Tuning & temperament bibliography

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  • Aalst, Jules A. van. Chinese Music. Statistical Dept. of the Inspectorate General of Customs, Shanghai, 1884, 106 pages.
  • Aaron, Pietro. De institutione harmonica libri tres. Bononiae, In aedibus Benedicti Hectoris Bibliopolae Bononiensis, 1516. Reprint Broude Brothers Ltd., New York, 1978. Liber primus, liber secundus, liber tertius. Also here.
  • Aaron, Pietro. Thoscanello de la musica. Impressa per Bernardino et Mattheo de Uitali, Venezia, 1523, 1529, 1539, 1562. Reprint Broude Brothers Ltd., New York, 1969. English translation Toscanello in musica by Peter Bergquist, Colorado College Music Press, Colorado Springs, 1970.
  • Aaron, Pietro. Trattato della natura et cognitione di tutti gli tuoni di canto figurato. Bernardino Vitali, Venezia, 1525, 1531.
  • Aaron, Pietro. Lucidario in musica. Venice, 1545. Reprint, 1969.
  • Aaron, Pietro. Compendiolo di molti dubbi. Venice, after 1545.
  • Abate, Ezra. "Ethiopian Kiñit (scales). Analysis of the formation and structure of the Ethiopian scale system", Proceedings of the 16th International Conference of Ethiopian Studies, Svein Ege, Harald Aspen, Birhanu Teferra, Shiferaw Bekele (eds.), Trondheim, 2009, pp. 1213-1224.
  • Abbado, Michelangelo. "Terzo e quarto suono", Rivista italiana di musicologia vol. 5, 1970, pp. 99-147.
  • Abbatini, Antonio Maria. Codici contenenti diverse lezioni teorice. Bologna, 1667-1668.
  • Abbott, Curtis. "Marching to a Different Ratio. Xenharmonikon. Interval: A Microtonal Newsletter (reviews)", Computer Music Journal vol. 2 no. 2, Sep 1978, pp. 7-8.
  • Abddon, Seifed-Din Shehadeh. "Arabic Music: Samaie Farhafza Analysis", May 2003, WWW, 14 pages.
  • Abdounur, Oscar João. "Ratios and music in the late middle ages: a preliminary survey", Music and mathematics in late medieval and early modern Europe, Philippe Vendrix (ed.), Brepols, Turnhout, 2008, 394 pages.
  • Abdounur, Oscar João. "The Emergence of the Idea of Irrationality In Renaissance Theoretical Music Contexts", Music Journal of Interdisciplinary Sciences vol. 3 no. 2, March 2015.
  • Abel, Carl Friedrich. The pure method for tuning the Harpsichord, according to Abel. London, 2nd half 18th cent.
  • Abel, Markus and Steffen Bergweiler. "Synchronization of higher harmonics in coupled organ pipes", International Journal of Bifurcation and Chaos in Applied Sciences and Engineering vol. 17 no. 10, October 2007, pp. 3483-3491.
  • Abel, Volker, Peter Reiss and Rudolf Wille. "Mutabor II - Ein computergesteuertes Musikinstrument zum Experimentieren mit Stimmungslogiken und Mikrotönen", Preprint no. 1513, TH Fachbereich Mathematik, Darmstadt, 1992. Also in Mikrotöne IV, Filmkunst-Musikverlag, München, 1993.
  • Abel, Volker, Peter Reiss, Rüdiger Krauße and Tobias Schlemmer. "MUTABOR - Ein computergesteuertes Musikinstrument zum Experimentieren mit Stimmungslogiken und Mikrotönen", WWW, 2006.
  • Abesser, Jakob; Estafanía Cano; Klaus Frieler; Martin Pfleidered and Wolf-George Zaddach. "Score-Informed Analysis of Intonation and Pitch Modulation in Jazz Solos", Proceedings of the 16th International Society for Music Information Retrieval Conference, Málaga, Oct 2015, pp. 823-829.
  • Abraham, Gerald u.a. (ed.) Bericht über den siebenten internationalen musikwissenschaftlichen Kongreß, Köln 1958. Bärenreiter, Kassel, 1959.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Zur Psychologie der Tondistanz", Zeitschrift für Psychologie und Physiologie der Sinnesorgane vol. 98, 1899.
  • Abraham, Otto. "Absolutes Tonbewußtsein", Sammelbände der internationalen Musikgesellschaft vol. 3 & 8, 1901, pp. 1-86.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Studien über das Tonsystem und die Musik der Japaner", Sammelbände der Internationalen Musikgesellschaft vol. 4 no. 2, Feb. 1903, pp. 302-360.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Vorschläge für die Transkription exotischer Melodien", Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909. Reprint in Musical transcription, Garland, New York, 1990, pp. 1-25.
  • Abromont, Claude and Eugène de Montalembert. Guide de la Théorie de la Musique. Henry Lemoine, Fayard, 2001, 380 pages.
  • Accurso, Howard. The Decline of Unequal Temperments in the Nineteenth Century. PhD thesis, in progress.
  • Achtélik, Joseph. Der Naturklang als Wurzel aller Harmonien. C.F. Kahnt, Leipzig, 1922.
  • Ader, Lidia Olegovna. "Microtonal Storm and Stress: Georgy Rimsky-Korsakov and Quarter-Tone Music in 1920s Soviet Russia", Tempo vol. 63 no. 250, Cambridge University Press, Oct 2009, pp. 27-44.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice (in Russian)", Instrumentalism in the history of culture, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. "The Concept of Microtonality: Its Origin and Background (in Russian)", Opera musicologica vols. 3-4 nos. 8-9, St. Petersburg, 2011, pp. 114-134.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice (in Russian)", Instrumentalism in the history of culture, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. Mikrotonovaja muzika v Evrope i Rossii v 1900-1920e godi. MA thesis, Gosudarstvennaâ Konservatoriâ imeni N.A. Rimskogo-Korsakova, St. Petersburg, 2013.
  • Ader, Lidia Olegovna. "Parallel History of Russian Musical Avant-garde", Lietuvos muzikologija vol. 16, 2015, pp. 90-101.
