The following acknowledgements were inadvertently omitted from the textbook:

Chapter 12

The passage by J. S. Bach in Example 12.15 appears also in Miguel A. Roig-Francolí, Harmony in Context, 2nd ed. (New York: McGraw-Hill, 2011), 367 (Example 15.15b). There, the author labels the chord under scrutiny as IV7. Some sources indeed label such chords as subdominant sevenths.

Chapter 17

A similar reduction of the excerpt by Brahms on p. 175 (Example 17.12) can be found in Harmony in Context, 2nd ed., by Miguel A. Roig-Francolí (Example 23.10, p. 548). My exposure to this passage as a prime example of modal mixture was through Harmony in Context. The orchestral reductions appearing in both books are literal transcriptions of the original score.

Chapter 20

The excerpt from “Ekstase” by Alma Mahler on p. 201 (Example 20.5) appears also in Harmony in Context, 2nd ed., by Miguel A. Roig-Francolí (Example 27.10, p. 635). I am grateful to the author and his text for introducing me to this striking example of altered dominants and also to Five Songs as a whole.

I adopt the same passage from “Der Doppelgänger” (Example 20.7, p. 202) to exemplify an altered dominant chord as appears in Harmony in Context, 2nd ed., by Miguel A. Roig-Francolí (Example 27.13, p. 638).

Chapter 21

The scope of Chapter 21 is inspired in large part by Chapter 31 from Harmony in Context, 2nd ed., by Miguel A. Roig-Francolí (pp. 717–45). In particular, I adopt the same version of the Tonnetz as Roig-Francolí—the “parsimonious Tonnetz” organized by minor thirds (horizontal rows) and major thirds (vertical columns). This particular Tonnetz is described extensively by Richard Cohn in “Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations,” Journal of Music Theory 41.1 (1997): 1–66. (Roig-Francolí cites Cohn’s article on p. 729n3.)

The analysis presented as Example 21.9 (p. 219) derives from Guy Capuzzo, “Neo-Riemannian Theory and the Analysis of Pop-Rock Music,” Music Theory Spectrum 26.2 (2004), 181–2. Specifically, the transformational section of the analysis in mm. 122–27 is by Capuzzo; the framing portions highlighting functional and cadential activity in the keys of D and F major are my own.

Chapter 23

A similar assessment (in the context of centricity) of the passage from Bartok’s “Little Study” (Example 23.1, pp. 238–39) appears in Miguel A. Roig-Francolí, Understanding Post-Tonal Music, 5–6.

The passage from Bartok’s Bagatelle, Op. 6, No. 2 on pp. 239–40 (Example 23.3) is discussed in the same context of centricity and symmetry in Joseph N. Straus, Introduction to Post-Tonal Theory, 4th ed. (New York and London: Norton, 2016), 237–38; and also in Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis, 3rd ed. (New York and London: Norton, 2016), 742–45.

My initial exposure to several of the excerpts in Chapters 22 and 23 was through Stefan Kostka, Materials and Techniques of Twentieth-Century Music, 3rd ed. (New Jersey: Pearson Prentice Hall, 2006). I adopt related or overlapping versions of these passages as Examples 22.2, 22.17, 23.9, and 23.11 (all analytic annotations are my own). I thank the author for introducing me to these crystal-clear examples of scalar and harmonic trends in post-tonal music. (The 5th edition of this book, featuring coauthor Matthew Santa, was published by Routledge in 2018).

Chapter 24

Anton Webern’s Five Movements for String Quartet, Op. 5, III has been analyzed extensively. My own discussion of an excerpt from this movement appears on pp. 254–55 (Example 24.9). A similar and more comprehensive analysis of the entire movement appears in Miguel A. Roig-Francolí, Understanding Post-Tonal Music, 111–20.

The analysis and discussion of Alban Berg’s “Schlafend trägt man mich” on pp. 254–56 (Examples 24.10–24.11) is based on Joseph Straus’s lucid analysis of the same passage in Introduction to Post-Tonal Theory, 4th ed., 143–48. Straus cites other texts referencing this song on p. 158.