Tuning & temperament bibliography

- A -

- B -

- C -

- D -

- E -

  • Eargle, John M. Music, Sound and Technology. Van Nostrand Reinhold, New York, 1990.
  • Earls, Paul. "Harry Partch: Verses in Preparation for 'Delusion of the Fury'", Annuario vol. 3, Inter-American Institute for Musical Research, Tulane University, 1967, pp. 1-32.
  • Earls, Paul. "Genesis of a Music by Harry Partch (book review)", Anuario Interamericano de Investigacion Musical vol. 10, University of Texas Press, 1974, pp. 223-224.
  • Eaton, John. "A Portable Electronic Instrument", Music Journal, 1966.
  • Ebbeke, Klaus. "Compositions pour quator et trio à cordes d'Ivan Wyschnegradsky", CD notes Compositions pour quator et trio à cordes, Block, Berlin, 1990, pp. 23-29.
  • Ebeling, Martin. Tonhöhe physikalisch - musikalisch - psychologisch - mathematisch. Verlag Peter Lang, Frankfurt a.M., 1999.
  • Eberhardt, Siegfried. Absolute Treffsicherheit auf der Violine. Adolf Fürstner, Berlin, 1912, 92 pages.
  • Eberl, Kathrin; Konstanze Musketa and Wolfgang Ruf (eds.) Daniel Gottlob Türk - Theoretiker, Komponist, Pädagoge und Musiker. Bericht über die wissenschaftliche Konferenz anlässlich des 250. Geburtstages am 3. und 4. November 2000 im Händel-Haus Halle, Händel-Haus, Halle an der Saale, 2002, 352 pages.
  • Eberle, Gottfried. "Ivan Wyschnegradsky, ein russischer Pionier der Ultrachromatik", Neue Zeitschrift für Musik vol. 9, Sep 1974, pp. 549-555.
  • Eberle, Gottfried. "'Absolute Harmonie' und 'Ultrachromatik'. Nicolaj Obuchov und Ivan Wyschnegradsky - zwei radikale Fälle von Skrjabin Nachfolge", Alexander Skrjabin, Graz, 1980, p. 95.
  • Eberle, Gottfried. "Mysterium und Lichttempel. Alexander Skrjabin und Ivan Wyschnegradsky - zwei multimediale Konzepte", Beiheft zur Ausstellung Der Hang zum Gesamtkunstwerk, Berlin, 1983, p. 48.
  • Eberlein, Roland. "Selektive Adaptation bei Akkorden", Fortschritte der Akustik - DAGA '86, 1986, pp. 389-392.
  • Eberlein, Roland. Theorien und Experimente zur Wahrnehmung musikalischer Klänge. PhD thesis, Universität Köln, Europäische Hochschulschriften Reihe 36, Musikwissenschaft Band 44, Verlag Peter Lang, Bern/Berlin, 1990, 174 pages.
  • Eberlein, Roland. "Geschichte der Orgelstimmungen, Weitere Texte zum Thema Orgelstimmungen", WWW, 2016-2018, 7 articles, 70 pages.
  • Ebhardt, Gotthilf Frederic. Die höhern Lehrzweige der Tonsetzkunst: 1 Die musikalische Cadenz; 2 Die Fortschreitung, Ausweichung und der Übergang, mit Rücksicht auf die verschiedenen Cadenzen und melodischen Tonführungen; 3 Die Rythmik in Bezug auf Taktarten und ganze Sätze, etc., nebst einem Anhang über die Verwandtschaft der griechischen Tonarten mit unserem harmonischen System. Hofmeister, Leipzig, 1830, 260 pages.
  • Eccles, John and Daniel Purcell. Rules for Tuning a Harpsichord or Spinnet. 1702.
  • Echols, Jane Agnew. Melchiore de Barberiis's lute intabulations of sacred music. MA thesis, University of North Carolina, 1973, 275 pages.
  • Eck, Cathy van. "A good servant dismissed for becoming a bad master. Zur Geschichte der gleichstufigen Temperatur", Dissonance vol. 110, 2010, pp. 34-43.
  • Eckardt, Jason Keith. Parametric Articulation of Pitch Materials in Composition (parameters, perception, polarities, original composition). MA thesis, Columbia University, New York, 1998, 109 pages.
  • Eckersley, Dominic. "Rosetta Revisited: Bach's Very Ordinary Temperament", WWW, 2012, 21 pages.
  • Eckhardt, Jason C. "Listening and Composing", Current Musicology vol. 67-68, Columbia University, 2002, pp. 73-91.
  • Ederer, Eric B. The Theory and Praxis of Makam in Classical Turkish Music 1910-2010. PhD thesis, University of California, Santa Barbara, 2011.
  • Edholm, Dag W. "Temperaturen är i det närmste liksväfvig .... Till frågan om svenska orgelbyggares sätt att temperera efter 1700-talets mitt", Orgelforum vol. 23, 2001, pp. 18-23.
  • Edlund, Lars. Modus novus; Studies in reading atonal melodies. Nordiska Musikförlaget, Stockholm, 1963, 111 pages.
  • Edmonds, E.M. and M.E. Smith. "The Phenomenological Description of Musical Intervals", The American Journal of Psychology vol. 34 no. 2, Apr 1923, pp. 287-291.
  • Edmonson, Frank A. III. "Effect of Interval Direction on Pitch Acuity in Solo Vocal Performance", Journal of Research in Music Education vol. 20 no. 2, summer 1972, pp. 246-254.
  • Edskes, Cornelius Herman and Siwert Meijer (eds.) De nagelaten geschriften van de orgelmaker Arp Schnitger (1648-1719). Boeijenga, Sneek, Jan 1968, 80 pages.
  • Edskes, Cornelius Herman. "Über die Stimmtonhöhe und Temperatur der Arp Schnitger-Orgel von St. Jacobi in Hamburg", Cornelius H. Edskes. Doctor Honoris Causa (publication in honor of Cornelius H. Edskes, 19 October 1996), Hans Davidsson and Paul Peeters (eds.), Gothenburg, 1996, pp. 19-41.
  • Edwards, C.A. Organs and Organ Building. 'The Bazaar' Office, London, 1880, 248 pages.
  • Edwards, Michael; John Kitchen; Nikki Moran; Zack Moir and Richard Moir. Fundamentals of Music Theory. Open access book, University of Edinburgh, Oct 2021, 126 pages.
  • Egan, John B. Marin Mersenne, Traité de l'harmonie universelle: Critical Translation of the Second Book. PhD thesis, Indiana University, Bloomington IN, 1962, 260 pages.
  • Eger, Arthur. Stimmungshöhe und Stimmungsart und ihre Probleme bei der Wiederherstellung alter wertvoller Orgeln mit einer Untersuchung der Temperatur Gottfried Silbermann. Self-published, Freiberg, 1959, 24 pages.
  • Eger, Arthur. Eine Ergänzung zu meiner Schrift 'Stimmungshöhe und Stimmungsart' als Beitrag zur geplanten Neustimmung der Silbermannorgel in der St. Petrikirche zu Freiberg im Jahre 1961. self-published, Freiberg, 1960, 4 pages.
  • Eggebrecht, Hans Heinrich. Musik im Abendland. Piper, München 1991.
  • Eggen, Erik. Skalastudier. Studier over skalaens genesis på norrønt område. PhD thesis, Eberh. B. Oppi's Förlag, Oslo, 1923, 99 pages.
  • Eggen, Erik. "Zur Entstehung und Entwicklung der Skala", Gedenkboek aangeboden aan Dr. D.F. Scheurleer op zijn 70sten verjaardag, Martinus Nijhoff, 's-Gravenhage, 1925, pp. 103-106.
  • Eggers, Wolfgang. Die Stimmungs- und Intonationsprobleme auf der Gambe. Möseler Verlag, Wolfenbüttel, 1986, 31 pages.
  • Eggert, Kenneth Scott. Musica Universalis: From the Lambdoma of Pythagoras to the Tonality Diamond of Harry Partch. MA thesis, Montclair State University, Montclair NJ, 2013, 78 pages.
  • Eggington, Timothy John. Benjamin Cooke (1734-93), Composer and Academician:Science, Ancient Authority and the Advancement of English Music. PhD thesis, Goldsmiths, University of London, Jan 2008, 2 vols., 463 pages incl. scores.
  • Eggington, Timothy John. "Music, Experiment and Mathematics in England, 1653-1705 by Benjamin Wardhaugh (book review)", Fontes Artis Musicae vol. 57 no. 4, Oct-Dec 2010, pp. 429-431.
  • Eggington, Timothy John. "John Birchensha: Writings on Music (book review)", Cambridge, WWW, Oct 2012.
  • Eichhorn, Holger. "Ensemble-Intonation im 17. Jahrhundert", Stimmungen im 17. und 18. Jahrhundert. Vielfalt oder Konfusion?, 15. Musikinstrumentenbau-Symposion in Michaelstein am 11. und 12. November 1994, Günter Fleischhauer, Monika Lustig, Wolfgang Ruf, Frieder Zschoch (eds.), Michaelsteiner Konferenzberichte Bd. 52, Stiftung Kloster Michaelstein, 1997, pp. 142-150.
  • Eichler, C. Die Orgel, ihre Beschreibung, Behandlung und Geschichte; insbesondere für angehende Organisten dargestellt: Eingeführt durch Dr. Th. Eisenlohr. J.B. Metzler, Stuttgart, 1858, 16 pages.
  • Eijken, Eugène. Een onderzoek naar getempereerd spel op houtblaasinstrumenten in de 17e en 18e eeuw, in het bijzonder op de blokfluit. Koninklijk Conservatorium, Den Haag, 1982.
  • Eik, Jaap van. "De kwartenbas van Jeroen Thesseling", Music Maker, Sep 1995, pp. 26-29.
  • Eimert, Herbert. Grundlagen der musikalischen Reihentechnik. Universal Edition, Vienna, 1964, 174 pages.
  • Einbond, Aaron; Christopher Trapani and Diemo Schwartz. "Precise pitch control in Real Time Corpus-Based concatenative synthesis", Proceedings of the International Computer Music Conference, Ljubljana, 2012, pp. 584-588.
  • Eisenberg, Jacob. "Virdung's Keyboard Illustrations", Galpin Society Journal vol. 15, Mar 1962, pp. 82-88.
  • Eitner, Robert. "Scheibler, Johann Heinrich", Allgemeine Deutsche Biographie (ADB) vol. 30, Duncker & Humblot, Leipzig, 1890, pp. 702-704.
  • Eitz, Carl Andreas. Das mathematisch-reine Tonsystem. Breitkopf und Härtel, Leipzig, 1891, 50 pages. Kessinger Publishing, Feb 2010.
  • Eitz, Carl Andreas. "The tone-word system and its relation to the three kinds of tuning existing in music, viz. the pure quint tuning, the tempered one and the naturally pure one", 1905.
  • Eitz, Carl Andreas. Das Tonwort: Bausteine zur musikalischen Volksbildung. Frank Bennedik, (ed.), Breitkopf und Härtel, Leipzig, 1911, 1928, 192 pages.
  • Eitz, Carl Andreas. Der Gesangunterricht als Grundlage der musikalischen Volksbildung. 1914, 1924.
  • Eitz, Carl Andreas. "Von den natürlich reinen Stimmungsverhältnissen", Melos vol. 1, 1920, p. 293.
  • Ekholm, Elizabeth. "The Effect of Singing Mode and Seating Arrangement on Choral Blend and Overall Choral Sound", Journal of Research in Music Education vol. 48 no. 2, 2000.
  • Ekman, Petter. The Intonation Systems of Harry Partch. BA composition, Iceland Academy of the Arts, Mar 2011, 23 pages.
  • Ekmelische Musik, Gesellschaft für. 10 Jahre Gesellschaft für ekmelische Musik. Universität Mozarteum, Salzburg, 1991.
  • Ekmelische Musik, Internationale Gesellschaft für. 20 Jahre Internationale Gesellschaft für ekmelische Musik. Elisabeth Richter, Horst-Peter Hesse, Ezra Sims, Johannes Kotschy and Maria Richter-Taborsky (eds.), with introduction by Johannes Kotschy, Salzburg, 2001, 35 pages.
  • Ekowski, Christian (ed.) "Interview mit Gustav Leonhardt, Pionier des 'historischen' Bachspiels", organ - Journal für die Orgel vol. 4, 2000.
  • Ekwueme, Laz. E.N. "Concepts of African Musical Theory", Journal of Black Studies vol. 5 no. 1, Sep 1974, pp. 35-64.
  • Ekwueme, Laz. E.N. "Analysis and Analytic Techniques in African Music: A Theory of Melodic Scales", African Music: Journal of the African Music Society vol. 6 no. 1, July 1980, pp. 89-106.
  • Elia, Alessio. Musical Structures, Techniques of Composition and their Perception as Aural Phenomena. PhD thesis, University of Rome "Tor Vergata", Rome, 2012.
  • Eliot, Samuel A. "The Euharmonic Organ", The Living Age, 7 Sep 1850, pp. 473-479.
  • Ellinger, Karl. "Bericht 2013", Braunau am Inn, WWW, Mar 2013, 4 pages.
  • Ellinwood, Leonard (ed.) The 'Musica' of Hermannus Contractus. English translation by Leonard Ellinwood with introduction by John L. Snyder, 1936, 1952. 2nd ed., Eastman Studies in Music, Boydell & Brewer, University of Rochester Press, Nov 2015, 240 pages.
  • Ellinwood, Leonard. "Joseph Yasser: Mediaeval Quartal Harmony (A Plea for Restoration) (book review)", Speculum vol. 15 no. 1, Jan 1940, pp. 127-128.
  • Elliot, J.; J.R. Platt and R.J. Racine. "Adjustment of successive and simultaneous intervals by musically experienced and inexperienced subjects", Perception & Psychophysics vol. 42, Nov 1987, pp. 594-598. Also here.
  • Ellis, Alexander John. "On the Conditions, Extent, and Realization of a Perfect Musical Scale on Instruments with Fixed Tones", Proceedings of the Musical Society of London vol. 13 no. 13, Dec 1864, pp. 93-108.
  • Ellis, Alexander John. "On the Physical Constitution and Relations of Musical Chords", Proceedings of the Royal Society of London vol. 13 no. 13, Dec 1864, pp. 392-404.
  • Ellis, Alexander John. "Two memoirs on the theory of musical sounds", Proceedings of the Royal Society vol. 13 no. 13, London, Dec 1864. Reprint Taylor and Francis, London, 1864, 34 pages.
  • Ellis, Alexander John. "On the Temperament of Instruments with Fixed Tones", Proceedings of the Royal Society vol. 13 no. 13, London, Dec 1864, pp. 404-422. Also here.
  • Ellis, Alexander John. "Mesotonic Harmonium", Proceedings of the Musical Association vol. 1, 1874, p. 41.
  • Ellis, Alexander John. "Illustrations of Just and Tempered Intonation", Proceedings of the Musical Association vol. 1, 1874, pp. 159-165.
  • Ellis, Alexander John. "On Musical Duodenes, or the Theory of Constructing Instruments with fixed Tones in Just or in practically Just Intonation", Proceedings of the Royal Society of London vol. 23 no. 156-163, Dec 1875, pp. 3-31.
  • Ellis, Alexander John. "On the Sensitiveness of the Ear to Pitch and Change of Pitch in Music", Proceedings of the Musical Association vol. 3, Nov 1876, pp. 1-32. Also here.
  • Ellis, Alexander John. "Tonometry", The Athenaeum no. 2562, Dec 1876, p. 731.
  • Ellis, Alexander John. "Tonometry", The Musical World vol. 55 no. 7, Feb 1877, p. 117.
  • Ellis, Alexander John. "Tonometry", Journal of the Franklin Institute vol. 103 no. 2, Feb 1877, pp. 101-106.
  • Ellis, Alexander John. "On the basis of music, containing an elementary account of the nature of musical notes and chords, the generation of scales and modulations, and the origin and effects of the usual tempered scales", lecture, 14 Mar 1877, reprinted with numerous additions and alterations from the Educational Times, Apr 1877. C.F. Hodgson & Son, London, 1877, 48 pages.
  • Ellis, Alexander John. "Recently Proposed Improvements in Musical Intonation", Nature: the international journal of science vol. 15, Macmillan Publishers Limited, London, 29 Mar 1877, pp. 475-477.
  • Ellis, Alexander John. "On the Measurement and Settlement of Musical Pitch", Journal of the Society of Arts vol. 25 no. 1279, 25 May 1877, pp. 664-687.
  • Ellis, Alexander John. "Musical Temperament (letter)", The Athenaeum no. 2594, New Statesman Ltd., July 1877, pp. 57-58.
  • Ellis, Alexander John. "Notes of Observations on Musical Beats", Proceedings of the Royal Society of London vol. 30 no. 200-205, Jan 1880, pp. 520-533.
  • Ellis, Alexander John. "On the History of Musical Pitch", Journal of the Society of Arts vol. 28, Mar 1880, pp. 293-336; appendix pp. 400-403; postscript in vol. 29, 1881, pp. 109-113. Reprint in Studies in the History of Musical Pitch, Frits A.M. Knuf, Amsterdam, 1963, pp. 11-62.
  • Ellis, Alexander John. "Appendix", Journal Of The Society Of Arts, 2 April 1880, pp. 293-336. Reprint Frits A.M. Knuf, Amsterdam, 1963.
  • Ellis, Alexander John. "On the Influence of temperature on the musical pitch of harmonium reeds", Proceedings of the Royal Society of London vol. 31 no. 206-211, Jan 1881, pp. 413-415.
  • Ellis, Alexander John and Alfred James Hipkins. "Tonometrical Observations on Some Existing Nonharmonic Musical Scales", Proceedings of the Royal Society of London vol. 37 no. 232-234, Nov 1884, pp. 368-385. Also here.
  • Ellis, Alexander John. "The 'Natural' Scale", paper read before the Society of Arts, Apr 1885.
  • Ellis, Alexander John. "Tonic Sol-fa Minor Scale (letter)", The Musical Times and Singing Class Circular vol. 27 no. 523, Sep 1886, pp. 547-549. Correction, p. 679. Also here.
  • Ellis, Alexander John. "Conversion, Inversion, Reversion, Retroversion (letter)", The Musical Times and Singing Class Circular vol. 27 no. 524, Oct 1886, p. 614. Also here.
  • Ellis, Alexander John. "On the Musical Scales of Various Nations", Journal of the Society of the Arts vol. 33 no. 1688, 1885, pp. 485-527. Revised and enlarged version of "Tonometrical Observations...", also reprinted for private circulation by the author, with additions and corrections, Apr 1885. German translation "Über die Tonleitern verschiedener Völker" by Erich von Hornbostel in Sammelbände für vergleichende Musikwissenschaft vol. 1, München, 1922, p. 18. Reprint in A century of ethnomusicological thought, Kay Kaufman Shelemay (ed.), Garland Publications, New York, 1990, pp. 1-43.
  • Ellis, Alexander John. Studies in the History of Musical Pitch. Arthur Mendel (ed.), Frits Knuf, Amsterdam, 1968, 238 pages.
  • Ellis, Catherine J. and Bernard Seymour. "Pre-Instrumental Scales", Ethnomusicology vol. 9 no. 2, May 1965, pp. 137-144.
  • Ellis, Catherine J. "Transposition in South Australian Aboriginal Songs: Frequency Difference or Frequency Ratio?", Von Der Vielfalt Musikalischer Kultur: Festschrift für Joseph Kukkertz, Rüdiger Schumacher (ed.), Anif, Salzburg, 1992.
  • Ellis, Don. Quarter Tones: A Text with Musical Examples, Exercises and Etudes. Harold Branch Publishing, Plainview NY, 1975, 92 pages.
  • Ellison, Paul M. The Key to Beethoven: Connecting Tonality and Meaning in His Music. Boydell & Brewer, Pendragon Press, New York, Dec 2014, 437 pages.
  • Ellison, Ryan K. Historical Tuning Systems and Temperaments. The Chicago School for Piano Technology, July 2012.
  • Elliston, Thomas. Organs and Tuning: A practical handbook for organists; being a treatise on the construction, mechanism, and fine tuning of the instrument. London, 1894, 1895, 204 pages. Reprint, 3rd edition, Weekes & Co., London, 1911, 464 pages. Weekes & Co., London, 1916, 535 pages. Weekes & Co., London, 1924, 764 pages.
  • Ellsworth, Oliver B. "A Fourteenth-Century Proposal for Equal Temperament", Medieval and Renaissance Studies vol. 5, 1974, pp. 445-453.
  • Ellsworth, Oliver B. The Berkeley Manuscript. Greek and Latin Music Theory (Book 2). University of Nebraska Press, Lincoln NE, Aug 1984, 317 pages.
  • Ellsworth, Ray. "The weird, wonderful world of Harry Partch (music review)", The American Record Guide, Oct 1958, pp. 110-112.
  • Elsberry, Kristie Beverly (ed.) 'Élémens de musique, théorique et pratique, suivant les principes de M. Rameau' by Jean Le Rond d'Alembert: An Annotated New Translation and a Comparison to Rameau's Theoretical Writings. PhD thesis, School of Music, Florida State University, Tallahassee, 1984.
  • Elsner, Jürgen (ed.) Maqam, Raga, Zeilenmelodik: Konzeptionen und Prinzipien der Musikproduktion: Materialien der 1. Arbeitstagung der Study Group "Maqam" beim International Council for Traditional Music vom 28. Juni bis 2. Juli 1988 in Berlin. Berlin, 1989, 344 pages.
  • Elsner, Jürgen and Gisa Jahnichen (eds.) Regionale maqam-Traditionen in Geschichte und Gegenwart: Materialien der 2. Arbeitstagung der Study Group "maqam" des International Council for Traditional Music vom 23. bis 28. März 1992. Gosen bei Berlin, 2 vols., 1992, 593 pages.
  • Elsner, Jürgen. "Report on the 7th meeting of the ICTM Study Group on Maqam", International Council for Traditional Music, Baku, Mar 2011.
  • Elson, Louis C. "Acoustics: Suggestions in Behalf of an Unpopular Subject", The Musical Quarterly vol. 1 no. 3, July 1915, pp. 410-415.
  • Elst, Joannes van der. Den ouden ende nieuwen grondt vande mvsiicke bevanghende De vermeerderinghe ende verbeteringhe vanden sangh. Maximiliaen Graet, Gent, 1662, 88 pages.
  • Elster, Steven. "A Harmonic and Serial Analysis of Ben Johnston's String Quartet no. 6", Perspectives of New Music vol. 29 no. 2, summer 1991, pp. 138-165.
  • Ely, M.C. "Effects of timbre on college woodwind players' intonation performance and perception", Journal of Research in Music Education vol. 40, 1992, pp. 158-167.
  • Emerson, Louville Eugene. "The feeling-value of unmusical tone-intervals", Harvard psychological studies, Mifflin and company, Boston/Houghton, 1906, pp. 269-274.
  • Emerson, Phillip L.; Elisabeth Camus and Chris Richards. "Two-voice music programming system: The PDP-9 as an automatic electronic organ", Behavior Research Methods vol. 3 no. 3, 1971, pp. 164-166.
  • Émery, Éric. La gamme et le langage musical. Bibliothèque internationale de musicologie, Presses universitaires de France, Paris, 1961, 165 pages.
  • Emmanuel, Maurice. "The creation of the violin and its consequences", English translation by G.R., The Musical Quarterly vol. 23 no. 4, Oct 1937, pp. 509-515.
  • Encyclopedie Methodique. cf. Vol. 'Musique' et 'Arts et métiers' où l'on trouve divers articles concernant l'accord de l'orgue et du clavecin dont une description du Kirnberger II d'après Sulzer. Cf. également le mot 'système'. Panckoucke, Paris, 1782-1792.
  • Enders, Bernd. Studien zur Durchhörbarkeit und Intonationsbeurteilung von Akkorden. Kölner Beiträge zur Musikforschung Band 115, Bosse Verlag, Regensburg, 1981, 228 pages.
  • Enders, Bernd. "Stimmungswechsel - Variable Stimmungen per Computersteuerung", Das Musikinstrument vol. 38 no. 8, 1989, pp. 26-32.
  • Enders, Bernd (ed.) Mathematische Musik - musikalische Mathematik. Pfau Verlag, Saarbrücken, 2005, 137 pages with audio CD and CDROM.
  • Enevoldsen, Keith. "Twelve-Tone Musical Scale", WWW, 2003-2016.
  • Engel, Carl. Music of the most Ancient Nations, particularly of the Assyrians, Egyptians, Hebrews. John Murray, London, 1864. Facsimile reprint William Reeves, London, 1929, 379 pages. Yokai Publishing, Sep 2010, Franklin Classics, Oct 2018, 386 pages.
  • Engel, Carl. An Introduction to the Study of National Music. Longmans, Green, Reader and Dyer, London, 1866, 435 pages.
  • Engel, Gustav. Die Vocaltheorie von Helmholtz & die Kopfstimme: Separatabdruck aus dem Programm der neuen Akademie der Tonkunst für 1867. W. Hertz, Berlin, 1867, 18 pages.
  • Engel, Gustav. Das mathematische Harmonium: Ein Hülfsmittel zur Veranschaulichung der reinen Ton-Verhältnisse. Verlag von Carl Habel, Berlin, 1881, 73 pages.
  • Engel, Gustav. "Eine mathematische-harmonische Analyse des Don Giovanne von Mozart", Vierteljahrsschrift für Musikwissenschaft vol. 3, 1887, p. 491.
  • Engel, Gustav. Die Bedeutung der Zahlenverhältnisse für die Tonempfindung. Dresden, 1892.
  • Engelhardt, Jakob. "Comment on 'A Reconstruction of the Well-Tempered Tuning of Johann Sebastian Bach'", Das Musikinstrument vol. 29, 1980, pp. 956-960.
  • Eppelsheim, Jürgen. "Stimmlagen und Stimmungen der Ensemble-Streichinstrumente im 16. und frühen 17. Jahrhundert", Capella Antiqua München Festschrift, Verlang Hans Schneider, Tutzing, 1988, pp. 145-173.
  • Epstein, Abraham. Piano tuning: Its significance in music education. MA thesis, University of Southern California, Los Angeles, Aug 1950, 147 pages.
  • Eradus, W.J. "Stemmen en stemmingen in de muziek", Kerk en Muziek vol. 34 no. 5, Sep-Oct 1985, pp. 2-5.
  • Erb, J. Lawrence. Elementary theory: comprising the study of scales and intervals. Conservatory Press, Wooster OH, c.1911, 14 pages.
  • Erdman, James. "The influence and reputation of Andreas Werckmeister in the United States", Bericht über das Werckmeister-Kolloquium, Kultur- und Forschungsstätte Michaelstein, Michaelstein/Blankenburg, 1986, pp. 77-90.
  • Erdmann, Jerzy. "Ein Rechenmodell für historische Mensurationsmethoden", Acta Organologica vol. 23, 1992, pp. 339-350. Summary in French and English.
  • Eren, Ozan and Ugur Zeynep Güven. "Microtonal Guitar Culture in Turkey", Musicologist vol. 6 no. 1, June 2022, pp. 1-25. Also here.
  • Erguner, Suleyman. Rauf Yektâ Bey (in Turkish). Kitabevi Yayinlari, Istanbul, 2003, 2015.
  • Erickson, Raymond. "Concerning Measured Music (De Mensurabili Musica) by Johannes de Garlandia translated by Stanley H. Birnbaum (book review)", Journal of Music Theory vol. 26 no. 1, spring 1982, pp. 169-178.
  • Erickson, Raymond. Musica enchiriadis and Scolica enchiriadis. English translation with introduction and critical notes, Claude V. Palisca (ed.), Yale University Press, New York, 1995.
  • Erickson, Robert. "The Musical System of Archytas", San Francisco, Apr 1965. Also in ex tempore vol. 6 no. 2, summer 1993.
  • Erickson, Ron. "The Music of James Tenney (book review)", 1/1 vol. 1 no. 3, 1985, p. 4.
  • Erickson, Ron. "Timbre and tuning of the Balinese gamelan", Soundings vol. 14-15, Santa Fe NM, 1986, pp. 61-62.
  • Erkvanidze, Malkhaz. "The Georgian Musical System", 6th International Workshop on Folk Music Analysis, Dublin, June 2016, pp. 74-79. Also here.
  • d'Erlanger, Rodolphe. La musique arabe. Band I-VI, Librairie Orientaliste Paul Geuthner, Paris, 1930, 1935, 1938, 1939, 1949, 1959. Reprint Geuthner, Paris, 2001. Translations of al-Farabi, Avicenna, Al-Urmawî, etc. (vols. 1-4). Vol. 5: Essai de codification des règles usuelles de la musique arabe moderne. Book 1: "L'échelle générale des sons mélodiques employés en musique arabe moderne", Book 2: "Le système modal de la musique arabe moderne." Vol. 6: Essai de codification des règles de la musique arabe moderne. Book 1: "Le système rythmique de la musique arabe modern", Book 2: "Les diverses formes de composition artistique connues en musique arabe moderne."
  • Erlich, Paul. "On Harmonic Entropy", 1997.
  • Erlich, Paul. "Tuning, Tonality and Twenty-Two-Tone Temperament", Xenharmonikôn vol. 17, spring 1998, pp. 12-40.
  • Erlich, Paul. "A gentle introduction to Fokker periodicity blocks, WWW, 1999.
  • Erlich, Paul. The Forms of Tonality, a preview. self-published, 2001, 22 pages.
  • Erlich, Paul. "A Middle Path. Between Just Intonation and the Equal Temperaments, part 1", Xenharmonikôn vol. 18, 2006, pp. 159-199.
  • Erményi, Ludwig. "Petzvals Theorie der Tonsysteme", Zeitschrift für Mathematik und Physik vol. 51, B.G. Teubner, Leipzig, 1904, pp. 281-410.
  • Ernst, Friedrich. "Tasteninstrumente in Deutschland um 1800", Glareana vol. 19 no. 2, June 1970, pp. 2-9.
  • Ernst, Friedrich. "Über das Stimmen von Cembalo, Spinett, Clavichord und Klavier", Das Musikinstrument vol. 11, Musikinstrument, Frankfurt am Main, 1971, 47 pages.
  • Ertelt, Thomas F.; Frieder Zaminer; F.A. Gallo et al. (eds.) Italienische Musiktheorie im 16. und 17. Jahrhundert. Geschichte der Musiktheorie Bd. 7, WBG (Wissenschaftliche Buchgesellschaft), Darmstadt, Jan 1989, 418 pages.
  • Ertelt, Thomas F.; Frieder Zaminer; F.A. Gallo et al. (eds.) Vom Mythos zur Fachdisziplin: Antike und Byzanz. Geschichte der Musiktheorie Bd. 2, WBG (Wissenschaftliche Buchgesellschaft), Darmstadt, 2006.
  • Esbroeck, Guy van, and Franz Montfort. Qu'est-ce que jouer juste? - donnée scientifiques et essai sur la psycho-physiologie de l'audition. Editions Lumière, A. Manteau, Brussels, Jan 1946, 125 pages.
  • Esbroeck, Guy van. Le problème des gammes. Émile Leipp (ed.), Université Paris VII, Paris, Dec 1963.
  • Eskola, Kare. "Instruments that play between the notes", Finnish Music Quarterly vol. 4, Dec 2019, 4 pages.
  • Esper, Erwin. "Max Meyer and the Psychology of Music", Journal of Music Theory vol. 10 no. 2, winter 1960, pp. 182-199.
  • Espinosas, Juan de. "Retractiones de los errores y falsedas que escribe Gonçalo Martinez de Bizcargui", Arte de canto Ilano, 1514, 1528, 1550.
  • Essen, Thomas van and Frédéric Michel. Les manuscrits autographes de Marc-Antoine Charpentier. Catherine Cessac (ed.), Editions Mardaga, Feb 2007, pp. 200-230.
  • Essl, Georg; Stefania Serafin; Perry R. Cook and Julius O. Smith. "Musical Applications of Banded Waveguides", Computer Music Journal vol. 28 no. 1, spring 2004, pp. 51-63.
  • Estève, Pierre. Nouvelle découverte du principe de l'harmonie, avec un examen de ce que M. Rameau a publié sous le titre de Démonstration de ce principe. Huart et Moreau fils, Durand, Paris, 1751, 54 pages. 2nd edition, S. Jorry, Paris, 1752.
  • Estève, Pierre. Recherches sur le meilleur système de musique harmonique & sur son meilleur tempérament. Paris, 1755.
  • Estève, Pierre. Réplique aux réflexions que Mr. Romieu à faites sur les recherches concernant le meilleur sistème de musique et son tempérament. Paris, 1756.
  • Estrada, Julio. "Une théorie générale de l'intervallique élémentaire dans les échelles et quelques applications en analyse musicale", Memoria del XV Congreso Internacional de Musicología, Madrid, España, 1992.
  • Estrada, Julio. Théorie de la composition: discontinuum continuum. PhD thesis, Université de Strasbourg II, Sciences Humaines, 1994, 932 pages.
  • Estrada, Julio, Román Osorio and Mario Peña. "Sistema de graficación para música informática microtonal", Memorias del 2do. Congreso Internacional de Informática en la Cultura, Convención Internacional Informática 96, Havana, 1996, 12 pages.
