| Year |
Citation |
Score |
| 2011 |
Forte A. The Development of Diminutions in American Jazz Journal of Jazz Studies. 7: 7-27. DOI: 10.14713/Jjs.V7I1.3 |
0.381 |
|
| 2007 |
Forte A. Alban Berg’s Piano Sonata, Op. 1: a Landmark in Early Twentieth‐Century Music Music Analysis. 26: 15-24. DOI: 10.1111/J.1468-2249.2007.00252.X |
0.412 |
|
| 2000 |
Forte A. Harmonic relations: American popular harmonies (1925-1950) and their european kin Contemporary Music Review. 19: 5-36. DOI: 10.1080/07494460000640121 |
0.355 |
|
| 1999 |
Forte A. Reflections upon the Gershwin-Berg Connection The Musical Quarterly. 83: 150-168. DOI: 10.1093/Mq/83.2.150 |
0.414 |
|
| 1998 |
Forte A. Allen Forte to the Editor Music Analysis. 17: 261. DOI: 10.2307/854446 |
0.399 |
|
| 1998 |
Forte A, Hindemith P. Paul Hindemith's Contribution to Music Theory in the United States Journal of Music Theory. 42: 1. DOI: 10.2307/843851 |
0.391 |
|
| 1998 |
Forte A. A Schenkerian Reading of an Excerpt from Tristan und Isolde Musicae Scientiae. 2: 15-26. DOI: 10.1177/10298649980020S103 |
0.413 |
|
| 1997 |
Forte A. Milton Babbitt's "Three Theatrical Songs" in Perspective Perspectives of New Music. 35: 65. DOI: 10.2307/833643 |
0.365 |
|
| 1994 |
Forte A. An octatonic essay by webern: No. 1 of the six bagatelles for string quartet, Op. 9 Music Theory Spectrum. 16: 171-195. DOI: 10.2307/746032 |
0.374 |
|
| 1993 |
Forte A. Secrets of melody: Line and design in the songs of Cole Porter Musical Quarterly. 77: 607-647. DOI: 10.1093/Mq/77.4.607 |
0.322 |
|
| 1992 |
Forte A, Schoenberg. Concepts of Linearity in Schoenberg's Atonal Music: A Study of the Opus 15 Song Cycle Journal of Music Theory. 36: 285. DOI: 10.2307/843934 |
0.368 |
|
| 1992 |
Forte A. The diatonic looking glass, or an ivesian metamorphosis Musical Quarterly. 76: 355-382. DOI: 10.1093/Mq/76.3.355 |
0.351 |
|
| 1990 |
Forte A. Musorgsky as Modernist: The Phantasmic Episode in 'Boris Godunov' Music Analysis. 9: 3. DOI: 10.2307/854043 |
0.414 |
|
| 1989 |
Forte A. Banquet address: SMT, Rochester, 1987 Music Theory Spectrum. 11: 95-99. DOI: 10.2307/745954 |
0.363 |
|
| 1988 |
Forte A. New Approaches to the Linear Analysis of Music Journal of the American Musicological Society. 41: 315-348. DOI: 10.2307/831436 |
0.368 |
|
| 1987 |
Forte A. Liszťs Experimental Idiom and Music of the Early Twentieth Century Nineteenth Century Music. 10: 209-228. DOI: 10.2307/746436 |
0.386 |
|
| 1985 |
Forte A. Tonality, symbol, and structural levels in berg's Wozzeck Musical Quarterly. 71: 474-499. DOI: 10.1093/Mq/Lxxi.4.474 |
0.312 |
|
| 1984 |
Forte A. Middleground Motives in the Adagietto of Mahler’s Fifth Symphony Nineteenth Century Music. 8: 153-163. DOI: 10.2307/746760 |
0.421 |
|
| 1983 |
Forte A. Foreground Rhythm in Early Twentieth-Century Music Music Analysis. 2: 239. DOI: 10.2307/854157 |
0.327 |
|
| 1983 |
Forte A. Motivic design and structural levels in the first movement of brahms's string quartet in c minor Musical Quarterly. 69: 471-502. DOI: 10.1093/Mq/Lxix.4.471 |
0.437 |
|
| 1980 |
Forte A. Aspects of Rhythm in Webern's Atonal Music Music Theory Spectrum. 2: 90-109. DOI: 10.2307/746181 |
0.452 |
|
| 1978 |
Forte A. Schoenberg's creative evolution: The path to atonality Musical Quarterly. 64: 133-176. DOI: 10.1093/Mq/Lxiv.2.133 |
0.328 |
|
| 1972 |
Forte A. Sets and Nonsets in Schoenberg's Atonal Music Perspectives of New Music. 11: 43. DOI: 10.2307/832462 |
0.422 |
|
| 1963 |
Forte A. Context and Continuity in an Atonal Work: A Set-Theoretic Approach Perspectives of New Music. 1: 72. DOI: 10.2307/832105 |
0.326 |
|
| 1960 |
Forte A. Bartok's "serial" composition Musical Quarterly. 46: 233-245. DOI: 10.1093/Mq/Xlvi.2.233 |
0.3 |
|
| 1959 |
Forte A. Schenker's Conception of Musical Structure Journal of Music Theory. 3: 1. DOI: 10.2307/842996 |
0.384 |
|
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