“Microtonal” Music / Musique “microtonale”


Microtonal, Music and Microtones bibliography / Bibliographie de la Musique “Microtonale” et des “Microtons”

Introduction (English)

This bibliography is a complement to the “Temperament and Tuning” Bibliography previously published on NEMO-Online.

Western musicology classifies intervals smaller than half of a tone as microtones. Other cultures differ. This is a comprehensive bibliography of Western works on Western music. References to Japanese music, due to its close relation to contemporary Western Music are not included.
Please refer to Huygens-Fokker’s Tuning and Temperament extensive bibliography.


Introduction (French)

Cette bibliographie est complémentaire de celle sur le tempérament et l’accordage publiée il y a quelque temps sur NEMO-Online.

Les termes “musique microtonale” et “microton” sont utilisés en Occident pour caractériser des intervalles sortant du cadre diatonique, et plus petits (généralement) que le demi-ton : par extension, les intervalles des musiques modales qui ne sont pas assimilables à des multiples du demi-ton relèvent également de cette catégorie, mais nous nous sommes limités pour cette bibliographie aux références de et sur les musiques occidentales (à part pour certaines références sur la musique japonaise ou d’autres musiques, notamment à cause de l’intrication de cette première avec la musique dite contemporaine).

Rappelons que la bibliographie de la Huygens-Fokker Foundation, la ‘Tuning and Temperament Bibliography‘ est la plus complète sur le sujet, et que la présente bibliographie résulte d’un choix raisonné.


“Microtonal” Music and “Microtones” Bibliography / Bibliographie de la Musique “Microtonale” et des “Microtons”

  1. (B), Yves Lenoir: “Contributions à l’ètude de la Sonate pour Violon Solo de Béla Bartók (1944)”, Studia Musicologica Academiae Scientiarum Hungaricae (1981) [doi:10.2307/902113], 209-260.
  2. Abraham, Otto: “Das absolute Tonbewufstsein. Psychologisch-musikalische Studie”, Sammelbände der Internationalen Musikgesellschaft (1901), 1-86.
  3. Abraham, Otto and Erich M. von Hornbostel: “Studien über das Tonsystem und die Musik der Japaner”, Sammelbände der Internationalen Musikgesellschaft (1903), 302-360.
  4. Addiss, Stephen: “Hat a Dao, the Sung Poetry of North Vietnam”, Journal of the American Oriental Society (1973) [doi:10.2307/600514], 18-31.
  5. Adlington, Robert: “The Music of Rebecca Saunders: Into the Sensuous World”, The Musical Times (1999) [doi:10.2307/1004495], 48-56.
  6. Adlington, Robert: “Moving beyond Motion: Metaphors for Changing Sound”, Journal of the Royal Musical Association (2003), 297-318.
  7. Agmon, Eytan: “Coherent Tone-Systems: A Study in the Theory of Diatonicism”, Journal of Music Theory (1996) [doi:10.2307/843922], 39-59.
  8. Albersheim, Gerhard: “The Scale Step”, Philosophy and Phenomenological Research (1965) [doi:10.2307/2105469], 63-79.
  9. Alperson, Philip: “The Instrumentality of Music”, The Journal of Aesthetics and Art Criticism (2008), 37-51.
  10. Ames, Charles: “Reflections on James Tenney”, Perspectives of New Music (1987), 455-458.
  11. Andersen, Johannes C.: “Bird- and Insect-Songs”, The Musical Times (1925) [doi:10.2307/914058], 732-733.
  12. Anderson, Julian: “La Note Juste. Julian Anderson Appraises the Work of the Enigmatic Giacinto Scelsi”, The Musical Times (1995) [doi:10.2307/1003278], 22-27.
  13. Anderson, Julian and Kaija Saariaho: “Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho”, The Musical Times (1992) [doi:10.2307/1002509], 616-619.
  14. Anderson, Martin: “Vilnius: The Gaida Festival, October 2002 (Plus Recent CD Releases of Lithuanian Music)”, Tempo (2003), 47-50.
  15. Anderson, Martin and Per Nørgård: “Composer in Interview: Per Nørgård Recent and Early”, Tempo, New Series (2002), 9-15.
  16. Anderson, W. R.: “Wireless Notes”, The Musical Times (1937) [doi:10.2307/922703], 618-621.
  17. Anderson, Warren: “What Song the Sirens Sang: Problems and Conjectures in Ancient Greek Music”, Royal Musical Association Research Chronicle (1979), 1-16.
  18. Anderson, Warren: “Musical Developments in the School of Aristotle”, Royal Musical Association Research Chronicle (1980), 78-98.
  19. Anon.: “Hindu Music”, The Musical Times and Singing Class Circular (1877) [doi:10.2307/3354719], 111-113.
  20. Anon.: “Anthropology at the British Association. Dover Meeting: September 13th to 20th, 1899”, The Journal of the Anthropological Institute of Great Britain and Ireland (1899) [doi:10.2307/2842607], 198-223.
  21. Anon.: “Church and Organ Music: To a Deputy-Organist: An Open Letter”, The Musical Times (1917) [doi:10.2307/910252], 207-210.
  22. Anon.: “Some Recent Tendencies in Composition”, The Musical Times (1921), 280-281.
  23. Anon.: “Musical Notes from Abroad”, The Musical Times (1922), 735-740.
  24. Anon.: “Mr. W. W. Cobbett on Chamber Music”, The Musical Times (1923a) [doi:10.2307/913391], 54-57.
  25. Anon.: “Musical Notes from Abroad”, The Musical Times (1923b), 135-139.
  26. Anon.: “Musical Notes from Abroad”, The Musical Times (1926), 362-365.
  27. Anon.: “Sharps and Flats”, The Musical Times (1931), 938-939.
  28. Anon.: “Musical Notes from Abroad”, The Musical Times (1932), 461-464.
  29. Anon.: “Answers to Correspondents”, The Musical Times (1934), 1003-1007.
  30. Anon.: “The Amateurs’ Exchange”, The Musical Times (1935), 61.
  31. Anon.: “Musical Notes from Abroad”, The Musical Times (1938) [doi:10.2307/921253], 541-542.
  32. Anon.: “Reports from Abroad”, The Musical Times (1963) [doi:10.2307/949021], 195-197.
  33. Anon.: “Broadcasting”, The Musical Times (1964) [doi:10.2307/948657], 918-919.
  34. Anon.: “Kenneth MacDonald”, The Musical Times (1970), 1256.
  35. Anon.: “Festivals”, The Musical Times (1972) [doi:10.2307/956230], 690-693.
  36. Anon.: “Charles Thornton Lofthouse”, The Musical Times (1974a), 415.
  37. Anon.: “Alois Haba”, The Musical Times (1974b), 415.
  38. Anon.: “Henry Wilson”, The Musical Times (1974c), 415.
  39. Anon.: “Miniature and Study Scores Received”, The Musical Times (1975), 159.
  40. Anon.: “The Archiphone — Invented in the Early 1970s by Professor Adrian Fokker”, Early Music (1979), 11.
  41. Anon.: “Rudolph Dunbar”, The Musical Times (1988a), 619.
  42. Anon.: “Lex van Delden”, The Musical Times (1988b), 619.
  43. Anon.: “Rudolf Hartmann”, The Musical Times (1988c), 619-620.
  44. Anon.: “Autumn Celebration: Live Performance in Review”, The Musical Times (1991) [doi:10.2307/966586], 520-524.
  45. Anon.: “Performance Reviews”, The Musical Times (1994) [doi:10.2307/1002998], 113-117.
  46. Anon.: “Addenda: ‘Only a Composer’: Reflections on the Eisler Centenary”, Tempo, New Series (1998), 51.
  47. Anon.: “Notes for ‘Notes’”, Notes, Second Series (2003), 873-876.
  48. Arauco, Ingrid: “Bartók’s Romanian Christmas Carols: Changes from the Folk Sources and Their Significance”, The Journal of Musicology (1987), 191-225.
  49. Arger, Jane: “Le Role Expressif des ‘Agréments’ Dans l’École Vocale Française de 1680 a 1760”, Bulletin de la Société française de musicologie (1919) [doi:10.2307/924776], 215-226.
  50. Ariza, Christopher.: “The Xenakis Sieve as Object: A New Model and a Complete Implementation”, Computer Music Journal (2005), 40-60.
  51. Arjé: “Key Character”, The Musical Times (1940) [doi:10.2307/922948], 498.
  52. Arnold, Ben: “War Music and the American Composer during the Vietnam Era”, The Musical Quarterly (1991), 316-335.
  53. Ashby, Arved: “Frank Zappa and the Anti-Fetishist Orchestra”, The Musical Quarterly (1999), 557-606.
  54. Atlas, Allan W.: “A 41-cent emendation: a textual problem in Wheatstones publication of Giulio Regondis Serenade for English concertina and piano”, Early Music (2005), 609-616.
  55. Auerbach, Felix: “Das absolute Tonbewuſstsein und die Musik”, Sammelbände der Internationalen Musikgesellschaft (1906), 105-112.
  56. Austin, Larry: “Report from Vancouver: 1985 International Computer Music Conference”, Perspectives of New Music (1985) [doi:10.2307/832737], 252-265.
  57. Ayers, Lydia: “‘Merapi’: A Composition for Gamelan and Computer-Generated Tape”, Leonardo Music Journal (1996) [doi:10.2307/1513298], 7-14.
  58. Ayliffe, Frank: “The Viola and Its Notation”, The Musical Times (1934) [doi:10.2307/917957], 1022-1023.
  59. B., H. T.: “The Song of the Yellow-Hammer”, The Musical Times and Singing Class Circular (1893) [doi:10.2307/3362247], 619.
  60. Baade, Christina L.: “Jewzak and Heavy Shtetl: Constructing Ethnic Identity and Asserting Authenticity in the New-Klezmer Movement”, Monatshefte (1998), 208-219.
  61. Babcock, David: “Korean Composers in Profile”, Tempo, New Series (1995), 15-21.
  62. Baines, Anthony C.: “Two Cassel Inventories”, The Galpin Society Journal (1951) [doi:10.2307/841260], 30-38.
  63. Barbieri, Patrizio: “Giordano Riccati on the Diameters of Strings and Pipes”, The Galpin Society Journal (1985) [doi:10.2307/841277], 20-34.
  64. Barbieri, Patrizio and Sandra Mangsen: “Violin Intonation: A Historical Survey”, Early Music (1991), 69-88.
  65. Barbour, J. Murray: “Nierop’s Hackebort”, The Musical Quarterly (1934), 312-319.
  66. Barbour, J. Murray: “Just Intonation Confuted”, Music & Letters (1938), 48-60.
  67. Barham, Jeremy: “Scoring Incredible Futures: Science-Fiction Screen Music, and ‘Postmodernism’ as Romantic Epiphany”, The Musical Quarterly (2008), 240-274.
  68. Barnes, John: “Bach’s Keyboard Temperament: Internal Evidence from the Well-Tempered Clavier”, Early Music (1979), 236-249.
  69. Barrass, Stephen, Mitchell Whitelaw, and Freya Bailes: “Listening to the Mind Listening: An Analysis of Sonification Reviews, Designs and Correspondences”, Leonardo Music Journal (2006), 13-19.
  70. Barthel-Calvet, Anne-Sylvie: “MÉTASTASSIS-Analyse: Un texte inédit de Iannis Xenakis sur Metastasis”, Revue de Musicologie (2003), 129-187.
  71. Bartlett, Martin: “Relative Ratio Tuning: An Intonational Strategy for Performance Systems”, Leonardo Music Journal (1991) [doi:10.2307/1513124], 71-73.
  72. Bartók, Béla: “Revolution and Evolution in Art”, Tempo, New Series (1972), 4-7.
  73. Bartoli, Jean-Pierre: “A propos de deux ouvrages sur Félicien David et les Saint–Simoniens: une lettre inédite de David”, Revue de Musicologie (1989) [doi:10.2307/928969], 65-76.
  74. Beirens, Maarten: “Archaeology of the Self: Michael Finnissy’s ‘Folklore’”, Tempo (2003), 46-56.
  75. Bek, Josef: “Die tschechische Musik-Avantgarde”, International Review of the Aesthetics and Sociology of Music (1983) [doi:10.2307/836520], 79-92.
  76. Belet, Brian and James Tenney: “An Interview with James Tenney”, Perspectives of New Music (1987), 459-466.
  77. Bellamann, Henry: “Charles Ives: The Man and His Music”, The Musical Quarterly (1933), 45-58.
  78. Benjamin, Gerald R.: “Julian Carrillo and ‘Sonido Trece’ (‘Dedicated to the Memory of Nabor Carrillo’)”, Anuario (1967) [doi:10.2307/779745], 33-68.
  79. Bennett, Clive: “‘Icare’”, Tempo, New Series (1980), 44-51.
  80. Bereczky, János: “Der neue Stil der ungarischen Volksmusik: Entwicklungsgeschichtlicher Überblick”, Studia Musicologica Academiae Scientiarum Hungaricae (2005), 175-236.
  81. Bernard, Jonathan W.: “Voice Leading as a Spatial Function in the Music of Ligeti”, Music Analysis (1994) [doi:10.2307/854260], 227-253.
  82. Bernard, Jonathan W.: “Ligeti’s Restoration of Interval and Its Significance for His Later Works”, Music Theory Spectrum (1999), 1-31.
  83. Berney, Boaz: “The Renaissance Flute in Mixed Ensembles: Surviving Instruments, Pitches and Performance Practice”, Early Music (2006), 205-223.
  84. Bertrand Howard: “Teaching Music Theory: The University”, Journal of Music Theory (1974) [doi:10.2307/843132], 51-58.
  85. Betts, Robert B.: “Going for Broke”, The Musical Times (1997) [doi:10.2307/1004049], 2.
  86. Bijsterveld, Karin and Marten Schulp: “Breaking into a World of Perfection: Innovation in Today’s Classical Musical Instruments”, Social Studies of Science (2004), 649-674.
