Tuning & temperament bibliography

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  • Aalst, Jules A. van. Chinese Music. Statistical Dept. of the Inspectorate General of Customs, Shanghai, 1884, 106 pages.
  • Aaron, Pietro. De institutione harmonica libri tres. Bononiae, In aedibus Benedicti Hectoris Bibliopolae Bononiensis, 1516. Reprint Broude Brothers Ltd., New York, 1978. Liber primus, liber secundus, liber tertius. Also here.
  • Aaron, Pietro. Thoscanello de la musica. Impressa per Bernardino et Mattheo de Uitali, Venezia, 1523, 1529, 1539, 1562. Reprint Broude Brothers Ltd., New York, 1969. English translation Toscanello in musica by Peter Bergquist, Colorado College Music Press, Colorado Springs, 1970.
  • Aaron, Pietro. Trattato della natura et cognitione di tutti gli tuoni di canto figurato. Bernardino Vitali, Venezia, 1525, 1531.
  • Aaron, Pietro. Lucidario in musica. Venice, 1545. Reprint, 1969.
  • Aaron, Pietro. Compendiolo di molti dubbi. Venice, after 1545.
  • Abate, Ezra. "Ethiopian Kiñit (scales). Analysis of the formation and structure of the Ethiopian scale system", Proceedings of the 16th International Conference of Ethiopian Studies, Svein Ege, Harald Aspen, Birhanu Teferra, Shiferaw Bekele (eds.), Trondheim, 2009, pp. 1213-1224.
  • Abbado, Michelangelo. "Terzo e quarto suono", Rivista italiana di musicologia vol. 5, 1970, pp. 99-147.
  • Abbatini, Antonio Maria. Codici contenenti diverse lezioni teorice. Bologna, 1667-1668. (below)
  • Abbatini, Antonio Maria. "De Diatessaron Consonantia li 18 febbraio 1667. MS C.48", Bologna, 1667.
  • Abbatini, Antonio Maria. "Che i Modi ò Tuoni sono sei. Li 11 Settembre i667. MS C.48", Bologna, 1667.
  • Abbatini, Antonio Maria. "Lettione quarta De Genere Multiplici et eius species. Li 2 Luglio 1668. MS C.48", Bologna, 1668.
  • Abbatini, Antonio Maria. "Lectio settima Delle varie spetie dell' ottaua et quinta. MS C.48", Bologna.
  • Abbatini, Antonio Maria. "Del Genere Moltiplice ch' è De le Proportioni che danno la forma all' Interualli. MS C.48", Bologna. English translation "On the Multiplex Genus which belongs to the Proportions which represent the Intervals", WWW, 2012, 3 pages.
  • Abbatini, Antonio Maria. "De Generi di Proportione. MS C.48", Bologna.
  • Abbatini, Antonio Maria. "Numero 12 De Dissonantijs. MS C.48. f.84r-92r", Bologna. English translation by Massimo Redaelli "On the Dissonances", WWW, 2012, 6 pages.
  • Abbott, Curtis. "Marching to a Different Ratio. Xenharmonikon. Interval: A Microtonal Newsletter (reviews)", Computer Music Journal vol. 2 no. 2, Sep 1978, pp. 7-8.
  • Abddon, Seifed-Din Shehadeh. "Arabic Music: Samaie Farhafza Analysis", May 2003, WWW, 14 pages.
  • Abdoli, Sajjad. "Iranian Traditional Music Dastgah Classification", 12th International Society for Music Information Retrieval Conference (ISMIR 2011), 2011, pp. 275-280.
  • Abdounur, Oscar João. "Ratios and music in the late middle ages: a preliminary survey", Music and mathematics in late medieval and early modern Europe, Philippe Vendrix (ed.), Brepols, Turnhout, 2008, 394 pages.
  • Abdounur, Oscar João. "The Emergence of the Idea of Irrationality In Renaissance Theoretical Music Contexts", Music Journal of Interdisciplinary Sciences vol. 3 no. 2, Mar 2015.
  • Abel, Carl Friedrich. The pure method for tuning the Harpsichord, according to Abel. London, 2nd half 18th cent.
  • Abel, Markus and Steffen Bergweiler. "Synchronization of higher harmonics in coupled organ pipes", International Journal of Bifurcation and Chaos in Applied Sciences and Engineering vol. 17 no. 10, Oct 2007, pp. 3483-3491.
  • Abel, Volker, Peter Reiss and Rudolf Wille. "Mutabor II - Ein computergesteuertes Musikinstrument zum Experimentieren mit Stimmungslogiken und Mikrotönen", Preprint no. 1513, TH Fachbereich Mathematik, Darmstadt, 1992. Also in Mikrotöne IV, Filmkunst-Musikverlag, München, 1993.
  • Abel, Volker, Peter Reiss, Rüdiger Krauße and Tobias Schlemmer. "MUTABOR - Ein computergesteuertes Musikinstrument zum Experimentieren mit Stimmungslogiken und Mikrotönen", WWW, 2006.
  • Abesser, Jakob; Estafanía Cano; Klaus Frieler; Martin Pfleiderer and Wolf-Georg Zaddach. "Score-Informed Analysis of Intonation and Pitch Modulation in Jazz Solos", Proceedings of the 16th International Society for Music Information Retrieval Conference, Málaga, Oct 2015, pp. 823-829. Also in IEEE/ACM Transactions on Audio, Speech and Language Processing vol. 25 no. 1, Jan 2017, pp. 168-177.
  • Abraham, Gerald u.a. (ed.) Bericht über den siebenten internationalen musikwissenschaftlichen Kongreß, Köln 1958. Bärenreiter, Kassel, 1959, 366 pages.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Zur Psychologie der Tondistanz", Zeitschrift für Psychologie und Physiologie der Sinnesorgane vol. 98, 1899.
  • Abraham, Otto. "Absolutes Tonbewußtsein", Sammelbände der internationalen Musikgesellschaft vol. 3 & 8, 1901, pp. 1-86.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Studien über das Tonsystem und die Musik der Japaner", Sammelbände der Internationalen Musikgesellschaft vol. 4 no. 2, Feb 1903, pp. 302-360.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Vorschläge für die Transkription exotischer Melodien", Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909. Reprint in Musical transcription, Garland, New York, 1990, pp. 1-25. English translation "Suggested methods for the transcription of exotic music", Ethnomusicology vol. 38 no. 3, autumn 1994, pp. 425-456.
  • Abreu, Edward Ayres de. "Sampaio Bruno: melomania tessaradecatónica", A obra e o pensamento de Sampaio Bruno, Celeste Natário; Jorge Cunha and Renato Epifânio (eds.), Universidade Católica Editora, Porto, May 2018, pp. 159-172.
  • Abromont, Claude and Eugène de Montalembert. Guide de la Théorie de la Musique. Henry Lemoine, Fayard, 2001, 380 pages.
  • Accurso, Howard. The Decline of Unequal Temperments in the Nineteenth Century. PhD thesis, in progress.
  • Achtélik, Josef. Der Naturklang als Wurzel aller Harmonien. Eine Aesthetische Musiktheorie in Zwei Teilen. 2 vols., Verlag von C.F. Kahnt, Leipzig, 1922. Reprint Forgotten Books, Feb 2019, 234 pages.
  • Adams, Charles R. "Measuring Order and Beauty: On Isaac Newton's 'Discourses of Strings Sounding and Colors Compounding'", July 2013, rev. 2016, 147 pages.