  • Étienne, Luc. Un système musical nouveau: le tempérament décimal (la musique de l'autre côté du miroir). Bulletin du Groupe d'Acoustique Musicale no. 61 bis, Université Paris VII, Paris, June 1972.
  • Eubanks Winkler, Amanda. "Music, Science, and Natural Magic in Seventeenth-Century England by Penelope Gouk (book review)", Notes Second series vol. 57 no. 1, Sep 2000, pp. 125-127.
  • Euclides. Sectio canonis. c. 300 B.C. English translation by Thomas J. Mathiesen (ed.), "An annotated translation of Euclid's 'Division of a monochord'", Journal of Music Theory vol. 19 no. 2, autumn 1975, pp. 236-258.
  • Euler, Leonhard. Tentamen novae theoriae musicae ex certissimis harmoniae principiis dilucide expositae. St. Petersburg, 1739, 263 pages. In Opera Omnia series III volumen I, B.G. Teubner, Leipzig, 1926. German translation by Lorenz Mizler in Neu eröffnete Musikalische Bibliothek vol. 3, 1752: chapters 1-3, vol. 4, Leipzig, 1754: chapter 4. Reprint Frits Knuf, Hilversum, 1966. French translation Essai d'une nouvelle théorie de la musique, 1839. English translation with commentary by Charles Samuel Smith, PhD diss., Indiana University, Bloomington, June 1960, 365 pages. French translation Ecrits sur la musique by Renzo Caddeo, Xavier Hascher, Pierre Jehel, Ahtanase Papadopoulos and Hélène Papadopoulos, Editions Hermann, Paris, Oct 2015.
  • Euler, Leonhard. "Esame del Trattato di Tartini", manuscript, 1754/56, in: Giovanni Tebaldini, "Giuseppe Tartini. Appunti storico-critici. I: Tartini ed Euler", Gazzetta musical di Milano vol. 51 no. 31, 5 Aug 1897, pp. 444-448.
  • Euler, Leonhard. Exposition de quelques nouvelles vues mathématiques dans la théorie de la musique. Amsterdam, 1760.
  • Euler, Leonhard. "Conjecture de la raison de quelques dissonances généralement reçues dans la musique", Mémoires de l'ie Royale de Berlin, vol. 20, 1764. Also in Musique mathématique, Paris, 1865, pp. 217-224. Also in Opera Omnia series III volumen I, B.G. Teubner, Leipzig, 1926, pp. 508-515.
  • Euler, Leonhard. Tentamen de sono campanarum. Novi commentarii iae Scientiarum Imperialis Petropolitanae, tom. 10, 1764.
  • Euler, Leonhard. "Lettres à une Princesse d'Allemagne", Mitau and Leipzig, 1770, p. 28.
  • Euler, Leonhard. De harmoniae veris principiis per speculum musicum repraesentatis. 1774. In Opera Omnia series III volumen I, B.G. Teubner, Leipzig, 1926, pp. 568-586.
  • Euler, Leonhard. Briefwechsel von Leonhard Euler mit Johann I Bernoulli und Niklaus I Bernoulli. E.A. Fellmann and G.K. Mikhajlov (eds.), Opera Omnia (4A): Commercium epistolicum vol. 2, Birkhäuser, Basel, 1998.
  • Euser, Martin. "Pythagorean Triangles and Musical Proportions", Nexus Network Journal vol. 2, June 2000, pp. 33-40.
  • Evangelista, José. "A simple way to play microtonal music", WWW, 1999.
  • Evans, E. "Extending techniques: developing the saxophone's capacity for lower-end dynamics and microtonal playing", 2016.
  • Evans, Jeffrey. "The Keyboard Tuning Rules of 'The Modern Musick-Master'", Early Music vol. 11 no. 3, July 1983, pp. 360-363.
  • Everett, Timm. "Intonation Facts", Music Educators Journal vol. 29 no. 3, Jan 1943, pp. 19-20.
  • Everett, Walter. "Pitch down the middle", Expression in Pop-Rock Music, Walter Everett (ed.), Routledge, New York, 2008, pp. 111-174.
  • Ewell, Terry B. The Bassoon-Family Fingering Companion: An Annotated Index of Fingerings for Instruments in the Bassoon Family Contained in English Wind Periodicals and Other Select Publications with Additional Material. International Double Reed Society, 1996.
  • Ewing, Charles E. Practical Piano Tuning. Charles E. Ewing, Lincoln NB, 1913.
  • Ezgi, Suphi Z. Nazarî ve Amelî Türk Mûsikisi. (Theory and practice of Turkish music), 5 vols., Istanbul Conservatory Publication, Milli Mecmua Matbaasi, Istanbul, 1933-1940.

- F -

  • Faas, Ekbert (ed.) "Interview with Karlheinz Stockhausen held August 11, 1976", Interface vol. 6 no. 3-4, 1977, pp. 187-204.
  • Faber, Tom. "Decolonizing Electronic Music Starts With Its Software", Pitchfork, WWW, Feb 2021.
  • Faber Stapulensis, Jacobus. Elementa musicalia. Joannes Higmanus and Volgangus Hopilius, Paris, 1496.
  • Fabre d'Olivet. La musique expliquée comme Science et comme Art, et considérée dans ses rapports analogiques avec les mystères religieux, la mythologie ancienne et l'histoire de la terre. 1896. Édition Jean Pinasseau, Paris, 1928. l'Âge d'Homme, Lausanne, 1974, 93 pages.
  • Fabrizio, Al. A Guide to the Understanding and Correction of Intonation Problems. Meredith Music Publications, Fort Lauderdale FL, 1994, 2000, 32 pages.
  • Faggot, Jacob. "Trigonometrisk uträkning för den nya temperaturen för tonernas stämning", "Trigonometrische Berechnung der neuen Temperatur", Der Königl. Schwedischen Akademie der Wissenschaften neue Abhandlungen aus der Naturlehre, Haushaltungskunst und Mechanik vol. 5, 1743, pp. 230-234.
  • Fagnan, Laurier. "Research Report: 'Chiaroscuro' Resonance Balancing: The 'Bel Canto' Answer to Choral Tone and Intonation Problems", The Choral Journal vol. 49 no. 5, Nov 2008, pp. 51-55, 58-61.
  • Fairchild, Stephen. "Altered Equal Temperament for Small Pianos", Piano Technicians Journal vol. 25 no. 10, Seattle, 1982, pp. 20-21.
  • Faistauer, Jakob. Mathematik und Musik. MSc thesis, Fakultät für Mathematik, Universität Wien, 2020, 110 pages.
  • Fakhr al-Dini, Farhad. Harmuni-i musiqi-i Irani. Intisharat-i Mu'in, Teheran, 1394, 2015.
  • Falkener, Robert. Instructions for Playing the Harpsichord....To Which Is Added Exact Rules for Tuning the Harpsichord; With All the Different-Sized Wires Used in That Instrument. self-published, London, 1770.
  • Falkenhausen, Lothar von. Suspended Music: Chime Bells in the Culture of Bronze Age China. University of California Press, Berkeley CA, 1994, 567 pages, pp. 234-299.
  • Fanning, David. "Kurze Bemerkungen über das Spielen, Stimmen und Erhalten der Fortepiano, welche von Nanette Streicher, geborne Stein in Wien verfertiget werden (book review)", Early Music vol. 8 no. 3, July 1980, p. 393.
  • Faragó, Zoltán. "Musik und Akustik", WWW, 2005.
  • Faragó, Zoltán. "Stimmungen von Tasteninstrumenten", Forum Kirchenmusik: Zeitschrift des Verbandes Evangelischer Kirchenmusikerinnen und Kirchenmusiker in Deutschland vol. 52 no. 3, 2001, pp. 4-17.
  • Faraldo, Ángel. Tonality Estimation In Electronic Dance Music: A Computational And Musically Informed Examination. PhD thesis, Universitat Pompeu Fabra, Barcelona, Mar 2018, 234 pages.
  • Farey, John. "On Music", The Philosophical Magazine Series 1, vol. 26, London, 1807, pp. 171-176.
  • Farey, John. "On the Stanhope temperament of the musical scale", The Philosophical Magazine vol. 27, London, 1807, pp. 191-206.
  • Farey, John. "On different temperaments of the musical scale", The Philosophical Magazine vol. 27, London, 1807, pp. 313-322.
  • Farey, John. "On a new mode of equally tempering the musical scale", The Philosophical Magazine vol. 28, London, 1807, pp. 65-66.
  • Farey, John. "On the Musical Sound of the Gases", The Philosophical Magazine vol. 27, London, 1807, pp. 3-5.
  • Farey, John. "On the Stanhope and other temperaments of the musical scale", The Philosophical Magazine vol. 29, London, 1808, pp. 345-349.
  • Farey, John. "On the Two Systems of Musical Temperament Recommended by Earl Stanhope, Mr. Hawkes's System, &c.", The Philosophical Magazine vol. 30, London, 1808, pp. 3-8.
  • Farey, John. "Letter from the right honourable earl Stanhope, relative to Dr. Callcott's pamphlet on the stanhope temperament", The Philosophical Magazine Series 1, vol. 30, 1808, pp. 34-35.
  • Farey, John. "A Reply to Earl Stanhope, on his Defence of certain Principles and Facts erroneously stated in his Stereotyped 'Principles of the Science of Tuning Instruments with fixed Tones'", The Philosophical Magazine vol. 33, London, 1809, pp. 292-299.
  • Farey, John. "On a Pretended Musical Discovery", The Monthly Magazine vol. 29, part I for 1810, pp. 413-414.
  • Farey, John. "On M. Bemetzrieder's erroneous Calculations of the Magnitudes of certain musical Intervals", The Philosophical Magazine vol. 35, London, 1810, pp. 175-176. Also here.
  • Farey, John. "Six theorems, containing the chief properties of all regular douzeave systems of music", The Philosophical Magazine vol. 36, London, 1810, pp. 39-53, 374-375.
  • Farey, John. "On a Grand Practical Improvement in the Harmony of Musical Instruments, by the Introduction of the Rev. Henry Liston's Patent Enharmonic Organ; with the Names of the 60 distinct Sounds which it produces in each Octave, from 20 Pipes, and their Intervals calculated", The Philosophical Magazine vol. 37 no. 156, Richard Taylor and Company, London, 1811, pp. 273-278. Also here.
  • Farey, John. "A Table of the Beats, on Mr William Hawkes's Patent Organs and Piano-Fortes, calculated by the Rev. C. J. Smyth; and communicated, with some Remarks", The Philosophical Magazine vol. 37, London, 1811, pp. 321-323.
  • Farey, John. "Theorems for calculating the temperaments of such regular douzeaves as are commensurable or defined by a certain number of equal parts, into which the octave is divided", The Philosophical Magazine vol. 38, 1811, pp. 434-436.
  • Farey, John. "Mr. Farey's Reply to Mr. Broadwood", Monthly Magazine and British Register vol. 32 no. 2, 1811, p. 238.
  • Farey, John. "On various occasions (A reply to Mr. Broadwood's Tuning)", Monthly Magazine and British Register vol. 32 no. 2, 1811, p. 238.
  • Farey, John. "On His Notation of Musical Intervals", The Monthly Magazine vol. 34, Monthly Literary Register, 1812, pp. 7-8.
  • Farey, John (senior). "On the Rev. Mr. Liston's Euharmonic Organ, and his 'Essay on perfect Intonation', just published, for explaining fully the Principles of Tuning, and of performing upon this Organ with perfect Harmonies, in almost every possible Variety of Keys and Passages", The Philosophical Magazine vol. 39, London, 1812, pp. 373-376.
  • Farey, John (senior). "Further Remarks on the Rev. Mr. Liston's 'Essay on perfect Intonation': and his Scale with 59 Notes in the Octave; and on other Scales (perfect and tempered) for 12, 14, 16, 17, 19, 21, 22 and 24 Notes in the Octave respectively, &c.", The Philosophical Magazine vol. 39, June 1812, pp. 414-423. Also here.
  • Farey, John (senior). "Calculations of the Intervals and Beats of the Sounds yielded by various Gases in the corrected Experiments of Messrs. F. Kirby, and A. Merrick, recorded in Mr. Nicholson's Journal", The Philosophical Magazine and Journal vol. 45, 1815, pp. 26-28.
  • Farey, John (senior). "An Improved Piano-Forte - New Logarithmic Scales" , The Philosophical Magazine vol. 45, 1815, pp. 386-387.
  • Farey, John. "On the Nomenclature of Musical Intervals, and the Advantages of a Set of Symbols or Characters, by which the mutual Relations of the principals ones can be expressed, in the form of simple Equations - with a Table", The Philosophical Magazine and Journal vol. 49, 1817.
  • Farey, John (senior). "A Supplementary Table of Musical Intervals, for supplying the Omissions in Plate V, of our xxviiith Volume, making several Corrections therein, and supplying the new Symbols, by which certain of these Intervals are expressed in the Letter-press of our Work, for the Convenience of Printing", The Philosophical Magazine and Journal vol. 49 no. 229, London, 1817, pp. 360-361. Also here.
  • Farey, John (senior). "On the Nomenclature of Musical Intervals, and the advantages of a set of symbols or characters, by which the mutual relations of the principal ones can be expressed, in the form of simple equations: with a table", The Philosophical Magazine and Journal vol. 49 no. 229, 1817, pp. 362-367. Also here.
  • Farey, John (senior). "On Mr. Liston's, or the Euharmonic Scale of Musical Intervals, extended according to his tuning Process, from 59 to 612 Notes in the Octave; showing thus, a Division of the Octave into 612 equal Parts", The Philosophical Magazine vol. 49 no. 230, 1817, pp. 442-448. Also here.
  • Farey, John. On the recent Alterations said to be made by some tuners of Musical Instrument, in the Place of Wolves, or largely temperated Concords. London, 1820.
  • Farey, John. "Harmonics. On different modes of expressing the magnitudes and relations of musical intervals; with some remarks, in commendation of Professor Fischer's proportionally-tempered douzeave...", American Journal of Science vol. 2 no. 2, 1820, pp. 65-80.
  • Farhat, Hormoz. The Dastgah Concept in Persian Music. PhD thesis, University of California, Los Angeles, 1965. Cambridge University Press, Cambridge, 1990, 2004, 213 pages.
  • Farhat, Hormoz. The Traditional Art Music of Iran. Ministry of Culture and Arts Press, Tehran, 1973.
  • Farkouh, Maher. Die Madroshe der westsyrischen Kirche. Eine analytische und vergleichende Studie. PhD thesis, Institut für Musikwissenschaft, Musikpädagogik und Theaterpädagogik der Hochschule für Musik und Theater Rostock, Sep 2019, 322 pages.
  • Farmer, Gerald James. Multiphonics and other contemporary clarinet techniques. Shall-u-mo Publications, Rochester NY, 1982.
  • Farmer, Henry George. "Clues for the Arabian influence on European musical theory", The Journal of the Royal Asiatic Society, first quarter, 1925, pp. 61-80.
  • Farmer, Henry George. "Arabic musical manuscripts in the Bodleian Library", The Journal of the Royal Asiatic Society, 1925, pp. 639-654.
  • Farmer, Henry George. "Mùsïkï", EI vol. 3, Leiden, 1925, pp. 809-816.
  • Farmer, Henry George. "The Old Persian Musical Modes", Journal of the Royal Asiatic Society vol. c, 1926, pp. 93-95.
  • Farmer, Henry George. A History of Arabian Music to the XIIIth Century. Luzac & Co., London, 1929, 264 pages. Reprints London, 1967, 1994. Arabic translation by Girgîs Fathallâ Al Muhâmî, Dâr Maktabat Al Hayât, Beirut.
  • Farmer, Henry George. "The Congress of Arabian Music (Cairo, 1932)", Transactions of the Glasgow Oriental Society vol. 6, 1929-1933, pp. 61-67.
  • Farmer, Henry George. Al-Farabi's Arabic-Latin Writings on Music in the Ihsa al-`ulum. London, 1934. Reprint Hinrichsen Edition, New York, 1965.
  • Farmer, Henry George. "The Lute Scale of Avicenna", Journal of the Royal Asiatic Society, 1937, pp. 339-353.
  • Farmer, Henry George. "Was the Arabian and Persian Lute Fretted?", Journal of the Royal Asiatic Society, 1937, pp. 453-460.
  • Farmer, Henry George. "An outline of history of music and musical theory", A Survey of Persian Arts, vol. 3, Arthur Upham Pope (ed.), Oxford University Press, London, 1939.
  • Farmer, Henry George. The sources of Arabian music: an annotated bibliography of Arabic manuscripts which deal with the theory, practice, and history of Arabian music from the eighth to the seventeenth century. Bearsden, 1940. E.J. Brill, Leiden, 1965, 97 pages.
  • Farmer, Henry George. "The Music of Islam", New Oxford History of Music, volume 1: Ancient and Oriental Music, Egon Wellesz (ed.), Oxford University Press, London, 1957.
  • Farmer, Henry George. "The old Arabian melodic modes", Journal of the Royal Asiatic Society, parts 3 & 4, 1965, pp. 99-102.
  • Farmer, Henry George. "Music and Music Theory", A Survey of Persian Art, A. Pope (ed.), Oxford University Press, London, 1967.
  • Farmer, Henry George. "Persien", Außereuropäische Musik in Einzeldarstellungen, Joseph Kuckertz (ed.), Deutscher Taschenbuch Verlag/Bärenreiter Verlag, edition MGG, Kassel, 1980, pp. 180-189.
  • Farmer, Henry George. Studies in Oriental Music. Vol. I. History and Theory. Reprint of writings published in the years 1925-1966, The Science of Music in Islam vol. 1, Ed. Eckhard Neubauer, Frankfurt a.M., 1997, 756 pages.
  • Farneth, David. "Sound and Light: La Monte Young, Marian Zazeela by William Duckworth, Richard Fleming (book review)", Notes Second Series vol. 54 no. 3, Mar 1998, pp. 716-717.
  • Farnsworth, Paul R. The Social Psychology of Music. Ch. 2, "The Social Psychology of Musical Scales", The Dryden Press, New York, 1958, pp. 17-35.
  • Farrell, Joseph P. and Scott D. de Hart. The Grid of the Gods. Adventures Unlimited Press, Kempton IL, 2011, 396 pages.
  • Farrell, Peter. "Cadenza; Pour Violoncelle by Joan Guinjoan. Partita; For Cello Solo (1959) by Alan Ridout. Fantasia Concertante No. 1; For Cello Solo by Charles Camilleri. Bois-Terre; Violoncelle Solo by Tôn-Thât Tiêt. Sonaria; For Cello Alone by Elizabeth Vercoe. Solo; für Violoncello (1981) by Aribert Reimann. Solo 6; Für Violoncello (1980) by Reiner Bredemeyer. Cellomusik (1974) by Friedrich Goldmann (CD reviews)", Notes vol. 43 no. 1, Sep 1986, pp. 184-186.
  • Farshadfar, Maryam. Techniques of piano performance with regard to Persian music: A study on the traditional and the innovated styles. (such as the use of Fluid Piano, or the use of pianos tuned equal temperament). paper, autumn 2012, 25 pages.
  • Farup, Ivar. "Constructing an optimal circulating temperament based on a set of musical requirements", Journal of Mathematics and Music vol. 8 no. 1, Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance, Feb 2014, pp. 25-39. Also here.
  • Fascicolo, Vito Mario. Simulazione della musica greca antica con il Mathematica. MSc thesis, University of Bari, 2001, 160 pages.
  • Fatton, Andreas. "Try this at home! les espaces sonores. Stimmungen, Klanganalysen, spektrale Musiken", Internationales Symposium an der Hochschule für Musik Basel 7-9 December 2012, Dissonance vol. 121, Mar 2013, pp. 52-55.
  • Fattorini, Eugenio. Methodo per accordare i Pianoforti. Ricordi, Milano, 1859.
  • Faulhaber, Johann. Ingenieurschul. Frankfurt a.M., 1630.
  • Faulhaber, G. Andreas Werckmeister. 1974.
  • Faulkner, Thomas. The Organ-Builders Assistant. J. Boosey, London, 1823.
  • Faure, Frédéric, Malik Mezzadri and Alexandre Ratchov. "Analyse et jeu musical en tempérament juste adaptatif", Séminaire Mamux, Grégoire Genuys (ed.), IRCAM, Paris, Feb 2015. Also here.
  • Faust, Oliver Cromwell. The Piano-forte Tuner's Pocket Companion. The Faust School of Tuning, Boston, 1899, 1902. Reprint by American Printing House for the Blind, 1982.
  • Faust, Oliver Cromwell. The Theory of Piano Tuning. The Faust School of Tuning, Boston, 1913. Reprint by American Printing House for the Blind, 1980.
  • Faust, Oliver Cromwell. A treatise on the construction, repairing and tuning of the organ, including also the reed organ, the orchestrelle and the player-piano. Tuners Supply Company, Boston, 1949, 246 pages.
  • Fauvel, John; Raymond Flood and Robin Wilson (eds.) Music and Mathematics. From Pythagoras to Fractals. Oxford University Press, Oxford, 2003, 2006, 189 pages.
  • Favaro, John. Slightly Out of Tune: The Story of Musical Temperament. Viareggio, 12 April 2003, WWW, 10 pages.
  • Favilla, Stuart and B. Leather. "Real-time Control of Synthesis Parameters for LightHarp MIDI Controller", Proceedings of the 1997 ACMA Conference, 2011.
  • Fayolle, Fr. Notices sur Corelli, Tartini, Gaviniés, Pugnani et Viotti. Imprimerie Littéraire et Musicale, Paris, 1810, 56 pages.
  • Feaster, C. Raymond. The dynamic scale and how to tune it. Louisville KY, 1958.
  • Feaver, Douglas. "Ancient Greek Music by M.L. West (book review)", The American Journal of Philology vol. 122 no. 3, autumn 2001, pp. 436-440.
  • Federhofer, Hellmut. "Johann Joseph Fux und die gleichschwebende Temperatur", Die Musikforschung vol. 41 no. 1, Jan-May 1988, pp. 9-15. English translation "Johann Joseph Fux and Equal Temperament", Eighteenth-Century Music in Theory and Practice: Essays in Honor of Alfred Mann, M.A. Parker (ed.), Stuyvesant NY, 1994, pp. 119-130.
  • Feeney, M. Patrick, "Dichotic beats of mistuned consonances", Journal of the Acoustical Society of America vol. 102 no. 4, Oct 1997, pp. 2333-2342.
  • Feitosa, Marco. "Partitional Harmony: The Partitioning of Pitch Spaces", MusMat: Brazilian Journal of Music and Mathematics vol. 4 no. 2, Dec 2020, pp. 1-27.
  • Felciano, Richard. In Celebration of Golden Rain. American Gamelan Institute, Hanover NH, 1977.
  • Feldman, Walter (ed.) "Turkish Musical Symbols and the Intonation of Ottoman Music", Paragraph in From Rumi to the Whirling Dervishes, Edinburgh University Press, 2022, 2 pages. Also here.
  • Feldtkeller, Richard and Eberhard Zwicker. "Die Größe der Elementarstufen der Tonhöhenempfindungen und der Lautstärkeempfindung", Acta Acustica vol. 3 sup. 1, 1953, pp. 97-100.
  • Feldtkeller, Richard. "Welche Tonhöhen-Unterschiede kann unser Ohr noch wahrnehmen?", Umschau vol. 61, 1961, pp. 518-521.
  • Feller, Ross. "Christopher Bailey: Immolation Ritual (CD review)", Computer Music Journal vol. 36 no. 1, spring 2012, pp. 86-87.
  • Feller, Ross. "Hubert Howe: Clusters (CD review)", Computer Music Journal vol. 36 no. 4, winter 2012, pp. 99-100.
  • Fend, Michael. "Musiktheoretisches in Francesco Giorgis Idee einer harmonischen Welt", Kongreßbericht Bayreuth 1981, Kassel, 1981.
  • Fend, Michael. "Zarlinos Versuch einer Axiomatisierung der Musiktheorie in den Dimostrationi harmoniche (1571)", Musiktheorie vol. 4 no. 2, 1989, pp. 113-126.
  • Fend, Michael. Gioseffo Zarlino: Theorie des Tonsystems. Das 1. und 2. Buch der Istitutioni harmoniche (1573). PhD diss., TU Berlin, 1983. Series: Europäische Hochschulschriften no. 36:43. Verlag Peter Lang, Frankfurt a.M., 1989, 488 pages.
  • Fend, Michael. "Witnessing a 'Process of Rationalisation'? A Review-Essay of Max Weber's Study on Music", Max Weber Studies vol. 10 no. 1, Jan 2010, pp. 101-120.
  • Feng, James Q. "Music in Terms of Science", arXiv 1209.3767v1, WWW, Sep 2012, 74 pages.
  • Feng, Wenci. "Zhu Zaiyu zhusuan kaifangshu shuping" (Remarks about the evolution by Zhu Zaiyu using the Chinese abacus), Yinyue yanjiu (Music study) no. 4, 1987, (cum. no. 47), pp. 1-9. Reprint in Zhongguo yinyueshixue de huigu yu fansi / Feng Wenci yinyue wenji (Reviews and reflections in Chinese musicology / Essays on music by FENG Wenci), Yinyue lunzhu congshu (Musicological writings series), Shanghai Yinyue Xueyuan Chubanshe, Shanghai, 2005. English translation by Qinru Zhou "The Abacus Extraction used by Zhu Zaiyu for Calculating the Twelve-Tone Equal Temperament", Journal of Music in China vol. 3 no. 2, autumn 2001, pp. 157-178.
  • Fenner, Klaus. "Die Obertonverstimmung und ihre Bedeutung für den Klavierstimmer", Das Musikinstrument und Phono vol. 11, Verlag Das Musikinstrument, Frankfurt a.M., 1960, pp. 550-551.
  • Fenner, Klaus. "Über die Erstellung und Interpretation von Klanganalysen".
  • Fenner, Klaus. "Der Einfluß Der Zeit Auf Die Stimmhaltung Des Klaviersaitendrahtes", Bochinsky, Frankfurt a.M.
  • Fenner, Klaus. "Gute Stimmhaltung--eine Frage des Materials oder der Konstruktion?".
  • Fenner, Klaus. "Ist ein Qualitätsstimmstock wirklich der Hauptfaktor für gute Stimmhaltung?".
  • Fenner, Klaus. "Über Die Ursachen Der Unterschiedlichen Stimmbarkeit Von Klavieren", Vortrag Anläßlich Der Europiano-Studienreise Nach England Juni 1974 in London, Europiano Publications vol. 2. "The causes of variable tuning characteristics of pianos", in German, English and French, Bochinsky, Frankfurt a.M.
  • Fenner, Klaus. "Ursachen der unterschiedlichen Stimmbarkeit von Klavieren", "Causes of variable tuning characteristics of pianos", Das Musikinstrument, Verlag Das Musikinstrument, Frankfurt a.M., 1977, 19 pages.
  • Ferguson, James Smith. A scientific approach to band intonation. Master of Music thesis, University of Michigan, Ann Arbor, 1964, 92 pages.
  • Fernandez, Antonio. Arte de musica de canto dorgam, e canto cham, & proporções de musica divididas harmonicamente. Pedro Craesbeeck, Lisbon, 1626, 126 pages.
  • Fernández, E.H. "Austeridad, sintaxis no-discursiva y microprocesadores en la obra de Coriún Ahoranián", 2004.
  • Fernando-Marandola, Nathalie. "New Perspectives on Interactive Field Experiments", Yearbook for Traditional Music vol. 34, 2002, pp. 163-186.
  • Ferraguto, Mark. "Celebrating the Buxtehude Tercentenary: A Review of New Organ Recordings", Keyboard Perspectives: Yearbook of the Westfield Center for Historical Keyboard Studies vol. 1, 2007, pp. 153-159.
  • Ferrari-Barassi, Elena. "Acustica accordatura e temperamento nell'Illuminismo Veneto (book review)", Nuova Rivista Musicale Italiana vol. 24, no. 3-4, July-Dec 1990, pp. 537-540.
  • Ferreira, Manuel Pedro. Music at Cluny: the tradition of Gregorian chant for the proper of the mass. Melodic variants and microtonal nuances. PhD thesis, Princeton University, Princeton NJ, 1997, 552 pages.
  • Ferreira, Manuel Pedro. "Proportions in Ancient and Medieval Music", Mathematics and Music. A Diderot Mathematical Forum, Gérard Assayag, Hans Georg Feichtinger, José Francisco Rodrigues (eds.), Springer, New York, 2002, pp. 1-25.
  • Ferrer Flores, Rafael. The Role of Timbre in the Memorization of Microtonal Intervals. MA thesis, University of Jyväskylä, Department of Music, Jan 2007, 69 pages.
  • Ferrini, Giovanni Battista. Regola per accordare il cembalo... 17th cent.
  • Ferris, Joan. "The Evolution of Rameau's 'Harmonic Theories'", Journal of Music Theory vol. 3 no. 2, Nov 1959, pp. 231-256.
  • Ferroni, Nicola. "Il sistema regolare a 1/6 comma sintonico, WWW, 2015.
  • Fether, Deborah Carolyn. A Discussion of Contemporary Flute Design and the Issues Surrounding these Developments. MA thesis, Goldsmiths College, University of London, 2005, 109 pages.
  • Fétis, François Josef. Biographie universelle des musiciens et Bibliographie générale de la musique. 8 vols., Firmin Didot frères fils et cie, Brussels, 1835-1844, 1860-1868, 548 pages.
  • Fétis, François Josef. "Esquisse de l'histoire de l'harmonie, considérée comme art et comme science systématique", Revue et gazette musicale de Paris, 1840, pp. 1-77. English translation, Pendragon Press, Stuyvesant NY, 1994, 203 pages.
  • Fétis, François Josef. Traité complet de la théorie et de la pratique de l'harmonie. Au Conservatoire, Bruxelles, 1844. Schlesinger, Paris, 1844, 257 pages. 4th edition, 1849, 278 pages. Brandus et Dufour, Paris, 1867.
  • Fétis, François Josef. Histoire générale de la musique depuis les temps les plus anciens jusqu'a nos jours. Firmin Didot frères, Paris, 1869-1876, 2 vols., 527 pages.
  • Fichet, Laurent. Les théories scientifiques de la musique: XIXème et XXème siècles. J. Vrin, Paris, 1996, 390 pages.
  • Fichet, Laurent. Le langage musical baroque, éléments et structures. Zurfluch, Bourg-La-Reine, 2000, 175 pages.
  • Fickénscher, Arthur. "The 'Polytone' and the Potentialities of a Purer Intonation", The Musical Quarterly vol. 27 no. 3, July 1941, pp. 356-370. Also here.
  • Fickénscher, Arthur. "Polytone Keyboard", United States Patent 2,232,600. 18 Feb 1941.
  • Fiedler, Jörg. Die nicht-temperierte Intonation. MA thesis, Schola Cantorum Basiliensis, Basel, 1990.
  • Fiedler, Jörg. "Dichtung und Wahrheit im Tonsystem des 18. Jahrhunderts: Eine Demontage", Basler Jahrbuch für historische Musikpraxis vol. 15, 1991, pp. 149-182.
  • Field, Anthony. Tuning the Classical Guitar: A Commentary and Guide. MA thesis, University of Melbourne, Melbourne, 2008.
  • Field, J.V. "Ratio and Proportion in the Renaissance", Proportions - Science, Musique, Peinture & Architecture, Sabine Rommevaux, Philippe Vendrix and Vasco Zara (eds.), Brepols Publishers, Turnhout, 2011.
  • Figg, Graham Elliot. Just Intonation and the revitalization of neoclassicism: three works for baroque instruments. MA thesis, University of North Texas, May 2008, 106 pages.
  • Filip, Miroslav. "Sweep-tone effect in mistuned consonances", Musaica vol. 10, 1970, pp. 95-107.
  • Filippi, Filippo. Dell'intonazione. Memoria inédita del signor S. Bruni. S. Bruni (ed.), 1860.
  • Filippi, Filippo. L'accordatura teorico-pratica dei pianoforti. Lettera di Eugenio Fattorini a Giuseppe Canti du Busseto. 1861.
  • Finchum, Hilary. "Tuvan Overtone Singing: Harmonics Out of Place", SAVAIL Working Papers, 2000.
  • Finck, Hermann. Practica musica. Erben Heorg Rhau, Wittenberg, 1556.
  • Finé, Oronce and Pierre Attaignant. Epithoma musice instrumentalis: ad onmimodam hemispherii seu luthine & theoricam et practicam. Paris, 1530. Minkoff, Genève, 1993.
  • Fink, Gottfried Wilhelm. Erste Wanderung der altesten Tonkunst, als Vorgeschichte der Musik oder als erste Periode derselben. G.D. Bäderer, Essen, 1831, 295 pages.
  • Fink, Gottfried Wilhelm (ed.) "Anleitung, die Orgel vermittelst der Stösse (vulgo Schwebungen) und des Metronoms correct gleichschwebend zu stimmen", Allgemeine musikalische Zeitung vol. 36 no. 49, Dec 1834, p. 830.
  • Fink, Gottfried Wilhelm (ed.) "Ueber die Scheibler'sche Erfindung überhaupt und dessen Pianof.- und Orgelstimmung insbesondere von Dr. Joh. Jos. Loehr", Allgemeine Musikalische Zeitung vol. 39 no. 17, Apr 1837, pp. 265-267.