  87. Block, Steven and Jack Douthett: “Vector Products and Intervallic Weighting”, Journal of Music Theory (1994) [doi:10.2307/843826], 21-41.
  88. Blum, Stephen: “Persian Folksong in Meshhed (Iran), 1969”, Yearbook of the International Folk Music Council (1974) [doi:10.2307/767727], 86-114.
  89. Boccadoro, Brenno: “Jean-Adam Serre: un juste milieu entre Rameau et Tartini?”, Revue de Musicologie (1993) [doi:10.2307/947445], 31-62.
  90. Bonnefis, Philippe: “Gone are the days… L’Invention de la musique dans l’oeuvre de Céline”, MLN (1988) [doi:10.2307/2905018], 800-823.
  91. Boretz, Benjamin: “Sketch of a Musical System (Meta-Variations, Part II)”, Perspectives of New Music (1970) [doi:10.2307/832447], 49-111.
  92. Boros, James: “The Systematic Chromaticism of Robert Moevs”, Perspectives of New Music (1990a) [doi:10.2307/833356], 294-323.
  93. Boros, James: “The Evolution of Robert Moevs’s Compositional Methodology”, American Music (1990b) [doi:10.2307/3051761], 383-404.
  94. Boulez, Pierre and John Cage: “The Americans”, October (1993) [doi:10.2307/778763], 52-76.
  95. Boulez, Pierre and Tim Souster: “The Second Viennese School”, The Musical Times (1969) [doi:10.2307/954399], 473-476.
  96. Boulez, Pierre, Michel Fano, and Thomas Repensek: “A Conversation”, October (1980) [doi:10.2307/778534], 101-120.
  97. Brackett, David: “The Politics and Practice of ‘Crossover’ in American Popular Music, 1963 to 1965”, The Musical Quarterly (1994), 774-797.
  98. Bradshaw, Susan: “Almeida Festival”, Tempo, New Series (1984), 38-40.
  99. Brand, Juliane: “Report: The 1992 West Coast Conference of Music Theory and Analysis”, Journal of Music Theory (1993), 207-211.
  100. Brinner, Benjamin: “Freedom and Formulaity in the ‘Suling’ Playing of Bapak Tarnopangrawit”, Asian Music (1993) [doi:10.2307/834465], 1-37.
  101. Broder, Nathan, Karl Kohn, Richard Franko Goldman, and Reginald Smith Brindle: “Current Chronicle”, The Musical Quarterly (1963), 88-101.
  102. Brodhead, Thomas M.: “Ives’s Celestial Railroad and His Fourth Symphony”, American Music (1994) [doi:10.2307/3052341], 389-424.
  103. Brooks, Jeanice: “Catherine de Médicis, nouvelle Artémise: Women’s Laments and the Virtue of Grief”, Early Music (1999), 419-435.
  104. Brower, Candace: “A Cognitive Theory of Musical Meaning”, Journal of Music Theory (2000) [doi:10.2307/3090681], 323-379.
  105. Brower, Candace: “Paradoxes of Pitch Space”, Music Analysis (2008), 51-106.
  106. Browner, Tara: “Making and Singing Pow-Wow Songs: Text, Form, and the Significance of Culture-Based Analysis”, Ethnomusicology (2000) [doi:10.2307/852530], 214-233.
  107. Bruhn, Siglind.: “A Concert of Paintings: ‘Musical Ekphrasis’ in the Twentieth Century”, Poetics Today (2001), 551-605.
  108. Brunner, Lance W.: “The Performance of Plainchant: Some Preliminary Observations of the New Era”, Early Music (1982), 317-328.
  109. Buller, Jeffrey L.: “The OEdipe of Georges Enesco and Edmond Fleg”, The Opera Quarterly (2003), 64-79.
  110. Burkhart, Charles: “Remembering David Kraehenbuehl”, Journal of Music Theory (1997), 183-192.
  111. Burkholder, J. Peter: “‘Quotation’ and Emulation: Charles Ives’s Uses of His Models”, The Musical Quarterly (1985), 1-26.
  112. Burkholder, J. Peter: “The Critique of Tonality in the Early Experimental Music of Charles Ives”, Music Theory Spectrum (1990), 203-223.
  113. Burt, Warren: “Listening to Ten Tape Pieces by Kenneth Gaburo”, Perspectives of New Music (1995), 148-161.
  114. Burt, Warren: “Experimental Music in 2005”, World Literature Today (2005) [doi:10.2307/40158676], 49-52.
  115. Bye, Antony: “Worlds without Ends”, The Musical Times (1997) [doi:10.2307/1003808], 15-20.
  116. Cage, John: “The East in the West”, Asian Music (1968) [doi:10.2307/834005], 15-18.
  117. Cage, John and Richard Kostelanetz: “His Own Music”, Perspectives of New Music (1987), 88-106.
  118. Cage, John and Richard Kostelanetz: “His Own Music: Part Two”, Perspectives of New Music (1988) [doi:10.2307/833315], 26-49.
  119. Calvocoressi, M. D.: “The Permanent Council for the International Co-operation of Composers”, The Musical Times (1936) [doi:10.2307/919712], 256.
  120. Camilleri, Lelio: “Computational Musicology in Italy”, Leonardo (1988) [doi:10.2307/1578711], 454-456.
  121. Campana, Deborah and Carl Stone: “New Music America 1982. Chicago, July 5-11, 1982 [Two Reports]”, Perspectives of New Music (1981) [doi:10.2307/942432], 609-622.
  122. Carey, Norman: “On Coherence and Sameness, and the Evaluation of Scale Candidacy Claims”, Journal of Music Theory (2002), 1-56.
  123. Carey, Norman and David Clampitt: “Aspects of Well-Formed Scales”, Music Theory Spectrum (1989), 187-206.
  124. Carfoot, Gavin: “Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar”, Leonardo Music Journal (2006), 35-39.
  125. Carlin, M. M.: “Love on Film”, Transition (1964) [doi:10.2307/2934140], 35-38.
  126. Carlson, R. A.: “Élisée: le successeur d’Élie”, Vetus Testamentum (1970) [doi:10.2307/1516465], 385-405.
  127. Carlton Gamer: “Some Combinational Resources of Equal-Tempered Systems”, Journal of Music Theory (1967) [doi:10.2307/842948], 32-59.
  128. Carol Vernallis: “Audiovisual Change: Viral Web Media and the Obama Campaign”, Cinema Journal (2011), 73-97.
  129. Carpenter, Hoyle: “Microtones in a Sixteenth Century Portuguese Manuscript”, Acta Musicologica (1960) [doi:10.2307/931819], 23-28.
  130. Carter, Elliott: “Expressionism and American Music”, Perspectives of New Music (1965) [doi:10.2307/832522], 1-13.
  131. Caughie, Catherine and C. J. C.: “The Scales of Some Central Australian Songs”, Journal of the International Folk Music Council (1958) [doi:10.2307/835976], 57-61.
  132. Cavanagh, Beverley: “The Canadian Broadcasting Corporation and Native Music Records”, Yearbook for Traditional Music (1987) [doi:10.2307/767917], 161-165.
  133. Cazden, Norman: “Staff Notation as a Non-Musical Communications Code”, Journal of Music Theory (1961) [doi:10.2307/842874], 113-128.
  134. Chailley, Jacques: “Essai sur les structures mélodiques”, Revue de Musicologie (1959) [doi:10.2307/927967], 139-175.
  135. Challen, John D.: “Quarter-Tones”, The Musical Times (1935a) [doi:10.2307/920704], 445.
  136. Challen, John D.: “Quarter-Tones”, The Musical Times (1935b) [doi:10.2307/920385], 1019-1020.
  137. Challen, John D.: “Quarter-Tones”, The Musical Times (1936) [doi:10.2307/919713], 256-257.
  138. Chapman, Clive: “A 1727 Pantomime: The Rape of Proserpine”, The Musical Times (1981) [doi:10.2307/961245], 807-811.
  139. Chaumeil, Jean-Pierre: “Des Esprits aux ancêtres Procédés linguistiques, conception du langage et de la société chez les Yagua de l’Amazonie péruvienne”, L’Homme (1993) [doi:10.3406/hom.1993.369647], 409-427.
  140. Chenoweth, Vida: “Song Structure of a New Guinea Highlands Tribe”, Ethnomusicology (1966) [doi:10.2307/924346], 285-297.
  141. Cherdt, Donn Bor: “Armenian Folk Songs and Dances in the Fresno and Los Angeles Areas”, Western Folklore (1959) [doi:10.2307/1496887], 1-12.
  142. Childs, Barney: “Ben Johnston: Quintet for Groups”, Perspectives of New Music (1968) [doi:10.2307/832429], 110-121.
  143. Chin, Daryl: “Theories of Cultural Relativity”, Performing Arts Journal (1994) [doi:10.2307/3245830], 87-101.
  144. Chislett, Laura: “Sulle Scale della Fenice: Performer’s Notebook”, Perspectives of New Music (1991) [doi:10.2307/833433], 94-99.
  145. Chissell, Joan: “Style in Bloch’s Chamber Music”, Music & Letters (1943), 30-35.
  146. Chittum, Donald and Sheila Keats: “Current Chronicle”, The Musical Quarterly (1971), 129-148.
  147. Christopher Ariza: “Two Pioneering Projects from the Early History of Computer-Aided Algorithmic Composition”, Computer Music Journal (2011), 40-56.
  148. Clark, Robert S.: “Music Chronicle”, The Hudson Review (1990) [doi:10.2307/3852377], 637-642.
  149. Clark, Sondra Rae: “The Element of Choice in Ives’s ‘Concord Sonata’”, The Musical Quarterly (1974), 167-186.
  150. Clarke, Eric F.: “Subject-Position and the Specification of Invariants in Music by Frank Zappa and P. J. Harvey”, Music Analysis (1999), 347-374.
  151. Clarkson, Austin: “David Tudor’s Apprenticeship: The Years with Irma and Stefan Wolpe”, Leonardo Music Journal (2004), 5-10.
  152. Clendinning, Jane Piper: “The Pattern-Meccanico Compositions of György Ligeti”, Perspectives of New Music (1993) [doi:10.2307/833050], 192-234.
  153. Clifton Callender: “Continuous Harmonic Spaces”, Journal of Music Theory (2007), 277-332.
  154. Clifton Joseph Furness: “Communal Music among Arabians and Negroes”, The Musical Quarterly (1930), 38-51.
  155. Clough, John: “Diatonic Interval Cycles and Hierarchical Structure”, Perspectives of New Music (1994) [doi:10.2307/833172], 228-253.
  156. Clough, John and Jack Douthett: “Maximally Even Sets”, Journal of Music Theory (1991) [doi:10.2307/843811], 93-173.
  157. Clough, John and Gerald Myerson: “Variety and Multiplicity in Diatonic Systems”, Journal of Music Theory (1985) [doi:10.2307/843615], 249-270.
  158. Clough, John, Nora Engebretsen, and Jonathan Kochavi: “Scales, Sets, and Interval Cycles: A Taxonomy”, Music Theory Spectrum (1999), 74-104.
  159. Cœuroy, André and Theodore Baker: “The Esthetics of Contemporary Music”, The Musical Quarterly (1929), 246-267.
  160. Cohen, Dalia and Ruth Katz: “The Interdependence of Notation Systems and Musical Information”, Yearbook of the International Folk Music Council (1979) [doi:10.2307/767567], 100-113.
  161. Cohen, Matthew Isaac: “Contemporary ‘Wayang’ in Global Contexts”, Asian Theatre Journal (2007), 338-369.
  162. Cohn, Richard: “Properties and Generability of Transpositionally Invariant Sets”, Journal of Music Theory (1991) [doi:10.2307/843808], 1-32.
  163. Cohn, Richard: “Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting Music”, Perspectives of New Music (1992) [doi:10.2307/3090631], 146-177.
  164. Cohn, Richard: “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions”, Music Analysis (1996) [doi:10.2307/854168], 9-40.
  165. Cohn, Richard: “Neo-Riemannian Operations, Parsimonious Trichords, and Their ‘Tonnetz’ Representations”, Journal of Music Theory (1997) [doi:10.2307/843761], 1-66.
  166. Cole, Michael: “Tafelklaviere in the Germanisches Nationalmuseum: Some Preliminary Observations”, The Galpin Society Journal (1997) [doi:10.2307/842570], 180-207.
  167. Collins, Adrian: “Bartok, Schonberg, and Some Songs”, Music & Letters (1929), 177-181.
  168. Compton, Susan P.: “Malevich’s Suprematism – The Higher Intuition”, The Burlington Magazine (1976), 577-585.
  169. Cone, Edward T.: “Analysis Today”, The Musical Quarterly (1960), 172-188.
  170. Cook, Robert C.: “Parsimony and Extravagance”, Journal of Music Theory (2005), 109-140.
  171. Coplan, David B.: “Musical Understanding: The Ethnoaesthetics of Migrant Workers’ Poetic Song in Lesotho”, Ethnomusicology (1988) [doi:10.2307/851936], 337-368.
  172. Corbin, Solange: “La cantillation des rituels chrétiens”, Revue de Musicologie (1961) [doi:10.2307/927238], 3-36.
  173. Cowgill, Rachel: “The London Apollonicon Recitals, 1817-32: A Case-Study in Bach, Mozart and Haydn Reception”, Journal of the Royal Musical Association (1998), 190-228.
  174. Crawford, Richard: “MUSA’s Early Years: The Life and Times of a National Editing Project”, American Music (2005) [doi:10.2307/4153039], 1-38.
  175. Criswick, Mary: “East European Guitar”, The Musical Times (1986) [doi:10.2307/965503], 156.
  176. Cudmore, Peter: “‘The Snow Queen’”, Tempo, New Series (1984), 40-42.
  177. Curtis, J.: “The Double Flutes”, The Journal of Hellenic Studies (1914) [doi:10.2307/624480], 89-105.
  178. Dahan, Kevin.: “Surface Tensions: Dynamics of Stria”, Computer Music Journal (2007), 65-74.
  179. Dahlhaus, Carl: “Die Termini Dur und Moll”, Archiv für Musikwissenschaft (1955) [doi:10.2307/929742], 280-296.
  180. Daley, Mike: “Patti Smith’s ‘Gloria’: Intertextual Play in a Rock Vocal Performance”, Popular Music (1997), 235-253.