  • Ader, Lidia Olegovna. "Survivor from Leningrad: an episode from Soviet quarter-tone music" (in Russian), musicus vol. 4, autumn 2008, pp. 45-48.
  • Ader, Lidia Olegovna. "Georgy Rimsky-Korsakov and the Circle of quarter-tone music", Museums of theatre and music in the international world: Experience, traditions, collaboration, St. Petersburg, 2008, pp. 89-99.
  • Ader, Lidia Olegovna. "Quarter-tone boom at the Conservatory: Petrograd news" (in Russian), Vestsi Belaruskay dzyarzhaunai akademii muzyki vol. 4, 2008, pp. 91-95.
  • Ader, Lidia Olegovna. "Microtonal Storm and Stress: Georgy Rimsky-Korsakov and Quarter-Tone Music in 1920s Soviet Russia", Tempo vol. 63 no. 250, Cambridge University Press, Cambridge, Oct 2009, pp. 27-44.
  • Ader, Lidia Olegovna. "Art of forgetting-Some mechanisms of resistance to microtonal memory in Russia's 1960s avant-garde", BTC Proceedings, Thessaloniki, July 2010.
  • Ader, Lidia Olegovna. "A life paradox of Georgy Rimsky-Korsakov" (in Russian), N.A. Rimsky-Korsakov and his Heritage in Historical perspective. Materials of an international musicological conference, L. Ader, N. Kostenko, N. Metelitsa, N. Feofanova, Ya. Shigareva (eds.), St. Petersburg, 2010, 452 pages.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice" (in Russian), Instrumentalism in the history of culture, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. "The Concept of Microtonality: Its Origin and Background" (in Russian), Opera musicologica vols. 3-4 nos. 8-9, St. Petersburg, 2011, pp. 114-134.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice" (in Russian), Vremennik Zubovskogo Instituta vol. 7, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. "Rosyjska muzyka mikrotonowa w latach 10.-20. XX wieku: teorie i praktyki", Glissando: Magazyn o muzyce wspólczesnej vol. 17, Warsaw, 2011, pp. 78-82.
  • Ader, Lidia Olegovna. "Microtonal idea: Its Origin and Premises" (in Russian), Opera Musicologica vol. 3-4 no. 9-10, 2012, pp. 114-134.
  • Ader, Lidia Olegovna. "Avant-garde headquarters (The Circle of Quarter-tone Music in Petrograd Conservatory)", Opera Musicologica vol. 2, 2012, pp. 80-88.
  • Ader, Lidia Olegovna. Mikrotonovaja muzika v Evrope i Rossii v 1900-1920e godi. MA thesis, Gosudarstvennaâ Konservatoriâ imeni N.A. Rimskogo-Korsakova, St. Petersburg, 2013.
  • Ader, Lidia Olegovna. "Game of two cities: Russian microtonal contests in 1920s" (in Russian), Papers collection, Margarita Katounian (ed.), Moscow, 2013.
  • Ader, Lidia Olegovna. "Microtonal Russia: 1950-1970s myths and realities", New Sound vol. 41 no. 1, Sep 2013, pp. 42-57.
  • Ader, Lidia Olegovna. "Parallel History of Russian Musical Avant-garde", Lietuvos muzikologija vol. 16, 2015, pp. 90-101.
  • Ader, Lidia Olegovna. "Elementy romantyczne w muzyce mikrotonowej (The Romantic Approach in Microtonal Music)", Twórczosc kompozytorów slowianskich I polowy XX wieku, Kinga Krzymowska-Szaco (ed.), Lublin, 2017, pp. 157-168.
  • Ader, Lidia Olegovna. "Introduction to Microtonal Music", Microtonal Music in Central and Eastern Europe: Historical Outlines and Current Practices, Leon Stefanija and Ruta Staneviciute (eds.), University of Ljubljana, Litovska akademija za glasbo in gledalisce, Vilnius, 2020, 34 pages.
  • Adkins, Cecil D. The Theory and Practice of the Monochord. PhD thesis, University of Iowa, 1963. Reprint UMI Dissertation Services (64-3344), Ann Arbor, 501 pages.
  • Adkins, Cecil D. "The Technique of the Monochord", Acta Musicologica vol. 39 fasc. 1/2, Jan-Jun 1967, pp. 34-43.
  • Adlington, Robert. "Antara by George Benjamin (CD review)", The Musical Times vol. 135 no. 1812, Feb 1994, p. 95.
  • Adlung, Jakob. Anleitung zu der musikalischen Gelahrtheit, theils vor alle Gelehrte, so das Band aller Wissenschaften einsehen, theils vor die Liebhaber der edlen Tonkunst überhaupt, theils und sonderlich vor die, so das Clavier vorzüglich lieben, theils vor die Orgel- und Instrumentenmacher. J.D. Jungnicol, Erfurt, 1758, 844 pages. Also here. 2nd edition Dresden/Leipzig, 1783. Facsimile reprint, Hans-Joachim Moser (ed.), Documenta Musicologica Bd. 4, Bärenreiter, Kassel, 1953.
  • Adlung, Jakob; Johann Lorenz Albrecht and Johann Friedrich Agricola. Musica mechanica organoedi: Das ist: Gründlicher Unterricht von der Struktur, Gebrauch und Erhaltung [et]c. der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente ... ; Nebst zwey Tabellen und vielen Figuren. Friedrich Wilhelm Birnstiel, Berlin, 1768, 205 pages. Facsimile reprint Christhard Mahrenholz, Bärenreiter, Kassel, 1930, 1961. English translation Musical mechanics for the organist by Quentin Faulkner, Zea E-Books, Lincoln NE, Oct 2011, 1224 pages (incl. original).
  • Adou, Heather Maxwell. "Acoustic Aspects of the Balani of Mali", SAVAIL Working Papers, 2003.
  • Adriaansz, Peter. "How I Became a Convert", Thirty-One vol. 1, summer 2009, pp. 8-33.
  • Agayeva, S. and S. Hajiyev. "On the Problems of Research the Pitch System of Azerbaijani Mughams", Proceedings of the IInd International Musicological Symposium Space of Mugham, 15-17 March 2011, M. Aliyeva (ed.), International Council for Traditional Music, Baku, 2011, pp. 19-30.
  • Agazzari, Agostino. Sacrarum Cantionum quae Binis, Ternis, Quaternisque vocibus concinuntur. Liber II. Cum basso ad organum. Ricciardus Amadinus, Venice, Jan 1608, 1613, 1616.
  • Ager, Klaus. "Der Ultrachromatismus Ivan Wyschnegradskys in melodischer und rhythmischer Hinsicht", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 123-126.
  • Agmon, Eytan. Diatonicism, Chromaticism and Enharmonicism: A Study in Cognition and Perception. City University of New York, University Microfilms International, 1986, 257 pages.
  • Agmon, Eytan. "A Mathematical Model of the Diatonic System", Journal of Music Theory vol. 33 no. 1, spring 1989, pp. 1-25. Correction in vol. 33 no. 2, 1989, p. 462.
  • Agmon, Eytan. "Equal Division of the Octave in a Scarlatti Sonata", In Theory Only vol. 13 no. 5, 1990, pp. 1-8.
  • Agmon, Eytan. "Linear Transformations Between Cyclically Generated Chords", Musikometrika vol. 3, 1991, pp. 15-40.
  • Agmon, Eytan. "Towards a Theory of Diatonic Intonation", Interface vol. 22 no. 2, 1993, pp. 151-163.
