Selected Bibliography for Plagiarism Analysis

General Sources

Adler, Guido.  Der Stil in der Musik.  Leipzig: Breitkopf & Haertel, 1911.

Berry, Wallace.  Structural Functions in Music.  Englewood Cliffs: Prentice-Hall, 1976.

Blagden, Cyprian.  The Stationers’ Company: A History, 1403-1959.  Cambridge: Harvard University Press, 1960.

Bowker, Richard Rogers.  Copyright: Its History and Its Law.  Boston: Houghton Mifflin, 1912.

Bugbee, Bruce Willis.  Genesis of American Patent and Copyright Law.  Washington: Public Affairs Press, 1957.

Carroll, Charles Michael.  “Musical Borrowing–Grand Larceny or Great Art?”  College Music Symposium 18 (1978): 11-18.

Clifton, Thomas.  Music as Heard: A Study in Applied Phenomenology.  New Haven: Yale University Press, 1983.

Collins, Arthur Simons.  Authorship in the Days of Johnson.  London: R. Holden, 1927.

Cook, Nicholas.  A Guide to Musical Analysis.  New York: George Braziller, 1987.

Cooper, Grosvenor W., and Leonard B. Meyer.  The Rhythmic Structure of Music.  Chicago: University of Chicago Press, 1960.

Crawford, Richard.  Andrew Law, American Psalmodist.  Evanston: Northwestern University Press, 1968.

Culver, Charles A.  Musical Acoustics.  4th ed.  New York: McGraw-Hill, 1956.

Dufrenne, Mikel.  The Phenomenology of Aesthetic Experience.  Translated by Edward S. Casey, Albert A Anderson, Willis Domingo, and Leon Jacobson.  Evanston: Northwestern University Press, 1973.

Dunsby, Jonathan, and Arnold Whittall.  Music Analysis in Theory and Practice.  New Haven: Yale University Press, 1988.

Forte, Allen, and Steven E. Gilbert.  Introduction to Schenkerian Analysis.  New York: Norton, 1982.

Hegel, Georg W. F.  Philosophy of Right (1821).  Oxford: Clarendon, 1952.

Hitchcock, H. Wiley.  Music in the United States.  3d ed.  Englewood Cliffs: Prentice Hall, 1988.

Hitchings, Sinclair H.  Foreword to A Journal of Captain Cook’s Last Voyage to the Pacific Ocean, by John Ledyard.  Corvallis: Oregon State University Press, 1964.

Jonas, Oswald.  Introduction to the Theory of Heinrich Schenker.  Edited and translated by John Rothgeb.  New York: Longman, 1982.

Kaplan, Benjamin.  An Unhurried View of Copyright.  New York: Columbia University Press, 1967.

Kerman, Joseph.  “How We Got into Analysis, and How to Get Out.”  Critical Inquiry 7 (1980-81): 311-31.

Langer, Susanne K.  Feeling and Form: A Theory of Art.  New York: Charles Scribner & Sons, 1953.

_________.  Philosophy in a New Key.  Cambridge: Harvard University Press, 1969.

LaRue, Jan.  Guidelines for Style Analysis.   New York: Norton, 1970.

Laycock, Harold R., and Quentin R. Nordgren.  First-Year Music Theory.  New York: Appleton-Century-Crofts, 1962.

Lehmann-Haupt, Hellmut.  The Book in America.  2d ed.  New York: Bowker, 1951.

Locke, John.  Second Treatise of Government (1698).  New York: Liberal Arts Press, 1952.

Lowens, Irving.  Music and Musicians in Early America.  New York: Norton, 1964.

Meyer, Leonard B.  Emotion and Meaning in Music.  Chicago: University of Chicago Press, 1956.

_________.  Explaining Music.  Berkeley: University of California Press, 1973.

Narmour, Eugene.  Beyond Schenkerism.  Chicago: University of Chicago Press, 1977.

The New Grove Dictionary of Music and Musicians (1980), s.v. “Analysis,” by Ian Bent, 356.

Nizer, Louis.  My Life in Court.  Garden City, N.Y.: Doubleday, 1961.

Paine, Thomas.  “Letter to the Abbe Raynal” (1982).  In Political Writings.  Edited by Bruce Kuklick.  Cambridge: Cambridge University Press, 1989.

Patterson, L. Ray.  Copyright in Historical Perspective.  Nashville: Vanderbilt University Press, 1968.

Powers, Harold S.  “Language Models and Musical Analysis.”  Ethnomusicology 24 (1980): 1-60.

Rameau, Jean Philippe.  Trait  de l’harmonie (Paris, 1722).  Edited by Oliver Strunk in Source Readings in Music History.  New York: Norton, 1950.

Reese, Gustav.  Music in the Middle Ages.  New York: Norton, 1940.

_________.  Music in the Renaissance.  New York: Norton, 1959.

Reti, Rudolph.  The Thematic Process in Music.  New York: Macmillan, 1951.

Rogers, Michael R.  Teaching Approaches in Music Theory.  Carbondale: Southern Illinois University Press, 1984.