  181. Danckert, Werner: “Melodiestile der Ob-Ugrier”, Acta Musicologica (1956) [doi:10.2307/931978], 122-135.
  182. Daniels, Arthur: “Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas”, Journal of Music Theory (1965) [doi:10.2307/843148], 2-51.
  183. Dashow, James: “Looking into Sequence Symbols”, Perspectives of New Music (1987), 108-137.
  184. Davenport, Kimberly: “Impossible Liberties: Contemporary Artists on the Life of Their Work over Time”, Art Journal (1995) [doi:10.2307/777461], 40-52.
  185. Dench, Chris: “Sulle Scale della Fenice: Postscript”, Perspectives of New Music (1991) [doi:10.2307/833434], 100-105.
  186. Dennis, Brian: “Michael Parsons’s ‘Expedition to the North Pole’”, Tempo, New Series (1993), 37-38.
  187. Devine, A. M. and Laurence D. Stephens: “Dionysius of Halicarnassus, De Compositione Verborum XI: Reconstructing the Phonetics of the Greek Accent”, Transactions of the American Philological Association (1974-) (1991) [doi:10.2307/284454], 229-286.
  188. Dickinson, Peter: “Hitchcock’s Ives: A New Edition of 129 Songs”, Music & Letters (2006), 606-613.
  189. Dionysios Politis, Dimitrios Margounakis, Spyridon Lazaropoulos, et al.: “Emulation of Ancient Greek Music Using Sound Synthesis and Historical Notation”, Computer Music Journal (2008), 48-63.
  190. Discus: “Gramophone Notes”, The Musical Times (1924) [doi:10.2307/911588], 1005-1007.
  191. Dixon, Graham: “2: Towards a Liturgical Reconstruction”, The Musical Times (1985) [doi:10.2307/964344], 393-397.
  192. Dobson, Peter: “Duke or Dukelsky?”, The Musical Times (1993) [doi:10.2307/1003006], 429.
  193. Dodd, RS: “Depreciation”, The Musical Times (1993) [doi:10.2307/1003005], 429.
  194. Dominick, Lisa R.: “Darmstadt 1984”, Perspectives of New Music (1985) [doi:10.2307/832740], 274-291.
  195. Dommett, Kenneth: “Jazz and the Composer”, Proceedings of the Royal Musical Association (1964), 11-20.
  196. Drew, David: “Markevitch: The Early Works and beyond”, Tempo, New Series (1980), 24-38.
  197. Dreyer, Martin: “Judith Weir, Composer: A Talent to Amuse”, The Musical Times (1981) [doi:10.2307/962967], 593-596.
  198. Driver, Paul: “Michael Finnissy’s ‘Alongside’”, Tempo, New Series (1980), 42-45.
  199. Driver, Paul: “Osborne’s ‘Electrification of the Soviet Union’”, The Musical Times (1987) [doi:10.2307/965388], 560-562.
  200. Drott, Eric: “The Role of Triadic Harmony in Ligeti’s Recent Music”, Music Analysis (2003), 283-314.
  201. Drott, Eric: “Class, Ideology, and il caso Scelsi”, The Musical Quarterly (2006), 80-120.
  202. Dunk, John L.: Hyperacoustics, J.M. Dent & sons, ltd. (1921).
  203. Dunn, George E.: “Musical Centenaries of 1936 (Concluded)”, The Musical Times (1936) [doi:10.2307/919689], 218-220.
  204. Dunne, Edward and Mark McConnell: “Pianos and Continued Fractions”, Mathematics Magazine (1999) [doi:10.2307/2690594], 104-115.
  205. Dunnett, Roderic: “Oxford Contemporary Music Festival”, Tempo, New Series (1994), 37-40.
  206. Dunnett, Roderic: “Smirnov’s Cello Concerto”, Tempo, New Series (1996), 44-45.
  207. Durazzi, Bruce: “Luigi Nono’s Canti di vita e d’amore: Musical Dialectics and the Opposition of Present and Future”, The Journal of Musicology (2009), 451-480.
  208. Dussek, Ronald: “That Dear Little Sinus”, The Musical Times (1935) [doi:10.2307/919870], 837.
  209. E., F. G.: “Elizabeth Mounsey”, The Musical Times (1905), 718-721.
  210. Eaton, John: “Stories That Break into Song: Choosing Plots for Opera”, The Kenyon Review, New Series (1982a), 71-77.
  211. Eaton, John: “Stories That Break into Song: Choosing Plots for Opera”, The Kenyon Review, New Series (1982b), 71-77.
  212. Edgerton, Michael, Juergen Neubauer, and Hanspeter Herzel: “Using Nonlinear Phenomena in Contemporary Musical Composition and Performance”, Perspectives of New Music (2003), 30-65.
  213. Edison Denisov: “The Compositional Process”, Tempo, New Series (1973), 2-11.
  214. Eiseman, David: “George Ives as Theorist: Some Unpublished Documents”, Perspectives of New Music (1975) [doi:10.2307/832546], 139-147.
  215. Elster, Steven: “A Harmonic and Serial Analysis of Ben Johnston’s String Quartet No. 6”, Perspectives of New Music (1991) [doi:10.2307/833436], 138-165.
  216. Erber, James: “‘Topologies’ Ensemble”, Tempo, New Series (1995), 38-39.
  217. Eric Smigel: “Observation and Memory: An Interview with Eric Richards”, American Music (2009), 180-203.
  218. Erickson, Robert: “Composing Music”, Perspectives of New Music (1988) [doi:10.2307/833187], 86-95.
  219. Estrada, Julio: “Focusing on Freedom and Movement in Music: Methods of Transcription inside a Continuum of Rhythm and Sound”, Perspectives of New Music (2002), 70-91.
  220. Etzion, Judith and Susana Weich-Shahak: “‘Family Resemblances’ and Variability in the Sephardic Romancero: A Methodological Approach to Variantal Comparison”, Journal of Music Theory (1993) [doi:10.2307/843785], 267-309.
  221. Evan Jones: “An Acoustic Analysis of Col Legno Articulation in Iannis Xenakis’s Nomos Alpha”, Computer Music Journal (2002), 73-86.
  222. Evans, E. C.: “Sharpening in Brass Instruments”, The Musical Times (1934) [doi:10.2307/917958], 1023.
  223. Evans, Edwin: “The Liége Festival”, The Musical Times (1930) [doi:10.2307/916883], 898-902.
  224. F. Heddon Bond: “Pedalling on Short Keys”, The Musical Times (1935) [doi:10.2307/920389], 1020.
  225. Farkas, Zoltán: “The Path of a Hölderlin Topos: Wandering Ideas in Kurtág’s Compositions”, Studia Musicologica Academiae Scientiarum Hungaricae (2002), 289-310.
  226. Farnsworth, Paul R.: “Max Frederick Meyer (1873-1967)”, Journal of the American Musicological Society (1967), 511.
  227. Farrell, Gerry: “Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music and Jazz”, Popular Music (1988), 189-205.
  228. Fauser, Annegret: “Aaron Copland, Nadia Boulanger, and the Making of an ‘American’ Composer”, The Musical Quarterly (2006), 524-554.
  229. Feder, Stuart: “Decoration Day: A Boyhood Memory of Charles Ives”, The Musical Quarterly (1980), 234-261.
  230. Feld, Steven: “Aesthetics as Iconicity of Style, or ‘Lift-up-over Sounding’: Getting into the Kaluli Groove”, Yearbook for Traditional Music (1988) [doi:10.2307/768167], 74-113.
  231. Feld, Steven and Aaron A. Fox: “Music and Language”, Annual Review of Anthropology (1994), 25-53.
  232. Felder, David and Karlheinz Stockhausen: “An Interview with Karlheinz Stockhausen”, Perspectives of New Music (1977) [doi:10.2307/832850], 85-101.
  233. Ferneyhough, Brian and James Boros: “Shattering the Vessels of Received Wisdom”, Perspectives of New Music (1990) [doi:10.2307/833006], 6-50.
  234. Ferreira, Manuel Pedro: “La réforme cistercienne du chant liturgique revisitée: Guy d’Eu et les premiers livres de chant cisterciens”, Revue de Musicologie (2003), 47-56.
  235. Feste: “Ad Libitum”, The Musical Times (1924), 30-34.
  236. Fischman, Rajmil: “Global Village, Local Universe: A Statement of Identity”, Leonardo Music Journal (1999), 53-62.
  237. Flam, Gila: “Beracha Zefira – A Case Study of Acculturation in Israeli Song”, Asian Music (1986) [doi:10.2307/833901], 108-125.
  238. Flint, Ellen Rennie: “Jean-Jacques Rousseau’s ‘Lettre d’un symphoniste de l’académie royale de musique, à ses camarades dans l’orchestre’”, The Musical Quarterly (1986), 170-179.
  239. Flynn, George W.: “Listening to Berio’s Music”, The Musical Quarterly (1975), 388-421.
  240. Fonville, John: “Ben Johnston’s Extended Just Intonation: A Guide for Interpreters”, Perspectives of New Music (1991) [doi:10.2307/833435], 106-137.
  241. Forte, Allen: “Pitch-Class Set Genera and the Origin of Modern Harmonic Species”, Journal of Music Theory (1988) [doi:10.2307/843436], 187-270.
  242. Fox, F. Darwin: “Why Sing in Latin?”, The Musical Times (1935) [doi:10.2307/920707], 445-446.
  243. Freeman, Robin: “Aspects of French Patronage”, Tempo, New Series (1996), 27-33.
  244. Freeman, Robin: “Gideon Klein, Moravian Composer”, Tempo (2005), 2-18.
  245. Freeman, Robin and Giacinto Scelsi: “Tanmatras: The Life and Work of Giacinto Scelsi”, Tempo, New Series (1991), 8-18.
  246. Freitas, Roger: “Towards a Verdian Ideal of Singing: Emancipation from Modern Orthodoxy”, Journal of the Royal Musical Association (2002), 226-257.
  247. Frolova-Walker, Marina: “‘National in Form, Socialist in Content’: Musical Nation-Building in the Soviet Republics”, Journal of the American Musicological Society (1998), 331-371.
  248. Fulcher, Jane F.: “The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism”, The Journal of Musicology (1999), 197-230.
  249. Fuller-Maitland, J. A.: “Of Defects in Musical Instruments and Their Value”, The Musical Quarterly (1920), 91-97.
  250. Gál, Hans: “Theory and Practice in Composition”, Music & Letters (1942), 37-49.
  251. Galeyev, Bulat: “Mikhail Matyushin’s Contribution to Synthetic Art”, Leonardo (2005), 151-154.
  252. Gann, Kyle: “La Monte Young’s The Well-Tuned Piano”, Perspectives of New Music (1993) [doi:10.2307/833045], 134-162.
  253. Gauldin, Robert: “The Cycle-7 Complex: Relations of Diatonic Set Theory to the Evolution of Ancient Tonal Systems”, Music Theory Spectrum (1983), 39-55.
  254. Gaume, Matilda: “Ruth Crawford: A Promising Young Composer in New York, 1929-30”, American Music (1987) [doi:10.2307/3051859], 74-84.
  255. George, Arthur: “Notes versus Tones”, The Musical Quarterly (1922), 256-264.
  256. George, Kenneth M.: “Felling a Song with a New Ax: Writing and the Reshaping of Ritual Song Performance in Upland Sulawesi”, The Journal of American Folklore (1990) [doi:10.2307/541106], 3-23.
  257. Gerlich, Thomas and Michael Kunkel: “‘Tempi passati’ or ‘Tempi da venire…?’: Seeking Melody in the Music of Sándor Veress and György Kurtág”, Studia Musicologica Academiae Scientiarum Hungaricae (2002), 421-438.
  258. Gerson-Kiwi, Edith: “Religious Chant: A Pan-Asiatic Conception of Music”, Journal of the International Folk Music Council (1961) [doi:10.2307/835290], 64-67.
  259. Gerson-Kiwi, Edith: “The Bourdon of the East. Its Regional and Universal Trends”, Journal of the International Folk Music Council (1964) [doi:10.2307/835072], 49-50.
  260. Gerson-Kiwi, Edith: “Drone and ‘Dyaphonia Basilica’”, Yearbook of the International Folk Music Council (1972) [doi:10.2307/767668], 9-22.
  261. Geselbracht, Raymond H.: “Evolution and the New World Vision in the Music of Charles Ives”, Journal of American Studies (1974), 211-227.
  262. Gilbert, Steven E.: “‘The Ultra-Modern Idiom’: A Survey of New Music”, Perspectives of New Music (1973) [doi:10.2307/832280], 282-314.
  263. Gillessen, Klaus: “On the Use of Stretched Scales”, The Galpin Society Journal (2000) [doi:10.2307/842330], 312-315.
  264. Gilmore, Bob: “On Harry Partch’s ‘Seventeen Lyrics by Li Po’”, Perspectives of New Music (1992) [doi:10.2307/3090619], 22-58.
  265. Gilmore, Bob: “Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney”, Perspectives of New Music (1995), 458-503.
  266. Gilmore, Bob: “Frank Denyer at 60: Butterfly Effect”, The Musical Times (2003) [doi:10.2307/1004705], 27-31.
  267. Gilmore, Bob: “Dübendorf: Radulescu’s ‘Cinerum’”, Tempo (2005), 52-54.
  268. Glarean, Henry and Frances Berry Turrell: “The ‘Isagoge in Musicen’ of Henry Glarean”, Journal of Music Theory (1959) [doi:10.2307/843003], 97-139.
  269. Gloag, Ken: “Oxford Contemporary Music Festival 1996: James Clapperton’s ‘The Testament of James Stewart’”, Tempo, New Series (1997), 44-45.