  • Adkins, Cecil D. The Theory and Practice of the Monochord. PhD thesis, University of Iowa, 1963. Reprint UMI Dissertation Services (64-3344), Ann Arbor, 501 pages.
  • Adkins, Cecil D. "The Technique of the Monochord", Acta Musicologica vol. 39 fasc. 1/2, Jan-Jun 1967, pp. 34-43.
  • Adlington, Robert. "Antara by George Benjamin (CD review)", The Musical Times vol. 135 no. 1812, Feb 1994, p. 95.
  • Adlung, M. Jakob. Anleitung zu der musikalischen Gelahrtheit, theils vor alle Gelehrte, so das Band aller Wissenschaften einsehen, theils vor die Liebhaber der edlen Tonkunst überhaupt, theils und sonderlich vor die, so das Clavier vorzüglich lieben, theils vor die Orgel- und Instrumentenmacher. J.D. Jungnicol, Erfurt, 1758, 844 pages. 2nd edition Dresden/Leipzig, 1783. Facsimile reprint, Hans-Joachim Moser (ed.), Documenta Musicologica Bd. 4, Bärenreiter, Kassel, 1953.
  • Adlung, M. Jakob. Musica mechanica organoedi. Berlin, 1768. Facsimile reprint Christhard Mahrenholz, Bärenreiter, Kassel, 1930, 1961.
  • Adou, Heather Maxwell. "Acoustic Aspects of the Balani of Mali", SAVAIL Working Papers, 2003.
  • Adriaansz, Peter. "How I Became a Convert", Thirty-One vol. 1, summer 2009, pp. 8-33.
  • Agayeva, S. and S. Hajiyev. "On the Problems of Research the Pitch System of Azerbaijani Mughams", Proceedings of the IInd International Musicological Symposium Space of Mugham, 15-17 March 2011, M. Aliyeva (ed.), International Council for Traditional Music, Baku, 2011, pp. 19-30.
  • Agazzari, Agostino. Sacrarum Cantionum quae Binis, Ternis, Quaternisque vocibus concinuntur. Liber II. Cum basso ad organum. Ricciardus Amadinus, Venice, 1609.
  • Ager, Klaus. "Der Ultrachromatismus Ivan Wyschnegradskys in melodischer und rhythmischer Hinsicht", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 123-126.
  • Agmon, Eytan. "Octave Equivalence and the Immediate Recall of Pitch Sequences", Music Perception vol. 2, 1984, pp. 40-51.
  • Agmon, Eytan. Diatonicism, Chromaticism and Enharmonicism: A Study in Cognition and Perception. Unpublished PhD dissertation, City University of New York, 1986.
  • Agmon, Eytan. "A Mathematical Model of the Diatonic System", Journal of Music Theory vol. 33 no. 1, spring 1989, pp. 1-25. Correction in vol. 33 no. 2, 1989, p. 462.
  • Agmon, Eytan. "Equal Division of the Octave in a Scarlatti Sonata", In Theory Only vol. 13 no. 5, 1990, p. 1-8.
  • Agmon, Eytan. "Linear Transformations Between Cyclically Generated Chords", Musikometrika vol. 3, 1991, pp. 15-40.
  • Agmon, Eytan. "Towards a Theory of Diatonic Intonation", Interface vol. 22 no. 2, 1993, pp. 151-163.
  • Agmon, Eytan. "Coherent Tone-Systems: A Study in the Theory of Diatonicism", Journal of Music Theory vol. 40 no. 1, spring 1996, pp. 39-59.
  • Agmon, Eytan. "Numbers and the Western Tone-System: Beyond Psychoacoustics", American Mathematical Society, March 2003, 18 pages.
  • Ágnes, Ratkó. Eine Annäherung an historische Stimmungen aus künstlerischer Sicht. MA thesis, Liszt Ferenc Universität für Musik Doktorandenschule Nr.28 zur Wissenschaft der Kunst- und Kulturgeschichte gehörend, Budapest, 2009.
  • Agon, Carlos and Moreno Andreatta. "Outils informatiques pour la classification et la notation des structures micro-intervalliques", Séminaire MaMuX, séance Micro-tonalité et systématique modale, IRCAM, Paris, 8 Nov 2003.
  • Agustín-Aquino, Octavio A. and Guerino Mazzola. "Modulation in Tetradic Harmony and its Role in Jazz", arXiv 1809.04755, WWW, Sep 2018, 8 pages.
  • Agricola, Johann Friedrich. Anleitung zur Singkunst. Berlin, 1757. Facsimile edition by Erwin R. Jacobi (ed.), Hermann Moeck Verlag, Celle, 1966.
  • Agricola, Martin. Musica instrumentalis deudsch, ynn welcher begriffen ist, wie man nach dem Gesange auff mancherley pfeiffen lernen sol, auch wie auff die Orgel, Harffen, Lauten, Geigen und allerley Instrument und Seytenspiel nach der rechtgegründten Tabelthur sey abzusetzen. Georg Rhau, Wittemberg, 1528, 1529, enlarged 1545. Facsimile edition, Breitkopf und Härtel, Leipzig, 1896. Reprint Georg Olms Verlag, Hildesheim, 1969. English translation William E. Hettrick, Cambridge University Press, Cambridge, 1994.
  • Agricola, Martin. Musica figuralis deudsch: mit ihrem zugehörenden Exempeln, sampt einem besunderlichen schönen Büchelein von den Proportionibus, welche allen gemeinen Sengern, Instrumentisten und Anhebern dieser Kunst, ganz nützbarlich zu wissen, auffs einfeltigst und vorstentlichst ins Deudsche verfasset. Georg Rhau, Wittemberg, 1532.
  • Agricola, Martin. Rudimenta musices, quibus canendi artificium compendiosissime complexum, pueris una cum monochordi dimensione traditur. Georg Rhau, Wittemberg, 1539. Reprint Broude Brothers, New York, 1966. English translation by John Trowell, Boethius Press, Aberystwyth, 1991.