  • Fink, Robert. "The Oldest Song in the World", Archaeologia Musicalis vol. 2 no. 2, 1988, pp. 98-100.
  • Fink, Robert. Neanderthal Flute. Bob Fink, Saskatoon, 1997.
  • Fink, Robert. "A brief description of the natural forces bringing the 'do, re, mi, scale' into existence", The Origin of Music, Greenwich Publishers, Saskatoon, 1997.
  • Finnamore, David J. "5- to 9-tone, octave repeating scales. From Wilson's Golden Horagrams of the scale tree", WWW, 2003.
  • Finnamore, David J. "Explorations of Unusual Musical Tunings, WWW, 2003.
  • Fiore, Giacomo. Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand", Journal of the Society for American Music vol. 6 no. 2, May 2012, pp. 211-237. Also here.
  • Fiore, Giacomo. The Just Intonation Guitar Works of Lou Harrison, James Tenney, and Larry Polansky. PhD thesis, University of California, Santa Cruz, June 2013, 256 pages.
  • Fiore, Giacomo. "Heterophonic tunings in the music of Larry Polansky", Tempo vol. 68 no. 267, Jan 2014, pp. 29-41. Also here.
  • First, David. "The Music of the Sphere: An Investigation into Asymptotic Harmonics, Brainwave Entrainment and the Earth as a Giant Bell", Leonardo Music Journal vol. 13, 2003, pp. 31-37. Also here.
  • Firth, I.M. and Hillary G. Sillitto. "Acoustics of the Highland Bagpipe Chanter and Reed", Acta Acustica vol. 40 no. 5, Jan 1978, pp. 310-315.
  • Fischer, Andrew. "New Releases: Riley and Hykes (CD review)", 1/1 vol. 2 no. 4, 1986, p. 2.
  • Fischer, Andrew. "Scott Wilkinson: Tuning In (book review)", 1/1 vol. 4 no. 4, 1988, p. 2, 13.
  • Fischer, Andrew. "Lou Harrison's Piano Concerto (CD review)", 1/1 vol. 5 no. 1, 1990, p. 2.
  • Fischer, Jack and Hervé Lauret. "Les tempéraments dans l'accord des instruments à claviers", WWW, 2000.
  • Fischer, Jerry Cree. Piano tuning, regulating and repairing: a complete course of self-instruction in the tuning of pianos and organs, for the professional or amateur. Theodore Presser, Philadelphia, 1907, 219 pages. Reprint Piano Tuning: A Simple and Accurate Method for Amateurs, Dover Publications, New York, 1975, 201 pages. Reprint BiblioBazaar, 2008.
  • Fischer, Johan Philip Anbrecht. Kort en grondig Onderwys, van de Transpositie, Beneffens Eenige korte aenmerkingen over de Musiek der Ouden, De onnodigheit van eenige Modis, en het ut, re, mi, Als mede De Subsemitonia, of gesneede klavieren. Waer noch bygevoegt is, eene korte en gemakkelyke Methode, om een klavier gelijk te stemmen. Willem Stouw, Utrecht, 1728, 34 pages.
  • Fischer, Johan Philip Anbrecht. Korte en noodigste grond-regelen van de Bassus Continuus. P. Muntendam, Utrecht, 1731, 52 pages.
  • Fischer, Johan Philip Anbrecht. Verhandeling van de klokken en het klokke-spel; waer in behalve de opkomst van het klokkespel, alles wat omtrent de klokken aenmerkelyk is, als: de stoffe, gewigt, en klank der zelve, mitsgaders de compositie regel voor de ton, en de nodige wetenschap van 't versteeken, wordt voorgestelt; benevens een kort bericht van de outheit, gebruyk, misbruyk, en doopen der klokken, als ook van zogenaamde wonderklokken. Utrecht, 1738. Reprint Asten, 1956, 's-Gravenhage, 1977.
  • Fischer, Matthias. Der Intonationstest: seine Anfänge, seine Ziele, seine Methodik. Europäische Hochschulschriften, Reihe XXXVI, Musikwissenschaft, Verlag Peter Lang, Frankfurt a.M., 1995, 230 pages.
  • Fischer, S. "Tuning each note of the scale", The Strad vol. 120 no. 1432, 2009, pp 66-67.
  • Fischinger, Timo; Klaus Frieler and Jukka Louhivuori. "Influence of virtual room acoustics on choir singing", Psychomusicology: Music, Mind, and Brain vol. 25 no. 3, June 2015, pp. 208-218. Also here.
  • Fishbein, Michael. "A Questionaire for Microtonal Musicians", Interval vol. 3 no. 4, 1982, pp. 18-19.
  • Fisher, Alexander Metcalf. "Essay on musical temperament", The American Journal of Science vol. 1, J. Eastburn and Company, New York, 1818, pp. 9-35, 176-199.
  • Fisher, Fred. "The Yellow Bell of China and the Endless Search", Music Educators Journal vol. 59 no. 8, Apr 1973, pp. 30-33, 95-96, 98.
  • Fisher, Fred and Gerald Edmundson. "Acoustics and the Mesoamerican Calendar", Interdisciplina vol. 1 no. 2, winter 1975, pp. 43-55.
  • Fisher, Fred. "Music and the wheel: The Oedipus story", Interdisciplina vol. 1 no. 3, spring 1976, pp. 38-54.
  • Fisher, Fred. "The Myth of Invariance: The Origin of the Gods, Mathematics and Music from the Rg Veda to Plato by Ernest G. McClain (book review)", The Journal of Aesthetics and Art Criticism vol. 36 no. 1, autumn 1977, pp. 123-124.
  • Fisher, Fred. "Mathematic Techniques in Music History", College Music Symposium vol. 18 no. 2, autumn 1978, pp. 24-33.
  • Fisher, Fred. "Kuttner's 'Great frame': A new hypothesis", Chinese Music vol. 4 no. 3, Sep 1981, pp. 47-50.
  • Fisher, Henry and/or Edward Quincy Norton. The Construction, Tuning, and Care of the Pianoforte. Oliver Ditson & Company, Boston, 1887, 1892.
  • Fjalestad, Olav (ed.) Eivind Groven. Heiderskrift til 70-årsdagen 8. oktober 1971. Noregs boklag, Oslo, 1971, 232 pages.
  • Fleischer, David. "Sounds of Infinity", Connoisseur vol. 213 no. 858, Aug 1983, p. 100 ff.
  • Fleischer, Helmut. Mechanische Eigenschaften von Nylonsaiten für Gitarren. Beiträge zur Vibro- und Psychoakustik vol. 1 no. 9, Helmut Fleischer and Hugo Fastl (eds.), Institut für Mechanik Fakultät für Luft- und Raumfahrttechnik, Universität der Bundeswehr München, Neubiberg, 2009, 91 pages.
  • Fleischhauer, Günter. "Beiträge zur antiken und neueren Musikgeschichte. (Quellen und Studien zur Musikgeschichte von der Antike bis in die Gegenwart, Band 17) by Egert Pöhlmann (book review)", Die Musikforschung vol. 45 no. 4, Oct-Dec 1992, pp. 374-375.
  • Fleischhauer, Günter et al. (eds.) "Stimmungen im 17. und 18. Jahrhundert. Vielfalt oder Konfusion?", 15. Musikinstrumentenbau-Symposium in Michaelstein am 11. und 12. November 1994, Michaelsteiner Konferenzberichte vol. 52, Michaelstein, 1997.
  • Fleisher, Tsippi. "Structural Aspects of My Music as Illustrated in the Tape Work 'The Gown of Night' and the Cantata 'Like Two Branches'", Organised Sound vol. 3, no. 1, Cambridge University Press, 1998, pp. 51-59.
  • Fletcher, Harvey. "Loudness, Pitch and the Timbre of Musical Tones and their Relation to the Intensity, the Frequency and the Overtone Structure", Journal of the Acoustical Society of America vol. 6 no. 2, Oct 1934, pp. 59-69.
  • Fletcher, Harvey. "Normal vibration frequencies of a stiff piano string", Journal of the Acoustical Society of America vol. 36 no. 1, Jan 1964, pp. 203-209.
  • Fletcher, Neville H. and Thomas D. Rossing. The Physics of Musical Instruments. Springer-Verlag, Berlin and New York, 1991. 2nd ed., June 1998, 776 pages. Springer Science & Business Media, May 2008, Nov 2013, 756 pages.
  • Fletcher, Neville H. "Tuning a pentangle, A new musical vibrating element", Applied Acoustics vol. 39 no. 3, 1993, pp. 145-163.
  • Flight, Benjamin. Practical theory and instruction to tune the organ or pianoforte. London, 1818. 3rd edition, Flight and Sons, London, c.1877, 24 pages.
  • Flight, J. Practical tuner for the organ or pianoforte. London, 1830.
  • Flores, Rafael Ferrer. The role of timbre in the memorization of microtonal intervals. MA thesis, University of Jyväskylä, Sep 2007, 68 pages.
  • Florio, Caryl. "Hints to Amateur Violinists", The Musical Amateur, 1880, pp. 130-131.
  • Floros, Constantin; Hans Joachim Marx; Peter Petersen et al. Studien zur Systematischen Musikwissenschaft. Laaber Verlag, Laaber, 1986.
  • Fludd, Robert. Utriusque Cosmi ... metaphysica, physica atque technica Historia, &c.. Oppenheim and Frankfort, 1617-1624. Containing De Musica Mundana. English translation The Temple of Music, Music Theory in Britain, 1500-1700: Critical Editions, Routledge, Ashgate, 28 Dec 2010.
  • Fludd, Robert. Monochordum Mundi Symphoniacum, seu, Replicatio R. F. ... ad apologiam ... J. Kepleri adversus demonstrationem suam analyticam nuperrime editam in qua Robertus validioribus Joannis objectionibus Harmoniæ sum legi repugnantibus, comiter respondere aggreditur. Frankfort, 1622. Reprint in Anatomiæ Amphitheatrum, Frankfort, 1623.
  • Focht, Ivan: "La notion pythagoricienne de la musique: contribution à sa détermination", International Review of the Aesthetics and Sociology of Music, 1972, pp. 161-172.
  • Fogliano, Ludovico. Musica theorica docte simul ac dilucide pertractata, in qua quamplures de harmonicis intervallis: non prius tentatae: continentur speculationes. Io. Antonius et Fratres de Sabio, Venice, 1529.
  • Fokker, Adriaan A. jr. "MICROTON: een 31-toons-computerprogramma voor IBM-PC of compatible", Jaarboek van de Stichting Huygens-Fokker, Haarlem, 1988, pp. 31-35.
  • Fokker, Adriaan Daniël. "Ultrasone trillingen", Archives du Musée Teyler vol. 3 no. 8, 1938, p. 414.
  • Fokker, Adriaan Daniël. "Christiaan Huygens' oktaafdeling in 31 gelijke diëzen" (Christiaan Huygens' octave division in 31 equal dieses), Caecilia en De Muziek vol. 98 no. 15, 1941, pp. 149-152.
  • Fokker, A.D. Harmonische muziek, and Balthasar van der Pol. Muziek en elementaire getallentheorie, lectures Haarlem, Teyler's Museum, 20, 27 December 1941, Reprint from Archives du Musée Teyler vol. 9 no. 5, 1942, pp. 449-540, Martinus Nijhoff, 's-Gravenhage, 1942.
  • Fokker, A.D. "De keuze der muziektonen" (the choice of the musical tones), Caecilia en De Muziek vol. 99, 1942, pp. 25-29.
  • Fokker, A.D. "Grondtoon, gidstoon en hun volledig akkoord" (fundamental tone, guide tone and their complete chord), Caecilia en De Muziekvol. 99, 1942, pp. 72-75.
  • Fokker, A.D. "Vierklanken als getallenkwartetten" (four-tone chords as number quartets), Caecilia en De Muziek vol. 99, 1942, pp. 116-118.
  • Fokker, A.D. "Intervalsnippers en de verdeeling van het octaaf en kwint in even grote delen" (interval shreds and the division of the octave and fifth in parts of equal size), Caecilia en De Muziek vol. 99, 1942, pp. 172-176.
  • Fokker, A.D. "Het muzikale toonstelsel van Christiaan Huygens, de normale diëzenstemming" (the musical tone-system of Christiaan Huygens: the tuning with equal dieses), De Gids vol. 106 no. 2, 1942, pp. 164-171.
  • Fokker, A.D. "Tartini en de zevende harmonische", Caecilia en De Muziek vol. 100, 1943, pp. 78-80. Also in Archives NAG: Publicatie No. 43 van de Geluidstichting, Delft, 1943.
  • Fokker, A.D. and Martin Lürsen. "Radio-uitzending Euler-orgel (audio)", Radio broadcast lecture with music examples (in Dutch), Haarlem, Nov 1945, 30 min., 28 MB.
  • Fokker, A.D. Rekenkundige bespiegeling der muziek. (Arithmetical reflection of music), Noorduijn, Gorinchem, 1945, 228 pages.
  • Fokker, A.D. "On equal temperament" [letter], Physica vol. 11, 1946, pp. 447-448.
  • Fokker, A.D. "Over Cis en Des" (about C sharp and D flat), Mens en Melodie vol. 2 no. 8, Aug 1947, p. 245.
  • Fokker, A.D. Les mathématiques et la musique. Trois conférences. Reprint from Archives du Musée Teyler vol. 10, Martinus Nijhoff, Den Haag, 1947, pp. 1-32.
  • Fokker, A.D. Just intonation and the combination of harmonic diatonic melodic groups. Martinus Nijhoff, Den Haag, 1949, 80 pages.
  • Fokker, A.D. "De middentoonstemming gedemonstreerd", Mens en Melodie vol. 4 no. 5, May 1949, pp. 139-141.
  • Fokker, A.D. and Jan van Dijk. "Expériences musicales avec les genres musicaux de Leonhard Euler contenant la septième harmonique" (musical experiences with Leonhard Euler's musical genera containing the seventh harmonic), Archives du Musée Teyler vol. 10 no. 3, 1951, pp. 133-146.
  • Fokker, A.D. "La gamme, la musique et le tempérament égal", lecture at la Sorbonne, Paris, 15 Jan 1951. Archives du Musée Teyler vol. 10 no. 3, 1951, pp. 147-160.
  • Fokker, A.D. "Les possibilités d'une notation musicale de plus grande précision" (the possibility of a musical notation of much greater precision). Voordracht voor de Nederlandse Vereniging voor Muziekwetenschap, Utrecht, 10 december 1949. Archives du Musée Teyler vol. 10 no. 3, 1951, pp. 161-171.
  • Fokker, A.D. "Les fréquences dans le tempérament égal à trent-et-un cinquièmes de ton" (the frequencies of 31-tone equal temperament), Archives du Musée Teyler vol. 10 no. 3, 1951, p. 172.
  • Fokker, A.D., Jan van Dijk and B.J.A. Pels. Recherches musicales, théoriques et pratiques, Reprint from Archives du Musée Teyler vol. 10, Martinus Nijhoff, Den Haag, 1951, pp. 133-184.
  • Fokker, A.D. "Un orgue à demitons majeurs et mineurs placé au Musée Teyler à Haarlem" (an organ with major and minor semitones situated in the Teylers Museum in Haarlem), Archives du Musée Teyler vol. 10 no. 3, 1951, pp. 182-184.
  • Fokker, A.D. "Les gammes et le tempérament égal", Acta Acustica vol. 1 no. 1, 1951, pp. 29-35.
  • Fokker, A.D. "Toonhoogte en intensiteit" (Pitch and intensity), Mens en Melodie vol. 6 no. 3, Mar 1951, p. 73.
  • Fokker, A.D. "De behoefte aan grotere nauwkeurigheid in de muzikale notatie der toonhoogte" (the need for greater precision in musical pitch notation), Mens en Melodie vol. 8 no. 4, Apr 1953, pp. 114-115.
  • Fokker, A.D. "The qualities of the equal temperament by 31 fifths of a tone in the octave", Report of the Fifth Congress of the International Society for Musical Research, Utrecht 3-7 July 1952. Vereniging voor Nederlandse Muziekgeschiedenis, Amsterdam, 1953, pp. 191-192.
  • Fokker, A.D. "Equal Temperament with 31 Notes", Organ Institute Quarterly vol. 5 no. 4, autumn 1955, p. 41.
  • Fokker, A.D. "Equal temperament and the thirty-one-keyed organ", The Scientific Monthly vol. 81 no. 4, Oct 1955, pp. 161-166. Also here.
  • Fokker, A.D. "Les cinquièmes de ton", Acoustique musicale, Edt. CNRS, Paris, 1959, pp. 29-37.
  • Fokker, A.D. "Optelakkoorden" (Addition chords), Mens en Melodie vol. 15 no. 5, May 1960, p. 145.
  • Fokker, A.D. "Wozu und warum? Fragen zur neuen Musik" (Wither and why? Questions concerning new music), Die Reihe vol. 8, 1962, pp. 62-72.
  • Fokker, A.D. "Genauere Bestimmung der Tonhöhe", Musica vol. 16, 1962, p. 37.
  • Fokker, A.D. "Multiple antanairesis", Oct 1962, Proceedings of the Koninklijke Nederlandse Akademie van Wetenschappen series A, vol. 66, Amsterdam, 1963, pp. 1-6. Also here.
  • Fokker, A.D. "Uitweg uit muzikale impasse", Algemeen Handelsblad, 3 Oct 1963.
  • Fokker, A.D. "Refinement of pitch", Organ Institute Quarterly vol. 10, Andover MA, 1963, pp. 13-14.
  • Fokker, A.D. Oor en Stem. Bundel solfège-oefeningen met harmonischen aan de nagedachtenis van Willem Pijper en Martinus Lürsen. Voor de Stichting Nauwluisterendheid uitgegeven door G. Alsbach & Co., Amsterdam, 1963, 27 pages. Included record (photo), listen side 1, listen side 2 (in Dutch).
  • Fokker, A.D. "Met verjongde oren" (with rejuvenated ears), Mens en Melodie vol. 19 no. 1, Jan 1964, pp. 14-16.
  • Fokker, A.D. "De muzikale ontwikkeling op een tweesprong" (musical development at the crossroads), Publikatie Nederlands Akoestisch Genootschap vol. 7, Sep 1965, pp. 3-7.
  • Fokker, A.D. Neue Musik mit 31 Tönen. Verlag der Gesellschaft zur Förderung der systematischen Musikwissenschaft e.V., Düsseldorf, 1966, 89 pages. English translation New Music with 31 Notes by Leigh Gerdine, Orpheus - Series of Monographs on Basic Questions in Music, vol. 5, Verlag für Systematische Musikwissenschaft, Bonn-Bad Godesberg, 1975, 95 pages.
  • Fokker, A.D. "On the expansion of the musician's realm of harmony", Acta Musicologica vol. 38 fasc. 2/4, Apr-Dec 1966, pp. 197-202, Bärenreiter Verlag, Basel, 1967. Also here.
  • Fokker, A.D. "Selections from the harmonic lattice of perfect fifths and major thirds containing 12, 19, 22, 31, 41 or 53 notes", Proceedings of the KNAW Series B, vol. 71, Amsterdam, 1968, pp. 251-266.
  • Fokker, A.D. "Periodieke herhalingen in het muzikaal harmonische veld" (periodical repeats in the musical-harmonic field), Verslagen van de gewone vergaderingen der afdeling Natuurkunde [van de KNAW] vol. 77 no. 9, Amsterdam, 1968, pp. 140-146.
  • Fokker, A.D. "Unison vectors and periodicity blocks in the three-dimensional (3-5-7-) harmonic lattice of notes", Proceedings of the KNAW Series B, vol. 72, Amsterdam, 1969, pp. 153-168.
  • Fokker, A.D., Hans Kox, Joel Mandelbaum and R.H. Orton. "Report of the Working Committee for Notation (IMS)", Report of the Tenth Congress of the International Musicological Society, Ljubljana, 1967. Bärenreiter, Kassel, 1970, pp. 473-483.
  • Fokker, A.D., Hans Kox, Joel Mandelbaum and R.H. Orton, "Die Notenschrift von 31 Diësen in der Oktave" (The notation of 31 dieses to the octave), Sonorum Speculum vol. 46, Amsterdam, 1971, pp. 31-47.
  • Fokker, A.D. "Acoustical analysis of a peal of thirteen Chinese bells", Proceedings of the KNAW, Series B, vol. 74, 1971, pp. 257-262.
  • Fokker, A.D. "New rational musical scales", Eivind Groven. Heiderskrift til 70-årsdagen 8. oktober 1971, Olav Fjalestad (ed.), Noregs Boklag, Oslo, 1971, pp. 191-204.
  • Fokker, A.D. "Pleasant sequences by addition chords", Acta Acustica vol. 28 no. 1, Jan 1973, pp. 3-4.
  • Fokker, A.D. Ab Ovo. Unpublished collection covering Fokker's life work. Currently in the archives of the Huygens-Fokker Foundation, Amsterdam.
  • Fokker, Jeroen. "De Archifoon: een computerprogramma voor microtonale muziek", Jaarboek van de Stichting Huygens-Fokker, 1988, Haarlem, pp. 37-50.
  • Folkers, Catherine. "Playing in Tune on a Baroque Flute", Traverso vol. 10 no. 1, Jan 1998.
  • Follett, E.A. Construction of Pianos: How to Tune and Repair, Tools and Materials Used and Required. Nunhead, London, c.1906.
  • Fongaard, Bjørn. 24-Toneuniversets Tonale Egenskaper og Dermed Forbundne Musikalske Muligheter. (Machinenschr.) Oslo.
  • Fongaard, Bjørn. N-Toneuniverset: (2/1)^n/12 --> "infinity. Og Dets Egenskaper Som Musikalsk Byggenmateriale. Oslo, 1967.
  • Fongaard, Bjørn. "Of the quarter-tone system and the micro-interval system and their musical characteristics", Nutida musik vol. 3, 1972-1973, pp. 14-21.
  • Fonsèque, Raymond. "Procédé Fonsèque de 24 sons par octave assorti de la notion de 'super-tempérament'", Paris, 1986.
  • Fontenelle, Bernard Le Bouyer de. Sur les systèmes tempérés de musique. Paris, 1730.
  • Fonton, Charles. Der Essai sur la musique orientale von Charles Fonton mit Zeichnungen von Adanson. Eckhard Neubauer (ed.), The Science of Music in Islam vol. 4, Frankfurt a.M., 1999, 324 pages.
  • Fontoura Costa da, Luciano. "Modeling Consonance and its Relationships with Temperament, Harmony, and Electronic Amplification", arXiv 1906.06559, WWW, June 2019, 13 pages.
  • Fontoura Costa da, Luciano and Henrique Ferraz de Arruda. "Syntonets: Toward A Harmony-Inspired General Model of Complex Networks", arXiv 1910.11047, WWW, 2019-2020, 14 pages.
  • Fonville, John. "Ben Johnston's Extended Just Intonation: A Guide For Interpreters", Perspectives of New Music vol. 29 no. 2, summer 1991, pp. 106-137. Also here.
  • Fonville, John. "Harmonic Resources of Extended Just Intonation", 1/1 vol. 7 no. 2, Dec 1991, pp. 1, 4-15.
  • Fonville, John. "Microtonal Fingerings for Flute: A Comprehensive List", Pitch: For the International Microtonalist vol. 1 no. 4, 1990, pp. 37-54.
  • Foote, Edward. "Historical Tunings on the Modern Concert Grand", WWW, 1997.
  • Force, David Robert Stuart. 'A Holding, Uniting-Constant Friend': The Organ in Seventeenth-Century English Domestic Music. PhD thesis, The Open University, Apr 2019, 305 pages.
  • Ford, Mike. "Processes of spectralization: From Josquin's Missa "L'homme armé" Super Voces Musicales to Haas's Tria ex Uno (music review)", Musicologica Olomucensia vol. 22, Dec 2015, pp. 7-23 with Czech abstract.
  • Forkel, Johann Nicolaus (ed.) and Johannes Tinctoris. Allgemeine Litteratur der Musik: oder, Anleitung zur kenntniss musikalischer Bücher, welche von der ältesten bis auf die neusten Zeiten bey den Griechen, Römern und den meisten neuern europäischen Nationen sind geschrieben worden: Systematisch geordnet, und nach Veranlassung mit Anmerkungen und Urtheilen begleitet. Contains a reprint of Tinctoris' Terminorum musicae diffinitiorum, Schwickert, Leipzig, 1792, 540 pages. Also here.
  • Forkert, Annika. "Microtonal Restraint", Journal of the Royal Musical Association vol. 145 no. 1, Cambridge University Press, May 2020, pp. 75-118.
  • Forlin, Gino Robair. How Trees Are Felled in China. Unpublished MA diss., Mills College, Oakland CA, 1988.
  • Formentelli, Bartholomeo. Méthode pour accorder le Piano-Forté. Janet et Cotelle, Paris, 1830.
  • Forrester, Peter S. "Citterns and their Fingerboard", Lute Society Journal vol. 23, 1983, pp. 15-20.
  • Förster, August. Der Viertelton-Flügel. A. Förster Flügel und Pianobriken Löban (Sachen) Georgswalde Tchecoslovaquie, 1925.
  • Forster, Cris. "Chrysalis", Interval vol. 1 no. 1, 1978, pp. 6-8.
  • Forster, Cris. "Harmonic/Melodic Canon IV", Interval vol. 1 no. 2, 1979, pp. 17-19.
  • Forster, Cris. "Introduction to Everything", Xenharmonikôn vol. 7-8, 1986-7, pp. 1-11.
  • Forster, Cris. "Diamond Marimba II", Interval vol. 1 no. 3, 1979, pp. 16-18.
  • Forster, Cris. "Conversion Analysis: Ratio to Cents", Interval vol. 1 no. 3, winter 1979, p. 5.
  • Forster, Cris. "Harry Partch: Ein Bildnis", Für Augen und Ohren, magazine of the Berlin Music Festival, Ulrich Eckhardt (ed.), Berlin, Jan-Feb 1980, pp. 10-13.
  • Forster, Cris. "Descriptions of five original acoustic instruments; and of the Chrysalis Foundation", Making Music, catalog of the California Crafts Museum, Bill Mellentin (ed.), San Francisco, Feb-Apr 1987.
  • Forster, Cris. "Plain String Calculations", Experimental Musical Instruments vol. 5 no. 6, Apr 1990, pp. 10-11.
  • Forster, Cris. "On the physics of musical glasses and marimba bars", Experimental Musical Instruments vol. 6 no. 3, Oct 1990. pp. 4-5.
  • Forster, Cris. "Wound String Calculations", Experimental Musical Instruments vol. 6 no. 3, Oct 1990. pp. 14-17.
  • Forster, Cris. "Just Intonation", WWW, 2002.
  • Forster, Cris. Musical Mathematics. On the Art and Science of Acoustic Instruments. Chronicle Books, San Francisco, July 2010, 944 pages.
  • Förster, H. von, and J. Beauchamp (eds.) Music by Computers. John Wiley and Sons, New York, 1969.
  • Forte, Allen. "Pitch-class Set Genera and the Origin of Modern Harmonic Species", Journal of Music Theory vol. 32 no. 2, autumn 1988, pp. 187-270.
  • Fortlage, Carl. Das musikalische System der Griechen in seiner Urgestalt, aus den Tonleitern des Alypius zum ersten Male entwickelt. Breitkopf und Härtel, Leipzig, 1847, 146 pages. Reprint P. Schippers N.V., Amsterdam, 1964.
  • Fortuin, Harold. "The Clavette", Jaarboek van de Stichting Huygens-Fokker, 1994, Amsterdam, pp. 147-151.
  • Fortuna, Clem. "Composing in Seven Equal & String Quartet in Seven Equal", Xenharmonikôn vol. 13, spring 1991, pp. 77-86.
  • Fortuna, Clem. Microtone Guide. self-published, 1989.
  • Fose, Luanne Eris (ed.) The 'Musica practica' of Bartolomeo Ramos de Pareia: A critical translation and commentary. PhD thesis, Music, University of North Texas, 1992, 538 pages.
  • Foss, Alexander H; Eric L. Altschuler and Karin James. "Neural correlates of the Pythagorean ratio rules", NeuroReport vol. 18 no. 15, Oct 2007, pp. 1521-1525.
  • Foster, P. Le Neve (ed.) "Uniform Musical Pitch", The Journal of the Society of Arts vol. 8 no. 417, 16 Nov 1860, pp. 1-8.
  • Foulds, John Herbert. Music-Today: Its heritage from the Past and Legacy to the Future. Ivor Nicholson and Watson Ltd., London, 1934. Chapter "Quarter-Tones", pp. 59-63.
  • Foulks, Frank. "On the Concept of the Scale", Journal of Philosophical Logic vol. 28 no. 3, June 1999, pp. 235-264.
  • Fourneaux, Napoléon. Instrumentologie: traité théorique et pratique de l'accord des instruments a sons fixes, l'harmonium, l'orgue a tuyaux et le piano, contenant une théorie complète du tempérament musical et des battlements. Repos, Paris, 1867, 295 pages.
  • Fournier, Guillaume. "Perception des intervalles harmoniques et apprentissage perceptuel", revue musicale oicrm vol. 4 no. 1, May 2017, pp. 17-43.
  • Fowler, Helen. "The Natural Scale (?)", Computer Music Journal vol. 10 no. 1, spring 1986, pp. 8-10.
  • Fox, Charles Warren. "Genesis of a Music by Harry Partch (book review)", Notes, Second Series vol. 6 no. 4, Sep 1949, pp. 621-622.
  • Fox, Charles Warren. "Zur Psychologie der Ton- und Klangeigenschaften (Unter Berücksichtigung der 'Zweikomponententheorie' und der Vokalsystematik) by Gerhard Albersheim. Der Toncharakter: eine Einführung in die Tonpsychologie by Jacques Handschin (book reviews)", Journal of the American Musicological Society vol. 2 no. 3, autumn 1949, pp. 175-179.
  • Fox, Christopher. "The Cambridge History of American Music by David Nicholls. Composing a World by Lou Harrison, Leta E. Miller, Fredric Lieberman. Harry Partch by Bob Gilmore (book reviews)", The Musical Times vol. 140 no. 1868, autumn 1999, pp. 57-58, 60-62.
  • Fox, Christopher. "Temperaments, tonalities and microtonalities: an introduction", Contemporary Music Review vol. 22 no. 1-2, Mar-June 2003, pp. 1-2.
  • Fox, Christopher. "Hybrid temperaments and structural harmony: a personal history", Contemporary Music Review vol. 22 no. 1-2, Mar-June 2003, pp. 123-139.
  • Fox, Christopher (ed.) Microtones and Microtonalities. Routledge, an imprint of Taylor & Francis, Abingdon, 2003, 142 pages.
  • Fox-Strangways, Arthur Henry. "The Hindu Scale", Sammelbände der internationalen Musikgesellschaft vol. 9 no. 4, Leipzig, July-Sep 1908, pp. 449-511.
  • Fox-Strangways, Arthur Henry. The Music of Hindostan. The Clarendon Press, Oxford, 1914, 376 pages. Reprint Oxford University Press, Oxford, 1965. Oriental Books Reprint Co./Munshiram Manoharlal, New Delhi, 1975. Kanishka Publishing House, Delhi, 1989.
  • Fox-Strangways, Arthur Henry. "The Pipes of Pan", Music & Letters vol. 10 no. 1, Jan 1929, pp. 58-64.
  • Fox-Strangways, Arthur Henry. "The Gândhâra Grâma", Journal of the Royal Asiatic Society, 1935, pp. 689-696.
  • Framjee, Firoze. Text book of Indian music (theory & practice): useful alike to the scholars of both northern (Hindustani) as well as southern (Carnatic) music. Sakhi Prakashan, Hathras (Aligarh), 1936, Poona, 1938, 1986, 1991, 144 pages.
  • Francis, John Charles. "The Keyboard Temperament of J.S. Bach", WWW, July 2004-2017. Music examples, Feedback part 1, part 2, part 3.
  • Francis, John Charles. "The Esoteric Keyboard Temperaments of J.S. Bach", EUNOMIOS Journal, Feb 2005, 49 pages.
  • Francis, John Charles. "Das Wohltemperirte Clavier. Pitch, Tuning and Temperament Design", WWW, July 2005.
  • Francis, John Charles. "Bradley Lehman: 'Bach's extraordinary temperament: our Rosetta Stone 1' (article review)", 2005, 7 pages.
  • Francis, John Charles. "Comparison of Werckmeister's Correct No. 1 (Werckmeister III) with BACH R12-2", 2005, 4 pages.
  • Francis, John Charles, "Friedrich Suppig's Diagrammatic Tunings", WWW, Mar 2006, 20 pages.
  • Francis, John Charles. "Tuning Interpretation of Bach's 1722 Seal as Beats Per Second", WWW, 2006, 7 pages.
  • Francis, John Charles. "Bach's Well Tempered Tuning", WWW, Feb 2011, 3 pages.
  • Francoeur, Louis-Benjamin. "Accordeur de Forte-Pianos, de Guitarre, d'Orgue, etc.", Dictionnair Technologique ou Nouveau Dictionnaire Universel des Arts et Métiers, et de l'Économie Industrille et Comerciale, par une Société de Savans et d'Artistes, Thomine, Paris, 1826.