  • Agmon, Eytan. "Coherent Tone-Systems: A Study in the Theory of Diatonicism", Journal of Music Theory vol. 40 no. 1, spring 1996, pp. 39-59.
  • Agmon, Eytan. "Numbers and the Western Tone-System: Beyond Psychoacoustics", American Mathematical Society, Mar 2003, 18 pages.
  • Agmon, Eytan. "Proto-Tonal Theory: Tapping into 9th-Century Insights", Music Theory Spectrum vol. 35 no. 1, spring 2013, pp. 103-110.
  • Ágnes, Ratkó. Eine Annäherung an historische Stimmungen aus künstlerischer Sicht. MA thesis, Liszt Ferenc Universität für Musik Doktorandenschule Nr.28 zur Wissenschaft der Kunst- und Kulturgeschichte gehörend, Budapest, 2009.
  • Agon, Carlos and Moreno Andreatta. "Outils informatiques pour la classification et la notation des structures micro-intervalliques", Séminaire MaMuX, séance Micro-tonalité et systématique modale, IRCAM, Paris, 8 Nov 2003.
  • Agustín-Aquino, Octavio Alberto; Julien Junod and Guerino Mazzola. "Towers of Counterpoint", Computational Counterpoint Worlds, Computational Music Science, Springer, 2015, pp. 135-148.
  • Agustín-Aquino, Octavio Alberto and Guerino Mazzola. "Modulation in Tetradic Harmony and its Role in Jazz", arXiv 1809.04755, WWW, Sep 2018, 8 pages.
  • Agricola, Johann Friedrich. Anleitung zur Singkunst. George Ludewig Winter, Berlin, 1757, 93 pages. Facsimile edition by Erwin R. Jacobi (ed.), Hermann Moeck Verlag, Celle, 1966.
  • Agricola, Martin. Musica instrumentalis deudsch, ynn welcher begriffen ist, wie man nach dem Gesange auff mancherley pfeiffen lernen sol, auch wie auff die Orgel, Harffen, Lauten, Geigen und allerley Instrument und Seytenspiel nach der rechtgegründten Tabelthur sey abzusetzen. Georg Rhau, Wittemberg, 1528, 1529, 1542, enlarged 1545, 295 pages. Facsimile edition, Breitkopf und Härtel, Leipzig, 1896. Reprint Georg Olms Verlag, Hildesheim, 1969. Also here. English translation A Treatise on Musical Instruments, 1529 and 1545 by William E. Hettrick (ed.), Cambridge University Press, Cambridge, 1994, 214 pages.
  • Agricola, Martin. Musica figuralis deudsch: mit ihrem zugehörenden Exempeln, sampt einem besunderlichen schönen Büchelein von den Proportionibus, welche allen gemeinen Sengern, Instrumentisten und Anhebern dieser Kunst, ganz nützbarlich zu wissen, auffs einfeltigst und vorstentlichst ins Deudsche verfasset. Georg Rhau, Wittemberg, 1532, 120 pages.
  • Agricola, Martin. Rudimenta musices, quibus canendi artificium compendiosissime complexum, pueris una cum monochordi dimensione traditur. Georg Rhau, Wittemberg, 1539. Also here. Reprint Broude Brothers, New York, June 1966. English translation The Rudiments of Music by John Trowell, Boethius Press, Aberystwyth, July 1991, 132 pages.
  • Agustín-Aquino, Octavio; Jeffery Liu and Guerino Mazzola. "Exploring Exotic Counterpoint Compositions", arXiv 2106.00806, WWW, Jun 2021, 18 pages.
  • Ahlvers, Arthur. Zahl und Klang bei Platon. Noctes Romanae: Forschungen über die Kultur der Antike, Verlag Paul Haupt, Bern & Stuttgart, 1952, 67 pages. English translation Number and Sound in Plato by John Black, Studies in the History of Philosophy, vol. 67, Edwin Mellen Press, Lewiston NY, 2002.
  • Ahola, Anu. "Sampo Haapamäki: Quarter-Tone Miracle Man", Suomalaisen Musiikin Tiedotuskeskus/Finnish Music Information Centre (FIMIC), 2012.
  • Ahrens, Alvin W. "Characteristic Limitations of the Internal Tuning of Selected Wind Instruments", Journal of Experimental Education vol. 15 no. 4, June 1947, pp. 269-290.
  • Ahrens, Christian. "Anmerkungen zu Birsaks Frequenzmessungen an 2 Chalumeaux", Die Musikforschung vol. 28 no. 4, Bärenreiter, Kassel/Basel, 1975, pp. 442-443.
  • Ahrens, Christian. "Ein griechischer Volksmusiker und sein Instrument. Zur Stimmung folkloristischer Aerophone", Studia Instrumentorum Musicae Popularis vol. 7, Erich Stockmann (ed.), Music museum, Stockholm, 1981, pp. 95-101.
  • Aikin, Jim. "Discover 19-Tone Equal Temperament", Keyboard, March 1988, pp. 74-80.
  • Aikin, Jim. "Just intonation with synth tuning tables", Keyboard, Nov 1994.
  • Aikin, Jim. "Playing in the Cracks, Electronic Musician, June 2003.
  • Aikin, Jim. "An Interview with Robert Rich", Keyboard, 2004.
  • Aikin, Jim. "Just Intonation Tutor", WWW, 2006.
  • Aimé, Puech. "Théodore Reinach. La Musique grecque (book review)", Journal des Savants vol. 2, 1927, pp. 88-89.
  • Airoldi, Roberto. La teoria del temperamento nell'etá di Gioseffo Zarlino. Presentazione a cura di Elena Ferrari Barassi, Turris, Cremona, 1989, 172 pages.
  • Airy, George Bidell. On Sound and Atmospheric Vibrations with the Mathematical Elements of Music. MacMillan and Co, London and Cambridge, 1868, 1871, 280 pages. Reprint Adamant Media Corporation, 2001, 367 pages.
  • Aiton, E.J.; A.M. Duncan and J.V. Field. "The Harmony of the World by Johannes Kepler. Translated into English with an Introduction and Notes", Memoirs of the Amercian Philosophical Society held at Philadelphia for Promoting Useful Knowledge vol. 209, 1997.
  • Aiyar, C. Subrahmania. "Quartertones in South Indian (Carnatic) Music", The Journal of the Musical Academy vol. 11, Madras, 1940, p. 95.
  • Aiyar, C. Subrahmania. "A Study of the Microtonal Variations in Frequencies in Karnatic Music with an Oscillograph", The Journal of the Musical Academy vol. 20, Madras, 1949, p. 114.
  • Aiyar, C. Subrahmania. "Musical research and frequency ratios", The Journal of the Musical Academy vol. 21, Madras, 1950, p. 64.
  • Aiyar, C. Subrahmania. "Physics and Aesthetics of Hindustani Music", The Journal of the Musical Academy vol. 22, Madras, 1951, p. 86.
  • Aiyar, C. Subrahmania. The Grammar of South Indian (Karnatic) Music. Madras, 1951, 1976.
  • Ajotikar, Rasika (ed.) "Sound Collections and Postcolonial India's Cultural Politics: An Interview with Felix van Lamsweerde", the world of music vol. 10 no. 1, 2021, pp. 21-37.
  • Akkoç, Can. "Non-Deterministic Scales Used in Traditional Turkish Music", Journal of New Music Research vol. 31 no. 4, 2002.