  • Ahlvers, Arthur. Zahl und Klang bei Platon. Verlag Paul Haupt, Bern & Stuttgart, 1952, 67 pages. English translation by Arthur Ahlvers and John Black, "Number and Sound in Plato", Studies in the History of Philosophy vol. 67, Edwin Mellen Press, 2002.
  • Ahrens, Alvin W. "Characteristic Limitations of the Internal Tuning of Selected Wind Instruments", Journal of Experimental Education vol. 15 no. 4, June 1947, pp. 269-290.
  • Ahrens, Christian. "Anmerkungen zu Birsaks Frequenzmessungen an 2 Chalumeaux", Die Musikforschung vol. 28 no. 4, 1975, pp. 442-443.
  • Ahrens, Christian. "Ein griechischer Volksmusiker und sein Instrument. Zur Stimmung folkloristischer Aerophone", Studia Instrumentorum Musicae Popularis vol. 7, Erich Stockmann (ed.), Music museum, Stockholm, 1981, pp. 95-101.
  • Aikin, Jim. "Discover 19-Tone Equal Temperament", Keyboard, March 1988, pp. 74-80.
  • Aikin, Jim. "Just intonation with synth tuning tables", Keyboard, Nov. 1994.
  • Aikin, Jim. "< HREF="http://emusician.com/tutorials/emusic_playing_cracks/">Playing in the Cracks, Electronic Musician, June 2003.
  • Aikin, Jim. "An Interview with Robert Rich", Keyboard, 2004.
  • Aikin, Jim. "Just Intonation Tutor", WWW, 2006.
  • Airoldi, Roberto. La teoria del temperamento nell'etá di Gioseffo Zarlino. Presentazione a cura di Elena Ferrari Barassi, Turris, Cremona, 1989, 166 pages.
  • Aiton, E.J.; A.M. Duncan and J.V. Field. "The Harmony of the World by Johannes Kepler. Translated into English with an Introduction and Notes", Memoirs of the Amercian Philosophical Society held at Philadelphia for Promoting Useful Knowledge vol. 209, 1997.
  • Aiyar, C. Subrahmania. "Quartertones in South Indian (Carnatic) Music", The Journal of the Musical Academy vol. 11, Madras, 1940, p. 95.
  • Aiyar, C. Subrahmania. "A Study of the Microtonal Variations in Frequencies in Karnatic Music with an Oscillograph", The Journal of the Musical Academy vol. 20, Madras, 1949, p. 114.
  • Aiyar, C. Subrahmania. "Musical research and frequency ratios", The Journal of the Musical Academy vol. 21, Madras, 1950, p. 64.
  • Aiyar, C. Subrahmania. "Physics and Aesthetics of Hindustani Music", The Journal of the Musical Academy vol. 22, Madras, 1951, p. 86.
  • Aiyar, C. Subrahmania. The Grammar of South Indian (Karnatic) Music. Madras, 1951, 1976.
  • Akkoç, Can. "Non-Deterministic Scales Used in Traditional Turkish Music", Journal of New Music Research vol. 31 no. 4, 2002.
  • Akkoç, Can; William A. Sethares and M. Kemal Karaosmanoglu. "Experiments on the Relationship between Perde and Seyir in Turkish Makam Music", Music Perception: An Interdisciplinary Journal vol. 32 no. 4, april 2015, pp. 322-343.
  • Aksoy, Bülent, "Makamin Tanimina Dogru", 1995. Trans. K. Agartan. Musikisinas, Bogaziçi University Turkish Music Club Publication, 2000, pp. 70-87.
  • Aksoy, Bülent. Avrupali Gezginlerin Gözüyle Osmanlilarda musikî. 2nd rev. ed., Pan Yayincilik, Istanbul, 2003.
  • Alaleona, D. "I moderni orrizonti della tecnica musicale. Teoria della divisione dell'ottava in parti uguali", Rivista Musicale Italiana vol. 18, 1911, pp. 382-420.
  • Alaleona, D. "Le tonalità neutre e l'arte di stupore", Rivista Musicale Italiana vol. 18, 1911, pp. 769-838.
  • Albèra, Philippe. "Ivan Wyschnegradsky 'Quatuor no.1' opus 13 (1923-24)", Concert 10, Contrechamps, Genève, 2000.
  • Albersheim, Gerhard. "Die Tonstufe", Die Musikforschung vol. 16 no. 2, April/June 1963, pp. 139-152. English translation "The Scale Step", Philosophy and Phenomenological Research vol. 26 no. 1, Sep 1965, pp. 63-79.
  • Albini, Giovanni and Samuele Antonini. "Hamiltonian Cycles in the Topological Dual of the Tonnetz", 2nd International Conference Mathematics and Computation in Music, 19-22 June 2009, Yale University Press, New Haven CN.
  • d'Albiz, Joseph Lubet. Création Harmonique. Étoile musicale composée pour piano ou orgue à quarts de ton. BN Vm (8) 532, Paris, 1858. (Recueil factice)
  • Albrecht, Jan. "Essays über Kunst. Ein Teufelsgespräch über die Zukunft der Musik (zu Thomas Manns Roman Doktor Faustus)", Zbornik filosoficke fakulty university Komenskeho vol. 22, Bratislava, 1971, pp. 99-137.
  • Albrecht, Hartwig. Tonartencharakteristik und Temperatur. 'Ein Märchen aus alten Zeiten', oder auch: Die Geburt der Mathematik aus dem Geist der Musik. WWW, 2011, 45 pages.
  • Albrechtsberger, Johann Georg. Gründliche Anweisung zur Composition: mit deutlichen und ausführlichen Exempeln, zum Selbstunterrichte, erläutert und mit einem Anhange: Von der Beschaffenheit und Anwendung aller jetzt üblichen musikalischen Instrumente. Johann Gottlob Immanuel Breitkopf, 1790, 440 pages, p. 419.
  • Albritton, Jerry Samuel. A historical survey of important tuning systems in Western music. MM diss. Florida State U., Tallahassee, 1969.
