Tuning Temperament Bibliography Mla

 

Tuning & temperament bibliography

- A -

  • Aaron, Pietro. De institutione harmonica libri tres. Bononiae, In aedibus Benedicti Hectoris Bibliopolae Bononiensis, 1516. Reprint Broude Brothers Ltd., New York, 1978. Liber primus, liber secundus, liber tertius.
  • Aaron, Pietro. Thoscanello de la musica. Impressa per Bernardino et Mattheo de Uitali, Venezia, 1523, 1529, 1539, 1562. Reprint Broude Brothers Ltd., New York, 1969. English translation Toscanello in musica by Peter Bergquist, Colorado College Music Press, Colorado Springs, 1970.
  • Aaron, Pietro. Trattato della natura et cognitione di tutti gli tuoni di canto figurato. Bernardino Vitali, Venezia, 1525, 1531.
  • Aaron, Pietro. Lucidario in musica. Venice, 1545. Reprint, 1969.
  • 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.
  • Abddon, Seifed-Din Shehadeh. "Arabic Music: Samaie Farhafza Analysis", May 2003, WWW, 14 pages.
  • Abdounur, Oscar João. "Ratios and music in the late middle ages: a preliminary survey", Music and mathematics in late medieval and early modern Europe, Philippe Vendrix (ed.), Brepols, Turnhout, 2008, 394 pages.
  • Abel, Carl Friedrich. The pure method for tuning the Harpsichord, according to Abel. London, 2nd half 18th cent.
  • Abel, Markus and Steffen Bergweiler. "Synchronization of higher harmonics in coupled organ pipes", International Journal of Bifurcation and Chaos in Applied Sciences and Engineering vol. 17 no. 10, October 2007, pp. 3483-3491.
  • Abel, Volker, Peter Reiss and Rudolf Wille. "Mutabor II - Ein computergesteuertes Musikinstrument zum Experimentieren mit Stimmungslogiken und Mikrotönen", Preprint no. 1513, TH Fachbereich Mathematik, Darmstadt, 1992. Also in Mikrotöne IV, Filmkunst-Musikverlag, München, 1993.
  • Abraham, Gerald u.a. (ed.) Bericht über den siebenten internationalen musikwissenschaftlichen Kongreß, Köln 1958. Bärenreiter, Kassel, 1959.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Zur Psychologie der Tondistanz", Zeitschrift für Psychologie und Physiologie der Sinnesorgane vol. 98, 1899.
  • Abraham, Otto. "Absolutes Tonbewußtsein", Sammelbände der internationalen Musikgesellschaft vol. 3 & 8, 1901, pp. 1-86.
  • Abraham, Otto and Erich Moritz von Hornbostel. "Vorschläge für die Transkription exotischer Melodien", Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909. Reprint in Musical transcription, Garland, New York, 1990, pp. 1-25.
  • Achtélik, Joseph. Der Naturklang als Wurzel aller Harmonien. C.F. Kahnt, Leipzig, 1922.
  • Ader, Lidia Olegovna. "Microtonal Storm and Stress: Georgy Rimsky-Korsakov and Quarter-Tone Music in 1920s Soviet Russia", Tempo vol. 63 no. 250, Cambridge University Press, Oct 2009, pp. 27-44.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice (in Russian)", Instrumentalism in the history of culture, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. "The Concept of Microtonality: Its Origin and Background (in Russian)", Opera musicologica vols. 3-4 nos. 8-9, St. Petersburg, 2011, pp. 114-134.
  • Ader, Lidia Olegovna. "Microtonal Instruments: The First Steps from Utopia to Practice (in Russian)", Instrumentalism in the history of culture, Evgenia Vladimirovna Hazdan (ed.), Rossijskij Institut Istorii Iskusstv, St. Petersburg, 2011, pp. 52-65.
  • Ader, Lidia Olegovna. Mikrotonovaja muzika v Evrope i Rossii v 1900-1920e godi. MA thesis, Gosudarstvennaâ Konservatoriâ imeni N.A. Rimskogo-Korsakova, St. Petersburg, 2013.
  • Ader, Lidia Olegovna. "Parallel History of Russian Musical Avant-garde", Lietuvos muzikologija vol. 16, 2015, pp. 90-101.
  • Adkins, Cecil D. The Theory and Practice of the Monochord. PhD thesis, University of Iowa, 1963. Reprint UMI Dissertation Services (64-3344), Ann Arbor, 501 pages.
  • Adlung, M. Jakob. Anleitung zur musikalischen Gelahrtheit. J.D. Jungnicol, Erfurt, 1758. 2nd edition Dresden/Leipzig, 1783. Facsimile reprint, Hans-Joachim Moser (ed.), Documenta Musicologica Bd. 4, Bärenreiter, Kassel, 1953.
  • Adlung, M. Jakob. Musica mechanica organoedi. Berlin, 1768. Facsimile reprint Christhard Mahrenholz, Bärenreiter, Kassel, 1930, 1961.
  • Adou, Heather Maxwell. "Acoustic Aspects of the Balani of Mali", SAVAIL Working Papers, 2003.
  • Adriaansz, Peter. "How I Became a Convert", Thirty-One vol. 1, summer 2009, pp. 8-33.
  • Agayeva, S. and S. Hajiyev. "On the Problems of Research the Pitch System of Azerbaijani Mughams", Proceedings of the IInd International Musicological Symposium Space of Mugham, 15-17 March 2011, M. Aliyeva (ed.), International Council for Traditional Music, Baku, 2011, pp. 19-30.
  • Agazzari, Agostino. Sacrarum Cantionum quae Binis, Ternis, Quaternisque vocibus concinuntur. Liber II. Cum basso ad organum. Ricciardus Amadinus, Venice, 1609.
  • Ager, Klaus. "Der Ultrachromatismus Ivan Wyschnegradskys in melodischer und rhythmischer Hinsicht", Mikrotöne I, Edition Helbling, Innsbruck, 1986, pp. 123-126.
  • Agmon, Eytan. "Octave Equivalence and the Immediate Recall of Pitch Sequences", Music Perception vol. 2, 1984, pp. 40-51.
  • Agmon, Eytan. Diatonicism, Chromaticism and Enharmonicism: A Study in Cognition and Perception. Unpublished PhD dissertation, City University of New York, 1986.
  • Agmon, Eytan. "A Mathematical Model of the Diatonic System", Journal of Music Theory vol. 33 no. 1, spring 1989, pp. 1-25. Correction in vol. 33 no. 2, 1989, p. 462.
  • Agmon, Eytan. "Equal Division of the Octave in a Scarlatti Sonata", In Theory Only vol. 13 no. 5, 1990, p. 1–8.
  • Agmon, Eytan. "Linear Transformations Between Cyclically Generated Chords", Musikometrika vol. 3, 1991, pp. 15-40.
  • Agmon, Eytan. "Towards a Theory of Diatonic Intonation", Interface vol. 22 no. 2, 1993, pp. 151–-163.
  • Agmon, Eytan. "Coherent Tone-Systems: A Study in the Theory of Diatonicism", Journal of Music Theory vol. 40 no. 1, 1996, pp. 39-59.
  • Agmon, Eytan. "Numbers and the Western Tone-System: Beyond Psychoacoustics", American Mathematical Society, March 2003, 18 pages.
  • 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.
  • Agricola, Johann Friedrich. Anleitung zur Singkunst. Berlin, 1757. Facsimile edition by Erwin R. Jacobi (ed.), Hermann Moeck Verlag, Celle, 1966.
  • Agricola, Martin. Musica instrumentalis deudsch, ynn welcher begriffen ist, wie man nach dem Gesange auff mancherley pfeiffen lernen sol, auch wie auff die Orgel, Harffen, Lauten, Geigen und allerley Instrument und Seytenspiel nach der rechtgegründten Tabelthur sey abzusetzen. Georg Rhau, Wittemberg, 1528, 1529, enlarged 1545. Facsimile edition, Breitkopf und Härtel, Leipzig, 1896. Facsimile edition, Georg Olms Verlag, Hildesheim, 1969. English translation William E. Hettrick, Cambridge University Press, Cambridge, 1994.
  • Agricola, Martin. Musica figuralis deudsch: mit ihrem zugehörenden Exempeln, sampt einem besunderlichen schönen Büchelein von den Proportionibus, welche allen gemeinen Sengern, Instrumentisten und Anhebern dieser Kunst, ganz nützbarlich zu wissen, auffs einfeltigst und vorstentlichst ins Deudsche verfasset. Georg Rhau, Wittemberg, 1532.
  • Agricola, Martin. Rudimenta musices, quibus canendi artificium compendiosissime complexum, pueris una cum monochordi dimensione traditur. Georg Rhau, Wittemberg, 1539. Reprint Broude Brothers, New York, 1966. English translation by John Trowell, Boethius Press, Aberystwyth, 1991.
  • Ahrens, A.W. "Characteristic Limitations of the Internal Tuning of Selected Wind Instruments", Journal of Experimental Education vol. 15 no. 4, June 1947, pp. 269-289.
  • Ahrens, Christian. "Anmerkungen zu Birsaks Frequenzmessungen an 2 Chalumeaux", Die Musikforschung vol. 28 no. 4, 1975, pp. 442-443.
  • Ahrens, Christian. "Ein griechischer Volksmusiker und sein Instrument. Zur Stimmung folkloristischer Aerophone", Studia Instrumentorum Musicae Popularis vol. 7, Erich Stockmann (ed.), Music museum, Stockholm, 1981, pp. 95-101.
  • Aikin, Jim. "Discover 19-Tone Equal Temperament", Keyboard, March 1988, pp. 74-80.
  • Aikin, Jim. "Just intonation with synth tuning tables", Keyboard, Nov. 1994.
  • Aikin, Jim. "< HREF="http://emusician.com/tutorials/emusic_playing_cracks/">Playing in the Cracks, Electronic Musician, June 2003.
  • Aikin, Jim. "An Interview with Robert Rich", Keyboard, 2004.
  • Aikin, Jim. "Just Intonation Tutor", WWW, 2006.
  • Airoldi, Roberto. La teoria del temperamento nell'etá di Gioseffo Zarlino. Presentazione a cura di Elena Ferrari Barassi, Turris, Cremona, 1989, 166 pages.
  • Aiyar, C. Subrahmania. "Quartertones in South Indian (Carnatic) Music", The Journal of the Musical Academy vol. 11, Madras, 1940, p. 95.
  • Aiyar, C. Subrahmania. "A Study of the Microtonal Variations in Frequencies in Karnatic Music with an Oscillograph", The Journal of the Musical Academy vol. 20, Madras, 1949, p. 114.
  • Aiyar, C. Subrahmania. "Musical research and frequency ratios", The Journal of the Musical Academy vol. 21, Madras, 1950, p. 64.
  • Aiyar, C. Subrahmania. "Physics and Aesthetics of Hindustani Music", The Journal of the Musical Academy vol. 22, Madras, 1951, p. 86.
  • Aiyar, C. Subrahmania. The Grammar of South Indian (Karnatic) Music. Madras, 1951, 1976.
  • Akkoç, Can. "Non-Deterministic Scales Used in Traditional Turkish Music", Journal of New Music Research vol. 31 no. 4, 2002.
  • Aksoy, Bülent, "Makamin Tanimina Dogru", 1995. Trans. K. Agartan. Musikisinas, Bogaziçi University Turkish Music Club Publication, 2000, pp. 70-87.
  • Aksoy, Bülent. Avrupali Gezginlerin Gözüyle Osmanlilarda musikî. 2nd rev. ed., Pan Yayincilik, Istanbul, 2003.
  • Alaleona, D. "I moderni orrizonti della tecnica musicale. Teoria della divisione dell'ottava in parti uguali", Rivista Musicale Italiana vol. 18, 1911, pp. 382-420.
  • Alaleona, D. "Le tonalità neutre e l'arte di stupore", Rivista Musicale Italiana vol. 18, 1911, pp. 769-838.
  • Albèra, Philippe. "Ivan Wyschnegradsky 'Quatuor no.1' opus 13 (1923-24)", Concert 10, Contrechamps, Genève, 2000.
  • Albini, Giovanni and Samuele Antonini. "Hamiltonian Cycles in the Topological Dual of the Tonnetz", 2nd International Conference Mathematics and Computation in Music, 19-22 June 2009, Yale University, New Haven CN.
  • d'Albiz, Joseph Lubet. Création Harmonique. Étoile musicale composée pour piano ou orgue à quarts de ton. BN Vm (8) 532, Paris, 1858. (Recueil factice)
  • Albrecht, Jan. "Essays über Kunst. Ein Teufelsgespräch über die Zukunft der Musik (zu Thomas Manns Roman Doktor Faustus)", Zbornik filosoficke fakulty university Komenskeho vol. 22, Bratislava, 1971, pp. 99-137.
  • 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.
  • Albritton, Jerry Samuel. A historical survey of important tuning systems in Western music. MM diss. Florida State U., Tallahassee, 1969.
  • d'Alembert, Jean Henri. Éléments de musique théorique et pratique, suivant les principes de M. Rameau, éclaircis développés et simplifiés. David l'Ainé, Paris, 1752, 171 pages. Nouvelle édition, revue, corrigée, Jean Marie Bruysset, Lyon, 1759, 1762, 1766, 1772, 1779, 236 pages. German translation by F.W. Marpurg, Leipzig, 1757.
  • d'Alembert, Jean Henri. Réponse de M. d'Alembert à une lettre imprimée de M. Rameau. Paris, 1762.
  • Alessi, Rosario. Sonometro. Misura matematica del suono musicale. Metodo téorico per la giusta divisione della scala cromatica...per accordare i pianoforti. A. Morano, Naples, 1881.
  • Alexjander, Susan. "DNA tunings", Experimental Musical Instruments vol. 8 no. 2, Sept. 1992, pp. 30-31.
