1
Parsons L, Ravenscroft B, editors. Analytical essays on music by women composers: concert music from 1960-2000. New York, NY: : Oxford University Press 2016. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780190236861.001.0001
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Cook N. A guide to musical analysis. Oxford: : Oxford University Press 1994. https://contentstore.cla.co.uk//secure/link?id=a759bbf8-e940-e911-80cd-005056af4099
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Christensen T, editor. The Cambridge History of Western Music Theory. Cambridge: : Cambridge University Press 2002. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1017/CHOL9780521623711
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Cadwallader AC, Gagné David. Analysis of tonal music: a Schenkerian approach. 3rd ed. New York, N.Y.: : Oxford University Press 2011. https://contentstore.cla.co.uk//secure/link?id=b1c1f9d8-e940-e911-80cd-005056af4099
5
Forte A, Gilbert SE. Introduction to Schenkerian analysis. New York: : Norton 1982.
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Pankhurst T. SchenkerGUIDE: a brief handbook and website for Schenkerian analysis. New York: : Routledge 2008.
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Gollin E, Rehding A. The Oxford handbook of neo-Riemannian music theories. New York: : Oxford University Press 2011. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/oxfordhb/9780195321333.001.0001
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Lewin D. Generalized musical intervals and transformations. New York: : Oxford University Press 2007. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195317138.001.0001
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Rings S. Tonality and transformation. New York: : Oxford University Press 2011. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195384277.001.0001
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Dunsby J, Whittall A. Music analysis in theory and practice. London: : Faber 1988. https://contentstore.cla.co.uk//secure/link?id=1fc026ed-e940-e911-80cd-005056af4099
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Forte A. The structure of atonal music. New Haven: : Yale University Press 1973.
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Forte A. The atonal music of Anton Webern. New Haven: : Yale University Press 1998.
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Straus JN. Introduction to post-tonal theory. 3rd ed. Upper Saddle River, N.J.: : Prentice Hall 2005.
14
Cook N. The Schenker project : culture, race, and music theory in fin-de-siècle Vienna. Oxford: : Oxford University Press 2007.
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Kramer JD. The time of music: new meanings, new temporalities, new listening strategies. New York: : Schirmer 1988. https://contentstore.cla.co.uk//secure/link?id=aa4dd400-ea40-e911-80cd-005056af4099
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Mirka D. Metric manipulations in Haydn and Mozart: chamber music for strings, 1787-1791. New York, NY: : Oxford University Press 2014.
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Mirka D, Agawu VK. Communication in eighteenth-century music. Cambridge, UK: : Cambridge University Press 2008. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781107187375
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Butler MJ. Unlocking the groove: rhythm, meter, and musical design in electronic dance music. Bloomington, Ind: : Indiana University Press 2006.
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Hasty CF. Meter as rhythm. New York: : Oxford University Press 1997.
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Huron DB. Sweet anticipation: music and the psychology of expectation. Cambridge, Massachusetts: : The MIT Press 2007. https://ezproxy.lib.gla.ac.uk/login?url=https://cognet.mit.edu/book/sweet-anticipation
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Lerdahl F. Tonal pitch space. New York: : Oxford University Press 2001. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195178296.001.0001
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Butler MJ. Unlocking the groove: rhythm, meter, and musical design in electronic dance music. Bloomington, Ind: : Indiana University Press 2006. https://contentstore.cla.co.uk//secure/link?id=fd44f2cb-e940-e911-80cd-005056af4099
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Moore AF, Dawson Books. Analyzing popular music. Cambridge: : Cambridge University Press 2003. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780511306297
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Moore AF. Rock: the primary text : developing a musicology of rock. 2nd ed. Aldershot: : Ashgate 2001. https://contentstore.cla.co.uk//secure/link?id=024279e0-e940-e911-80cd-005056af4099
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Moore AF. Song means: analysing and interpreting recorded popular song. Surrey: : Ashgate 2012.
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Cook N, Oxford University Press. Beyond the score: music as performance. New York: : Oxford University Press 2014. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780199357406.001.0001
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Cook N, Everist M. Rethinking music. Oxford: : Oxford University Press 1999. https://contentstore.cla.co.uk//secure/link?id=20c026ed-e940-e911-80cd-005056af4099
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Rink J. Musical performance: a guide to understanding. Cambridge: : Cambridge University Press 2002. http://lib.myilibrary.com/browse/open.asp?id=238937&entityid=https://idp.gla.ac.uk/shibboleth
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Rink J. The practice of performance: studies in musical interpretation. Cambridge: : Cambridge University Press 1995. https://contentstore.cla.co.uk//secure/link?id=014279e0-e940-e911-80cd-005056af4099
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Goehr L, Oxford University Press. The imaginary museum of musical works: an essay in the philosophy of music. Oxford: : Oxford University Press 2004. https://ezproxy.lib.gla.ac.uk/login?url=https://doi.org/10.1093/0198235410.001.0001
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Neuwirth O. Laki: für Trompete solo, 2006. 2006.
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Mamlok U. Panta rhei =: Time in flux : violin, violoncello, and piano.
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Saariaho K. Du cristal. 2002.