Modality

 

Introduction (English)

The present bibliography includes references from Howard Powers’ article ‘Mode’ in the NEW GROVE (see below, ‘Modality as a general phenomenon’), as well as a number of other references. It is under constant upgrading and some references are currently being amended (missing forenames, publication dates and/or places,etc.) with the referencing conventions listed on the Style Sheets Page. Please advise Richard Dumbrill or Amine Beyhom of any error, or of recommended additions and suggestions.

The reference order is chronological within some subdivisions. Please visit  http://nemo-online.org/transliteration-and-style-sheets for  more information on abbreviations and other referencing guidelines.

You can also refer to the data base “Modalité/Tonalité” of Patrimoines et Langages Musicaux (PLM – Université de la Sorbonne – Paris IV) – with invaluable references and commentaries on “source” references until the beginning of the 19th century- and to the  Huygens-Fokker Foundation’Tuning and Temperament Bibliography‘; Amine Beyhom’s articles and thesis on Modal Systematics as well as specialised bibliographies (see http://nemo-online.org/archives/663) are available on CERMAA‘s website.

The “India“, “Ancient Greece and Rome“, Maqām” and “Byzantine Chant” bibliographies are published as standalones (see “Bibliography > Modality”).

 

Introduction (French)

Cette bibliographie est constituée à partir du noyau initial de l’article “Mode” de Harold S. Powers dans le New Grove 2001, enrichi de nombreuses références complémentaires. Elle est en cours de construction ; certaines références sont incomplètes (par exemple prénoms ou dates ou encore lieux d’impression manquants), ou ne se conforment pas complètement aux conventions visées dans la Page de Styles : merci de les signaler à Richard Dumbrill ou Amine Beyhom, et d’inclure vos propositions de corrections, de rajouts ou autres dans votre envoi : nous introduirons ces corrections etc. au fur et à mesure.

L’ordre de référencement est chronologique à l’intérieur de certaines subdivisions. Pour les sigles et conventions de référencement et de citation, visitez svp la page http://nemo-online.org/transliteration-and-style-sheets.

Signalons également la base de données Modalité/Tonalité du groupe de recherches PLM (Patrimoines et Langages Musicaux – Université de la Sorbonne – Paris IV) – avec des commentaires fournis pour les références “source” jusqu’au début du XIXe siècle – et la “Tuning and Temperament Bibliography” de la Huygens-Fokker Foundation; les articles d’Amine Beyhom et sa thèse sur la Systématique Modale ainsi que des bibliographies spécialisées as well as specialised bibliographies (voir http://nemo-online.org/archives/663) sont disponibles sur le site du CERMAA.

Les bibliographies de l'”Inde“, de “la Grèce ancienne et de Rome“, du Maqām et du Chant byzantin sont publiées à part et accessibles par l’onglet “Bibliography > Modality”.

 

Modalité générale / Modality as a general phenomenon

  1. R. P. Winnington-Ingram: Mode in ancient Greek music (General editors: F. M. Cornford, D. S. Robertson, F. E. Adcock. II), Cambridge classical studies (Cambridge, 1936)
  2. Antoine Auda: Les gammes musicales, (Woluwé-Saint-Pierre, 1947)
  3. Jacques Handschin: Der Toncharakter (Zürich,1948)
  4. Jacques Chailley: L’imbroglio des modes (Paris, 1960)
  5. Tran, Van Khê: “Musique d’Orient, musique d’Occident: le refus de l’insolite”, The UNESCO Courier: a window open on the world; XXII, 6 (1969), 26-31
  6. Tran Van Khê: ” Traditions musicales de l’Asie et du Pacifique, comme source d’inspiration pour la création musicale contemporaine”, (UNESCO) Reports and studies (of the Division of Cultural Development and Artistic Creation); CREA no.39 (1987), CC.87/WS/9
  7. Harold S. Powers: “Is Mode Real? Pietro Aron, the Octenary System, and Polyphony” (1992a)
  8. Harold S. Powers: “Modality as a European cultural construct” (1992b)
  9. Nicolas Meeùs: “Mode et système. Conceptions ancienne et moderne de la modalité”, Musurgia IV/3 (Paris, 1997), 67-80
  10. Nicolas Meeùs: “Fonctions modales et qualités systémiques”, Musicae scientiae  – Music discussion forum I (2000), 55-63
  11. Harold S. Powers i.a.: “Mode”, NG Vol. 16, (London, 2001), 775-860
  12. François Picard:  “Échelles et modes, pour une musicologie généralisée”, downloaded 2011/07/11 (France, 2005)
  13. Tran Van Khê: “Modes musicaux”, CD-Rom de l’Encyclopaedia Universalis (2005)
  14. Matthew Gelbart : The Invention of “Folk Music” and “Art Music”, Cambridge University Press (Cambridge, 2007)

 

Modalité hors Occident / Non Western Modality

 

Maqām (muqam, mugam, makam, etc.) et / and dastgah

See the Maqām bibliography.

 

Rāgas de l’Inde, Asie du Sud / South-Asia

See the Modality Bibliography – India.

 