  • Alexjander, Susan. "The Infrared Frequencies of DNA Bases, as Science and Art", Engineering in Medicine and Biology Magazine, IEEE, March/April 1999, pp. 74-75.
  • al-Farabi. Kitab al-musiqa al-kabir. Reprint Gattas 'Abd al-Malik Hashaba, Dar al-katib al-'arabi, Cairo, 1967. French translation by F.R. d'Erlanger, 1930. Reprint Ed. Eckhard Neubauer, Frankfurt a.M., 1998, 482 pages.
  • Algaraz, José Antonio. "A Propósito de Julián Carrillo", Heterofonía vol. 8 no. 31, 1975, pp. 20-23.
  • Allain-Dupré, Philippe. "Jobin versus Lehman", WWW, 2005.
  • Allan, G.E. "The Musical Scale of the Highland Bagpipe", Philosophical Magazine vol. 29, 1940, pp. 154-161.
  • Alldahl, Per-Gunnar. Korintonation: Du skall icke sjunga falskt mot din nästa. SKS musikböcker no. 5. Gehrman, Stockholm, 1990, 142 pages.
  • Allen, John S. "Mathematical representations of musical tunings", WWW, 1997.
  • Allen, John S. "Equal temperaments as mathematical series", WWW, 1997.
  • Allen, John S. "On Rabbits, Mathematics and Musical Scales", WWW, 1998.
  • Allen, John S. "The general keyboard in the age of MIDI", WWW, 1997-1999.
  • Allende-Blin, Juan. "Ein gespräch mit Ivan Wyschnegradsky", Alexander Skrjabin und die Skrjabinisten, Musik Konzept vols. 32-33, München, 1983, p. 103.
  • Allende-Blin, Juan. "Prélude für Vierteltonklavier; von Arthur Vincent Lourié", Musik Texte vol. 4, 1984.
  • Allende-Blin, Juan. "Ist Bachs Kunst der Fuge mitteltönig komponiert?", Ars Organi vol. 48, September 2000, p. 167.
  • Almén, Byron. "Musical 'Temperament': Theorists and the Functions of Music Analysis", Theoria vol. 12, 2005.
  • Alphonce, Bo. "Generalized Musical Intervals and Transformations, by David Lewin (book review)", Intégral vol. 2, 1988.
  • Alrich, Alexis. "'Lou Harrison: Composing a World' by Leta E. Miller and Frederic Lieberman (book review)", 1/1 vol. 10 no. 3, fall 2000, pp. 2, 16.
  • Althuis, Theo A. Graph theoretic aspects of music theory. M.Sc. thesis, Mathematical Sciences, Universiteit Twente, Enschede, 2000.
  • Althuis, Theo A. and F. Göbel. Z-related pairs in microtonal systems. Technical Report Memorandum No. 1524, Universiteit Twente, Enschede, April 2000.
  • Altwein, Erich F. "Bemerkungen zu Paul Hindemiths Unterweisung im Tonsatz", Die Musikforschung vol. 23, 1970, pp. 54-55.
  • Altwein, Erich F. "Versuch über das arabische Komma", Die Musikforschung vol. 24, 1971, pp. 432-437.
  • Alves, Bill. "The Just Intonation System of Nicola Vicentino", 1/1 vol. 5 no. 2, spring 1989, pp. 8-13.
  • Alves, Bill. "Key Characteristics and Pitch Sets in Composing with Just Intonation", 1/1 vol. 6 no. 3, summer 1990, pp. 1, 6-8, 14.
  • Alves, Bill. "Pleng: Composing for a Justly Tuned Gender Barung", Intercultural Music vol. 5, proceedings of the Fourth Biannual Symposium and Festival of Intercultural Music. Reprint in 1/1 vol. 9 no. 4, spring 1997, pp. 1,4-11.
  • Alves, Bill. "Graphic Representation of Some Gamelan Tunings", WWW, 1996.
  • Alves, Bill. "'Uncommon Practice: Selected Compositions 1984-1995' by David B. Doty (CD review)", 1/1 vol. 10 no. 3, fall 2000, pp. 16-17.
  • Alves, Bill. "Using Alternate Tunings in Csound", in CD-ROM accompanying The Csound Book, Richard Boulanger (ed.), MIT University Press, Cambridge MA, 2000.
  • Alves, Bill. "The Journey of Light and Darkness in Toby Twinings 'Chrysalid Requiem' (CD review)", 1/1 vol. 11 no. 3, autumn 2003, pp. 1, 4-9.
  • Alves, Bill. "Digital Harmony of Sound and Light", Computer Music Journal vol. 29 no. 4, Dec. 2005, pp. 45-54.
  • Alves, Bill. "Lou Harrison: Por Gitaro: Suites for Tuned Guitars (CD liner notes)", Mode Records, New York, 2008.
  • Alves, Bill and Brett Campbell. Lou Harrison: American Musical Maverick. Indiana University Press, Bloomington IN, April 2017.
  • Amann, Dominique. Gammes, Accords, Tempéraments. Self-published, Toulon, 1999, 160 pages.
  • Amargianakis, Georgios. "The Ancient Musical Nomos, the Byzantine Echos and the Indian Raga", Musicologia vol. 2 no. 2, 1985.
  • Ambrosino, Jonathan. "Mean and keen", Choir & Organ, November/December 2006, pp. 54-57.
  • Amiot, Emmanuel. "Mathématiques et analyse musicale: Une fécondation réciproque", Analyse musicale vol. 28, June 1992, pp. 37-41.
  • Amiot, Emmanuel, "David Lewin and Maximally Even Sets", Journal of Mathematics and Music vol. 1 no. 3, Nov. 2007, Taylor and Francis, pp. 152-172.
  • Amiot, Emmanuel. "Of the different generators of a scale", WWW, 2008, 13 pages.
  • Amiot, Emmanuel. "Discrete Fourier Transform and Bach's Good Temperament", Music Theory Online vol. 15 no. 2, June 2009.
  • Amiot, Emmanuel. "About the number of generators of a musical scale", arXiv 0909.0039, August 2009, 14 pages.
  • Amiot, Emmanuel. Modèles algébriques et algorithmes pour la formalisation mathématique de structures musicales. PhD thesis, Université Pierre et Marie Curie, Paris, May 2010, 138 pages.
  • Amiot, Emmanuel and William A. Sethares. "An algebra for periodic rhythms and scales", Journal of Mathematics and Music vol. 5 no. 3, 2011, pp. 149-169.
  • Amiot, Emmanuel. "The Torii of phases", Aug. 2012, WWW, 19 pages.
  • Amiot, Jean Joseph Marie. Mémoire sur la Musique des Chinois tant anciens que modernes. Vol. VI of Mémoires concernant L'Histoire, les Sciences, les Arts, les Moeurs et les Usages, des Chinois, par les Missionaires de Pékin, Paris, 1779.
  • Amirkhanian, Charles. "Lou Harrison: The Tuning of the Babylonian Harp", sound recording, 12-02-1971, 27 mins.
  • Amirkhanian, Charles. "Interview with Ivan Wyschnegradsky", sound recording, 04-06-1976, 62 mins.
  • Amirkhanian, Charles. "Interview with La Monte Young", sound recording, 1984, 40 mins.
  • Amman, Walter (ed.) Hans Kayser zum 100. Geburtstag am 1. April 1991. Biographische Fragmente. Schriften über Harmonik. Bern, 1991.
  • Ammerbach, Elias Nicolaus. Orgel oder Instrument Tabulatur. Leipzig, 1571, Nürnberg, 1583. Reprint Charles Jacobs (ed.), Oxford, 1984.
  • Amos, Tom. "Isometrics and the origin of modal systems: A brief experimental inquiry", Ex tempore vol. 1 no. 2, pp. 30-38.
  • Anda, Antoine. Les gammes musicales: essai historique sur les Modes et sur les Tons de la Musique, depuis l'Antiquité jusqu'à l'Époque Moderne. Edition Nationale Belge, Bruxelles, 1939, 424 pages.
  • Anders, Torsten and Eduardo Reck Miranda. "Interfacing Manual and Machine Composition", Contemporary Music Review vol. 28 no. 2, April 2009, pp. 133-147.
  • Anders, Torsten and Eduardo Reck Miranda. "A Computational Model for Rule-based Microtonal Music Theory and Composition", Perspectives of New Music vol. 48 no. 2, 2011, pp. 47-77.
  • Anderson, B.E. and W.J. Strong. "The effect of inharmonic partials on pitch of piano tones", Journal of the Acoustical Society of America vol. 117 no. 5, 2005, pp. 3268-–3272.
  • Anderson, Carola B. "Glenn Branca and the Harmonic Series", 1/1 vol. 1 no. 1, winter 1985, pp. 4-6.
  • Anderson, Carola B. "The Trouble with Didymus", 1/1 vol. 1 no. 3, 1985, pp. 1, 11-13.
  • Anderson, Gene. "Pythagoras and the Origin of Music Theory", Indiana Theory Review vol. 6 no. 3, 1983, pp. 35-64.
  • Anderson, Julian. "La Note Juste. Julian Anderson Appraises the Work of the Enigmatic Giacinto Scelsi ", The Musical Times vol. 136 no. 1823, Jan. 1995, pp. 22-27.
  • Anderson, Lois Ann. "A reassessment of the distribution, origin, tunings and stylistic criteria in African xylophone traditions", African Studies Association vol. 6, 1968.
  • Anderson, R.D. "Het historisch gebruik van de Middentoonstemming op het orgel", WWW, 2012.
  • Anderson, Warren D. Music and Musicians in Ancient Greece. Cornell University Press, Ithaca NY, 1994.
  • Anderton, Craig. "Alternate Scales for Even-Tempered Samplers", Electronic Musician, December 1986, pp. 48-49.
  • Ando, Yoshinori and Taeko Sagara. "Pitch intonation of koto music", Nomura Festschrift, 1970, pp. 25-39.
  • Andreae, Hans-Volkmar. Elementar-Harmonik. Zur Phänomenologie der Töne und Intervalle abendländischer Musik. Amadeus Verlag, Zürich, 1973, 93 pages.
  • Anfilov, Gleb. Physics of Music. Moscow, 1961.
  • Anger, J. Humphrey. The Modern Enharmonic Scale. Boston, 1907.
  • Anglas, Jules Philippe Louis. Précis d'acoustique physique, musical, physiologique. Paris, 1910.
  • Anglmayer, Paul. Zur Intonationskorrektur bei Trompeten. Hausarbeit an der Hochschule für Musik und darstellende Kunst, Vienna, 1997.
  • Anglmayer, Paul. "Ein neuer Optimierungsalgorithmus zur Intonationskorrektur bei Blechblasinstrumenten", Fortschritte der Akustik, DAGA, Zürich, 1998.
  • Anglmayer, Paul. "Physical Modelling von Blechblasinstrumenten und dessen Anwendung zur Intonationsoptimierung von Trompeten", Tagungsprogramm zum 19. Musikinstrumentenbau-Symposium in Michaelstein 20.-22.11.1998, Michaelstein, 1998, pp. 28-29.
  • Aning, Ben. "Tuning the kora: A case study of the norms of a Gambian musician", Journal of African Studies vol. 9 no. 3, fall 1982, pp. 164-175.
  • Anmarkrud, Bjørn. De ulike felestille i hardingfeletradisjonene. Master of Arts dissertation, Musicology: University of Oslo, 1975, 168 pages.
  • Annoni, Maria Therese. Tuning, temperament and pedagogy for the vihuela in Juan Bermudo's 'Declaración de instrumentos musicales' (1555). PhD diss., Music Theory, Ohio State University, 1989, 245 pages.
  • anonymus. "Quarti di tono", Musica d'oggi vol. 6, 1924, p. 344.
  • anonymus. "Spoglio di riviste", Il pianoforte vol. 5 no. 11, November 1924, p. 301.
  • anonymus. "The Archiphone — Invented in the Early 1970s by Professor Adrian Fokker", Early Music vol. 7 no. 3, July 1979, p. 11.
  • Anselmi, Georgio. De musica. Parma, 1434. Reprint Gioseppe Massera, Historiae Musicae Cultores, Florence, 1961.
  • Antegnati, Costanzo. L'arte organica. Francesco Tebaldino, Brescia, 1608, 14 pages. English translation by C. Meyer, 1980.
  • Anyumba, Henry Owuor. "Contemporary lyres in eastern Africa", African Musicology vol. 1 no. 1, Kenya, 1983, pp. 18-33.
  • Apel, Willy. Geschichte der Orgel- und Klaviermusik bis 1700. 1967. English translation The History of Keyboard Music to 1700 by Hans Tischler (ed.), Indiana University Press, Bloomington, 1972. Italian translation Storia della musica per organo e altri strumenti da tasto fino al 1700. Sansoni, Firenze, 1985, 3 vols.
  • Appenheimer, John. "Small Number Ratios and Harmonicity", Computer Music Journal vol. 11 no. 4, winter 1987, pp. 9-10.
  • Appunn, Anton. Letter to Pietro Blaserna about 48-tone harmonium, Hanau, 12 June 1887.
  • Appunn, Georg. "Über die Helmholtz’sche Lehre von den Tonempfindungen als Grundlage für die Theorie der Musik, nebst Beschreibung einiger, zum Theil ganz neuer Apparate, welche zur Erläuterung und zum Beweis dieser Theorie geeignet sind", Bericht der Wetterauischen Gesellschaft für die gesammte Naturkunde zu Hanau über den Zeitabschnitt vom 4. October bis 31. Dezember 1867, Friedrich Becker (ed.), Hanau, 1868, pp. 73-90.
  • Archambault, Ellen Jane. Andreas Werckmeister (1645-1706) as a Teacher of Composition. PhD thesis, Florida State University, 1999, 325 pages.
  • Arel, Hüseyin Sadettin. Türk mûsikîsi kimindir? (Who does Turkish music belong to?). T.C. Kültür Bakanligi Yayinlari, Istanbul, 1939-1940. Reprint 1969, Ankara, 1988.
  • Arel, Hüseyin Sadettin. "Modal systems in the Turkish music", Musical Magazine vol. 7, Istanbul, 1948, p. 3.
  • Arel, Hüseyin Sadettin. Türk musikîsi nazariyati dersleri (Lessons on the theories of Turkish music). Onur Akdogu (ed.), Istanbul, 1968. Kültür Bakanligi Yayinlari, Ankara, 1993.