  • Frandsen, Lars. Livsløgnen og drømmen om det fuldkomne. Om anvendelsen af ren stemning i forbindelse med det sædvanlige 12-tonige klaviatur, med udgangspunkt i Eivind Grovens renstemte orgel. Aalborg Universitet, 1995.
  • Frank, Heather Elizabeth. The relationship between singing intonation and string playing intonation in beginning violin and viola students. Michigan State University, 2006, 94 pages.
  • Franklin, Don O. "Bach's Keyboard Music in the 1730s and 1740s: Organs and Harpsichords, Hildebrandt and Neidhardt", Early Keyboard Studies Newsletter vol. 6 no. 1, Oct 1991, pp. 1-6, 12-14.
  • Franklin, John Curtis. "Musical Syncretism and the Greek Orientalizing Period", Archäologie früher Klangerzeugung und Tonordnungen, E. Hickmann and R. Eichmann (eds.), Serie Studien zur Musikarchäologie, Orient-Archäologie vol. 3, Rahden, 2002, pp. 441-451.
  • Franklin, John Curtis. "Diatonic Music in Greece: a Reassessment of its Antiquity", Mnemosyne, fourth series vol. 55 no. 6, 2002, pp. 669-702.
  • Franklin, John Curtis. Terpander: The Invention of Music in the Orientalizing Period. PhD diss., University College London, 2002, Oxford University Press, Oxford, 2004.
  • Franklin, John Curtis. "Hearing Greek Microtones" (with CD selections), Ancient Greek Music in Performance, Stefan Hagel and Ch. Harrauer (eds.), Wiener Studien Beiheft 29, Vienna, 2005, pp. 9-50. From a paper and audio-demonstration with Virtual Lyre delivered at Performing Ancient Greek Music Today, Österreichische Akademie der Wissenschaften, Vienna, 29 Sep - 1 Oct, 2003.
  • Franklin, John Curtis. "Realizations in Ancient Greek Music: Beyond the Fragments" (with CD selections), in E. Hickmann, R. Eichmann, A.A. Both (eds.), Serie Studien zur Musikarchäologie 6, Rahden, 2008.
  • Franklin, John Curtis. "Ancient Greek Music: a New Technical History by S. Hagel (book review)", The Journal of Hellenic Studies vol. 131, 2011, pp. 228-229.
  • Franklin, John Curtis. "QUAESTIO ERRORUM PLENA: Nicomachus' Account of Pythagoras, Philolaus, and the Archaic Heptachord", Giornale italiano di filologia vol. 71, 2019, pp. 9-38.
  • Franklin, John Curtis. The Middle Muse: Mesopotamian Echoes in Archaic Greek Music. Oxford University Press, to be published.
  • Franks, Daniel Zachariah. An Approach to Music. KeArt Music Philosophy, Witwatersrand, 2014.
  • Franssen, N.V. and C.J. v.d. Peet. "Digitale toonopwekking voor een transponerend elektronisch klavierinstrument", Philips Technisch Tijdschrift vol. 31, 1970, pp. 369-390, with grammophone record.
  • Fransson, Frans, Johan Sundberg and Per Tjernlund. "The scale in played music", Svensk tidskrift för musikforskning vol. 56 no. 1, 1974, pp. 49-54.
  • Frantz, Glen. "Composing in scaleless space", 1/1 vol. 4 no. 1, 1988, San Francisco, pp. 8-10.
  • Frantz, Glen. "A Scaleless Sequencer", 1/1 vol. 6 no. 3, summer 1990, pp. 4-5, 14.
  • Frazer, Peter A. A Software Engineering Approach to the Development of a Computer Music System. MSc thesis, University of Manchester, 1996.
  • Frazer, Peter A. "The Development of Musical Tuning Systems", WWW, Apr 2001, Apr 2015.
  • Freeman, Alan Dean. The Construction and Validation of a Scale of Band Intonation. Phd diss., University of Illinois, 1991, 182 pages.
  • Freeman, Robin. "Tanmatras: The life and work of Giacinto Scelsi", Tempo New Series no. 176, Mar 1991, pp. 8-18.
  • Freire, Ricardo Dourado. "Como será que eu afino? A relação entre sistemas de afinação e parâmetros de afinação na performance musical", Revista Música Hodie, Goiânia vol. 16 no. 2, June 2016, pp. 133-144.
  • Freire, Ricardo Dourado. "Utilização da série harmônica e da série sub-harmônica como recurso pedagógico em aulas de percepção musical e solfejo", Publicado nos Anais do SIMCAM vol. 12, 2016, UFRGS, 8 pages.
  • Freire, Ricardo Dourado. "Relações de afinação na produção de notas resultantes de acordo com os sistemas de Afinação Igual, Pitagórico e Justo, Percepta vol. 4 no. 2, Associação Brasileira de Cognição e Artes Musicais, June 2017, pp. 79-94.
  • Freis, Wolfgang. "Perfecting the Perfect Instrument. Fray Juan Bermudo on the Tuning and Temperament of the 'vihuela de mano'", Early Music vol. 23 no. 3, Aug 1995, pp. 421-435.
  • French, Frank. "Owen Jorgensen on Temperament", WWW, 2004.
  • French, Frank. "Is Equal Temperament Better?", WWW, Sep 2011.
  • French, Frank. "Tempermental Discussions", WWW, Dec 2013.
  • Friberg, Anders and Johan Sundberg. "Just noticeable difference in duration, pitch, and sound level in a musical context", Proceedings from the 3rd International Conference for Music Perception and Cognition, Irène Deliege (ed.), European Society for the Cognitive Sciences of Music, Liège, 1994, pp. 339-340.
  • Friberg, Anders; Roberto Bresin and Johan Sundberg. "Overview of the KTH rule system for musical performance", Advances in Cognitive Psychology vol. 2 no. 2-3, July 2006, pp. 145-161. Also here.
  • Friberg, Jöran. "Seven-Sided Star Figures and Tuning Algorithms in Mesopotamian, Greek and Islamic Texts", Archiv für Orientforschung vol. 52, 2011, pp. 121-155.
  • Fricke, Jobst Peter. Über subjektive Differenztöne höchster hörbarer Töne und des angrenzenden Ultraschalls im musikalischen Hören. PhD thesis, Universität Köln, Kölner Beiträge zur Musikforschung, Band 16, Gustav Bosse Verlag, Regensburg, 1960, 148 pages.
  • Fricke, Jobst Peter. "Die Innenstimmung der Naturtonreihe und der Klänge", Festschrift für Karl Gustav Fellerer, Regensburg, 1962.
  • Fricke, Jobst Peter. Intonation und musikalisches Hören. Habilitationsschrift Köln, 1968. epOs-Musik, Osnabrück, 2012, 226 pages.
  • Fricke, Jobst Peter. "Die Relativität optimaler Intervallgrößen", Bericht über den musikwissenschaftlichen Kongreß Bonn 1970, Carl Dahlhaus et al. (eds.), Bärenreiter, Kassel, 1973, pp. 397-400.
  • Fricke, Jobst Peter. "Moderne Ansätze in Mengolis Hörtheorie", Festschrift für Karl Gustav Fellerer, H. Hüschen (ed.), Arno Volk, Köln, 1973, pp. 117-125.
  • Fricke, Jobst Peter. "Mikrotonale Klangbildungen - Identifikation und Systemfähigkeit", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 165-184.
  • Fricke, Jobst Peter. "Überlegungen zur Durchsetzung des Prinzips der Gleichteilung vor Werckmeister: Pietro Mengolis Temperatur- und Toleranzberechnungen", Bericht über das Werckmeister-Kolloquium, Kultur- und Forschungsstätte Michaelstein, Michaelstein/Blankenburg, 1986, pp. 22-39.
  • Fricke, Jobst Peter. "Klangbreite und Tonempfindung: Bedingungen kategorialer Wahrnehmung aufgrund experimenteller Untersuchung der Intonation", Musikpsychologie. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie Bd. 5: Empirische Forschungen - Ästhetische Experimente, Noetzel, Wilhelmshaven, 1988, pp. 67-87.
  • Fricke, Jobst Peter. "Die Bedeutung der Mikrointervalle im Wandel der Zeiten und Kulturen", Mikrotöne IV, Bericht über das 4. Internationale Symposion "Mikrotonforschung" 1991 in Salzburg, Horst-Peter Hesse (ed.), Filmkunst-Musikverlag, München, 1993, pp. 221-250.
  • Fricke, Jobst Peter. "Hörerfahrungen mit mikrotonaler Musik", Mikrotöne IV, Filmkunst-Musikverlag, München, 1993, pp. 163-175.
  • Fricke, Jobst Peter. "Pitch bending und das Harmonium als Reininstrument. Mit einem Verzeichnis der Reininstrumente und deren Beschreibung", Harmonium und Handharmonika. 20. Musikinstrumenten-Symposium, Michaelstein, 19. bis 21. November 1999, Monika Lustig (ed.), Michaelsteiner Konferenzberichte vol. 62, Stiftung Kloster Michaelstein, Blankenburg, 2002, pp. 105-116.
  • Fricke, Jobst Peter. "Classification of perceived musical intervals", Classification - The ubiquitous challenge, C. Weihs and W. Gaul W (eds.), Springer, Berlin, 2005, pp. 585-592.
  • Fricke, Jobst Peter. "Neuronale Koinzidenz mit Unschärfe löst das Problem unbefriedigender Konsonanztheorien", Musikpsychologie. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie Band 20, Musikalisches Gedächtnis und musikalisches Lernen, Wolfgang Auhagen; C. Bullerjahn and H. Höge (eds.), Hogrefe, Göttingen, 2009.
  • Fricke, Jobst Peter. "The Recognition of Consonance Is not Impaired by Intonation Deviations: A Revised Theory", chapter in Studies in Classification, Data Analysis, and Knowledge Organization, Springer, Berlin, Jan 2012, pp. 383-391. Also here.
  • Friedlander, Ed. "The Ancient Musical Modes: What Were They?", WWW, 2000.
  • Friedman, Ronald S.; W. Trammell Neill; George A. Seror and Abigail L. Kleinsmith. "Average Pitch Height and Perceived Emotional Expression Within an Unconventional Tuning System", Music Perception vol. 35 no. 4, Apr 2018, pp. 518-523.
  • Friedrich, Ernst. Über das Stimmen von Cembalo, Spinett, Clavichord und Klavier. Schriftenreihe Das Musikinstrument, M. Bochinsky (ed.), Verlag Das Musikinstrument, Frankfurt a.M., 1971, 5th ed. 2002, 47 pages.
  • Friedrich, Siegfried. Zu Funktion und Wirkung gradueller Tonhöhenänderungen in J.S. Bachs 'Das Wohltemperierte Klavier' I und II sowie F. Schuberts 'Die schöne Müllerin'. Böhlau Verlag, Vienna, Apr 2016, 548 pages.
  • Fripertinger, Harald. Untersuchung über die Anzahl verschiedener Intervalle, Akkorde, Tonreihen und anderer musikalischer Objekte in n-Ton Musik. MA thesis, Hochschule für Musik und Darstellende Kunst, Graz, 1991.
  • Fripertinger, Harald. "Enumeration in Musical Theory", Séminaire Lotharingien de Combinatoire vol. 26, 1991, pp. 29-42. Also in Beiträge zur Elektronischen Musik vol. 1, Institut für Elektronische Musik und Akustik, Graz, Jan 1993. Also here BEM 1, 1996.
  • Frisch, Uwe. "En torno a Julián Carrillo", Diálogos: Artes, Letras, Ciencias humanas vol. 20 no. 5 (119), Sep-Oct 1984, pp. 18-25.
  • Fritsch, Ingrid. "Zur Geschichte der Tonsysteme Japans", Analysen von Solo-Honkyoku der Tozan-Schule, Studien zur traditionellen Musik Japans, Band 4, Bärenreiter Verlag, Kassel, 1979, pp. 47-69.
  • Fritsch, Johannes. Die Tonalität des Harry Partch. Feedback Papers vol. 14, Feedback Studio Verlag, Köln, 1977, pp. 17-21.
  • Fritsch, Johannes. "Allgemeine Harmonik, Tonsysteme, Mikrotonalität: ein geschichtlicher Überblick", Orientierungen: Wege im Pluralismus der Gegenwartsmusik, Jörn Peter Hiekel (ed.), Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt vol. 47, Schott Musik International, Mainz, 2007, pp. 107-122.
  • Fritz, Barthold. Anweisung, wie man Claviere, Clavecins, und Orgeln, nach einer mechanischen Art, in allen Zwölf Tönen gleich rein stimmen könne. Leipzig, 1756, 1780, 1829. Also here. Dutch translation Onderwys, om Op eene Tuigwerkelyke wyze Clavieren, Clavecimbels, en Orgels, In alle 24 Toonen even zuiver te Stemmen, Op dat daar uit Zo wel de Major als Minor welluidend gespeeld kan worden. Uit het Hoogduits vertaald door H. van Evervelt (ed.), en voorzien met eenige Aanmerkingen, J.J. Hummel, Amsterdam, 1757, 36 pages. Microfiche, Inter Documentation, Zug, 1976.
  • Fritz, K. von. "Mathematiker und Akusmatiker bei den alten Pythagoreern", Sitzungsberichte der Bayrische Akademie der Wissenschaften, 1960, p. 2.
  • Froger, Jacques. "Les pretendus quarts de ton dans le chant grégorien et les symboles du ms H. 159 de Montpellier", Études grégoriennes vol. 17, 1978, pp. 145-179.
  • Fröhlich, Norbert and Pierre Funck. "Wählt die Tonart die Musik? Wie die Stimmung eines Tasteninstruments die Komposition beeinflusst", Klang: Wundertüte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), Britta Giesecke von Bergh; Volker Helbing; Sebastian Knappe and Sören Sönksen (eds.), Hannover, 2016, pp. 503-523. Also here.
  • Frosch, Johannes. Rerum musicarum opusculum rarum ac insigne, totius eius negotii rationem mira industria et brevitate complectens, iam recens publicatum. Peter Schoeffer and Mathias Apiarius, Strasbourg, 1535.
  • Frosch, Reinhart. Mitteltönig ist schöner! Studien über Stimmungen von Musikinstrumenten. Verlag Peter Lang, Bern/Wien, 1993, 1996, 276 pages. English translation Meantone is Beautiful! Studies on Tunings of Musical Instruments, Peter Lang, Bern, 2002, 254 pages.
  • Frosch, Reinhart. Musical Consonance and Cochlear Mechanics. Vdf Hochschulverlag AG, Zürich, Oct 2012, 224 pages.
  • Frost, Thomas P. "A matter of records (record review)", Organ Institute Quarterly vol. 5 no. 3, summer 1955, pp. 41-43.
  • Frosztega, Alexander J. Friedrich Wilhelm Marpurg and musical temperament in late eighteenth-century Germany. PhD diss., Universiteit Utrecht, 1999.
  • Frova, Andrea. Fisica nella musica. Zanichelli, Bologna, 1999, 576 pages.
  • Frusi, Luciano. "La doppia intonazione dell' intervallo di terza minore", Rivista internazionale di musica sacra vol. 7 no. 4, 1986, pp. 372-381.
  • Frutolfus of Michelsberg. Breviarium de musica et Tonarius. 12th century. P. Cölestin Vivell (ed.), Sitzungsberichte vol. 188, Akademie der Wissenschaften in Wien, Vienna, 1919, pp. 26-113.
  • Frye, Royal Merrill and Esther Watson Tipple. A Graphic Introduction to the Harmon. and Data Supplement to a Graphic Introduction to the Harmon. self-published, Boston, 1942. (Library of Congress catalogue numbers ML 3809 .T 56 G 7 and ML 3809 .T 557)
  • Fuchs, Helmut. "Klavierstimmung und akustische Forschung", Das Musikinstrument und Phono vol. 2, Verlag Das Musikinstrument, Frankfurt a.M., 1964, pp. 151-153.
  • Fuertes, Sorino. "Tratado de musica de Al-Farabi", Musica arabe-española, Barcelona, 1853.
  • Fugiel, Boguslaw. "Waveform Circularity from Added Sawtooth and Square Wave Acoustical Signals", Music Perception: An Interdisciplinary Journal vol. 28 no. 4, Apr 2011, pp. 415-424.
  • Fujii, Kaneharu. "Method of any device for automatically and instantaneously shifting a musical scale of a piano to another musical scale", Journal of the Acoustical Society of America vol. 93 no. 1, Jan 1993, p. 594.
  • Fujiwara, Kazuhiro. "Über die musiktheoretischen und philosophischen Grundlagen der Temperaturtheorie Andreas Werckmeisters", Conference Report Stuttgart 1995, 1998, pp. 153-164.
  • Fuller, Ramon. "A Structuralist Approach to the Diatonic Scale", Journal of Music Theory vol. 19 no. 2, autumn 1975, pp. 182-210.
  • Fuller, Ramon. "A Study of Microtonal Equal Temperaments", Journal of Music Theory vol. 35 no. 1-2, Duke University Press, spring-autumn 1991, pp. 211-237.
  • Fuller-Maitland, J.A. "Of Defects in Musical Instruments and Their Value", The Musical Quarterly vol. 6 no. 1, Jan 1920, pp. 91-97.
  • Fuller-Maitland, J.A. "Tonic-Sol-Fa; Pro and Con", The Musical Quarterly vol. 7, 1921, pp. 68-72.
  • Funk, Christlieb Benedict. De sono et tono disserit et nobilissimos doctissimossoqve liberalivm artivm et philosophiae cvotores .... Langenhemiorvm haered. et Klavberthiis, Leipzig, 1779, 16 pages.
  • Funk, Christlieb Benedict. Disquisitionem in doctrinam de sono et tono continvat et ad celebrandam in avdiotorio philosophico memoriam. Henricianam, Ridelianam et Seyfertianam. ex officina Klavbarthis, Leipzig, 1782, 8 pages.
  • Funke, Otto. Das Klavier Und Seine Pflege; Theorie Und Praxis Des Klavierstimmens. Verlag von Baensch Druckerei, Dresden, 1940, 78 pages. Verlag das Musikinstrument, Frankfurt a.M., 1958. PPV Medien GmbH, 1984, 2004.
  • Funke, Otto. Das Intonieren von Pianos und Flügeln mit Besonderer Berücksichtigung der Beziehungen von Hammerkopf, Resonanzboden, Saitenbezug und so weiter zur Intonation. Otto Krause, Berlin, 1953. Das Musikinstrument Series vol. 21, Frankfurt am Main, 1977, 55 pages.
  • Furer, Samuel. Musikalität natürlich oder künstlich?. Kommissionsverlag Müller & Schade, Bern, 1949, 88 pages.
  • Furio, Angelo (da Todi). Armonica cultura.... Ms Musica F.5, libretto secondo : 'Della regola da osservarsi nell'accordo degli strumenti', 17th-18th cent., pp. 90-100.
  • Fürniss, Susanne. "The pentatonic musical system of the Aka Pygmies of Central Africa", ESCOM-Newsletter vol. 4, European Society for the Cognitive Sciences of Music, 1993, pp. 26-32.
  • Fux, Johann Joseph. Gradus ad Parnassum. Book I, Johannes Petrus Van Ghelen, Vienna, 1725, 280 pages. German translation Gradus ad Parnassum, oder Anführung zur regelmäßigen musicalischen Composition by Lorenz Mizler, Mizlerischen Bücherverlag, Leipzig, 1742, 250 pages. Reprint Georg Olms Verlag, Hildesheim, 1974. English translation Steps to Parnassus: the study of counterpoint by Alfred Mann (ed.), W.W. Norton & Co., New York, 1943.
  • Fyda, Mary Catherine. Perception and internal representation of musical intervals. East Lansing MI, 1975, 51 pages.
  • Fyk, Janina. "Tolerance of intonation deviation in melodic intervals in listeners of different musical training", Archives of Acoustics vol. 7 no. 1, Warsaw, 1982, pp. 13-28.
  • Fyk, Janina. "Perception of mistuned intervals in melodic context", Psychology of Music vol. 213, special edition, 1982, pp. 36-41.
  • Fyk, Janina. "Duration of Tones Required for Satisfactory Precision of Pitch Matching", Bulletin of the Council for Research in Music Education no. 91, Eleventh International Seminar on Research in Music Education, spring 1987, pp. 38-44.
  • Fyk, Janina. Melodic intonation, psychoacoustics, and the violin. Organon Publishing House, Zielona Góra, 1995, 273 pages.
  • Fyk, Janina. "Intonation", The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, Richard Parncutt and McPherson (eds.), Oxford University Press, New York, 2002, pp. 183-197.

- G -

- H -

  • Ha, J. "Teaching intonation in violin playing: A study of expert string teaching", Australian Journal of Music Education vol. 2 no. 1, 2015, pp. 224-236.
  • Haack, Joel K. "The Mathematics of the Just Intonation Used in the Music of Terry Riley", Bridges: Mathematical Connections in Art, Music, and Science, Winfield, 30 July-1 August 1999, pp. 101-110.
  • Haack, Paul A. "Audition Preferences of Trained and Untrained Ears on Hearing Melodic and Harmonic Intervals when Tuned in Just Intonation or Pythagorean Ratios by Howell Pierre Branning (book review)", Bulletin of the Council for Research in Music Education no. 23, winter 1971, pp. 29-32.
  • Haack, Paul A. "Pitch Preference Determination, a Comparative Study of Tuning Preferences of Musicians from the Major Performing Areas with Reference to Just Intonation, Pythagorean Tuning and Equal Temperament by Jack Ulness Sisson (book review)", Bulletin of the Council for Research in Music Education no. 38, summer 1974, pp. 29-34.
  • Haacke, Walter. "Theorie und Praxis des Orgelpfeifenklanges. Intonieren und Stimmen (book review)", Musik und Kirche vol. 46 no. 4, 1976, pp. 192-194.
  • Haacke, Walter. "Bemerkungen aus der Spielpraxis zur Stimmungsfrage der Zither", Die Volksmusik vol. 41 no. 4-6, 1986, pp. 2-5.
  • Haapamäki, Sampo. "A wonderworld of quarter-tones", Finnish Music Quarterly, column, 29 Sep 2014.
  • Haar, James. "False Relations and Chromaticism in Sixteenth-Century Music", Journal of the American Musicological Society vol. 30 no. 3, autumn 1977, pp. 391-418.
  • Haas, Bernhard. "Über Mikrotonalität und Vieltönigkeit, oder: Wie die Musik von Bach bis Wagner das Hören und Denken der vielen Töne beeinflusst hat", Mikrotonalität - Praxis und Utopie, Cordula Pätzold and Caspar Johannes Walter (eds.), Schott, Mainz, 2014, pp. 136-152.
  • Haas, Georg-Friedrich. "...die freie Auswahl des Tonmaterials... Anmerkungen zu Alois Hábas frühen mikrotonalen Kompositionen", Musikalische Gestaltung im Spannungsfeld von Chaos und Ordnung, Otto Kolleritsch (ed.), Universal Edition, Wien, 1991, pp. 168-186.
  • Haas, Georg-Friedrich. "Arc-en-ciel, opus 37. Ivan Wyschnegradskys behutsame Annäherung an das Zwölfteltonintervall", Mikrotöne IV, Musikedition Nymphenburg 2001, München, 1993, pp. 79-92.
  • Haas, Georg-Friedrich. "Die Verwirklichung einer Utopie: Ultrachromatik und nicht-oktavierende Tonräume in Ivan Wyschnegradskys mikrotonalen Kompositionen", Harmonie im 20. Jahrhundert, Claus Ganter (ed.), WUV-Universitätsverlag, Wien, 1993, pp. 87-100.
  • Haas, Georg-Friedrich. "Charles Delusse: Air à la Grecque", Ton 4/96-1/97. IGNM, Wien, 1997.
  • Haas, Georg-Friedrich. "Fünf Thesen zur Mikrotonalität", Positionen vol. 48, 2001, pp. 42-44.
  • Haas, Georg Friedrich. "Mikrotonalität und spektrale Musik seit 1980", Orientierungen: Wege im Pluralismus der Gegenwartsmusik, Jörn Peter Hiekel (ed.), Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt vol. 47, Schott Musik International, Mainz, 2007, pp. 123-129.
  • Haase, Rudolf. "J.H. Scheibler und seine Bedeutung für die Akustik", Beiträge zur Musik im Rhein-Maas-Raum vol. 19, 1957, pp. 57-63.
  • Haase, Rudolf. Leibniz und die Musik - Ein Beitrag zur Geschichte der Harmonikalen Symbolik. Hommerich, 1963.
  • Haase, Rudolf. Grundlagen der harmonikalen Symbolik. ORA, München, 1966, 106 pages.
  • Haase, Rudolf. Hans Kayser - Ein Leben für die Harmonik der Welt. Schwabe & Co., Stuttgart, Basel, 1968, 144 pages.
  • Haase, Rudolf. Die harmonikalen Wurzeln der Musik. Verlag Elisabeth Lafite, Wien, 1969, 80 pages.
  • Haase, Rudolf. Geschichte des harmonikalen Pythagoreismus. Publikationen der Wiener Musikakademie no. 3, Verlag Elisabeth Lafite, Wien, 1969, 184 pages. e-publication, 2009.
  • Haase, Rudolf. "Die 12 'Halbtöne'", Musikerziehung vol. 25 no. 4, Wien, 1972.
  • Haase, Rudolf. "Paul Hindemiths harmonikale Quellen - sein Briefwechsel mit Hans Kayser", Beiträge zur harmonikalen Grundlagenforschung vol. 5, Verlag Lafite, Wien, 1973.
  • Haase, Rudolf. "Keplers Weltharmonik in Vergangenheit, Gegenwart und Zukunft", Sudhoffs Archiv vol. 57 no. 1, Franz Steiner Verlag, Wiesbaden, 1973, pp. 41-70.
  • Haase, Rudolf. "Gehördisposition und griechische Skalen", Festschrift Karl Gustav Fellerer zum 70. Geburtstag, Arno-Volk-Verlag, Köln, 1973.
  • Haase, Rudolf. "Leibniz und die Harmonikale Tradition", Akten des II. internationalen Leiniz-Kongresses Hannover Bd. 1, Wiesbaden, 1973.
  • Haase, Rudolf. "Hermann Bahr und das harmonikale Denken", Österreichische Musikzeitschrift vol. 31 no. 3, Mar 1976, p. 158.
  • Haase, Rudolf. "Die Herkunft musikalischer Grundlagen aus dem Gehör. Eine Morphologie der Intervalle", Musik und Zahl, Verlag für systematische Musikwissenschaft, Bonn-Bad Godesberg, 1976.
  • Haase, Rudolf. Der meßbare Einklang. Grundzüge einer empirischen Weltharmonik. Ernst Klett-Verlag, Stuttgart, 1976, 143 pages. Klett-Cotta, June 2002.
  • Haase, Rudolf. Über das disponierte Gehör. Doblinger, Wien/München, 1977, 52 pages.
  • Haase, Rudolf. "Korrespondenten von G.W. Leibniz, III: Conrad Henfling", Studia Leibnitiana vol. 9 no. 1, Wiesbaden, 1977, pp. 111-119.
  • Haase, Rudolf. Zehn Jahre Institut für harmonikale Grundlagenforschung. Beiträge zur harmonikalen Grundlagenforschung Band 10, Verlag Lafite, Wien, 1977, 42 pages.
  • Haase, Rudolf. Harmonikale Synthese. Beiträge zur harmonikalen Grundlagenforschung Band 12, Verlag Lafite, Wien, 1980, 96 pages.
  • Haase, Rudolf (ed.) Der Briefwechsel zwischen Leibniz und Conrad Henfling. Ein Beitrag zur Musiktheorie des 17. Jahrhunderts. Veröffentlichungen des Leibniz-Archivs vol. 9, Vittorio Klostermann, Frankfurt a.M., 1982, 155 pages.
  • Haase, Rudolf. Aufsätze zur Geschichte der Harmonik. Bern, 1984.
  • Haase, Rudolf. Natur-Geist-Seele, Harmonik und Metaphysik des quadratischen und des runden Lambdoma. Braumüller, Wien, 1985.
  • Haase, Rudolf. "Harmonikale Grundlagenforschung", Acta Musicologica vol. 58 fasc. 2, July-Dec 1986, pp. 282-304.
  • Haase, Rudolf. "Gehördisposition und ekmelische Intervalle", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 151-164.
  • Haase, Rudolf. Zwanzig Jahre Hans-Kayser-Institut für harmonikale Grundlagenforschung. Schriften über Harmonik Nr. 17, Synergia, Bern, July 1988, 68 pages.
  • Haase, Rudolf. Keplers Weltharmonik heute. PARAM-Verlag, Ahlerstedt, 1989, Heinrich Hugendubel, 1997, 139 pages.
  • Haase, Rudolf. Johannes Keplers Weltharmonik: Der Mensch im Geflecht von Musik, Mathematik und Astronomie. Kösel-Verlag, Jan 1998, 155 pages. Diederichs Verlag, München, 1998.
  • Haase, Ursula. Der Briefwechsel Hans Kaysers. Beiträge zur harmonikalen Grundlagenforschung Band 4, Verlag Lafite, Wien, 1973, 72 pages.
  • Hába, Alois. "Die harmonikalen Grundlagen des Vierteltonsystems", Melos vol. 3, 1922, pp. 201-205. English translation "Harmonic Principles of the Quarter-tone System".
  • Hába, Alois. Von der Psychologie der musikalischen Gestaltung, Gesetzmäßigkeit der Tonbewegung und Grundlagen eines neuen Musikstils. Verlag Universal-Edition, Wien, 1924. Czech version O psychologii tvoreni, pohybove zakonitosti tonove a zakladech noveho hudebniho slohu. Prague, 1925.
  • Hába, Alois. "Grundlagen der Tondifferenzierung und der neuen Stilmöglichkeiten in der Musik", Von neuen Musik. Beiträge zur Erkenntnis der neuzeitlichen Tonkunst, Marcan, Köln, 1925, pp. 52-58.
  • Hába, Alois. "Welche Aufgaben bietet die Vierteltonmusik der Musikwissenschaft?", Bericht über den I. Musikwiss. Kongreß der deutschen Musikgesellschaft in Leipzig vom 4 bis 8 Juni 1925, Leipzig 1926, reissued Wiesbaden, 1969.
  • Hába, Alois. "Over Kwart-tonen-muziek" (concerning quarter-tone music), De Muziek vol. 2, Amsterdam, 1927, pp. 109-118.
  • Hába, Alois. Harmonické základy ctvrttónové soustavy. German translation by the author Neue Harmonielehre des diatonischen, chromatischen Viertel-, Drittel-, Sechstel- und Zwölftel-tonsystems, Fr. Kistner & C.F.W. Siegel, Leipzig, 1927. Universal, Wien, 1978. Revised by Erich Steinhard, Grundfragen der mikrotonalen Musik, Bd. 3, Musikedition Nymphenburg 2001, Filmkunst-Musikverlag, München, 1979, 251 pages. New edition by Horst-Peter Hesse (ed.), 2 vols. Praktischer Teil, 192 pages & Theoretischer Teil, 576 pages, Books on Demand, Norderstedt, 2007-2008. English translation with annotations by Suzette Mary Battan, University of Rochester, 1980, 366 pages. Spanish translation with foreword by Ramón Barce Nuevo tratado de armonía de los sistemos diatónico, cromático, de cuartos, de tercios, de sextos y de doceavos de tono, Real Musical S.A., Madrid, 1984. Italian translation by Otto C. Reppert and Edilio Frassoni Principi armonici del sistema a quarti di tono, Devega, Milano, 1984.
  • Hába, Alois. "Flügel und Klavier der Vierteltonmusik", Die Musik vol. 21, 1928, pp. 201-202.
  • Hába, Alois. "Casellas Scarlattiana - Vierteltonmusik und Musikstil der Freiheit", Anbruch no. 9-10, Universal-Ed., Vienna, 1929, pp. 331-334.
  • Hába, Alois. "Meine Vierteltonoper Die Mutter", Anbruch, Vienna, 1931.
  • Hába, Alois. "Jeronimas Kacinskas, pirmas ketvirtiniu tonu muzikos lietuviu kompozitorius [Jeronimas Kacinskas, First Lithuanian Composer of Quarter-Tone Music]", Muzikos barai no. 1, 1931, pp. 2-6.
  • Hába, Alois. "Arabu muzikos kongresas Kaire [Congress of Arab Music in Cairo]", Muzikos barai no. 7-8, 1932, pp. 114-115.
  • Hába, Alois. "Dvi J. Kacinsko kompozicijos statomos Prahoj ir Münchene [Two Compositions by J. Kacinskas will be Performed in Prague and Munich]", Muzikos barai no. 9, 1932, p. 131.
  • Hába, Alois. "Schönberg und die weiteren Möglichkeiten der Musikentwicklung", Arnold Schönberg zum 60. Geburtstag, 13. September 1934, Berlin, 1934, pp. 15-17.
  • Hába, Alois. "Quelques réflexions sur l'interprétation des bases théoriques de la musique à quarts et à sixièmes de ton", La revue musicale, juin-juillet 1937, pp. 92-95.
  • Hába, Alois. Mein Weg zur Viertel- und Sechsteltonmusik. Gesellschaft zur Förderung der systematischen Musikwissenschaft, Düsseldorf, 1971, 125 pages. Filmkunst Musikverlag, München, 1986.
