiotics 13/1-4 (1998), 9-24 | |||
| Agmon, Eytan | 1996 | "Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb" | Music Theory Online 2/3 (1996) | http://www.societymusictheory.org/mto/ | ||
| Agmon, Eytan | 1997 | "The Bridges That Never Were: Schenker on the Contrapuntal Origin of the Triad and Seventh Chord" | Music Theory Online 3/1 (1997) | http://www.societymusictheory.org/mto/ | ||
| Agmon, Eytan | 2006 | "Structural Levels and Harmonic Theory: Toward a Reconciliation" | in: Selected Essays from the Third International Schenker Symposium | hg. von Allen Cadwallader & Jan Miyake | Hildesheim: Olms, 219-244 | |
| Albersheim, Gerhard | 1980 | Die Tonsprache (Mainzer Studien zur Musikwissenschaft 15) | Tutzing: Schneider | |||
| Albertazzi, Liliana & Piana, Giovanni (Hg.) | 1993 | La percezione musicale | Milano: Guerini studio | |||
| Albright, Larry E. | 1988 | Computer Realization of Human Music Cognition | PhD diss.: Univ. of North Texas | |||
| Alegant, Brian & McLean, Donald | 2001 | "On the Nature of Enlargement" | Journal of Music Theory 45/1 (2001), 31-71 | |||
| Almén, Byron | 1996 | "Prophets of the Decline: The Worldviews of Heinrich Schenker and Oswald Spengler" | Indiana Theory Review 17/1 (1996), 1-24 | |||
| Alpern, Wayne | 1999 | "Music Theory as a Mode of Law: The Case of Heinrich Schenker, Esq." | Cardozo Law Review 20/5-6 (1999), 1459-1511 | |||
| Alterman, Anton | 1999 | "Review of Robert Snarrenberg: Schenker's Interpretive Practice (Cambridge Studies in Music Theory and Analysis 11), New York: Cambridge Univ. Press 1997" | Journal of Aesthetics and Art Criticism 57/1 (1999), 78-80 | |||
| Anderson, Norman D. | 1992 | Aspects of Early Major-Minor Tonality: Structural Characteristics of the Music of the Sixteenth and Seventeenth Centuries | PhD diss.: Ohio State Univ. | |||
| Anson-Cartwright, Mark | 1996 | "Chord as Motive: The Augmented-Triad Matrix in Wagner's Siegfried Idyll" | Music Analysis 15/1 (1996), 57-71 | |||
| Anson-Cartwright, Mark | 1998 | The Development Section in Haydn's Late Instrumental Works | PhD diss.: City Univ. of New York | |||
| Anson-Cartwright, Mark | 2000 | "Chromatic Features of E-flat Major Works of the Classical Period" | Music Theory Spectrum 22/2 (2000), 176-204 | |||
| Anson-Cartwright, Mark | 2001 | "Chasing Rainbows: Hugo Wolf's 'Phänomen' and Ideas of Coherence" | Journal of Music Theory 45/2 (2001), 233-261 | |||
| Anson-Cartwright, Mark | 2006 | "Tonal Conflicts in Haydn's Development Sections: The Role of C Major in Symphonies Nos. 93 and 102" | in: Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (Harmonologia 12) | hg. von L. Poundie Burstein & David Gagné | Hillsdale, NY: Pendragon, 227-236 | |
| Antonelli, Amy S. | 1985 | A Critical, Analytical Study of Selected Works by Robert Evett | PhD diss.: Catholic Univ. of America [DC] | |||
| Apfel, Ernst | 1967 | "Probleme der theoretischen Harmonik aus geschichtlich-satztechnischer Sicht" | in: Festschrift für Walter Wiora zum 30. Dezember 1966 | hg. von Ludwig Finscher & Christoph-Hellmut Mahling | Kassel: Bärenreiter, 140-148 | |
| Arias, Enrique A. | 1982 | "The Application of General System Theory to Musical Analysis" | The Music Review 43/3-4 (1982), 236-248 | |||
| Arnn, John | 1969 | The Harmonic Language of Selected Piano Works by Fauré | MM diss.: Indiana Univ. | |||
| Arnold, Janice M. | 1992 | The Role of Chromaticism in Chopin's Sonata Forms: A Schenkerian View | PhD diss.: Northwestern Univ. [IL] | |||
| Arvin, Tammy Jo | 2000 | Three Analytical Essays on Twentieth-Century Music | MA diss.: Univ. of Washington | |||
| Atlas, Raphael E. & Cherlin, Michael | 1994 | Musical Transformation and Musical Intuition: Eleven Essays in Honor of David Lewin | Roxbury, MA: Ovenbird | |||
| Au, Hiu-Wah | 2003 | Diminution, Schenkerian Theory, and Variation Form: Three Case Studies | PhD diss.: Univ. of Rochester [NY], Eastman School of Music | |||
| Austin, John C. | 1974 | A Survey of the Influence of Heinrich Schenker on American Music Theory and Its Pedagogy since 1940 | PhD diss.: Univ. of North Texas | |||
| Ayotte, Benjamin McKay | 2004 | Heinrich Schenker: A Guide to Research | New York: Routledge | |||
| Ayrey, Craig & Everist, Mark (Hg.) | 1996 | Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music | New York: Cambridge Univ. Press | |||
| Azzaroni, Loris | 1993 | "Dinamiche trasformative nella scrittura polifonica di Johann Sebastian Bach" | Analisi: Rivista di teoria e pedagogia musicale 4/10 (1993), 6-19 | |||
| Babbitt, Milton | 1952 | "Review of Felix Salzer: Structural Hearing: Tonal Coherence in Music, New York: Boni 1952" | Journal of the American Musicological Society 5/3 (1952), 260-265 | |||
| Babbitt, Milton | 1991 | "A Composer's View" | Harvard Library Bulletin 2/1 (1991), 123-132 | |||
| Badura-Skoda, Paul | 1982 | "Beiträge zu Haydns Ornamentik" | Musica 36/5 (1982), 409-418 | |||
| Bak, Cho-Yeon | 2000 | An Eclectic Analysis and Performance Guide of Robert Schumann's First Two Violin Sonatas, Opus 105 in A and Opus 121 in D | PhD diss.: New York Univ. | |||
| Baker, James M. & Beach, David W. & Bernard, Jonathan W. (Hg.) | 1997 | Music Theory in Concept and Practice | Rochester, NY: Univ. of Rochester Press | |||
| Baker, James M. | 1983 | "Schenkerian Analysis and Post-Tonal Music" | in: Aspects of Schenkerian Theory | hg. von David W. Beach | New Haven, CT: Yale Univ. Press, 153-186 | |
| Baker, James M. | 1990 | "Voice-Leading in Post-Tonal Music: Suggestions for Extending Schenker's Theory" | Music Analysis 9/2 (1990), 177-200 | |||
