This Bibliography includes all the titles cited in author-year format in the text and in the footnotes of my dissertation and of my later online publications. It also includes a few titles which, though hardly mentioned anywhere, relate to my analytical approach in some important way (e.g., Bonolom 1972, Tepper 1976, Cimino 1992), and a few that by their presence suggest avenues for further research, especially into the relation between various types of structure in music and in other fields (e.g., Armes 1994, Halperin 2000). On the whole, the Bibliography attempts to provide a referential overview of important if not always obvious research (e.g., the celebrated Campbell 2004, whose earlier editions are mentioned often in film criticism but less frequently in literary criticism and rarely in musicological studies) that will help us understand the intricacies of 18th-century musical archetypes better.
Several references to American script-writing manuals (e.g., Dancyger 1995) stress the conceptual similarity between the hierarchical three-part structure of ritornello form and the beginning-middle-end paradigm that underlies many American films, not to mention Kofi Agawu's Playing with Signs (Agawu 1991).
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