Asie de l’Est / East-Asia

  1. Tōgi Bunrei: Gagaku-shū [Compendium of gagaku] (Tokyo, 1884/R)
  2. L. Traynor and S. Kishibe: “The Four Unknown Pipes of the Shō Used in Ancient Japanese Court Music”, Tōyō ongaku kenkyū, ix (1951), 26–53
  3. S. Shiba: Gagaku, i (Tokyo, 1955)
  4. L. Picken: “The Music of Far Eastern Asia, i: China”, NOHM, i (1957), 83–134
  5. W.P. Malm: Japanese Music and Musical Instruments (Rutland and Tokyo, 1959/R)
  6. M. Gimm: Das Yüeh-fu tsa-lu des Tuan An-chieh: Studien zur Geschichte von Musik, Schauspeil und Tanz in der T’ang-Dynastie (Wiesbaden, 1966)
  7. L. Picken: “Central Asian Tunes in the Gagaku Tradition”, Festschrift für Walter Wiora (Kassel, 1967), 545–51
  8. Rulan Chao Pian: Sonq Dynasty Musical Sources and their Interpretation (Cambridge, MA, 1967)
  9. S. Kishibe: The Traditional Music of Japan (Tokyo, 1969)
  10. L. Picken: “Tang Music and Musical Instruments”, T’oung Pao, lv (1969): 74–121
  11. S. Shiba: Gosenfu ni yoru gagaku sōfu [Gagaku scores in Western notation], ii (Tokyo, 1969)
  12. K. Hayashi: “Gagaku no dentō [The gagaku tradition], Gagaku, Nihon no koten geinō, ii (Tokyo, 1970), 43–7
  13. W. Adriaansz: The Kumiuta and Danmono Traditions of Japanese Koto Music (Los Angeles, 1973)
  14. R. Garfias: Music of a Thousand Autumns: the Tōgaku Style of Japanese Court Music (Los Angeles, 1975)
  15. A. Marett: Hakuga’s Flute Score (diss., U. of Cambridge, 1976)
  16. Yang Yinliu: Zhongguo gudai yinyue shi gao [Draft history of ancient Chinese music] (Beijing, 1981)
  17. F. Koizumi: “Nihon no onkai” [The scales of Japan], Tōyō ongaku sensho, ix, Ongaku no tomosha (Tokyo, 1984)
  18. Zhongguo yinyue cidian [Dictionary of Chinese music] (Beijing, 1984), entries dise, diaomen, gong, gongche pu, gongdiao, gu yinjie, jiugong, lü, minjian gongdiao qidiao, shisan gongdiao, yanyue ershiba diao, xin yinjie, yun, zhenggong diao
  19. L. Picken and others: Music from the Tang Court (Oxford, 1981; Cambridge, 1985–)
  20. A. Marett: “Tōgaku: Where have the Tang Melodies Gone to and Where have the New Melodies Come from?” EthM xxix/3 (1985), 409–31
  21. Yang Yinliu: Yang Yinliu yinyue lunwen xuanji [Selected articles by Yang Yinliu on music] (Shanghai, 1986)
  22. Huang Xiangpeng: Chuantong shi yitiao heliu [Tradition is a flowing stream] (Beijing, 1990)
  23. Huang Xiangpeng: Suliu tanyuan: Zhongguo chuantong yinyue yanjiu [Tracing the stream to its source: studies of traditional Chinese music] (Beijing, 1993)
  24. Huang Xiangpeng: Zhongguorende yinyue he yinyuexue [Music and musicology of the Chinese] (Ji’nan, 1997)

 

Modalité occidentale et Modes Grecs Anciens / Western and Ancient Greek Modality

 

(Nous recommandons, pour la modalité médiévale ou polyphonique, la base de données Modalité/Tonalité).

(We recommend, for Mediaeval and Polyphonic Modality, the data base of modality).

 

Antiquité grecque et romaine / Ancient Greece and Rome

Please see the bibliography for the Greek and Roman Antiquity.

 