  270. Godt, Irving: “New Voices and Old Theory”, The Journal of Musicology (1984), 312-319.
  271. Goertzen, Chris: “The Transformation of American Contest Fiddling”, The Journal of Musicology (1988), 107-129.
  272. Goldman, Richard Franko, Denis Stevens, Karl H. Wörner, and Reginald Smith Brindle: “Current Chronicle”, The Musical Quarterly (1961), 233-255.
  273. Goldsmith, David S.: “On the Priority of the Musical Impulse and the Acoustical Limits to Sonic Gesture”, The Journal of Aesthetics and Art Criticism (1974) [doi:10.2307/428425], 409-413.
  274. Goldstein, Burt: “1984 Contemporary Music Festival at CIA”, Perspectives of New Music (1983) [doi:10.2307/832957], 471-477.
  275. Goodhart, A. M.: “Street Musicians”, The Musical Times (1935) [doi:10.2307/949146], 61.
  276. Goodheart, Matthew: “The ‘Giant Steps’ Fragment”, Perspectives of New Music (2001), 63-95.
  277. Gordon, Donald A.: “Experimental Psychology and Modern Painting”, The Journal of Aesthetics and Art Criticism (1951) [doi:10.2307/425884], 227-243.
  278. Gorodecki, Michael: “Strands in 20th-Century Italian Music: 1. Luigi Nono: A History of Belief”, The Musical Times (1992) [doi:10.2307/966230], 10-17.
  279. Gould, Mark: “Balzano and Zweifel: Another Look at Generalized Diatonic Scales”, Perspectives of New Music (2000) [doi:10.2307/833660], 88-105.
  280. Gradenwitz, Peter: “Félicien David (1810-1876) and French Romantic Orientalism”, The Musical Quarterly (1976), 471-506.
  281. Graham, Laura: “Semanticity and Melody: Parameters of Contrast in Shavante Vocal Expression”, Latin American Music Review / Revista de Música Latinoamericana (1984) [doi:10.2307/780071], 161-185.
  282. Graham, Laura R.: “Dialogic Dreams: Creative Selves Coming into Life in the Flow of Time”, American Ethnologist (1994), 723-745.
  283. Grant, Morag Josephine: “Experimental Music Semiotics”, International Review of the Aesthetics and Sociology of Music (2003), 173-191.
  284. Graves, William L.: “Gerard Manley Hopkins as Composer: An Interpretive Postscript”, Victorian Poetry (1963), 146-155.
  285. Gray, Lila Ellen: “Memories of Empire, Mythologies of the Soul: Fado Performance and the Shaping of Saudade”, Ethnomusicology (2007), 106-130.
  286. Grayson, John: “New Materials and Methods for the Musical Instrument Designer, the Audio-Kinetic Sculptor, Musician and Composer”, Leonardo (1970) [doi:10.2307/1572336], 295-304.
  287. Griffiths, Paul: “Xenakis: Logic and Disorder”, The Musical Times (1975) [doi:10.2307/960327], 329-331.
  288. Griffiths, Paul: “Unnecessary Music: Kagel at 50”, The Musical Times (1981) [doi:10.2307/961246], 811-812.
  289. Griffiths, Paul: “Pli Selon Pli Selon Pli”, The Musical Times (1983) [doi:10.2307/962213], 747.
  290. Griffiths, Paul: “Italian”, The Musical Times (1988) [doi:10.2307/965321], 193.
  291. Grmela, Sylvia: “Recall and Repetition in Some Works by Kurtág”, Studia Musicologica Academiae Scientiarum Hungaricae (2002), 371-381.
  292. Groot, Rokus de: “Ockeghem and New Music in the Twentieth Century”, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (1997) [doi:10.2307/939125], 201-220.
  293. Gross, Suzanne and Wesley Berg: “Singing It ‘Our Way’: Pennsylvania-German Mennonite Notenbüchlein (1780-1835)”, American Music (2001) [doi:10.2307/3052613], 190-209.
  294. Haines, John: “The Arabic Style of Performing Medieval Music”, Early Music (2001), 369-378.
  295. Halfpenny, Eric: “A French Commentary on Quantz”, Music & Letters (1956), 61-66.
  296. Hall, Rachel W. and Krešimir Josić: “The Mathematics of Musical Instruments”, The American Mathematical Monthly (2001) [doi:10.2307/2695241], 347-357.
  297. Hamel, Keith A.: “A Design for Music Editing and Printing Software Based on Notational Syntax”, Perspectives of New Music (1989) [doi:10.2307/833255], 70-83.
  298. Hamilton, David, Elliott Carter, Everett Helm, et al.: “Current Chronicle”, The Musical Quarterly (1966), 90-113.
  299. Hammond, Lewis M.: “Plato on Scientific Measurement and the Social Sciences”, The Philosophical Review (1935) [doi:10.2307/2180371], 435-447.
  300. Hargreaves, D.J. and A.M. Colman: “The dimensions of aesthetic reactions to music”, Psychology of Music (1981), 15–21.
  301. Harris, Richard Leigh: “Anthony Gilbert’s ‘Certain Lights Reflecting…’”, Tempo, New Series (1989), 39-40.
  302. Harris, Richard Leigh: “Bainbridge and Pehkonen”, Tempo, New Series (1995), 48-49.
  303. Harwood, Gregory W.: “Verdi’s Reform of the Italian Opera Orchestra”, 19th-Century Music (1986), 108-134.
  304. Hatch, Martin: “The Song Is Ended: Changes on the Use of Macapat in Central Java”, Asian Music (1976) [doi:10.2307/833789], 59-71.
  305. Hayes, Gerald R.: “Old Ways for New in Violin Training”, The Musical Times (1926) [doi:10.2307/912510], 223-224.
  306. Head, Raymond: “Holst – Astrology and Modernism in ‘The Planets’”, Tempo, New Series (1993), 15-22.
  307. Heck, Thomas F.: “Toward a Bibliography of Operas on Columbus: A Quincentennial Checklist”, Notes, Second Series (1992) [doi:10.2307/897885], 474-497.
  308. Heifetz, Robin J.: “East-West Synthesis in Japanese Composition: 1950-1970”, The Journal of Musicology (1984), 443-455.
  309. Heimbecker, Sara: “HPSCHD, Gesamtkunstwerk, and Utopia”, American Music (2008) [doi:10.2307/40071720], 474-498.
  310. Helm, Everett: “Charles Ives, American Composer”, The Musical Times (1954), 356-361.
  311. Helm, Everett: “Music in Yugoslavia”, The Musical Quarterly (1965), 215-224.
  312. Henahan, Donal J., Arthur Custer, John S. Weissmann, and Wolf-Eberhard von Lewinski: “Current Chronicle”, The Musical Quarterly (1967), 246-269.
  313. Henderson, Robert: “Peter Sculthorpe”, The Musical Times (1966) [doi:10.2307/951954], 594-595.
  314. Hentschel, Frank: “Formen neuer Tonalität in der zweiten Hälfte des 20. Jahrhunderts”, Archiv für Musikwissenschaft (2006), 67-93.
  315. Herbert Gordon May: “‘AL….’ in the Superscriptions of the Psalms”, The American Journal of Semitic Languages and Literatures (1941), 70-83.
  316. Hero, Barbara: “Drawings Based on Laser Lissajous Figures and the Lambdoma Diagram”, Leonardo (1978) [doi:10.2307/1573956], 301-303.
  317. Herzog, George: “The Yuman Musical Style”, The Journal of American Folklore (1928) [doi:10.2307/534896], 183-231.
  318. Herzog, George: “Speech-Melody and Primitive Music”, The Musical Quarterly (1934), 452-466.
  319. Hesse, Horst-Peter and Louise Carleton: “Breaking into a New World of Sound: Reflections on the Ekmelic Music of the Austrian Composer Franz Richter Herf (1920-1989)”, Perspectives of New Music (1991) [doi:10.2307/833077], 212-235.
  320. Hewett, Ivan and Richard Barrett: “Fail Worse; Fail Better. Ivan Hewett on the Music of Richard Barrett”, The Musical Times (1994) [doi:10.2307/1002901], 148-151.
  321. Hicks, Michael: “Brave New Arts Festival 1984: Urbana, Illinois”, Perspectives of New Music (1983) [doi:10.2307/832956], 464-470.
  322. Hicks, Michael: “Cowell’s Clusters”, The Musical Quarterly (1993), 428-458.
  323. Hill, Jonathan D.: “Poetic Transformations of Narrative Discourse in an Amazonian Society”, Journal of Folklore Research (1990), 115-131.
  324. Hockings, Elke: “A Portrait of Helmut Lachenmann”, Tempo, New Series (1993), 29-31.
  325. Hohmaier, Simone: “Mutual Roots of Musical Thinking: György Kurtág, Péter Eötvös and Their Relation to Ernő Lendvai’s Theories”, Studia Musicologica Academiae Scientiarum Hungaricae (2002), 223-234.
  326. Holländer, Hans and Theodore Baker: “Modern Czechoslovakian Music”, The Musical Quarterly (1934), 302-311.
  327. Hood, Mantle: “The Reliability of Oral Tradition”, Journal of the American Musicological Society (1959), 201-209.
  328. Hood, Mantle: “The Challenge of ‘Bi-Musicality’”, Ethnomusicology (1960) [doi:10.2307/924263], 55-59.
  329. Hook, Julian: “Uniform Triadic Transformations”, Journal of Music Theory (2002), 57-126.
  330. HOOK, JULIAN: “Cross-Type Transformations and the Path Consistency Condition”, Music Theory Spectrum (2007), 1-40.
  331. Hopkins, Bill: “Luigi Nono: The Individuation of Power and Light”, The Musical Times (1978) [doi:10.2307/960084], 406-409.
  332. Howard, Patricia, Simon Holland, and Denise Whitelock: “Sound Investments. Patricia Howard Reviews the Uses of Computers in Harmony Teaching, plus a Round-up of Educational Materials”, The Musical Times (1994) [doi:10.2307/1003269], 467-475.
  333. Howe, Hubert S.: “Music and Electronics: A Report”, Perspectives of New Music (1966) [doi:10.2307/832214], 68-75.
  334. Howe, Hubert S.: “1984 International Computer Music Conference 19-23 October, Paris France”, Perspectives of New Music (1985) [doi:10.2307/832735], 236-250.
  335. Huang, Hao: “Yaogun Yinyue: Rethinking Mainland Chinese Rock ‘n’ Roll”, Popular Music (2001), 1-11.
  336. Hughes, David G.: “Evidence for the Traditional View of the Transmission of Gregorian Chant”, Journal of the American Musicological Society (1987), 377-404.
  337. Hughes, Laurence: “Royal Academy of Music: ‘Da Capo – from the Beginning’”, Tempo, New Series (1993), 31-33.
  338. Hunt, Edgar, Jeremy Montagu, and Tom Gregson: “E Flat and D Sharp”, The Musical Times (1975) [doi:10.2307/1193918], 140.
  339. Husarik, Stephen: “John Cage and LeJaren Hiller: HPSCHD, 1969”, American Music (1983) [doi:10.2307/3051496], 1-21.
  340. Husmann, Heinrich: “Madraše und Seblata, Repertoireuntersuchungen zu den Hymnen Ephraems des Syrers”, Acta Musicologica (1976) [doi:10.2307/932310], 113-150.
  341. Hutchings, A. J. B.: “Orchestration and Common Sense”, The Musical Times (1931) [doi:10.2307/915829], 1081-1085.
  342. Huws, Owain: “Ivory Trade”, The Musical Times (1993) [doi:10.2307/1003008], 429.
  343. Isham, Howard: “The Musical Thinking of Charles Ives”, The Journal of Aesthetics and Art Criticism (1973) [doi:10.2307/429170], 395-404.
  344. Ives, Charles: Three quarter-tone pieces, C.F. Peters (1968).
  345. Ivey, Donald: “Willis Patterson’s ‘Anthology of Art Songs by Black American Composers’”, Black Music Research Journal (1981) [doi:10.2307/779414], 106-126.
  346. Jachimecki, Zdzislaw and O. T. Kindler: “Karol Szymanowski”, The Musical Quarterly (1922), 23-37.
  347. Jairazbhoy, N. A.: “Bharata’s Concept of ‘Sādhāraṇa’”, Bulletin of the School of Oriental and African Studies, University of London (1958), 54-60.
  348. Jairazbhoy, N. A. and A. W. Stone: “Intonation in Present-Day North Indian Classical Music”, Bulletin of the School of Oriental and African Studies, University of London (1963), 119-132.
  349. James, Richard S.: “Avant-Garde Sound-on-Film Techniques and Their Relationship to Electro-Acoustic Music”, The Musical Quarterly (1986), 74-89.
  350. Jarman, Douglas: “The Music of Anthony Gilbert (Part I)”, Tempo (2004), 2-17.
  351. Jarrett, Michael and Walter Murch: “Sound Doctrine: An Interview with Walter Murch”, Film Quarterly (2000), 2-11.
  352. Jedrzejewski, Franck: IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE, Thèse de doctorat, Université Panthéon-Sorbonne (Paris) (2000).
  353. Jeffrey Kallberg: “Mechanical Chopin”, Common Knowledge (2011), 269-282.
  354. Joanna Bullivant: “Modernism, Politics, and Individuality in 1930s Britain: The Case of Alan Bush”, Music and Letters (2009), 432-452.
  355. Johnson, Marc E.: “Charles Ives’s (Utopian, Pragmatist, Nostalgic, Progressive, Romantic, Modernist) Yankee Realism”, American Music (2002) [doi:10.2307/1350140], 188-233.
  356. Johnson, Stephen: “(3) James MacMillan: ‘Veni, Veni, Emmanuel’”, Tempo, New Series (1992), 34-35.
  357. Johnston, Ben: “Proportionality and Expanded Musical Pitch Relations”, Perspectives of New Music (1966) [doi:10.2307/832390], 112-120.
