Tuning & temperament bibliography

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  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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. "Vorschläge für die Transkription exotischer Melodien", Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909. Reprint in Musical transcription, Garland, New York, 1990, pp. 1-25.
  • Achtélik, Joseph. Der Naturklang als Wurzel aller Harmonien. C.F. Kahnt, Leipzig, 1922.
  • Ader, Lidia. "Microtonal Storm and Stress: Georgy Rimsky-Korsakov and Quarter-Tone Music in 1920s Soviet Russia", Tempo vol. 63 no. 250, Oct 2009, pp. 27-44.
  • 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.
  • Adlung, M. Jakob. Anleitung zur musikalischen Gelahrtheit. J.D. Jungnicol, Erfurt, 1758. 2nd edition Dresden/Leipzig, 1783. Facsimile reprint, Hans-Joachim Moser (ed.), Documenta Musicologica Bd. 4, Bärenreiter Verlag, Kassel, 1953.
  • Adlung, M. Jakob. Musica mechanica organoedi. Berlin, 1768. Facsimile reprint Christhard Mahrenholz, Bärenreiter Verlag, Kassel, 1930, 1961.
  • Adou, Heather. "Acoustic Aspects of the Balani of Mali", SAVAIL Working Papers, WWW, 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, pp. 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, 1996, pp. 39-59.
  • Agmon, Eytan. "Numbers and the Western Tone-System: Beyond Psychoacoustics", American Mathematical Society, March 2003, 18 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. Facsimile edition, 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.
  • Ahrens, A.W. "Characteristic Limitations of the Internal Tuning of Selected Wind Instruments", Journal of Experimental Education vol. 15 no. 4, June 1947, pp. 269-289.
  • 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.
  • 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.
  • 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.
  • 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, 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.
  • Albritton, Jerry Samuel. A historical survey of important tuning systems in Western music. MM diss. Florida State U., Tallahassee, 1969.
  • 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.
  • 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.
  • Almén, Byron. "Musical 'Temperament': Theorists and the Functions of Music Analysis", Theoria vol. 12, 2005.
  • 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, fall 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, fall 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. "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.
  • 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.
  • 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. "About the number of generators of a musical scale", arXiv 0909.0039, August 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 Nikolaus. Orgel- und Instrument-Tabulatur. Leipzig, 1571, Nürnberg, 1583.
  • 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.
  • Anderson, B.E. and W.J. Strong. "The effect of inharmonic partials on pitch of piano tones", Journal of the Acoustical Society of America vol. 117 no. 5, 2005, pp. 3268–3272.
  • Anderson, Carola B. "Glenn Branca and the Harmonic Series", 1/1 vol. 1 no. 1, winter 1985, pp. 4-6.
  • Anderson, Carola B. "The Trouble with Didymus", 1/1 vol. 1 no. 3, 1985, pp. 1, 11-13.
  • Anderson, Gene. "Pythagoras and the Origin of Music Theory", Indiana Theory Review vol. 6 no. 3, 1983, pp. 35-64.
  • Anderson, Julian. "La Note Juste. Julian Anderson Appraises the Work of the Enigmatic Giacinto Scelsi ", The Musical Times vol. 136 no. 1823, Jan. 1995, pp. 22-27.
  • Anderson, Lois Ann. "A reassessment of the distribution, origin, tunings and stylistic criteria in African xylophone traditions", African Studies Association vol. 6, 1968.
  • Anderson, Warren D. Music and Musicians in Ancient Greece. Cornell University Press, Ithaca NY, 1994.
  • Anderton, Craig. "Alternate Scales for Even-Tempered Samplers", Electronic Musician, December 1986, pp. 48-49.
  • Ando, Yoshinori and Taeko Sagara. "Pitch intonation of koto music", Nomura Festschrift, 1970, pp. 25-39.
  • Andreae, Hans-Volkmar. Elementar-Harmonik. Zur Phänomenologie der Töne und Intervalle abendländischer Musik. Amadeus Verlag, Zürich, 1973, 93 pages.
