¹ Locke, Ralph P., ‘Constructing the Oriental “Other”: Saint-Saëns's Samson et Dalila’, Cambridge Opera Journal 3 (1991): 261–302.CrossRefGoogle Scholar

² On hermeneutic windows, see Kramer, Lawrence, Music as Cultural Practice, 1800–1900 (Berkeley: University of California Press, 1990): 5–11Google Scholar. Elsewhere, Kramer defines them as ‘sites of engagement through which the interpreter and the interpreted animate one another’; see his Classical Music and Postmodern Knowledge (Berkeley: University of California Press, 1995): 21Google Scholar.

³ Linda Phyllis Austern's work on music and exoticism in seventeenth-century England (‘“Forreine Conceites and Wandring Devises”: the Exotic, the Erotic and the Feminine’, in The Exotic in Western Music, ed. Bellman, Jonathan (Boston: Northeastern University Press, 1998): 26–47)Google Scholar is a curious omission from the bibliography. The issue of music's perceived exoticism is also mooted in my ‘Musicology on Safari: Orientalism and the Spectre of Postcolonial Theory’, Music Analysis 22/1–2 (March–July 2003): 211–30Google Scholar.

⁴ Whaples, Miriam K., ‘Early Exoticism Revisited’, in The Exotic in Western Music, ed. Bellman, : 3–25, 18Google Scholar, cited in , Locke, Musical Exoticism, 99Google Scholar.

⁵ Henson, Karen, review of Bellman, ed., The Exotic in Western Music, Music and Letters 80 (1999): 144–7Google Scholar, and , Head, ‘Musicology on Safari’, 217–20Google Scholar.

⁶ Cook, Nicholas, Music: A Very Short Introduction (Oxford: Oxford University Press, 2000): 105.CrossRefGoogle Scholar

⁷ Rice, Eric, ‘Representations of Janissary Music (Mehter) as Musical Exoticism in Western Compositions, 1670–1824’, Journal of Musicological Research 19/1 (1999): 41–88, 69–70.CrossRefGoogle Scholar