  • Arfib, Daniel, Patrick Sanchez and Jacques Dudon. "Synthèse photosonique: de la géométrie des ondes au disque virtuel, Proceedings Journées d'Informatique Musicale, 9e édition, Marseille, 29-31 May 2002, pp. 97-104.
  • Ariel (pseudonym). Das Relativitätsprinzip der musikalischen Harmonie, Band I: Die Gesetze der inneren Tonbewegungen, das evolutionäre Temperierungsverfahren und das 19-stufiges Tonsystem. Neunzehn Stufen Verlag, Leipzig, 1925.
  • Aristoxenos. Harmonika stoicheia. Elsevier, Leiden, 1616. Latin translation by A. Gogavinus, Venice, 1562 and also Marcus Meibom (ed.) in Antiquae Musicae Auctores Septem, Elsevier, Amsterdam, 1652. Italian translation Aristoxeni Elementa harmonica by Rosetta da Rios, 2 vols., Typis publicae officinae polygrahicae, Rome, 1954. English translation The Harmonics of Aristoxenus by Henry S. Macran (ed.), Oxford, 1902. Reprint Georg Olms Verlag, Hildesheim, 1974, 1990.
  • Armellino, Giorgio. Kunst des Klavierstimmens: nebst einer vollständigen Anleitung zur Erhaltung und Wiederherstellung gebrauchter, sowie zur Prüfung neuer Instrumente. Neuer Schauplatz der Künste und Handwerke Bd. 21, Bernhard Friedrich Voigt, Weimar, 1881, 107 pages.
  • Armellino, Giorgio. Der Klavierstimmer: enthaltend eine kurzgefaßte Beschreibung des Klaviers, die Lehre von der Stimmung und der Technik des Stimmens. Bernhard Friedrich Voigt, Leipzig, 1920, 70 pages.
  • Arnautoff, Philip. "A Few Observations with Respect to the Canon's Tuning for 'Soliloquy'", 1/1 vol. 12 no. 1, winter 2005, pp. 1, 12-17.
  • Arnold, Lynda. "Music Theory: Exploring The 432 Hz Tuning Debate", WWW, Feb. 2016.
  • Arnold, Wasiuddin James. "L'intonation juste dans la théorie ancienne de l'Inde: Ses applications aux musiques modales et harmoniques", Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 11-38.
  • Arnold, Wasiuddin James and Bernard Bel. "L'intonation des musiques monodiques: Méthodologies expérimentales", Revue de Musicologie vol. 71 no. 1-2, 1985, pp. 159-163.
  • Arnold, Wasiuddin James, Joep Bor and Wim van der Meer. "On measuring notes. A response to N.A. Jairazbhoy", ISTAR Newsletter no. 3-4, International Society for Traditional Arts Research, New Delhi, July 1984 - June 1985, pp. 46-51.
  • Arnold, Wasiuddin James, Bernard Bel and Wim van der Meer. "Stretching scales", ISTAR Newsletter no. 3-4, New Delhi, 1985, pp. 52-53.
  • Arnold, Wasiuddin James. "Playing with intonation", ISTAR Newsletter no. 3-4, New Delhi, 1985, pp. 60-62.
  • Arntzen, Kees. "Ali Baba en de veertig tonen - over microtonale muziek", Muziek & Dans, Jul/Aug 1985.
  • Arntzen, Kees. "Uit de diepste lagen van de historie. De kwarttoonsmuziek van Alois Hába", Mens en Melodie vol. 51, jul/aug. 1996, pp. 322-325.
  • Arntzen, Kees. "Softness in the air. About Ton Bruynèl", Keynotes vol. 30 no. 2, June 1996, pp. 12-15.
  • Arrachart, Jean-Marc. "La musique, la poésie, les mathématiques", Premier Cahier Ivan Wyschnegradsky, Paris, March 1985, pp. 83-85.
  • Arslan, Fazli. Safi al-Din al-Urmawi and the Theory of Music: Al-Risala al-sharafiyya fi al-nisab al-ta'lifiyya. Content, Analysis and Influences. Foundation for Science Technology and Civilisation, March 2007, 24 pages.
  • Artaud, Pierre-Yves. La flûte. Jean-Claude Lattès/Salabert, Paris, 1986.
  • Artaud, Pierre-Yves and Gérard Geay. Flûtes au présent: Traité des techniques contemporaines. Salabert, Paris, 1980.
  • Artusi, Giovanni Maria. L'Artusi, overo Delle imperfettioni della moderna musica ragionamenti dui. Venice, 1600. Reprint 1969.
  • Artusi, Giovanni Maria. Considerationi musicali. Venice, 1603.
  • Arvidsen, Jørn K. "Eivind Grovens renstemte orgel med automatisk toneoppvalg", Norsk kirkemusikk vol. 8, October 1982, pp. 295-303.
  • Ashley, Richard D. "Modelling ensemble performance: Dynamic just intonation", Proceedings of the International Computer Music Conference, San Jose, 1992. International Computer Music Association, San Francisco, pp. 38-41.
  • Ashton, Anthony. Harmonograph: A Visual Guide to the Mathematics of Music. Walker & Company, New York, 2003, 64 pages.
  • Asioli, Bonifazio. Osservazioni sul temperamento proprio degl'istromenti stabili: Dirette agli accordatori di pianoforte ed organo. Emilio Giusti, Milano, 1816.
  • Asioli, Bonifazio. Disinganno sulle osservazioni fatte sul temperamento...in aggiunta al suo opusculo. Opera postuma. Ricordi, Milano.
  • Asioli, Bonifazio. Anleitung, Clavierinstrumente zu Temperiren und auf die leichteste Art ohne Beihülfe eines Meister rein und richtig zu stimmen. Artaria, Vienna, c.1819.
  • Askenfelt, Anders (ed.) Five lectures on the acoustics of the piano. Royal Swedish Academy of Music, 1990, WWW, 2000.
  • Asmussen, Robert. "Tuning by Ratios", WWW, 1997.
  • Asmussen, Robert. Periodicity of sinusoidal frequencies as a basis for the analysis of Baroque and Classical harmony: a computer based study. PhD diss., University of Leeds, September 2001, 289 pages.
  • Asmussen, Robert. "A Rule-based System for Tuning Chord Progressions", WWW, 2008, 25 pages.
  • Asperen, Bob van. "Consonant or dissonant? - Reflections at the keyboards of a Clavemusicum Omnitonum, cimbalo cromatico, and 'cembalo naturale'", Schweizer Jahrbuch für Musikwissenschaft vol. 22, 2002, Schweizerische Musikforschende Gesellschaft, Peter Lang, Bern, 2003.
  • Assayag, Gérard and G. Bloch. "Quantification et Creation Musicale", colloqium, April 1995.
  • Assayag, Gérard and Jean-Pierre Cholleton. "Musique, Nombre et Ordinateurs", La Recherche vol. 278 (Numéro spécial sur les nombres), July/August 1995.
  • Assayag, Gérard, Hans Georg Feichtinger and José Francisco Rodrigues (eds.) Mathematics and Music. A Diderot Mathematical Forum. Springer-Verlag, 2002, 290 pages.
  • Asselin, Pierre-Yves. "Le tempérament en France au XVIIIème siècle", L'orgue à notre époque, Université Mac Gill, Montréal, 1982, pp. 45-69.
  • Asselin, Pierre-Yves. Compréhension et réalisation des systèmes d'accord à l'ancienne. Université Pierre et Marie Curie, Paris, 1983.
  • Asselin, Pierre-Yves. Musique et tempérament, théorie et pratique de l'accord à l'ancienne. Éditions Jobert, Paris, 1984, 2000.
  • Asuar, José Vincente. "De los Microtonos y su Aplicación como Sistemas temperados", Revista Musical Chilena vol. 11, October-November 1957, p. 59.
  • Athanasopoulos, Georgios D. Theoria tes byzantines mousikes. Patras, 1950.
  • Atkins, E.P.L. "Ear-training and the Standardization of Equal Temperament", PMA vol. 41, 1914-1915, pp. 91-111.
  • Atlas, Allan W. "A 41-cent emendation: a textual problem in Wheatstone’s publication of Giulio Regondi’s 'Serenade' for English concertina and piano", Early Music vol. 33 no. 4, Nov 2005, pp. 609-617.
  • Attakitmongcol, Kittiphong, Rudeerat Chinvejkitvanich and Sarawut Sujitjorn. "Characterization of Traditional Thai Musical Scale", paper presented at the 5th WSEAS International Conference on Acoustics and Music: Theory and Applications, Venice, 15-17 November, 2004.
  • Audétat, Pierre and Julien Junod. "La cloche diatonique", WWW, 2006-2009.
  • Augustine, Daniel Schuyler. Four theories of music in the United States, 1900 - 1950: Cowell, Yasser, Partch, Schillinger. Diss. University of Texas at Austin, 1979, 616 pages.
  • Auhagen, Wolfgang. "Experimente zum melodisch-tonalen Hören im zwölfstufig-chromatischen Tonsystem: Schlußfolgerungen für Ekmelische Musik", Mikrotöne III, Helbling, Innsbruck, 1990.
  • Auhagen, Wolfgang. Experimentelle Untersuchung zur auditiven Tonalitätsbestimmung in Melodien. Gustav Bosse-Verlag, Kassel, 1994.
  • Auhagen, Wolfgang, Bram Gätjen und Klaus Wolfgang Niemöller (eds.) Systemische Musikwissenschaft - Festschrift Jobst Peter Fricke zum 65. Geburtstag. Köln 1995, 1998, 2010.
  • Auhagen, Wolfgang. "Zur Entstehung der Tonartencharakteristik im 18. Jahrhundert", Systemische Musikwissenschaft - Festschrift Jobst Peter Fricke zum 65. Geburtstag, Köln 1995, pp. 89-96.
  • Auhagen, Wolfgang. "Stimmung und Temperatur", Die Musik in Geschichte und Gegenwart. Bärenreiter, Kassel, 1998, pp. 1831-1847.
  • Auhagen, Wolfgang. "Die Musiktheorie Friedrich Wilhelm Opelts", Musikwissenschaft - Musikpraxis. Festschrift für Horst-Peter Hesse zum 65. Geburtstag, Kai Bachmann and Wolfgang Thies (eds.), Verlag Müller-Speiser, Anif, 2000.
  • Avicenna (Ibn-Sina). Kitabu a-Sifa. French translation by F.R. d'Erlanger, 1935.
  • Avicenna (Ibn-Sina). Auicene perhypatetici philosophi: ac medicorum facile primi opera in luce redacta... Latin translation published in 1508. Facsimile edition, Minerva, Frankfurt am Main, 1961.
  • Avoni, V. L'accordature di piano-forte. F.M. Geidel, Leipzig, 1894.
  • Avraamov, Arseny N. "The Open Strings of the Quintet as a Basis for Detuned Orchestral Sound" (in Russian), Muzyka vol. 5 no. 222, Moscow, 5 Sept. 1915, pp. 315-318. English translation by Anton Rovner, 21st Century Music vol. 10 no. 3, March 2003, pp. 1-3.
  • Avraamov, Arseny N. "The Emerging Musical Science and a New Era of Music History" (in Russian), Muzykal'ny Sovremennik no. 6, St. Petersburg, 1916.
  • Avraamov, Arseny N. "Jenseits von Temperierung und Tonalität", Melos vol. 1, 1920, p. 131.
  • Avraamov, Arseny N. "Universal Tonal System (U.T.S.)" (in Russian), Zhizn'iskusstva, 1926, no. 12, pp. 3-4; no. 38, pp. 9-10; no. 40, pp. 6-7.
  • Avraamov, Arseny N. "Vierteltonmusik" (in Russian), Muzika i Revolyutsiya vol. 5-6, p. 39. German translation by Detlef Gojowy, Neue Sowjetische Musik der 20er Jahre, Laaber Verlag, Regensburg, 1980, pp. 445-446.
  • Ayers, Lydia. Exploring Microtonal Tunings: A Kaleidoscope of Extended Just Tunings and Their Compositional Applications. Doctoral dissertation, Performance, Univ. of Illinois, Champaign-Urbana, 1994, 931 pages. Univ. Microfilms Inc., Ann Arbor MI, 1995.
  • Ayers, Lydia. "The Chinese Connection: Harry Partch and the Li Po Settings", 1/1 vol. 9 no. 2, 1995, p. 1.
  • Ayers, Lydia. "Ellen Fullman: Body Music (CD review)", 1/1 vol. 9 no. 2, 1995, p. 2.
  • Ayers, Lydia. "Just West Coast: Microtonal Music for Guitar and Harp, performed by Just Strings (CD review)", 1/1 vol. 9 no. 1, March 1995, pp. 14-16.
  • Ayers, Lydia. "A Composition for Gamelan and Computer-Generated Tape: Merapi", Leonardo Music Journal vol. 6, 1996, pp. 7-14.
  • Ayers, Lydia. "Harry Partch: 17 Lyrics of Li Po, performed by Stephen Kalm and Ted Mook (CD review)", 1/1 vol. 9 no. 4, Spring 1997, p. 15.
  • Ayers, Lydia. "Enclosure Two: Historic Speech-Music Recordings from the Harry Partch Archives, Four CD set, Produced by Philip Blackburn (CD review)", 1/1 vol. 9 no. 4, Spring 1997, pp. 14-19.
  • Ayers, Lydia. "Improvising with Tunings: Themes and Improvisations for Woodstock Gamelan", Balungan Magazine.
  • Ayers, Lydia. "Indonesian Music as a Source of Microtonal Inspiration in Music of American Composers", Balungan Magazine.
  • Ayers, Lydia. "Indonesian Music as a Source of Microtonal Inspiration in Lou Harrison's Music", Balungan Magazine.
  • Ayers, Lydia. "Improvising with Tunings: Themes and Improvisations for Woodstock Gamelan", 1/1 vol. 10 no. 2, fall 1999, pp. 1, 4-8, 20.
  • Ayers, Lydia. "Synthesising Chinese Flutes Using Csound", Organised Sound vol. 10 no. 1, Cambridge University Press, 2005, pp. 37-49.
  • Ayers, Lydia. "Making Scales from Mathematical Means", Xenharmonikôn vol. 18, 2006, pp. 200-223.
  • Ayyar, Mohan. "Keyboards, Synthesizers and Carnatic Music", WWW, 1997.
  • Azarm, Ben. "Ear Interview: Allen Strange", Ear Magazine vol. 8 no. 3, 1983, pp. 1, 3.