| Baker, James M. | 2006 | "The Structural Bass in Nineteenth- and Twentieth-Century Music" | in: Selected Essays from the Third International Schenker Symposium | hg. von Allen Cadwallader & Jan Miyake | Hildesheim: Olms, 197-218 | |
| Baker, Steven S. | 2003 | Neo-Riemannian Transformations and Prolongational Structures in Wagner's 'Parsifal' | PhD diss.: Florida State Univ. | |||
| Ballan, Harry R. | 1986 | Schoenberg's Expansion of Tonality, 1899-1908 | PhD diss.: Yale Univ. [CT] | |||
| Bamberger, Carl | 1936 | "Das Schenker-Institut am neuen Wiener Konservatorium" | Musikblätter des Anbruch 18/1 (1936), 7-8 | |||
| Bante-Knight, Mary M. | 1983 | Tonal and Thematic Coherence in Schubert's Piano Sonata in B-flat (D. 960) | PhD diss.: Washington Univ. [MO] | |||
| Barcaba, Peter | 1989 | "L'analyse schenkérienne et l'interprétation musicale: Pour une lecture artistique de l' oeuvre de H. Schenker" | Analyse musicale 17 (1989), 91-104 | |||
| Barcaba, Peter | 1990 | "Domenico Scarlatti oder die Geburtsstunde der klassischen Sonate" | Österreichische Musikzeitschrift 45/7 8 (1990), 382-390 | |||
| Barcaba, Peter | 2003 | "'Dies Bildnis ist bezaubernd schön' - Der 1. Satz von Beethovens Klaviersonate op. 57 in der Deutung von Heinrich Schenker und Franz Eibner" | in: Rebell und Visionär: Heinrich Schenker in Wien: Katalog zur Ausstellung vom 12. Juni bis 3. Juli 2003 an der Universität für Musik und Darstellende Kunst Wien | hg. von Evelyn Fink | Wien: Lafite, 36-75 | |
| Barford, Philip | 1975 | "Music in the Philosophy of Schopenhauer" | Soundings 5 (1975), 29-43 | |||
| Barket, James Ch. | 1993 | The Speaker of the Orchestra: An Analytical Study of the Bass Line in the Fourth Movement of Beethoven's Ninth Symphony | DMA doc.: Univ. of North Carolina, Greensboro | |||
| Barnett, David | 1972 | The Performance of Music: A Study in Terms of the Pianoforte | New York: Universe Books | |||
| Baroni, Mario & Dalmonte, Rossana & Pozzi, Egidio & Battel, Umberto & Sacchetti, Rita & Valeri, Angelo | 1998 | "Quand une analyse schenkérienne est-elle utile aux interprètes?" | Revue belge de musicologie 52 (1998), 321-345 | |||
| Baroni, Mario | 2000 | "L'analisi musicale: una pratica inquieta e mutevole" | Rivista italiana di musicologia 35 (2000), 277-320 | |||
| Barry, Barbara R. | 2000 | "'Sehnsucht' and Melancholy: Explorations of Time and Structure in Schubert's Winterreise" | in: The Philosopher's Stone: Essays in the Transformation of Musical Structure | hg. von ders. | Hillsdale, NY: Pendragon, 181-202 | |
| Bashour, Frederick J. | 1978 | "Towards a More Rigorous Methodology for the Analysis of the Pre-Tonal Repertory" | College Music Symposium 19/2 (1978), 140-153 | |||
| Bass, Richard | 1988 | "Prokofiev's Technique of Chromatic Displacement" | Music Analysis 7/2 (1988), 197-214 | |||
| Bass, Richard | 2001 | "Half-Diminished Functions and Transformations in Late Romantic Music" | Music Theory Spectrum 23/1 (2001), 41-60 | |||
| Bates, Vicky M. | 2000 | A Comparative Analysis Based on the Theories of Schenker and Schoenberg Using Brahms' F-Minor Sonata Op. 120, No. 1 | MM diss.: Bowling Green State Univ. [OH] | |||
| Beach, David W. (Hg.) | 1983 | Aspects of Schenkerian Theory | New Haven, CT: Yale Univ. Press | |||
| Beach, David W. | 1967 | "The Functions of the Six-Four Chord in Tonal Music" | Journal of Music Theory 11/1 (1967), 2-31 | |||
| Beach, David W. | 1969 | "A Schenker Bibliography" | Journal of Music Theory 13/1 (1969), 2-37 | |||
| Beach, David W. | 1969 | "Analysis Symposium [Beethoven, Piano Sonata in C, Op. 53 ('Waldstein' 1803-1804): Introduzione]" | Journal of Music Theory 13/2 (1969), 188-203 | |||
| Beach, David W. | 1974 | "The Origins of Harmonic Analysis" | Journal of Music Theory 18/2 (1974), 274-306 | |||
| Beach, David W. | 1979 | "A Schenker Bibliography: 1969-1979" | Journal of Music Theory 23/2 (1979), 275-286 | |||
| Beach, David W. | 1983 | "A Recurring Pattern in Mozart's Music" | Journal of Music Theory 27/1 (1983), 1-29 | |||
| Beach, David W. | 1983 | "Schenker's Theories: A Pedagogical View" | in: Aspects of Schenkerian Theory | hg. von dems. | New Haven, CT: Yale Univ. Press, 1-38 | |
| Beach, David W. | 1984 | "Motive and Structure in the 'Andante' Movement of Mozart's Piano Sonata K. 545" | Music Analysis 3/3 (1984), 227-236 | |||
| Beach, David W. | 1985 | "The Current State of Schenkerian Research" | Acta musicologica 57 (1985), 275-307 | |||
| Beach, David W. | 1987 | "Motivic Repetition in Beethoven's Piano Sonata Op. 110: Part I: The First Movement" | Intégral 1 (1987), 1-29 | |||
| Beach, David W. | 1987 | "On Analysis, Beethoven and Extravagance: A Response to Charles Smith" | Music Theory Spectrum 9 (1987), 173-185 | |||
| Beach, David W. | 1988 | "The Fundamental Line from Scale Degree 8: Criteria for Evaluation" | Journal of Music Theory 32/2 (1988), 271-295 | |||
| Beach, David W. | 1989 | "Schenkerian Theory" and "Bibliography" | Music Theory Spectrum 11/1 (1989), 3-14 | |||
| Beach, David W. | 1990 | "Apples and Oranges: Neumeyer's Reading of the Octave Line" | In Theory Only 11/5 (1990), 9-17 | |||
| Beach, David W. | 1990 | "More on the Six-Four " | Journal of Music Theory 34/2 (1990), 281-290 | |||
| Beach, David W. | 1990 | "The Cadential Six-Four as Support for Scale-Degree Three of the Fundamental Line" | Journal of Music Theory 34/1 (1990), 81-99 | |||
| Beach, David W. | 1993 | "Schubert's Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure" | Music Theory Spectrum 15/1 (1993), 1-18 | |||