Modalité médiévale / Mediaeval Modality

  1. Anonymous: Commemoratio brevis; GerbertS, i, 213–29; ed. and trans. T. Bailey (Ottawa, 1979)
  2. Anonymous: Commentarius anonymus in Micrologum Guidonis Aretini; ed. C. Vivell (Vienna, 1917); ed. J. Smits van Waesberghe, Expositiones in Micrologum
  3. Anonymous: Alia musica; ed. J. Chailley (Paris, 1965)
  4. Anonymous: Commentum super tonos; ed. J. Smits van Waesberghe, Divitiae musicae artis, ser.A, i (Buren, 1975)
  5. Anonymous: Dialogus de musica; GerbertS, i, 251–64; part trans. O. Strunk, Source Readings in Music History (New York, 1950/R), 103–16 [formerly attrib. Odo (of Cluny)]
  6. Anonymous: Musica; GerbertS, i, 330–38; ed. J. Smits van Waesberghe, Divitae musicae artis, ser.A, vi (Buren, 1978–9) [attrib. Berno]
  7. Anonymous: Musica enchiriadis (F-Pn lat.7202); GerbertS, i, 152–73; ed. H. Schmid (Munich, 1981); Eng. trans. (New Haven, CT, 1995)
  8. Anonymous: Questiones in musica; ed. R. Steglich, Die quaestiones in musica (Leipzig, 1911)
  9. Anonymous: Tractatus cuiusdam monachi de musica; ed. J. Wolf, “Ein anonymes Musiktraktat des elften bis zwölften Jahrhunderts”, VMw, ix (1893), 186–234
  10. Anonymous: Tractatus de natura et distinctione octo tonorum musice; CoussemakerS, ii, 434–49
  11. Aribo: De musica; GerbertS, ii, 197–230; ed. in CSM, ii (1951)
  12. Bernard of Clairvaux: Tonale; GerbertS, ii, 265–77
  13. Berno of Reichenau: Prologus in tonarium cum tonario [Musica Bernonis]; GerbertS, ii, 61–117
  14. Engelbert of Admont: De musica; GerbertS, ii, 287–369
  15. Guido of Arezzo: Epistola de ignoto cantu; GerbertS, ii, 43–50; Eng. trans. StrunkSR
  16. Frutolfus of Michelsberg: Breviarum de musica et tonarius; ed. C. Vivell (Vienna, 1919)
  17. Aurelian of Réôme: Musica disciplina; GerbertS, i, 27; ed. in CSM, xxi (1975); Eng. trans. J. Ponte (1968)
  18. Boethius: De institutione musica; ed. G. Friedlein (Leipzig, 1867); Eng. trans. C. Bower (New Haven, CT, 1989)
  19. [Petershausen Antiphoner] (D-KA 60)
  20. [Reichenau Tonary]; ed. H. Sowa, Quelle zur Transformation der Antiphonen (Kassel, 1935)
  21. [Sarum Antiphoner]; ed. W.H. Frere, AS, Plainsong and Medieval Music Society (London,1901–25/R)
  22. Theogerus of Metz: Musica; GerbertS, ii, 182–96
  23. Wilhelm of Hirsau: Musica; GerbertS, ii, 154–82; ed. in CSM, xxiii (1975)
  24. [Worcester Antiphoner]; PalMus, 1st ser., xii (1922–5) (Amsterdam, 1957), 95–172 only]
  25. MGG2 (“Modus”: D. Hiley, C. Berger and T. Schmidt-Beste)
  26. M. Gerbert: Scriptores ecclesiastici de musica sacra potissimum (St Blasien, 1784/R, 3/1931) [GerbertS]
  27. C.-E.-H. de Coussemaker: Scriptorum de musica medii aevi nova series (Paris, 1864–76) [CoussemakerS]
  28. [Hartker Antiphoner]; PalMus, 2nd ser., i, (1900, 2/1970)
  29. Hermannus Contractus: De musica; ed. L. Ellinwood (Rochester, NY,1936)
  30. Hucbald: De harmonica institutione; GerbertS, i, 104–21; Eng. trans. (New Haven, CT, 1978); ed. A. Traub, Beiträge zur Gregorianik, vii (1989)
  31. Jacobus of Liège: Speculum musice; CoussemakerS, ii, 193–433 [attrib. Johannes de Muris]; ed. in CSM, iii (1955–68)
  32. Hieronymus de Moravia: Tractatus de musica; ed. S. Cserba (Regensburg,1935)
  33. Johannes Cotto: De musica; ed. in CSM, i (1950); Eng. trans. (New Haven, CT, 1978)
  34. [Lucca Antiphoner]; PalMus, ix (1905–9)
  35. Marchetto da Padova: Lucidarium in arte musicae planae, 1309–18; GerbertS, iii, 64–121; ed. and trans. J.W. Herlinger (Chicago, 1987)
  36. Perseus of Würzburg and Petrus: Summa musicae; GerbertS, iii, 189–248; ed. and trans. C. Page, Summa musice: a Thirteenth-Century Manual for Singers (Cambridge, 1991)
  37. F.A. Gevaert: La mélopée antique dans le chant de l’église latine (Ghent, 1895–6/R)
  38. G. Jacobsthal: Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche (Berlin, 1897/R)
  39. H. Abert: Die Musikanschauung des Mittelalters und ihre Grundlagen (Halle, 1905/R)
  40. P. Wagner: Einführung in die gregorianischen Melodien (Leipzig, 1895–1921/R)
  41. U. Bomm: Der Wechsel der Modalitätsbestimmung in der Tradition der Messgesänge im IX. bis XIII. Jahrhundert und sein Einfluss auf die Tradition ihrer Melodien (Einsiedeln, 1928)
  42. P. Wagner: “Zur mittelalterlichen Tonartenlehre”, Studien zur Musikgeschichte: Festschrift für Guido Adler (Vienna,1930/R), 29–32
  43. P. Ferretti: Estetica gregoriana (Rome, 1934/R)
  44. E. Omlin: Die Sankt-Gallischen Tonarbuchstaben (Engelberg, 1934)
  45. Heinrich Sowa: “Textvariationen zur Musica enchiriadis”, ZMw, XVII (1935), 194-207
  46. P. Ferretti: Esthétique grégorienne, traduit de l’italien, (Tournai, 1938)
  47. O. Gombosi: “Studien zur Tonartenlehre des frühen Mittelalters”, AcM, x (1938), 149–74; xi (1939), 28–39, 128–35; xii (1940), 21–52
  48. J. Smits van Waesberghe: “Some Music Treatises and their Interrelation: a School of Liège (c. 1050–1200)?”, MD, iii (1949), 25–31, 95–118
  49. S.R. Marosszéki: Les origines du chant cistercien (Vatican City, 1952)
  50. K. Meyer: “The Eight Gregorian Modes on the Cluny Capitals”, Art Bulletin, xxxiv (1952), 75–94
  51. J. Smits van Waesberghe: “La place exceptionelle de l’Ars Musica dans le développement des sciences au siècle des Carolingiens”, Revue grégorienne, xxxi (1952), 81
  52. H. Hucke: “Musikalische Formen der Officiumsantiphonen”, KJb, xxxvii (1953), 7–33
  53. H. Potiron: La composition des modes grégoriens (Tournai,1953)
  54. H. Oesch: Guido von Arezzo: Biographisches und Theoretisches unter besonderer Berücksichtigung der sogenannten odonischen Traktate (Berne, 1954)
  55. K.G. Fellerer: “Zum Musiktraktat des Wilhelm von Hirsau”, Festschrift Wilhelm Fischer, ed. H. von Zingerle (Innsbruck, 1956), 61–70
  56. K.W. Niemöller: “Zur tonus-Lehre der italienischen Musiktheorie des ausgehenden Mittelalters”, KJb, xl (1956), 23–32