- B -

  • Bacanos, Yorgo. Classical Turkish Music Theory and Song Notes. H.T.S.T. Students’ Society Publications no. 1, 1976.
  • Bach, V. "Problems of Intonation on Brass Instruments", Symphony, September 1950.
  • Bachem, A. "Chroma fixation at the ends of the musical frequency scale", Journal of the Acoustical Society of America vol. 20 no. 5, 1948, pp. 704-–705.
  • Bachem, A. "Tone height and tone chroma as two different pitch qualities", Acta Psychologica vol. 7, 1949, pp. 80-88.
  • Bachmann, Kai and Wolfgang Thies (eds.) Musikwissenschaft - Musikpraxis. Festschrift für Horst-Peter Hesse zum 65. Geburtstag. Wort und Musik. Salzburger Akademische Beiträge, Band. 43, Verlag Müller-Speiser, Anif, 2000, 251 pages.
  • Backers, Cor. "Een weinig bekende stemming - Inleiding tot een drietal artikelen van prof. ir. Henk Badings", Musica vol. 56 no. 6, June 1977, pp. 3-7.
  • Backus, John. The Acoustical Foundations of Music. W.W. Norton, New York, 1969, 312 pages. London, 1970. 2nd edition, W.W. Norton & Co., 1977, 384 pages.
  • Badings, Henk. "Tonaliteitsproblemen in de nieuwe muziek", Koninklijke Vlaamse Academie voor Wetenschappen, 1951.
  • Badings, Henk. "A.D. Fokker: new music with 31 notes", Zeitschrift für Musiktheorie vol. 7 no. 2, 1976, pp. 46-48.
  • Badings, Henk. "31-toon-stemming", Musica vol. 56 no. 6, June 1977, pp. 7-11. Part 2, Musica vol. 56 no. 7-8, July-Aug 1977, pp. 7-11. Part 3, Musica vol. 56 no. 9, Sep 1977, pp. 9-11.
  • Badings, Henk. "Over 31-toon-stemming. In het algemeen en in het bijzonder gedemonstreerd aan de hand van een eigen compositie" (about 31-note tuning: general principles and a specific demonstration by means of a composition by the author). Academiae analecta: Mededelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België vol. 40 no. 6, 1978, Kongl. Academie voor wetenschappen, letteren en schone Kunsten van België, Brussels, 1978, 23 pages.
  • Badings, Henk. "Aantekeningen over enige fundamentele elementen in de muziek" deel 3, Mens en Melodie vol. 41 no. 11, Nov. 1986, pp. 503-509.
  • Baer, David. "Interview with Warren Burt", SoundBytes, WWW, July 2013.
  • Baeumer, Dorothea. Victor Goldschmidts Harmonielehre der Kristalle. Orpheus, Band 36, Verlag für systematische Musikwissenschaft, Bonn-Bad Godesberg, 1984, 223 pages.
  • Baglioni, Silvestro. "Quelques observations expérimentales sur les intervalles musicaux enharmoniques également tempérés (enharmonium)", Archives Internationales de Physiologie vol. 17, 1921, pp. 343-354.
  • Baglioni, Silvestro. Udito e Voce: elementi fisiologici della parola e della musica. Ed. Stock, Rome, 1924.
  • Baglioni, Silvestro. Divagazioni musicali. Dall'acustica e fonetica fisiologica all'arte. Cuggiani, Rome, 1943.
  • Bailey, Christopher Dylan. Sand, an acousmatic composition with a listener interface. Dissertation, Columbia University, 2002.
  • Bailey, Nicholas J., Graham Hair, Amanda Morrison, Ingrid Pearson and Richard Parncutt. "The Rosegarden Codicil: Rehearsing Music in Nineteen-Tone Equal Temperament", Scottish Music Review vol. 1 no. 1, 2007, pp. 99-126.
  • Bailey, Nicholas J., Alex South, Ingrid Pearson, Roslyn Dunlop, Henri Bok, Katrina Nimmo. "Developing a Microtonal Clarinet via Wind Controller and 3D Printing Lecture with the International Clarinet Consortium", International Clarinet Association Clarinetfest 24th July 2015, 2015, Madrid.
  • Bailhache, Patrice. "Valeur actuelle de l'acoustique musicale de Helmholtz", Revue d'histoire des sciences vol. 39 no. 4, 1986, pp. 301-324.
  • Bailhache, Patrice. "Leibniz et la théorie de la musique", in Leibniz, Tradition und Aktualität, V. Internationaler Leibniz-Kongreß, Vorträge, Hannover, 14-19 nov. 1988, pp. 34-41.
  • Bailhache, Patrice. "Le système musical de Conrad Henfling (1706)", Revue de Musicologie vol. 74 no. 1, Société française de musicologie, Paris, 1988, pp. 5-25.
  • Bailhache, Patrice. "Tempéraments musicaux et mathématiques", Sciences et techniques en perspective vol. 16, Université de Nantes, 1989, pp. 83-114.
  • Bailhache, Patrice. "Le miroir de l'Harmonie universelle: musique et théorie de la musique chez Leibniz", L'esprit de la musique, Essais d'esthétique et de philosophie (participation à un ouvrage collectif sous la direction de Hugues Dufourt, Joël-Marie Fauquet et François Hurard), Klincksieck, Paris, 1992, pp. 203-216.
  • Bailhache, Patrice. Leibniz et la théorie de la musique. Klincksieck, Series Domaine musicologique, Paris, 1992, 158 pages. French translation of Leibniz by Patrice Bailhache.
  • Bailhache, Patrice. "Isaac Beeckman a-t-il démontré la loi des cordes vibrantes selon laquelle la fréquence est inversement proportionnelle à la longueur?", Revue d'histoire des sciences vol. 45 no. 2-3, 1992, pp. 337-344.
  • Bailhache, Patrice. "Théorie de la musique et plaisir musical chez Gassendi", Actes du Colloque International Pierre Gassendi (Digne, 18-21 mai 1992), Annales de Haute-Provence, vol. 321-322, 1992-1993, pp. 387-396.
  • Bailhache, Patrice. "Cordes vibrantes et consonances chez Beeckman, Mersenne et Galilée", Sciences et techniques en perspective vol. 23, Université de Nantes, "Musique et mathématiques", 1993, pp. 73-91. In PDF.
  • Bailhache, Patrice. "L'Harmonie universelle : la musique entre les mathématiques, la physique, la métaphysique et la religion", Les Études philosophiques no. 1-2, 1994, pp. 13-24.
  • Bailhache, Patrice. "D'Alembert théoricien de la musique : empirisme et nature", WWW, 1995. To appear in publication Michel Paty (ed.), CNRS, Université Paris.
  • Bailhache, Patrice. "La musique, une pratique cachée de l'arithmétique?", Studia Leibniztiana, Actes du colloque L'actualité de Leibniz : les deux labyrinthes, Cerisy, 15-22 juin 1995.
  • Bailhache, Patrice. "Deux mathématiciens musiciens: Euler et d'Alembert", Physis vol. 32, 1995, pp. 1-35.
  • Bailhache, Patrice. "Sciences et musique: quelques grandes étapes en théorie musicale", Littérature, médecine, société vol. 13, Université de Nantes, 1996. In PDF.
  • Bailhache, Patrice. "La Musique traduite en Mathématiques: Leonhard Euler", Communication au colloque du Centre François Viète, "Problèmes de traduction au XVIIIe siècle", Nantes, 17 janvier 1997. In PDF. English translation by Joseph Monzo, WWW, 1999.
  • Bailhache, Patrice. Une Histoire de l'acoustique musicale. CNRS Éditions, Paris, 2001, 199 pages.
  • Bailhache, Patrice. "D'Alembert théoricien de la musique : empirisme et nature", Analyse et dynamique, Études sur l'œuvre de D'Alembert, Les Presses de l'Université Laval, Québec, 2002, pp. 359-377. In PDF.
  • Baily, John. "Anthropological and psychological approaches to the study of music theory and musical cognition", Yearbook of the International Folk Music Council, Int. vol. 20, 1988, pp. 114-124.
  • Bain, Reginald. "A Web based Multimedia Approach to the Harmonic Series", ATMI Presentation, Kansas City, Sept. 2002.
  • Bake, Arnold Adriaan. Bijdrage tot de kennis der Voor-Indische Muziek. PhD thesis, with English translation of Sangita-darpana, Universiteit Utrecht, 1930. Paul Geuthner, Paris, 1930.
  • Bake, Arnold Adriaan. "Die beide Tongeschlechter bei Bharata", Kongreßbericht D.G.M. Lüneburg, 1950, p. 158.
  • Bake, Arnold Adriaan. "The Impact of Western Music on the Indian Musical System", Journal of the International Folk Music Council, 1953, p. 57.
  • Bake, Arnold Adriaan. "Indische Musik", Die Musik in Geschichte und Gegenwart Band 6, Friedrich Blume, Kassel, 1957, pp. 1150-1185. Also in Außereuropäische Musik in Einzeldarstellungen, Joseph Kuckertz (ed.), Deutscher Taschenbuch Verlag/Bärenreiter Verlag, edition MGG, Kassel, 1980, pp. 190-225.
  • Bake, Arnold Adriaan. "Alain Daniélou: Traité de musicologie comparée (book review)", Ethnomusicology vol. 5 no. 3, 1961, pp. 231-237.
  • Baker, A. "An interview with Lou Harrison", Minnesota Public Radio, June 2002.
  • Baker, R.S. "Music by Telharmony", Electrical World vol. 47, 1906, p. 509.
  • Baker, R.S. "The Generating and Distributing of Music by Means of Alternators", Electrical World vol. 47, 1906, p. 519.
  • Baker, R.S. "New Music for an Old World", McClure's Magazine vol. 27 no. 3, 1906, p. 291.
  • Bakker, Pieter. "De goddelijke oorsprong van de muziek. Andreas Werckmeister en de getallensymboliek", Mens en Melodie vol. 49 no. 3, March 1994, pp. 188-194.
  • Bakker, Pieter. "De bronnen van Andreas Werckmeister", Tijdschrift voor Muziektheorie vol. 2 no. 1, 1997.
  • Bakker, Pieter. Andreas Werckmeister. Die historische Einordnung seiner Schriften. Stichting de Studenten Uitgeverij, Schraard, 1998, 31 pages. English translation by Pleuke Boyce Andreas Werckmeister. The Historical Positioning of his Writings, 2015.
  • Bakker, Pieter. "Andreas Werckmeister in de twintigste eeuw", De Rode Leeuw no. 95, 1998. Also in Harmonische getallen, 2012, pp. 27-32.
  • Bakker, Pieter. "De gulden snede in de muziek", Kunst en Wetenschap vol. 7 no. 3, 1998.
  • Bakker, Pieter. "Kleine kunstkroniek. Abraham Bartolus", Kunst en Wetenschap vol. 8 no. 1, 1999, p. 33.
  • Bakker, Pieter. "Musica mathematica", Het Orgel vol. 98 no. 2, 2002, pp. 11-14. Also in Harmonische getallen, 2012, pp. 9-14.
  • Bakker, Pieter. "Stemmen volgens Werckmeister", De Rode Leeuw no. 141, 2002. Also in Harmonische getallen, 2012, pp. 15-20.
  • Bakker, Pieter. "Getallen in de muziek", Het Orgel vol. 99 no. 6, 2003. Also in Harmonische getallen, 2012, pp. 33-37.
  • Bakker, Pieter. "Het karakter van een toonaard", Het Orgel vol. 100 no. 1, 2004. Also in Harmonische getallen, 2012, pp. 21-26.
  • Bakker, Pieter. Harmonische getallen. De muziektheorie van Andreas Werckmeister. Stichting Kunst en Wetenschap, Schraard, March 2012, 43 pages.
  • Bakker, Pieter. Harmonische Zahlen. Die Musiktheorie des Andreas Werckmeister. Translated by Bianca Fleßner, Stichting Kunst en Wetenschap, Schraard, 2013, 104 pages.
  • Bakker, Pieter. Proportionen. Ein Fall von Serendipität in der Musikforschung. Translated by Pieter Bakker, Stichting Kunst en Wetenschap, Schraard, 2014, 16 pages.
  • Bakker, Pieter. "Postmoderne getallen. Ruth Tatlow over getalsverhoudingen in de geschreven muziek van Johann Sebastian Bach (book review)", Kunst en Wetenschap, 2015. English translation "Postmodern Numbers. Ruth Tatlow on Proportions in the Written Music of Johann Sebastian Bach" by Pleuke Boyce, 28 pages.
  • Bakshi, Haresh. 101 Raga-s For The 21st Century And Beyond: A Music Lover's Guide to Hindustani Music. SoundOfIndia.com, 2006, 116 pages.
  • Balasubramanian, K. "Combinatorial enumeration of ragas (scales of integer sequences) of Indian music", Journal of Integer Sequences vol. 5 no. 2, 2002, Article 02.2.6.
  • Ballif, Claude. "Idéalisme et matérialité", La Revue Musicale vol. 290-291, Richard Masse, Paris, 1972, p. 5.
  • Ballif, Claude. "Ivan Wyschnegradsky: harmonie du soir", Premier Cahier Ivan Wyschnegradsky, Association Ivan Wyschnegradsky, Paris, March 1985, pp. 9-22.
  • Ballif, Claude. "Du Grand Cluster au Micro-tonalisme", L'Habitant du Labyrinthe, Pro Musica, 1992, pp. 99-108.
  • Balena, Francesco. The Scale Omnibus. WWW, 2014, 430 pages.
  • Balsach, Llorenç. La convergència harmònica. Morfogènesi dels acords i de les escales musicals. Clivis Publications, Barcelona, 1994.
