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⁴ Davis draws on a considerable range of analytic and historical research beyond the sources listed here: his bibliography contains 422 items.

⁵ Lenormond, René, Étude sur l'harmonie Moderne (Paris: Le monde musical, 1913)Google Scholar

⁶ Davis's main sources for the theory of markedness are Abbate (1991) and Hatten (1994).

⁷ Locke, Ralph, Musical Exoticism: Images and Reflections (Cambridge: Cambridge University Press, 2009)Google Scholar

⁸ Basevi (1859), p. 191. The four parts, or movements, of ‘la solita forma d'duetti’ are enumerated by Basevi as tempo d'attacco, adagio, tempo di mezzo, and cabaletta. The terminology has become standard in musicological literature on form in nineteenth-century opera.

⁹ Hepokoski, James, ‘Beethoven Reception: The Symphonic Tradition’, in The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge, Cambridge University Press, 2002), 424–459Google Scholar

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¹³ Roger Parker, ‘ “Insolite Forme”, or Basevi's “Garden Path” ’, in Roger Parker, Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley: University of California Press, 2006)Google Scholar

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¹⁵ Definition of keys within the individual styles identified by Davis represent another important avenue for further study. A much more rigorous distinction between chord roots, key areas, composed-out Stufen, etc. would strengthen the analyses throughout the book.

¹⁶ On p. 151, the key signature (two flats) is missing; on p. 154–5, all clefs and key signatures are missing.