¹ See Burton, Humphrey, Leonard Bernstein (New York: Doubleday, 1994)Google Scholar; Secrest, Meryle, Leonard Bernstein: A Life (New York: Vintage Books, 1994)Google Scholar; and Myers, Paul, Leonard Bernstein (London: Phaidon Press Limited, 1998)Google Scholar.

² Laird, Paul R., Leonard Bernstein: A Guide to Research (New York: Routledge, 2002)Google Scholar.

³ The issue, “Leonard Bernstein in Boston,” was edited by Carol Oja. Journal of the Society for American Music 3/1 (February 2009).

⁴ Swain, Joseph P., The Broadway Musical: A Critical and Musical Survey (New York: Oxford University Press, 1990), 205–46Google Scholar; Block, Geoffrey, Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim (New York: Oxford University Press, 1997), 245–73Google Scholar.

⁵ Swain and Block both cover the show's genesis, as does Banfield, Stephen in Sondheim's Broadway Musicals (Ann Arbor: University of Michigan Press, 1993), 31–38Google Scholar. Useful material also appears in Laurents, Arthur, Original Story By: A Memoir of Broadway and Hollywood (New York: Alfred A. Knopf, 2000), 327–69Google Scholar.

⁶ Oja, Carol J., “West Side Story and The Music Man: Whiteness, Immigration, and Race in the U.S. during the late 1950s,” Studies in Musical Theatre 3/1 (2009): 13–30CrossRefGoogle Scholar. Two new books that also provide varied perspectives on West Side Story are Wells, Elizabeth A., West Side Story: Cultural Perspectives on an American Musical (Lanham, MD: Scarecrow Press, 2011)Google Scholar, and Berson, Mischa: Something's Coming, Something Good: West Side Story and the American Imagination (New York: Applause Theatre & Cinema Books, 2011)Google Scholar.

⁷ Garebian, Keith, The Making of “West Side Story” (Toronto: ECW Press, 1995)Google Scholar.

⁸ See, for example, the transcript of a 1985 Dramatists Guild symposium that included the participation of Bernstein, Laurents, Robbins, and Sondheim that appears in Guernsey, Otis L. Jr., ed., Broadway Song & Story: Playwrights/Lyricists/Composers Discuss Their Hits (New York: Dodd, Mead & Company, 1985), 40–54Google Scholar. A useful interview with Carol Lawrence, the original Maria, appears in Burton, William Westbrook, ed., Conversations about Bernstein (New York: Oxford University Press, 1995), 169–89Google Scholar.

⁹ Bushard, Anthony, “From On the Waterfront to West Side Story, or There's Nowhere like Somewhere,” Studies in Musical Theatre 3/1 (2009): 61–75CrossRefGoogle Scholar.

¹⁰ For a discussion of Bernstein's reuse of material from West Side Story in Chichester Psalms (1965), see Laird, Paul R., The Chichester Psalms of Leonard Bernstein (Hillsdale, NY: Pendragon Press, 2010), 52–54Google Scholar, 101–25.

¹¹ Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” D.M.A. dissertation, University of Illinois, 1964.

¹² Gottlieb, for example, is the author of the article “Symbols of Faith in the Music of Leonard Bernstein,” Musical Quarterly 66/2 (April 1980): 287–95; also see the first edition of his works catalog: Leonard Bernstein: A Complete Catalogue of His Works (n.p.: Amberson Enterprises, Publisher/Boosey & Hawkes, 1978). The catalog of Bernstein's compositions maintained by The Leonard Bernstein Office is now part of its Web site at www.leonardbernstein.com.

¹³ Chapin, Schuyler, Leonard Bernstein: Notes from a Friend (New York: Walker and Company, 1992)Google Scholar.

¹⁴ Peyser, Joan, Bernstein: A Biography, rev. ed. (New York: Billboard Books, 1998; first published New York: Beech Tree Books, 1987)Google Scholar.

¹⁵ Burton, Leonard Bernstein, 59–60.

¹⁶ “Wunderkind,” Time 69/5 (4 February 1957): 68–70, 72, 75.

¹⁷ The second movement of Chichester Psalms pointedly juxtaposes Psalms 23 and 2:1–4, a dramatic opposition of peaceful and violent texts, offering a possible interpretation as an antiwar message (Laird, The Chichester Psalms of Leonard Bernstein, 101–25).