| Beach, David W. | 1994 | "Harmony and Linear Progression in Schubert's Music" | Journal of Music Theory 38/1 (1994), 1-20 | |||
| Beach, David W. | 1994 | "The Influence of Harmonic Thinking on the Teaching of Simple Counterpoint in the Latter Half of the Eighteenth Century" | in: Eighteenth-Century Music in Theory and Practice: Essays in Honour of Alfred Mann | hg. von Mary A. Parker | New York: Pendragon, 159-185 | |
| Beach, David W. | 1995 | "Phrase Expansion: Three Analytical Studies" | Music Analysis 14/1 (1995), 27-47 | |||
| Beach, David W. | 1998 | "An Analysis of Schubert's Der Neugierige: A Tribute to Greta Kraus" | Canadian University Music Review/Revue de musique des universités canadiennes 19/1 (1998), 69-80 | |||
| Beard, David J. | 2000 | An Analysis and Sketch Study of the Early Instrumental Music of Sir Harrison Birtwistle (c. 1957-77) | PhD diss.: Univ. of Oxford [UK] | |||
| Beck, Hermann | 1974 | Methoden der Werkanalyse in Musikgeschichte und Gegenwart (Taschenbücher zur Musikwissenschaft) | Wilhelmshaven: Heinrichshofen | |||
| Beek, Johan van | 1997 | "Der zweite Takt des Rezitativs in Beethovens Klaviersonate As-Dur opus 110" | Musiktheorie 12/3 (1997), 235-254 | |||
| Beeson, Roger A. | 1971 | "Background and Model: A Concept in Musical Analysis" | The Music Review 32/4 (1971), 349-359 | |||
| Benjamin, Thomas | 2003 | The Craft of Tonal Counterpoint | New York: Routledge | Counterpoint in the Style of J. S. Bach, New York: Schirmer, 1986 | ||
| Benjamin, William E. | 1981 | "Pitch-Class Counterpoint in Tonal Music" | in: Music Theory: Special Topics | hg. von Richmond Browne | New York: Academic, 1-32 | |
| Benjamin, William E. | 1981 | "Schenker's Theory and the Future of Music" | Journal of Music Theory 25/1 (1981), 155-173 | |||
| Benjamin, William E. | 1982 | "Models of Underlying Tonal Structure: How Can They Be Abstract, and How Should They Be Abstract?" | Music Theory Spectrum 4 (1982), 28-50 | |||
| Benoit, John R. | 1994 | An Alternative Model of Fundamental Structure in Selected Lieder by Franz Schubert | PhD diss.: Univ. of Texas, Austin | |||
| Bent, Ian D. | 1974 | "Current Methods in Stylistic Analysis: Summary of Remarks" | in: Report of the Eleventh Congress of the IMS, Copenhagen 1972 | hg. von Henrik Glahn & S¯ren S¯rensen & Peter Ryom | Kopenhagen: Hansen, 43-45 | |
| Bent, Ian D. | 1980 | Art. "Analysis" | in: The New Grove Dictionary of Music and Musicians, Bd. 1 | hg. von Stanley Sadie | London: Macmillan, 340-388 | |
| Bent, Ian D. | 1987 | Analysis | New York: Norton | |||
| Bent, Ian D. | 1992 | "History of Music Theory: Margin or Center?" | Theoria: Historical Aspects of Music Theory 6 (1992), 1-21 | |||
| Bent, Ian D. | 1993 | "Momigny's Type de la musique and a Treatise in the Making" | in: Music Theory and the Exploration of the Past | hg. von Christopher Hatch & David W. Bernstein | Chicago, IL: Univ. of Chicago Press, 309-340 | |
| Berger, Arthur | 2002 | Reflections of an American Composer | Berkeley: Univ. of California Press | |||
| Berger, Karol | 1980 | "Tonality and Atonality in the Prologue to Orlando di Lasso's Prophetiae Sibyllarum: Some Methodological Problems in Analysis of Sixtheenth-Century Music" | The Musical Quarterly 66/4 (1980), 484-504 | |||
| Bergquist, Peter | 1967 | "Mode and Polyphony around 1500: Theory and Practice" | The Music Forum 1 (1967), 99-161 | |||
| Berry, David C. | 2000 | "The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen" | Indiana Theory Review 21 (2000), 1-51 | |||
| Berry, David C. | 2001 | "Gambling with Chromaticism? Extra-Diatonic Meldodic Expression in the Songs of Irving Berlin" | Theory & Practice 26 (2001), 21-85 | |||
| Berry, David C. | 2002 | "On Teaching 'Tonal Mirror Counterpoint': A Guide to Concepts and Practice" | Journal of Music Theory Pedagogy 16 (2002), 1-56 | |||
| Berry, David C. | 2002 | "The Role of Adele T. Katz in the Early Expansion of the New York 'Schenker School'" | Current Musicology 74 (2002), 103-151 | |||
| Berry, David C. | 2003 | "Hans Weisse and the Dawn of American Schenkerism" | Journal of Musicology 20/1 (2003), 104-156 | |||
| Berry, Wallace | 1971 | "Review of Edward T. Cone: Musical Form and Musical Performance, New York: Norton 1968" | Perspectives of New Music 9/2-10/1 (1971), 271-290 | |||
| Berry, Wallace | 1976 | Structural Functions in Music | Englewood Cliffs, NJ: Prentice-Hall | |||
| Berry, Wallace | 1980 | "On Structural Levels in Music" | Music Theory Spectrum 2 (1980), 19-45 | |||
| Biggs, George B. jr. | 1971 | "A Suggested Taxonomy for Music Educators" | Journal of Research in Music Education 19/2 (1971), 168-182 | |||
| Billeter, Bernhard | 1971 | Die Harmonik bei Frank Martin: Untersuchungen zur Analyse neuerer Musik (Publikationen der Schweizerischen Musikforschenden Gesellschaft 2/23) | PhD diss.: Univ. Zürich | Bern: Haupt 1971 | ||
| Blasius, Leslie D. | 1996 | Schenker's Argument and the Claims of Music Theory (Cambridge Studies in Music Theory and Analysis 9) | New York: Cambridge Univ. Press | |||
| Block, Adrienne F. | 1973 | "And Now We Begin: A Survey of Recent Theory Texts" | College Music Symposium 13 (1973), 97-105 | |||
| Blume, Jürgen | 1989 | "Analyse als Beispiel musiktheoretischer Probleme: Auf der Suche nach der angemessenen Beschreibung chromatischer Harmonik in romantischer Musik" | Musiktheorie 4/1 (1989), 37-51 | |||
| Bollinger, John S. | 1981 | An Integrative and Schenkerian Analysis of the B-flat Minor Sonata of Frédéric Chopin | PhD diss.: Washington Univ. [MO] | |||
