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² See for example , MacKenzie, John M., Orientalism: History, Theory, and the Arts (Manchester: Manchester University Press, 1995)Google Scholar ; Said, Edward, Orientalism: Western Concepts of the Orient (London: Penguin Books, 1978, 2003).Google Scholar

³ Also see , Sykes, Ingrid J., ‘Sonorous Mechanics: The Culture of Sonority in Nineteenth-Century France’, Nineteenth-Century Music Review 1 (2004): 43–66CrossRefGoogle Scholar . See also Johnson, James H., Listening in Paris: A Cultural History (Berkeley: University of California Press, 1995)Google Scholar.

⁴ Straus, Joseph, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, MA: Harvard University Press, 1990)CrossRefGoogle Scholar ; Korsyn, Kevin, ‘Beyond Privileged Contexts: Intertextuality, Influence and Dialogue’, in Rethinking Music, ed. Cook, Nicholas and Everist, Mark (Oxford: Oxford University Press, 1999, 2001)Google Scholar ; Klein, Michael L., Intertextuality in Western Art Music (Bloomington and Indianapolis: Indiana University Press, 2005)Google Scholar.

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⁷ Letter from Debussy to Pierre Louÿs (22 Jan. 1895), in Debussy Letters, ed. Lesure, François and Nichols, Roger (London: Faber and Faber, 1987): 76Google Scholar.

8 Bellman, Jonathan, The Exotic in Western Music (Boston: Northeastern University Press, 1998): ix.Google Scholar