  • Akkoç, Can; William A. Sethares and Mustafa Kemal Karaosmanoglu. "Experiments on the Relationship between Perde and Seyir in Turkish Makam Music", Music Perception: An Interdisciplinary Journal vol. 32 no. 4, Apr 2015, pp. 322-343.
  • Aksoy, Bülent, "Makamin Tanimina Dogru", 1995. Trans. K. Agartan. Musikisinas, Bogaziçi University Turkish Music Club Publication, 2000, pp. 70-87.
  • Aksoy, Bülent. Avrupali Gezginlerin Gözüyle Osmanlilarda musikî. 2nd rev. ed., Pan Yayincilik, Istanbul, 2003.
  • Alaleona, D. "I moderni orrizonti della tecnica musicale. Teoria della divisione dell'ottava in parti uguali", Rivista Musicale Italiana vol. 18, 1911, pp. 382-420.
  • Alaleona, D. "Le tonalità neutre e l'arte di stupore", Rivista Musicale Italiana vol. 18, 1911, pp. 769-838.
  • Al-attas, Ahmad Fahmy. "Tala", WWW, 2015, 94 pages.
  • Albèra, Philippe. "Ivan Wyschnegradsky 'Quatuor no.1' opus 13 (1923-24)", Concert 10, Contrechamps, Genève, 2000.
  • Albersheim, Gerhard. "Overtones and Music Theory", Bulletin of the American Musicological Society no. 11/12/13, Sep 1948, pp. 69-71.
  • Albersheim, Gerhard. "Die Tonstufe", Die Musikforschung vol. 16 no. 2, April/June 1963, pp. 139-152. English translation "The Scale Step", Philosophy and Phenomenological Research vol. 26 no. 1, Sep 1965, pp. 63-79.
  • Albini, Giovanni and Samuele Antonini. "Hamiltonian Cycles in the Topological Dual of the Tonnetz", 2nd International Conference Mathematics and Computation in Music, 19-22 June 2009, Yale University Press, New Haven CN, pp. 1-10.
  • d'Albiz, Joseph Lubet. Création Harmonique, étoile musicale composée pour piano ou orgue à quarts de ton. BN Vm (8) 532, Paris, Jan 1858. Reprint, Hachette Groupe Livre, 2018.
  • Albornoz, A. "Computer Music in Chile: The Beginning and some paths to the future: An historical review", 2015.
  • Albrecht, Jan. "Essays über Kunst. Ein Teufelsgespräch über die Zukunft der Musik (zu Thomas Manns Roman Doktor Faustus)", Zbornik filosoficke fakulty university Komenskeho vol. 22, Bratislava, 1971, pp. 99-137.
  • Albrecht, Johann. Gründliche Einleitung in die Anfangslehren der Tonkunst: zum Gebrauche musikalischer Lehrstunden nebst einer Erklärung der vornehmsten sowohl in der Vokal- als Instrumentalmusik vorkommenden Kunstwörter und einem Abrisse einer musikalischen Bibliothek. Martini, Langensalza, 1761, 136 pages.
  • Albrecht, Hartwig. Tonartencharakteristik und Temperatur. 'Ein Märchen aus alten Zeiten', oder auch: Die Geburt der Mathematik aus dem Geist der Musik. WWW, 2011, 45 pages.
  • Albrechtsberger, Johann Georg. Gründliche Anweisung zur Composition: mit deutlichen und ausführlichen Exempeln, zum Selbstunterrichte, erläutert und mit einem Anhange: Von der Beschaffenheit und Anwendung aller jetzt üblichen musikalischen Instrumente. Johann Gottlob Immanuel Breitkopf, 1790, 440 pages, p. 419.
  • Albritton, Jerry Samuel. A historical survey of important tuning systems in Western music. MM diss. Florida State U., Tallahassee, 1969.
  • Alburger, Mark. "La Mont Young to 1960", 21st Century Music vol. 10 no. 3, 2003.
  • Alekseyev, Eduard. "Notnaya zapis' narodnoy muzyki: Teoriya i praktika", Sovetskiy kompozitor, Moscow, 1990.
  • d'Alembert, Jean Le Rond. Éléments de musique théorique et pratique, suivant les principes de M. Rameau, éclaircis développés et simplifiés. David l'Ainé, Paris, 1752, 171 pages. Nouvelle édition, revue, corrigée, Jean Marie Bruysset, Lyon, 1759, 1762, 1766, 1772, 1779, 236 pages. Nabu Press, Sep 2011, 308 pages. German translation by Friedrich Wilhelm Marpurg Systematische Einleitung in die musicalische Setzkunst, Johann Gottlob Immanuel Breitkopf, Leipzig, 1757, 136 pages.
  • d'Alembert, Jean Le Rond. Réponse de M. d'Alembert à une lettre imprimée de M. Rameau. Paris, 1762.
  • Alessi, Rosario. Sonometro. Misura matematica del suono musicale. Metodo téorico per la giusta divisione della scala cromatica...per accordare i pianoforti. A. Morano, Naples, 1881, 91 pages.
  • Alexjander, Susan. "DNA tunings", Experimental Musical Instruments vol. 8 no. 2, Sep 1992, pp. 30-31.
  • Alexjander, Susan. "The Infrared Frequencies of DNA Bases, as Science and Art", Engineering in Medicine and Biology Magazine, IEEE, Mar/Apr 1999, pp. 74-75.
  • al-Farabi. Kitab al-musiqa al-kabir. Reprint Gattas 'Abd al-Malik Hashaba, Dar al-katib al-'arabi, Cairo, 1967. French translation by F.R. d'Erlanger, 1930. Reprint Ed. Eckhard Neubauer, Frankfurt a.M., 1998, 482 pages.
  • Algaraz, José Antonio. "A Propósito de Julián Carrillo", Heterofonía vol. 8 no. 31, 1975, pp. 20-23.
  • Alkire, Eddie. "Pure and tempered tuning for Spanish guitar, from the Alkire guitar system", 1958.
  • Allain-Dupré, Philippe. "Jobin versus Lehman", WWW, 2005.
  • Allaire, Gaston G. The Theory of Hexachords, Solmization, and the Modal System. Musicological Studies and Documents vol. 24, American Institute of Musicology, 1972, 165 pages.
  • Allan, G.E. "The Musical Scale of the Highland Bagpipe", Philosophical Magazine vol. 29, 1940, pp. 154-161.
  • Alldahl, Per-Gunnar. Korintonation: Du skall icke sjunga falskt mot din nästa. SKS musikböcker no. 5. Gehrman, Stockholm, 1990, 142 pages.
  • Allen, John S. "Mathematical representations of musical tunings", WWW, 1997.
  • Allen, John S. "Equal temperaments as mathematical series", WWW, 1997.
  • Allen, John S. "On Rabbits, Mathematics and Musical Scales", WWW, 1998.
  • Allen, John S. "The general keyboard in the age of MIDI", WWW, 1997-1999.
  • Allende-Blin, Juan. "Ein gespräch mit Ivan Wyschnegradsky", Alexander Skrjabin und die Skrjabinisten, Musik Konzept vols. 32-33, München, 1983, p. 103.
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  • Barber, Barbara. "Intonation: The Major/Minor Difference", American String Teacher vol. 41 no. 1, Feb 1991, pp. 82-86.
  • Barbera, Charles André. "Arithmetic and Geometric Division of the Tetrachord", Journal of Music Theory vol. 21 no. 2, autumn 1977, pp. 294-323.