Rosen, Charles.  The Classical Style.  New York: Norton, 1972.

Salzer, Felix.  Five Graphic Music Analyses.  New York: David Mannes Music School, 1938; repr., New York: Dover, 1969.

Schachter, Carl.  “Rhythm and Linear Analysis: Durational Reduction.”  The Music Forum 5 (1980): 197-232.

Schenker, Heinrich.  Free Composition.  Edited and translated by Ernst Oster.  New York: Longman, 1979.

Seeger, Charles.  “Prescriptive and Descriptive Music-Writing.”  The Musical Quarterly 44 (1958): 184-95.

Small, John.  “J.C. Bach Goes to Law.”  The Musical Times 126 (September 1985): 526-29.

Solie, Ruth A.  “The Living Work: Organicism and Musical Analysis.”  Nineteenth-Century Music 4 (1980-81): 147-56.

Thostenson, Marvin.  Fundamentals, Harmony, and Musicianship.  Dubuque: Brown, 1963.

Tovey, Donald.  The Forms of Music.  Cleveland: Meridian, 1956.

_________.  Essays in Musical Analysis.  London: Oxford University Press, 1939.

Turek, Donald.  The Elements of Music: Concepts and Applications.  New York: Knopf, 1988.

Walsh, Michael.  “Has Somebody Stolen Their Song?”  Time, 19 October 1987, 86.

Webster, Noah.  A Collection of Papers on Political, Literary and Moral Subjects.  New York: B. Franklin, 1968.

White, John D.  The Analysis of Music.  2d ed.  Metuchen, N.J.: Scarecrow Press, 1984.

_________.  Understanding and Enjoying Music.  New York: Dood, Mead, 1968.

Winckel, Fritz.  Music, Sound, and Sensation: A Modern Exposition.  Max Hesses Verlag, 1960; repr., New York: Dover, 1967.

Wincor, Richard.  From Ritual to Royalties.  New York: Walker, 1952.

Wittenberg, Philip.  The Law of Literary Property.  Cleveland: World Publishing, 1957.

Legal Sources

Abrams, “The Historic Foundation of American Copyright Law: Exploding the Myth of Common Law Copyright,” 29 Wayne L. Rev. 1119 (1983).

Birmingham, “A Critical Analysis of the Infringement of Ideas,” 5 Copyright L. Symp. (ASCAP) 107 (1954).

Carlson, “Policing the Bases of Modern Expert Testimony,” 39 Vand. L. Rev. 571 (1986).

Cohen, “Masking Copyright Decisionmaking: The Meaninglessness of Substantial Similarity,” 20 U.C. Davis L. Rev. 719 (1987).

Cracas, “Judge Learned Hand and the Law of Copyright,” 7 Copyright L. Symp. (ASCAP) 55 (1956).

Crawford, “Pre-Constitutional Copyright Statutes,” 23 Bull. Copyright Society 11 (1975).

Der Manuelian, “The Role of the Expert Witness in Music Copyright Infringement Cases,” 57 Fordham L. Rev. 127 (1988).

Fenning, “The Origin of the Patent and Copyright Clause of the Constitution,” 17 Geo. L. J. 109 (1929).

Hughes, “The Philosophy of Intellectual Property,” 77 Geo. L. J. 287 (1988).

Imwinkelried, “The ‘Bases’ of Expert Testimony: the Syllogistic Structure of Scientific Testimony,” 67 N.C. L. Rev. 1 (1988).

Keyt, “An Improved Framework for Music Plagiarism Litigation,” 76 Calif. L. Rev. 421 (1988).

McElhaney, “Expert Witnesses and the Federal Rules of Evidence,” 28 Mercer L. Rev. 463 (1977).

_________, “Preparing Experts,” 76 A.B.A. J. 84 (1990).

Nimmer, Melville B. and David.  Nimmer on Copyright.  Matthew Bender, 1989.

Orth, “The Use of Expert Witnesses in Musical Infringement Cases,” 16 U. Pitt. L. Rev. 232 (1955).

Petrich, “Use of Expert Testimony and Surveys in Copyright Cases,” 317 Public Law Institute 195 (1986).

Radin, “Property and Personhood,” 34 Stan. L. Rev. 957 (1982).

Russ, “Supreme Court’s View as to What Constitutes Copyright Infringement,” 78 L. Ed. 2d 957 (1985).

Samuels, “The Idea-Expression Dichotomy in Copyright Law,” 56 Tenn. L. Rev. 321 (1989).

Sherman, “Musical Copyright Infringement: The Requirement of Substantial Similarity,” 22 Copyright L. Symp. (ASCAP) 81 (1977).

Sitzer, “Copyright Infringement Actions: The Proper Role for Audience Reactions in Determining Substantial Similarity,” 54 S. Cal. L. Rev. 385 (1981).

Sobel, “Copyright and the First Amendment: A Gathering Storm?”  19 Copyright L. Symp. (ASCAP) 43 (1971).

Yen, “A First Amendment Perspective on the Idea/Expression Dichotomy and Copyright in a Work’s “‘Total Concept and Feel,'” 38 Emory L.J. 393 (1989).