  • Anfilov, Gleb. Physics of Music. Moscow, 1961.
  • Anger, J. Humphrey. The Modern Enharmonic Scale. Boston, 1907.
  • Anglas, Jules Philippe Louis. Précis d'acoustique physique, musical, physiologique. Paris, 1910.
  • Anglmayer, Paul. Zur Intonationskorrektur bei Trompeten. Hausarbeit an der Hochschule für Musik und darstellende Kunst, Vienna, 1997.
  • Anglmayer, Paul. "Ein neuer Optimierungsalgorithmus zur Intonationskorrektur bei Blechblasinstrumenten", Fortschritte der Akustik, DAGA, Zürich, 1998.
  • Anglmayer, Paul. "Physical Modelling von Blechblasinstrumenten und dessen Anwendung zur Intonationsoptimierung von Trompeten", Tagungsprogramm zum 19. Musikinstrumentenbau-Symposium in Michaelstein 20.-22.11.1998, Michaelstein, 1998, pp. 28-29.
  • Aning, Ben. "Tuning the kora: A case study of the norms of a Gambian musician", Journal of African Studies vol. 9 no. 3, fall 1982, pp. 164-175.
  • Anmarkrud, Bjørn. De ulike felestille i hardingfeletradisjonene. Master of Arts dissertation, Musicology: University of Oslo, 1975, 168 pages.
  • Annoni, Maria Therese. Tuning, temperament and pedagogy for the vihuela in Juan Bermudo's 'Declaración de instrumentos musicales' (1555). PhD diss., Music Theory, Ohio State University, 1989, 245 pages.
  • anonymus. "Quarti di tono", Musica d'oggi vol. 6, 1924, p. 344.
  • anonymus. "Spoglio di riviste", Il pianoforte vol. 5 no. 11, November 1924, p. 301.
  • anonymus. "The Archiphone — Invented in the Early 1970s by Professor Adrian Fokker", Early Music vol. 7 no. 3, July 1979, p. 11.
  • Anselmi, Georgio. De musica. Parma, 1434. Reprint Gioseppe Massera, Historiae Musicae Cultores, Florence, 1961.
  • Antegnati, Costanzo. L'arte organica. Francesco Tebaldino, Brescia, 1608. English translation by C. Meyer, 1980.
  • Anyumba, Henry Owuor. "Contemporary lyres in eastern Africa", African Musicology vol. 1 no. 1, Kenya, 1983, pp. 18-33.
  • Aoyaghi, Hiro. "Perceptual Interrelationships among Nine Septatonic Western Modes: Convergence across distinct methods", WWW.
  • Apel, Willy. Geschichte der Orgel- und Klaviermusik bis 1700. 1967. English translation The History of Keyboard Music to 1700 by Hans Tischler (ed.), Indiana University Press, Bloomington, 1972. Italian translation Storia della musica per organo e altri strumenti da tasto fino al 1700. Sansoni, Firenze, 1985, 3 vols.
  • Appenheimer, John. "Small Number Ratios and Harmonicity", Computer Music Journal vol. 11 no. 4, winter 1987, pp. 9-10.
  • Appunn, Anton. Letter to Pietro Blaserna about 48-tone harmonium, Hanau, 12 June 1887.
  • Appunn, Georg. "Über die Helmholtz’sche Lehre von den Tonempfindungen als Grundlage für die Theorie der Musik, nebst Beschreibung einiger, zum Theil ganz neuer Apparate, welche zur Erläuterung und zum Beweis dieser Theorie geeignet sind", Bericht der Wetterauischen Gesellschaft für die gesammte Naturkunde zu Hanau über den Zeitabschnitt vom 4. October bis 31. Dezember 1867, Friedrich Becker (ed.), Hanau, 1868, pp. 73-90.
  • Archambault, Ellen Jane. Andreas Werckmeister (1645-1706) as a Teacher of Composition. PhD thesis, Florida State University, 1999, 325 pages.