  • Hába, Alois. Grundlagen der Harmonik in mikrotonaler Musik. Edition Helbling, Innsbruck, 1989, 144 pages.
  • Hába, Alois. "Muj lidsky a umelecky vyvoj", Sborník k zivotu a dílu skladatele. Jirí Vyslouzil (ed.), Nakladatelství; "Lipa", Vizovice, 1993, p. 50.
  • Habens, W.J. "On the Musical Scale", Proceedings of the Musical Association vol. 16, Nov 1889, pp. 1-23. Also here.
  • Hackbarth, Glenn Allen. An Analysis of Harry Partch's Daphne of the Dunes. DMA thesis, University of Illinois, Champaign-Urbana, 1979.
  • Hackleman, Jay Scott. "Some Details Concerning the 19-Tone Clavichord", Xenharmonikôn vol. 5, spring 1976, 2 pages.
  • Hackleman, Jay Scott. "The Hackleman-Wilson 19-Tone Clavichord", paper at Microfest 2001.
  • Hadrava, Michal and Jaroslav Hlinka. "A Dynamical Systems Approach to Spectral Music: Modeling the Role of Roughness and Inharmonicity in Perception of Musical Tension", Frontiers in Applied Mathematics and Statistics vol. 6, June 2020, pp. 1-14.
  • Haeberli, Jörg. "Twelve Nasca panpipes: a study", Ethnomusicology vol. 23 no. 1, Jan 1979, pp. 57-74.
  • Haefer, J. Richard. "Bagpipes and Tunings by Theodor H. Podnos (book review)", Journal of the American Musical Instrument Society vol. 2, 1976, pp. 102-103.
  • Haenen, Greta. "J. Sauveur: Collected writings on musical acoustics (book review)", Musica Antiqua vol. 4 no. 4, 1987, p. 160.
  • Haenen, Greta. "Een zuiver gestemd clavecimbel aan het hof te Düsseldorf", Musica Antiqua vol. 5 no. 3, 1988, pp. 105-109.
  • Haenen, Greta. "Louis Peter Grijp - P. Scheepers: Van Aristoxenos tot Stockhausen (book review)", Musica Antiqua vol. 8 no. 2, 1991, p. 89.
  • Haenen, Greta. "M. L. West: Ancient Greek Music (book review)", Musica Antiqua vol. 12 no. 1, 1995, p. 38.
  • Haenen, Greta. "Ibo Ortgies: 'Die Praxis der Orgelstimmung in Norddeutschland im 17. und 18. Jahrhundert und ihr Verhältnis zur zeitgenössischen Musikpraxis' (book review)", Svensk tidskrift för musikforskning, 2005.
  • Hafenreffer, Samuel. Monochordon symbolico-biomanticum obstructissimum pulsum doctrinam, ex harmonicis musicis dilucide, figurisque oculariter demonstrans, de causis et prognosticis inde promulgandis fideliter instruens, et jucunde per medicam praxin resonans. Ulm, 1640.
  • Hafer, Howard W. "A study in equal temperament; an original, new and practical method of laying the bearings", Tribune printing company, Bay City TX, c.1940.
  • Hafner, Everett. "The Forty-Eight Revisited in Thirty-One", Well Tempered Notes, Nov 1974, Motorola Scalatron Inc.
  • Hagee, Michael William. An integrated-circuit piano tuner for the equal-tempered keyboard employing a tuneable fixed-coefficient digital filter. Management Information Services, Detroit MI, 1969, 94 pages.
  • Hagel, Stefan. Modulation in altgriechischer Musik. Antike Melodien im Licht antiker Musiktheorie. PhD diss., Classical Philology, Austrian Academy of Sciences, Vienna, 1999, Quellen und Studien zur Musikgeschichte von der Antike bis zur Gegenwart vol. 38, Michael von Albrecht (ed.), Peter Lang, Vienna, Jan 2000, 194 pages.
  • Hagel, Stefan and Christine Harrauer (eds.) "Ancient Greek Music in Performance", Ancient Greek Music in Performance, Wiener Studien Beiheft vol. 29, Verlag der ÖAW, Vienna, Jan 2005, pp. 9-50.
  • Hagel, Stefan. "Twenty-four in auloi. Aristotle, Met. 1093b, the harmony of the spheres, and the formation of the Perfect System", Ancient Greek Music in Performance, Stefan Hagel and Christine Harrauer (eds.), Wiener Studien Beiheft vol. 29, Verlag der ÖAW, Vienna, Jan 2005, pp. 51-92.
  • Hagel, Stefan. "Is nîd qabli Dorian? Tuning and modality in Greek and Hurrian music", Baghdader Mitteilungen vol. 36, Jan 2005, pp. 287-348. Also here.
  • Hagel, Stefan. "Didymos des Musikers epimorischer Epizentrismus", Ad maiorem dei gloriam, W. Lukaseder and J. Huemer (eds.), Jan 2006, pp. 162-169.
  • Hagel, Stefan. "Re-evaluating the Pompeii auloi", The Journal of Hellenic Studies vol. 128, Nov 2008, pp. 52-71. Italian translation "Interpretando i quattro famosi auloi da Pompei", 2nd Annual Meeting of MOISA, Jan 2009.
  • Hagel, Stefan. Ancient Greek Music: a new Technical History. Cambridge University Press, Cambridge, 2009. Also here.
  • Hagel, Stefan. "Andrew Barker: The Science of Harmonics in Classical Greece (book review)", Classical Philology vol. 104 no. 2, Apr 2009, pp. 243-248.
  • Hagel, Stefan. "The Pompeii Auloi Improved Data and a Hitherto Unknown Mechanism", Studien zur Musikarchäologie vol. 8, Jan 2012, pp. 103-114.
  • Hagel, Stefan. Aulos and Harp: Questions of Pitch and Tonality", Greek and Roman Musical Studies vol. 1 no. 1, Jan 2013, pp. 151-171.
  • Hagel, Stefan. Better understanding the Louvre Aulos", Studien zur Musikarchäologie vol. 9, Jan 2014, pp. 131-142.
  • Hagel, Stefan. "'Leading notes' in ancient Near Eastern and Greek music and their relation to instrument design", Studien zur Musikarchäologie X, Papers from the 9th Symposium of the International Study Group on Music Archaeology at the Ethnological Museum, State Museums Berlin, 9-12 Sep 2014, Ricardo Eichmann; Lars-Christian Koch and Fang Jianjun (eds.), Verlag Marie Leidorf GmbH, Rahden, Jan 2016, pp. 133-150.
  • Hagel, Stefan. "David Creese: The Monochord in Ancient Greek Harmonic Science (book review)", Aestimatio vol. 9, Dec 2015, pp. 337-351.
  • Hagel, Stefan. "Music and Harmonic Theory", Oxford Handbook of Science and Medicine in the Classical World, Paul Keyser and John Scarborough (eds.), Oxford Handbooks, Jan 2018, pp. 445-461.
  • Hagel, Stefan. "Reconstructing the Auloi from Queen Amanishakheto's Pyramid", Studien zur Musikarchäologie vol. 11, Nov 2019, pp. 177-197.
  • Hageman, S.A. "A Just Intonation Piano", The American Journal of Science vol. 11 no. 63, Mar 1901, pp. 224-229.
  • Hagenow, C.F. "The equal tempered musical scale", American Journal of Physics vol. 2 no. 3, Sep 1934, pp. 81-84.
  • Hagerman, B. and Johan Sundberg. "Fundamental frequency adjustment in barbershop singing", Speech Transmission Laboratory: Quarterly Progress and Status Report vol. 21 no. 1, Apr 1980, pp. 28-42. Reprint in Journal of Research in Singing vol. 4 no. 1, Dec 1980, pp. 3-17.
  • Hagleitner, Michael. "Modality and Diversity in Cretan Music", IMS-RASMB, Series Musicologica Balcanica vol. 1 no. 1, 2020, pp. 87-107.
  • Hahn, Albert. "Das Verhältnis der Wissenschaft zur Musik", Niederrheinische Musikzeitung vol. 13 no. 40, L. Bischoff (ed.), Cologne, 7 Oct 1865, pp. 313-316.
  • Hahn, Kathrin and Oliver Vitouch. "Preference for musical tuning systems: How cognitive anatomy interacts with cultural shaping", Proceedings of the 7th International Conference on Music Perception and Cognition, C. Stevens; D. Burnham; G. McPherson; E. Schubert and J. Renwick (eds.), Sydney, 2002, Causal Productions, Adelaide.
  • Hahn, Paul. "An Interesting Result in the Theory of Well-Temperaments", WWW, 1996.
  • Hähnel, Tilo. "Commentary on 'Microtonal Analysis of 'Blue Notes' and the Blues Scale' by Court B. Cutting", Empirical Musicology Review vol. 13 no. 1-2, 2019, pp. 100-102. Also here.
  • Haigh, Richard. "The 'Apental' Piano", Galpin Society Journal vol. 58, May 2005, pp. 173-183, 230-231.
  • Hailpairn, Lydia. "The Key to Character", Clavier, Oct 1972, pp. 38-40.
  • Hair, Graham; Douglas McGilvray; Nicholas Bailey and Ingrid Pearson. "Tools for Expert Musicians for Practising and Rehearsing Microtonal Music", Proceedings DMRN+1, University of London Queen Mary College, London, Dec 2006.
  • Hair, Graham and Ingrid E. Pearson. "The Rosegarden Codicil: Rehearsing music in nineteen-tone equal temperament", Scottish Music Review vol. 1 no. 1, 2007, pp. 99-126.
  • Hajdu, Georg. "Harmonische Energie - Motor bei der Evolution 'relevanter' Tonsysteme", Feedback Papers vol. 35, 1989, pp. 1-35.
  • Hajdu, Georg. "17 Tones", Proceedings of the International Computer Music Conference, San Jose CA, 1992, pp. 449-450.
  • Hajdu, Georg. "Low Energy and Equal Spacing; the Multifactorial Evolution of Tuning Systems", Interface vol. 22 no. 4, 1993, pp. 319-333.
  • Hajdu, Georg. "Harmonische Energie - Motor bei der Evolution 'relevanter' Tonsysteme", Feedback Papers vol. 35, Feedback Studio Verlag, Köln, pp. 1-25.
  • Hajdu, Georg. "Wege zu einer neuen Harmonielehre", Zeitschrift der Hochschule für Musik Detmold, summer 1997, pp. 2-5.
  • Hajdu, Georg. "Die Domestizierung des Zufalls Klarenz Barlows Computerprogramm AUTOBUSK", WWW, 2002.
  • Hajdu, Georg. "Überlegungen zu einer neuen Theorie der Harmonie", Mikrotöne und mehr, Manfred Stahnke (ed.), Schriftenreihe: Musik und. Band 8. Hanns-Werner Heister and Wolfgang Hochstein (eds.), Weidler Verlag, Berlin, 2005, pp. 165-187.
  • Hajdu, Georg. "Quintet.net: An Environment for Composing and Performing Music on the Internet", Leonardo Music Journal vol. 38 no. 1, Feb 2005, pp. 23-30.
  • Hajdu, Georg and Nick Didkovsky. "MaxScore - Current State of the Art", Proceedings of the International Computer Music Conference, Ljubljana, 2012, 7 pages.
  • Hajdu, Georg. "Dynamic Notation - A Solution to the Conundrum of Non-Standard Music Practice", Proceeding of the First International Conference on Technologies for Music Notation and Representation, Paris, May 2015, 8 pages.
  • Hajdu, Georg. "Resurrecting a Dinosaur - The Adaption of Clarence Barlow's Legacy Software AUTOBUSK", Proceeding of the Second International Conference on Technologies for Music Notation and Representation, Cambridge, 2016, 6 pages.
  • Hajdu, Georg and Nick Didkovsky. "MaxScore: Recent Developments", Proceedings of the 4th International Conference on Technologies for Music Notation and Representation, Concordia University, Montréal, May 2018, pp. 138-146.
  • Haken, Lippold; Ed Tellman and Patrick Wolfe. "An Indiscrete Music Keyboard", Computer Music Journal vol. 22 no. 1, spring 1998, pp. 30-48.
  • Hakvoort, Johannes. "Stemming en samenspel", WWW, Aug 2007, 19 pages.
  • Halbreich, Harry. "Wyschnegradsky, l'anachorète", Le monde de la musique vol. 77, Apr 1985.
  • Halewood, Michael. "On equal temperament: Tuning, modernity and compromise", History of the Human Sciences vol. 28 no. 3, Feb 2015, pp. 3-21.
  • Halfpenny, Eric. "Diderot's Tunings for the Violin Family", Galpin Society Journal vol. 27, May 1974, pp. 15-20.
  • Hall, Donald E. "The Objective Measurement of Goodness-of-fit for Tunings and Temperaments", Journal of Music Theory vol. 17 no. 2, autumn 1973, pp. 274-290.
  • Hall, Donald E. "Quantitative Evaluation of Musical Scale Tunings", American Journal of Physics vol. 42 no. 7, July 1974, pp. 543-552.
  • Hall, Donald E. "Is unequal temperament coming back for pipe organs?", Journal of the Acoustical Society of America vol. 66, 1979, p. S68.
  • Hall, Donald E. Musical Acoustics: an Introduction. Brooks/Cole Publishing Company, 1980, 2nd ed. 1991, 475 pages.
  • Hall, Donald E. and Joan Taylor Hess. "Perception of Musical Interval Tuning", Music Perception vol. 2 no. 2, winter 1984, pp. 166-195.
  • Hall, Donald E. "A Systematic Evaluation of Equal Temperaments Through N=612", Interface vol. 14 no. 1-2, 1985, pp. 61-73.
  • Hall, Donald E. "Acoustical Numerology and Lucky Equal Temperaments", American Journal of Physics vol. 56 no. 4, Apr 1988, pp. 329-333.
  • Hall, Donald E. "Ross Duffin: How Equal Temperament Ruined Harmony (and Why You Should Care) (book review)", Journal of the Acoustical Society of America vol. 121 no. 5, May 2007, p. 2473.
  • Hall, Rachel Wells and Kresimir Josic. "The Mathematics of Musical Instruments", American Mathematical Monthly vol. 108 no. 4, Apr 2001, pp. 347-357. Also here.
  • Hall, Rachel Wells. The Sound of Numbers. A Tour of Mathematical Music Theory. Mathemathics course, Department of Mathematics and Computer Science, Saint Joseph's University, Philadelphia, 2007.
  • Hall, Rachel Wells. "The Math Behind the Music by Leon Harkleroad (book review)", Journal of Mathematics and the Arts vol. 1 no. 2, 2007, pp. 143-145.
  • Hall, W.E. "A Short Sudy in Acoustics Relative to Equal Temperament", The Tuners' Magazine, Sumner L. Bales, Cincinnati OH, Aug 1914, 22 pages.
  • Halldórsson, Pétur. "Pattern of Settlements paced from 1 to 9", thesis in Music and deep memory - A book; In memoriam Ernest G. McClain, Iconea Publications, Bryan Carr and Richard Dumbrill (eds.), London, 2018, pp. 51-60.
  • Halle, Johann Samuel. Die Kunst des Orgelbaues: Theoretisch und praktisch beschrieben. Brandenburg, Halle, 1779, 218 pages. Reprint Ulan Press, Aug 2012.
  • Hällström, Gustav Gabriel. "Von den Combinationstönen", Annalen der Physik vol. 100 no. 3, J.C. Poggendorff (ed.), VCH Verlag GmbH & Co., Weinheim, 1832, pp. 438-466.
  • Halperin, Tamar. "The Ongoing Quest for Bach's Temperament", The Juilliard Journal Online vol. 24 no. 6, WWW, Mar 2009.
  • Halsey, G.D. and Edwin Hewitt. "More on the superparticular ratios in music", American Mathematical Monthly vol. 79 no. 10, Dec 1972, pp. 1096-1100.
  • Haluska, Ján. "On two algorithms in music acoustics", Extracta Mathematicae vol. 12 no. 3, 1997, pp. 243-250.
  • Haluska, Ján. "Diatonic scales summary", Proc. of 7th IFSA Prague, June 25-29, 1997, ia, vol. 4, Prague, 1997, pp. 320-322.
  • Haluska, Ján. "On fuzzy coding of information in music", BUSEFAL vol. 69, 1997, pp. 37-42.
  • Haluska, Ján. "Uncertainty and tuning in music", Tatra Mountains Mathematical Publications vol. 12, 1997, pp. 113-129.
  • Haluska, Ján. "Comma 32805 / 32768", International Journal of Uncertainty, Fuzziness and Knowledge-Based Systems vol. 6 no. 3. 1998, pp. 295-305.
  • Haluska, Ján. "On numbers 256/243, 25/24, 16/15", Tatra Mountains Mathematical Publications vol. 14, 1998, pp. 145-151.
  • Haluska, Ján. "Searching the frontier of the Pythagorean system", Tatra Mountains Mathematical Publications vol. 16, 1999, pp. 273-282.
  • Haluska, Ján and Beloslav Riecan. "On a lattice of tetrachords", Tatra Mountains Mathematical Publications vol. 16, 1999, pp. 283-294.
  • Haluska, Ján and Beloslav Riecan. "Segmentation on the pitch level: the frontier of the Pythagorean system", Österreichische Computer Geselschaft vol. 133, Diderot Forum on Mathematics and Music, Vienna, 1999, pp. 205-211.
  • Haluska, Ján. "Equal Temperament and Pythagorean Tuning: a geometrical interpretation in the plane", Fuzzy Sets and Systems vol. 114 no. 2, 2000, pp. 261-269.
  • Haluska, Ján. "The Petzval's Theory of Tone Systems", Ambiguity and Music, Ján Haluska (ed.), Polygrafia, Bratislava, 2000, pp. 7-17.
  • Haluska, Ján. "Uncertainty measures of well tempered systems", International Journal of General Systems vol. 31 no. 1, 2002, pp. 73-96.
  • Haluska, Ján. "Unimodular matrices and diatonic scales", Proceedings of the 2nd International Conference on Understanding and creating music, Caserta, 21-25 Nov 2002, 15 pages.
  • Haluska, Ján. "Weber-Fechner's law, uncertainty, and Pythagorean system", Proceedings of the 11th Scientific Conference, Zilina, November 17-19, 2003, IEDIS, Zilina, 2003, pp. 47-50.
  • Haluska, Ján. The Mathematical Theory of Tone Systems. Pure and Applied Mathematics Series vol. 262, Marcel Dekker - Ister Science, New York/Basel/Bratislava, 2003, 410 pages.
  • Haluska, Ján; Ondrej Hutník and Tomás Mihály. "On a diophantine equation derived from the theory of meantone systems", Proceedings of Transcom 2005, the 6th. European Conf. of Young Researchers and Science Workers in Transport and telecommunications, Zilina, 27-29 June 2005, vol. 9, 2005, pp. 79-82.
  • Haluska, Ján; Ondrej Hutník and Tomás Mihály. "Biscale of Josef Rut", Proc. of Transcom 2005, The 6th European Conf. of Young Researchers and Science Workers in Transport and telecommunications, Zilina, 27-29 June 2005, vol. 9, 2005, pp. 83-86.
  • Halusková, E. "Comma sequences", Ambiguity and Music, Ján Haluska (ed.), Polygrafia, Bratislava, 2000, pp. 1-5.
  • Hambitzer, Gerald. "Temperatur", Bachs Orchestermusik, S. Rampe and D. Sackmann (eds.), Bärenreiter, Kassel, 2000, pp. 318-322.
  • Hamerman, Warren J. "The Musicality of Living Processes", 21st Century Science & Technology vol. 2 no. 2, Mar/Apr 1989.
  • Hamilton, Elsie. The Modes of Ancient Greece. 1953, 20 pages.
  • Hamilton, James Alexander. Hamilton's practical introduction to the Art of tuning the Piano-Forte; written for the use of persons desirous of tuning their own instruments, with a mathematical demonstration of the theory of Equal Temperament ... a list of authors who have written on temperament ... also ... instructions for the maintenance and preservation of the pianoforte. Robert Cocks & Co., London, c.1830, 1844. 6th ed. greatly enlarged and improved by Joseph Warren (ed.), 1853.
  • Hamilton, James Alexander. Practical Introduction to the Art Of Tuning The Pianoforte. 6th edition, Robert Cocks & Co., London, 1853, 1858, 84 pages.
  • Hamilton, John. "Dual Temperament at Stanford", The Musical Times vol. 129 no. 1741, Mar 1988, pp. 153, 155.
  • Hammer-Purgstall. Literatur der arabischen und persischen Musik. Vienna, 1839.
  • Hammett, Jean Claire. Quantitative Analysis of Five Temperaments. Honors thesis, Tulane University, 1978.
  • Hammond, Frederick (ed.) Walteri Odington Summa de speculatione musicae. Corpus scriptorum de musica, vol. 14, American Institute of Musicology, 1970, 159 pages.
  • Hammond, Frederick. "Musical instruments at the Medici court in the mid-seventeenth century", 1975.
  • Hammond, Frederick. "Acustica accordatura e temperamento nell'Illuminismo Veneto: con scritti inediti di Alessandro Barca, Giordano Riccati e altri autori by Patrizio Barbieri (book review)", Music & letters vol. 71 no. 3, Aug 1990, pp. 383-384.
  • Hammond, Laurens. "Patent for the Electric Organ", USA patent no. 1.956.350, 24 April 1934, sheet 18.
  • Han, Mei. The emergence of the Chinese zheng: traditional context, contemporary evolution, and cultural identity. PhD thesis, University of British Columbia, Vancouver, May 2013, 292 pages.
  • Hand, Ferdinand. Ästhetik der Tonkunst. Eduard Eisenach, Leipzig, 1847.
  • Händel, Georg Friedrich. Twelve Voluntaries and Fugues for the Organ or Harpsichord with Rules for Tuning by the celebrated Mr. Händel, Book IV. Longman and Broderip, London, c.1780.
  • Handschin, Jacques S. "Akustisches aus Russland", Gedenkboek aangeboden aan Dr. D.F. Scheurleer op zijn 70sten verjaardag, Martinus Nijhoff, 's-Gravenhage, 1925, pp. 143-157.
  • Handschin, Jacques S. "Review of Ariel's Das Relativitätsprinzip der Musikalische Harmonie, Band I: Die Gesetze der inneren Tonbewegungen, das evolutionäre Temperierungsverfahren und das 19 stufiges Tonsystem", Zeitschrift für Musikwissenschaft vol. 8, 1926, pp. 579-583.
  • Handschin, Jacques S. "Über reine Harmonie und temperierte Tonleitern", Schweizerisches Jahrbuch für Musikwissenschaft vol. 2, 1927, pp. 145-166.
  • Handschin, Jacques S. "Ein mittelalterlicher Beitrag zur Lehre der Sphärenharmonie", Zeitschrift für Musikwissenschaft vol. 9 no. 4, 1927.
  • Handschin, Jacques S. "The Greek Aulos, a Study of Its Mechanism and of Its Relation to the Modal System of Ancient Greek Music, Followed by a Survey of the Greek Harmoniai in Survival or Rebirth in Folk-Music by Kathleen Schlesinger (book review)", Acta Musicologica vol. 20, 1948, pp. 60-62.
  • Handschin, Jacques S. Der Toncharakter. Eine Einführung in die Tonpsychologie. Atlantis Verlag, Zürich, 1948, 452 pages. wbg Academic in Wissenschaftliche Buchgesellschaft, 1995.
  • Handschin, Jacques S. "Anselmi's Treatise on Music Annotated by Gafori", Musica Disciplina vol. 2 fasc. 1/2, 1948, pp. 123-140.
  • Handschin, Jacques S. "The 'Timaeus' Scale", Musica Disciplina vol. 4 fasc. 1, 1950, pp. 3-42.
  • Handschin, Jacques S. "Music in Java by J. Kunst; Around von Hornbostel's Theory of the Cycle of Blown Fifths by J. Kunst (book reviews)", Acta Musicologica vol. 22 fasc. 3/4, Jul-Dec 1950, pp. 156-171.
  • Hanel, Reinhard. "Die elektronische Feinstufenorgel", Ekmelische Musik, Edition Helbling, Innsbruck, 1983.
  • Hansen, Curtis. "Tuning the Choir", Music Educators Journal vol. 51 no. 2, Nov-Dec 1964, pp. 85-89.
  • Hansen, Finn Egeland. The grammar of Gregorian tonality : an investigation based on the repertory in codex H 159, Montpellier. Studier og publikationer fra Musikvidenskabeligt Institut, Aarhus Universitet. English translation by Shirley Larsen, Dan Fog, Copenhagen, 1979, 2 vols.
  • Hansen, Finn Egeland. "Ren stämmning under renässansen och i Per Nørgårds musik", Nutida musik/Contemporary music vol. 31 no. 3, 1987-1988, pp. 43-46.
  • Hansen Atria, Vicente. Contrafactual Archaeology: A Model for Inter-idiomatic Composition in 'Orlando Furioso'. PhD thesis, Columbia University, New York, 2022, 174 pages.
  • Hansen, Uwe J. "Robert Young's contributions to musical acoustics", Journal of the Acoustical Society of America vol. 116 no. 4, Oct 2004, p. 2564.
  • Hanson, Howard. Harmonic Materials of Modern Music: Resources of the Tempered Scale. Appleton-Century-Crofts, New York, Jan 1960, 381 pages.
  • Hanson, Larry. "Development of a 53-Tone Keyboard Layout", Xenharmonikôn vol. 12, 1989, pp. 69-87.
  • Hanson, Larry. "A 34-equal guitar", Experimental Musical Instruments vol. 9, Dec 1993, p. 39.
  • Hanson, Larry. "A 34 tone scale and the starr-switch grid with Hanson's 15 rank keyboard applied to the 72 (hebdomekontany), 53, and 34, tone scales", 1994.
  • Hanson, Larry. "34-ET Notation System Based on Major and Minor Thirds", Xenharmonikôn vol. 17, spring 1998, pp. 9-11.
  • Hänzer, Walter. Die Naturseptime im Kunstwerk. Büchler, Bern, 1926, 116 pages.
  • Harajda, H. and Janina Fyk. "The perceptibility of mistuned melodic intervals by school children", Archives of Acoustics vol. 6 no. 4, Warsaw, 1981, pp. 371-384.
  • Harasek, Richard J. "A New Look at the Partch Monophonic Fabric", Xenharmonikôn vol. 3, 1975.
  • Harasek, Richard J. "On This Thing Called Scalatron", Xenharmonikôn vol. 3, 1975.
  • Harasek, Richard J. "Well Tempered Notes", Xenharmonikôn vol. 3, 1975.
  • Harbison, John. "Ben Johnston: a tribute by John Harbison", American Academy of Arts and Letters, WWW, Feb 2021.
  • Hardegree, Gary. Scales in Music. Thesis, University of Massachusetts, Amherst MA, 2000, 26 pages.
  • Harder, August. Leichter und fasslicher Unterricht das Pianoforte zu stimmen. Leipzig, 1822, 1829.
  • Hardouin, Pierre. "Working Hypothesis for a History of the Tierce", 1970.
  • Harenberg, Michael. "Der gespielte Algorithmus: Convert (your) Ego. Eine algorithmische Komposition zum Forschungsprojekt CLEX der Hochschule der Künste Bern HKB", Arts in Context - Kunst, Forschung, Gesellschaft, Thomas Gartmann and Christian Pauli (eds.), transcript-Verlag, Bielefeld, 2020, pp. 132-139.
  • Harkleroad, Leon. The Math Behind the Music. Cambridge University Press, Cambridge, 2006, 158 pages plus audio CD.
  • Harkleroad, Leon. "Tuning with Triangles", The College Mathematics Journal vol. 39 no. 5, Nov 2008, pp. 367-373.
  • Harlan, Brian Timothy. One Voice: A Reconciliation of Harry Partch's Disparate Musical Theories. PhD thesis, University of Southern California, Los Angeles, 2007. VDM Verlag, Düsseldorf, June 2008, 184 pages.
  • Harlan, Calvin. "Lou Harrison, American Composer", 1963.
  • Harlow, Randall. Recent Organ Design Innovations and the 21st-century 'Hyperorgan'. MSc thesis, Eastman School of Music, May 2011, 49 pages plus examples.
  • Harley, James. "More Electronic Music by Henk Badings (CD review)", Computer Music Journal vol. 35 no. 1, spring 2011, pp. 111-112.
  • Haroutunian, Bedros and Sidney Robertson Cowell. "Tuning of kanoon [qanun] : Complete scale", 1939.
  • Harper, Ben. "Martin Rane Bauck - Martin Rane Bauck, Through a network of illuminated streets. Ole Martin Huser-Olsen, Ensemble NeoN, Heather Roche. Lawo Classics, LWC1171 (CD review)", Tempo vol. 73 no. 290, Oct 2019, pp. 89-91.
  • Harper, K. "Harmonics and double-stop effects on tuning", American String Teacher vol. 48 no. 2, 1998, pp. 43-44.
  • Harrasser, K. "Musicalische Paradoxal-Discourse. Oder: Gute Temperaturen für glückliche Ohren", Kulturtechniken des Barock, T. Nanz and A. Schäfer (eds.), Kadmos, Berlin, 2013, pp. 199-219.
  • Harrell, Max Leigh. Scales and modes in the music of West Java. MA thesis, University of California, Los Angeles, 1972, 228 pages.
  • Harrington, Jeff. Making Microtonal Music with Software", WWW, 2004.
  • Harris, Clement Antrobus. "The War between the Fixed and Movable Doh", The Musical Quarterly, 1918, pp. 184-195.
  • Harris, Cyril M., Maurice Eisenstadt and Mark R. Weiss. "Sounds of the Highland Bagpipe", Journal of the Acoustical Society of America vol. 35 no. 9, Sep 1963, pp. 1321-1327.
  • Harris, J. Donald, "Scaling of Pitch Intervals", Journal of the Acoustical Society of America vol. 32 no. 12, Dec 1960, pp. 1575-1581.
  • Harrison, Daniel. Harmonic Function in Chromatic Music. The University of Chicago Press, Chicago and London, 1994, 2010, 337 pages.
  • Harrison, Daniel. "Nonconformist Notions of Nineteenth-Century Enharmonicism", Music Analysis vol. 21 no. 2, July 2002, pp. 115-160.
  • Harrison, John. A Description concerning such Mechanism as will afford a nice, or true Mensuration of Time; together with Some Account of the Attempts for the Discovery of the Longitude by the Moon; and also An Account of the Discovery of the Scale of Musick. Printed for the author, London, 1775.
  • Harrison, John. A True and Full Account of the Foundation of Musick, or, as principally therein, of the Existance of the Natural Notes of Melody. unpublished manuscript, London, c.1776, 182 pages.
  • Harrison, John. "An Account of the Discovery of the Scale of Musick", reprint in Pitch vol. 1 no. 2, American Festival of Microtonal Music, New York, 1987, pp. 12-14.
  • Harrison, Lou. "Some Notes on the Music of Mouth-Organs; to Honor, with admiration & affection, Dr. Lee Hye-Ku in his sixtieth year", Lee Hue-ku Festschrift, 1969, pp. 339-350.
  • Harrison, Lou. Lou Harrison's Music Primer. Peters, New York, 1971. Japanese translation by T. Kakinuma and Mamoru Fujieda, Jesuku Ongaku Shinkokai, Tokyo, 1993.
  • Harrison, Lou. "At the Tomb of Charles Ives & A Phrase For Arion's Leap (scores)", Xenharmonikôn vol. 2, autumn 1974.
  • Harrison, Lou. "Item: Five-tone, six-tone, and seven-tone modal forms within the traditional matrix of two tetrachords separated by nine to eight", Xenharmonikôn vol. 4, 1975.
  • Harrison, Lou. "Genesis of a Music by Harry Partch (book review)", the world of music vol. 17 no. 4, 1975, pp. 4-5.
  • Harrison, Lou. "Incidental Music for Corneille's 'Cinna' (score)", Xenharmonikôn vol. 5, spring 1976, 13 pages.
  • Harrison, Lou. "Item: Thoughts while designing a gamelan", Xenharmonikôn vol. 7-8, 1979, 6 pages.
  • Harrison, Lou and William Colvig. Instruction Manual; The Colvig-Harrison Monochord. 1970-1979.
  • Harrison, Lou and William Colvig. "Gamelan Builders' Notes", Ear vol. 8 no. 4, 1983, p. 26.
  • Harrison, Lou. "Thoughts about 'Slippery Slendro'", Selected Reports: Institute of Ethnomusicology vol. 6, University of California, Los Angeles, 1985, pp. 111-117.
  • Harrison, Lou. "Cloverleaf: A little narrative with several 'off-ramps'", 1/1 vol. 5 no. 2, 1989, p. 1. Also in: Companion to Contemporary Musical Thought, Routledge, London, 1992, pp. 248-255.
  • Harrison, Lou. "Blessed Be Translators, for They Give Us Worlds", 1/1 vol. 7 no. 1, 1991, pp. 4-5.
  • Harrison, Lou. "A Line between the Word and the Way: a celebration of the life and works of Lou Harrison", 1997.
  • Harrison, Lou (ed.) "Tuning survey", c.2000.
  • Harrison, Lou. "Microfest 2001 Keynote Address", 1/1 vol. 10 no. 4, 2001, pp. 1, 4-12.