  • Barbera, Charles André. The persistence of Pythagorean mathematics in ancient musical thought. PhD thesis, University of North Carolina, Chapel Hill, 1980.
  • Barbera, Charles André. "Interpreting an arithmetical error in Boethius's 'De institutione musica' (iii. 14-16)", Arch. Internat. Hist. Sci. vol. 31 no. 106, 1981, pp. 26-41.
  • Barbera, Charles André. "The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of Ancient Pythagoreanism", Journal of Music Theory vol. 28 no. 2, 1984, pp. 191-223.
  • Barbera, Charles André. "Octave species", Journal of Musicology vol. 3 no. 3, summer 1984, pp. 229-241.
  • Barbera, Charles André. "Diesis", in The New Harvard Dictionary of Music, Don Michael Randel (ed.), The Belknap Press of Harvard University Press, Cambridge MA, 1986, p. 231.
  • Barbera, Charles André. "Easley Blackwood: The Structure of Recognizable Diatonic Tunings (book review)", Journal of Music Theory vol. 32 no. 1, spring 1988, pp. 158-169.
  • Barbera, Charles André. "Adriaan Daniël Fokker: Selected Musical Compositions, R.A. Rasch (ed.) (book review)", Journal of Music Theory vol. 33 no. 2, autumn 1989, pp. 393-400.
  • Barbera, Charles André (ed.) The Euclidean Division of the canon: Greek and Latin sources: new critical texts and translations on facing pages, with an introduction, annotations, and indices verborum and nominum et rerum. Sometimes attributed to Euclid or Porphyry. Translation of: Sectio canonis. University of Nebraska Press, Lincoln, 1991, 316 pages.
  • Barbereau, Mathurin Auguste Balthasar. Traité d'harmonie théorique et pratique. Lemoine, Paris, 1848, 2 vols.
  • Barbereau, Mathurin Auguste Balthasar. Etudes sur l'origine du système musical. Chez Bachelier, Paris, 1852, 85 pages. Pallez-Rousseau, Metz, 1864.
  • Barbier, Pierre-Émile. Article Alois Hába in Guide de la musique de chambre, Fayard, Paris, 1989, pp. 366-372.
  • Barbieri, Patrizio. "Persistenza dei temperamenti inequabili nell'Ottocento italiano", L'Organo vol. 20, Bologna, 1982, pp. 57-124.
  • Barbieri, Patrizio. "I temperamenti ciclici da Vicentino (1555) a Buliowski (1699): teoria e pratica 'archicembalistica'", L'Organo vol. 21, Pàtron Editore, Bologna, 1983, pp. 129-208.
  • Barbieri, Patrizio. "Giuseppe Sarti fisico acustico e teorico musicale", Giuseppe Sarti musicista faentino. Atti del convegno internazionale (Faenza, 25-27 novembre 1983), Mario Baroni and Maria Gioia Tavoni (eds.), Mucchi Editore, Modena, 1986.
  • Barbieri, Patrizio. Ancora sul temperamento degli organi di S. Petronio. Ancona, 1984.
  • Barbieri, Patrizio. "Giordano Riccati on the diameters of strings and pipes", Galpin Society Journal vol. 38, Apr 1985, pp. 20-34.
  • Barbieri, Patrizio. "Il temperamento equabile nel periodo frescobaldiano", Girolamo Frescobaldi nel IV centenario della nascità: Ferrara 1983, Sergio Durante and Dinko Fabris (eds.), Olschki, Firenze, 1986, pp. 387-424.
  • Barbieri, Patrizio. "Cembali enarmonici e organi negli scritti di Athanasius Kircher - Con documenti inediti su Galeazzo Sabbatini", Enciclopedismo in Roma barocca - Athanasius Kircher e il museo del Collegio Romano fra Wunderkammer e Museo Scientifico, Maristella Casciato; Maria Grazia Ianniello and Maria Vitale (eds.), Marsilio, Venice, 1986, pp. 111-128.
  • Barbieri, Patrizio and Lindoro Massimo Del Duca. "Renaissance and Baroque microtonal music research in computer real time performance", Proceedings of the International Computer Music Conference, Oct 1986, Royal Conservatory of Music, The Hague, no. 51, Paul Berg (ed.), Computer Music Association, San Francisco, 1986.
  • Barbieri, Patrizio. "L'espressione degli 'affetti' mediante l'ineguale accordatura degli strumenti da tasto nel Settecento veneto", Convegno di studi "Organaria veneta: patrimonio e salvaguardia", Centro studi di arte organaria veneta, Vicenza, Oct 1986, pp. 42-67.
  • Barbieri, Patrizio (ed.), Giordano Riccati, Alessandro Barca, Francesco Antonio Vallotti. Acustica, accordatura e temperamento nell'illuminismo veneto. Series: Pubblicazioni del Corso Superiore di Paleografia e Semiografia Musicale dell'Umanesmo al Barocco no. I:5:2. Edizioni Torre d'Orfeo, Roma, 1987, 382 + 264 pages.
  • Barbieri, Patrizio. "La 'Sambuca Lincea' di Fabio Colonna e il 'Tricembalo' di Scipione Stella - Con notizie sugli strumenti enarmonici del Domenichino", La musica a Napoli durante il Seicento, Atti del Convegno Internazionale di Studi, Napoli, 11-14 Apr 1985, Doimenico Antonio D'Alessandro and Agostino Ziino (eds.), Torre d'Orfeo, Roma, 1987, pp. 167-216.
  • Barbieri, Patrizio. "Martini e gli armonisti 'fisico-matematici': Tartini, Rameau, Riccati, Vallotti", Padre Martini. Musica e cultura nel Settecento europeo, Angelo Pompilio (ed.), Olschki, Florence, 1987, pp. 173-209.
  • Barbieri, Patrizio. "Juan Caramuel Lobkowitz (1606-1682): Über die musikalischen Logarithmen und das Problem der musikalischen Temperatur", Musiktheorie vol. 2 no. 2, 1987, pp. 145-168.
  • Barbieri, Patrizio. "Organ tonal finishing and fine tuning (review)", Nuova Rivista Musicale Italiana vol. 21 no. 3, July-Sep 1987, pp. 489-490.
  • Barbieri, Patrizio and Sandra Mangsen. "Violin Intonation: A Historical Survey", Boston Early Festival, Cornell University Press, 1987. Early Music vol. 19 no. 1, Feb 1991, pp. 69-88.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. Renaissance and Baroque Microtonal Music Research in Computer Real Time Performance. Royal Conservatory of Music, L'Aja, 1987.
  • Barbieri, Patrizio. "Il Cembalo Omnicordo di Francesco Nigetti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719)", Rivista Italiana di Musicologia vol. 22, 1987, pp. 34-113.
  • Barbieri, Patrizio. "An unknown 15th-century French manuscript on organ building and tuning", The Organ Yearbook vol. 20, 1989, pp. 5-20.
  • Barbieri, Patrizio. "Conflitti di intonazione tra cembalo, liuto ed archi nel 'concerto' italiano del Seicento", Studi Corelliani vol. 4, Pierluigi Petrobelli and Gloria Staffieri (eds.), Olschki, Florence, 1990, pp. 123-153.
  • Barbieri, Patrizio. "L'intonazione violinistica da Corelli al Romanticismo", Studi Musicali vol. 19 no. 2, 1990, pp. 319-384.