  57. R. Stephan: “Aus der alten Abtei Reichenau”, AMw, iii (1956), 61–76
  58. R. Weakland: “Hucbald as Musician and Theorist”, MQ, xlii (1956), 66–84
  59. W. Apel: Gregorian Chant (Bloomington, IN, 1958, 3/1966)
  60. K.G. Fellerer: “Untersuchungen zur Musica des Wilhelm von Hirsau”, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona,1958), i, 239–52
  61. Nan Cooke Carpenter: Music in medieval and Renaissance universities, Norman, University of Oklahoma Press (1958)
  62. K.W. Gümpel: Zur Interpretation der Tonus-Definition des Tonale Sancti Bernardi (Wiesbaden, 1959)
  63. H. Oesch: Berno und Hermann von Reichenau als Musiktheoretiker (Berne, 1961)
  64. J. Ponte: The “Musica disciplina” of Aureliani Reomensis (diss., Brandeis U., 1961)
  65. H. Hüschen: “Regino von Prüm, Historiker, Kirchenrechtler, und Musiktheoretiker”, Festschrift Karl Gustav Fellerer zum sechzigsten Gerburtstag, ed. H. Hüschen (Regensburg, 1962), 205–25
  66. W. Lipphardt, ed.: Der karolingische Tonar von Metz (Münster, 1965)
  67. R. Monterosso: “Un compendio inedito del Lucidarium di Marchetto da Padova”, Studi medievali, 3rd ser., vii (1966), 914–31
  68. M. Huglo: “L’auteur du ‘dialogue sur la musique’ attribué à Odon”, RdM, lv (1969), 119–71
  69. J. Smits van Waesberghe: Musikerziehung: Lehre und Theorie der Musik des Mittelalters (Leipzig, 1969)
  70. M. Huglo: Les tonaires: inventaire, analyse, comparaison (Paris, 1971)
    T.H. Connolly: “Introits and Archetypes: some Archaisms of the Old Roman Chant”, JAMS, xxv (1972), 157–74
  71. Gaston Allaire: The theory of hexachords, solmization and the modal system : A practical application, [Rome], AIM, 1972
  72. Corpus antiphonalium officii, ed. R. Hesbert, Rerum ecclesiasticarum documenta, main ser., Fontes, vii–xi (Rome, 1963–75)
  73. Lawrence A. Gushee: “Questions of genre in medieval treatises on music”, Gattungen der Musik in Einzeldarstellungen, Gedenkschrift Leo Schrade, (Bern, München, Franke, 1975), 365-433
  74. Eric Werner, Th. H. Connolly, P. Doe et M. Boyd: “Psalm”, The New Grove Dictionary, vol. 15, S. Sadie éd. (London, 1980), 320-335.
  75. Michel Huglo: “Tonary”, The New Grove, vol. 19, Macmillan (Londres, 1980), 55-59.
  76. Guido of Arezzo: Micrologus; ed. in CSM, iv (1955); Eng. trans. (New Haven, CT, 1978)
  77. Guy d’Eu: Regulae de arte musica; CoussemakerS, ii, 150–91
  78. R. Crocker: “Hermann’s Major Sixth”, JAMS, xxv (1972), 19–37
  79. F.A. Gallo: “Philological Works on Musical Treatises of the Middle Ages”, AcM, xliv (1972), 78–101
  80. L.A. Gushehe: “Questions of Genre in Medieval Treatises on Music”, Gattungen der Musik in Einzeldarstellungen: Gedenskschrift Leo Schrade (Berne and Munich, 1973), 365–433
  81. T. Seebass: Musikdarstellung und Psalterillustration im früheren Mittelalter (Berne, 1973)
  82. T. Bailey: The Intonation Formulae of Western Chant (Toronto,1974)
  83. H. Hucke: “Die Herkunft der Kirchentonarten und die fränkische Überlieferung des gregorianischen Gesangs”, GfMKB (Berlin 1974), 257–60
  84. L. Treitler: “Homer and Gregory: the Transmission of Epic Poetry and Plainchant”, MQ, lx (1974), 333–72
  85. J. Claire: “Les répertoires liturgiques latins avant l’octoéchos”, EG, xv (1975), 5–192
  86. H. Hucke: “Karolingische Renaissance und Gregorianischer Gesang”, Mf, xxviii (1975), 4–18
  87. C. Sweeney: “John Wylde and the Musica Guidonis”, MD, xxix (1975), 43–59
  88. L. Treitler: “Centonate Chant”, JAMS, xxviii (1975), 1–23
  89. P. Cutter: “Oral Transmission of the Old Roman Responsories”, MQ, lxii (1976), 182–94
  90. M. Markovits: Das Tonsystem der abendländischen Musik im frühen Mittelalter (Berne, 1977)
  91. C.M. Atkinson: “The Parapteres: Nothi or Not?”, MQ, lxviii (1982), 32–59
  92. J. Ballke: Untersuchungen zum 6. Buch des ‘Speculum musicae’ des Jacobus von Lüttich unter besonderer Berücksichtigung der Tetrachord- und Moduslehre (Frankfurt, 1982)
  93. J. Claire: “Les nouveaux tons psalmodiques des livres de chant post-conciliaire”, Musices optatio, (1983), 81–94
  94. A. Hughes: “Modal Order and Disorder in the Rhymed Office”, MD, xxxvii (1983), 29–51
  95. C. Bower: “The Modes of Boethius”, JM, iii (1984), 252–63
  96. J. Chailley: “Les huit tons de la musique et l’ethos des modes aux chapiteaux de Cluny”, AcM, lvii (1985), 73–94
  97. R. Crocker: “Matins Antiphons at St. Denis”, JAMS, xxxix (1986), 441–90
  98. D. Pesce: The Affinities and Medieval Transposition, Music: Scholarship and Performance, xvi (1987)
  99. J. Rahn: “Marchetto’s Theory of Commixture and Interruptions”, Music Theory Spectrum, ix (1987), 117–35
  100. M. Bernhard, ed.: Clavis Gerberti (Munich, 1989), 39–73
  101. P. Jeffery: Re-envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago, 1992)
  102. Nicolas Meeùs: “Mode, ton, classes hexacordales, transposition”, Secondo convegno europeo di analisi musicale, Atti, R. Dalmonte et M. Baroni éd. (Trento, 1992) 221-236
  103. D. Hiley: Western Plainchant: a Handbook (Oxford, 1993)
  104. C.M. Atkinson: “Modus”, HMT (1995)
  105. C. Maître: La réforme cistercienne du plainchant: étude d’un traité théorique (Brecht, 1995)
  106. M.-N. Colette: “Modus, tropus, tonus: tropes d’introïts et théories modales”, EG, xxv (1997), 63–96
  107. A.M.J. Zijlstra: Zangers en schrijvers: de overlevering van het gregoriaans van ca. 700 tot ca. 1150 (diss., U. of Utrecht, 1997)
  108. Nicolas Meeùs: “Qualités systémiques et fonctions modales dans la théorie musicale latine”, RTMMAM, Revue des Traditions Musicales des Mondes Arabe et Méditerranéen 1 (2007), 27-35
  109. Nicolas Meeùs: “Modi vocum. Réflexions sur la théorie modale médiévale”, Con-Scientia Musica. Contrappunti per Rossana Dalmonte e Mario Baroni, A. R. Addessi, I. Macchiarella, M. Privitera, M. Russo éd., LIM (Livorno, 2010), 21-34