| Boretz, Benjamin | 1971 | "Musical Syntax (II)" | Perspectives of New Music 9/2 (1971), 232-270 | |||
| Boretz, Benjamin | 1994 | Meta-Variations: Studies in the Foundations of Musical Thought | Red Hook, NY: Open Space | PhD diss.: Princeton Univ. [NJ] 1970 | ||
| Borio, Gianmario | 2001 | "Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation" | Journal of the Royal Musical Association 126/2 (2001), 250-274 | |||
| Boss, Jack F. | 1994 | "Schoenberg on Ornamentation and Structural Levels" | Journal of Music Theory 38/2 (1994), 187-216 | |||
| Boss, Jack F. | 1999 | "'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) | http://www.societymusictheory.org/mto/ | ||
| Botstein, Leon | 1992 | "Arnold Schoenberg: Language, Modernism and Jewish Identity" | in: Austrians and Jews in the Twentieth Century: From Franz Joseph to Waldheim | hg. von Robert S. Wistrich | New York: St. Martin's, 162-183 | Houndmills: Macmillan 1992 |
| Botstein, Leon | 1997 | "Music and the Critique of Culture: Arnold Schoenberg, Heinrich Schenker and the Emergence of Modernism in Fin de Siècle Vienna" | in: Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth Century Culture | hg. von Juliane Brand & Christopher Hailey | Berkeley: Univ. of California Press, 3-22 | |
| Botstein, Leon | 2003 | "Gedanken zu Heinrich Schenkers jüdischer Identität" | in: Rebell und Visionär: Heinrich Schenker in Wien: Katalog zur Ausstellung vom 12. Juni bis 3. Juli 2003 an der Universität für Musik und Darstellende Kunst Wien | hg. von Evelyn Fink | Wien: Lafite, 11-16 | |
| Boykan, Martin | 2004 | Silence and Slow Time: Studies in Musical Narrative | Lanham, MD: Scarecrow | |||
| Brandenburg, Sieghard | 1979 | "On Beethoven Scholars and Beethoven's Sketches" | 19th-Century Music 2/3 (1979), 270-274 | |||
| Breslauer, Peter | 1988 | "Diminutional Rhythm and Melodic Structure" | Journal of Music Theory 32/1 (1988), 1-22 | |||
| Bretherton, David | 2003 | "In Search of Schubert's Doppelgänger" | The Musical Times 144/1884 (2003), 45-50 | |||
| Bribitzer-Stull, Matthew | 2001 | Thematic Development and Dramatic Association in Wagner's 'Der Ring des Nibelungen' | PhD diss.: Univ. of Rochester [NY], Eastman School of Music | |||
| Broman, Per F. | 1998 | "Report from the 'Skagerack Network' Analysis Workshop at Lyseby Conference Center in Oslo, Norway, November 20-23, 1997" | Music Theory Online 4/1 (1998) | http://www.societymusictheory.org/mto/ | ||
| Brower, Candace | 1989 | "Tonal Hierarchy Reconsidered" | In Theory Only 11/3 (1989), 31-35 | |||
| Brower, Candance | 2000 | "A Cognitive Theory of Musical Meaning" | Journal of Music Theory 44/2 (2000), 323-379 | |||
| Brown, Julie | 1994 | "Schoenberg's Early Wagnerisms: Atonality and the Redemption of Ahasuerus" | Cambridge Opera Journal 6/1 (1994), 51-80 | |||
| Brown, Matthew & Dempster, Douglas & Headlam, Dave | 1997 | "The -sharpIV (-flatV) Hypothesis: Testing the Limits of Schenker's Theory of Tonality" | Music Theory Spectrum 19/2 (1997), 155-183 | |||
| Brown, Matthew & Dempster, Douglas | 1989 | "The Scientific Image of Music Theory" | Journal of Music Theory 33/1 (1989), 65-106 | |||
| Brown, Matthew & Parker, Roger | 1983 | "Motivic and Tonal Interaction in Verdi's Un ballo in maschera" | Journal of the American Musicological Society 36/2 (1983), 243-265 | in: Approaches to Tonal Music (The Garland Library of the History of Western Music 14), hg. von Ellen Rosand, New York, NY: Garland 1985, 363-385 | ||
| Brown, Matthew | 1986 | "The Diatonic and the Chromatic in Schenker's Theory of Harmonic Relations" | Journal of Music Theory 30/1 (1986), 1-33 | |||
| Brown, Matthew | 1989 | A Rational Reconstruction of Schenkerian Theory | PhD diss.: Cornell Univ. [NY] | |||
| Brown, Matthew | 1997 | "'Little Wing': A Study in Music Cognition" | in: Understanding Rock: Essays in Musical Analysis | hg. von John R. Covach & Graeme M. Boone | New York: Oxford Univ. Press, 155-169 | |
| Brown, Matthew | 1998 | "Rothstein's Paradox and Neumeyer's Fallacies" | Intégral 12 (1998), 95-132 | |||
| Brown, Matthew | 2005 | Explaining Tonality: Schenkerian Theory and Beyond (Eastman Studies in Music 27) | Rochester, NY: Univ. of Rochester Press | |||
| Browne, Richmond | 1975 | "Initial Readings in Schenker" | In Theory Only 1/1 (1975), 4-5 | |||
| Burchard, John E. | 2001 | 'Prometheus' and 'Der Musensohn': The Impact of Beethoven on Schubert Reception | PhD diss.: Rutgers Univ. [NJ] | |||
| Burkhart, Charles | 1978 | "Schenker's 'Motivic Parallelisms'" | Journal of Music Theory 22/2 (1978), 145-175 | |||
| Burkhart, Charles | 1983 | "Schenker's Theory of Levels and Musical Performance" | in: Aspects of Schenkerian Theory | hg. von David W. Beach | New Haven, CT: Yale Univ. Press, 95-112 | |
| Burkhart, Charles | 1991 | "How Rhythm Tells the Story in L‡ ci darem la mano" | Theory & Practice 16 (1991), 21-38 | |||
| Burkhart, Charles | 2006 | "The Two Curious Moments in Chopin's E-flat Major Prelude" | in: Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (Harmonologia 12) | hg. von L. Poundie Burstein & David Gagné | Hillsdale, NY: Pendragon, 5-18 | |
| Burkholder, J. Peter | 1993 | "Music Theory and Musicology" | Journal of Musicology 11/1 (1993), 11-23 | |||
| Burman-Hall, Linda C. | 1978 | "Tune Identity and Performance Style: The Case of 'Bonaparte's Retreat'" | Selected Reports in Ethnomusicology 3/1 (1978), 77-97 | |||
| Burnham, Scott G. | 1992 | "The Criticism of Analysis and the Analysis of Criticism" | 19th-Century Music 16/1 (1992), 70-76 | |||