  • Harrison, Lou. "Tunings and civilizations", 2002.
  • Harrison, Michael. "Music in Pure Intonation", WWW, 2007.
  • Harrop, Todd. "Just Chromatic Bohlen-Pierce Scales and Beyond", 2014.
  • Harrop, Todd. "Modulating Or 'Transferring' Between Non-Octave Microtonal Scales", 13th Sound and Music Computing Conference (SMC2016), Rolf Großmann and Georg Hajdu (eds.), Hamburg, Aug 2016, 5 pages.
  • Hart, Adam. "Microtonal Tunings in Electronic Dance Music: A Survey of Precedent and Potential", Contemporary Music Review vol. 35 no. 2, Sep 2016, pp. 1-21.
  • Harte, Christopher; Mark Sandler and Martin Gasser. "Detecting harmonic change in musical audio", Proceedings of the 1st ACM workshop on Audio and music computing multimedia - AMCMM '06, Santa Barbara CA, 2006, 5 pages. Also here.
  • Harthun, Norbert and Ines Rennert. "Die Ei-Kurve als Schnitt des Hyperbolischen Kegels. Das 'Tongesetz' nach Walter Schauberger", 2002, WWW, 10 pages.
  • Hartig, Andrew M. "Temperaments and Tunings: A Guide for Lute Players", WWW, 2005.
  • Hartmann, Caroline. "Pythagoras und die Anfänge der Musik", Fusion, July-Aug-Sep 2002. English translation by Richard Sanders "Music and the Unsolved Paradox of Pythagoras. Violin Building and the World of Harmonic Sound", 21st Century Science & Technology Magazine, spring 2003, pp. 10-22.
  • Hartmann, George C. "A Numerical Exercise in Musical Scales", American Journal of Physics vol. 55 no. 3, Mar 1987, pp. 223-226.
  • Hartmann, William Morris. "On the origin of the enlarged melodic octave", Journal of the Acoustical Society of America vol. 93 no. 6, June 1993, pp. 3400-3409.
  • Hartridge, H. "Recent Research on Musical Acoustics (1895-1924) supplementing Pole's work", The Philosophy of Music by William Pole, Harcourt, Brace & Co., New York, 1924.
  • Hartung, Erwin. "Reinere Klavierstimmung", Die Musik vol. 21 no. 2, 1929, p. 675.
  • Harvey, Jonathan. "Mortuos Plango Vivos Voco: A Realization at IRCAM", Computer Music Journal vol. 5 no. 4, winter 1981, pp. 22-24.
  • Harvey, Jonathan; Denis Lorrain; Jean-Baptiste Barrière and Stanley Haynes. "Notes on the Realization of Bhakti", Computer Music Journal vol. 8 no. 3, autumn 1984, pp. 74-78.
  • Hasegawa, Keiko. 'Japanischer Frühling'. Untersuchungen von Vertonungen japanischer Lyrik in deutschen Nachdichtungen im 20. Jahrhundert. MA thesis, University of Vienna, Aug 2010, 102 pages.
  • Hasegawa, Robert. "Tone representation and just intervals in contemporary music", Contemporary Music Review vol. 25 no. 3, 2006, pp. 263-281.
  • Hasegawa, Robert. "Introduction: 'Sound for the Sake of Perceptual Insight'", Contemporary Music Review vol. 27 no. 1, The Music of James Tenney, Feb 2008, pp. 1-5.
  • Hasegawa, Robert. Just Intervals and Tone Representation in Contemporary Music. PhD thesis, Harvard University, Cambridge MA, 2008.
  • Hasegawa, Robert. "Combination-Tone Harmony", Society for Music Theory Annual Meeting, Indianapolis IN, Nov 2010.
  • Hasegawa, Robert. "'Gegenstrebige Harmonik' in the Music of Hans Zender", Perspectives of New Music vol. 49 no. 1, winter 2011, pp. 207-234.
  • Hasegawa, Robert. "New approaches to tonal theory. Tonality and Transformation by Steven Ring. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice by Dmitri Tymoczko (book reviews)", Music & Letters vol. 93 no. 4, Nov 2012, pp. 574-593.
  • Hasegawa, Robert. "L'intonation juste, un renouveau esthétique et théorique", French translation by Gilles Rico, Théories de la composition musicale au XXe siècle, Nicolas Donin and Laurent Feneyrou (eds.), Symetrie, Lyon, 2013, pp. 1499-1531.
  • Hasegawa, Robert. "György Ligeti: Of Foreign Lands and Strange Sounds, Louise Duchesneau and Wolfgang Marx (eds.) (book review)", érudit vol. 23 no. 2, Circuit, Montréal, 2013, pp. 79-83.
  • Hasegawa, Robert. "Temperament and the corps sonore: Rameau's theories and recent compositional practice", Le Savant et le praticien: Théoriser la composition de Rameau à nos jours, conference organized by IRCAM and the Centre de Musique Baroque de Versailles, 14 Nov 2014, Paris.
  • Hasegawa, Robert. "Temperament in Contemporary Microtonal Music", Beyond: Microtonal Music Festival, University of Pittsburgh, 27 Feb 2015.
  • Hasegawa, Robert. "Clashing Harmonic Systems in Haas's 'Blumenstück' and 'in vain'", Music Theory Spectrum vol. 37 no. 2, autumn 2015, pp. 204-223.
  • Hasegawa, Robert. "From Scratch: Writings in Music Theory by James Tenney (book review)", Computer Music Journal vol. 40 no. 3, autumn 2016, pp. 83-86.
  • Haselböck, Lukas. "Zwischenklänge, Teiltöne, Innenwelten: Mikrotonales und spektrales Komponieren", Lexikon Neue Musik, 2016, pp. 103-115.
  • Hasenclever, Richard. Die Grundzüge der esoterischen Harmonik des Altertums. Verlag M. du Mont, Köln, 1870, 47 pages.
  • Häser, A.F. "Über wissenschaftliche Begründungder Musik durch Akustik", Allgemeine musikalische Zeitung vol. 145, 1829.
  • Hasler, Johann F.W. "Generating Pitch Material from the Magic Sigils of the Western Esoteric Tradition", Perspectives of New Music vol. 45 no. 2, summer 2007, pp. 203-243. Also here.
  • Hasluck, Paul Nooncree. Pianos: Their Construction, Tuning, And Repair. Cassell and Company Ltd., London, Paris, New York, Melbourne, 1905, 1908, 160 pages.
  • Haskins Eyles Stiles, Francis. "An Explanation of the Modes or Tones in the Ancient Graecian Music; By Sir Francis Haskins Eyles Stiles, Bart. F.R.S.", Philosophical Transactions (1683-1775), vol. 51, 1759-1760, pp. 695-773. French translation "Explication des modes & tons de l'ancienne musique grecque", Abrégé des Transactions de la Société Royale de Londres, Paris, 1790, pp. 215-298.
  • Haspels, Jan Jaap. "Tuning and Temperament", Automatic Musical Instruments; Their Mechanics and their Music 1580-1820. Nirota Muziekdruk C.V., Koedijk, 1987, pp. 109-146.
  • Hasse, Karl. "Temperierte Stimmung und musikalische Praxis", Zeitschrift für Musikwissenschaft vol. 13 no. 7, 1931, p. 353.
  • Hatch, Christopher and David W. Bernstein (eds.) Music Theory and the Exploration of the Past. University of Chicago Press, 1993, 576 pages.
  • Hatzis, Christos. "The Law of One: Recursive structures in composition", Organised Sound vol. 3 no. 1, Cambridge University Press, 1998, pp. 17-25.
  • Hauge, Peter. English Music Theory c. 1590-1690: The Modal Systems, Changing Concepts, and the Development of New Classification Systems. PhD diss., City University, London, 1997.
  • Hauge, Peter. "Updating Music Theory in the Seventeenth-Century England: Discussions between Musicians and Natural Philosophers of the Royal Society", unpubl. paper read at La Querelle des Anciens et des Modernes en musique au XVIIe siècle, Académie de France à Rome, Feb 2007.
  • Hauge, Peter. "John Birchensha: Writings on Music (book review)", Music & Letters vol. 92 no. 4, Nov 2011, pp. 647-649.
  • Hauge, Peter. "Robert Fludd (1574-1637): A Musical Charlatan? A Contextual Study of His 'Temple of Music' (1617-18)", "Robert Fludd (1574-1637): glazbeni sarlatan? Kontekstualno istrazivanje njegovadjela "Temple of Music" (1617-18)", International Review of the Aesthetics and Sociology of Music vol. 39 no. 1, Croatian Musicological Society, June 2008, pp. 3-29. WWW, 2013.
  • Hauge, Peter. "John Wallis: writings on music, ed. David Cram and Benjamin Wardhaugh (book review)", The Seventeenth Century vol. 30 no. 3, 2015, pp. 364-367.
  • Hauptmann, Moritz. Die Natur der Harmonik und der Metrik: zur Theorie der Musik. O. Paul (ed.), Breitkopf und Härtel, Leipzig, 1853, 406 pages. Also here. 2nd ed., 1873. Reprint, Nabu Press, Feb 2010, 416 pages. English translation by E. Heathcote, London, 1888.
  • Hauptmann, Moritz. "Temperatur", Jahrbücher für musikalische Wissenschaft Band I, Friedrich Chrysander (ed.), Leipzig, 1863, pp. 17-54.
  • Hauptmann, Moritz. Opuscula: vermischte Aufsätze. Leuckart, Leipzig, 1874, 137 pages.
  • Häuser, Johann Ernst. Kurze faßlicher Anweisung zum Stimmen des Fortepiano. G. Basse, Quedlinburg & Leipzig, 1833, 1835.
  • Haverstick, Neil. "Notes on 'Mysteries', and score of 'Mysteries'". Xenharmonikôn vol. 16, autumn 1995, p. 114.
  • Haverstick, Neil. "More notes", the Onion vol. 25, Denver CO, 31 March 1999.
  • Haverstick, Neil. 19 Tones: A New Beginning. self-published, 1996, 30 pages.
  • Haverstick, Neil. Harmonics and Spirals. self-published, 2016.
  • Haverstick, Neil. Hopelessly Microtonal. self-published, 2018, 79 pages.
  • Havingha, Gerardus. Oorspronk en voortgang der orgelen, met de voortrefflykheit van Alkmaars groote Orgel. Klaas Mol, Alkmaar, 1727, 247 pages. Reprint Arend Jan Gierveld (ed.), Bibliotheca Organologica vol. 13, Frits Knuf, Buren, 1985.
  • Havrøy, F. "You Cannot Just Say: 'I am Singing the Right Note', Discussing intonation issues with Neue Vocalsolisten Stuttgart", Music & Practice vol. 1, 2013.
  • Havryliv, Mark and Terumi Narushima. "Metris: A Game Environment for Music Performance", Computer Music Modeling and Retrieval: Third International Symposium, CMMR 2005, Pisa, 26-28 Sep 2005. Revised Papers, May 2006, pp. 101-109. Also here.
  • Havryliv, Mark. "Composing For Improvisation With Chaotic Oscillators", Proceedings of the International Conference on New Interfaces for Musical Expression, Sydney, June 2010, pp. 94-99.
  • Hawkes, William. The Theory of Music simplified; and the Principle of the Temperament applied to the Tuning of Keyed Instruments explained: also the best method of Tuning. Printed for the Author by Thomas Davison, 1805.
  • Hawkes, William. "On the musical temperament of keyed instruments", The Philosophical Magazine vol. 28, London, 1807, pp. 304-306.
  • Hawkins, John. A General History of the Science and Practice of Music. In five volumes, T. Payne and Son, London, 1776. vol. 2, vol. 3, vol. 4, vol. 5.
  • Hayashi, Kenzo. "So no chogen no gensoku to hatten", Journal of the Society for Research in Asiatic Music vol. 24/25, Mar-Apr 1968, pp. 1-35.
  • Hayashi, Masaki; Steven Bachelder and Masayuki Nakajima. "Microtone Analysis of Blues Vocal - Can Hatsune-Miku sing the Blues?", NICOGRAPH International, 2014, pp. 1234-1237.
  • Haydon, Glen. "The Theory of Classical Greek Music by Fritz A. Kuttner, Robert Conant (book review)", The Musical Quarterly vol. 42 no. 3, July 1956, pp. 421-423.
  • Haydon, N.W.J. Pythagoras and the ancient mysteries. Toronto, 1998, 9 pages.
  • Hayes, Deborah. "Christian Huygens and the science of music", Musicology at the University of Colorado vol. 1 no. 1, Dec 1977, pp. 17-31.
  • Hayes, Gerald. "The 17th Century on Quarter-Tones", The Musical Times Vol. 65, No. 971, Jan 1924, p. 42.
  • Haynes, Bruce. "Temperamento per comune opinione perfettisimo: 18th-century tuning for singers and orchestral instruments", FoMRHI Quarterly vol. 43 (Fomrhi Comm 702), Apr 1986, pp. 56-58.
  • Haynes, Bruce. "Les diapasons à l'époque de Jean-Sébastien Bach. III: Description de diapasons anciens; sources, hauteurs relatives et absolues", in collaboration with Marc Écochard, Flûte a bec et instruments anciens no. 24, Mar 1988, pp. 11-18.
  • Haynes, Bruce. "Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries", Early Music vol. 19 no. 3, Aug 1991, pp. 356-381. WWW, 2006.
  • Haynes, Bruce. "Johann Sebastian Bach's Pitch Standards: The Woodwind Perspective", Journal of the American Musical Instrument Society vol. 11, 1985, pp. 55-114.
  • Haynes, Bruce. Pitch Standards in the Baroque and Classical Periods. PhD diss., Université de Montréal, 1995.
  • Haynes, Bruce. A History of Performing Pitch. The story of 'A'. The Scarecrow Press, Lanham MD and Oxford, 2002, 568 pages.
  • Hays, Elizabeth (ed.) F.W. Marpurg's Anleitung zum Clavierspielen (Berlin, 1755) and Principes du clavecin (Berlin, 1756). Translation and commentary. PhD thesis, Stanford University, 1977, 2 vols., 309 and 351 pages.
  • Hayslett, Dennis J. "The effect of selected tuning pitch sources on the tuning accuracy of band members", Contributions to Music Education vol. 17, autumn 1990, pp. 44-49.
  • Hayward, Robin. "The Microtonal Tuba", Galpin Society Journal vol. 64, Mar 2011, pp. 125-177.
  • Hayward, Robin (ed.) "Pitches Treated as Noise. Interview with Arie Altena", Travelling Time, Feb 2012, 5 pages.
  • Hayward, Robin. "The Microtonal Tuba: Capabilities and Opportunities. A player-oriented introduction to the microtonal tuba", ITEA Journal vol. 40 no. 2, winter 2013.
  • Hayward, Robin. "The Hayward Tuning Vine: an interface for Just Intonation", NIME Proceedings 2015, Baton Rouge LA, June 2015, pp. 209-214. Also here.
  • He, Changlin. "Lun 'chunlühua'" (On the justification of temperament), Yuefu Xinsheng (Journal of the Shenyang Conservatory of Music) no. 4, 1983, pp. 13-16.
  • He, Ji-Huan and Jie Tang. "Rebuild of King Fang 40 B.C. musical scales by He's inequality", Applied Mathematics and Computation vol. 168 no. 2, Sep 2005, pp. 909-914.
  • He, Tang. Yuelü guanjian (My humble opinions on the musical pitches), para. 1-10, China, 1st half 16th cent.
  • Head, Matthew. "Birdsong and the Origins of Music", Journal of the Royal Musical Association vol. 122, 1997, pp. 1-23.
  • Head, Raymond. "John Foulds: Three Mantras Op. 61b; Lyra Celtica, Concerto for Voice and Orchestra Op. 50; Apotheosis (Elegy) for Violin and Orchestra Op. 18; Mirage Op. 20 by Susan Bickley, Daniel Hope, City of Birmingham Symphony Orchestra, Sakari Oramo (CD review)", Tempo vol. 59 no. 232, Apr 2005, pp. 52-53.
  • Hearne, Gareth. Towards a new model of microtonal music: The regular temperaments of 22TET. BA thesis, University of Western Sydney, School of Music, 2014, 93 pages.
  • Hearne, Gareth. "Roman numeral and neo-Riemannian analyses of Blackwood's Suite for Guitar in 15-note Equal Tuning", WWW, 2015, 17 pages.
  • Hearne, Lilian M. Towards a new model for microtonal music: The regular temperaments of 22TET. BoM thesis, UWA School of Music, Sydney, Nov 2014, 93 pages.
  • Hearne, Lilian M. The cognition of harmonic tonality in microtonal scales. PhD thesis, Music Cognition and Action Group, The MARCS Institute, Sydney, 2020, 252 pages.
  • Hearne, Lilian M. "Roman numeral and neo-Riemannian analyses of Blackwood's Suite for Guitar in 15-note Equal Tuning", WWW, May 2023, 17 pages.
  • Heartz, Daniel; Alfred Mann; Cecil B. Oldman and Erich Hertzmann. Thomas Attwoods Theorie- und Kompositionsstudien bei Mozart. Wolfgang Amadeus Mozart: Neue Ausgabe sämtlicher Werke, Ser. X, Werkgruppe 30, Bd. 1, 1965, Kassel.
  • Heath, Richard. "Astronomical Musicality within Mythic Narratives", ICONEA Proceedings, Dec 2013, 17 pages.
  • Heath, Thomas Little (ed). The Thirteen Books of Euclid's Elements. Cambridge University Press, Cambridge, 1908. Reprint, Dec 2017.
  • Heath, Thomas Little. Aristarchus of Samos, the Ancient Copernicus: a history of Greek astronomy to Aristarchus, together with Aristarchus's treatise on the sizes and distances of the sun and moon. Oxford, London, 1913. Reprint Dover Publications, New York, Aug 1981, 425 pages.
  • Heaton, Roger. "Horatiu Radulescu, Sound Plasma (book review)", Contact: A Journal for Contemporary Music no. 26, spring 1983, pp. 23-24.
  • Hébert, Charles. Traité de l'Harmonie des sons et de leurs rapports (...). Bologna, 1733.
  • Hedges, T.W. and A.P. McPherson. "3D gestural interaction with harmonic pitch space", Proceedings of the Sound and Music Computing Conference 2013, Stockholm, 2013, pp. 103-110.
  • Heerden, Derrick Scott van. Mathemagical Music Production. E-book, 2013, 144 pages.
  • Hefny, Mahmoud el. Ibn Sinas Musiklehre. PhD diss., Otto Hellwig, Berlin, 1931.
  • Hegendörfer, Gerd. "Indische Musik - Struktur und Wirkung", Harmonik & Glasperlenspiel. Beiträge `93, Verlag Peter Neubäcker & freies musikzentrum, München, 1994, pp. 249-275.
  • Heijltjes, Mireille. "Microtonale klavieren", Werkgroep muziek van de 20e eeuw, R.A. Rasch (ed.), Utrecht, 1992, pp. 37-46.
  • Heim, David Bruce. Practical Tuning, Temperament and Conditioning for Hornists and Other Wind Instrumentalists: Understanding and attaining intonational flexibility in musical performance. MA thesis, University of Tulsa, 1990, 199 pages.
  • Heine, Alois. Akustische Phänomene. Untersuchungen und Experimente mit der Klarinette und Einführung in die Ansatztechniken zur Erzeugung von Überblasetönen, Untertönen und Akkordklängen. Schriften der Hochschule "Mozarteum" Salzburg, Bd. 5, Musikverlag Emil Katzbichler, München/Salzburg, 1978.
  • Heinemann, Michael (ed.) Das Bach Lexikon. Bach-Handbuch Band 6, Laaber Verlag, Laaber, 2000, 623 pages.
  • Heinichen, Johann David. Der General-Baß in der Composition. Dresden, 1728.
  • Heinke, Theophil. "Stimmtonhöhe und Stimmungsart der Trost-Orgel", Die Trost-Orgel und Stadtkirche 'Zur Gotteshilfe' Waltershausen, Festschrift zur Orgelweihe und 275-jährigen Jubiläum der Stadtkirche, Waltershausen, 1998, pp. 92-95.
  • Heinrich, Johann G. Orgellehre: Structur und Erhaltung der Orgel; für Seminarien, Lehrer, Organisten, Geistliche und Kirchen- und Bau-Behörden. Flemming, Glogau, 1861, 111 pages.
  • Heins, Ernst. "Indonesian Colonization of West- and Central-Africa?", Bijdragen tot de Taal-, Land- en Volkenkunde vol. 122 no. 2, 1966, pp. 274-282.
  • Heintz, Joachim. "Tuning your MIDI Keyboard. Playing with user-controllable scales in Csound", Csound Journal no. 12, Dec 2009.
  • Heinz, Rudolf. "Ferruccio Busonis musikalischer Futurismus", Geschichte und Zukunft, Meisenheim, 1967, pp. 200-218.
  • Helbing, Volker. "Zyklizität und Drama(turgie) in Scelsis viertem Streichquartett (music review)", Zeitschrift der Gesellschaft für Musiktheorie vol. 7 no. 3, Dec 2010, pp. 267-309.
  • Helfert, Vladimir. "Habova Nova nauka o harmonii (Na okraj Habovy nauky o harmonii)", Hudebni rozhledy vol. 3, 1927, p. 148.
  • Hellegouarch, Yves. "Un aspect de la théorie des hauteurs", Journées Arithmétique, Caen, 1980.
  • Hellegouarch, Yves. "Scales, Comptes-Rendus Mathématiques", La Société Royale du Canada vol. 4 no. 5, Oct 1982, and vol. 5 no. 2, Apr 1983.
  • Hellegouarch, Yves. "L'Essai d'une nouvelle théorie de la musique de Leonhard Euler", Séminaire de Philosophie et Mathématiques no. 8, 1986, pp. 1-49.
  • Hellegouarch, Yves. "Une esthétique galiléenne: la théorie de la musique de Leonhard Euler, "Séminaire de Philosophie et Mathématiques, ENS, Ulm, 1986. Also in Destin de l'art, desseins de la science, Aderhem, Caen, 1991.
  • Hellegouarch, Yves. "À la recherche de l'arithmétique qui si cache dans la musique", Publications de l'Institut de recherche mathématiques de Rennes vol. 2, Science, histoire et société, 1986, pp. 49-59. Also in Gazette des Mathématiciens no. 33, Apr 1987, pp. 71-80.
  • Hellegouarch, Yves. "Gammes naturelles", Gazette des Mathématiciens no. 81, July 1999, pp. 25-39. no. 82, Oct 1999, pp. 13-26.
  • Hellegouarch, Yves. "Outils diophantiens pour la définition d'une distance harmonique", Symposium On Tone Systems, Paris, 2002, 11 pages.
  • Hellegouarch, Yves. "A mathematical interpretation of expressive intonation". University of Caen, 7 pages.
  • Heller, Charles. "Mordecai Sandberg: His Compositions and His Ideas", Cantors Assembly 1984, Journal of Synagogue Music.
  • Hellwig, Friedmann. "Historische musikalische Temperaturen und ihre Einstimmung", Restaurierung von Saitenklavieren, Beiträge zur Aufführungspraxis Bd. 2, Akademische Druck- und Verlagsanstalt, Graz, 1973, pp. 57-67.
  • Hellwig, Friedmann. "Zum Temperatursystem bei Joseph Haydn", Joseph Haydn: Vienna 1982, Henle Verlag, München, 1986, pp. 87-91.
  • Helm, E. Eugene. "The Vibrating String of the Pythagoreans", Scientific American vol. 217 no. 6, Dec 1967, pp. 92-103.
  • Helmersberg, Ketil. "Indian Versus Western music", WWW, 2010.
  • Helmholtz, Hermann Ludwig Ferdinand von. Ueber Combinationstöne", Annalen der Physik vol. 175 no. 12, 1856, pp. 497-540.
  • Helmholtz, Hermann Ludwig Ferdinand von. Ueber die physiologischen Ursachen der musikalischen Harmonie. Vorlesung gehalten in Bonn, winter 1857. Tredition Classics, Dec 2011, 52 pages. English translation by A.J. Ellis "On the Physiological Causes of Harmony in Music", Popular Scientific Lectures, Appleton, New York, 1873. Also in Science and Culture: Popular and Philosophical Essays, David Cahan (ed.), University of Chicago Press, Chicago, 1995, pp. 46-75.
  • Helmholtz, H.L.F. von. "Über musikalische Temperatur", Verhandlungen des Naturhistorisch-medizinischen Vereins zu Heidelberg, 23 November 1860. Revised in Die Lehre von den Tonempfindungen.
  • Helmholtz, H.L.F. von. "Über die arabisch-persische Tonleiter", Verhandlungen des Naturhistorisch-medizinischen Vereins zu Heidelberg, 23 November 1862.
  • Helmholtz, Hermann L.F. von. Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik. Friedrig Vieweg & Sohn, Braunschweig, 1863, 600 pages. 4th edition, Vieweg, 1877, 675 pages. 6th edition, 1913, 668 pages. Darmstadt, 1968. Reprint Georg Olms Verlag, Hildesheim, 1983.
    On the Sensations of Tone as a Psychological basis for the Theory of Music. 2nd English edition translated by Alexander John Ellis, based on the 4th edition of 1877 with extensive notes, foreword and afterword: 1885. Reprint Dover Publications, New York, 1954.
    French translation Théorie physiologique de la musique fondée sur l'étude des sensations auditives by G. Guéroult (ed.), based on the edition of 1863, Victor Masson & Fils, Paris, 1868, 1874, 544 pages. Reprint Jacques Gabay, Paris, 1990.
  • Helmholtz, H.L.F. von and Pietro Blaserna. Le son et la musique (par P. Blaserna), suivis des Causes physiologiques de l'harmonie musicale (par H. Helmholtz). G. Baillière, Paris, 1877, 208 pages. Spanish translation La armonía musical.
  • Helmholtz, H.L.F. von. Vorlesungen über die mathematischen Principien der Akustik. J.A. Barth, Leipzig, 1898, 406 pages.
  • Heman, Christine. Intonation auf Streichinstrumenten: melodisches und harmonisches Hören. Bärenreiter-Verlag, Basel, 1964, 67 pages.
  • Hemmer, Per Chr. and Ola Kai Ledang. "Adriaan Fokker Meaning and Mystery of Einstein's Theory (article review) (in Norwegian)", Det Kongelige Norske Videnskabers Selskabs Skrifter, 2011 no. 4, pp. 197-201, with English summary.
  • Hemony, Pieter. "De on-noodsakelijkheid en ondienstigheid van cis en des in de bassen der klokken", Delft, 1678, reprint Amsterdam, 1927, reprint Asten, 1964.
  • Hempel, Drew. "Against Archytas: How the West Lost Alchemy or Paranormal Complimentary Opposite Harmonics, WWW, 2007.
  • Hemstock, A. On Tuning The Organ. Weekes & Company, London, 1876, 33 pages.
  • Hen, Ferd. J. de. "Folk Instruments of Belgium: Part I", Galpin Society Journal vol. 25, July 1972, pp. 87-132.
  • Hender, Nicholas. Timbre, and Timbres Derived from Tuning Systems, as Realised in Electronic Music. MA thesis, La Trobe University, Melbourne, 1997, 77 pages.
  • Henderson, A.G. "The ratio of the minor third (letter)", The Musical World vol. 37 no. 31, July 1859, pp. 484-485.
  • Henderson, Ian Hamilton. Strobe tuner settings for the historic scales. self-published, Brockport NY, 1983, 121 pages.
  • Henderson, Ian Hamilton. Computer assistance for the setting of historic tunings and temperaments: a monograph to supplement Strobe tuner settings for the historic scales. 1983, self-published, Brockport NY, 1986, 28 pages.
  • Henderson, Ian Hamilton. "Three well temperaments and how to set them", Early Keyboard Journal vol. 3, 1984, pp. 19-34.
  • Hendry, Simon. Inharmonicity of Piano Strings. MA thesis, School of Physics, University of Edinburgh, Oct 2008, 32 pages.
  • Henfling, Conrad. C. Henflingii Epistola de novo suo systemate musico. Onoldi 17. April 1708. ad Praesidem data, Miscellanea Berolinensia, vol. 1 no. 2, Berlin, 1710, pp. 265-294 + fig. 66-67.
  • Henle, Michael. "Music: A Mathematical Offering by David J. Benson. Musimathics: The Mathematical Foundations of Music by Gareth Loy (book reviews)", The American Mathematical Monthly vol. 116 no. 10, Dec 2009, pp. 948-955.
  • Hennemeyer, Kurt. "Tonsysteme, Systematik", Die Musik in Geschichte und Gegenwart Band 13, Bärenreiter Verlag, Kassel, 1966.
  • Henry, Matthew. An Argument Against the Use of Equal-Temperament for Tonal Music. MA thesis, Thomas Aquinas College, Mar 2004.
  • Henry, Norman. "An Open Letter", 1/1 vol. 2 no. 1, 1986, p. 2.
  • Henry, Norman. "A Justly-Tuned Harpsichord", 1/1 vol. 1 no. 4, 1985, pp. 7-9.
  • Henry, Robert Earl. Judgment of intonation in the context of three part woodwind ensemble performances. PhD diss., Music: North Texas State University, Denton, 1987, 176 pages.
  • Henson, R.A. "Further observations on the neurology of music: musical notation and pitch discrimination", British Medical Journal, Apr 1977, pp. 1121-1125.
  • Henzel, Christoph. "Auf der Suche nach dem ungehörten Klang. Mikrotönige Musik in den frühen zwanziger Jahren", Neue Berlinische Musikzeitung vol. 5 no. 2, 1990, pp. 41-49.
  • Henzel, Christoph. "Alois Hába und der athematische Musikstil. Theorie und kompositorische Praxis", Musiktheorie vol. 10 nr. 3, Laaber Verlag, Laaber, 1995, pp. 219-234.
  • Heraty, Johanne Paula. The Microtonal Music of Ezra Sims. PhD thesis, University College Dublin, 2011.
  • Herbart, Johann Friedrich. "Psychologische Bemerkungen zur Tonlehre", 1811. "Über die Möglichkeit und Nothwendigkeit, Mathematik auf Psychologie anzuwenden", 1822. "Über die Wichtigkeit der Lehren von den Verhältnissen der Töne, und vom Zeitmasse, für die gesammte Psychologie", 1839. In: Kleinere Abhandlungen zur Psychologie, Bonset, Amsterdam, 1969.
  • Herbst, Johann Andreas. Arte Prattica & Poetica. Frankfurt, 1653.
  • Herbst, Max C. Das Klavier Und Seine Henker; Betrachtungen Und Belehrungen Über Stimm-Und Reparatur-Angelegenheiten. 3rd ed., Verlag das Musikinstrument, Frankfurt a.M., 1970.
  • Herissone, Rebecca. Music Theory in Seventeenth-Century England. Oxford University Press, Oxford and New York, 2000, 332 pages.
  • Herlinger, Jan William (ed.) The Lucidarium of Marchetto of Padua: a critical edition, translation, and commentary. PhD diss., University of Chicago, 1978. University of Chicago Press, 1984, 567 pages.
  • Herlinger, Jan William. "Fractional Divisions of the Whole Tone", Music Theory Spectrum vol. 3, spring 1981, pp. 74-83.
  • Herlinger, Jan William. "Marchetto's Division of the Whole Tone", Journal of the American Musicological Society vol. 34 no. 2, summer 1981, pp. 193-216.
  • Herlinger, Jan William. "Marchetto's influence: The manuscript evidence", Music theory and its sources: Antiquity and the Middle Ages, André Barbera (ed.), University of Notre Dame, South Bend, 1990, pp. 235-258.
  • Hero, Barbara. "Drawings Based on Laser Lissajous Figures and the Lambdoma Diagram", Leonardo Music Journal vol. 11 no. 4, autumn 1978, pp. 301-303.
  • Hero, Barbara. "International harmony based upon a music of planetary grid systems", Antigravity and the World Grid, David Hatcher Childress (ed.), Adventures Unlimited Press, 1987, pp. 199-210.
  • Hero, Barbara. The Lambdoma. self-published, 1991.
  • Hero, Barbara. Lambdoma Unveiled (The theory of Relationships). Strawberry Hill Farm Studios Press, North Berwick ME, 1992.
  • Hero, Barbara. "A Brief History of the Lambdoma", Xenharmonikôn vol. 16, autumn 1995, pp. 104-113.
  • Hero, Barbara. "Some Effects of Whole Number Ratio Intervals in Music", Music in Human Adaptation, Daniel J. Schneck and Judith K. Schneck (eds.), Virginia Polytechnic Institute, Blackburg, 1997.
  • Hero, Barbara. "The Pythagorean System, the Tetractys, the X and the Lambdoma, Ambiguity and Music", Seminar Mathematics and Music Publ., Jan Haluska (ed.), Bratislava, 1999.
  • Hero, Barbara and Robert Miller Foulkrod. "The Lambdoma matrix and harmonic intervals", IEEE Engineering in Medicine and Biology vol. 18 no. 2, Mar-Apr 1999, pp. 61-73.
  • Hero, Barbara. "Integrative Music of the Lambdoma", Integrative Physiological and Behavioral Science vol. 35 no. 3, Official Journal of the Pavlovian Society, July-Sep 2000.