 

Modal / Jazz / Modal

  1. Befumo, Joseph: Exotic Scales: New Horizons for Jazz Improvisation, Pleasant Mount Press (2009).
  2. Conyers, James L.: African American jazz and rap: social and philosophical examinations of Black expressive behavior, McFarland (2001).
  3. Coolman, Todd: Miles Davis quintet of the mid-1960’s: synthesis of improvisational and compositional elements, New York University. (1997).
  4. Cugny, Laurent: Analyser le jazz, Outre mesure (2009).
  5. Dobbins, Bill: The contemporary jazz pianist: a comprehensive approach to keyboard improvisation, Charles Colin (1984).
  6. Lerma, Dominique-René De: Bibliography of Black Music: Theory, education, and related studies, Greenwood Press (1984).
  7. Miller, Ron: Modal jazz composition & harmony, Advance Music (1996).
  8. Modirzadeh, Hafez: “Aural Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory”, Black Music Research Journal (2001) [doi:10.2307/3181594], 75-106.
  9. Murphy, John P.: “Jazz Improvisation: The Joy of Influence”, The Black Perspective in Music (1990) [doi:10.2307/1214855], 7-19.
  10. Murphy, John P.: MILES DAVIS: THE ROAD TO MODAL JAZZ, Master Thesis, UNIVERSITY OF NORTH TEXAS (2007).
  11. Pejrolo, Andrea: The Origins of Modal Jazz in the Music of Miles Davis: A Complete Transcription and a Linear/harmonic Analysis of Ascenseur Pour L’Échafaud (Lift to the Scaffold)-1957, PhD Thesis, New York University, School of Education (2001).
  12. Pejrolo, Andrea: “Transatlantic Interplays – The Origins of Miles Davis’s Modal Jazz in Ascenseur Pour l’Échafaud (Lift to the Scaffold) – 1957”, Atlantic Studies: Literary, Cultural and Historical perspectives on Europe, Afr (2006) [doi:10.1080/14788810500525465], 63-82.
  13. Porter, Lewis: “John Coltrane’s ‘A Love Supreme’: Jazz Improvisation as Composition”, Journal of the American Musicological Society (1985), 593-621.
  14. Porter, Lewis: “Guidelines for Jazz Research”, Bulletin of the Council for Research in Music Education (1987), 3-12.
  15. Porter, Lewis: “Some Problems in Jazz Research”, Black Music Research Journal (1988) [doi:10.2307/779352], 195-206.
  16. Porter, Lewis: Jazz : from its origins to the present, Prentice-Hall  ;Prentice-Hall International (UK) (Englewood Cliffs  N.J.  ;London, 1992).
  17. Porter, Lewis: Jazz : a century of change, Schirmer Books ;;Prentice Hall International (New York  ;London, 1997).
  18. Porter, Lewis: John Coltrane: his life and music, University of Michigan Press (2000).
  19. Russo, William: Composing for the Jazz Orchestra, University of Chicago Press (1973).
  20. Russo, William: Jazz Composition and Orchestration, University of Chicago Press (1975).
  21. Russo, William, Jeffrey Ainis, and David Stevenson: Composing music: a new approach, University of Chicago Press (1988).
  22. Saffar, Frédéric: Jazz et théorisation: la figure centrale de George Russell (2007).
  23. Siron, Jacques: Dictionnaire des mots de la musique, Outre mesure (2002).
  24. Siron, Jacques: La partition intérieure: jazz, musiques improvisées, Ed. Outre Mesure (2005).
  25. Waters, Keith: The studio recordings of the Miles Davis Quintet, 1965-68, Oxford University Press (2011).