| Burnham, Scott G. | 1993 | "Musical and Intellectual Values: Interpreting the History of Tonal Theory" | Current Musicology 53 (1993), 76-88 | |||
| Burns, Lori & Lefrance, Mélisse | 2002 | Disruptive Divas: Feminism, Identity and Popular Music | New York: Routledge | |||
| Burns, Lori A. | 1991 | J. S. Bach's Chorale Harmonizations of Modal Cantus Firmi | PhD diss.: Harvard Univ. [MA] | |||
| Burns, Lori A. | 1993 | "J. S. Bach's Mixolydian Chorale Harmonizations" | Music Theory Spectrum 15/2 (1993), 144-172 | |||
| Burns, Lori A. | 1994 | "Modal Identity and Irregular Endings in Two Harmonizations by J. S. Bach" | Journal of Music Theory 38/1 (1994), 43-77 | |||
| Burns, Lori A. | 1995 | Bach's Modal Chorales (Harmonologia 9) | Stuyvesant, NY: Pendragon | |||
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| Drabkin, William | 1983 | # | Music Analysis 2/1 (1983), 102-105 | |||
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| Federhofer, Hellmut | 1990 | # | Die Musikforschung 43/4 (1990), 390-391 | |||
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| Schenker, Heinrich | 1893 | "Rezension von Anton Bruckner: 'Psalm 150 für Chor, Soli und Orchester', Wien: Doblinger" | Musikalisches Wochenblatt 24/11 (1893), 159-160 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 41-42 | ||
| Schenker, Heinrich | 1894 | "Das Hören in der Musik" | Neue Revue 5/2 (1894), 115-121 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 96-103 | ||
| Schenker, Heinrich | 1894 | "Die Musik von heute. (Neue Variationen über ein altes Thema)" | Neue Revue 5/1 (1894), 87-88 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 62-64 | ||
| Schenker, Heinrich | 1894 | "Konzertdirigenten" | Die Zukunft 7 (1894), 88-92 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 75-82 | ||
| Schenker, Heinrich | 1895 | "Zur musikalischen Erziehung" | Die Zeit 4/51 (1895), 185, 200-202 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 154-166 | ||
| Schenker, Heinrich | 1896 | "Anton Bruckner" | Die Zeit 7/90 (1896), 184-186 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 197-205 | ||
| Schenker, Heinrich | 1897 | "Ein Epilog zur Schubertfeier" | Neue Revue 8/1 (1897), 211-216 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 209-216 | ||
| Schenker, Heinrich | 1897 | "Johannes Brahms" | Die Zukunft 19 (1897), 261-265 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 230-236 | ||
| Schenker, Heinrich | 1897 | "Mehr Kunst!" | Neue Revue 8/2 (1897), 409-412 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 248-252 | ||
| Schenker, Heinrich | 1897 | "Musikalische Reisebetrachtungen" | Neue Revue 8/1 (1897), 788-793 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 240-247 | ||
| Schenker, Heinrich | 1897 | "Unpersönliche Musik" | Neue Revue 8/1 (1897), 464-468 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 216-221 | ||
| Schenker, Heinrich | 1901 | "Beethoven-'Retouche'" | Wiener Abendpost 7 (9. Januar 1901), 6-7 | in: Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901, hg. von Hellmut Federhofer, Olms: Hildesheim 1990, 259-268 | ||
| Schenker, Heinrich | 1904 | Ein Beitrag zur Ornamentik, als Einführung zu Ph. Em. Bachs Klavierwerken | Wien: Universal Edition | |||
| Schenker, Heinrich | 1906 | Harmonielehre (Neue musikalische Theorien und Phantasien 1) | Stuttgart: Cotta | |||
| Schenker, Heinrich | 1908 | Ein Beitrag zur Ornamentik, als Einführung zu Ph. Em. Bachs Klavierwerken, 2. Aufl. | Wien: Universal Edition | |||
| Schenker, Heinrich | 1910 | Kontrapunkt: Cantus firmus und zweistimmiger Satz (Neue musikalische Theorien und Phantasien 2/1) | Stuttgart: Cotta | |||
| Schenker, Heinrich | 1912 | Beethovens neunte Sinfonie: Eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur | Wien: Universal Edition | |||
| Schenker, Heinrich | 1913 | Die letzten (fünf) Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (Sonate op. 109) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1914 | Die letzten (fünf) Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (Sonate op. 110) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1915 | Die letzten (fünf) Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (Sonate op. 111) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1920 | Die letzten (fünf) Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (Sonate op. 101) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1922 | Kontrapunkt: Drei- und mehrstimmiger Satz, ‹bergänge zum freien Satz (Neue musikalische Theorien und Phantasien 2/2) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1923 | "Joh. Seb. Bach: Wohltemperiertes Klavier, Band I, Präludium c-moll" | Die Musik 15/9 (1923), 641-651 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 2, hg. von Heinrich Schenker, München: Drei Masken 1926, 85-95 | ||
| Schenker, Heinrich | 1925 | Beethoven: V. Sinfonie | Wien: Tonwille | in: Der Tonwille 1, 5 & 6, hg. von Heinrich Schenker, Wien: Gutmann 1921-1923 | ||
| Schenker, Heinrich | 1925 | Beethovens neunte Sinfonie: Eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1925 | Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 1 | München: Drei Masken | |||
| Schenker, Heinrich | 1926 | Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 2 | München: Drei Masken | |||
| Schenker, Heinrich | 1930 | Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 3 | München: Drei Masken | |||
| Schenker, Heinrich | 1931 | "Gedanken über Kultur, Kunst und Musik" | Der Kunstwart 44/4 (1931), 222-230 | |||