  358. Johnston, Ben: “The Corporealism of Harry Partch”, Perspectives of New Music (1975) [doi:10.2307/832085], 85-97.
  359. Johnston, Ben: “Beyond Harry Partch”, Perspectives of New Music (1983) [doi:10.2307/832943], 223-232.
  360. Jon Solomon: “The Diastaltic Ethos”, Classical Philology (1981), 93-100.
  361. Joos, Maxime: “Variations esthétiques (Schloezer, Boulez, Schaeffner)”, Revue de Musicologie (2005) [doi:10.2307/20141618], 401-424.
  362. Joseph Reinsel: “Jon Rose: The Hyperstring Project. The New Dynamic of Rogue Counterpoint (review)”, Computer Music Journal (2001), 99-100.
  363. Julia Kuehn: “Exotic Harem Paintings: Gender, Documentation, and Imagination”, Frontiers: A Journal of Women Studies (2011), 31-63.
  364. Jůzl, Miloš: “Music and the Totalitarian Regime in Czechoslovakia”, International Review of the Aesthetics and Sociology of Music (1996) [doi:10.2307/3108370], 31-51.
  365. Kallenbach-Greller, Lotte: “Die historischen Grundlagen der Vierteltöne”, Archiv für Musikwissenschaft (1927) [doi:10.2307/929814], 473-485.
  366. Kartomi, Margaret J.: “The Music-Culture of South-Coast West Sumatra: Backwater of the Minangkabau ‘Heartland’ or Home of the Sacred Mermaid and the Earth Goddess?”, Asian Music (1998) [doi:10.2307/834265], 133-181.
  367. Kassebaum, Gayathri Rajapur: “Improvisation in Alapana Performance: A Comparative View of Raga Shankarabharana”, Yearbook for Traditional Music (1987) [doi:10.2307/767877], 45-64.
  368. Kaufmann, Henry W.: “Vicentino and the Greek Genera”, Journal of the American Musicological Society (1963), 325-346.
  369. Kaufmann, Henry W.: “More on the Tuning of the ‘Archicembalo’”, Journal of the American Musicological Society (1970), 84-94.
  370. Kazin, Alfred: “Whatever Happened to Criticism?”, The Bulletin of the Midwest Modern Language Association (1972) [doi:10.2307/1314907], 10-20.
  371. Kebede, Ashenafi: “The Bowl-Lyre of Northeast Africa. Krar: The Devil’s Instrument”, Ethnomusicology (1977) [doi:10.2307/850725], 379-395.
  372. Keeling, Richard: “Contrast of Song Performance Style as a Function of Sex Role Polarity in the Hupa Brush Dance”, Ethnomusicology (1985) [doi:10.2307/852138], 185-212.
  373. Keislar, Douglas: “Introduction”, Perspectives of New Music (1991), 173-175.
  374. Keislar, Douglas, Easley Blackwood, John Eaton, et al.: “Six American Composers on Nonstandard Tunnings”, Perspectives of New Music (1991) [doi:10.2307/833076], 176-211.
  375. Keller, Hans: “Key Characteristics”, Tempo, New Series (1956), 5-16.
  376. Kendall, Raymond: “Notes on Arnold Schlick”, Acta Musicologica (1939) [doi:10.2307/932133], 136-143.
  377. Kennett, Chris.: “Jonathan Harvey’s ‘Bhakti’ for Chamber Ensemble and Electronics (review)”, Computer Music Journal (2003), 111-113.
  378. Kerridge, W. H.: “Conditions in Russia”, The Musical Times (1935) [doi:10.2307/920386], 1020.
  379. Khê, Trân van: “Quelques remarques et réflexions sur la rencontre des cultures dans la musique contemporaine”, Studia Musicologica Academiae Scientiarum Hungaricae (1982) [doi:10.2307/902028], 99-108.
  380. Killick, Andrew: “Korean ‘Ch’anggŭk’ Opera: Its Origins and Its Origin Myth”, Asian Music (2002), 43-82.
  381. Kingdon-Ward, M.: “Charles Avison”, The Musical Times (1951) [doi:10.2307/934970], 398-401.
  382. Knapp, Alexander: “The Jewishness of Bloch: Subconscious or Conscious?”, Proceedings of the Royal Musical Association (1970), 99-112.
  383. Knight, Henry: “A Musical Blackbird”, The Musical Times and Singing Class Circular (1893) [doi:10.2307/3362246], 619.
  384. Kohl, Jerome: “Into the Middleground: Formula Syntax in Stockhausen’s Licht”, Perspectives of New Music (1990) [doi:10.2307/833021], 262-291.
  385. Kolinski, Mieczyslaw: “A New Equidistant 12-Tone Temperament”, Journal of the American Musicological Society (1959), 210-214.
  386. Kolinski, Mieczyslaw: “Final Reply to Herndon”, Ethnomusicology (1977) [doi:10.2307/850852], 75-83.
  387. Kostelanetz, Richard: “John Cage as a Hörspielmacher”, The Iowa Review (1987), 111-117.
  388. Koster, John: “The Importance of the Early English Harpsichord”, The Galpin Society Journal (1980) [doi:10.2307/841828], 45-73.
  389. Kovács, Sándor: “Über die Vorbereitung der Publikation von Bartóks grosser ungarischer Volksliedausgabe”, Studia Musicologica Academiae Scientiarum Hungaricae (1982) [doi:10.2307/901826], 133-155.
  390. Kovács, Sándor: “‘Wir können sie in drei verschiedene Phasen einteilen’: Einige Gedanken über Bartóks Volksliedaufzeichnungen”, Studia Musicologica Academiae Scientiarum Hungaricae (1995) [doi:10.2307/902221], 381-391.
  391. Kramer, Jonathan D.: “Can Modernism Survive George Rochberg?”, Critical Inquiry (1984), 341-354.
  392. Krebs, T. L.: “Gade, as He Appears in His Letters”, The Sewanee Review (1894), 48-61.
  393. Krumhansl, C.L. and P.W. Jusczyk: “Infants’ perception of phrase structure in music”, Psychological Science (1990), 70.
  394. Kubik, Gerhard: “The African Matrix in Jazz Harmonic Practices”, Black Music Research Journal (2005), 167-222.
  395. Kuss, Malena: “Charles Seeger’s Leitmotifs on Latin America”, Yearbook of the International Folk Music Council (1979) [doi:10.2307/767566], 83-99.
  396. Lack, Graham: “At Fever Pitch: The Music of Jörg Widmann”, Tempo (2005), 29-35.
  397. Lamb, Andrew: “Sullivan”, The Musical Times (1987) [doi:10.2307/965402], 570-571.
  398. Lambert, J. Philip: “Interval Cycles as Compositional Resources in the Music of Charles Ives”, Music Theory Spectrum (1990), 43-82.
  399. Lang, Paul Henry: “Editorial”, The Musical Quarterly (1967), 539-550.
  400. Langlois, Tony: “The Local and Global in North African Popular Music”, Popular Music (1996), 259-273.
  401. Langwill, Lyndesay G.: “The Orchestral Merits of the Bassoon”, The Musical Times (1933) [doi:10.2307/919082], 1025-1026.
  402. Large, Brian: “Some Czech Composers Today”, Tempo, New Series (1967), 2-11.
  403. Leatherdale, V. W. S.: “Recognition of Key”, The Musical Times (1933) [doi:10.2307/919079], 1025.
  404. Leichtentritt, Hugo: “German Music of the Last Decade”, The Musical Quarterly (1924), 193-218.
  405. Lendvai, E.: “Der wunderbare Mandarin (Werkstattgeheimnisse der Pantomime Béla Bartóks)”, Studia Musicologica Academiae Scientiarum Hungaricae (1961) [doi:10.2307/901513], 363-431.
  406. Leon Knopoff and William Hutchinson: “Information Theory for Musical Continua”, Journal of Music Theory (1981) [doi:10.2307/843465], 17-44.
  407. Leonard, Kendra Preston.: “Memoire pour violoncelle et piano (1979-1989) d’apres Shinanim shaananim, and: Sonate pour violoncelle seul [1994], and: Suite no. 1 ‘Preludio e Metamorfosi’, opus 31 no. 1, pour violoncelle seul [1987-94], and: Sonate pour violoncelle et piano [1996], and: Yiddish Suite pour violoncelle et piano, opus 17 [1995], and: Nocturne pour violoncelle et piano (1997), and: Trois bagatelles pour violoncelle seul (1997), opus 49, and: Seven Sketches pour violoncelle seul [1989], and: Chainmail pour violoncelle solo [1995], and: Sonate et Rhapsodie pour violoncelle seul, and: Duo elegiaque pour violoncelle et piano, and: Xuan Vu pour violoncelle et piano, and: Clair-obscur pour violoncelle et harpe [1996] (review)”, Notes (2002) [doi:10.1353/not.2002.0080], 933-939.
  408. Leonard, Neil: “A Personal Approach to Contemporary Jazz: Works for Saxophone and Computer-Controlled Electronics”, Leonardo Music Journal (1996) [doi:10.2307/1513299], 15-20.
  409. Lependorf, Jeffrey: “Contemporary Notation for the Shakuhachi: A Primer for Composers”, Perspectives of New Music (1989) [doi:10.2307/833414], 232-251.
  410. Levin, Flora R.: “The Hendecachord of Ion of Chios”, Transactions and Proceedings of the American Philological Association (1961) [doi:10.2307/283816], 295-307.
  411. Levin, Flora R.: “Synesis in Aristoxenian Theory”, Transactions and Proceedings of the American Philological Association (1972) [doi:10.2307/2935976], 211-234.
  412. Levin, Thomas Y.: “‘Tones from out of Nowhere’: Rudolph Pfenninger and the Archaeology of Synthetic Sound”, Grey Room (2003), 33-79.
  413. Levy, Kenneth: “On Gregorian Orality”, Journal of the American Musicological Society (1990), 185-227.
  414. Lio, Thomas de: “Structural Pluralism: Some Observations on the Nature of Open Structures in the Music and Visual Arts of the Twentieth Century”, The Musical Quarterly (1981), 527-543.
  415. List, George: “Speech Melody and Song Melody in Central Thailand”, Ethnomusicology (1961) [doi:10.2307/924305], 16-32.
  416. List, George: “The Boundaries of Speech and Song”, Ethnomusicology (1963) [doi:10.2307/924141], 1-16.
  417. List, George: “The Reliability of Transcription”, Ethnomusicology (1974) [doi:10.2307/850519], 353-377.
  418. Lloyd, Ll. S. and G. W. Stubbings: “Absolute Pitch”, The Musical Times (1943) [doi:10.2307/923096], 283.
  419. London, Justin: “The Second International Conference on Music Perception and Cognition. University of California, Los Angeles 22-26 February 1992”, The Journal of Musicology (1992), 537-545.
  420. Long, Stephen: “Japanese Composers of the Post-Takemitsu Generation”, Tempo (2004), 14-22.
  421. Lowery, H.: “The Musical Ear”, The Musical Times (1936) [doi:10.2307/919128], 56-57.
  422. Lowinsky, Edward E.: “Music in the Culture of the Renaissance”, Journal of the History of Ideas (1954) [doi:10.2307/2707674], 509-553.
  423. Lukomsky, Vera and Sofia Gubaidulina: “Sofia Gubaidulina: ‘My Desire Is Always to Rebel, to Swim against the Stream!’”, Perspectives of New Music (1998) [doi:10.2307/833574], 5-41.
  424. Lunn, Henry C.: “The History of Musical Notation”, The Musical Times and Singing Class Circular (1866) [doi:10.2307/3354152], 261-263.
  425. Lu-Ting, Ho and Han Kuo-huang: “On Chinese Scales and National Modes”, Asian Music (1982) [doi:10.2307/834047], 132-154.
  426. Lyman, Zachary and Larry Austin: “Completing Ives’s Universe Symphony: An Interview with Larry Austin”, American Music (2008) [doi:10.2307/40071719], 442-473.
  427. MacDonald, Calum: “John Foulds and the String Quartet”, Tempo, New Series (1980), 16-25.
  428. MacDonald, Calum: “Birmingham: John Foulds at Symphony Hall”, Tempo (2004), 75-77.
  429. MacKay, John: “On the Music of Robert Erickson: A Survey and Some Selected Analyses”, Perspectives of New Music (1988) [doi:10.2307/833186], 56-85.
  430. Mackay, Neil: “William Sweeney’s ‘an seachnadh’”, Tempo, New Series (1994), 58.
  431. Maine, Basil: “Shaw, Wells, Binyon — And Music”, The Musical Quarterly (1932), 375-382.
  432. Makanowitzky, Barbara: “Music to Serve the State”, Russian Review (1965) [doi:10.2307/126628], 266-277.
  433. Malm, William P.: “Malaysian Ma’yong Theatre”, The Drama Review: TDR (1971) [doi:10.2307/1144627], 108-114.
  434. Maniates, Maria Rika: “Musical Mannerism: Effeteness or Virility?”, The Musical Quarterly (1971), 270-293.
  435. Maniates, Maria Rika: “Vicentino’s ‘Incerta et occulta scientia’ Reexamined”, Journal of the American Musicological Society (1975), 335-351.
  436. Manuel, Peter: “Music, Identity, and Images of India in the Indo-Caribbean Diaspora”, Asian Music (1997) [doi:10.2307/834410], 17-35.
  437. Manuel, Peter and Randall Baier: “Jaipongan: Indigenous Popular Music of West Java”, Asian Music (1986) [doi:10.2307/834160], 91-110.
  438. Marino, Gérard, Marie-Hélène Serra, and Jean-Michel Raczinski: “The UPIC System: Origins and Innovations”, Perspectives of New Music (1993) [doi:10.2307/833053], 258-269.
  439. Marion D. Schrock: “Aspects of Compositional Style in Four Works by Olly Wilson”, Black Music Research Journal (1989) [doi:10.2307/779434], 93-108.
  440. Martin Supper: “A Few Remarks on Algorithmic Composition”, Computer Music Journal (2001), 48-53.
  441. Martin, Richard M.: “On the Proto-Theory of Musical Structure”, Perspectives of New Music (1970) [doi:10.2307/832194], 68-73.