 

Modalité polyphonique / Polyphony

  1. Adam von Fulda: De musica; GerbertS, iii, 329–81
  2. F. Gaffurius: Theorica musicae (Milan, 1492/R); Eng. trans. (New Haven, CT, 1993)
  3. F. Gaffurius: Practica musicae (Milan, 1496) (Eng. trans., MSD, xx, 1969)
  4. Bonaventura da Brescia: Breviloquium musicale (Brescia, 1497)
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  7. N. Wollick: Opus aureum (Cologne, 1501); ed. K.W. Niemöller (Cologne, 1955)
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  26. A.P. Coclico: Compendium musices (Nuremberg, 1552/R)
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  73. G.M. Artusi: L’Artusi (Venice, 1600/R)
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  85. G.M. Bononcini: Musico prattico (Bologna, 1673/R)
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  95. K.W. Niemöller: Nicolaus Wollick (1480–1541) und sein Musiktraktat (Cologne, 1956)
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  99. S. Hermelink: Dispositiones modorum: die Tonarten in der Musik Palestrinas und seiner Zeitgenossen (Tutzing, 1960)
  100. C.B. Miller: Chiavette: a New Approach (diss., U. of California, Berkeley, 1960)
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  104. E.P. Bergquist: The Theoretical Writings of Pietro Aaron (diss., Columbia U., 1964)
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  106. Paloma Otaola: “Modes naturels et modes accidentels chez Juan Bermudo”, Musurgia III/2 (1966), 22-34
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  108. K.G. Fellerer: “Die kölner musiktheoretische Schule des 16. Jahrhunderts”, Renaissance-muziek 1400–1600: donum natalicium René Bernard Lenaerts, ed. J. Robijns and others (Louvain, 1969), 121–30
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  110. B. Meier: “Modale Korrektur und Wortausdeutung im Choral der Editio Medicaea”, KJb, liii (1969), 101–32
  111. C. Palisca: “Ut oratoria musica: the Rhetorical Basis of Musical Mannerism”, The Meaning of Mannerism, ed. F. Robinson and S. Nichols (Hanover, 1972), 37–65
  112. H. Schneider: Die französische Kompositionslehre in der ersten Hälfte des 17. Jahrhunderts (Tutzing, 1972)
  113. W. Atcherson: “Key and Mode in 17th-Century Theory Books”, JMT, xvii (1973), 204–32
  114. L.L. Perkins: “Mode and Structure in the Masses of Josquin”, JAMS, xxvi (1973), 189–239
  115. J. Haar: “The Frontispiece of Gafori’s Practica musicae (1496)”, Renaissance Quarterly, xxvii (1974), 7–22
  116. J. Lester: “Root-position and Inverted Triads in Theory around 1600″, JAMS, xxvii (1974), 110–19
  117. B. Meier: Die Tonarten der klassischen Vokalpolyphonie (Utrecht, 1974; Eng. trans., 1988)
  118. H.S. Powers: “The Modality of ‘Vestiva i colli’”, Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. R.L. Marshall (Kassel and Hackensack, NJ, 1974), 31–46
  119. E.S. Beebe: Mode, Structure, and Text Expression in the Motets of Jacobus Clemens non Papa: a Study of Style in Sacred Music (diss., Yale U., 1976)
  120. C. Dahlhaus: Review of B. Meier: Die Tonarten der klassischen Vokalpolyphonie (Utrecht, 1974), Mf, xxix (1976), 354–6
  121. C. Dahlhaus: “Zur Tonartenlehre des 16. Jahrhunderts: eine Duplik”, Mf, xxix (1976), 300–03
  122. R.G. Luoma: “Aspects of Mode in Sixteenth-Century Magnificats”, MQ, lxii (1976), 395–408
  123. J. Lester: “Major-Minor Concepts and Modal Theory in Germany: 1592–1680″, JAMS, xxx (1977), 208–53
  124. R. Luoma: “Relationships between Music and Poetry (Cipriano de Rore’s Quando signor lasciaste)”, MD, xxxi (1977), 135–54
  125. B. Meier: “Die Modi der Toccaten Claudio Merulos (Rom 1598 und 1604)”, AMw, xxxiv (1977), 180–98
  126. J. Lester: “The Recognition of Major and Minor Keys in German Theory: 1680–1730″, JMT, xxii (1978), 65–103
  127. B. Meier: “Zur Modalität der ad aequales disponierten Werke klassischer Vokalpolyphonie”, Festschrift Georg von Dadelsen zum 60. Geburtstag, ed. T. Kohlhase and V. Scherliess (Stuttgart, 1978), 230–39
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  129. D. Fallows: “Robertus de Anglia and the Oporto Song Collection”, Source Materials and the Interpretation of Music: a Memorial Volume to Thurston Dart, ed. I. Bent (London, 1981), 99–128
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  131. H.S. Powers: “Tonal Types and Modal Categories in Renaissance Polyphony”, JAMS, xxxiv (1981), 428–70
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  147. W. Werbeck: Studien zur deutschen Tonartenlehre in der ersten Hälfte des 16. Jahrhunderts (Kassel, 1989)
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  192. Modality in the Music of the Fourteenth and Fifteenth Century, ed. U. Günther, L. Finscher and J. Dean, MSD, xlix (1996)
  193. Roger Wibberley: “Josquin’s Ave Maria: Musica Ficta versus Mode“, MTO Vol. 2.5, 1996