| Schenker, Heinrich | 1932 | "Eine Anzeige und eine Selbstanzeige" | Der Kunstwart 46/3 (1932), 194-196 | |||
| Schenker, Heinrich | 1932 | Fünf Urlinie-Tafeln | Wien: Universal Edition | |||
| Schenker, Heinrich | 1933 | "Erinnerungen an Brahms" | Der Kunstwart 46/8 (1933), 475-482 | |||
| Schenker, Heinrich | 1933 | Five Analyses in Sketchform | hg. von Hans Weisse | New York: David Mannes Music School | ||
| Schenker, Heinrich | 1935 | Der freie Satz (Neue musikalische Theorien und Phantasien 3) | Wien: Universal Edition | |||
| Schenker, Heinrich | 1938 | "Beethovens Klavierspiel: Ein Kommentar zu Schindlers Schilderung" | Der Dreiklang 8-9 (1937-1938), 190-199 | Musikerziehung: Zeitschrift zur Erneuerung der Musikpflege 18/5 (1965), 152-157 | ||
| Schenker, Heinrich | 1950 | Harmonielehre (Neue musikalische Theorien und Phantasien 1), 2. Aufl. | hg. von Oswald Jonas | Wien: Universal Edition | ||
| Schenker, Heinrich | 1950 | Kontrapunkt (Neue musikalische Theorien und Phantasien 2), 2 Bde., 2. Aufl. | hg. von Oswald Jonas | Wien: Universal Edition | ||
| Schenker, Heinrich | 1954 | Ein Beitrag zur Ornamentik, als Einführung zu Ph. Em. Bachs Klavierwerken | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1954 | Harmony (Neue musikalische Theorien und Phantasien 1: Harmonielehre) | hg. von Oswald Jonas, übers. von Elisabeth Mann Borgese | Chicago, IL: Univ. of Chicago Press | ||
| Schenker, Heinrich | 1956 | Der freie Satz (Neue musikalische Theorien und Phantasien 3), 2 Bde., 2. Aufl. | hg. von Oswald Jonas | Wien: Universal Edition | ||
| Schenker, Heinrich | 1968 | "Organic Structure in Sonata Form" [übers. von Orin Grossmann] | Journal of Music Theory 12/2 (1968), 164-183 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 2, hg. von Heinrich Schenker, München: Drei Masken 1926, 43-54 | ||
| Schenker, Heinrich | 1969 | Beethoven: Neunte Sinfonie: Eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur, 2. Aufl. | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1969 | Beethoven: V. Sinfonie | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1969 | Ein Beitrag zur Ornamentik, als Einführung zu Ph. Em. Bachs Klavierwerken, 2. Aufl. | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1969 | Five Graphic Music Analyses | hg. von Felix Salzer | Reprint New York, NY: Dover | ||
| Schenker, Heinrich | 1969 | J. S. Bach: Chromatische Phantasie und Fuge d-moll, Kritische Ausgabe mit Anhang, 2. Aufl. | hg. von Oswald Jonas | Wien: Universal Edition | ||
| Schenker, Heinrich | 1970 | "The Sarabande of J. S. Bachs Suite No. 3 for Unaccompanied Violoncello (BWV 1009)" [übers. von Hedi Siegel] | The Music Forum 2 (1970), 274-282 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 2, hg. von Heinrich Schenker, München: Drei Masken 1926, 97-104 | ||
| Schenker, Heinrich | 1972 | Beethoven: Die letzten Sonaten: Kritische Einführung und Erläuterung von Heinrich Schenker, 4 Bde. | bearb. von Oswald Jonas | Wien: Universal Edition | ||
| Schenker, Heinrich | 1973 | Harmony (Neue musikalische Theorien und Phantasien 1: Harmonielehre) | hg. von Oswald Jonas, übers. von Elisabeth Mann Borgese | Reprint Cambridge, MA: MIT | ||
| Schenker, Heinrich | 1974 | "Haydn: Die Schöpfung: Die Vorstellung des Chaos" | in: Zur musikalischen Analyse | hg. von Gerhard Schuhmacher | Darmstadt: 59-71 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 2, hg. von Heinrich Schenker, München: Drei Masken 1926, 159-70 |
| Schenker, Heinrich | 1974 | Das Meisterwerk in der Musik | Reprint Hildesheim: Olms | |||
| Schenker, Heinrich | 1976 | "A Contribution to the Study of Ornamentation" [übers. von Hedi Siegel] | The Music Forum 4 (1976), 1-139 | |||
| Schenker, Heinrich | 1976 | "The 'Largo' of J. S. Bach's Sonata No. 3 for Unaccompanied Violin" [übers. von John Rothgeb] | The Music Forum 4 (1976), 141-159 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 1, hg. von Heinrich Schenker, München: Drei Masken 1925, 61-73 | ||
| Schenker, Heinrich | 1978 | Beethoven: V. Sinfonie, 2. Aufl. | Reprint Wien: Universal Edition | |||
| Schenker, Heinrich | 1978 | Harmonielehre (Neue musikalische Theorien und Phantasien 1) | hg. von Rudolf Frisius | Reprint Wien: Universal Edition | ||
| Schenker, Heinrich | 1979 | Free Composition (Neue musikalische Theorien und Phantasien 3: Der freie Satz) | hg. von Ernst Oster | New York: Longman | ||
| Schenker, Heinrich | 1980 | "Brahms's Study, Octaven u. Quinten u.A., with Schenker's Commentary Translated" [übers. von Paul Mast] | The Music Forum 5 (1980), 1-196 | |||
| Schenker, Heinrich | 1980 | Das Meisterwerk in der Musik, 2. Aufl. | Reprint Hildesheim: Olms | |||
| Schenker, Heinrich | 1983 | "The Opening of Beethoven's Sonata Op. 111: A Letter by Heinrich Schenker" [übers. von John Rothgeb & Hedi Siegel] | Theory & Practice 8/1 (1983), 3-13 | |||
| Schenker, Heinrich | 1984 | J. S. Bach's Chromatic Fantasy and Fugue: Critical Edition with Commentary | übers. von Hedi Siegel | New York: Longman | ||
| Schenker, Heinrich | 1985 | "'Die Vorstellung des Chaos' aus der 'Schöpfung'" | Joseph Haydn (Musik-Konzepte 41) | hg. von Heinz-Klaus Metzger & Rainer Riehn | München: Text & Kritik, 15-23 | |
| Schenker, Heinrich | 1986 | "Domenico Scarlatti: Keyboard Sonata in D Minor (L.413)" [übers. von Ian Bent] | Music Analysis 5/2-3 (1986), 153-169 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 1, hg. von Heinrich Schenker, München: Drei Masken 1925, 125-135 | ||