  • Arel, Hüseyin Sadettin. Türk mûsikîsi kimindir? (Who does Turkish music belong to?). T.C. Kültür Bakanligi Yayinlari, Istanbul, 1939-1940. Reprint 1969, Ankara, 1988.
  • Arel, Hüseyin Sadettin. "Modal systems in the Turkish music", Musical Magazine vol. 7, Istanbul, 1948, p. 3.
  • Arel, Hüseyin Sadettin. Türk musikîsi nazariyati dersleri (Lessons on the theories of Turkish music). Onur Akdogu (ed.), Istanbul, 1968. Kültür Bakanligi Yayinlari, Ankara, 1993.
  • Arfib, Daniel; Patrick Sanchez and Jacques Dudon. "Synthèse photosonique: de la géométrie des ondes au disque virtuel, Proceedings Journées d'Informatique Musicale, 9e édition, Marseille, 29-31 May 2002, pp. 97-104.
  • Ariel (pseudonym). Das Relativitätsprinzip der musikalischen Harmonie, Band I: Die Gesetze der inneren Tonbewegungen, das evolutionäre Temperierungsverfahren und das 19-stufiges Tonsystem. Neunzehn Stufen Verlag, Leipzig, 1925.
  • Aristoxenos. Harmonika stoicheia. Elsevier, Leiden, 1616. Latin translation by A. Gogavinus, Venice, 1562 and also Marcus Meibom (ed.) in Antiquae Musicae Auctores Septem, Elsevier, Amsterdam, 1652. Italian translation Aristoxeni Elementa harmonica by Rosetta da Rios, 2 vols., Typis publicae officinae polygrahicae, Rome, 1954. English translation The Harmonics of Aristoxenus by Henry S. Macran (ed.), Oxford, 1902. Reprint Georg Olms Verlag, Hildesheim, 1974, 1990.
  • Armellino, Giorgio. Kunst des Klavierstimmens: nebst einer vollständigen Anleitung zur Erhaltung und Wiederherstellung gebrauchter, sowie zur Prüfung neuer Instrumente. Neuer Schauplatz der Künste und Handwerke Bd. 21, Bernhard Friedrich Voigt, Weimar, 1881, 107 pages.
  • Armellino, Giorgio. Der Klavierstimmer: enthaltend eine kurzgefaßte Beschreibung des Klaviers, die Lehre von der Stimmung und der Technik des Stimmens. Bernhard Friedrich Voigt, Leipzig, 1920, 70 pages.
  • Arnautoff, Philip. "A Few Observations with Respect to the Canon's Tuning for 'Soliloquy'", 1/1 vol. 12 no. 1, winter 2005, pp. 1, 12-17.
  • Arnold, Wasiuddin James. "L'intonation juste dans la théorie ancienne de l'Inde: Ses applications aux musiques modales et harmoniques", Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 11-38.
  • Arnold, Wasiuddin James and Bernard Bel. "L'intonation des musiques monodiques: Méthodologies expérimentales", Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 159-163.
  • Arnold, Wasiuddin James, Joep Bor and Wim van der Meer. "On measuring notes. A response to N.A. Jairazbhoy", ISTAR Newsletter no. 3-4, International Society for Traditional Arts Research, New Delhi, July 1984 - June 1985, pp. 46-51.
  • Arnold, Wasiuddin James, Bernard Bel and Wim van der Meer. "Stretching scales", ISTAR Newsletter no. 3-4, New Delhi, 1985, pp. 52-53.
  • Arnold, Wasiuddin James. "Playing with intonation", ISTAR Newsletter no. 3-4, New Delhi, 1985, pp. 60-62.
  • Arntzen, Kees. "Ali Baba en de veertig tonen - over microtonale muziek", Muziek & Dans, Jul/Aug 1985.
  • Arntzen, Kees. "Uit de diepste lagen van de historie. De kwarttoonsmuziek van Alois Hába", Mens en Melodie vol. 51, jul/aug. 1996, pp. 322-325.
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  • Barbieri, Patrizio. Ancora sul temperamento degli organi di S. Petronio. Ancona, 1984.