  194. Margaret Bent: “Diatonic ficta revisited: Josquin’s Ave Maria in Context“, MTO Vol. 2.6, 1996

  195. Roger Wibberley: ““Mode versus Ficta” in context“, MTO Vol. 2.6, 1996
  196. Tonal Structures in Early Music, ed. C. Collins Judd (New York, 1998) [incl. F. Wiering: ‘Internal and External Views of the Modes’, 87–107]
  197. Nicolas Meeùs: “Notations modales au xvie siècle”, « Recevez ce mien petit labeur », Studies in Renaissance Music in Honour of Ignace Bossuyt, M. Delaere et P. Bergé éd.,  Leuven University Press, (Leuven, 2008), 179-194

 

Musiques traditionnelles en Occident / Western Folk Music

  1. Abrahams, Roger D. and George Foss: Anglo-American folksong style, Prentice-Hall (Englewood Cliffs, N.J, 1968).
  2. Adams, Charles R.: “Melodic Contour Typology”, Ethnomusicology (1976) [doi:10.2307/851015], 179-215.
  3. Antokoletz, Elliott: “Pitch-Set Derivations from the Folk Modes in Bartók’s Music”, Studia Musicologica Academiae Scientiarum Hungaricae (1982) [doi:10.2307/901897], 265-274.
  4. Atkinson, David: “The Child Ballads from England and Wales in the James Madison Carpenter Collection”, Folk Music Journal (1998), 434-449.
  5. Atkinson, David: “Folk Songs in Print: Text and Tradition”, Folk Music Journal (2004), 456-483.
  6. Barry, Keith: “In Search of Music”, The Musical Times (1935) [doi:10.2307/918555], 698-701.
  7. Barry, Phillips: “Some Traditional Songs”, The Journal of American Folklore (1905a) [doi:10.2307/534261], 49-59.
  8. Barry, Phillips: “Traditional Ballads in New England. I”, The Journal of American Folklore (1905b) [doi:10.2307/533650], 123-138.
  9. Barry, Phillips: “Folk-Music in America”, The Journal of American Folklore (1909a) [doi:10.2307/534309], 72-81.
  10. Barry, Phillips: “Irish Come-All-Ye’s”, The Journal of American Folklore (1909b) [doi:10.2307/534862], 374-388.
  11. Barry, Phillips: “The Origin of Folk-Melodies”, The Journal of American Folklore (1910) [doi:10.2307/534331], 440-445.
  12. Barry, Phillips: “Irish Folk-Song”, The Journal of American Folklore (1911) [doi:10.2307/534460], 332-343.
  13. Barry, Phillips: “Some Aspects of Folk-Song”, The Journal of American Folklore (1912) [doi:10.2307/534824], 274-283.
  14. Barry, Phillips: “The Transmission of Folk-Song”, The Journal of American Folklore (1914) [doi:10.2307/534796], 67-76.
  15. Barry, Phillips, Fannie Hardy Eckstorm, Mary Winslow Smyth, and Oliver Baty Cunningham Memorial Publication Fund: British ballads from Maine: the development of popular songs with texts and airs, Yale university press (1929).
  16. Bayard, Samuel P.: “Aspects of Melodic Kinship and Variation in British-American Folk-Tunes”, Int. Congr. Musicol. NY (1939), 1–1.
  17. Bayard, Samuel P.: “Ballad Tunes and the Hustvedt Indexing Method”, The Journal of American Folklore (1942) [doi:10.2307/535867], 248-254.
  18. Bayard, Samuel P.: “Prolegomena to a Study of the Principal Melodic Families of British-American Folk Song”, The Journal of American Folklore (1950) [doi:10.2307/537347], 1-44.
  19. Bayard, Samuel P.: “Principal Versions of an International Folk Tune”, Journal of the International Folk Music Council (1951), 44-50.
  20. Bayard, Samuel P.: “American Folksongs and their Music”, Southern Folklore Quarterly (1953a), 122-139.
  21. Bayard, Samuel P.: “The Materials of Folklore”, The Journal of American Folklore (1953b) [doi:10.2307/536742], 1-17.
  22. Bayard, Samuel P.: “Two Representative Tune Families of British Tradition”, Midwest Folklore (1954), 13-33.
  23. Bayard, Samuel P.: “Two Representative Tune Families of British Tradition: Acknowledgements and Further Note”, Midwest Folklore (1955a), 115-116.
  24. Bayard, Samuel P.: “Decline and ‘Revival’ of Anglo-American Folk Music”, Midwest Folklore (1955b), 69-77.
  25. Bayard, Samuel P.: “Some Folk Fiddlers’ Habits and Styles in Western Pennsylvania”, Journal of the International Folk Music Council (1956) [doi:10.2307/834738], 15-18.
  26. Bayard, Samuel P.: Dance to the fiddle, march to the fife: instrumental folk tunes in Pennsylvania, Pennsylvania State University Press (1982).
  27. Bearman, C. J.: “Percy Grainger, the Phonograph, and the Folk Song Society”, Music & Letters (2003), 434-455.
  28. Belaiev, Victor: “The Formation of Folk Modal Systems”, Journal of the International Folk Music Council (1963) [doi:10.2307/836227], 4-9.
  29. Belaiev, Victor: “Folk Music and the History of Music”, Studia Musicologica Academiae Scientiarum Hungaricae (1965) [doi:10.2307/901408], 19-23.
  30. Berger, Arthur: “Problems of Pitch Organization in Stravinsky”, Perspectives of New Music (1963) [doi:10.2307/832252], 11-42.
  31. Bertrand H. Bronson: “Folksong and the Modes”, The Musical Quarterly (1946), 37-49.
  32. Bertrand H. Bronson: “The Morphology of the Ballad-Tunes (Variation, Selection, and Continuity)”, The Journal of American Folklore (1954) [doi:10.2307/536803], 1-13.
  33. Bertrand H. Bronson: “Toward the Comparative Analysis of British-American Folk Tunes”, The Journal of American Folklore (1959) [doi:10.2307/538481], 165-191.
  34. Bertrand H. Bronson: “Are the Modes Outmoded?”, Yearbook of the International Folk Music Council (1972) [doi:10.2307/767669], 23-31.
  35. Bevil, J. Marshall: “Scale in Southern Appalachian Folksong: A Reexamination”, College Music Symposium (1986), 77-91.
  36. Bishop, Julia C.: “The Tunes of the English and Scottish Ballads in the James Madison Carpenter Collection”, Folk Music Journal (1998), 450-470.
  37. Bithell, Caroline: “Polyphonic Voices: National Identity, World Music and the Recording of Traditional Music in Corsica”, British Journal of Ethnomusicology (1996), 39-66.
  38. Boswell, George W.: “The Neutral Tone as a Function of Folk-Song Text”, Yearbook of the International Folk Music Council (1970) [doi:10.2307/767430], 127-132.
  39. Boswell, George W.: “Pitch: Musical and Verbal in Folksong”, Yearbook of the International Folk Music Council (1977) [doi:10.2307/767294], 80-88.
  40. Brailoiu, Constantin: “Pentatony in Debussy’s Music”, Studia memoriae Belae Bartok sacra (1958), 377-417.
  41. Bronson, Bertrand Harris: “Some Observations about Melodic Variation in British-American Folk Tunes”, Journal of the American Musicological Society (1950), 120-134.
  42. Bronson, Bertrand Harris: The Traditional tunes of the Child ballads: with their texts, according to the extant records of Great Britain and America. Ballads 1 to 53, Princeton University Press (1959).
  43. Bronson, Bertrand Harris: The Traditional tunes of the Child ballads: with their texts, according to the extant records of Great Britain and America. Ballads 54 to 113, Princeton University Press (1962).
  44. Bronson, Bertrand Harris: The traditional tunes of th Child ballads: Ballads 114 to 243, Princeton Univ. Press (1966).
  45. Bronson, Bertrand Harris: The ballad as song, University of California Press (1969).
  46. Bronson, Bertrand Harris: The Traditional Tunes of the Child Ballads : with Their Texts, According to the Extant Records of Great Britain and America. Vol.IV. Ballads 245 to 299, with Addenda to Volumes I-Iv. (Princeton U.P.  1972., .
  47. Buchanan, Annabel Morris: “Modal and Melodic Structure in Anglo-American Folk Music: a Neutral Mode” (1939), 84–111.
  48. Burman-Hall, Linda C.: “Southern American Folk Fiddle Styles”, Ethnomusicology (1975) [doi:10.2307/849746], 47-65.
  49. Campbell, Olive Dame and Cecil James Sharp: English Folk Songs from the Southern Appalachians (Reprint from the 1917 book), Kessinger Publishing, LLC (2010).
  50. Cazden, Norman: “A Simplified Mode Classification for Traditional Anglo-American Song Tunes”, Yearbook of the International Folk Music Council (1971) [doi:10.2307/767456], 45-78.
  51. Cazden, Norman, Herbert Haufrecht, and Norman Studer: Folk songs of the Catskills, SUNY Press (1982).
  52. Clayton, Martin: “Ethnographic Wax Cylinders at the British Library National Sound Archive: A Brief History and Description of the Collection”, British Journal of Ethnomusicology (1996), 67-92.
  53. Cohen, Norm and Anne Cohen: “Tune Evolution as an Indicator of Traditional Musical Norms”, The Journal of American Folklore (1973) [doi:10.2307/539267], 37-47.
  54. Cooper, David: The Musical Traditions of Northern Ireland and Its Diaspora: Community and Conflict, Ashgate Publishing, Ltd. (2010).
  55. Cowdery, James R.: “A Fresh Look at the Concept of Tune Family”, Ethnomusicology (1984) [doi:10.2307/851236], 495-504.
  56. Cowdery, James R.: The melodic tradition of Ireland, Kent State University Press (1990).
  57. Davies, Gwilym: “Percy Grainger’s Folk Music Research in Gloucestershire, Worcestershire, and Warwickshire, 1907-1909”, Folk Music Journal (1992), 339-358.
