¹ Théberge's comments were part of the summary that accompanied Susan Fast's IASPM-Canada book prize (2016) awarded for Dangerous.

² See, for instance, Susan Fast, “A Critical Edition of Johannes de Muris’ Musica Speculativa,” Ph.D. diss., University of Iowa, 1990; idem., “Bakhtin and the Discourse of Late Medieval Music Theory,” Plainsong and Medieval Music 5, no. 2 (Fall 1996): 175–91; and idem., “God, Desire and Musical Narrative in the Isorhythmic Motet,” Canadian University Music Review 18, no. 1 (1997): 19–37.

³ For discussions of notational centricity (Philip Tagg's term), see Tagg, KOJAK, 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music (Göteborg: Studies from the Department of Musicology, 1979), 28; Brackett, David, Interpreting Popular Music (Berkeley: University of California Press, [1995] 2000), 27–28 CrossRefGoogle Scholar; and Middleton, Richard, Studying Popular Music (Philadelphia, PA: Open University Press, 1990), 104–6Google Scholar.