  • Alburger, Mark. "La Mont Young to 1960", 21st Century Music vol. 10 no. 3, 2003.
  • d'Alembert, Jean Henri. Éléments de musique théorique et pratique, suivant les principes de M. Rameau, éclaircis développés et simplifiés. David l'Ainé, Paris, 1752, 171 pages. Nouvelle édition, revue, corrigée, Jean Marie Bruysset, Lyon, 1759, 1762, 1766, 1772, 1779, 236 pages. German translation by F.W. Marpurg, Leipzig, 1757.
  • d'Alembert, Jean Henri. Réponse de M. d'Alembert à une lettre imprimée de M. Rameau. Paris, 1762.
  • Alessi, Rosario. Sonometro. Misura matematica del suono musicale. Metodo téorico per la giusta divisione della scala cromatica...per accordare i pianoforti. A. Morano, Naples, 1881.
  • Alexjander, Susan. "DNA tunings", Experimental Musical Instruments vol. 8 no. 2, Sept. 1992, pp. 30-31.
  • Alexjander, Susan. "The Infrared Frequencies of DNA Bases, as Science and Art", Engineering in Medicine and Biology Magazine, IEEE, March/April 1999, pp. 74-75.
  • al-Farabi. Kitab al-musiqa al-kabir. Reprint Gattas 'Abd al-Malik Hashaba, Dar al-katib al-'arabi, Cairo, 1967. French translation by F.R. d'Erlanger, 1930. Reprint Ed. Eckhard Neubauer, Frankfurt a.M., 1998, 482 pages.
  • Algaraz, José Antonio. "A Propósito de Julián Carrillo", Heterofonía vol. 8 no. 31, 1975, pp. 20-23.
  • Allain-Dupré, Philippe. "Jobin versus Lehman", WWW, 2005.
  • Allaire, Gaston G. The Theory of Hexachords, Solmization, and the Modal System. Musicological Studies and Documents vol. 24, American Institute of Musicology, 1972, 165 pages.
  • Allan, G.E. "The Musical Scale of the Highland Bagpipe", Philosophical Magazine vol. 29, 1940, pp. 154-161.
  • Alldahl, Per-Gunnar. Korintonation: Du skall icke sjunga falskt mot din nästa. SKS musikböcker no. 5. Gehrman, Stockholm, 1990, 142 pages.
  • Allen, John S. "Mathematical representations of musical tunings", WWW, 1997.
  • Allen, John S. "Equal temperaments as mathematical series", WWW, 1997.
  • Allen, John S. "On Rabbits, Mathematics and Musical Scales", WWW, 1998.
  • Allen, John S. "The general keyboard in the age of MIDI", WWW, 1997-1999.
  • Allende-Blin, Juan. "Ein gespräch mit Ivan Wyschnegradsky", Alexander Skrjabin und die Skrjabinisten, Musik Konzept vols. 32-33, München, 1983, p. 103.
  • Allende-Blin, Juan. "Prélude für Vierteltonklavier; von Arthur Vincent Lourié", Musik Texte vol. 4, 1984.
  • Allende-Blin, Juan. "Ist Bachs Kunst der Fuge mitteltönig komponiert?", Ars Organi vol. 48, September 2000, p. 167.
  • Allworth, Edward. Central Asia, 130 Years of Russian Dominance, A Historical Overview. third ed., 1994, Edward Allworth (ed.), Duke University Press, 1994.
  • Almeida Ribeiro, Felipe and Charles Klippel Neimog. "Uma Aproximação aos Sistemas de Afinação de Harry Partch e Ben Johnston", WWW, Feb. 2019, 23 pages.
  • Almén, Byron. "Musical 'Temperament': Theorists and the Functions of Music Analysis", Theoria vol. 12, 2005.
  • Aloe, Wanja; Claire Roberts. "Wie kirnbergerisch muss ungleichstufige Stimmung sein? Tonartwahl und Satzcharaktere in Franz Schuberts Liedern als Indikatoren für verwendete Temperaturen", Dissonance vol. 111, 2010, pp. 30-35.
  • Alphonce, Bo. "Generalized Musical Intervals and Transformations, by David Lewin (book review)", Intégral vol. 2, 1988.
  • Alrich, Alexis. "'Lou Harrison: Composing a World' by Leta E. Miller and Frederic Lieberman (book review)", 1/1 vol. 10 no. 3, autumn 2000, pp. 2, 16.
  • Althuis, Theo A. Graph theoretic aspects of music theory. M.Sc. thesis, Mathematical Sciences, Universiteit Twente, Enschede, 2000.
  • Althuis, Theo A. and F. Göbel. Z-related pairs in microtonal systems. Technical Report Memorandum No. 1524, Universiteit Twente, Enschede, April 2000.
  • Altwein, Erich F. "Bemerkungen zu Paul Hindemiths Unterweisung im Tonsatz", Die Musikforschung vol. 23, 1970, pp. 54-55.
  • Altwein, Erich F. "Versuch über das arabische Komma", Die Musikforschung vol. 24, 1971, pp. 432-437.
  • Alves, Bill. "The Just Intonation System of Nicola Vicentino", 1/1 vol. 5 no. 2, spring 1989, pp. 8-13.
  • Alves, Bill. "Key Characteristics and Pitch Sets in Composing with Just Intonation", 1/1 vol. 6 no. 3, summer 1990, pp. 1, 6-8, 14.
  • Alves, Bill. "Pleng: Composing for a Justly Tuned Gender Barung", Intercultural Music vol. 5, proceedings of the Fourth Biannual Symposium and Festival of Intercultural Music. Reprint in 1/1 vol. 9 no. 4, spring 1997, pp. 1,4-11.
  • Alves, Bill. "Graphic Representation of Some Gamelan Tunings", WWW, 1996.
  • Alves, Bill. "'Uncommon Practice: Selected Compositions 1984-1995' by David B. Doty (CD review)", 1/1 vol. 10 no. 3, autumn 2000, pp. 16-17.