  • Balsach, Llorenç. "Tonos virtuales y análisis armónico", WWW, 1996.
  • Balsach, Llorenç. "Application of pitch theory in music analysis", PDF, WWW, 1996.
  • Balzano, Gerald J. Chronometric Studies of the Musical Interval Sense. Doctoral diss. Stanford University, 1977. Univ. Microfilms, no. 77-25, 643.
  • Balzano, Gerald J. "On the Bases of Similarity of Musical Intervals: A chronometric analysis", Journal of the Acoustical Society of America vol. 61, 1977, Supplement 1, p. S51.
  • Balzano, Gerald J. "Musical vs. Psychoacoustical Variables and Their Influence on the Perception of Musical Intervals", Bulletin of the Council for Research in Music Education, 1978.
  • Balzano, Gerald J. "The Structural Uniqueness of the Diatonic Order", paper presented at the Western Psychological Association Symposium, Cognitive Structure of Musical Pitch, San Francisco, April 20, 1978.
  • Balzano, Gerald J. "The group theoretic description of 12-fold and microtonal pitch systems", Computer Music Journal vol. 4 no. 4, 1980, pp. 66-84.
  • Balzano, Gerald J. and B.W. Liesch. "The role of chroma and scalestep in the recognition of musical intervals in and out of context", Psychomusicology vol. 2 no. 2, 1982, pp. 3-31.
  • Balzano, Gerald J. "The Pitch Set as a Level of Description for Studying Musical Pitch Perception", Music, Mind and Brain, Manfred Clynes (ed.), Plenum Press, New York, 1982, pp. 321-351.
  • Balzano, Gerald J. Changing Conceptions of Pitch and Timbre: A Modest Proposal. Paper presented at the 106th meeting of the Acoustical Society of America, San Diego, November 1983, 12 pages.
  • Balzano, Gerald J. "What Are Musical Pitch and Timbre?", Music Perception vol. 3 no. 3, spring 1986, pp. 297-314.
  • Balzer, Klaus and Bernd Streitberg. "Counterpoint compositions on non-tempered systems: Theory and algorithms", Proceedings of the International Computer Music Conference, Glasgow, 1990, pp. 328-331.
  • Ban, Joan Albert. Dissertatio epistolica de musicae natura, origine, progressu et denique studio bene instituendo. Isaac Commelin, Leiden, 1637, 60 pages. Also in H. de Groot et alii, Dissertationes de studiis instituendis. Elsevier, Amsterdam, 1645.
  • Ban, Joan Albert. Zangh-Bloemzel & Kort Sangh-Bericht. Elsevier, Amsterdam, 1642/1643. Reprint Frits Knuf, Amsterdam, 1969, Series: Early Music Theory in the Low Countries vol. 1, Frits R. Noske (ed.), 83 pages.
  • Banchieri, Adriano. "Regola in accordare arpicordi per suonare solo o in concerto", L'Organo suonarino, Ricciardo Amadino, Venice, 1605.
  • Bancquart, Alain. "Clefs pour mémoire, 20-ième siècle", Images de la musique française, Sacem & Papiers, Paris, 1986, pp. 129-134.
  • Bancquart, Alain. "Imaginaire, combinatoire. Essai sur la composition en micro-intervalles", Les Cahiers du CIREM vols. 28-29, P.U.T., Tours, 1994, p. 9.
  • Bancquart, Alain. "Musique: Habiter le temps", Symétrie, Lyon, 2003, pp. 28-43.
  • Bandopadhyay, Ramaswami. The Origin of Raga. Delhi, 1946.
  • Bannay, Gilles. "La gamme: un peu de théorie", WWW, 1998.
  • Bancquart, Alain; Carlos Agon and Moreno Andreatta. "Microtonal Composition", The OM Composer's Book 2, Bresson J., Carlos Agon, Gerard Assayag (eds.), 2011, pp. 279-302.
  • Banta, Christopher C. "Resonators, Part 1: Types and How They Work", Interval vol. 3 no. 2, fall 1981, pp. 13-17.
  • Banta, Christopher C. "New Approaches to Pentatonic Notation", Interval vol. 3 no. 3, winter 1981, pp. 9-10, 23.
  • Banta, Christopher C. "Resonators, Part 2: How to Tune and Measure Them", Interval vol. 3 no. 3, winter 1981, pp. 16-19.
  • Bao, Nguyen Vinh. Introduction to Vietnamese music, October 1970, WWW, 11 pages.
  • Baqueiro Foster, G. "La impugnación y el sonido 13", El Sonido 13, December 1924, pp. 2-9.
  • Baqueiro Foster, G. and D. Castañeda. "Teoría general de la subdivisión del tono, su fondamento científico, su critica y su porvenir", Trabajos técnicos del Primer Congreso Nacional de Musica, Talleres Gráficos de la Nación, Mexico, 1928, pp. 31-42.
  • Baqueiro Foster, G. "El 'Novaro-clave'", Revista tricolor vol. 5, 14 October 1944, pp. 36-40. Also in Pauta vol. 7 no. 25, January-March 1988, pp. 36-40.
  • Baqueiro Foster, G. "El 'Novaro-clave' invento mexicano que revolucionará el mundo musical", Color, pensiamento y acción de México vol. 1 no. 5, 1944.
  • Baqueiro Foster, G. "Augusto Novaro, revolucionario mexicano del arte de violería", Revista del Conservatorio vol. 9, p. 6, vol. 10, p. 6, vol. 11, p. 5.
  • Barassi, Elena Ferrari. "Il monocordo di Prosdocimo de Beldemandi. Nota bibliografica", Nuova Rivista Musicale Italiana vol. 25, 1991, pp. 83-89.
  • Barbera, Charles André. "Arithmetic and geometric division of the tetrachord", Journal of Music Theory vol. 21 no. 2, 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, 1984, pp. 229–-241.
  • Barbera, Charles André. "Diesis", in The New Harvard Dictionary of Music, Don Michael Randel (ed.), The Belknap Press of Harvard University Press, Cambridge, 1986, p. 231.
  • Barbera, Charles André. "Easley Blackwood: The Structure of Recognizable Diatonic Tunings (book review)", Journal of Music Theory vol. 32, 1988.
  • Barbera, Charles André. "Adriaan Daniël Fokker: Selected Musical Compositions, R.A. Rasch (ed.) (book review)", Journal of Music Theory vol. 33 no. 2, fall 1989, pp. 393-399.
  • Barbera, Charles André (ed.) The Euclidean Division of the canon: Greek and Latin sources: new critical texts and translations on facing pages, with an introduction, annotations, and indices verborum and nominum et rerum. University of Nebraska Press, Lincoln, 1991, 316 pages.
  • Barbereau, Mathurin Auguste Balthasar. Traité d'harmonie théorique et pratique. Lemoine, Paris, 1848, 2 vols.
  • Barbereau, Mathurin Auguste Balthasar. Etude sur l'origine du système musical. Bachelier, Paris, 1864. Pallez-Rousseau, Metz.
  • Barbier, Pierre-Émile. Article Alois Hába in Guide de la musique de chambre, Fayard, Paris, 1989, pp. 366-372.
  • Barbieri, Patrizio. "Persistenza dei temperamenti inequabili nell'Ottocento italiano", L'Organo vol. 20, Bologna, 1982, pp. 57-124.
  • Barbieri, Patrizio. "I temperamenti ciclici da Vicentino (1555) a Buliowski (1699): teoria e pratica 'archicembalistica'", L'Organo vol. 21, Pàtron Editore, Bologna, 1983, pp. 129-208.
  • Barbieri, Patrizio. Ancora sul temperamento degli organi di S. Petronio. Ancona, 1984.
  • Barbieri, Patrizio. "Giordano Riccati on the diameters of strings and pipes", Galpin Society Journal vol. 38, April 1985, p. 20.
  • Barbieri, Patrizio. "Il temperamento equabile nel periodo frescobaldiano", Girolamo Frescobaldi nel IV centenario della nascità: Ferrara 1983, S. Durante and D. Fabris (eds.), Olschki, Firenze, 1986, pp. 387-424.
  • Barbieri, Patrizio. "Cembali enarmonici e organi negli scritti di Athanasius Kircher - Con documenti inediti su Galeazzo Sabbatini", Enciclopedismo in Roma barocca - Athanasius Kircher e il museo del Collegio Romano fra Wunderkammer e Museo Scientifico, M. Casciato; M.G. Ianniello and M. Vitale (eds.), Marsilio, Venice, 1986, pp. 111-128.
  • Barbieri, Patrizio and Lindoro Massimo Del Duca. "Renaissance and Baroque microtonal music research in computer real time performance", Proceedings of the International Computer Music Conference, October 1986, Royal Conservatory of Music, The Hague, no. 51, Paul Berg (ed.), Computer Music Association, San Francisco, 1986.
  • Barbieri, Patrizio. "Giuseppe Sarti fisico acustico e teorico musicale", Giuseppe Sarti musicista faentino. Atti del convegno internazionale (Faenza, 25-27 novembre 1983), Mario Baroni and Maria Gioia Tavoni (eds.), Mucchi, Modena, 1986.
  • Barbieri, Patrizio. "L’'espressione degli ‘'affetti'’ mediante l'’ineguale accordatura degli strumenti da tasto nel Settecento veneto", Convegno di studi "Organaria veneta: patrimonio e salvaguardia", Centro studi di arte organaria veneta, Vicenza, 1986, pp. 41-67.
  • Barbieri, Patrizio (ed.), Giordano Riccati, Alessandro Barca, Francesco Antonio Vallotti. Acustica accordatura e temperamento nell'Illuminismo Veneto. Series: Pubblicazioni del Corso Superiore di Paleografia e Semiografia Musicale dell'Umanesmo al Barocco no. I:5:2. Torre d'Orfeo, Roma, 1987, 382 + 264 pages.
  • Barbieri, Patrizio. "La 'Sambuca Lincea' di Fabio Colonna e il 'Tricembalo' di Scipione Stella - Con notizie sugli strumenti enarmonici del Domenichino", La musica a Napoli durante il seicento, Torre d'Orfeo, Roma, 1987, pp. 167-216.
  • Barbieri, Patrizio. "Martini e gli armonisti 'fisico-matematici': Tartini, Rameau, Riccati, Vallotti", Padre Martini. Musica e cultura nel Settecento europeo, Angelo Pompilio (ed.), Olschki, Florence, 1987, pp. 173-209.
  • 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-September 1987, pp. 489-490.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. L. del Duca, Renaissance and Baroque Microtonal Music Research in Computer Real Time Performance. Royal Conservatory of Music, L'Aja, 1987.
  • Barbieri, Patrizio. Il Cembalo Omnicordo di Francesco Nigeti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719). Olschki, Florence, 1988.
  • Barbieri, Patrizio. "An unknown 15th-century French manuscript on organ building and tuning", The Organ Yearbook vol. 20, 1989, pp. 5-20.
  • Barbieri, Patrizio. "Acustica accordatura e temperamento nell'Illuminismo Veneto (book review)", Orgues meridionales no. 34, 1989, pp. 109-110.
  • Barbieri, Patrizio. "Conflitti di intonazione tra cembalo, liuto ed archi nel 'concerto' italiano del Seicento", Studi Corelliani vol. 4, Pierluigi Petrobelli and Gloria Staffieri (eds.), Olschki, Florence, 1990, pp. 123-153.
  • Barbieri, Patrizio. "L'intonazione violinistica da Corelli al Romanticismo", Studi musicali vol. 19 no. 2, 1990, pp. 319-384.
  • Barbieri, Patrizio. "Conflitti di intonazione tra cembalo, liuto ed archi nel ‘concerto’ italiano del Seicento", Studi Corelliani vol. 4, Pierluigi Petrobelli and Gloria Staffieri (eds.), Olschki, Florence, 1990, pp. 123-153.
  • Barbieri, Patrizio. "Gli ingegnosi cembali e 'violicembali' inventati da Juan Caramuel Lobkowitz per Ferdinando III (c. 1650): notizie inedite dal manoscritto Musica", Le meraviglie del probabile. Juan Caramuel 1606-1682. Atti del Convegno internazionale di studi (Vigevano, 29-31 ottobre 1982), Paolo Pissavino (ed.), Edizioni del Comune, Vigevano, 1990, pp. 91-112.
  • Barbieri, Patrizio. "La Nuova teoria di musica di Alessandro Barca in un inedito esame di Giordano Riccati (1786-90)", Scritti in onore di Giulio Cattin, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 1990, pp. 159-176.
  • Barbieri, Patrizio. "Violin Intonation: A Historical Survey", Boston Early Festival, Cornell University Press, 1987. Early Music vol. 19 no. 1, February 1991, pp. 69-88.
  • Barbieri, Patrizio. "Calegari, Vallotti, Riccati e le teorie armoniche di Rameau: priorità, concordanze, contrasti", Rivista Italiana di Musicologia vol. 26 no. 2, 1991, pp. 241-302.
  • Barbieri, Patrizio. "Il 'migliore' sistema musicale temperato: 'Querelles' fra Estève, Romieu e altri accademici francesi (c.1740-60)", L'Organo vol. 27, Bologna, 1991-1992, pp. 31-81.