  • Barbieri, Patrizio. "Gli ingegnosi cembali e 'violicembali' inventati da Juan Caramuel Lobkowitz per Ferdinando III (c.1650): notizie inedite dal manoscritto Musica", Le meraviglie del probabile. Juan Caramuel 1606-1682. Atti del Convegno internazionale di studi (Vigevano, 29-31 ottobre 1982), Paolo Pissavino (ed.), Edizioni del Comune, Vigevano, 1990, pp. 91-112.
  • Barbieri, Patrizio. "La Nuova teoria di musica di Alessandro Barca in un inedito esame di Giordano Riccati (1786-90)", Scritti in onore di Giulio Cattin, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 1990, pp. 159-176.
  • Barbieri, Patrizio. "Diapason, 'chiavette' et intonation dans l'interprétation de Palestrina", L'interprétation de Palestrina - Journées d'étude, Royaumont, Oct 1990, Association Palestrina, Paris, 1991, pp. 25-43.
  • Barbieri, Patrizio. "Considerazioni sull' Accordatura Strumentale al Tempo di Mozart", Strumenti per Mozart, Marco Tiella and Romano Vettori (eds.), Longo Editore, Rovereto, 1991, pp. 61-69.
  • Barbieri, Patrizio. "Calegari, Vallotti, Riccati e le teorie armoniche di Rameau: priorità, concordanze, contrasti", Rivista Italiana di Musicologia vol. 26 no. 2, 1991, pp. 241-302.
  • Barbieri, Patrizio. "Il 'migliore' sistema musicale temperato: 'Querelles' fra Estève, Romieu e altri accademici francesi (c.1740-60)", L'Organo vol. 27, Bologna, 1991-1992, pp. 31-81.
  • Barbieri, Patrizio. "Krizanic, Caramuel e P.F. Valentini sulla divisione dell'ottava musicale", Krizanicev doprinos teorij glazbe (International Symposium on Juraj Krizanic) vol. 4, Zagreb, 1983. Hrvatska Akademija Znanosti i Umjetnosti u Zagrebu, Zagreb, 1992, pp. 19-40. Summary in Croatian.
  • Barbieri, Patrizio. "Giordano Riccati fisico acustico e teorico musicale: Con una memoria inedità di acustica architettonica", I Riccati e la cultura della Marca nel Settecento europeo, Olschki, Florence, 1992, pp. 279-304.
  • Barbieri, Patrizio. "Tartinis Dritter Ton und Eulers Harmonische Exponenten. Mit einem unveröffentlichten Manuskript Tartinis", Musiktheorie vol. 7 no. 3, 1992, pp. 219-234. revised version in Musiktheorie vol. 8 no. 1, 1993.
  • Barbieri, Patrizio. "L'accordatura strumentale in Toscana: proposte e contrasti da V. Galilei a Cristofori (c.1580-1730)", Musicologia humana. Studies in honor of Warren and Ursula Kirkendale, Sigfried Gmeinwieser; David Hiley and Joerg Riedlbauer (eds.), Olschki, Firenze, 1994, pp. 209-232.
  • Barbieri, Patrizio. "Il sistema armonico di Tartini nelle 'censure' di due celebri fisico-matematici: Eulero e Riccati", Tartini. Il tempo e le opere, A. Bombi & M.N. Massaro (eds.), Il Mulino, Bologna, 1994, pp. 321-344.
  • Barbieri, Patrizio. "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona, 28-29 October 1994, Elena Ferrari Barassi, Marco Fracassi and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000.
  • Barbieri, Patrizio. "L'accordatura strumentale in Toscana: proposte e contrasti da V. Galilei a Cristofori (c.1580-1730)", Musicologia humana. Studies in honor of Warren and Ursula Kirkendale, Siegfried Gmeinwieser, David Hiley and Jörg Riedlbauer (eds.), Olschki, Florence, 1994.
  • Barbieri, Patrizio. "Il mesolabio e il compasso di proporzione: le applicazioni musicali di due strumenti matematici (1558-1675)", Musica, scienze e idee nella Serenissima durante il Seicento. Atti del Convegno Internazionale di studi, Venezia 13-15 dicembre 1993, Francesco Passadore and Franco Rossi (eds.), Edizioni Fondazione Levi, Venice, 1996.
  • Barbieri, Patrizio. "Gli strumenti poliarmonici di G.B. Doni e il ripristino dell'antica musica greca (c.1630-1650)", Analecta Musicologica vol. 30, 1998, pp. 79-114.
  • Barbieri, Patrizio. "The inharmonicity of musical string instruments (1543-1993). With an unpublished memoir by J.-B. Mercadier (1784)", Studi Musicali vol. 27 no. 2, 1998, pp. 383-419. Italian translation by P. Barbieri "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona 28-29 ottobre 1994, Elena Ferrari Barassi, Marco Fracassi and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000, pp. 254-292.
  • Barbieri, Patrizio. "Corista, chiavette e intonazione nella prassi romana e veneto-bolognese del tardo Rinascimento", Ruggero Giovannelli [...], Atti del Convegno Internazionale di Studi, Carmela Bongiovanni and Giancarlo Rostirolla (eds.), Fondazione Giovanni Pierluigi da Palestrina, Palestrina, 1998, pp. 433-457.
  • Barbieri, Patrizio. "Gli strumenti poliarmonici di G.B. Doni e il ripristino dell'antica musica greca (c.1630-1650)", Analecta Musicologica vol. 30, 1998, pp. 79-114.
  • Barbieri, Patrizio. "G.B. Orazi's Enharmonic Flute and its Music (1797-1815)", Galpin Society Journal vol. 52, 1999, pp. 281-304.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. "Late-Renaissance Quarter-tone Compositions (1555-1618): The Performance of the ETS-31 with a DSP System", Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001, Diego L. González, Domenico Stanzial and Davide Bonsi (eds.), 2 vols., Fondazione Giorgio Cini, Venice, 2001.
  • Barbieri, Patrizio. "'Galileo's' coincidence theory of consonances, from Nicomachus to Sauveur", Recercare vol. 13, 2001, pp. 201-232.
  • Barbieri, Patrizio. "Il temperamento equabile nell'Ottocento napoletano: l'acustico P. A. de Luca (1778-1864) e i suoi manoscritti inediti", L'Organo vol. 35, 2002, pp. 93-122.
  • Barbieri, Patrizio. "The evolution of open-chain enharmonic keyboards c.1480-1650", "L'evoluzione delle tastiere enarmoniche a catena aperta c.1480-1650", Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts, Schweizer Jahrbuch für Musikwissenschaft vol. 22, Joseph Willimann (ed.), Verlag Peter Lang, Bern, 2002, pp. 145-184, 185-228.
  • Barbieri, Patrizio. "La nascita delle teorie continue della consonanza. La ignorata curva di Draghetti e Foderà, poi di Helmholtz (1771-1837)", Acta Musicologica vol. 74, 2002, pp. 55-75.
  • Barbieri, Patrizio. "Temperaments, Historical", Piano: An Encyclopedia, 2nd edition, Robert Palmieri and Margaret W. Palmieri (eds.), Routledge, New York, 2003, pp. 402-409.
  • Barbieri, Patrizio. "Consonanze, scale e temperamenti", Acustica musicale e architettonica, Sergio Cingolani and Renato Spagnolo (eds.), UTET Libreria, Torino, 2005, pp. 31-70, 913-916.
  • Barbieri, Patrizio. "Pietro Della Valle: the Esthèr oratorio (1639) and other experiments in the stylus metabolicus. With new documents on triharmonic instruments", Recercare vol. 19 no. 1-2, 2007, pp. 73-124.