  • Alves, Bill. "Using Alternate Tunings in Csound", in CD-ROM accompanying The Csound Book, Richard Boulanger (ed.), MIT University Press, Cambridge MA, 2000.
  • Alves, Bill. "The Journey of Light and Darkness in Toby Twinings 'Chrysalid Requiem' (CD review)", 1/1 vol. 11 no. 3, autumn 2003, pp. 1, 4-9.
  • Alves, Bill. "Lou Harrison: Complete Harpsichord Works. Music for Tack Piano and Fortepiano in Historic and Experimental Tunings by Linda Burman-Hall, Lou Harrison, William Slye (CD review)", American Music vol. 23 no. 4, winter 2005, pp. 536-539.
  • Alves, Bill. "Digital Harmony of Sound and Light", Computer Music Journal vol. 29 no. 4, Dec 2005, pp. 45-54.
  • Alves, Bill. "Lou Harrison: Por Gitaro: Suites for Tuned Guitars (CD liner notes)", Mode Records, New York, 2008.
  • Alves, Bill and Brett Campbell. Lou Harrison: American Musical Maverick. Indiana University Press, Bloomington IN, April 2017.
  • Amann, Dominique. Gammes, Accords, Tempéraments. self-published, Toulon, 1999, 160 pages.
  • Amargianakis, Georgios. "The Ancient Musical Nomos, the Byzantine Echos and the Indian Raga", Musicologia vol. 2 no. 2, 1985.
  • Ambrazevicius, Rytis. "The Perception and Transcription of the Scale Reconsidered: Several Lithuanian Cases", The World of Music vol. 47 no. 2, Notation, Transcription, Visual Representation, 2005, pp. 31-53.
  • Ambrose, Warren. The Tonometer. J. Cluer and A. Campbell, London, 1725.
  • Ambrosino, Jonathan. "Mean and keen", Choir & Organ, Nov-Dec 2006, pp. 54-57.
  • Ames, Charles. "'Crystals': Recursive Structures in Automated Composition", Computer Music Journal vol. 6 no. 3, autumn 1982, pp. 46-64.
  • Ames, Charles. "Reflections on James Tenney", Perspectives of New Music vol. 25 no. 1/2, 25th Anniversary Issue, winter-summer 1987, pp. 455-458.
  • Ames, Charles; Warren Burt; David Feldman; Daniel Goode; Mary Simoni; Laurie Spiegel and Christian Wolff. "Contributors' Notes", Leonardo Music Journal vol. 7, 1997, pp. 81-91.
  • Amiot, Emmanuel. "Mathématiques et analyse musicale: Une fécondation réciproque", Analyse musicale vol. 28, June 1992, pp. 37-41.
  • Amiot, Emmanuel, "David Lewin and Maximally Even Sets", Journal of Mathematics and Music vol. 1 no. 3, Nov 2007, Taylor and Francis, pp. 152-172.
  • Amiot, Emmanuel. "Of the different generators of a scale", WWW, 2008, 13 pages.
  • Amiot, Emmanuel. "Discrete Fourier Transform and Bach's Good Temperament", Music Theory Online vol. 15 no. 2, WWW, June 2009.
  • Amiot, Emmanuel. "About the number of generators of a musical scale", arXiv 0909.0039, WWW, Aug 2009, 14 pages.
  • Amiot, Emmanuel. Modèles algébriques et algorithmes pour la formalisation mathématique de structures musicales. PhD thesis, Université Pierre et Marie Curie, Paris, May 2010, 138 pages.
  • Amiot, Emmanuel and William A. Sethares. "An algebra for periodic rhythms and scales", Journal of Mathematics and Music vol. 5 no. 3, 2011, pp. 149-169.
  • Amiot, Emmanuel. "The Torii of phases", Aug 2012, WWW, 19 pages.
  • Amiot, Jean Joseph Marie. Mémoire sur la Musique des Chinois tant anciens que modernes. Vol. VI of Mémoires concernant L'Histoire, les Sciences, les Arts, les Moeurs et les Usages, des Chinois, par les Missionaires de Pékin, Paris, 1779.
  • Amirkhanian, Charles. "Lou Harrison: The Tuning of the Babylonian Harp", sound recording, 12-02-1971, 27 mins.
  • Amirkhanian, Charles. "Interview with Ivan Wyschnegradsky", sound recording, 04-06-1976, 62 mins.
  • Amirkhanian, Charles. "Interview with La Monte Young", sound recording, 1984, 40 mins.
  • Amman, Walter (ed.) Hans Kayser zum 100. Geburtstag am 1. April 1991. Biographische Fragmente. Schriften über Harmonik. Bern, 1991.
  • Ammerbach, Elias Nicolaus. Orgel oder Instrument Tabulatur. Leipzig, 1571, Nürnberg, 1583. Reprint Charles Jacobs (ed.), Oxford, 1984.
  • Amos, Tom. "Isometrics and the origin of modal systems: A brief experimental inquiry", Ex tempore vol. 1 no. 2, pp. 30-38.
  • Anda, Antoine. Les gammes musicales: essai historique sur les Modes et sur les Tons de la Musique, depuis l'Antiquité jusqu'à l'Époque Moderne. Edition Nationale Belge, Bruxelles, 1939, 424 pages.
  • Anders, Torsten. Composing Music by Composing Rules: Design and Usage of a Generic Music Constraint System. PhD thesis, Faculty of Arts, Humanities and Social Sciences, Queen's University Belfast, 2007, 244 pages.
  • Anders, Torsten and Eduardo Reck Miranda. "Interfacing Manual and Machine Composition", Contemporary Music Review vol. 28 no. 2, April 2009, pp. 133-147.
  • Anders, Torsten and Eduardo Reck Miranda. "A Computational Model for Rule-based Microtonal Music Theory and Composition", Perspectives of New Music vol. 48 no. 2, 2011, pp. 47-77.
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  • Barbera, Charles André. "The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of Ancient Pythagoreanism", Journal of Music Theory vol. 28 no. 2, 1984, pp. 191-223.