  • Barbieri, Patrizio. "Krizanic, Caramuel e P.F. Valentini sulla divisione dell'ottava musicale", Krizanicev doprinos teorij glazbe, Accademia delle Scienze e delle Arti Croata, Zagreb, 1992, pp. 19-48. Summary in Croatian.
  • Barbieri, Patrizio. "Giordano Riccati fisico acustico e teorico musicale: Con una memoria inedità di acustica architettonica", I Riccati e la cultura della Marca nel Settecento europeo, Olschki, Florence, 1992, pp. 279-304.
  • Barbieri, Patrizio. "Tartinis Dritter Ton und Eulers Harmonische Exponenten. Mit einem unveröffentlichten Manuskript Tartinis", Musiktheorie vol. 7 no. 3, 1992, pp. 219-234.
  • Barbieri, Patrizio. "Il sistema armonico di Tartini nelle 'censure' di due celebri fisico-matematici: Eulero e Riccati", Tartini. Il tempo e le opere, A. Bombi & M.N. Massaro (eds.), Il Mulino, Bologna, 1994, pp. 321-344.
  • Barbieri, Patrizio. "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona, 28-29 October 1994, Elena Ferrari Barassi, Marco Fracassi, and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000.
  • Barbieri, Patrizio. "L’accordatura strumentale in Toscana: proposte e contrasti da V. Galilei a Cristofori (c.1580-1730)", Musicologia humana. Studies in honor of Warren and Ursula Kirkendale, Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer (eds.), Olschki, Florence, 1994.
  • Barbieri, Patrizio. "Il mesolabio e il compasso di proporzione: le applicazioni musicali di due strumenti matematici (1558-1675)", Musica, scienze e idee nella Serenissima durante il Seicento. Atti del Convegno Internazionale di studi, Venezia 13-15 dicembre 1993, Francesco Passadore and Franco Rossi (eds.), Edizioni Fondazione Levi, Venice, 1996.
  • Barbieri, Patrizio. "The inharmonicity of musical string instruments (1543-1993). With an unpublished memoir by J.-B. Mercadier (1784)", Studi Musicali vol. 27 no. 2, 1998, pp. 383-419.
  • Barbieri, Patrizio. "Corista, chiavette e intonazione nella prassi romana e veneto-bolognese del tardo Rinascimento", Ruggero Giovannelli [...], Atti del Convegno Internazionale di Studi, Carmela Bongiovanni and Giancarlo Rostirolla (eds.), Fondazione Giovanni Pierluigi da Palestrina, Palestrina, 1998, pp. 433-457.
  • Barbieri, Patrizio. "Gli strumenti poliarmonici di G.B. Doni e il ripristino dell'antica musica greca (c.1630-1650)", Analecta Musicologica vol. 30, 1998, pp. 79-114.
  • Barbieri, Patrizio. "G.B. Orazi's Enharmonic Flute and its Music (1797-1815)", Galpin Society Journal vol. 52, 1999, p. 281.
  • Barbieri, Patrizio. "L'inarmonicità degli strumenti musicali a corda (1543-1993). Con una memoria inedita di J.-B. Mercadier (1784)", Strumenti, musica e ricerca. Atti del Convegno internazionale, Cremona 28-29 ottobre 1994, Elena Ferrari Barassi, Marco Fracassi and Giampaolo Gregori (eds.), Ente Triennale Internazionale degli Strumenti ad Arco, Cremona, 2000, pp. 254-292.
  • Barbieri, Patrizio and Lindoro Massimo del Duca. "Late-Renaissance Quarter-tone Compositions (1555-1618): The Performance of the ETS-31 with a DSP System", Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001, Diego L. González, Domenico Stanzial and Davide Bonsi (eds.), 2 vols., Fondazione Giorgio Cini, Venice, 2001.
  • Barbieri, Patrizio. "'Galileo's' coincidence theory of consonances, from Nicomachus to Sauveur", Recercare vol. 13, 2001, pp. 201-232.
  • Barbieri, Patrizio. "Il temperamento equabile nell'Ottocento napoletano: l'acustico P. A. de Luca (1778-1864) e i suoi manoscritti inediti", L'Organo vol. 35, 2002, pp. 93-122.
  • Barbieri, Patrizio. "The evolution of open-chain enharmonic keyboards c1480-1650. L'’evoluzione delle tastiere enarmoniche a catena aperta c1480-1650", Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts, Schweizer Jahrbuch für Musikwissenschaft vol. 22, Joseph Willimann (ed.), Verlag Peter Lang, Bern, 2002.
  • Barbieri, Patrizio. "La nascita delle teorie ‘ continue’ della consonanza. La ignorata curva di Draghetti e Foderà, poi di Helmholtz (1771-1837)", Acta Musicologica vol. 74, 2002, pp. 55-75.
  • Barbieri, Patrizio. "Temperaments, Historical", Piano: An Encyclopedia, 2nd edition, Robert Palmieri and Margaret W. Palmieri (eds.), Routledge, New York, 2003, pp. 402-409.
  • Barbieri, Patrizio. "Pietro Della Valle: the Esthèr oratorio (1639) and other experiments in the “stylus metabolicus”. With new documents on triharmonic instruments", Recercare vol. 19 no. 1-2, 2007, pp. 73-124.
  • Barbieri, Patrizio. "http://www.patriziobarbieri.it/pdf/revival.pdf">Il revival delle tastiere enarmoniche: nuove soluzioni (1760-1880)", L'Organo vol. 39, 2007, pp. 175-236.
  • Barbieri, Patrizio. "Cembali a tasti spezzati: 'cromatci' oppure 'enarmonici'?", Bollettino della Deputazione di Storia patria per l'Umbria CV-2, 2008, pp. 125-130. Reprint Arte organaria e musica per organo nell'età moderna. L'Umbria nel quadro europeo, Erika Bellini (ed.), Deputazione di Storia patria per l'Umbria, Perugia, 2008, pp. 125-130.
  • Barbieri, Patrizio. Enharmonic instruments and music, 1470-1900. Revised and translated studies. Il Levante Libreria Editrice, Latina, 2008, 628 pages. CD included.
  • Barbieri, Patrizio. "On the linear approximation of equal temperament proposed by the organ builder Giambattista De Lorenzi (1870)", Musica e Storia vol. 42, August 2009, pp. 451-463.
  • Barbieri, Patrizio. "Musiche e strumenti 'alla Greca' nel Seicento italiano", Francesco Buti tra Roma e Parigi: diplomazia, poesia, teatro, Francesco Luisi (ed.), Torre d'Orfeo, Roma, 2009, pp. 349-364.
  • Barbieri, Patrizio. "Su di una approssimazione del temperamento equabile proposta da Giambattista De Lorenzi (1870)", Contributi per la storia dell'arte organaria e organistica in Italia, Paola Dessì (ed.), Edizioni Fondazione Levi, Venezia, 2012.
  • Barbieri, Patrizio. Physics of wind instruments and organ pipes 1100-2010. New and extended writings. Latina, Il Levante Libreria Editrice, 2013, 580 pages.
  • Barbieri, Patrizio. "Harps Versus Pianos: Parisian querelles on Tuning 1770-1830", Galpin Society Journal vol. 70, April 2017.
  • Barbour, James Murray. "Synthetic musical scales", American Mathematical Monthly vol. 36 no. 3, 1929, pp. 155–-160.
  • Barbour, James Murray. Equal Temperament: its History from Ramis (1482) to Rameau (1737). PhD thesis, Cornell University, Ithaca NY, 1932, 353 pages.
  • Barbour, James Murray. "The Persistence of the Pythagorean Tuning System", Scripta Mathematica vol. 1, 1933, pp. 286-304.
  • Barbour, James Murray. "Nierop's Hackebort", Musical Quarterly vol. 20 no. 1, Jan. 1934, pp. 312-319.
  • Barbour, James Murray. "Just Intonation Confuted", Music and Letters vol. 19 no. 1, 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'", Musical Quarterly vol. 33 no. 1, Nauray, 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, 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, 1949, pp. 586–-589.
  • Barbour, James Murray. "More on the Leipzig Organ Tuning", Journal of the American Musicological Society vol. 3 no. 1, 1950, pp. 41-44.
  • Barbour, James Murray. Tuning and Temperament: A Historical Survey. Michigan State College Press, East Lansing, 1951. Reprint Da Capo Press, New York, 1973, 228 pages. Reprint Dover, New York, 2004.
  • Barbour, James Murray. "Violin intonation in the 18th century", Journal of the American Musicological Society vol. 5 no. 3, 1952, pp. 224–-234.
  • Barbour, James Murray. "A geometrical approximation to the roots of numbers", American Mathematical Monthly vol. 64 no. 1, 1957, p. 1–9.
  • Barbour, James Murray. "The principles of Greek notation", Journal of the American Musicological Society vol. 13 no. 1/3, 1960, p. 1–17.
  • Barbour, James Murray. "Mißverständnisse über die Stimmung des javanischen Gamelans", Die Musikforschung vol. 16, Kassel, 1963, pp. 315-323.
  • Barbour, James Murray. "Temperatur und Stimmung", Die Musik in Geschichte und Gegenwart Band 12, Friedrich Blume (ed.), Kassel, 1965, pp. 213-227.
  • Barca, Alessandro. Nuove teoremi per la divisione delle ragioni... Bergamo, 1781.
  • Barca, Alessandro. "Introduzione ad una Nuova teoria di musica - Memoria prima", Saggi scientifici e lattari, Accademia di scienze, lettere ed arti in Padova, 1786, pp. 365-418.
  • Barca, Alessandro. Introduzione ad una Nuova teoria di musica - Memoria seconda. Padova, 1789. New edition Introduzione a una Nuova teoria di musica - Memoria seconda: De suoni aggiunti ossia delle dissonanze e dell'armonia dissonante. 1809.
  • 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.
  • Barclay, Robert L. (ed.) The Care of Historic Musical Instruments. CCIM, 1997.
  • Bardos, Lajos. Natürliche Tonsysteme. Budapest, 1956.
  • Bares, Peter. "Maß und Zahl: Über Orgeln und Musik", in Werkzeuge der Stille: die neuen Orgeln in Sankt Peter zu Köln, Michael Gassmann (ed.), Wienand, 2004, 64 pages.
  • Barkechli, Mehdi. "La gamme de la musique Iranienne", Cahier d'Acoustique in Annales des Télécommunications vol. 5, May 1947, p. 5.
  • Barkechli, Mehdi. "La gamme persane et ses rapports avec la gamme occidentale", Olympia vol. 1 no. 1, 1950, p. 53.
  • Barkechli, Mehdi. "Mésure des intervalles harmoniques de la gamme à partir de la sensation subjective de consonnance", Acustica vol. 2, 1952, p. 252.
  • 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.
  • Barkechli, Mehdi. "L'évolution de la gamme dans la musique orientale", Colloque International d'Acoustique Musicale, Centre National de la Recherche Scientifique no. 84, Paris, 1958, pp. 39-45.
  • 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 Univ. Press, Cambridge, 1989.
  • Barker, Andrew. Scientific Method in Ptolemy's 'Harmonics'. Cambridge University Press, Cambridge, 2001, 290 pages.
  • Barker, Andrew. The Science of Harmonics in Classical Greece. Cambridge University Press, Cambridge, 2007, 481 pages.
  • Barkowsky, Johannes. Anleitung zur Berechnung von Intervallen in einigen musikalischen Stimmungssystemen. Hannover, 1996.
  • Barlow, Clarence. Bus journey to Parametron. Feedback Papers vol. 21-23, Feedback Studio Verlag, Köln, 1980. Deutsche Zusammenfassung "Busreise nach Parametron", Neuland vol. 1, Herbert Henck (ed.), Bergisch Gladbach, 1980, pp. 114-118.
  • Barlow, Clarence. "Zur Harmonik nordindischer Raagen oder: Was ist überhaupt ein Raag?", Weltmusik vol. 1, Feedback Papers (Sonderheft), Peter Ausländer and Johannes Fritsch (eds.), Köln, 1981, pp. 103-114.
  • Barlow, Clarence. "Two Essays on Theory", Computer Music Journal vol. 11 no. 1, 1987, pp. 44-60.
  • Barlow, Clarence. "AUTOBUSK - An Algorithmic Real-Time Pitch & Rhythm Improvisation Programme", Proceedings of the International Computer Music Conference, Glasgow, 1990, pp. 166-168.
  • Barlow, Clarence. "Harmonik und Quantität", Ex Machina 1990: Das Buch zum Festival, Folkwang-Hochschule Essen, 1990, pp. 47-55.
  • Barlow, Clarence (ed.) The Ratio Book. Proceedings of the Ratio Symposium from 14 to 16 December 1992 in The Hague, Feedback Papers vol. 43, Feedback Studio Verlag, Köln, 1999, 349 pages. Articles by Clarence Barlow, Demetrios Lekkas, Anne La Berge, Wim van der Meer, Schu-chi Lee, Bernard Bel, James Tenney, Pascal Decroupet, Volker Abel, Hartmut Möller, Daniel Wolf, Keith Howard, Habib Touma, Stan Tempelaars, Barbara Thornton and Wouter Swets.
