¹ Cone, Edward T., The Composer's Voice (Berkeley: University of California Press, 1974)CrossRefGoogle Scholar.

² Monahan, Seth, ‘Action and Agency Revisited’, Journal of Music Theory 57/2 (2013): 321–71CrossRefGoogle Scholar, at 323.

³ Maus, Fred, ‘Music as Drama’, Music Theory Spectrum 10 (spring 1988): 56–73CrossRefGoogle Scholar, at 72, original emphasis.

⁴ Hepokoski, James and Darcy, Warren, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York and Oxford: Oxford University Press, 2006)CrossRefGoogle Scholar.

⁵ The volume is striking for making some notable omissions from what are otherwise extremely comprehensive bibliographies. Works by Cone and Robert Hatten are cited in a number of chapters, but there are several important recent contributions on perceptions of agency and drama in music, such as the Maus and Monahan articles cited above, as well as a host of essays and monographs on narrative, that are mentioned nowhere. What is more, Tunbridge writes in her introduction that a ‘crucial’ (p. 7) influence on many of the essays in the volume is Abbate, Carolyn's Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991)CrossRefGoogle Scholar, although none makes any reference to this pioneering text.