  • Barbera, Charles André. "Octave species", Journal of Musicology vol. 3 no. 3, summer 1984, pp. 229-241.
  • Barbera, Charles André. "Diesis", in The New Harvard Dictionary of Music, Don Michael Randel (ed.), The Belknap Press of Harvard University Press, Cambridge, 1986, p. 231.
  • Barbera, Charles André. "Easley Blackwood: The Structure of Recognizable Diatonic Tunings (book review)", Journal of Music Theory vol. 32, 1988.
  • Barbera, Charles André. "Adriaan Daniël Fokker: Selected Musical Compositions, R.A. Rasch (ed.) (book review)", Journal of Music Theory vol. 33 no. 2, autumn 1989, pp. 393-400.
  • Barbera, Charles André (ed.) The Euclidean Division of the canon: Greek and Latin sources: new critical texts and translations on facing pages, with an introduction, annotations, and indices verborum and nominum et rerum. University of Nebraska Press, Lincoln, 1991, 316 pages.
  • Barbereau, Mathurin Auguste Balthasar. Traité d'harmonie théorique et pratique. Lemoine, Paris, 1848, 2 vols.
  • Barbereau, Mathurin Auguste Balthasar. Etude sur l'origine du système musical. Bachelier, Paris, 1864. Pallez-Rousseau, Metz.
  • Barbier, Pierre-Émile. Article Alois Hába in Guide de la musique de chambre, Fayard, Paris, 1989, pp. 366-372.
  • Barbieri, Patrizio. "Persistenza dei temperamenti inequabili nell'Ottocento italiano", L'Organo vol. 20, Bologna, 1982, pp. 57-124.
  • Barbieri, Patrizio. "I temperamenti ciclici da Vicentino (1555) a Buliowski (1699): teoria e pratica 'archicembalistica'", L'Organo vol. 21, Pàtron Editore, Bologna, 1983, pp. 129-208.
  • Barbieri, Patrizio. Ancora sul temperamento degli organi di S. Petronio. Ancona, 1984.
  • Barbieri, Patrizio. "Giordano Riccati on the diameters of strings and pipes", Galpin Society Journal vol. 38, April 1985, p. 20.
  • Barbieri, Patrizio. "Il temperamento equabile nel periodo frescobaldiano", Girolamo Frescobaldi nel IV centenario della nascità: Ferrara 1983, S. Durante and D. Fabris (eds.), Olschki, Firenze, 1986, pp. 387-424.
  • Barbieri, Patrizio. "Cembali enarmonici e organi negli scritti di Athanasius Kircher - Con documenti inediti su Galeazzo Sabbatini", Enciclopedismo in Roma barocca - Athanasius Kircher e il museo del Collegio Romano fra Wunderkammer e Museo Scientifico, Maristella Casciato; Maria Grazia Ianniello and Maria Vitale (eds.), Marsilio, Venice, 1986, pp. 111-128.
  • Barbieri, Patrizio and Lindoro Massimo Del Duca. "Renaissance and Baroque microtonal music research in computer real time performance", Proceedings of the International Computer Music Conference, October 1986, Royal Conservatory of Music, The Hague, no. 51, Paul Berg (ed.), Computer Music Association, San Francisco, 1986.
  • Barbieri, Patrizio. "Giuseppe Sarti fisico acustico e teorico musicale", Giuseppe Sarti musicista faentino. Atti del convegno internazionale (Faenza, 25-27 novembre 1983), Mario Baroni and Maria Gioia Tavoni (eds.), Mucchi, Modena, 1986.
  • Barbieri, Patrizio. "L'espressione degli 'affetti' mediante l'ineguale accordatura degli strumenti da tasto nel Settecento veneto", Convegno di studi "Organaria veneta: patrimonio e salvaguardia", Centro studi di arte organaria veneta, Vicenza, 1986, pp. 41-67.
  • Barbieri, Patrizio (ed.), Giordano Riccati, Alessandro Barca, Francesco Antonio Vallotti. Acustica accordatura e temperamento nell'Illuminismo Veneto. Series: Pubblicazioni del Corso Superiore di Paleografia e Semiografia Musicale dell'Umanesmo al Barocco no. I:5:2. Torre d'Orfeo, Roma, 1987, 382 + 264 pages.
  • Barbieri, Patrizio. "La 'Sambuca Lincea' di Fabio Colonna e il 'Tricembalo' di Scipione Stella - Con notizie sugli strumenti enarmonici del Domenichino", La musica a Napoli durante il seicento, Torre d'Orfeo, Roma, 1987, pp. 167-216.
  • Barbieri, Patrizio. "Martini e gli armonisti 'fisico-matematici': Tartini, Rameau, Riccati, Vallotti", Padre Martini. Musica e cultura nel Settecento europeo, Angelo Pompilio (ed.), Olschki, Florence, 1987, pp. 173-209.
  • Barbieri, Patrizio. "Juan Caramuel Lobkowitz (1606-1682): Über die musikalischen Logarithmen und das Problem der musikalischen Temperatur", Musiktheorie vol. 2 no. 2, 1987, pp. 145-168.
  • Barbieri, Patrizio. "Organ tonal finishing and fine tuning (review)", Nuova Rivista Musicale Italiana vol. 21 no. 3, July-Sept 1987, pp. 489-490.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. L. del Duca, Renaissance and Baroque Microtonal Music Research in Computer Real Time Performance. Royal Conservatory of Music, L'Aja, 1987.
  • Barbieri, Patrizio. "Il Cembalo Omnicordo di Francesco Nigetti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719)", Rivista Italiana di Musicologia vol. 22, 1987, pp. 34-113.
  • Barbieri, Patrizio. "An unknown 15th-century French manuscript on organ building and tuning", The Organ Yearbook vol. 20, 1989, pp. 5-20.
  • Barbieri, Patrizio. "Acustica accordatura e temperamento nell'Illuminismo Veneto (book review)", Orgues meridionales no. 34, 1989, pp. 109-110.