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  • 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, M. Casciato; M.G. Ianniello and M. 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.
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  • Barbieri, Patrizio. "Organ tonal finishing and fine tuning (review)", Nuova Rivista Musicale Italiana vol. 21 no. 3, July-September 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 Nigeti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719). Olschki, Florence, 1988.
  • 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 e archi nel "concerto" italiano del Seicento", Studi corelliani vol. IV. Olschki, Florence, 1990, pp. 123-153.
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  • Barbieri, Patrizio. "Violin Intonation: A Historical Survey", Boston Early Festival, Cornell University Press, 1987. Early Music vol. 19 no. 1, February 1991, pp. 69-88.
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  • Rasch, Rudolf A. "Jitter in violin tones", Proceedings of the Stockholm Music Acoustics Conference 1983, vol. 2, Stockholm, 1985, pp. 275-284.
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  • Rasch, Rudolf A. (ed.) Adriaan Daniël Fokker - Selected musical compositions (1948-1972) with introduction by Rudolf Rasch. Corpus Microtonale CM 1, Diapason Press, Utrecht, 1987, 217 pages.
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  • Rasch, Rudolf A. Just Notation, raw draft, September 1991.
  • Rasch, Rudolf A. "Gardner Read: 20th-Century Microtonal Notation (book review)", Perspectives of New Music vol. 29 no. 1, 1991, pp. 258-262.
  • Rasch, Rudolf A. "The Greek tones in Pietro della Valle's Oratorio per la Festa della Santissima Purificatione (1640)", Jaarboek van de Stichting Huygens-Fokker, 1994, Amsterdam, pp. 124-138.
  • Rasch, Rudolf A. "Harmonischen", Symposium Mathematiek/Muziek Woensdag 3 mei 1995: Naverslag, Symposiumcommissie A-Eskwadraat, Utrecht, 1995, pp. 29-40.
  • Rasch, Rudolf A. "Constantijn en Christiaan Huygens' relatie tot de muziek: Overeenkomsten en verschillen", De Zeventiende Eeuw vol. 12, 1996, pp. 52-63.
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  • Rasch, Rudolf A. "The Musical Circle IV: a general theory", Tijdschrift voor Muziektheorie vol. 4 no. 3, November 1999.
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  • Rasch, Rudolf A. "La méthodologie du tempérament musical à la Renaissance (et après)", Musique et mathématique à la Renaissance, report colloquium Tours, 2000.
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  • Rasch, Rudolf A. "De muzikale ruimte", De ruimte, Suzette Haakma and Etienne Lemmens (eds.), Bureau Studium Generale, Utrecht, 2002, pp. 79-97.
  • Rasch, Rudolf A. "Schrijven over stemmingen", publication related to the Symposium on Historical Organ Tunings, Gent, 26 April 2003.
  • Rasch, Rudolf A. "Zes-en-negentig tonen in een octaaf: Microtonale notatie", Muziek OpSchrift: De wereld van de muzieknotatie, Robe Berkel (ed.), Scryption, Tilburg, 2005, pp. 36-41, footnotes pp. 169-170.
  • Rasch, Rudolf A. "'Ongeschickte geslachten des gesanx'. Simon Stevin en Joan Albert Ban over de muziektheorie van de oude Grieken", Bronnen van inspiratie. Recepties van de klassieken in de vroegmoderne Nederlanden in muziek, literatuur en beeldende kunst, Jan Bloemendal, A. Agnes Sneller, Mirjam de Baar (eds.), Uitgeverij Verloren, Hilversum, 2007, pp. 25-44. Also as theme issue of De zeventiende eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief vol. 23 no. 1, 2007.
  • Rasch, Rudolf A. "Ross W. Duffin: How Equal Temperament Ruined Harmony (and Why You Should Care) (book review)", Performance Practice Review vol. 13 no. 1, 2008. Duffin's reply: "Correspondence: February 16, 2009", Performance Practice Review vol. 14 no. 1, 2009.
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