  • Barbieri, Patrizio. "Il revival delle tastiere enarmoniche: nuove soluzioni (1760-1880)", L'Organo vol. 39, 2007, pp. 175-236.
  • Barbieri, Patrizio. "Cembali a tasti spezzati: 'cromatci' oppure 'enarmonici'?", Bollettino della Deputazione di Storia patria per l'Umbria CV-2, 2008, pp. 125-130. Reprint Arte organaria e musica per organo nell'età moderna. L'Umbria nel quadro europeo, Erika Bellini (ed.), Deputazione di Storia patria per l'Umbria, Perugia, 2008, pp. 125-130.
  • Barbieri, Patrizio. Enharmonic instruments and music, 1470-1900. Revised and translated studies. Il Levante Libreria Editrice, Latina, 2008, 628 pages. CD included.
  • Barbieri, Patrizio. "On the linear approximation of equal temperament proposed by the organ builder Giambattista De Lorenzi (1870)", Musica e Storia vol. 17, Aug 2009, pp. 451-463. Italian translation by P. Barbieri "Su di una approssimazione del temperamento equabile proposta da Giambattista De Lorenzi (1870)", Contributi per la storia dell'arte organaria e organistica in Italia, Paola Dessì (ed.), Edizioni Fondazione Levi, Venezia, 2012.
  • Barbieri, Patrizio. "Musiche e strumenti 'alla Greca' nel Seicento italiano", Francesco Buti tra Roma e Parigi: diplomazia, poesia, teatro, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 2009, pp. 349-364.
  • Barbieri, Patrizio. Physics of wind instruments and organ pipes 1100-2010. New and extended writings. Il Levante Libreria Editrice, Latina, 2013, 580 pages.
  • Barbieri, Patrizio. "Harps Versus Pianos: Parisian querelles on Tuning 1770-1830", Galpin Society Journal vol. 70, Apr 2017, pp. 45-63.
  • Barbieri, Patrizio (ed.) Symposium on Nicola Vicentino's Arciorgano and the Clavemusicum Omnitonum, Basel, 23-25 November 2017", Musik-Akademie, Basel, 2017.
  • Barbieri, Patrizio. Un ignorato manoscritto francese del secolo XV sulla costruzione e accordatura dell'organo", Arte Organaria Italiana vol. 10, 2018, pp. 9-26.
  • Barbieri, Patrizio. Allargamento tonale nelle composizioni per tastiera al tempo di Frescobaldi. Con sviluppi tardo-seicenteschi verso temperamenti di tipo circolante", Informazione Organistica vol. 31 no. 2, Dec 2019, pp. 179-216.
  • Barbieri, Patrizio. Quarrels on Harmonic Theories in the Venetian Enlightenment. Libreria Musicale Italiana, Lucca, 2020, 386 pages.
  • Barbieri, Patrizio. "L'organo romano: nuove acquisizioni sul corista, tastiere e registri, c.1480-1750", Arte organaria italiana vol. 13, 2021, pp. 151-232.
  • Barbiero, Daniel. "Review of Johnston Quartets 6, 7, 8 (CD review)", 2016.
  • Barbour, James Murray. "Synthetic Musical Scales", American Mathematical Monthly vol. 36 no. 3, 1929, pp. 155-160.
  • Barbour, James Murray. Equal Temperament: its History from Ramis (1482) to Rameau (1737). PhD thesis, Cornell University, Ithaca NY, 1932, 353 pages.
  • Barbour, James Murray. "The Persistence of the Pythagorean Tuning System", Scripta Mathematica vol. 1, 1933, pp. 286-304.
  • Barbour, James Murray. "Nierop's Hackebort", The Musical Quarterly vol. 20 no. 1, Jan 1934, pp. 312-319.
  • Barbour, James Murray. "Just Intonation Confuted", Music and Letters vol. 19 no. 1, Jan 1938, pp. 48-60.
  • Barbour, James Murray. "Musical logarithms", Scripta Mathematica vol. 7, 1940, pp. 21-31.
  • Barbour, James Murray. "Bach and the 'Art of Temperament'", The Musical Quarterly vol. 33 no. 1, Jan 1947, pp. 64-89. Also in Garland Library of HWM vol. 6, 1985, pp. 2-27.
  • Barbour, James Murray. "Music and Ternary Continued Fractions", American Mathematical Monthly vol. 55 no. 9, Nov 1948, pp. 545-555.
  • Barbour, James Murray. "Irregular Systems of Temperament", Journal of the American Musicological Society vol. 1 no. 3, 1948, pp. 20-26.
  • Barbour, James Murray. "Musical Scales and Their Classification", Journal of the Acoustical Society of America vol. 21 no. 6, Nov 1949, pp. 586-589.
  • Barbour, James Murray. "Genesis of a Music by Harry Partch (book review)", The Musical Quarterly vol. 36 no. 1, Jan 1950, pp. 131-135.
  • Barbour, James Murray. "More on the Leipzig Organ Tuning", Journal of the American Musicological Society vol. 3 no. 1, spring 1950, pp. 41-44.
  • Barbour, James Murray. Tuning and Temperament: A Historical Survey. Michigan State College Press, East Lansing, 1951. Reprint Da Capo Press, New York, 1973, 228 pages. Reprint Dover, New York, 2004, 256 pages.
  • Barbour, James Murray. "Les Gammes musicales by Antoine Auda (book review)", Journal of the American Musicological Society vol. 4 no. 1, spring 1951, pp. 40-42.
  • Barbour, James Murray. "Violin Intonation in the 18th Century", Journal of the American Musicological Society vol. 5 no. 3, autumn 1952, pp. 224-234.
  • Barbour, James Murray. "The Grammar of South Indian (Karnatic) Music by C. Subrahmanya Ayyar (book review)", Notes vol. 10 no. 4, Sep 1953, pp. 641-642.
  • Barbour, James Murray. "A Geometrical Approximation to the Roots of Numbers", The American Mathematical Monthly vol. 64 no. 1, Jan 1957, pp. 1-9.
  • Barbour, James Murray. "The Principles of Greek Notation", Journal of the American Musicological Society vol. 13 no. 1/3, A Musicological Offering to Otto Kinkeldey upon the Occasion of his 80th Anniversary, 1960, pp. 1-17.
  • Barbour, James Murray. "Mißverständnisse über die Stimmung des javanischen Gamelans", Die Musikforschung vol. 16, Kassel, 1963, pp. 315-323.
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  • Barca, Alessandro. Nuove teoremi per la divisione delle ragioni... Bergamo, 1781.
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  • Barca, Alessandro. Di una nuova Teoria di Musica - Memoria III: Dei sistemi e delle scale. I. Bg. S. Aless, Bergamo, 1800-1805. Also in Saggi scientifici e letterari dell' Academia di Padova vol. 4, 1809, pp. 184-221.
  • Barca, Alessandro. De 'Principi del temperamento della nostra musica. I. Bg. S. Aless, Bergamo, 1806.
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  • Bargrizan, Navid. "Review of Kepler Quartet's CD of Ben Johnston's String Quartets nos. 6, 7, 8 (CD review)", Journal of the Society for American Music vol. 11 no. 1, Feb 2017, pp. 118-120.
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  • Barkechli, Mehdi. "Quelques idées nouvelles sur la consonance", Colloque International d'Acoustique Musicale, Centre National de la Recherche Scientifique no. 84, Paris, 1958, pp. 21-28.