  442. Marx, Dr. and George Macirone: “Musical Education and Instruction (Continued)”, The Musical Times and Singing Class Circular (1861) [doi:10.2307/3355261], 35-38.
  443. Mason, John and W. W.: “Music in French Cathedrals and Churches”, The Musical Times and Singing Class Circular (1893) [doi:10.2307/3362244], 618-619.
  444. Massey, Drew: “The Problem of Ives’s Revisions, 1973–1987”, Journal of the American Musicological Society (2007), 599-645.
  445. Matossian, Nouritza: “Xenakis at 60”, Tempo, New Series (1982), 38-40.
  446. Mayuzumi, Toshiro: “Traditional Elements as a Creative Source for Composition”, Journal of the International Folk Music Council (1964) [doi:10.2307/835068], 38-39.
  447. McBurney, Gerald: “Edison Denisov’s ‘L’Écume des jours’”, Tempo, New Series (1986), 40-41.
  448. McClure, A. R.: “Studies in Keyboard Temperaments”, The Galpin Society Journal (1948) [doi:10.2307/842120], 28-40.
  449. McGraw, Andrew: “The Pia’s Subtle Sustain: Contemporary Ethnic Identity and the Revitalization of the Lanna ‘Heart Harp’”, Asian Music (2007), 115-142.
  450. McKinney, Timothy R.: “Hearing in the Sixth Sense”, The Musical Quarterly (1998), 517-536.
  451. McLean, Priscilla: “Fire and Ice: A Query”, Perspectives of New Music (1977) [doi:10.2307/832858], 205-211.
  452. McLeod, Norma and Marcia Herndon: “The Bormliza: Maltese Folksong Style and Women”, The Journal of American Folklore (1975) [doi:10.2307/539187], 81-100.
  453. Mead, Rita H.: “Henry Cowell’s New Music Society”, The Journal of Musicology (1982), 449-463.
  454. Melby, John: “Sal’s G. A.”, Perspectives of New Music (1996) [doi:10.2307/833499], 190-198.
  455. Mellers, Wilfred: “The Avant-Garde in America”, Proceedings of the Royal Musical Association (1963), 1-13.
  456. Mellers, Wilfrid: “New Worlds for Old. A Letter from America”, The Musical Times (1983) [doi:10.2307/960815], 417-421.
  457. Mellers, Wilfrid: “A New Everlasting Feeling”, The Musical Times (1997) [doi:10.2307/1004245], 31-35.
  458. Mellers, Wilfrid and Martin Dreyer: “Music New and Old: Two Festivals Considered”, The Musical Times (1986) [doi:10.2307/964592], 494-498.
  459. Mendel, Arthur: “On the Pitches in Use in Bach’s Time–II”, The Musical Quarterly (1955), 466-480.
  460. Meneghini, Matteo.: “An Analysis of the Compositional Techniques in John Chowning’s Stria”, Computer Music Journal (2007), 26-37.
  461. Metzer, David: “The League of Composers: The Initial Years”, American Music (1997) [doi:10.2307/3052697], 45-69.
  462. METZER, DAVID: “Modern Silence”, The Journal of Musicology (2006), 331-374.
  463. Meyer, Christian: “La tradition du Micrologus de Guy d’Arezzo. Une contribution à l’histoire de la réception du texte”, Revue de Musicologie (1997) [doi:10.2307/947028], 5-31.
  464. Meyer, Leonard B.: “A Universe of Universals”, The Journal of Musicology (1998), 3-25.
  465. Miller, Doug: “The Moan within the Tone: African Retentions in Rhythm and Blues Saxophone Style in Afro-American Popular Music”, Popular Music (1995), 155-174.
  466. Miller, Malcolm: “‘Alternative Vienna’”, Tempo, New Series (1993a), 56-57.
  467. Miller, Malcolm: “Stephen Montague at 50”, Tempo, New Series (1993b), 31.
  468. Miller, Malcolm: “Xenakis’s ‘Sea Nymphs’”, Tempo, New Series (1994a), 40.
  469. Miller, Malcolm: “Tavener’s ‘Apocalypse’”, Tempo, New Series (1994b), 32-33.
  470. Miller, Malcolm: “Jonathan Lloyd’s ‘Blessed Days of Blue’”, Tempo, New Series (1995), 47-48.
  471. Miller, Malcolm: “Jonathan Lloyd and beyond”, Tempo, New Series (1998), 37-38.
  472. Miller, Rebecca S.: “Performing Ambivalence: The Case of Quadrille Music and Dance in Carriacou, Grenada”, Ethnomusicology (2005), 403-440.
  473. Milton Babbitt: “An Introduction to the R. C. A. Synthesizer”, Journal of Music Theory (1964), 251-265.
  474. Milton Babbitt, Pierre Boulez, Harrison Birtwistle, et al.: “Brave New Worlds”, The Musical Times (1994) [doi:10.2307/1003219], 330-337.
  475. Mitchell, Ian: “New Clarinet”, The Musical Times (1987) [doi:10.2307/965403], 571.
  476. Montagu, Jeremy.: “Musical instruments in Hans Memling’s paintings”, Early Music (2007), 505-523.
  477. Moore, Daniel and The Floating Lotus Magic Opera Company: “Bliss Apocalypse”, The Drama Review: TDR (1970) [doi:10.2307/1144574], 52-71.
  478. Morey, Carl: “The Diatonic, Chromatic and Enharmonic Dances by Martino Pesenti”, Acta Musicologica (1966) [doi:10.2307/932526], 185-189.
  479. Morgan, Robert P.: “Music of the Twentieth Century”, The Musical Quarterly (1982), 262-270.
  480. Morgan, Robert P.: “John Eaton and ‘The Tempest’”, The Musical Times (1985) [doi:10.2307/964345], 397-400.
  481. Morris, Robert: “Listening to Milton Babbitt’s Electronic Music: The Medium and the Message”, Perspectives of New Music (1997) [doi:10.2307/833644], 85-99.
  482. Morris, Robert D.: “Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory”, Journal of Music Theory (1995) [doi:10.2307/843967], 207-243.
  483. Morton Subotnick: “Pauline Oliveros: Trio”, Perspectives of New Music (1963) [doi:10.2307/832257], 77-82.
  484. Mountford, J. F.: “Greek Music and Its Relation to Modern Times”, The Journal of Hellenic Studies (1920) [doi:10.2307/625428], 13-42.
  485. Muller, Carol: “Capturing the ‘Spirit of Africa’ in the Jazz Singing of South African-Born Sathima Bea Benjamin”, Research in African Literatures (2001), 133-152.
  486. Mursell, James L.: “Psychology and the Problem of the Scale”, The Musical Quarterly (1946), 564-573.
  487. Musgrave, Michael: “Brahms: Sesquicentenary Reflections”, The Musical Times (1983) [doi:10.2307/962212], 746-747.
  488. Muzzulini, Daniel: “Musical Modulation by Symmetries”, Journal of Music Theory (1995) [doi:10.2307/843970], 311-327.
  489. Myers, Herbert W.: “Praetorius’s Pitch”, Early Music (1984), 369-371.
  490. Nattiez, Jean Jacques: “Sémiologie musicale: l’état de la question”, Acta Musicologica (1974) [doi:10.2307/932244], 153-171.
  491. Nattiez, Jean-Jacques and Katharine Ellis: “Reflections on the Development of Semiology in Music”, Music Analysis (1989) [doi:10.2307/854326], 21-75.
  492. Nauert, Paul: “Field Notes: A Study of Fixed-Pitch Formations”, Perspectives of New Music (2003), 180-239.
  493. Newlin, Dika and Ernest Bloch: “The Later Works of Ernest Bloch”, The Musical Quarterly (1947), 443-459.
  494. Newman, George: “Salzburg, 1993”, Tempo, New Series (1993), 38-39.
  495. Don Niccola Vicentino di Vicenti and Henry W. Kaufmann: “Vicentino’s Arciorgano; An Annotated Translation”, Journal of Music Theory (1961) [doi:10.2307/842869], 32-53.
  496. Nolan, Catherine: “Combinatorial Space in Nineteenth- and Early Twentieth-Century Music Theory”, Music Theory Spectrum (2003), 205-241.
  497. Nordwall, Ove: “The Original Version of Bartok’s Sonata for Solo Violin”, Tempo, New Series (1965), 2-4.
  498. Northcott, Bayan: “Alexander Goehr: The Recent Music (I)”, Tempo, New Series (1978), 10-15.
  499. O’Loughlin, Niall: “The Music of Nigel Osborne”, The Musical Times (1980) [doi:10.2307/963727], 307-311.
  500. O’Loughlin, Niall: “Wind Chamber”, The Musical Times (1988a) [doi:10.2307/965323], 193.
  501. O’Loughlin, Niall: “Bassoon”, The Musical Times (1988b) [doi:10.2307/965322], 193.
  502. O’Loughlin, Niall: “Music in Slovenia”, The Musical Times (1993) [doi:10.2307/1193855], 130-133.
  503. Ogdon, Will: “UCSD at Darmstadt 1988”, Perspectives of New Music (1989) [doi:10.2307/833421], 300-303.
  504. Oliver, Paul: “Blues Research: Problems and Possibilities”, The Journal of Musicology (1983), 377-390.
  505. Oliver, Paul: “That Certain Feeling: Blues and Jazz… in 1890?”, Popular Music (1991), 11-19.
  506. Orton, Richard: “The 31-Note Organ”, The Musical Times (1966) [doi:10.2307/951874], 342-343.
  507. Osborne, Catherine: “Archimedes on the Dimensions of the Cosmos”, Isis (1983), 234-242.
  508. Osborne, Nigel: “Panufnik at 70”, Tempo, New Series (1984), 2-10.
  509. Oteri, Frank J.: “21st Century Schizoid Music: Not a Manifesto”, World Literature Today (2006) [doi:10.2307/40158864], 13-15.
  510. Pace, Ian: “Etcetra Ensemble”, Tempo, New Series (1994), 58.
  511. Pace, Ian: “Roger Heaton Group”, Tempo, New Series (1995), 39-40.
  512. Pace, Ian: “The Panorama of Michael Finnissy (I)”, Tempo, New Series (1996), 25-35.
  513. Pace, Ian: “Music of the Absurd? Thoughts on Recent Kagel”, Tempo, New Series (1997a), 29-34.
  514. Pace, Ian: “The Panorama of Michael Finnissy (II)”, Tempo, New Series (1997b), 7-16.
  515. Pace, Ian: “Never to Be Naught”, The Musical Times (1997c) [doi:10.2307/1004224], 17-20.
  516. Pace, Ian: “Northern Light”, The Musical Times (1998) [doi:10.2307/1004192], 33-44.
  517. Paiva, Rui Pedro., Teresa. Mendes, and Amilcar. Cardoso: “Melody Detection in Polyphonic Musical Signals: Exploiting Perceptual Rules, Note Salience, and Melodic Smoothness”, Computer Music Journal (2006), 80-98.
  518. Päll, Janika: “CIL IV 2305: Ein Fragment römischer Musik?”, Zeitschrift für Papyrologie und Epigraphik (2004), 313-315.
  519. Palmer, Virginia: “Composer Survey: Opinions on Solo Vocal Literature”, Perspectives of New Music (1983) [doi:10.2307/832968], 631-638.
  520. Paredes, Américo and George Foss: “The ‘Décima Cantada’ on the Texas-Mexican Border: Four Examples”, Journal of the Folklore Institute (1966) [doi:10.2307/3814049], 91-115.
  521. Parker, Robert: “Revueltas, the Chicago Years”, Latin American Music Review / Revista de Música Latinoamericana (2004), 180-194.
  522. Parncutt, Richard and Hans Strasburger: “Applying Psychoacoustics in Composition: ‘Harmonic’ Progressions of ‘Nonharmonic’ Sonorities”, Perspectives of New Music (1994) [doi:10.2307/833600], 88-129.
  523. Parrott, Ian: “Escape to Outer Darkness”, The Musical Times (1956) [doi:10.2307/937872], 294-295.
  524. PAUL, DAVID C.: “From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell”, Journal of the American Musicological Society (2006), 399-457.
  525. Payton, Rodney J.: “The Music of Futurism: Concerts and Polemics”, The Musical Quarterly (1976), 25-45.
  526. Peart, Donald: “The Australian Avant-Garde”, Proceedings of the Royal Musical Association (1966), 1-9.
  527. Perlman, Marc: “American Gamelan in the Garden of Eden: Intonation in a Cross-Cultural Encounter”, The Musical Quarterly (1994), 510-555.
  528. Perlman, Marc: “The Social Meanings of Modal Practices: Status, Gender, History, and Pathet in Central Javanese Music”, Ethnomusicology (1998) [doi:10.2307/852826], 45-80.
  529. Perlove, Nina and Sophie Cherrier: “Transmission, Interpretation, Collaboration-A Performer’s Perspective on the Language of Contemporary Music: An Interview with Sophie Cherrier”, Perspectives of New Music (1998) [doi:10.2307/833575], 43-58.
  530. Perrett, Wilfrid: “The Heritage of Greece in Music”, Proceedings of the Musical Association (1931), 85-103.
  531. Perry, V.: “Who (s)He?”, The Musical Times (1993) [doi:10.2307/1003007], 429.
  532. Petersen, Peter: “Bartók und Lutosƚawski: ein Vergleich”, Studia Musicologica Academiae Scientiarum Hungaricae (1982) [doi:10.2307/901914], 451-463.
  533. Picken, Laurence: “Chiang K’uei’s ‘Nine Songs for Yüeh’”, The Musical Quarterly (1957), 201-219.
  534. Piggott, F. T.: “The Music of Japan”, Proceedings of the Musical Association (1891), 103-120.
  535. Pillay, Jayendran: “Indian Music in the Indian School in South Africa: The Use of Cultural Forms as a Political Tool”, Ethnomusicology (1994) [doi:10.2307/851741], 281-301.