  • Barlow, Clarence. "'...Eine arithmetische Übung der Seele...' (Über die Rationalisierung einer harmonisch irrationalen Tonhöhenmenge sowie Ist die Harmonik ein Spezialfall der Polymetrik?)", Drei ausgewählte Vorträge zur Musikinformatik, Musikwissenschaftliches Institut der Johannes-Gutenberg-Universität Mainz, IAK-Sonderband, Bericht Nr.34, 1998, pp. 11-32.
  • Barlow, Clarence. Von der Musiquantenlehre. Feedback Papers vol. 34, Feedback Studio Verlag, Köln, 2008. English translation On Musiquantics, Musikinformatik & Medientechnik issue 51, University of Mainz, 2012.
  • Barnard, Hans and D.J. Hamoen. "Het 19-toons orgel uit Keiolonië", Bouwbrief vol. 34, Vereniging Huismuziek, Utrecht, Aug. 1984, pp. 14-19.
  • Barnard, Hans et al. De Keiaanse Muziek. Derde uitgave, Stichting Vrienden van Keiolonië, Amsterdam-Texel, 1985, 67 pages.
  • Barnard, Hans, L. Sluiter and B. den Hollander. "Keiaanse muziekinstrumenten", Bouwbrief vol. 37, Utrecht, May 1985, pp. 7-8.
  • Barnard, Hans, W.Z. Wendrich and Bart Hopkin. "Kayenian musical instruments", Experimental Musical Instruments vol. 3 no. 1, June 1987, pp. 14-15.
  • Barnard, Hans. "The matzaar and aliquot tonescales", Experimental Musical Instruments vol. 6, December 1990, pp. 18-19.
  • Barnard, Hans. "Musical Tuning and Notation in Kayolonia", WWW, 2003.
  • Barnes, John. "The Specious Uniformity of Italian Harpsichords", in Keyboard Instruments: Studies in Keyboard Organology, E.M. Ripin (ed.), Edinburg, 1971, 1977, pp. 1-10.
  • Barnes, John. "Bach's Keyboard Temperament: Internal Evidence from the Well-tempered clavier", Early Music vol. 7 no. 2, April 1979, pp. 236-249. Followup correspondence in Early Music vol. 8, 1980, pp. 511-513 (Philip P. Jones); vol. 9, Jan. 1981, p. 141 (H.A. Kellner); April 1981, pp. 219-221 (Cl. Di Veroli); Oct. 1981, p. 579 (J. Barnes)
  • Barnes, John. "Reconstruction of Douwes' clavichord", De Clavicordio, Proceedings of the International Clavichord Symposium, B. Brauchli, S. Brauchli and A. Galazzo (eds.), Magnano, 1993, pp. 75-77.
  • Barrière, Jean-Baptiste. "Écriture et Modèles, remarques croisées sur séries et spectre", Entretemps, septembre 1989, vol. 8, Paris, pp. 13-23.
  • Barrière, Jean-Baptiste (ed.) Le timbre, métaphore pour la composition. IRCAM, Paris, Éd. Christian Bourgois, 1991.
  • Barry, Wilson. "Henri Arnaut de Zwolle's Clavicordium and the Origin of the Chekker", Journal of the American Musical Instrument Society vol. 11, 1985.
  • Bartel, Kerstin. "Experimente mit Viertel- und Sechsteltonsystemen Alois Hába - ein Porträt zum 100. Geburtstag", Das Orchester vol. 7-8, 1993.
  • Barthelmes, Barbara. "Kompositionen für Vierteltöne: Ästhetische Positionen", Mikrotöne II, Edition Helbling, Innsbruck, 1988, pp. 9-22.
  • Barthelmes, Barbara. Son et Image. Le projet de la coupole lumineuse [de Wyschnegradsky]. 1990, unpublished.
  • Barthelmes, Barbara. Raum und Klang. Das musikalische und theoretische Schaffen Ivan Wyschnegradskys. Dissertation, Technische Universität Berlin, 1991. Wolke Verlag, Hofheim, 1995, 511 pages.
  • Barthelmes, Barbara. "Musik und Religion im russischen Symbolismus", Musik und Religion, Diether de la Motte (ed.), Laaber, 1995, pp. 139-162.
  • Barthelmes, Barbara. "Mikrotöne", Die Musik in Geschichte und Gegenwart, Bärenreiter, Kassel, 1997.
  • Bartlett, David. "The Mathematics of Tuning and Temperament, with audio examples", WWW, 1998.
  • Bartlett, Martin. "A Microcomputer-Controlled Synthesis System for Live Performance", Foundations of Computer Music, MIT Press, Cambridge MA, 1985.
  • Bartlett, Martin. "Relative Ratio Tuning: An Intonational Strategy for Performance Systems", Leonardo Music Journal vol. 1 no. 1, 1991, pp. 71-73.
  • Bartók, Béla. "Das Problem der neuen Musik", Melos vol. 1, 1920. Reprinted in Melos vol. 25, 1958, pp. 232-235.
  • Bartók, Béla. "Vom Einfluß der Bauernmusik auf die Musik unserer Zeit", 1921. Reprint in Musik der Zeit vol. 3, 1953, p. 18. In Hungarian in: Uj Idok, 1931. English translation "The influence of peasant music on modern music" in Tempo, Boosey & Hawkes Ltd, London, 1949 and Contemporary Composers on Contemporary Music, Holt, Rinehart and Winston, New York, 1967, pp. 72-79.
  • Bartolozzi, Bruno. New Sounds for Woodwind. Translated by Reginald Smith Brindle (ed.), Oxford University Press, London, 1967, 1971.
  • Bartolus, Abraham. Musica mathematica, Das ist: Das Fundament der allerlieblichsten Kunst der Musicae, wie nemlich dieselbe in der Natur stecke, und ihre gewisse proportiones, das ist, gewicht und mass habe, und wie dieselben in der Mathematica, fürnehmlich aber in der Geometria und Astronomia beschrieben seind: Sonnsten genennet die beschreibung des Instrumentes Magadis oder Monochordi: Allen liebhabern und Künstlern der Music zu gefallen und sonderlichen nutz in deutsch gegeben, durch M. Abrahamum Bartolum, Bentensem Minieum. Johann Meuschken, Altenburg in Meissen, 1614. VI. Teil des Theatrum Machinarum von Henning Groß. Heinrich Zersing, 1708.
  • Bary, Émile. Acoustique. Note sur un procédé très-simple pour accorder une guitare sans le secours de l'oreille. Imprimerie de Casimir, Paris, 1835.
  • Baschet, François. "The Baschet Experience", Interval vol. 4 no. 2, fall 1983, pp. 12-14.
  • Baschet, François. "The Baschet Experience: Part II from the 'Sound Sculpture' Papers", Interval vol. 4 no. 3, spring 1984, pp. 6-7.
  • Bateman, Wayne A. Introduction to Computer Music. Wiley, 1980, p. 221.
  • Bates, Charles Norman. Developing the ability to recognize microtones (musical perception). PhD diss., Ohio State University, 1992, 189 pages.
  • Bates, Robert F. "Nivers' Tonal Material: Tuning Restrictions and the Developments of the Major-Minor System", The Organ Yearbook vol. 18, 1987, pp. 78-94.
  • Bates, Robert F. and K. Marshall. "A Response from the Custodians: More Thoughts on the Stanford Temperaments", Performance Practice Review vol. 2 no. 2, 1989, pp. 147-169.
  • Bates, Robert F., Mark Lindley and Kimberley Marshall. "The Stanford Organ: A Synthesis of Views, The Stanford Eclectic Tunings", Performance Practice Review vol. 5, 1992, pp. 159-197.
  • Báthory-Kitsz, Dennis. "Construal of Musical Process Architecture", Consorting, June 1992.
  • Batish, Ashwin and S.D. Batish. Ragopedia: Exotic Scales of North India. Batish Institute, 1989, 190 pages.
  • Battan, Suzette Mary. Alois Hába's 'Neue Harmonielehre des diatonischen, chromatischen, Viertel-, Drittel-, Sechstel- und Zwölftel-Tonsystems'. PhD dissertation with annotated English translation, Eastman School of Music, Rochester, 1980, 2 vols., 366 pages.
  • Baud-Bovy, Samuel. "L'accord de la lyre antique et la musique populaire de la Grèce moderne", Revue de musicologie vol 53 no. 1, 1967, pp. 3-20.
  • Baud-Bovy, Samuel. "Bourgault-Ducoudray et la musique grecque ecclésiastique et profane", Schaeffner Festschrift, 1982, pp. 153-163.
  • Bavington, Peter and Miles Hellon. "Evidence of historical temperament from fretted clavichords", Fellowship of Makers and Researchers of Historical Instruments Quarterly no. 64, July 1991, pp. 55-58.
  • Bavington, Peter. "Clavichord tuning and maintenance 13: More thoughts on temperament setting", The British Clavichord Society Newsletter no. 20, June 2001, pp. 9-13.
  • Bavington, Peter. "The Temperament of the Donat Clavichord", WWW, July 2002.
  • Bavington, Peter. "Two books on temperament. Ross W. Duffin: How Equal Temperament Ruined Harmony, A.C.N. Mackenzie of Ord: The Temperament of Keyboard Music: Its Character; its Musicality; and its History (book reviews)", British Clavichord Society Newsletter vol. 41, June 2008.
  • Bayer, Francis. De Schönberg à Cage. Essai sur la notion d'espace sonore dans la musique contemporaine. Éd. Klincksieck, Paris, 1981, pp. 113-119.
  • Bayer, Karl. Auflösung der Antinomie Tonalität kontra Atonalität, Atonalität kontra Tonalität im Medium des Pytagoreischen Kommas und reinen-edlen-Gesanges. Lübeck, 1980.
  • Beach, David Williams. The Harmonic Theories of Johann Philipp Kirnberger: Their Origins and Influences. PhD diss., Yale University, 1974.
  • Beach, David Williams. "The Origins of Harmonic Analysis", Journal of Music Theory vol. 18, 1974, pp. 274-306.
  • Beach, David Williams. "Georg Andreas Sorge - Genealogia allegorica intervallorum octavae diatono-chromaticae. Translation and Edition", Theoria vol. 14, 2007, pp. 7-56.
  • Beal, Amy C. New Music, New Allies - American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley CA, 2006.
  • Beaufils, Daniel and Martine Grente. "À propos d'acoustique musicale: la question des gammes", Bulletin de l'Union des Physiciens vol. 775, 1995, pp. 1107-1122.
  • Beaufils, Daniel and Martine Grente. "À propos des gammes musicales", WWW, 1998.
  • Beaulieu, Marc. "Cyclical Structures and Linear Voice-Leading in the Music of Ivan Wyschnegradsky", ex tempore vol. 5 no. 2, West Springfield MA, fall 1991.
  • Becker, Judith. Traditional Music in Modern Java. University of Hawaii Press, Honolulu, 1980.
  • Becker, Judith. "Is Western Art Music Superior?", Musical Quarterly vol. 72 no. 2, 1986, pp. 341-359.
  • Becker, Judith. "Time and tune in Java", Music as Culture, Garland, New York, 1990, pp. 233-246.
  • Becker, Judith. "Auf die Stimmung kommt es an - Entwicklung der Stimmtonhöhe bei Blockflöten", Instrumentenbau-Zeitschrift vol. 49, Siegburg, January-February 1996, pp. 80-81.
  • Becker, Luthfi. La viole de gambe. Dessain et Tolra, Paris, 1982, 112 pages.
  • Bédos de Celles, F. (Dom) L'Art du facteur d'orgues. Paris, 1766/1778. Reprint in Hamel, Encyclopédie Roret, Paris, 1849. Reprint Bärenreiter, Kassel, 1965.
  • Beebe, Carey. "Historic Temperaments, WWW, 2005.
  • Beebe, Carey. "Vallotti's Temperament: Something painless for modern piano technicians to tune, WWW, 2013.
  • Beeckman, Isaac. Journal tenu de Isaac Beeckman de 1604 à 1634. Cornelis de Waard (ed.), Tome I & III, Den Haag, 1939, 1945.
  • Beer, Anton de. "The Development of 31-tone Music", Sonorum Speculum vol. 38, Amsterdam, 1969, pp. 3-16. German translation "Die Entwicklung der 31-Tonmusik", Sonorum Speculum vol. 38, 1969, pp. 26-39.
  • Beer, Anton de. Guide for the use of the archiphone. Stichting Huygens-Fokker, Haarlem, 1976.
  • Behrens-Senegalden, G.A. Die Vierteltöne in der Musik. Begleitschrift zu der Erfindung eines achromatischen Klaviers und Entwurf zur Darstellung der Vierteltöne als Notenschrift. Berlin, 1892.
  • Behringer, Reinhold. "Quantitative Metric for Tonality Morphology in the Tonnetz Torus", 2nd International Conference Mathematics and Computation in Music, 19-22 June 2009, Yale University, New Haven CN.
  • Beichert, Eugen Alfred. "Die Wissenschaft der Musik bei Al-Farabi", Regensburg, 1931. In Kirchenmusikalisches Jahrbuch vol. 27, 1937, pp. 9-48.
  • Békésy, Georg von. "Über die eben merkliche Amplituden- und Frequenzänderung eines tones, Physikalische Zeitschrift vol. 29, 1928.
  • Békésy, Georg von. "Zur Theorie des Hörens. Über die Bestimmung des einem reinen Tonempfinden entsprechenden Erregungsgebietes des Basilamembran vermittelst Ermüdigungserscheinungen", Physikalische Zeitschrift vol. 30, 1929, p. 115.
  • Békésy, Georg von. "Über die nichtlinearen Verzerrungen des Ohres", Annalen der Physik