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  • Barkechli, Mehdi. "Les échelles régulières du cycle des quintes et leurs déformations occasionelles dans les cadres non pentatoniques", in coll. intern. CNRS La résonance dans les échelles musicales, Edt. CNRS, Paris, 1960, p. 173.
  • Barkechli, Mehdi and Moussa Ma'aroufi. La musique traditionelle de l'Iran / Les systèmes de la musique traditionnelle de l'Iran (radif) avec Transcription et notation musicale occidentale. Secrétariat d'État aux Beaux-Arts, Teheran, 1963. Also in Farsi moosiqi-ye sonnati-ye iran, Teheran, 1963.
  • Barker, Andrew. "Music and Perception: A Study in Aristoxenus", Journal of Hellenistic Studies vol. 98, 1978, pp. 9-16.
  • Barker, Andrew. "Hoi Kaloumenoi Harmonikoi: The Predecessors of Aristoxenus", Proceedings of the Cambridge Philological Society vol. 24, 1978, pp. 1-21.
  • Barker, Andrew (ed.) Greek Musical Writings. Vol. 1 The Musician and his Art. Vol. 2 Harmonic and Acoustic Theory. Cambridge Readings in the Literature of Music, Cambridge University Press, Cambridge, 1984, 1989, 1990, 328 and 592 pages.
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  • Barkeshli, Mandana. "Iranian scale of music can be considered as a universal scale", Journal of the Acoustical Society of America vol. 81 no. S1, May 1987, p. S83.
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  • Kellner, Herbert Anton. "Sur quelques aspects de l'accord du clavecin bien tempéré", Das Musikinstrument vol. 27 no. 9, 1978, p. 1332.
  • Kellner, Herbert Anton. "A Mathematical Approach Reconstituting J.S. Bach's Keyboard temperament", Bach, the quarterly journal of the Riemenschneider Bach Institute vol. 10 no. 4, Berea OH, Oct 1979, pp. 2-8, 22. Reprint "A Mathematical Approach Reconstructing J.S. Bach's Keyboard temperament", Bach vol. 30 no. 1, summer 1999, pp. 1-9.
  • Kellner, Herbert Anton. "Die ungleichstufige Wohltemperierung Bachs auf Bösendorfer-Konzertflügeln", Das Musikinstrument vol. 28, 1979, pp. 1197-1198.
  • Kellner, Herbert Anton. "'Das wohltemperirte Clavier': Tuning and Musical Structure. In memoriam Friedrich Smend 1893-1980", English Harpsichord Magazine vol. 2, Apr 1980, pp. 137-140.
  • Kellner, Herbert Anton. "Bach's temperament [correspondence]", Early Music vol. 9 no. 1, Jan 1981, p. 141.
  • Kellner, Herbert Anton. "Das C-dur-Praeludium BWV 846 und Forkels Variante", Gesellschaft für Musikforschung, Report, Bayreuth, 1981, pp. 332-339.
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  • Kellner, Herbert Anton. "Sur quelques aspects de l'accord du clavecin bien tempéré", Revue Musicale de Suisse Romande vol. 35 no. 1, 1982, pp. 26-32.
  • Kellner, Herbert Anton. "Is there an enigma in Werckmeister's 'Musicalische Temperatur'?", English Harpsichord Magazine vol. 3 no. 7, Oct 1984, pp. 134-136.
  • Kellner, Herbert Anton. "One typographical enigma in Werckmeister, 'Musicalische Temperatur'", English Harpsichord Magazine vol. 3 no. 8, Apr 1985, pp. 146-151.
  • Kellner, Herbert Anton. "Did Werckmeister already know the tuning of J.S. Bach for the '48'?", English Harpsichord Magazine vol. 4 no. 1, Oct 1985, pp. 7-11.
  • Kellner, Herbert Anton. "Neue Perspektiven der Bach-Forschung. Das Rätsel von Bachs Cembalostimmung", Österreichische Musikzeitschrift vol. 40 no. 2-3, 1985, pp. 73-81.
  • Kellner, Herbert Anton. "Das wohltemperirte Clavier: Implications de l'accord inégal pour l'oeuvre et son autographe", French translation by Christian Meyer. Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 143-157.
  • Kellner, Herbert Anton. "A propos d'une réimpression de la 'Musikalische Temperatur' (1691) de Werckmeister", Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 184-187.
  • Kellner, Herbert Anton. "Comment Bach accordait-il son clavecin?", Flûte à Bec et instruments anciens vol. 13-14, SDIA, Paris, 1985.
  • Kellner, Herbert Anton. "How Bach quantified his well-tempered tuning within the Four Duets", English Harpsichord Magazine vol. 4 no. 2, 1986, pp. 21-27.
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  • Kellner, Herbert Anton. "Einführung in die Praxis historischer Stimmungen", Pianoflügelbau, 1991, pp. 353-361.
  • Kellner, Herbert Anton. "Kepler, Bach and Gauß, The Celestial Harmony of the Earth's Motion", Bach vol. 25 no. 1, spring-summer 1994, pp. 46-56.
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  • Kellner, Herbert Anton. "A Visualization of Organ Tunings for Perception of their Structure", Das Musikinstrument vol. 44 no. 10, 1995, p. 76.
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  • Kellner, Herbert Anton. "Stimmungssysteme des 17. und 18. Jahrhunderts", Alte Musik und Musikpädagogik, Symp., Hochschule für Musik und Darstellende Kunst, Wien, Hartmut Krones (ed.), Reihe Wiener Schriften zur Stilkunde und Aufführungspraxis Bd. 1, Böhlau Verlag, Wien/Köln/Weimar, 1997, pp. 235-265.
  • Kellner, Herbert Anton. "Über die Cembalostimmung für Das wohltemperirte Clavier", Michaelsteiner Konferenzberichte vol. 52, "Stimmungen im 17. und 18. Jahrhundert, Vielfalt oder Konfusion?", G. Fleischhauer, Monika Lustig, W. Ruf, F. Zschoch (eds.), Michaelstein, 1997, pp. 35-44.
  • Kellner, Herbert Anton. Musikalische Temperatur bei J.S. Bach und seinen Söhnen. H.A. Kellner, Paris, 1998.
  • Kellner, Herbert Anton. "Baroque-style Organs well-tempered according to Werckmeister/Bach; Bien tempérer les orgues de style baroque selon Werckmeister/Bach; Orgeln barocken Stils, wohltemperiert nach Werckmeister/Bach", International Society of Organbuilders Journal vol. 4, 1999, pp. 8-14.
  • Kellner, Herbert Anton. "A Mathematical Approach Reconstructing J.S. Bach's Keyboard Temperament", Bach vol. 30 no. 1, Riemenschneider Bach Institute, spring-summer 1999, pp. 1-9.
  • Kellner, Herbert Anton. "Considering the Tempering Tonality B-Major in Part II of the 'Well-Tempered Clavier' II", Bach vol. 30 no. 1, spring-summer 1999, pp. 10-25.
  • Kellner, Herbert Anton. "How BACH encoded his name into 'Die Kunst der Fuge' together with his tuning", Diapason, May 1999, pp. 14-15.
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  • Kellner, Herbert Anton. "Göttliche Unität und mathematische Ordnung: Zahlenalphabet und Gematria von A. Werckmeister bis J.S. Bach", Österreichische Musikzeitung vol. 55 no. 11-12, 2000, pp. 8-16.
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