  536. Pisk, Paul A.: “Subdivision of Tones: A Modern Music Theory and Philosophy”, Bulletin of the American Musicological Society (1942), 35-36.
  537. Polin, Claire: “Moscow Festival Diary”, Tempo, New Series (1984a), 35-38.
  538. Polin, Claire: “Interviews with Soviet Composers”, Tempo, New Series (1984b), 10-16.
  539. Pontara, Tobias: “Beethoven Overcome: Romantic and Existentialist Utopia in Andrei Tarkovsky’s Stalker”, 19th-Century Music (2011), 302-315.
  540. Porter, David G.: “Definitely Maybe”, The Musical Times (1997) [doi:10.2307/1004028], 11-17.
  541. Potiron, Henri: “Les notations d’Aristide Quintilien et les harmonies dites Platoniciennes”, Revue de Musicologie (1961) [doi:10.2307/927062], 159-176.
  542. Potiron, Henri: “La notation grecque au temps d’Aristoxène (pp. 39-40 de Meibom)”, Revue de Musicologie (1964) [doi:10.2307/927880], 222-225.
  543. Potter, Tully: “All My Children: A Portrait of Sir Andrzej Panufnik Based on Conversations with Tully Potter”, The Musical Times (1991) [doi:10.2307/966133], 186-191.
  544. Pratt, C.C.: “Quarter-tone music.”, The Pedagogical Seminary and Journal of Genetic Psychology (1928).
  545. Pritchett, James: “From Choice to Chance: John Cage’s Concerto for Prepared Piano”, Perspectives of New Music (1988) [doi:10.2307/833316], 50-81.
  546. Protheroe, Guy and Charles Camilleri: “Soundscapes. The Maltese Composer Charles Camilleri, Now 60, Has a Special Place in World Music”, The Musical Times (1992) [doi:10.2307/965719], 166-169.
  547. Puca, Antonella: “Steve Reich and Hebrew Cantillation”, The Musical Quarterly (1997), 537-555.
  548. Pulver, Jeffrey: “The English Theorists. XVI: Christopher Simpson (Continued)”, The Musical Times (1939) [doi:10.2307/923819], 112-118.
  549. Quinn, Ian: “On Woolhouse’s Interval-Cycle Proximity Hypothesis”, Music Theory Spectrum (2010), 172-179.
  550. Quintus, Pierre Distrait, Pierre Lambert, T. Y., et al.: “L’Exil: A Tertiary Review”, The Sewanee Review (1932), 415-424.
  551. Racek, Jan, Jiří Vysloužil, and Jessie Kocmanová: “Problems of Style in 20th-Century Czech Music”, The Musical Quarterly (1965), 191-204.
  552. Racy, Ali Jihad: “A Dialectical Perspective on Musical Instruments: The East-Mediterranean Mijwiz”, Ethnomusicology (1994) [doi:10.2307/852267], 37-57.
  553. Racy, Ali Jihad: “The Many Faces of Improvisation: The Arab Taqāsīm as a Musical Symbol”, Ethnomusicology (2000) [doi:10.2307/852534], 302-320.
  554. Radice, Mark A.: “‘Futurismo:’ Its Origins, Context, Repertory, and Influence”, The Musical Quarterly (1989), 1-17.
  555. Rae, Caroline.: “In Dark and Blue: Concerto pour violoncelle et orchestra, and: 3e quatuor (Sorgin-ngo) pour quatuor a cordes (review)”, Notes (2000) [doi:10.1353/not.2000.0097], 464-468.
  556. Rahkonen, Carl: “No Laughing Matter: The Viola Joke Cycle as Musicians’ Folklore”, Western Folklore (2000) [doi:10.2307/1500468], 49-63.
  557. Ramon Fuller: “A Study of Interval and Trichord Progressions”, Journal of Music Theory (1972) [doi:10.2307/843329], 102-140.
  558. Ramon Fuller: “A Structuralist Approach to the Diatonic Scale”, Journal of Music Theory (1975) [doi:10.2307/843588], 182-210.
  559. Rao, Nancy Yunhwa: “American Compositional Theory in the 1930s: Scale and Exoticism in ‘The Nature of Melody’ by Henry Cowell”, The Musical Quarterly (2001), 595-640.
  560. Rapoport, Paul: “Opus Erat”, Tempo, New Series (1982), 37-38.
  561. Rapoport, Paul: “The Structural Relationships of Fifths and Thirds in Equal Temperaments”, Journal of Music Theory (1993) [doi:10.2307/843787], 351-389.
  562. Rasch, Rudolf: “Ban’s Intonation”, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis (1983) [doi:10.2307/939061], 75-99.
  563. Rath, Richard Cullen: “African Music in Seventeenth-Century Jamaica: Cultural Transit and Transition”, The William and Mary Quarterly, Third Series (1993) [doi:10.2307/2947472], 700-726.
  564. Rehding, Alexander: “Rousseau, Rameau, and Enharmonic Furies in the French Enlightenment”, Journal of Music Theory (2005), 141-180.
  565. Reid, James: “Transcription in a New Mode”, Ethnomusicology (1977) [doi:10.2307/850727], 415-433.
  566. Reiner, David L.: “Enumeration in Music Theory”, The American Mathematical Monthly (1985) [doi:10.2307/2322196], 51-54.
  567. Reisser, Marsha J.: “Polytonal Considerations in Selected Works of Howard Swanson”, Black Music Research Journal (1981) [doi:10.2307/779410], 34-56.
  568. Rendall, F. G.: “English and Foreign Wood-Wind Players and Makers”, Music & Letters (1931), 148-155.
  569. Reynolds, Roger: “Wonderful Times”, Perspectives of New Music (1988) [doi:10.2307/833185], 44-55.
  570. Ricci, Antonello and Roberta Tucci: “Folk Musical Instruments in Calabria”, The Galpin Society Journal (1988) [doi:10.2307/842707], 37-58.
  571. Rickards, Guy: “Music of Fire and Ice: A Survey of Icelandic Music on Record”, Tempo, New Series (1992), 52-64.
  572. Rickards, Guy: “New Henze Works”, Tempo, New Series (1994), 33-34.
  573. Rideout, Percy: “Piano Tone”, The Musical Times (1940) [doi:10.2307/922533], 348-349.
  574. Roberge, Marc-André: “Ferruccio Busoni in the United States”, American Music (1995) [doi:10.2307/3052618], 295-332.
  575. Roberts, Helen H. and Herman K. Haeberlin: “Some Songs of the Puget sound Salish”, The Journal of American Folklore (1918) [doi:10.2307/535058], 496-520.
  576. Robinson, J. Bradford: “The Jazz Essays of Theodor Adorno: Some Thoughts on Jazz Reception in Weimar Germany”, Popular Music (1994), 1-25.
  577. Roch, Eckhard: “Zwischen Geist und Materie. Grundlagen des musikalischen Materialbegriffes in Philosophie und Rhetorik”, Archiv für Musikwissenschaft (2002) [doi:10.2307/931197], 136-164.
  578. Roig-Francolí, Miguel A.: “Harmonic and Formal Processes in Ligeti’s Net-Structure Compositions”, Music Theory Spectrum (1995), 242-267.
  579. Rose, François: “Introduction to the Pitch Organization of French Spectral Music”, Perspectives of New Music (1996) [doi:10.2307/833469], 6-39.
  580. Ross, W. Bruce: “Sharpening in Brass Instruments”, The Musical Times (1934) [doi:10.2307/919620], 1121-1122.
  581. Rothe, Alexander: “Rethinking Postwar History: Munich’s Musica Viva during the Karl Amadeus Hartmann Years (1945-63)”, The Musical Quarterly (2007), 230-274.
  582. Run, Mao Yu: “Music under Mao, Its Background and Aftermath”, Asian Music (1991) [doi:10.2307/834309], 97-125.
  583. Rupprecht, Philip: “Above and beyond the Bass: Harmony and Texture in George Benjamin’s ‘Viola, Viola’”, Tempo (2005), 28-38.
  584. Sachs, Joel: “Some Aspects of Musical Politics in Pre-Nazi Germany”, Perspectives of New Music (1970) [doi:10.2307/832195], 74-95.
  585. Sams, Eric: “Footnotes on a Magic Horn”, The Musical Times (1975) [doi:10.2307/1193917], 140.
  586. Samuel, Harold E.: “A German Musician Comes to London in 1704”, The Musical Times (1981) [doi:10.2307/962966], 591-593.
  587. Sandvik, O. M.: “Norwegian Folk-Music and Its Connection with the Dance”, Journal of the English Folk Dance and Song Society (1935), 92-97.
  588. Sarkisjan, Swetlana: “Die Streichquartette Sofia Gubaidulinas als Versuch der Erschliessung des sonoristischen Raumes / String Quartets by Sofia Gubaidulina as an Attempt of Opening a Sonoric Space / Gudaći kvarteti Sofije Gubaiduline kao pokušaj otvaranja zvukovnog prostora”, International Review of the Aesthetics and Sociology of Music (2005), 271-286.
  589. Saunders, Aretas A.: “[Methods of Recording Bird Song]”, The Auk (1916), 103-108.
  590. Saunders, Sidney: “Broadcast Organ Recitals”, The Musical Times (1935) [doi:10.2307/920705], 445.
  591. Saylor, Bruce and George Green: “Current Chronicle”, The Musical Quarterly (1971), 656-664.
  592. Schapiro, Meyer: “Courbet and Popular Imagery: An Essay on Realism and Naïveté”, Journal of the Warburg and Courtauld Institutes (1941) [doi:10.2307/750414], 164-191.
  593. Schawinsky, Xanti: “Play, Life, Illusion”, The Drama Review: TDR (1971) [doi:10.2307/1144680], 45-59.
  594. 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.
  595. Schiffer, Brigitte: “Xenakis’s ‘N’shima’”, Tempo, New Series (1976), 31-32.
  596. Schjelderup-Ebbe, Dag: “Modality in Halfdan Kjerulf’s Music”, Music & Letters (1957), 238-246.
  597. Schlüren, Christoph: “Donaueschingen: 1998 Music Days”, Tempo, New Series (1998), 36-37.
  598. Schneider, Marius: “Kaukasische Parallelen zur mittelalterlichen Mehrstimmigkeit”, Acta Musicologica (1940) [doi:10.2307/931953], 52-61.
  599. Scholes, Percy A.: “The Child and the Masterpiece”, The Musical Times (1933) [doi:10.2307/919080], 1025.
  600. Schueller, Herbert M.: “The Aesthetic Implications of Avant-Garde Music”, The Journal of Aesthetics and Art Criticism (1977) [doi:10.2307/430606], 397-410.
  601. Schuller, Gunther and Eduard Steuermann: “A Conversation with Steuermann”, Perspectives of New Music (1964) [doi:10.2307/832234], 22-35.
  602. Sciannameo, Franco: “A Personal Memoir: Remembering Scelsi”, The Musical Times (2001) [doi:10.2307/1004466], 22-26.
  603. Sculthorpe, Peter and David Wright: “Cry of the Earth. Known by Reputation Rather than by Performance in Europe, Peter Sculthorpe Is a Composer Who ‘Communicates Powerfully’”, The Musical Times (1992) [doi:10.2307/1002558], 339-341.
  604. Sedak, Eva: “Eine Ästhetik im Übergang. Versuch einer hypothetischen Gegenüberstellung: F. Busoni: J. Š. Slavenski”, International Review of the Aesthetics and Sociology of Music (1987) [doi:10.2307/836908], 97-116.
  605. Segerman, Ephraim: “Praetorius’s Pitch?”, Early Music (1985), 261-263.
  606. Seiber, Mátyás: “Béla Bartók’s Chamber Music”, Tempo, New Series (1949), 19-31.
  607. Selleck, John: “Pitch and Duration as Textural Elements in Lutoslawski’s String Quartet”, Perspectives of New Music (1975) [doi:10.2307/832088], 150-161.
  608. Sergio Luque: “The Stochastic Synthesis of Iannis Xenakis”, Leonardo Music Journal (2009), 77-84.
  609. Service, Tom: “Royal Albert Hall Proms 2001: Beamish and Others”, Tempo, New Series (2002), 32-33.
  610. Sexton, Rocky L. and Harry Oster: “Une  ’Tite Poule Grasse ou la Fille Aînée [A Little Fat Chicken or the Eldest Daughter]: A Comparative Analysis of Cajun and Creole Mardi Gras Songs”, The Journal of American Folklore (2001) [doi:10.2307/542096], 204-224.
  611. Shackford, Charles: “Some Aspects of Perception. I: Sizes of Harmonic Intervals in Performance”, Journal of Music Theory (1961) [doi:10.2307/843224], 162-202.
  612. Shackford, Charles: “Some Aspects of Perception. II: Interval Sizes and Tonal Dynamics in Performance”, Journal of Music Theory (1962a) [doi:10.2307/843259], 66-90.
  613. Shackford, Charles: “Some Aspects of Perception III: Addenda”, Journal of Music Theory (1962b) [doi:10.2307/842914], 295-303.
  614. Shannon, Jonathan Holt.: “Performing al-Andalus, Remembering al-Andalus: Mediterranean Soundings from Mashriq to Maghrib”, Journal of American Folklore (2007) [doi:10.1353/jaf.2007.0060], 308-334.
  615. Shelemay, Kay Kaufman: “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History”, Ethnomusicology (1980) [doi:10.2307/851114], 233-258.
  616. Shell, James.: “‘A Mandala of the Ear’: Northrop Frye and Music”, University of Toronto Quarterly (2007), 1055-1071.
  617. Sheppard, W. Anthony: “Bitter Rituals for a Lost Nation: Partch’s ‘Revelation in the Courthouse Park’ and Bernstein’s ‘Mass’”, The Musical Quarterly (1996), 461-499.
  618. Shinn, Frederick G.: “Royal College of Organists”, The Musical Times (1934), 918.
  619. Shinn, Randall: “Ben Johnston’s Fourth String Quartet”, Perspectives of New Music (1977) [doi:10.2307/832817], 145-173.