Website – A collection of informational pages on the Internet that typically include an article title, author and publisher.

MLA 7 guidelines for online sources do not require listing the URL, unless otherwise specified by your instructor. They do require, however, that you include the publisher or sponsor of the website. Keep in mind that the author or sponsor of a website is commonly a corporation or government entity, rather than an individual.


Citing a website with an author

Structure:

Last, First M. “Article Title.”Website Title. Website Publisher, Date Month Year Published. Web. Date Month Year Accessed.

Note: MLA7 does not require the URL/link in a website citation. However, some instructors still ask for it – double-check if your instructor requires it.

Date Accessed: This is the day that the article was found and read.

Example:

Feinberg, Ashley. “What’s the Safest Seat in an Airplane?” Gizmodo. Gawker Media, 28 Mar. 2013. Web. 30 Mar. 2013.


Citing a website with no author

Note: Depending on the content, credible websites do not always include authors.

Example:

“Website Article.” Website Title. Website Publisher, Date Month Year Published. Web. Date Month Year Accessed.

Note: MLA7 does not require the URL/link in a website citation. However, some of your instructors still ask for it – double-check if your instructor requires it.

Date Accessed: This is the day the article was read and found.

 

Example:

“India.” Travel.State.Gov. Bureau of Consular Affairs, U.S. Department of State, 17 Feb. 2010. Web. 4 May 2010.


0 Thoughts to “Tuning Temperament Bibliography Mla

Leave a comment

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *