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L. Parsons and B. Ravenscroft, Eds., Analytical essays on music by women composers: concert music from 1960-2000. New York, NY: Oxford University Press, 2016 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780190236861.001.0001
[2]
N. Cook, A guide to musical analysis. Oxford: Oxford University Press, 1994 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=a759bbf8-e940-e911-80cd-005056af4099
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T. Christensen, Ed., The Cambridge History of Western Music Theory, vol. The Cambridge History of Music. Cambridge: Cambridge University Press, 2002 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1017/CHOL9780521623711
[4]
A. C. Cadwallader and Gagné David, Analysis of tonal music: a Schenkerian approach, 3rd ed. New York, N.Y.: Oxford University Press, 2011 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=b1c1f9d8-e940-e911-80cd-005056af4099
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A. Forte and S. E. Gilbert, Introduction to Schenkerian analysis. New York: Norton, 1982.
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T. Pankhurst, SchenkerGUIDE: a brief handbook and website for Schenkerian analysis. New York: Routledge, 2008.
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E. Gollin and A. Rehding, The Oxford handbook of neo-Riemannian music theories. New York: Oxford University Press, 2011 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/oxfordhb/9780195321333.001.0001
[8]
D. Lewin, Generalized musical intervals and transformations. New York: Oxford University Press, 2007 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195317138.001.0001
[9]
S. Rings, Tonality and transformation, vol. Oxford studies in music theory. New York: Oxford University Press, 2011 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195384277.001.0001
[10]
J. Dunsby and A. Whittall, Music analysis in theory and practice. London: Faber, 1988 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=1fc026ed-e940-e911-80cd-005056af4099
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A. Forte, The structure of atonal music. New Haven: Yale University Press, 1973.
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A. Forte, The atonal music of Anton Webern, vol. Composers of the twentieth century. New Haven: Yale University Press, 1998.
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J. N. Straus, Introduction to post-tonal theory, 3rd ed. Upper Saddle River, N.J.: Prentice Hall, 2005.
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N. Cook, The Schenker project : culture, race, and music theory in fin-de-siècle Vienna. Oxford: Oxford University Press, 2007.
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J. D. Kramer, The time of music: new meanings, new temporalities, new listening strategies. New York: Schirmer, 1988 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=aa4dd400-ea40-e911-80cd-005056af4099
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D. Mirka, Metric manipulations in Haydn and Mozart: chamber music for strings, 1787-1791, vol. Oxford studies in music theory. New York, NY: Oxford University Press, 2014.
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D. Mirka and V. K. Agawu, Communication in eighteenth-century music. Cambridge, UK: Cambridge University Press, 2008 [Online]. Available: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781107187375
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M. J. Butler, Unlocking the groove: rhythm, meter, and musical design in electronic dance music, vol. Profiles in popular music. Bloomington, Ind: Indiana University Press, 2006.
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C. F. Hasty, Meter as rhythm. New York: Oxford University Press, 1997.
[20]
D. B. Huron, Sweet anticipation: music and the psychology of expectation. Cambridge, Massachusetts: The MIT Press, 2007 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://cognet.mit.edu/book/sweet-anticipation
[21]
F. Lerdahl, Tonal pitch space. New York: Oxford University Press, 2001 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195178296.001.0001
[22]
M. J. Butler, Unlocking the groove: rhythm, meter, and musical design in electronic dance music, vol. Profiles in popular music. Bloomington, Ind: Indiana University Press, 2006 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=fd44f2cb-e940-e911-80cd-005056af4099
[23]
A. F. Moore and Dawson Books, Analyzing popular music. Cambridge: Cambridge University Press, 2003 [Online]. Available: 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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A. F. Moore, Rock: the primary text : developing a musicology of rock, 2nd ed., vol. Ashgate popular and folk music series. Aldershot: Ashgate, 2001 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=024279e0-e940-e911-80cd-005056af4099
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A. F. Moore, Song means: analysing and interpreting recorded popular song, vol. Ashgate popular folk music series. Surrey: Ashgate, 2012.
[26]
N. Cook and Oxford University Press, Beyond the score: music as performance. New York: Oxford University Press, 2014 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780199357406.001.0001
[27]
N. Cook and M. Everist, Rethinking music. Oxford: Oxford University Press, 1999 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=20c026ed-e940-e911-80cd-005056af4099
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J. Rink, Musical performance: a guide to understanding. Cambridge: Cambridge University Press, 2002 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=238937&entityid=https://idp.gla.ac.uk/shibboleth
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J. Rink, The practice of performance: studies in musical interpretation. Cambridge: Cambridge University Press, 1995 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=014279e0-e940-e911-80cd-005056af4099
[30]
L. Goehr and Oxford University Press, The imaginary museum of musical works: an essay in the philosophy of music. Oxford: Oxford University Press, 2004 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://doi.org/10.1093/0198235410.001.0001
[31]
O. Neuwirth, ‘Laki: für Trompete solo, 2006’. Boosey & Hawkes, Berlin, 2006.
[32]
U. Mamlok, ‘Panta rhei =: Time in flux : violin, violoncello, and piano’. C.F. Peters, New York.
[33]
K. Saariaho, ‘Du cristal’. Edition Wilhelm Hansen, Copenhagen, 2002.