  • Hero, Barbara. "Design in nature from Pythagoras to Helmholtz to the Cantor musical array", Design and Nature: Comparing Design in Nature with Science and Engineering, C.A. Brebbia, L. Sucharov and P. Pascolo (eds.), Wessex Institute of Technology Press, Southampton, Boston, 2002.
  • Hero, Barbara. "Further Lambdoma Writing & Research by Barbara Hero", WWW, Jan 2008, 24 pages.
  • Hero, Barbara. "Lambdoma Harmonics Research Collection", WWW, 2008, 15 pages.
  • Hero, Barbara. "The Mathematical Laws of Sound (Relationship of Sound to Gravity)", Energy Unlimited vol. 12, Las Lunas NM.
  • Herrenden Harker, G.F. "The Principles Underlying the Tuning of Keyboard Instruments to Equal Temperament", Journal of the Acoustical Society of America vol. 8 no. 4, 1937, pp. 243-256.
  • Herrmann, Hugo. "Über Reinstimmung und Toncharakter", Die Musik vol. 31 no. 1, 1938, p. 380.
  • Herrmann, Ursula. Andreas Werckmeister. Halle am Saale, 1950.
  • Herrmann, Ursula. "Andreas Werckmeister: Lebensweg und geistiges Umfeld", Bericht über das Werckmeister-Kolloquium, Kultur- und Forschungsstätte Michaelstein, Michaelstein/Blankenburg, 1986, pp. 4-12.
  • Herschel, David; Omer Corlaix; Makis Solomos; Roman Brotbeck et al. Pascale Criton, les univers microtempérés. Collection à la ligne vol. 1, Ensemble 2e2m, 2002, 258 pages.
  • Herschel, John Frederick William. "On musical scales", Quarterly Journal of Science vol. 5 no. 19, London, July 1868, pp. 338-352.
  • Herschel, John Frederick William. The Scientific Papers of Sir William Herschel vol. 1, London, 1912.
  • Herz, Eric. Maintenance and Tuning of Harpsichords. Eric Herz Harpsichords, 1964, 1976.
  • Herzfeld, Gregor. "Poe and 'Gothic Opera'", The Edgar Allan Poe Review vol. 16 no. 1, Apr 2015, pp. 1-18. Also here.
  • Herzog, Eduard. "Hudebni expressioniste a Alois Hába ve svèm postoji ke spolecnosti", Rytmus vol. 11, 1947, p. 114.
  • Herzog, George. "The Yuman Musical Style", The Journal of American Folklore vol. 41 no. 160, Apr-June 1928, pp. 183-231.
  • Herzog, George. "Musik des Orients by Robert Lachmann (book review)", American Anthropologist vol. 33 no. 2, Apr-June 1931, pp. 253-257.
  • Herzog, Myna. "The viol in Bach's Passions: a performer's notes", Journal of the Viola da Gamba Society of America vol. 33, Caroline Cunningham (ed.), 1996, pp. 30-46.
  • Herzogenberg, Heinrich von. "Joachim Steiner: Grundzüge einer neuen Musiktheorie (book review)", Vierteljahrsschrift für Musikwissenschaft vol. 4, Kritiken und Referate 8, 1891, pp. 659-666.
  • Hesse, Horst-Peter. Die Wahrnehmung von Tonhöhe und Klangfarbe als Problem der Hörtheorie. Arno Volk-Verlag, Köln, 1972, 184 pages.
  • Hesse, Horst-Peter. Paul Hindemith und die Natur der Tonverwandtschaften. Verlag Merseburger, Berlin, 1974.
  • Hesse, Horst-Peter. "The judgement of musical intervals", Music, Mind and Brain. The Neuropsychology of Music. Manfred Clynes (ed.), Plenum Press, New York, 1982, pp. 217-225.
  • Hesse, Horst-Peter. "Klangwertbestimmung musikalischer Zusammenklänge auf Grund einer Zwei-Faktoren-Theorie der Sonanz", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 49-68.
  • Hesse, Horst-Peter. "Sonanz- und Distanz-Urteil bei musikalischen Intervallen - Über die Verbindlichkeit mathematischer Intervalldefinitionen", Mikrotöne II, Edition Helbling, Innsbruck, 1988, pp. 141-158.
  • Hesse, Horst-Peter. Grundlagen der Harmonik in mikrotonaler Musik. Veröffentlichungen der Gesellschaft für Ekmelische Musik no. 5. Edition Helbling, Innsbruck, 1989, 144 pages.
  • Hesse, Horst-Peter. "Die Sonanz als Basis der Harmonik in mikrotonaler Musik", Mikrotöne III, Innsbruck, 1990, pp. 29-39.
  • Hesse, Horst-Peter (ed.) Mikrotöne III. Bericht über das 3. Internationale Symposium 'Mikrotonforschung, Musik mit Mikrotönen, Ekmelische Musik', 28.-30. April 1989 in Salzburg, Institut für Musikalische Grundlagenforschung, Band I. Edition Helbling, Innsbruck, 1990.
  • Hesse, Horst-Peter. "Aufbruch in eine neue Klangwelt - Gedanken über den Gebrauch von Mikrointervallen in der Musik", Musikwissenschaft als Kulturwissenschaft - Festschrift zum 65. Geburtstag von Hans-Peter Reinecke, K.E. Behne e.a. (eds.), Gustav Bosse-Verlag, Regensburg, 1991, pp. 217-227.
  • Hesse, Horst-Peter and Louise Carleton. "Breaking Into a New World of Sound: Reflections on the Ekmelic Music of the Austrian Composer Franz Richter Herf (1920-1989)", Perspectives of New Music vol. 29 no. 1, winter 1991, pp. 212-235.
  • Hesse, Horst-Peter (ed.) Mikrotöne IV. Bericht über das 4. Internationale Symposium, 2.-5. Mai 1991 in Salzburg. Filmkunst Musikverlag, München, 1993. Musikedition Nymphenburg, München, 2001.
  • Hesse, Horst-Peter. "Mikrotonale und ekmelische Musik", Jugend musiziert no. 78, 1993, pp. 2-5.
  • Hesse, Horst-Peter. "Standardisierte Notation für mikrotonale Musik", Mikrotöne IV, Filmkunst Musikverlag, München, 1993, pp. 21-40.
  • Hesse, Horst-Peter. "Zum Konsonanzempfinden bei vielstimmigen Akkorden", Mikrotöne IV, Filmkunst Musikverlag, München, 1993. Internationaler Musikwissenschaftlicher Kongreß zum Mozartjahr, Ingrid Fuchs (ed.), 1991, Baden-Wien. Verlag Hans Schneider, Tutzing, 1993, pp. 669-675.
  • Hesse, Horst-Peter. "Zur Oktavteilung im javanischen Sléndro", Mikrotöne IV, Filmkunst Musikverlag, München, 1993, pp. 251-261.
  • Hesse, Horst-Peter. "Tonsysteme - Auswahl und Ordnung der Tonhöhen in der Musik", Jugend musiziert no. 79, 1993, pp. 11-15, no. 81, 1994, pp. 15-18, no. 82, 1994, pp. 16-18, no. 83, 1994, pp. 30-32.
  • Hesse, Horst-Peter. "Harmonikales Denken in der altchinesischen Musik", Harmonik & Glasperlenspiel. Beiträge `93, Verlag Peter Neubäcker & freies musikzentrum, München, 1994, pp. 160-191.
  • Hesse, Horst-Peter. "Kunst und Wissenschaft im Gespräch? Über das unbemerkte Nebeneinander dieser Disziplinen an Beispielen aus der Geschichte der mikrotonalen Musik", Genießen? Verstehen? Verändern. Kunst und Wissenschaft im Gespräch, Verlag Müller-Speiser, Anif/Salzburg, 1994, pp. 143-149.
  • Hesse, Horst-Peter and Wolfgang Thies (eds.) Gedanken zu Alois Hába. Wort und Musik. Salzburger Akademische Beiträge, Band 35, Verlag Müller-Speiser, Anif, 1996, 116 pages.
  • Hesse, Horst-Peter. "Ekmelische Musik. Prinzipien ihrer Harmonik und deren neurophysiologische Basis", WWW, 1996.
  • Hesse, Horst-Peter. "Intervall", Musik in Geschichte und Gegenwart Band 4, 2nd edition, Bärenreiter, Kassel, 1996, pp. 1080-1097.
  • Hesse, Horst-Peter. "Standardisierte Notation für feinstufig organisierte Musik", Ton vol. 4 no. 96, 1997, pp. 7-9.
  • Hesse, Horst-Peter. "Neue Akkorde aus der Naturtonreihe", Jugend musiziert no. 92, 1997, pp. 7-9.
  • Hesse, Horst-Peter. "Hatte Lipps doch recht? Tonverwandtschaft und Tonverschmelzung im Lichte der heutigen Gehörphysiologie", Systemische Musikwissenschaft. Festschrift Jobst Peter Fricke zum 65. Geburtstag, Wolfgang Auhagen, Bram Gätjen, Klaus Wolfgang Niemöller (eds.), Musikwissenschaftliches Institut Universität zu Köln, Köln, 2003, 2010, pp. 133-144.
  • Hesse, Sascha. Ton und Zahl: musiktheoretische Studien. Synergia, Darmstadt, 2013.
  • Hesselgren, Frédéric. Proposition d'un diapason universel tiré de la gamme naturelle fondamentale. P. Celanza, Turin, 1892.
  • Hesselgren, Frédéric. De la gamme musicale. Etude critique des gammes tempérées et de la gamme naturelle. Frassati, Turin, 1897.
  • Heßling, Hermann. "On the Euler scale and the µEuclidean integer relation algorithm", Journal of Mathematics and Music vol. 5 no. 3, 2011, pp. 195-215.
  • Heurn, Jan van. De Orgelmaaker, Behelzende Eene Uitvoerige Beschrijving Van Alle De Uit- En Inwendige Deelen Des Orgels, En Handleiding Tot Het Maaken, Zamenbrengen En Herstellen Derzelven: Benevens De Beschrijving En Afbeelding Der Werktuigen, Welke Tot Deze Kunst Gebezigd Worden. A. Blussé en zoon, Dordrecht, 1804/1805, 4 volumes, 124, 475, 230, 526 pages. Facsimile reprint, Bibliotheca organologica vol. 56, Uitgeverij Frits Knuf, Amsterdam, 1977, 1988. Nabu Press, Oct 2011, 272 pages.
  • Hewitt, D.C. "On the Ratios of the Diatonic and Chromatic Intervals", The Harmonicon vol. 2 no. 1, W. Pinnock (ed.), Mar 1828, pp. 122-125.
  • Hewitt, Michael John. The Tonal Phoenix: A Study of Tonal Progression through the Prime Numbers Three, Five and Seven. Orpheus-Schriftenreihe zu Grundfragen der Musik vol. 96, Martin Vogel (ed.), Verlag für systematische Musikwissenschaft, Bonn, 2000, 495 pages.
  • Hewitt, Michael John. "Septimal System", The New Grove Dictionary of Music and Musicians, Macmillan, London, 2001.
  • Hewitt, Michael John. Musical Scales of the World. The Note Tree, 2013.
  • Hewlett, Walter B. "A Base-40 Number-line Representation of Musical Pitch Notation", Musikometrika vol. 4, 1992, pp. 1-14.
  • Heydarian, Peyman, Lewis Jones and Allan Seago. "The Analysis and Determination of the Tuning System in Audio Musical Signals", Paper presented at the 123rd convention of the Audio Engineering Society, London, Oct 2007, 5 pages.
  • Heydarian, Peyman. Automatic recognition of Persian musical modes in audio musical signals. PhD thesis, Music Technology Group, London Metropolitan University, June 2016, 161 pages.
  • Hibberd, Lloyd. "'Musica Ficta' and Instrumental Music c.1250-c.1350", The Musical Quarterly vol. 28 no. 2, Apr 1942, pp. 216-226.
  • Hibbert, William A. The Quantification of Strike Pitch and Pitch Shifts in Church Bells. PhD thesis, The Open University, Feb 2008, 337 pages. Also here.
  • Hibbert, William A.; Shahram Taherzadeh and David B. Sharporcid. "Virtual Pitch and Pitch Shifts in Church Bells", Open Journal of Acoustics vol. 7 no. 3, Sep 2017, pp. 52-68.
  • Hickmann, Hans. "Sur l'accordage des instruments à cordes (lyres, harpes, luths)", Miscellanea Musicologica, vol. 48 no. 2, Annales du Service des Antiquités, 1948, pp. 646-663. Reprinted in Hans Hickmann, Vie et travaux vol. 1, Diá Abou-Ghazi (ed.), Organization des Antiquités de l'Égypte, Cairo, 1980, pp. 136-153.
  • Hicks, Andrew. "Re-interpreting an Arithmetical Error in Boethius's 'De institutione musica'", Music Theory & Analysis vol. 3 no. 1, Leuven University Press, Apr 2016, pp. 1-26.
  • Hieb, Kimberly Beck. "Andreas Werckmeister's Musicalische Paradoxal-Discourse: A Well-Tempered Universe trans. by Dietrich Bartel (book translation review)", Notes vol. 75 no. 4, June 2019, pp. 646-648.
  • Hiebert, Erwin. The Helmholtz Legacy in Physiological Acoustics. Series: New Studies in the History and Philosophy of Science and Technology Book 39, Jed Z. Buchwald (ed.), Springer, New York, June 2014, 293 pages. Chapter "Arithmetic Reflections on Music", Apr 2014, pp. 227-234.
  • Hiebert, Erwin. "Confronting Developments in Contemporary Music", The Helmholtz Legacy in Physiological Acoustics, Springer, 2014, pp. 241-249.
  • Higbee, Dale S. "Jean Denis: 'Traité de l'accord de l'espinette' (book review)", American Recorder vol. 12 no. 2, May 1971, p. 58.
  • Higgins, Dick. "The decaphonic system: Macrotonics", Ear Magazine East, New York, 1983, p. 10.
  • Hightower, Thomas Váczy. "The creation of musical scales", WWW, 2001.
  • Hiles, John. Catechism of the Organ. Brewer & Co., London, 1878, 173 pages.
  • Hilgers, Philipp von. "Sirenen. Lösungen des Klangs vom Körper", Parasiten und Sirenen. Zwischenräume als Orte der materiellen Wissenproduktion, Bernhard J. Dotzler and Henning Schmidgen (eds.), transcript Verlag, Bielefeld, 2008, pp. 195-218.
  • Hill, Douglas. Extended Techniques for the Horn: A Practical Handbook for Students, Performers, and Composers. Warner Bros. Publications U.S. Inc./Alfred Music Publishing, 1983, 1996.
  • Hill, Jonathan D. "Myth, Spirit Naming, and the Art of Microtonal Rising: Childbirth Rituals of the Arawakan Wakuenai", Latin American Music Review / Revista de Música Latinoamericana vol. 6 no. 1, University of Texas Press, spring-summer 1985, pp. 1-30.
  • Hill, Ralph David. "Just Intonation on a Home-Built Digital Synthesizer-Computer", Interval vol. 4 no. 2, autumn 1983, pp. 15-22.
  • Hill, Ralph David. Introduction to Nontraditional Harmony. 2-hr. cassette and accompanying notes, self-published, Just Intonation Network, 1984.
  • Hill, Ralph David. "An Example of the 48:49 Sixth-tone Step", 1/1 vol. 4 no. 4, autumn 1988, p. 14.
  • Hill, Ralph David. "Study of Whole Tones in Two Parts", 1/1 vol. 5 no. 2, 1989, pp. 6-7.
  • Hill, Ralph David. "The Cro-Magnon Advanced Additive Analysis/Resynthesis System", Proceedings of the 1991 International Computer Music Conference, Montréal, 1991, pp. 169-176.
  • Hill, Robert. "Bach's Temperament?", WWW, Apr 2008.
  • Hill, S. "Tuning a Keyboard", The Musical Times vol. 100 no. 1391, Jan 1959, p. 25.
  • Hill, Sumner and O.B. Brown. The Tuner's Manual: Containing complete instructions for tuning the piano-forte, organ, melodeon, etc. and for regulating such derangements in the action as may occur from use or accident. Russel & Tolman, Boston, 1859, 88 pages.
  • Hiller, Lejaren A. and Robert A. Baker. "Computer Cantata: A Study in Compositional Method", Perspectives of New Music vol. 3 no. 1, autumn-winter 1964, pp. 62-90.
  • Hiller, Lejaren A. "Electronic Synthesis of Microtonal Music", Proceedings of the American Society of University Composers vol. 2, Microtonal Music in America, Washington University, St. Louis MO, Apr 1967, pp. 77-122.
  • Hilprecht, H.V. "The Babylonian Expedition of the University of Philadelphia - Series A: Cuneiform Texts", vol. 20 part 1, plates 10-14, H.V. Hilprecht (ed.), transliteration of restored texts on p. 21, Department of Archaeology, University of Pennsylvania, 1906.
  • Hilscher (ed.) Der mechanischen Behandlung, das Clavier nach einer vorgeschlagenen neuen Temperatur zu Stimmen. Dresden, 1790.
  • Himpel, Benjamin. "Geometry of Music Perception", Mathematics vol. 10 no. 24, Dec 2022, art. 4793, 34 pages.
  • Hindemith, Paul. Unterweisung im Tonsatz I, Theoretischer Teil. Schott, 1937, 252 pages. Neue erweiterte Auflage, B. Schott's Söhne, Mainz, 1940, 260 pages.
  • Hinds, Stuart. "How to Teach Overtone Singing to Your Choir", The Choral Journal vol. 51 no. 3, Oct 2010, pp. 34-43.
  • Hinkle-Turner, Elizabeth. "Lydia Ayers: Virtual Gamelan (music review)", Computer Music Journal vol. 31 no. 3, The Reconstruction of 'Stria', autumn 2007, pp. 88-89.
  • Hinrichsen, Hans-Joachim. "Arten der Enharmonik. Zu einigen Problemen der musikalischen Analyse", Archiv für Musikwissenschaft vol. 47 no. 3, 1990, pp. 192-206.
  • Hinrichsen, Haye. "Entropy-based tuning of musical intruments", Revista Brasileira de Ensino de Física vol. 34 no. 2, Brasilia, Apr 2012, p. 2301. arXiv 1203.5101, WWW, Apr 2012, 13 pages.
  • Hinrichsen, Haye. "Revising the Musical Equal Temperament", arXiv 1508.02292, WWW, Aug 2015, 19 pages. Also in Revista Brasileira de Ensino de Física vol. 38 no. 1, São Paulo, Mar 2016, pp. 1310-1-1310-13 with Portuguese abstract.
  • Hinterberger, Julia. "Franz Richter-Herf. Komponist und Musikpädagoge", Universität Mozarteum, Salzburg, Dec 2012, 3 pages.
  • Hinthorne, Stephen G. "Mathemusical connections: The role of musical acoustics in teaching mathematics", Journal of the Acoustical Society of America vol. 101 no. 5, May 1997, p. 3098.
  • Hinton, John William. Organ Construction. Weekes and Company, London, 1900, 2nd ed. 1902, 167 pages.
  • Hipkins, Alfred James. "Observations on the Upper Partial Tones of a Pianoforte String, Struck at One-Eighth of Its Length", Proceedings of the Royal Society of London vol. 38, 1884-1885, pp. 83-85.
  • Hipkins, Alfred James. A Description and History of the Pianoforte and of the Older Keyboard Stringed Instruments. Novello, Ewer & Co., London, 1896, 130 pages. Reprint Repressed Publishing, Aug 2013.
  • Hipkins, Alfred James. "Tuning", A Dictionary of Music and Musicians. Macmillan and Co., London, 1893, pp. 187-190.
  • Hipkins, Alfred James. Dorian and Phrygian. Reconsidered from a non-harmonic point of view". Novello, Ewer & Co. Ltd., London, 1902, 15 pages. Also in Sammelbände der internationalen Musikgesellschaft vol. 4 no. 3, May 1903, pp. 371-381.
  • Hirano, Kenji. "Koto no chogen meisho o megutte" (Concerning the names of koto tunings), Toyo ongaku kenkyu/Studies on Oriental music vol. 54, 1989, pp. 107-114.
  • Hirano, Kenji and Taeko Hirano. "Tuning and placement of frets of Heike-biwa and the transmission of heikyoku in the Edo era", Kindaichi Haruhiko Hakase koki kinenronbunshu, Sanseido, Tokyo, 1984, pp. 123-170.
  • Hirashima, Tatsushi. "Acoustic studies on pipe organ: I Fundamental principles of organ and the instruments of Andreas Silbermann and his son" (in Japanese), Kiyo? vol. 17, 1975, National Institute of Informatics, pp. 23-72.
  • Hirashima, Tatsushi. "Temperament of Gregorian chants" (in Japanese), Kiyo?, pp. 1-16.
  • Hirashima, Tatsushi. "Meantone and Japanese traditional music" (in Japanese), Kiyo?, pp. 1-16.
  • Hirashima, Tatsushi. "On the history of tuning practice of the keyboard instruments and its influence on the history of harmony" (in Japanese), Kiyo? vol. 20, 1978, pp. 31-63.
  • Hirashima, Tatsushi. "Remarks on the German organ and the French organ: with reference to the traditions of tuning and temperament" (in Japanese), Kiyo? vol. 21, 1979, pp. 47-67.
  • Hirashima, Tatsushi. "A new starting point of the musical expression and the musical education: Problems on tuning and temperament of the keyboard instruments" (in Japanese), Kiyo? vol. 22, 1980, pp. 1-20.
  • Hirashima, Tatsushi. "On the so-called well-temperament after J.S. Bach" (in Japanese), Kiyo? vol. 27, 1985, pp. 1-29.
  • Hirashima, Tatsushi; Kou Tanimura et al. Exceptional Music Education, Objectionable Music Education (in Japanese). Tokyo Music Company, 1986.
  • Hirai, Tatsunori. "Redesigning a Piano Roll: A Melody Input Interface That Can Play Microtones with an Arbitrary Number of Keys", Proceedings of the 19th Sound and Music Computing Conference, June 2022, Saint-Étienne, pp. 215-221.
  • Hirschfeld, R. "Prosdocimus de Beldemandis", Monatshefte für Musikgeschichte vol. 17, 1885.
  • Hirsh, Paul. "Atlas of Tonespace", WWW, 2001.
  • Hirt, Aindrias. "The Origin of the European Folk Music Scale: A New Theory", Ethnomusicology Review, Sep 2013, WWW.
  • Hirt, Aindrias. The Songs of Fionn mac Cumhaill: An Historical and Musicological Analysis of Indo-European Musical Poetics in Ireland, Scotland and Nova Scotia. PhD thesis, The University of Otago, Dunedin, 2017, 320 pages.
  • Hirt, Franz Josef. Stringed keyboard instruments, 1440-1880. Boston Book and Art Shop, Boston, 1968, 464 pages.
  • Hirtler, Eva. Die Musik als scientia mathematica von der Spatäntike bis zum Barock. Verlag Peter Lang, Frankfurt a.M., 1995, 263 pages.
  • Hitchcock, H. Wiley and Stanley Sadie (eds.) The New Grove Dictionary of American Music. Entries for Tui St. George Tucker, John Eaton and Easley Blackwood. MacMillan Press Ltd., London, 1980.
  • Hitchin, David. "'Unequal Temperaments: Theory, History and Practice' by Claudio di Veroli (book review)", The British Clavichord Society Newsletter vol. 45, Oct 2009, pp. 18-21.
  • Hitzler, Daniel. Extract aus der neuen Musica oder Singkunst. Nürnberg, 1623, p. 31.
  • Hoag, Barbara Brewster. "A Spanish Clavichord Tuning of the Seventeenth Century", Journal of the American Musical Instrument Society vol. 2, 1976.
  • Hobbs, Marcus. "'Grateful for Ervin Wilson'", Xenharmonikôn, WWW, May 2019.
  • Hobby, Kevin and William A. Sethares. "Inharmonic strings and the hyperpiano", Applied Acoustics vol. 114, Dec 2016, pp. 317-327.
  • Hobby, Kevin; William A. Sethares and Zhenyu Zhang. "Using Inharmonic Strings in Musical Instruments", Mathematics and Computation in Music, Springer Verlag, Nov 2017, pp. 104-116. Also here. Supplementary material here.
  • Hochel, Lothar. "Zur Entwicklung des Intonationsgehörs im Bereich der Mehrstimmigkeit", Bericht über den internationalen musikwissenschaftlichen Kongreß, Leipzig 1966, 1972, pp. 529-535.
  • Hochgartz, Michael. Gleichstufig oder gleichschwebend? Eine unbekannte mitteldeutsche Stimmanweisung aus der Entstehungszeit von J.S. Bachs Wohltemperiertem Clavier. Münster, 2000, 2 pages.
  • Hodges, Richard. "The musical scale and its intervals", WWW, 2009.
  • Hodgson, John. Short instructions for tuning a piano-forte written by Musicus Ignoramus. W. Bulmer and Co., London, 1809.
  • Hofmann, Elke. "Centgenaues Hören mit dem Intonat", Neue Musikzeitung vol. 49 no. 4, 2000, p. 59.
  • Hofmann, Justin. Listening with Two Ears: Conflicting Perceptions of Space in Tonal Music. PhD thesis, Graduate School of Arts and Sciences, Columbia University, New York, 2011, 244 pages.
  • Hofmann, Wolfgang. Goldener Schnitt und Komposition: Versuch zur Fixierung eines Ordnungsprinzips. Heinrichshofen's Verlag, Wilhelmshaven, 1973, 95 pages.
  • Hogarth, George. "Doctrines respecting the scale", The Musical World vol. 6 no. 69, July 1837, pp. 49-52.
  • Högler, Fritz. "Bemerkungen zu Zarlinos Theorie", Zeitschrift für Musikwissenschaft vol. 9, 1926-1927, p. 518.
  • Höhn, Sebastian. "Stimmung in Millisekunden", Berliner Zeitung, Berlin, 13-4-2012.
  • Holbrook, Amy Kusian. The concept of musical consonance in Greek antiquity and its application in the earliest medieval descriptions of polyphony. PhD thesis, University of Washington, 1983, 285 pages.
  • Holcomb, Bruce. Die Verbesserung der Stimmung von Ventilblechblasinstrumenten. Schriften der Hochschule "Mozarteum" Salzburg, Bd. 6. Emil Katzbichler-Verlag, München/Salzburg, 1983, 50 pages.
  • Holde, Arthur. "Is there a Future for Quarter-tone Music?", The Musical Quarterly vol. 24 no. 4, Oct 1938, pp. 528-533.
  • Holden, John. An Essay Towards a Rational System of Music. Robert Urie, Glasgow, 1770, 156 pages.
  • Holder, William (ed.) A Treatise of the Natural Grounds, and Principles of Harmony. To which is added, by way of appendix: Rules for playing a thorow-bass; with variety of proper lessons, fugues, and examples ... Also directions for tuning an harpsichord or spinnet. By the late Mr. Godfrey Keller ... The whole being revis'd, and corrected from many gross mistakes committed in the first publication of these rules. J. Heptinstall, London, 1694, 1702, 204 pages. Printed by W. Pearson for J. Wilcox, London, 1731.
  • Holford-Strevens, Leofranc. "Greek Reflections on the Nature of Music by Flora Rose Levin. Ancient Greek Music: A New Technical History by Stefan Hagel (book reviews)", Early Music History vol. 29, 2010, pp. 325-344.
  • Holl, Andrea; Monika Gabriel-Peer and Josef Huber. Schwingende Mathematik am Monochord. MNI-Fonds für Unterrichts- und Schulentwicklung; Themenorientierung im Unterricht, Innsbruck, July 2005, 56 pages.
  • Holland, Simon. "Learning about harmony with harmony space: An overview", Proceedings of a Workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education on Music Education: An Artificial Intelligence Approach, 1994, London, Springer-Verlag, pp. 24-40. Also here.
  • Hollander, Roel. " 'The scale of fifths' (by Maria Renold)", WWW.
  • Holleman, A.W.J. "Martin Vogel: Die Enharmonik der Griechen. I: Tonsystem und Notation. II: Der Ursprung der Enharmonik (book review)", Mnemosyne vol. 19 no. 4, Brill, Leiden, 1966, pp. 433-434.
  • Hollmann, Th. Lehrbuch der Stimmkunst für Berufsstimmer. A. Bockelmann, Hamburg, 1902, 118 pages. Reprint Forgotten Books, Jan 2018.
  • Hollmann, Th. Lehrbuch der Stimmkunst und allgemeinen Instrumentenbau-Technik für Berufsstimmer. A. Bockelmann, Hamburg, 1912, 151 pages.
  • Holm-Hudson, Kevin. "Just Intonation and Indian Aesthetic in Terry Riley's 'The Harp of New Albion'", ex tempore vol. 10 no. 1, summer 2000.
  • Holmes, Rich S. "Xenharmonic scales", WWW, 2006.
  • Holmes, Rich S. "Generalized continued fractions and equal temperament", WWW.
  • Holmes, Thomas B. Electronic Music - History and Criticism. Charles Scribner's Sons, New York, 1985, pp. 32-41.
  • Holmes, Thomas B. and Thom Holmes. Electronic and Experimental Music: Pioneers in Technology and Composition. Psychology Press, 2002, 322 pages.
  • Holter, Colin. "The Spiritual Construction of Tuning in American Experimental Music", 2009, 22 pages, Second Century of New Music, search Yearbook vol. 1, Franklin Cox, Dániel Péter Biró, Alexander Sigman and Steven Kazuo Takasugi (eds.), Mellen Press, 2011, 484 pages.
  • Holton, I.F. "Essay on Musical Intonation and Temperament", Annals of the Lyceum of Natural History of New York vol. 4, New York, 1847, p. 387.
  • Holtsmark, Torger. Pythagoras og verdens harmoni. P2-akademiet/Kulturredaksjonen NRK P2, 21-11-1998. Programserien P2-akademiets foredrag. Kulturredaksjonen NRK P2, Oslo, 1998.
  • Holzer, Derek. "Tonewheels. A brief history of optical synthesis", WWW, Feb 2010.
  • Honingh, Aline K. "Group Theoretic Description of Just Intonation", Proceedings of the 3rd International Conference Understanding and Creating Music vol. 3, G. Buzzanca et al. (eds.), Caserta, 2003, 8 pages.
  • Honingh, Aline K. "Measures of Consonances in a Goodness-of-fit Model for Equal-tempered Scales", Proceedings of the International Computer Music Conference, Singapore, 2003, pp. 435-438.
  • Honingh, Aline K. "Limitations on Fixed n-Tone Equal Tempered Divisions", Proceedings of the 4th International Conference Understanding and Creating Music vol. 4, G. Buzzanca et al. (eds.), Caserta, 2004, 9 pages.
  • Honingh, Aline K. and Rens Bod. "The notion of convexity in music", Proceedings of the 4th International Conference Understanding and Creating Music vol. 4, G. Buzzanca et al. (eds.), Caserta, 2004.
  • Honingh, Aline K. and Rens Bod. "Convexity and the well-formedness of musical objects", Journal of New Music Research vol. 34 no. 3, 2005, pp. 293-303. Also here.
  • Honingh, Aline K. "Convexity and compactness as models for the preferred intonation of chords", Proceedings of the Ninth International Conference on Music Perception and Cognition (ICMPC 9), Bologna, Aug 2006.
  • Honingh, Aline K. "Scales and chords in the Euler-lattice: Convexity as a preferred intonation model", Mathematical and Computational Musicology, State Institute of Music Research, Berlin, 2006.
  • Honingh, Aline K. The Origin and Well-Formedness of Tonal Pitch Structures. PhD thesis, University of Amsterdam, Oct 2006, 173 pages.
  • Honingh, Aline K. "Intonation and temperament: a special orchestral rehearsal", Reflections on type theory, lambda-calculus, and the mind. Essays dedicated to Henk Barendregt on the occasion of his 60th birthday, 2007, pp. 139-146.
  • Honingh, Aline K. A geometrical approach to find the preferred intonation of chords. Technical Report Series TR/2008/DOC/02, City University London, 2008, 16 pages.
  • Honingh, Aline K. "Compactness in the Euler Lattice: A Parsimonious Pitch Spelling Algorithm", Musicae Scientiae vol. 13 no. 1, 2009, pp. 117-138.
  • Honingh, Aline K. and Anja Volk. "Mathematische muziektheorie: Nieuwe mogelijkheden voor muziekgerelateerd onderzoek", Tijdschrift voor Muziektheorie vol. 14 no. 3, 2009, pp. 181-193.
  • Honingh, Aline K. and Rens Bod. "In Search of Universal Properties of Musical Scales", Journal of New Music Research vol. 40 no. 1, 2011, pp. 81-89. Also here.
  • Hood, Made M. "Mengupas Lapisan Suara: Warisan Empu Beratha Sebagai Pelaras Gamelan, I Wayan Beratha: Seniman Bali Kelas Dunia, I Nyoman Darma Putra (ed.), Penerbit Pustaka Larasan, Denpasar, 2014, pp. 261-270.
  • Hood, Made M. "Towards the Applicability of Musical Terroir to the Context of Dwindling Sonic Structures", Proceedings of the 3rd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia, Denpasar, 2014, Mohd Anis Md Nor (ed.), Institut Seni Indonesia, Denpasar, 2015, pp. 239-244.