  58. Dean-Smith, Margaret: “The Preservation of English Folk Song in the Journal of the Folk Song Society”, Journal of the English Folk Dance and Song Society (1951), 69-76.
  59. Dean-Smith, Margaret: A guide to English folk song collections, 1822-1952: with an index to their contents, historical annotations, and an introduction, University Press (1954).
  60. Dicaire, David: The early years of folk music: fifty founders of the tradition, McFarland (2010).
  61. Dowling, W. Jay: “Scale and contour: Two components of a theory of memory for melodies.”, Psychological Review (1978) [doi:10.1037/0033-295X.85.4.341], 341-354.
  62. Elbourne, R. P.: “The Question of Definition”, Yearbook of the International Folk Music Council (1975) [doi:10.2307/767586], 9-29.
  63. Elscheková, Alica: “Methods of Classification of Folk-Tunes”, Journal of the International Folk Music Council (1966) [doi:10.2307/834642], 56-76.
  64. Firca, G.: “Leoš Janáček, promoteur de la pensée modale contemporaine”, Leoš Janáček et musica europaea (1968), 99-118.
  65. Forrest, John: “The Structure and Notation of Traditional Dance Music: A New Mexican Example”, Folk Music Journal (1996), 167-187.
  66. Foss, George: “A Methodology for the Description and Classification of Anglo-American Traditional Tunes”, Journal of the Folklore Institute (1967) [doi:10.2307/3813914], 102-126.
  67. Gauldin, Robert: “The Cycle-7 Complex: Relations of Diatonic Set Theory to the Evolution of Ancient Tonal Systems”, Music Theory Spectrum (1983), 39-55.
  68. Gilchrist, Annie G.: “Note on the Modal System of Gaelic Tunes”, Journal of the Folk-Song Society (1911), 150-153.
  69. Grainger, Percy: “Collecting with the Phonograph”, Journal of the Folk-Song Society (1908), 147-162.
  70. Grainger, Percy: “The Impress of Personality in Unwritten Music”, The Musical Quarterly (1915), 416-435.
  71. Grainger, Percy: “The Impress of Personality in Unwritten Music”, The Musical Quarterly (1991), 1-18.
  72. Grogan, Christopher: “Percy Grainger and the Revival of Early English Polyphony: The Anselm Hughes Correspondence”, Music & Letters (1996), 425-439.
  73. Harwood, Dane L.: “Universals in Music: A Perspective from Cognitive Psychology”, Ethnomusicology (1976) [doi:10.2307/851047], 521-533.
  74. Herndon, Marcia: “Reply to Kolinski: Tarus Omicida”, Ethnomusicology (1976) [doi:10.2307/851016], 217-231.
  75. Herzog, G.: Musical Typology in Folksong, University of Florida (1937).
  76. Jeffery, Peter: Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant, University of Chicago Press (1995).
  77. Johnson, David: Music and society in lowland Scotland in the eighteenth century, Mercat Press (2003).
  78. Kárpáti, J.: “Les gammes populaires et le système chromatique dans l’oeuvre de Béla Bartók”, Studia Musicologica Academiae Scientiarum Hungaricae (1969) [doi:10.2307/901280], 227-240.
  79. Keel, Frederick: “The Folk Song Society 1898-1948”, Journal of the English Folk Dance and Song Society (1948), 111-126.
  80. Keller, Marcello Sorce: “The Problem of Classification in Folksong Research: A Short History”, Folklore (1984), 100-104.
  81. Kirshenblatt-Gimblett, Barbara: “Folklore’s Crisis”, The Journal of American Folklore (1998) [doi:10.2307/541312], 281-327.
  82. Klusen, Ernst: “Gustav Mahler und das Volkslied seiner Heimat”, Journal of the International Folk Music Council (1963) [doi:10.2307/836233], 29-37.
  83. Klusen, Ernst: “Über den Volkston in der Musik des 19. Jahrhunderts”, Jahrbuch für Volksliedforschung (1972) [doi:10.2307/847170], 35-48.
  84. Kolinski, Mieczyslaw: “The Determinants of Tonal Construction in Tribal Music”, The Musical Quarterly (1957), 50-56.
  85. Kolinski, Mieczyslaw: “Classification of Tonal Structures”, Studies in Ethnomusicology (1961), 38-76.
  86. Kolinski, Mieczyslaw: “Recent Trends in Ethnomusicology”, Ethnomusicology (1967) [doi:10.2307/850496], 1-24.
  87. Kolinski, Mieczyslaw: “‘Barbara Allen’: Tonal versus Melodic Structure, Part I”, Ethnomusicology (1968) [doi:10.2307/849930], 208-218.
  88. Kolinski, Mieczyslaw: “‘Barbara Allen’: Tonal versus Melodic Structure, Part II”, Ethnomusicology (1969) [doi:10.2307/849832], 1-73.
  89. Kolinski, Mieczyslaw: “Herndon’s Verdict on Analysis: Tabula Rasa”, Ethnomusicology (1976) [doi:10.2307/850818], 1-22.
  90. Kolinski, Mieczyslaw: “Final Reply to Herndon”, Ethnomusicology (1977) [doi:10.2307/850852], 75-83.
  91. Kopp, David: “Pentatonic Organization in Two Piano Pieces of Debussy”, Journal of Music Theory (1997) [doi:10.2307/843960], 261-287.
  92. Lomax, John Avery and Alan Lomax: American ballads and folk songs, Courier Dover Publications (1994).
  93. McLean, Mervyn: “A New Method of Melodic Interval Analysis as Applied to Maori Chant”, Ethnomusicology (1966) [doi:10.2307/924697], 174-190.
  94. Morgan, Bayard Quincy: “Question Melodies in American English”, American Speech (1953) [doi:10.2307/454131], 181-191.
  95. Olson, Ian A.: “The Influence of the Folk Song Society on the Greig-Duncan Folk Song Collection: Methodology”, Folk Music Journal (1986), 176-201.
  96. Onderdonk, Julian: “Vaughan Williams and the Modes”, Folk Music Journal (1999), 609-626.
  97. Petrović, Radmila, Trân Văn Khê, Tibor Kneif, et al.: “Folk Music of Eastern Yugoslavia: A Process of Acculturation”, International Review of the Aesthetics and Sociology of Music (1975) [doi:10.2307/836818], 167-172.
  98. Poladian, Sirvart: “Melodic Contour in Traditional Music”, Journal of the International Folk Music Council (1951) [doi:10.2307/835769], 30-35.
  99. Porter, James: “Bartók and Grainger: Some Correspondences and a Hypothesis”, Studia Musicologica Academiae Scientiarum Hungaricae (1983) [doi:10.2307/901974], 221-228.
  100. Porter, James: “Convergence, Divergence, and Dialectic in Folksong Paradigms: Critical Directions for Transatlantic Scholarship”, The Journal of American Folklore (1993a) [doi:10.2307/541346], 61-98.
  101. Porter, James: “Convergence, Divergence, and Dialectic in Folksong Paradigms: Critical Directions for Transatlantic Scholarship”, The Journal of American Folklore (1993b) [doi:10.2307/541346], 61-98.
  102. Quigley, Colin: “Catching Rhymes: Generative Musical Processes in the Compositions of a French Newfoundland Fiddler”, Ethnomusicology (1993) [doi:10.2307/852420], 155-200.
  103. Reich, Steve and Paul Hillier: Writings on music, 1965-2000, Oxford University Press (2002).
  104. Reichenbach, Herman: “The Tonality of English and Gaelic Folksong”, Music & Letters (1938), 268-279.
  105. Rosenberg, Neil V.: “Repetition, Innovation, and Representation in Don Messer’s Media Repertoire”, The Journal of American Folklore (2002) [doi:10.2307/4129219], 191-208.
  106. Schaeffner, A. and Constantin Brailoiu: “Coup d’Œil Historique sur l’Œuvre de Debussy”, Revue de Musicologie (1962) [doi:10.2307/927171], 121-128.
  107. Scherrer, Deborah K. and Philip H. Scherrer: “An Experiment in the Computer Measurement of Melodic Variation in Folksong”, The Journal of American Folklore (1971) [doi:10.2307/538993], 230-241.
  108. Seeger, Charles: “Versions and Variants of the Tunes of ‘Barbara Allen’”, Selected Reports (1966), 120-167.
  109. Sharp, Cecil James: English Folk Song, Some Conclusions, Nabu Press (2010).
  110. Sharp, Cecil James, Olive Dame Campbell, and Maud Karpeles: English folk songs from the Southern Appalachians, Oxford University Press (1960).
  111. Stockmann, Doris: “Die Transkription in der Musikethnologie: Geschichte, Probleme, Methoden”, Acta Musicologica (1979) [doi:10.2307/932454], 204-245.
  112. Sykes, Richard: “The Evolution of Englishness in the English Folksong Revival, 1890-1914”, Folk Music Journal (1993), 446-490.
  113. Taruskin, Richard: “Some Thoughts on the History and Historiography of Russian Music”, The Journal of Musicology (1984), 321-339.
  114. Taruskin, Richard: Musorgsky: Eight Essays and an Epilogue, Princeton University Press (1997).
  115. Toorn, Pieter C. Van den: The music of Igor Stravinsky, Yale University Press (1983).
  116. Wade, Bonnie C.: “Prolegomenon to the Study of Song Texts”, Yearbook of the International Folk Music Council (1976) [doi:10.2307/767383], 73-88.
  117. Ward, John M.: “Apropos ‘The British Broadside Ballad and Its Music’”, Journal of the American Musicological Society (1967), 28-86.
  118. Wilgus, D. K.: “Ballad Classification”, Midwest Folklore (1955), 95-100.
  119. Wilgus, D. K.: “A Type-Index of Anglo-American Traditional Narrative Songs”, Journal of the Folklore Institute (1970) [doi:10.2307/3813870], 161-176.
  120. Wilgus, Donald: Anglo-American folksong scholarship since 1898., ed. Repr., orig. publ. New Brunswick, NJ. 1959., Greenwood Pr. (Westport  Conn., 1982).
  121. Yates, Michael: “Percy Grainger and the Impact of the Phonograph”, Folk Music Journal (1982), 265-275.

 

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