| Schenker, Heinrich | 1986 | "Domenico Scarlatti: Keyboard Sonata in G Major (L.486)" [übers. von Ian Bent] | Music Analysis 5/2-3 (1986), 171-185 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 1, hg. von Heinrich Schenker, München: Drei Masken 1925, 137-144 | ||
| Schenker, Heinrich | 1986 | "Elucidations" [übers. von Ian Bent] | Music Analysis 5/2-3 (1986), 187-191 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 1, hg. von Heinrich Schenker, München: Drei Masken 1925, 201-205 | ||
| Schenker, Heinrich | 1986 | "Franz Schubert: 'Ihr Bild'" [übers. von William Pastille] | Sonus 6/2 (1986), 31-37 | in: Der Tonwille 1, hg. von Heinrich Schenker, Wien: Gutmann 1921, 46-49 | ||
| Schenker, Heinrich | 1986 | "Zwei Sonaten Domenico Scarlattis" | Domenico Scarlatti (Musik-Konzepte 47) | hg. von Heinz-Klaus Metzger & Rainer Riehn | München: Continuum, 40-56 | |
| Schenker, Heinrich | 1987 | "C. P. E. Bach: Kurze und leichte Klavierstücke mit veränderten Reprisen (1766), No. 1, Allegro" [übers. von Steve Larson] | In Theory Only 10/4 (1987), 5-10 | in: Der Tonwille 4, hg. von Heinrich Schenker, Wien: Gutmann 1923, 10-11 | ||
| Schenker, Heinrich | 1987 | Counterpoint: A Translation of 'Kontrapunkt' (Neue musikalische Theorien und Phantasien 2: Kontrapunkt), 2 Bde. | hg. von John Rothgeb | New York: Schirmer | London: Macmillan | |
| Schenker, Heinrich | 1988 | "Haydn: Sonata in E-flat Major" [übers. von Wayne C. Petty] | Theoria: Historical Aspects of Music Theory 3 (1988), 105-160 | in: Der Tonwille 3, hg. von Heinrich Schenker, Wien: Gutmann 1922, 3-21 | ||
| Schenker, Heinrich | 1988 | "The Spirit of Musical Technique" [übers. von William Pastille] | Theoria: Historical Aspects of Music Theory 3 (1988), 86-104 | |||
| Schenker, Heinrich | 1988 | "Three Essays from Neue Revue" [übers. von Jonathan Dunsby & Horst B. Loeschmann] | Music Analysis 7/2 (1988), 133-141 | |||
| Schenker, Heinrich | 1990 | "Heinrich Schenker: Graphic Analysis of Brahms's 'Auf dem Kirchhofe', Op. 105, No. 4" [komm. von Arthur Maisel, übers.von Hedi Siegel] | Theory & Practice 13 (1990), 1-14 | |||
| Schenker, Heinrich | 1990 | "Rameau or Beethoven?" [übers. von Edward A. Lippman] | in: Musical Aesthetics: A Historical Reader (Aesthetics in Music 4), Bd. 3 | hg. von Edward A. Lippman | New York: Pendragon, 71-87 | in: Das Meisterwerk in der Musik: Ein Jahrbuch, Bd. 3, hg. von Heinrich Schenker, München: Drei Masken 1930, 9-24 |
| Schenker, Heinrich | 1990 | Der Tonwille: Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst einer neuen Jugend dargebracht | hg. von Hellmut Federhofer | Reprint Hildesheim: Olms | ||
| Schenker, Heinrich | 1991 | "Johannes Brahms" [übers. von William Pastille] | American Brahms Society Newsletter 9/1 (1991), 1-3 | |||
| Schenker, Heinrich | 1991 | Kontrapunkt (Neue musikalische Theorien und Phantasien 2), 2 Bde. | Reprint Hildesheim: Olms | |||
| Schenker, Heinrich | 1992 | Beethoven's Ninth Symphony: A Portrayal of Its Musical Content, with Running Commentary on Performance and Literature As Well | hg. von John Rothgeb | New Haven, CT: Yale Univ. Press | ||
| Schenker, Heinrich | 1993 | L'écritrure libre (Neue musikalische Theorien und Phantasien 3: Der freie Satz), 2 Bde. | hg. von Nicolas Mee˘s | Liège: Mardaga | ||
| Schenker, Heinrich | 1994 | "Introduction to the First Edition of Free Composition, hg. von Ernst Oster, New York, NY: Longman 1935" | in: German Essays on Music (The German Library 43) | hg. von Jost Hermand & Michael Gilbert | New York: Continuum, 184-190 | |
| Schenker, Heinrich | 1994 | The Masterwork in Music: A Yearbook Vol. I (1925) (Cambridge Studies in Music Theory and Analysis 5) | hg. von William Drabkin | New York: Cambridge Univ. Press | ||
| Schenker, Heinrich | 1996 | The Masterwork in Music: A Yearbook Vol. II (1926) (Cambridge Studies in Music Theory and Analysis 8) | hg. von William Drabkin | New York: Cambridge Univ. Press | ||
| Schenker, Heinrich | 1997 | The Masterwork in Music: A Yearbook Vol. III (1930) (Cambridge Studies in Music Theory and Analysis 10) | hg. von William Drabkin | New York: Cambridge Univ. Press | ||
| Schenker, Heinrich | 2000 | "'Ihr Bild' (August 1828): Song by Franz Schubert to a Lyric by Heinrich Heine" [übers. von Robert Pascall] | Music Analysis 19/1 (2000), 3-9 | in: Der Tonwille 1, hg. von Heinrich Schenker, Wien: Gutmann 1921, 46-49 | ||
| Schenker, Heinrich | 2000 | The Art of Performance | hg. und übers. von Heribert Esser | New York: Oxford Univ. Press | ||
| Schenker, Heinrich | 2001 | Counterpoint: A Translation of 'Kontrapunkt' (Neue musikalische Theorien und Phantasien 2: Kontrapunkt), 2 Bde. | hg. von John Rothgeb | Reprint Ann Arbor, MI: Musicalia | ||
| Schenker, Heinrich | 2001 | Free Composition (Neue musikalische Theorien und Phantasien 3: Der freie Satz) | hg. von Ernst Oster | Reprint Hillsdale, NY: Pendragon | ||
| Schenker, Heinrich | 2004 | Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music: Offered to a New Generation of Youth | hg. von William Drabkin | Oxford: Oxford Univ. Press | ||
| Schmalfeldt, Janet | 1991 | "Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form" | Music Analysis 10/3 (1991), 233-287 | |||
| Schmalfeldt, Janet | 1992 | "Cadential Processes: The Evaded Cadence and the 'One More Time' Technique" | Journal of Musicological Research 12/1-2 (1992), 1-52 | |||
| Schmalfeldt, Janet | 1997 | "Coming to Terms: Speaking of 'Phrase', 'Cadence', and 'Form'" | In Theory Only 13/1-4 (1997), 95-115 | |||
| Schmalfeldt, Janet | 2001 | "In Search of Dido" | Journal of Musicology 18/4 (2001), 584-615 | |||