  • Barbieri, Patrizio. "Conflitti di intonazione tra cembalo, liuto ed archi nel 'concerto' italiano del Seicento", Studi Corelliani vol. 4, Pierluigi Petrobelli and Gloria Staffieri (eds.), Olschki, Florence, 1990, pp. 123-153.
  • Barbieri, Patrizio. "L'intonazione violinistica da Corelli al Romanticismo", Studi musicali vol. 19 no. 2, 1990, pp. 319-384.
  • Barbieri, Patrizio. "Conflitti di intonazione tra cembalo, liuto ed archi nel concerto italiano del Seicento", Studi Corelliani vol. 4, Pierluigi Petrobelli and Gloria Staffieri (eds.), Olschki, Florence, 1990, pp. 123-153.
  • Barbieri, Patrizio. "Gli ingegnosi cembali e 'violicembali' inventati da Juan Caramuel Lobkowitz per Ferdinando III (c.1650): notizie inedite dal manoscritto Musica", Le meraviglie del probabile. Juan Caramuel 1606-1682. Atti del Convegno internazionale di studi (Vigevano, 29-31 ottobre 1982), Paolo Pissavino (ed.), Edizioni del Comune, Vigevano, 1990, pp. 91-112.
  • Barbieri, Patrizio. "La Nuova teoria di musica di Alessandro Barca in un inedito esame di Giordano Riccati (1786-90)", Scritti in onore di Giulio Cattin, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 1990, pp. 159-176.
  • Barbieri, Patrizio and Sandra Mangsen. "Violin Intonation: A Historical Survey", Boston Early Festival, Cornell University Press, 1987. Early Music vol. 19 no. 1, Feb 1991, pp. 69-88.
  • Barbieri, Patrizio. "Considerazioni sull' Accordatura Strumentale al Tempo di Mozart", Strumenti per Mozart, Rovereto, 1991, pp. 61-69.
  • Barbieri, Patrizio. "Calegari, Vallotti, Riccati e le teorie armoniche di Rameau: priorità, concordanze, contrasti", Rivista Italiana di Musicologia vol. 26 no. 2, 1991, pp. 241-302.
  • Barbieri, Patrizio. "Il 'migliore' sistema musicale temperato: 'Querelles' fra Estève, Romieu e altri accademici francesi (c.1740-60)", L'Organo vol. 27, Bologna, 1991-1992, pp. 31-81.
  • Barbieri, Patrizio. "Krizanic, Caramuel e P.F. Valentini sulla divisione dell'ottava musicale", Krizanicev doprinos teorij glazbe, Accademia delle Scienze e delle Arti Croata, Zagreb, 1992, pp. 19-48. Summary in Croatian.
  • Barbieri, Patrizio. "Giordano Riccati fisico acustico e teorico musicale: Con una memoria inedità di acustica architettonica", I Riccati e la cultura della Marca nel Settecento europeo, Olschki, Florence, 1992, pp. 279-304.
  • Barbieri, Patrizio. "Tartinis Dritter Ton und Eulers Harmonische Exponenten. Mit einem unveröffentlichten Manuskript Tartinis", Musiktheorie vol. 7 no. 3, 1992, pp. 219-234.
  • Barbieri, Patrizio. "Il sistema armonico di Tartini nelle 'censure' di due celebri fisico-matematici: Eulero e Riccati", Tartini. Il tempo e le opere, A. Bombi & M.N. Massaro (eds.), Il Mulino, Bologna, 1994, pp. 321-344.
  • Barbieri, Patrizio. "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona, 28-29 October 1994, Elena Ferrari Barassi, Marco Fracassi, and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000.
  • Barbieri, Patrizio. "L'accordatura strumentale in Toscana: proposte e contrasti da V. Galilei a Cristofori (c.1580-1730)", Musicologia humana. Studies in honor of Warren and Ursula Kirkendale, Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer (eds.), Olschki, Florence, 1994.
  • Barbieri, Patrizio. "Il mesolabio e il compasso di proporzione: le applicazioni musicali di due strumenti matematici (1558-1675)", Musica, scienze e idee nella Serenissima durante il Seicento. Atti del Convegno Internazionale di studi, Venezia 13-15 dicembre 1993, Francesco Passadore and Franco Rossi (eds.), Edizioni Fondazione Levi, Venice, 1996.
  • Barbieri, Patrizio. "The inharmonicity of musical string instruments (1543-1993). With an unpublished memoir by J.-B. Mercadier (1784)", Studi Musicali vol. 27 no. 2, 1998, pp. 383-419.
  • Barbieri, Patrizio. "Corista, chiavette e intonazione nella prassi romana e veneto-bolognese del tardo Rinascimento", Ruggero Giovannelli [...], Atti del Convegno Internazionale di Studi, Carmela Bongiovanni and Giancarlo Rostirolla (eds.), Fondazione Giovanni Pierluigi da Palestrina, Palestrina, 1998, pp. 433-457.
  • Barbieri, Patrizio. "Gli strumenti poliarmonici di G.B. Doni e il ripristino dell'antica musica greca (c.1630-1650)", Analecta Musicologica vol. 30, 1998, pp. 79-114.
  • Barbieri, Patrizio. "G.B. Orazi's Enharmonic Flute and its Music (1797-1815)", Galpin Society Journal vol. 52, 1999, p. 281.
  • Barbieri, Patrizio. "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona 28-29 ottobre 1994, Elena Ferrari Barassi, Marco Fracassi and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000, pp. 254-292.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. "Late-Renaissance Quarter-tone Compositions (1555-1618): The Performance of the ETS-31 with a DSP System", Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001, Diego L. González, Domenico Stanzial and Davide Bonsi (eds.), 2 vols., Fondazione Giorgio Cini, Venice, 2001.
  • Barbieri, Patrizio. "'Galileo's' coincidence theory of consonances, from Nicomachus to Sauveur", Recercare vol. 13, 2001, pp. 201-232.
  • Barbieri, Patrizio. "Il temperamento equabile nell'Ottocento napoletano: l'acustico P. A. de Luca (1778-1864) e i suoi manoscritti inediti", L'Organo vol. 35, 2002, pp. 93-122.