  • Hood, Mantle. The Nuclear Theme as a Determinant of Patet in Javanese Music. J.B. Wolters, Groningen, Djakarta, 1954. Da Capo Press, New York, 1977.
  • Hood, Mantle. "Musical Significance", Ethnomusicology vol. 7 no. 3, Tenth Anniversary Issue, Sep 1963, pp. 187-192.
  • Hood, Mantle. "Africa and Indonesia: The Evidence of the Xylophone and Other Musical and Cultural Factors by A.M. Jones (book review)", Man vol. 65, Jul-Aug 1965, pp. 124-125. Also in American Anthropologist New Series vol. 67 no. 6, Part 1, Dec 1965, pp. 1579-1581.
  • Hood, Mantle. "Sléndro and Pélog redefined", Selected Reports vol. 1 no. 1, Institute of Ethnomusicology, Los Angeles, 1966, pp. 28-48. Reprint in Readings in Ethnomusicology, D.P. McAllester (ed.), New York, 1971, p. 35.
  • Hood, Mantle. "The effect of medieval technology on musical style in the orient", Selected reports in ethnomusicology vol. 1 no. 3, 1970, pp. 147-170.
  • Hood, Margaret F. Harpsichord Repair Guide. Margaret Hood Fortepianos, Platteville WI, 2003, 42 pages.
  • Hook, Julian. "Enharmonic systems: A theory of key signatures, enharmonic equivalence and diatonicism", Journal of Mathematics and Music vol. 1 no. 2, July 2007, pp. 99-120.
  • Hook, Julian. "Why Are There Twenty-Nine Tetrachords? A Tutorial on Combinatorics and Enumeration in Music Theory", Music Theory Online vol. 13 no. 4, WWW, Dec 2007.
  • Hook, Julian. "Signature Transformations", Music Theory and Mathematics, Jack Douthett, Martha M. Hyde and Charles J. Smith (eds.), Eastman Studies in Music, University of Rochester Press, Rochester, 2008, pp. 137-160.
  • Hook, Julian. "Spelled Heptachords", Mathematics and Computation in Music, Third International Conference Proceedings, Carlos Agon; Moreno Andreatta; Gérard Assayag and Jean Bresson (eds.), Paris, June 2011, pp. 84-97.
  • Hooker, John N. "Finding Alternative Musical Scales", Principles and Practice of Constraint Programming Proceedings, Springer, 2016, pp. 753-768.
  • Hooker, John N. "In search of the perfect musical scale", Association for Logic Programming Newsletter, July 2017, 21 pages.
  • Hooper, Michael. "'The well-tempered oboe' and the tradition of innovation", The Musical Times vol. 154 no. 1925, winter 2013, pp. 67-89.
  • Hoornaert, Guido. "Intonering en stempraktijk - Een blik op de evolutie tussen 1650 en 1750", Orgelkunst vol. 5 no. 1, 1982, pp. 3-13.
  • Hoornaert, Guido. "Musicalische Temperatur. Andreas Werckmeister. Uitgave door R. Rasch (book review)", Musica Antiqua, 1986.
  • Hopkin, Bart. "Lyra designed and built by Pierre-Jean Croset", Experimental Musical Instruments vol. 1 no. 1, June 1985, p. 3.
  • Hopkin, Bart. "Steel cello and bow chimes designed and built by Robert Rutman", Experimental Musical Instruments vol. 1 no. 1, June 1985, pp. 4-5.
  • Hopkin, Bart. "The semi-civilized tree designed and built by Nazim Ozel", Experimental Musical Instruments vol. 1 no. 6, Apr 1986, pp. 1, 4-7.
  • Hopkin, Bart. "Alternative tunings on fretted instruments: Refretting and other approaches", Experimental Musical Instruments vol. 3 no. 6, Apr 1988, pp. 1, 8-9.
  • Hopkin, Bart. "Glenn Branca and the Third Bridge", Interval vol. 4 no. 4, p. 4.
  • Hopkin, Bart. "Experimental Musical Instruments", Interval vol. 4 no. 4, p. 37.
  • Hopkin, Bart and Jim Carrey. "Congas according to Carraway", Experimental Musical Instruments vol. 4 no. 4, Dec 1988, pp. 9-11.
  • Hopkin, Bart, David Courtney and Larry Polansky. "A comparative tunings chart", Experimental Musical Instruments vol. 6 no. 2, Aug 1990, pp. 11-17.
  • Hopkin, Bart. "Trends in New Acoustic Musical Instrument Design", Leonardo Music Journal vol. 1 no. 1, 1991, pp. 11-16.
  • Hopkin, Bart. "Tubulonia", Experimental Musical Instruments vol. 10 no. 2, 1994, pp. 26-30.
  • Hopkin, Bart. Air Columns & Tone Holes: Principles for Wind Instrument Design. 36 pages.
  • Hopkin, Bart. Gravikords, Whirlies and Pyrophones: Experimental Musical Instruments. Ellipsis Arts..., Roslyn NY, 1996. 96 pages, with CD.
  • Hopkin, Bart. Wind Chimes: Design and Construction. 2005, with CD.
  • Hopkins, Edward J. The Organ, its History and Construction: a comprehensive treatise on the structure & capabilities of the Organ with specifications and suggestive details for instruments of all sizes: Intended as a Handbook for the organist and the amateur. Preceded by an entirely new History of the Organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject by Edward F. Rimbault. Robert Cocks & Co., London, 1855, 581 pages. Robert Cocks & Co., London, 1877, 636 pages.
  • Hopkins, Michael T. "Strategies for Improving the Intonation of Your Orchestra", American String Teacher vol. 62 no. 4, Nov 2012, pp. 24-28.
  • Hopkins, Michael T. "Eighth-Grade Violinists' Instrument Tuning Ability: A Comparison of Pitch Perception and Tuning Accuracy", Journal of Research in Music Education vol. 63 no. 3, Oct 2015, pp. 349-368.
  • Hora, Edmundo Pacheco. As obras de Froberger no contexto do temperamento mesotônico. PhD thesis, Universidade Estadual de Campinas, 2004.
  • Hora, Edmundo Pacheco. "A afinaçâo mesotônica do século XVII e sua aplicação prática", Ictus Especial - III SIMCAM, Mar 2007, pp. 49-64. Also here.
  • Horitius, Erasmus. De musica speculativa. c.1500. Biblioteca Apostolica Vaticana.
  • Horn, Dorothy D. "Quartal Harmony in the Pentatonic Folk Hymns of the Sacred Harps", The Journal of American Folklore vol. 71 no. 282, Oct-Dec 1958, pp. 564-581.
  • Horn, Wolfgang. "Andreas Raselius Ambergensis als Verehrer Glareans - Eine Miszelle zur Glarean-Rezeption um 1600", Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike? Bd. 5, 2005, pp. 263-280. Also in troja Jahrbuch für Renaissancemusik, Nov 2020.
  • Hornbostel, Erich Moritz von. "Über das Tonsystem und die Musik der Melanesier", Kongreßbericht der Internationalen Gesellschaft für Musikwissenschaft, Basel 1906, Basel 1907, p. 60.
  • Hornbostel, Erich Moritz von. "Über vergleichende akustische und musikpsychologische Untersuchungen", Zeitschrift für angewandte Psychologie vol. 3, 1910, pp. 465-487. Reprint in Beiträge zur Akustik und Musikwissenschaft vol. 5, Carl Stumpf (ed.), Barth, Leipzig, 1910, pp. 143-167.
  • Hornbostel, Erich Moritz von. "Über ein akustisches Kriterium für Kulturzusammenhänge", Zeitschrift für Ethnologie vol. 43, Berlin, 1911, pp. 601-615. Reprint in Beiträge zur Akustik und Musikwissenschaft vol. 7, 1913, pp. 1-20.
  • Hornbostel, Erich Moritz von. "Melodie und Skala", Jahrbuch der Musikbibliothek Peters vol. 19, 1913, pp. 11-23.
  • Hornbostel, Erich Moritz von. "On the cycle of blown fifths", P.G. Schmidt (ed.), Anthropos vol. 14, 1919, p. 569.
  • Hornbostel, Erich Moritz von. "Musikalische Tonsysteme", Anthropos, 1920. Also in Handbuch der Physik vol. 8, H. Geiger and K. Scheel (eds.), Julius Springer, Berlin, 1927, pp. 425-449.
  • Hornbostel, Erich Moritz von. "Eine Tafel zur logarithmischen Darstellung von Zahlenverhältnissen", Zeitschrift für Physik vol. 6, 1921, pp. 29-34, with corrigendum on p. 164.
  • Hornbostel, Erich Moritz von. "Die Maßnorm als kulturgeschichtliches Forschungsmittel", Festschrift Pater W. Schmidt, Wien, 1928, p. 303. And in Opera omnia, Jaap Kunst (ed.), Amsterdam, unpublished.
  • Hornbostel, Erich Moritz von. "Zum Kongreß für arabische Musik - Kairo 1932", Zeitschrift für vergleichende Musikwissenschaft vol. 1, 1933, pp. 16-17.
  • Hornbostel, Erich Moritz von, and Robert Lachmann. "Das indische Tonsystem bei Bharata und sein Ursprung", Zeitschrift für vergleichende Musikwissenschaft vol. 1 and 4, 1933, 1976, pp. 73-91.
  • Hornbostel, Erich Moritz von. "Über einige Panpfeifen aus Nordwestbrasilien", History, definitions, and scope of ethnomusicology. Garland, New York, 1990, pp. 27-42.
  • Horne, Nigel. The Tonality of Middle Eastern Music, 5 pages.
  • Horner, Andrew and Lydia Ayers. "Common Tone Adaptive Tuning Using Genetic Algorithms", Journal of the Acoustical Society of America vol. 100 no. 1, July 1996, pp. 630-640.
  • Horner, Andrew. "Evolution in Digital Audio Technology", WWW, Jan 2007, 60 pages.
  • Hörner, Sebastian von. "Universal Music", Psychology of Music vol. 2, 1974, pp. 18-28.
  • Hörner, Sebastian von. "The Definition of Major Scales with Chromatic Scales of 12, 19 and 31 Divisions per Octave", Psychology of Music vol. 4 no. 1, Apr 1976, pp. 12-23.
  • Horowitz, Mindy D. "Modulation and the Tonoi according to Aristides Quintilianus", Theoria vol. 1, 1985.
  • Horsley, Imogene. "Le Istitutioni Harmoniche by Gioseffo Zarlino (book review)", Notes Second Series vol. 23 no. 3, Mar 1967, pp. 515-519.
  • Horton, Jim. "Electronic/Computer Music News", Ear Magazine vol. 8 no. 3, 1983, p. 11.
  • Horton, Jim. "Horton Hears a Who(-le Number Ratio)", 1/1 vol. 2 no. 2, 1986, San Francisco, pp. 1, 11-14.
  • Hoschek, Sandra. Die Mathematik macht den Ton. Geometrische Konzepte in der Musik. MA thesis, University of Vienna, 2018, 118 pages. Also here.
  • Hostinský, Otakar. Die Lehre von den musikalischen Klängen: ein Beitrag zur aesthetischen Begründung der Harmonielehre. Verlag von H. Dominicus, Prague, 1879, 141 pages.
  • Hothby, John. Opera omnia de proportionibus. 15th c., reprint American Institute of Musicology, Gilbert Reaney (ed.), Hänssler-Verlag, Neuhausen, 1997, 58 pages.
  • Hou, Jiashi. "Tonal Optimization in Music Playing", Bridges: Mathematical Connections in Art, Music, and Science, Towson MD, 27-29 July 2002, pp. 293-300.
  • Houtgast, Tammo. "Subharmonic pitches of a pure tone at low S/N ratio", Journal of the Acoustical Society of America vol. 60 no. 2, Aug 1976, pp. 405-409.
  • Houtkin, Andrea. "Beauty in the Beast by Wendy Carlos (CD review)" Computer Music Journal vol. 12 no. 2, summer 1988, pp. 58-60.
  • Houtsma, Adrianus J.M. "Discrimination of Frequency Ratios", Journal of the Acoustical Society of America vol. 44, 1968, p. 383(A).
  • Houtsma, Adrianus J.M. "What Determines Musical Pitch?", Journal of Music Theory vol. 15 no. 1/2, spring-winter 1971, pp. 138-155.
  • Houtsma, Adrianus J.M. and J.L. Goldstein. "The central origin of the pitch of complex tones: evidence from musical interval recognition", Journal of the Acoustical Society of America vol. 51 no. 2B, Feb 1972, pp. 520-529.
  • Houtsma, Adrianus J.M. "Musical pitch of two-tone complexes and predictions by modern pitch theories", Journal of the Acoustical Society of America vol. 66 no. 1, July 1979, pp. 87-99.
  • Houtsma, Adrianus J.M. "Pitch Salience of Various Complex Sounds", Music Perception: An Interdisciplinary Journal vol. 1 no. 3, spring 1984, pp. 296-307.
  • Houtsma, Adrianus J.M.; Thomas D. Rossing and W.M. Wagenaars. Auditory Demonstrations. Audio CD, Instituut voor Perceptie-Onderzoek (IPO), Eindhoven, 1987, Philips 1126-061.
  • Houtsma, Adrianus J.M. and Henricus J.G.M. Tholen. "II. A Perceptual Evaluation", Music Perception: An Interdisciplinary Journal vol. 4 no. 3, A Carillon of Major-Third Bells, spring 1987, pp. 255-266.
  • Houtsma, Adrianus J.M. and J. Smurzynski. "Pitch identification and discrimination for complex tones with many harmonics", Journal of the Acoustical Society of America vol. 87 no. 1, Jan 1990, pp. 304-310.
  • Howard, David M. "A capella SATB quartet in-tune singing: evidence of intonation shift", Proceedings of the Stockholm Music Acoustic Conference [SMAC-03] vol. 2, 2003, pp. 462-466.
  • Howard, David M. "Equal or non-equal temperament in a cappella SATB singing", Logopedics, Phoniatrics, Vocology vol. 32, 2007, pp. 87-94.
  • Howard, David M. "Intonation drift in a capella soprano, alto, tenor, bass quartet singing with key modulation", Journal of Voice vol. 21 no. 3, 2007, pp. 300-315.
  • Howard, David M.; Helena Daffern and Jude Brereton. "Four-part choral synthesis system for investigating intonation in a cappella choral singing", Logopedics, Phoniatrics, Vocology vol. 38 no. 3, Oct 2013, pp. 135-142.
  • Howe, Hubert S. Jr. "Timbral Structures for Computer Music", Proceedings of the International Computer Music Conference, Evanston IL, 1978, pp. 214-224.
  • Howe, Hubert S. Jr. "19-Tone Theory and Applications", catalogue of papers accepted for the International Computer Music Conference 1993. Also here, ICONI 2020 no. 4, pp. 81-99 with Russian abstract.
  • Howell, Peter; Robert West and Ian Cross. "The detection of notes incompatible with scalar structure", Journal of the Acoustical Society of America vol. 76 no. 6, Dec 1984, pp. 1682-1689.
  • Howell, Standley. "Ramos de Pareja's Brief discussion of various instruments", Journal of the American Musical Instrument Society vol. 11, 1985, pp. 14-37.
  • Howell, Thomas. The Avant-Garde Flute. A Handbook for Composers and Flutists. University of California Press, Berkeley CA, 1974, 290 pages.
  • Høyrup, Jens Egede. "Wilfried Neumaier: Was ist ein Tonsystem? (book review)", Mathematical Reviews no. 89D, Apr 1989, pp. 1858-1859.
  • Hsü, Kenneth J. and Andreas J. Hsü. "Fractal geometry of music", Proceedings of the National Academy of Sciences of the United States of America vol. 87, Feb 1990, pp. 938-941.
  • Huang, Xiangpeng. "Zhongguo chuantong yindiao de shuli luoji guanxi wenti" (Mathematical and logical relationships in traditional scales and modes), Zhongguo yinyuexue no. 3, 1986, pp. 9-27.
  • Huang, Xiangpeng. Zhongguo chuan tong yin yue yi bai ba shi diao pu li ji (A collection of 180 modes' annotation Chinese traditional musical scales). Ren min yin yue chu ban she, Beijing, 2003, 233 pages.
  • Hubbard, Frank. Three Centuries of Harpsichord Making. Harvard University Press, Cambridge MA, 1965, 1967, 472 pages.
  • Huber, Alfons. "Der österreichische Klavierbau im 18. Jahrhundert", Die Klangwelt Mozarts, Kunsthistorisches Museum Wien, 1991, pp. 47-54.
  • Huber, Alfons. "Konstruktionsprinzipien im Clavichordbau. Überlegungen zur Mensurierung, Stimmtonhöhe und Besaitung bei Clavichorden des 15. bis 18. Jahrhunderts", Musik muß man machen. Festschrift Josef Mertin zum 90. Geburtstag, Vom Pasqualatihaus, Wien, 1994.
  • Huber, Nicolaus A. "Nuclei and dispersal in Luigi Nono's 'A Carlo Scarpa architetto, ai suoi infiniti possibili' per orchestra a microintervalli", Contemporary Music Review vol. 18 no. 2, Luigi Nono, 1999, pp. 19-35.
  • Hubig, Christoph. "Max Weber: Die rationalen und soziologischen Grundlagen der Musik. Kurt Blaukopf: Musiksoziologie (book reviews)", Die Musikforschung vol. 26, 1973, pp. 277-279. Also here.
  • Hubmann, Klaus. "Vom rechten Ton am Fagott. Zur Frage von Stimmton-Verhältnissen im Barock", Musik muß man machen. Festschrift Josef Mertin zum 90. Geburtstag, Vom Pasqualatihaus, Vienna, 1994.
  • Hucbald of St. Amand. De harmonica institutione. c.880. E. de Coussemaker (ed.), Durand, Paris, 1866-1876. Martin Gerbert (ed.), Typis San-Blasianis, St. Blaise, 1784. Reprint Georg Olms Verlag, Hildesheim, 1963.
  • Huchzermeyer, Helmut. Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit. PhD diss., H. & J. Lechte, Münster, 1931, 76 pages.
  • Huddleston, Alex. "Davíd Brynjar Franzson: longitude. Ensemble Adapter. Bedroom Community, HVALREKI13 (CD review)", Tempo vol. 74 no. 293, June 2020, pp. 96-98.
  • Hueber, Kurt Anton. "Pseudoharmonische Partialtonreihen, ihre ekmelischen Intervallstrukturen. Ein neuer Klangraum der Musiktheorie", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 29-47.
  • Hueber, Kurt Anton. "Mathematisch-physikalische Grundlagen einer ekmelischen Intervallehre", Mikrotöne II, Edition Helbling, Innsbruck, 1988, pp. 115-124.
  • Hueber, Kurt Anton. "Ekmelische Harmonik", Mikrotöne III, Edition Helbling, Innsbruck, 1990, pp. 41-49.
  • Huener, Thomas Joel. Wolfgang Caspar Printz' Phrynis Mitilenaeus: A narrative synopsis of musica poetica. PhD diss., University of Iowa, 1989, 171 pages.
  • Huestis, Herbert L. "How to flip reeds to check for tuning stability", The Diapason vol. 91 no. 5, 2000, p. 22.
  • Huestis, Herbert L. "The Merits of Nearly Equal Temperament", The Diapason vol. 94 no. 8, 2003, p. 16.
  • Huestis, Herbert L. "Machine Tuning: Blessing or Curse - or Both?", The Diapason vol. 94 no. 9, 2003, p. 26.
  • Huey, Daniel James. Ben Johnston's String Quartet No. 10: An Investigation of Tuning and Analysis. MA thesis, University of Iowa, 2006.
  • Huey, Daniel James. "Microtonal Serial Procedures in Ben Johnston's Second String Quartet, Mvt. I", 2nd International Conference Mathematics and Computation in Music, 19-22 June 2009, Yale University Press, New Haven CN.
  • Huey, Daniel James. Harmony Harmony, Voice Leading, and Microtonal Syntax in Ben Johnston's String Quartet No. 5. PhD thesis, University of Massachusetts, Amherst, Mar 2017, 146 pages.
  • Hufbauer, Karl. "Hermann von Helmholtz and the Foundations of Nineteenth-Century Science by David Cahan (ed.) (book review)", Central European History vol. 28 no. 3, 1995, pp. 407-409.
  • Hughes, Andrew. "Ugolino: The Monochord and Musica Ficta", Musica Disciplina vol. 23, 1969, pp. 21-39.
  • Hughes, Charles W. "Genesis of a Music by Harry Partch (book review)", The Journal of Aesthetics and Art Criticism vol. 8 no. 4, June 1950, pp. 273-274.
  • Hughes, David G. "Evidence for the Traditional View of the Transmission of Gregorian Chant", Journal of the American Musicological Society vol. 40 no. 3, autumn 1987, pp. 377-404.
  • Hughes, David G. "Thai music in Java, Javanese music in Thailand: two case studies", British Journal of Ethnomusicology vol. 1, 1992, pp. 17-30.
  • Hughes, Richard Vaughan. The ritus canendi vetustissimus et novus of Johannes Legrense. A critical edition with translation, introduction and notes on the text. PhD thesis, Glasgow University, Mar 1996, 2 vols., vol. 1, 112 pages.
  • Hughes, Thea Stanley. "The New Language of Music (book review of The Greek Aulos by Kathleen Schlesinger)", Movement, June 1948.
  • Huglo, Michel. "L'Introduction en Occident des formules Byzantines d'intonation", Studies in Eastern Chant vol. 3, Milos Velimirovic (ed.), Oxford University Press, London, 1973, pp. 81-90.
  • Hui, Alexandra. "Changeable Ears: Ernst Mach's and Max Planck's Studies of Accommodation in Hearing", Osiris vol. 28 no. 1, Music, Sound, and the Laboratory from 1750-1980, Jan 2013, pp. 119-145. Also here.
  • Hulen, Peter Lucas. "Ratiotonic temperament: A proposal for the organization of tones in art music as an alternative to dodecaphonic equal temperament", Actes des Journees d'informatique musicale '98 (JIM '98), Publications du Laboratoire de Mecanique et d'Acoustique no. 148, Marseille, May 1998, pp. C4.1-C4.8.
  • Hulen, Peter Lucas. "A Musical Scale in Simple Ratios of the Harmonic Series Converted to Cents of Twelve-Tone Equal Temperament for Digital Synthesis", WSEAS Transactions on Computers vol. 5 no. 8, Aug 2006, pp. 1713-1719.
  • Hulen, Peter Lucas. "A composition procedure for digitally synthesized music on logarithmic scales of the harmonic series", Proceedings of the International Computer Music Conference, New York, 2010, 7 pages.
  • Hull, Arthur Eaglefield. Modern Harmony: Its Explanation and Application. Augener Ltd., London, Boston Music Co., Boston, 1913, 235 pages.
  • Hüllmandel, Nicholas-Joseph. Principles of Music, Chiefly Calculated for the Pianoforte or Harpsichord. London, 1796.
  • Hülphers, Abraham Abrahamsson. Historisk Afhandling om Musik och Instrumenter. Westerås, 1773, 260 pages. Facsimile reprint, Svenskt musikhistoriskt arkiv, Stockholm, 1969, 1971.
  • Hulse, David. Forgotten in Time...The Ancient Solfeggio. SomaEnergetics, Jan 2009, WWW, 19 pages.
  • Hummel, Johann Nepomuk. Ausfürliche teoretisch-practische Anweisung zum Piano-Forte-Spiel. Tobias Haslinger, Wien, 1827, 1828, 475 pages.
  • Hundley, Craig. "Microtonal Explorations of an L.A. Studio Mainstay", Keyboard vol. 7 no. 9, Sep 1981, p. 10.
  • Hunt, Aaron. Foreword, WWW.
  • Hunt, Aaron. The Emancipation of Pitch. self-published, 2003.
  • Hunt, Aaron. Tonal Plexus Microtonal Keyboard. Regent for the Future of Music. WWW, 2012, 30 pages.
  • Hunt, Edgar; Jeremy Montagu and Tom Gregson. "E Flat and D Sharp", The Musical Times vol. 116 no. 1584, Feb 1975, p. 140.
  • Hunt, Edgar. "Tuning and Temperament", English Harpsichord Magazine vol. 1 no. 7, Oct 1976.
  • Hunt, Edgar. "Corrette on Stringing & Tuning", English Harpsichord Magazine vol. 2 no. 5, 1979.
  • Hunt, Edgar. "Tuning, Containing the Perfection of Eighteenth-Century Temperament, the Lost Art of Nineteenth-Century Temperament and the Science of Equal Temperament by Owen H. Jorgensen (book review)", Galpin Society Journal vol. 45, Mar 1992, pp. 161-162.
  • Hunter, Greg. "Arabic Tone System", WWW.
  • Huntington Hooker, S. "Joseph Alley's Enharmonic Organ", Music vol. 11, Music Magazine Publishing Co., Chicago, Nov 1896-Apr 1897, pp. 677-687.
  • Huovinen, Erkki. "Categorical perception of microtonal intervals in simple tonal contexts", Proceedings of the Stockholm Music Acoustics Conference vol. 2, Roberto Bresin (ed.), Kungliga Tekniska Högskolan, Stockholm, 2003.
  • Hüppe, Eberhard and Richard Polex. "Der Sprung by Georg Hajdu (music review)", Computer Music Journal vol. 24 no. 2, summer 2000, pp. 90-92.
  • Huron, David. "Harmony: A Psychoacoustical Approach by Richard Parncutt (book review)", Psychology of Music vol. 19 no. 2, 1991, pp. 219-222.
  • Huron, David. "Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities", Music Perception: An Interdisciplinary Journal vol. 9 no. 2, winter 1991, pp. 135-154. Also here.
  • Huron, David. "Cognitive Foundations of Musical Pitch by Carol L. Krumhansl (book review)", Psychology of Music vol. 20 no. 1, 1992, pp. 180-185.
  • Huron, David. "Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance", Music Perception vol. 11 no. 3, spring 1994, pp. 289-305. Also here.
  • Huron, David. "Asynchronous Preparation of Tonally Fused Intervals in Polyphonic Music", Empirical Musicology Review vol. 3 no. 1, 2008, pp. 11-21.
  • Hurwitz, Robert Irving. An investigation into the perception of root in harmonic intervals. PhD thesis, Indiana University, Bloomington IN, 1970, 64 pages.
  • Husarik, Stephen. "John Cage and LeJaren Hiller: HPSCHD, 1969", American Music vol. 1 no. 2, summer 1983, pp. 1-21.
  • Hüschen, Heinrich. "Der Harmoniebegriff im Musikschrifttum des Altertums und des Mittelalters", Bericht über den 7. Internationalen Musikwissenschaftlichen Kongress, Köln, 1958, Kassel, 1959.
  • Hüschen, Heinrich. "Musikerziehung - Lehre und Theorie der Musik im Mittelalter by Joseph Smits van Waesberghe (book review)", Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis vol. 22 no. 4, 1972, pp. 289-293.
  • Husmann, Heinrich. "Sieben afrikanische Tonleitern", Jahrbuch der Musikbibliothek Peters vol. 44, 1937.
  • Husmann, Heinrich. "Olympos, die Anfänge der griechischen Enharmonik", Jahrbuch der Musikbibliothek Peters vol. 44, 1937, pp. 29-44.
  • Husmann, Heinrich. "Around von Hornbostel's theory of the cycle of blown fifths by Jaap Kunst (book review)", Die Musikforschung vol. 3 no. 3/4, 1950, pp. 321-323.
  • Husmann, Heinrich. "Fünf- und siebenstellige Centstafeln zur Berechnung musikalischer Intervalle", Ethno-Musicologia, E.J. Brill, Leiden, 1951, p. 16.
  • Husmann, Heinrich. "Eine neue Konsonanztheorie", Archiv für Musikwissenschaft vol. 9 no. 3-4, 1952, pp. 219-230.
  • Husmann, Heinrich. "Zu Kurt Reinhards 'Tonmessungen an fünf ostafrikanischen Klimpern' (article review)", Die Musikforschung vol 5 no. 2-3, 1952, pp. 218-219.
  • Husmann, Heinrich. Vom Wesen der Konsonanz. Müller-Thiergarten Verlag, Heidelberg, 1953, 79 pages.
  • Husmann, Heinrich. "Otto Johannes Gombosi: Tonarten und Stimmungen der antiken Musik (book review)", Die Musikforschung vol. 6 no. 4, 1953, pp. 366-369. Also in: Göttingische Gelehrte Anzeigen vol. 211, 1957, p. 47.
  • Husmann, Heinrich. Einführung in die Musikwissenschaft. Quelle & Meyer, Heidelberg, 1958, 268 pages.
  • Husmann, Heinrich. Grundlagen der antiken und orientalischen Musikkultur. De Gruyter, Berlin, 1961, 2018, 2019, 213 pages.
  • Husmann, Heinrich. "Zur Charakteristik der Schlickschen Temperatur", Archiv für Musikwissenschaft vol. 24 no. 4, 1967, pp. 253-265.
  • Hut, Lucien and Jody Rhoades Anderson. Handbook of musical scales: with emphasis for the keyboard. Mountain Press, Missoula MT, c.1974, 268 pages.
  • Hutchinson, Mark. "A HREF="https://doi.org/10.1017/S0040298218000943">Stairways in the dark: sound, syntax and the sublime in Haas's 'in vain' (music review)", Tempo vol. 73 no. 288, Cambridge, Apr 2019, pp. 7-25.
  • Hutchinson, William and Leon Knopoff. "The acoustic component of Western consonance", Interface vol. 7, 1978, pp. 1-29.
  • Hutchison, Niels. "Music for measure. On the 300th Anniversary of Newton's 'Opticks'", WWW, 2004.
  • Hutchison, Niels. "Colour Music in Australia: De-mystifying De Maistre", WWW, 2008.
  • Huth, Arno. "Elektrische Tonerzeugung", Die Musik vol. 20 no. 1, Oct 1927, p. 43.
  • Huygens, Christiaan. Le cycle harmonique. Rotterdam, 1691; Novus cyclus harmonicus, Leiden, 1724. 2nd edition with English and Dutch translations, Rudolf Rasch (ed.), Tuning and temperament library vol. 6, Diapason Press, Utrecht, 1986.
  • Huygens, Christiaan. "Lettre touchant le Cycle Harmonique", Histoire des Ouvrages des Sçavans, Henri Basnage de Beauval (ed.), Rotterdam, Oct 1691, pp. 78-88.
  • Huygens, Christiaan. Kosmotheoros, sive de terris coelestibus earumque ornatu conjecturae. Adriaen Moetjens, The Hague, 1698, 1699, 144 pages.
  • Huygens, Christiaan. Oeuvres complètes. Tome premier, deuxième, troisième, quatrième, cinquième, sixième, septième, huitième, neuvième, dixième, dix-neuvième, vingtième, vingt-et-unième, vingt-et-deuxième. Martinus Nijhoff, The Hague, 1888-1950.
  • Huynh, Dan. Musical Equal Temperament And Its Inventor Zhu Zaiyu. E-book, 2012, 53 pages.
  • Huystee, Th. van. "Over stemmen en stemmingen", Het Orgel vol. 70 no. 5, 1974.
  • Hyde, Fred B. The Position of Marin Mersenne in the History of Music. PhD diss., New Haven University, 2 vols., 1954, 631 pages.

- I -

- J -

  • Jaatinen, Jussi; Jukka Pätynen and Kimmo Alho. "Octave stretching phenomenon with complex tones of orchestral instruments", Journal of the Acoustical Society of America vol. 146 no. 5, Nov 2019, pp. 3203-3214. Also here.
  • Jachelli, Thiago Pereira. Afinação e temperamento desigual no Barroco, MA thesis, Universidade Federal do Paraná, 2010, 28 pages.
  • Jackson, Bruce Rogers. The G-D-G-C Scordatura Tuning for the Double Bass: a Historical Survey, Theoretical Rationale, Pedagogical Study, and Compositional Demonstration. Ball State University, 1996, 711 pages.
  • Jackson, Myles W. Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany. MIT Press, Cambridge MA, 2006.
  • Jackson, William. A preliminary discourse to a scheme, demonstrating the perfection and harmony of sounds. J. Cluer and A. Campbell, London, 1726, 56 pages. Reprint Gale ECCO, July 2010, 64 pages.
  • Jacob, Bruce L. "Composing with Genetic Algorithms", Proceedings of the International Computer Music Conference, Banff, Sep 1995, 4 pages.
  • Jacob, Francis. "Acoustique -Accord -Tempéraments", WWW, 2014, 8 pages.
  • Jacobi, Erwin R. "Giuseppe Tartini's 'Regola per bene accordare il violino'", Music East and West. Essays in honor of Walter Kaufman, Thomas Noblitt (ed.), New York, 1981, pp. 199-207.
  • Jacobi, Peter. "The strange realm of Harry Partch", The Music Magazine, July 1962, pp. 14-16.
  • Jacobson, Christopher. "The importance of kinesthetic perception in playing in tune", American String Teacher vol. 48, 1998, pp. 54-57.
  • Jacobsson, Björn and Jesper Jerkert. "Consonance of Non-Harmonic Complex Tones: Testing the Limits of the Theory of Beats", KTH Royal Institute of Technology (KTH), Stockholm, 2000, 11 pages with Swedisch abstract.
  • Jacobus de Liège. Jacobus Leodiens Speculum Musicae. c.1325. Roger Bragard (ed.