| Schmid, Edmund | 1958 | "Autographe und Originalausgaben Beethovens: Auswertung eines Vergleichs" | Neue Zeitschrift für Musik 119/12 (1958), 746-747 | |||
| Schmidt, Christian Martin | 2000 | "Drei Analysen? Kritischer Kommentar zu den Beiträgen von Ludwig Holtmeier, Michael Polth und Robert W. Wason" | in: Wahrnehmung und Begriff, Kongressbericht Freiburg 2000 | hg. von Wilfried Gruhn & Hartmut Möller | Kassel: Bosse, 229-232 | |
| Schoffman, Nachum | 1983 | "Descriptive Theory and the Standard Table of Triads" | Israel Studies in Musicology 3 (1983), 144-155 | |||
| Schubert, Giselher | 1991 | "Ludwig Rottenberg über Schenker: Zwei Dokumente" | Hindemith-Jahrbuch/Annales Hindemith 20 (1991), 152-158 | |||
| Schulenberg, David | 1986 | "Modes, Prolongations, and Analysis" | Journal of Musicology 4/3 (1985-1986), 303-329 | |||
| Schulenberg, David | 1990 | "Expression and Authenticity in the Harpsichord Music of J. S. Bach" | Journal of Musicology 8/4 (1990), 449-476 | |||
| Schuler, Nico S. | 2000 | Methods of Computer-Assisted Music Analysis: History, Classification, and Evaluation | PhD diss.: Michigan State Univ. | |||
| Schulze, Sean | 1999 | An Ignored Fantasy: An Examination of Beethoven's Fantasy for Piano, Op. 77 | DMA doc.: Univ. of Arizona | |||
| Schwab-Felisch, Oliver | 2001 | "Functions of the Unclear: Chromaticism in Beethoven's String Quartet in E-flat Major, Op. 74" | Tijdschrift voor Muziektheorie 6/3 (2001), 188-194 | |||
| Schwab-Felisch, Oliver | 2002 | "'Implication - Realization': Eugene Narmours Theorie melodischer Strukturen" | in: Individualität in der Musik | hg. von Oliver Schwab-Felisch & Christian Thorau & Michael Polth | Stuttgart: Metzler, 95-127 | |
| Schwab-Felisch, Oliver | 2006 | "Vorwort" | in: Selected Essays from the Third International Schenker Symposium | hg. von Allen Cadwallader & Jan Miyake | Hildesheim: Olms, ix xii | |
| Schäfke, Rudolf | 1934 | Geschichte der Musikästhetik in Umrissen | Berlin: Hesse | Reprint Tutzing: Schneider 1964 | ||
| Seidel, Elmar | 1967 | Art. "Ursatz" | in: Riemann Musik Lexikon (12. Aufl. in 3 Bde.), Sachteil | begonnen von Willibald Gurlitt, fortgeführt und hg. von Hans H. Eggebrecht | Mainz: B. Schotts Söhne, 1010-1011 | |
| Seidel, Elmar | 1981 | "Review of Karl-Otto Plum: Untersuchungen zu Heinrich Schenkers Stimmführungsanalyse (Kölner Beiträge zur Musikforschung 102), Regensburg: Bosse 1979" | Die Musikforschung 34/4 (1981), 509-511 | |||
| Seidel, Elmar | 2001 | "Hans Leo Hafllers 'Mein Gemüth ist mir verwirret' und Paul Gerhardts 'O Haupt voll Blut und Wunden' in Bachs Werk" | Archiv für Musikwissenschaft 58/1 (2001), 61-89 | |||
| Serwer, Howard | 1974 | "New Linguistic Theory and Old Music Theory" | in: Report of the Eleventh Congress of the IMS, Copenhagen 1972 | hg. von Henrik Glahn & S¯ren S¯rensen & Peter Ryom | Kopenhagen: Hansen, 652-657 | |
| Sessions, Roger | 1935 | "Heinrich Schenker's Contribution" | Modern Music 12/4 (1935), 170-178 | Sonus 6/1 (1985), 6-14 | ||
| Sessions, Roger | 1938 | "Escape by Theory" | Modern Music 15/3 (1938), 192-197 | |||
| Sessions, Roger | 1938 | "The Function of Theory" | Modern Music 15/4 (1938), 257-262 | |||
| Setar, Katherine M. | 1997 | An Evolution in Listening: An Analytical and Critical Study of Structural, Acoustic, and Phenomenal Aspects of Selected Works by Pauline Oliveros | PhD diss.: Univ. of Southern California | |||
| Shaftel, Matthew R. | 1999 | "From Inspiration to Archive: Cole Porter's 'Night and Day'" | Journal of Music Theory 43/2 (1999), 315-347 | |||
| Shaftel, Matthew R. | 2000 | Anton Webern's Early Songs: Motive, Harmony, and Influence | PhD diss.: Yale Univ. [CT] | |||
| Sharpe, Robert A. | 1983 | "Two Forms of Unity in Music" | The Music Review 44/3-4 (1983), 274-286 | |||
| Sharpe, Robert A. | 1993 | "What is the Object of Musical Analysis?" | The Music Review 54/1 (1993), 63-72 | |||
| Shivres, Favio | 2001 | "Three Expressive Strategies of Expert Performance of an Excerpt by J. S. Bach" | Mikropolyphonie: The Online Contemporary Music Journal 7 (2001) | http://farben.latrobe.edu.au/mikropol/volume7/shifres/Shifres.html | ||
| Siegel, Hedi (Hg.) | 1990 | Schenker Studies | New York: Cambridge Univ. Press | |||
| Siegel, Hedi | 1990 | "A Source for Schenker's Study of Thorough Bass: His Annotated Copy of J. S. Bach's Generalbassbüchlein" | in: Schenker Studies | hg. von ders. | New York: Cambridge Univ. Press, 15-28 | |
| Siegel, Hedi | 1999 | "When 'Freier Satz' was Part of Kontrapunkt: A Preliminary Report" | in: Schenker Studies 2 | hg. von Carl Schachter & Hedi Siegel | New York: Cambridge Univ. Press, 12-25 | |
| Siegel, Hedi | 2006 | "Looking at the Urlinie" | in: Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (Harmonologia 12) | hg. von L. Poundie Burstein & David Gagné | Hillsdale, NY: Pendragon, 79-99 | |
| Simms, Bryan R. | 1977 | "New Documents in the Schoenberg-Schenker Polemic" | Perspectives of New Music 16/1 (1977), 110-124 | |||
| Skeirik, Kaleel C. | 1997 | Tonal Syntax in the First Movement of Sibelius's Sixth Symphony | PhD diss.: Univ. of Cincinnati [OH] | |||
| Skoumal, Zdenek | 1992 | Structure in the Late Instrumental Music of Leo Jan·cek | PhD diss.: City Univ. of New York | |||
| Skoumal, Zdenek | 1995 | "Jan·cek's First String Quartet: Motive and Structure of the First Movement" | in: Jan·cek and Czech Music: Proceedings of the International Conference, Saint Louis 1988 | hg. von Michael Beckermann & Glen Bauer | Stuyvesant, NY: Pendragon, 93-105 | |
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