  • Barbieri, Patrizio. "The evolution of open-chain enharmonic keyboards c1480-1650. L'evoluzione delle tastiere enarmoniche a catena aperta c1480-1650", Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts, Schweizer Jahrbuch für Musikwissenschaft vol. 22, Joseph Willimann (ed.), Verlag Peter Lang, Bern, 2002.
  • Barbieri, Patrizio. "La nascita delle teorie continue della consonanza. La ignorata curva di Draghetti e Foderà, poi di Helmholtz (1771-1837)", Acta Musicologica vol. 74, 2002, pp. 55-75.
  • Barbieri, Patrizio. "Temperaments, Historical", Piano: An Encyclopedia, 2nd edition, Robert Palmieri and Margaret W. Palmieri (eds.), Routledge, New York, 2003, pp. 402-409.
  • Barbieri, Patrizio. "Pietro Della Valle: the Esthèr oratorio (1639) and other experiments in the stylus metabolicus. With new documents on triharmonic instruments", Recercare vol. 19 no. 1-2, 2007, pp. 73-124.
  • Barbieri, Patrizio. "http://www.patriziobarbieri.it/pdf/revival.pdf">Il revival delle tastiere enarmoniche: nuove soluzioni (1760-1880)", L'Organo vol. 39, 2007, pp. 175-236.
  • Barbieri, Patrizio. "Cembali a tasti spezzati: 'cromatci' oppure 'enarmonici'?", Bollettino della Deputazione di Storia patria per l'Umbria CV-2, 2008, pp. 125-130. Reprint Arte organaria e musica per organo nell'età moderna. L'Umbria nel quadro europeo, Erika Bellini (ed.), Deputazione di Storia patria per l'Umbria, Perugia, 2008, pp. 125-130.
  • Barbieri, Patrizio. Enharmonic instruments and music, 1470-1900. Revised and translated studies. Il Levante Libreria Editrice, Latina, 2008, 628 pages. CD included.
  • Barbieri, Patrizio. "On the linear approximation of equal temperament proposed by the organ builder Giambattista De Lorenzi (1870)", Musica e Storia vol. 42, August 2009, pp. 451-463.
  • Barbieri, Patrizio. "Musiche e strumenti 'alla Greca' nel Seicento italiano", Francesco Buti tra Roma e Parigi: diplomazia, poesia, teatro, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 2009, pp. 349-364.
  • Barbieri, Patrizio. "Su di una approssimazione del temperamento equabile proposta da Giambattista De Lorenzi (1870)", Contributi per la storia dell'arte organaria e organistica in Italia, Paola Dessì (ed.), Edizioni Fondazione Levi, Venezia, 2012.
  • Barbieri, Patrizio. Physics of wind instruments and organ pipes 1100-2010. New and extended writings. Latina, Il Levante Libreria Editrice, 2013, 580 pages.
  • Barbieri, Patrizio. "Harps Versus Pianos: Parisian querelles on Tuning 1770-1830", Galpin Society Journal vol. 70, April 2017.
  • Barbour, James Murray. "Synthetic musical scales", American Mathematical Monthly vol. 36 no. 3, 1929, pp. 155-160.
  • Barbour, James Murray. Equal Temperament: its History from Ramis (1482) to Rameau (1737). PhD thesis, Cornell University, Ithaca NY, 1932, 353 pages.
  • Barbour, James Murray. "The Persistence of the Pythagorean Tuning System", Scripta Mathematica vol. 1, 1933, pp. 286-304.
  • Barbour, James Murray. "Nierop's Hackebort", The Musical Quarterly vol. 20 no. 1, Jan 1934, pp. 312-319.
  • Barbour, James Murray. "Just Intonation Confuted", Music and Letters vol. 19 no. 1, Jan 1938, pp. 48-60.
  • Barbour, James Murray. "Musical logarithms", Scripta Mathematica vol. 7, 1940, pp. 21-31.
  • Barbour, James Murray. "Bach and the 'Art of Temperament'", The Musical Quarterly vol. 33 no. 1, Jan 1947, pp. 64-89. Also in Garland Library of HWM vol. 6, 1985, pp. 2-27.
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  • Barbour, James Murray. "Musical Scales and Their Classification", Journal of the Acoustical Society of America vol. 21 no. 6, 1949, pp. 586-589.
  • Barbour, James Murray. "Harry Partch: Genesis of a Music (book review)", The Musical Quarterly vol. 36 no. 1, Jan 1950, pp. 131-135.
  • Barbour, James Murray. "More on the Leipzig Organ Tuning", Journal of the American Musicological Society vol. 3 no. 1, 1950, pp. 41-44.
  • Barbour, James Murray. Tuning and Temperament: A Historical Survey. Michigan State College Press, East Lansing, 1951. Reprint Da Capo Press, New York, 1973, 228 pages. Reprint Dover, New York, 2004.
  • Barbour, James Murray. "Violin intonation in the 18th century", Journal of the American Musicological Society vol. 5 no. 3, 1952, pp. 224-234.
  • Barbour, James Murray. "The Grammar of South Indian (Karnatic) Music by C. Subrahmanya Ayyar (book review)", Notes vol. 10 no. 4, Sep 1953, pp. 641-642.
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  • Barbour, James Murray. "The principles of Greek notation", Journal of the American Musicological Society vol. 13 no. 1/3, A Musicological Offering to Otto Kinkeldey upon the Occasion of His 80th Anniversary 1960, pp. 1-17.
  • Barbour, James Murray. "Mißverständnisse über die Stimmung des javanischen Gamelans", Die Musikforschung vol. 16, Kassel, 1963, pp. 315-323.
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  • Barca, Alessandro. Nuove teoremi per la divisione delle ragioni... Bergamo, 1781.
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  • Barca, Alessandro. Di una nuova Teoria di Musica - Memoria III: Dei sistemi e delle scale. I. Bg. S. Aless, Bergamo, 1800-1805. Also in Saggi scientifici e letterari dell' Academia di Padova vol. 4, 1809, pp. 184-221.
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