Last updated on December 9th, 2024 at 10:15 am

Consulted literature and online sources

Here you find a list of books and articles I consulted for my analyses and posts in general. It ranges from general books on analysis to books on various aspects of analysis to books on composers and articles on specific repertoire or even pieces.

Aurelianus Reomensis, and Joseph Perry Ponte. “Aureliani Reomensis Musica Disciplina.” Dissertation, s.n, 1962.

Berger, Karol. Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity. Berkeley: University of California Press, 2007.

Brown, Julie Hedges. 2013. “Study, Copy, and Conquer: Schumann’s 1842 Chamber Music and the Recasting of Classical Sonata Form.” The Journal of Musicology 30 (3) (2013): 369–423. https://doi.org/10.1525/jm.2013.30.3.369.

Burkholder, J. Peter, Donald Jay Grout, and Claude V Palisca. A History of Western Music. Ninth ed. New York: W.W. Norton & Company, 2014.

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. New York [ect.]: Oxford University Press, 1998.

Clark, Suzannah, Analyzing Schubert. Cambridge: Cambridge University Press, 2011. Kobe edition.

Cooper, Barry, ed. Ludwig van Beethoven, Volledig overzicht van leven en muziek. Translated by M.M.C. Mengelberg et al. Baarn: Tirion Uitgevers, 1999.

Christensen, Thomas, ed. The Cambridge History of Western Music Theory. Cambridge History of Music. Cambridge: Cambridge University Press, 2002.

Daverio, John. Robert Schumann: Herald of a “New Poetic Age”. New York [etc.]: Oxford University Press, 1997.

Grave, Floyd, and Margaret Grave. The string quartets of Joseph Haydn. New York [etc.]: Oxford University Press, 2006.

Haines, John. “The Origins of the Musical Staff.” The Musical Quarterly 91, no. 3-4 (2008): 327–78.

Hepokoski, James A, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York [etc.]: Oxford University Press, 2006.

IJzerman, Job. Harmony, Counterpoint, Partimento: A New Method Inspired by Old Masters. New York [ect.]: Oxford University Press, 2018.

Keefe, Simon. P. Mozart’s Viennese Instrumental Music: A Study of Stylistic Re-Invention. Suffolk [etc.]: Boydell & Brewer, 2007.

Laitz, Steven. The Complete Musician: An Integrated Approach to Theory, Analysis and Listening. [4th Ed]. New York [ect.]: Oxford University Press, 2016.

Meyer, Leonard B. Emotion and Meaning in Music. Chicago: Univ. of Chicago Press, 1962.

Meyer, Leonard B. Explaining Music: Essays and Explorations. Berkeley [etc.]: University of California Press, 1973.

Poundie Burstein, L. Journeys through Galant Expositions. New York, NY: Oxford University Press, 2020.

Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980.

Ratz, Erwin. Einführung In Die Musikalische Formenlehre: Über Formprinzipien in den Inventionen J.S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens. Wien: Universal edition, 1968.

Reed, John. Schubert. The Master Musicians. London: Westbridge Books, 1987.

Rosen, Charles. The classical style: Haydn, Mozart, Beethoven. London: Faber and Faber, 1971.

Schönberg, Arnold, Gerald Strang, and Leonard Stein. Fundamentals of Musical Composition. London: Faber and Faber, 1967.

Tyson, Alan. New Light on Mozart’s ‘Prussian’ Quartets. The Musical Times 116, no. 1584 (1975).

Webster, James. Haydn’s “Farewell” Symphony and the idea of classical style: Through-Composition and Cyclic Integration in his Instrumental Music. Cambridge: Cambridge University Press, 1991.

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