  620. Shore, S. Royle: “The Vocal Accompaniment of Plainchant”, Proceedings of the Musical Association (1934), 105-125.
  621. Siegel, Marcia B.: “News from the Edges”, The Hudson Review (2007), 629-635.
  622. Silverman, Julian: “‘Only a Composer’: Reflections on the Eisler Centenary”, Tempo, New Series (1998), 21-28.
  623. Simmonds, Adam: “The Music of George Nicholson”, Tempo, New Series (1992), 18-24.
  624. Simon Morrison: “The Origins of Daphnis et Chloe (1912)”, 19th-Century Music (2004), 50-76.
  625. Simpson, Adrienne: “Beethoven through Czech Eyes”, The Musical Times (1970) [doi:10.2307/955821], 1203-1205.
  626. Sims, Ezra: “Reflections on This and That (Perhaps A Polemic)”, Perspectives of New Music (1991) [doi:10.2307/833078], 236-257.
  627. Slonimsky, Nicolas: “The Changing Style of Soviet Music”, Journal of the American Musicological Society (1950), 236-255.
  628. Slonimsky, Nicolas: “Modern Composition in Rumania”, The Musical Quarterly (1965), 236-243.
  629. Smalley, Roger: “Pulses 5 × 4: An Introduction”, The Musical Times (1969) [doi:10.2307/951752], 597-599.
  630. Smalley, Roger: “Brian Dennis”, The Musical Times (1972) [doi:10.2307/957618], 30-33.
  631. Smalley, Roger: “Accord”, The Musical Times (1975) [doi:10.2307/959427], 1054-1056.
  632. Smith, Sylvia: “Sylvia Smith Interviews Herself on the Thirtieth Year of Smith Publications and Sonic Art Editions”, Notes, Second Series (2004), 24-34.
  633. Soderberg, Stephen: “Z-Related Sets as Dual Inversions”, Journal of Music Theory (1995) [doi:10.2307/843899], 77-100.
  634. Solomon, Maynard: “Charles Ives: Some Questions of Veracity”, Journal of the American Musicological Society (1987), 443-470.
  635. Somfai, L.: “‘Per finire’: Some Aspects of the Finale in Bartók’s Cyclic Form”, Studia Musicologica Academiae Scientiarum Hungaricae (1969) [doi:10.2307/901294], 391-408.
  636. Souster, Tim: “Xenakis’s ‘Nuits’”, Tempo, New Series (1968), 5-18.
  637. Spackman, H. G. and J. Swinburne: “Just Intonation”, The Musical Times (1936) [doi:10.2307/919129], 57.
  638. Spitz, Charlotte: “An Educational Congress at Prague. April 4-9, 1936”, The Musical Times (1936) [doi:10.2307/919690], 220-222.
  639. Stanford, Charles Villiers: “On Some Recent Tendencies in Composition”, Proceedings of the Musical Association (1920), 39-53.
  640. Starmer, W. W.: “Chimes”, Proceedings of the Musical Association (1907), 1-24.
  641. Starrett, John: “Solving Differential Equations by Symmetry Groups”, The American Mathematical Monthly (2007), 778-792.
  642. Stein, Erwin: “Some Notes on Performance”, Tempo, New Series (1947), 4-25.
  643. Stevenson, Robert: “Vicente T. Mendoza”, Journal of the International Folk Music Council (1966), 79-80.
  644. Stiles, Francis Haskins Eyles: “An Explanation of the Modes or Tones in the Antient Graecian Music; By Sir Francis Haskins Eyles Stiles, Bart. F. R. S.”, Philosophical Transactions (1683-1775) (1759), 695-773.
  645. Stock, Jonathan: “The Application of Schenkerian Analysis to Ethnomusicology: Problems and Possibilities”, Music Analysis (1993) [doi:10.2307/854273], 215-240.
  646. Stockhausen, Karlheinz and Jerome Kohl: “Electroacoustic Performance Practice”, Perspectives of New Music (1996) [doi:10.2307/833486], 74-105.
  647. Stockmann, Doris: “Die Transkription in der Musikethnologie: Geschichte, Probleme, Methoden”, Acta Musicologica (1979) [doi:10.2307/932454], 204-245.
  648. Street, Donald: “The Modes of Limited Transposition”, The Musical Times (1976) [doi:10.2307/960176], 819-823.
  649. Sumner, W. L.: “The Baroque Organ”, Proceedings of the Royal Musical Association (1954), 1-12.
  650. Suppan, Armin: “Blasmusik-Dissertationen in den USA”, Studia Musicologica Academiae Scientiarum Hungaricae (1995) [doi:10.2307/902400], 181-226.
  651. Suppan, Wolfgang: “Über die Totenklage im deutschen Sprachraum”, Journal of the International Folk Music Council (1963) [doi:10.2307/836230], 18-24.
  652. Suppan, Wolfgang: “Die Beachtung von ‘Original’ und ‘Singmanier’ im deutschsprachigen Volkslied”, Jahrbuch für Volksliedforschung (1964) [doi:10.2307/847601], 12-30.
  653. Swartz, Steven: “Report from Buffalo – The North American New Music Festival 1983”, Perspectives of New Music (1982) [doi:10.2307/832882], 393-401.
  654. Tabor, Michelle: “Alberto Ginastera’s Late Instrumental Style”, Latin American Music Review / Revista de Música Latinoamericana (1994) [doi:10.2307/3085946], 1-31.
  655. Tallmadge, William H.: “Baptist Monophonic and Heterophonic Hymnody in Southern Appalachia”, Anuario Interamericano de Investigacion Musical (1975) [doi:10.2307/779887], 106-136.
  656. Tann, Hilary: “Coming to Terms: (Futaiken) Reibo”, Perspectives of New Music (1989) [doi:10.2307/833403], 52-76.
  657. Taylor, Mark: “Recent Scelsi Performances”, Tempo, New Series (1986), 41-42.
  658. Taylor, Noel Heath: “The Schoenberg Concept”, Music & Letters (1939), 183-188.
  659. Telesco, Paula: “Forward-Looking Retrospection: Enharmonicism in the Classical Era”, The Journal of Musicology (2002), 332-373.
  660. Tenney, James: “About Changes: Sixty-Four Studies for Six Harps”, Perspectives of New Music (1987), 64-87.
  661. Thurston, Patricia K.: “Doctoral Dissertations on Russia, the Soviet Union, Central Asia, and Eastern Europe Accepted by Universities in the United States, Canada, and Britain, 2005”, Slavic Review (2006), 861-879.
  662. Tiersot, Julien: “Notes d’ethnographie musicale. La Musique chez les peuples indigènes de l’Amérique du Nord (Etats-Unis et Canada)”, Sammelbände der Internationalen Musikgesellschaft (1910), 141-231.
  663. Tingey, Carol: “Digging up Data in a Nepalese Field. In 1983 Carol Tingey Was the First Western Music Fieldworker to Penetrate the Kingdom of Nepal”, The Musical Times (1992) [doi:10.2307/965720], 170-173.
  664. Tirro, Frank: “Constructive Elements in Jazz Improvisation”, Journal of the American Musicological Society (1974), 285-305.
  665. Tirro, Frank: “Music of the Renaissance”, The Musical Quarterly (1982), 207-216.
  666. Toon Moonen: “The Brussels Crumhorns: Hypotheses on Their Historical Construction”, The Galpin Society Journal (1983) [doi:10.2307/841676], 49-70.
  667. Toop, Richard: “Sulle Scale della Fenice”, Perspectives of New Music (1991) [doi:10.2307/833431], 72-92.
  668. Toop, Richard: “‘Prima le Parole…’ (On the Sketches for Ferneyhough’s Carceri D’invenzione I-III)”, Perspectives of New Music (1994) [doi:10.2307/833160], 154-175.
  669. Travis, James: “Irish National Music”, The Musical Quarterly (1938), 451-480.
  670. Turrell, Eric: “The Social Side of Chamber Music”, The Musical Times (1935) [doi:10.2307/949145], 61.
  671. Uscher, Nancy: “Two Contemporary Viola Concerti: A Comparative Study”, Tempo, New Series (1983), 23-29.
  672. Vaccaro, Jean-Michel: “Les préfaces d’Anthoine de Bertrand”, Revue de Musicologie (1988) [doi:10.2307/928529], 221-236.
  673. Väisälä, Olli: “Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music”, Journal of Music Theory (2002), 207-283.
  674. Vaughan, Denis: “The Power of Music”, The Musical Times (1990) [doi:10.2307/965622], 28-30.
  675. Vaughn, Kathryn: “Exploring Emotion in Sub-Structural Aspects of Karelian Lament: Application of Time Series Analysis to Digitized Melody”, Yearbook for Traditional Music (1990) [doi:10.2307/767934], 106-122.
  676. Vega, Carlos: “Tonleitern mit Halbtönen in der Musik der alten Peruaner”, Acta Musicologica (1937) [doi:10.2307/931405], 41-53.
  677. Visscher, Eric de: “Continuing the Experimental Tradition…”, Perspectives of New Music (1987), 490-492.
  678. Vuza, Dan Tudor: “Supplementary Sets and Regular Complementary Unending Canons (Part One)”, Perspectives of New Music (1991) [doi:10.2307/833429], 22-49.
  679. Vyslouzil, Jiří: “A Note on Alois Hába”, The Musical Times (1973) [doi:10.2307/955548], 590-592.
  680. W., C. F. A.: “Some Musical Experiences in Italy”, The Musical Times and Singing Class Circular (1895a) [doi:10.2307/3362120], 656-660.
  681. W., C. F. A.: “Some Musical Experiences in Italy (Concluded)”, The Musical Times and Singing Class Circular (1895b) [doi:10.2307/3363796], 799-802.
  682. Waeber, Jacqueline: “Jean-Jacques Rousseau’s ‘unité de mélodie’”, Journal of the American Musicological Society (2009), 79-143.
  683. Walbe, Yoel: “Sonagraphic Analysis of Biblical Readings”, Ethnomusicology (1967) [doi:10.2307/850498], 54-70.
  684. Walsh, Stephen: “The Music of Andrzej Panufnik”, Tempo, New Series (1974), 7-14.
  685. Warfield, Gerald: “The Notation of Harmonics for Bowed String Instruments”, Perspectives of New Music (1973) [doi:10.2307/832283], 331-343.
  686. Warnaby, John: “James MacMillan’s ‘Tryst’”, Tempo, New Series (1989), 38-39.
  687. Warnaby, John: “‘Only Travelling Itself’: Reflections on Luigi Nono (1924-1990)”, Tempo, New Series (1991), 2-5.
  688. Warnaby, John: “Dieter Schnebel and His ‘Sinfonie X’”, Tempo, New Series (1993), 26-31.
  689. Waterhouse, John F.: “Gerard Manley Hopkins and Music”, Music & Letters (1937), 227-235.
  690. Waterman, Ellen: “Cassandra’s Dream Song: A Literary Feminist Perspective”, Perspectives of New Music (1994) [doi:10.2307/833604], 154-172.
  691. Webb, John: “Schnittke in Context”, Tempo, New Series (1992), 19-22.
  692. Weisethaunet, Hans: “Is There Such a Thing as the ‘Blue Note’?”, Popular Music (2001), 99-116.
  693. Weisser, Benedict: “John Cage: ‘… The Whole Paper Would Potentially Be Sound’: Time-Brackets and the Number Pieces (1981-92)”, Perspectives of New Music (2003), 176-225.
  694. Wellek, Albert and Theodore Baker: “Quarter-Tones and Progress”, The Musical Quarterly (1926), 231-237.
  695. Wen-Chung, Chou: “Asian Concepts and Twentieth-Century Western Composers”, The Musical Quarterly (1971), 211-229.
  696. Werntz, Julia: “Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music’s ‘Forum: Microtonality Today’”, Perspectives of New Music (2001), 159-210.
  697. West, M. L.: “Analecta Musica”, Zeitschrift für Papyrologie und Epigraphik (1992), 1-54.
  698. Whitaker, Frank: “A Visit to Béla Bartók”, The Musical Times (1926) [doi:10.2307/912509], 220-223.
  699. White, Bryan: “Grabu’s ‘Albion and Albanius’ and the Operas of Lully: ‘… Acquainted with All the Performances of the French Opera’s’”, Early Music (2002), 411-427.
  700. Whomes, Edmund: “Key Colour”, Proceedings of the Musical Association (1886), 83-98.
  701. Wiecki, Ronald V.: “Two Musical Idealists — Charles Ives and E. Robert Schmitz: A Friendship Reconsidered”, American Music (1992) [doi:10.2307/3052141], 1-19.
  702. Wienpahl, Robert W.: “Modality, Monality and Tonality in the Sixteenth and Seventeenth Centuries”, Music & Letters (1971), 407-417.
  703. Wightman, Alistair: “Szymanowski, Bartók and the Violin”, The Musical Times (1981) [doi:10.2307/962847], 159-163.
  704. Will, Udo and Catherine Ellis: “A Re-Analyzed Australian Western Desert Song: Frequency Performance and Interval Structure”, Ethnomusicology (1996) [doi:10.2307/852059], 187-222.
  705. William A. Sethares, Andrew J. Milne, Stefan Tiedje, et al.: “Spectral Tools for Dynamic Tonality and Audio Morphing”, Computer Music Journal (2009), 71-84.
  706. Williams, Peter: “Equal Temperament and the English Organ, 1675-1825”, Acta Musicologica (1968) [doi:10.2307/932283], 53-65.
  707. Williams, R. Vaughan and Martin Shaw: “The Flat Seventh in ‘Culross’”, The Musical Times (1936) [doi:10.2307/919711], 255-256.
  708. Winham, Godfrey: “Composition with Arrays”, Perspectives of New Music (1970) [doi:10.2307/832193], 43-67.
  709. Wolf, Johannes: “Die Musiklehre des Johannes de Grocheo. Ein Beitrag zur Musikgeschichte des Mittelalters”, Sammelbände der Internationalen Musikgesellschaft (1899), 65-130.
  710. Wolf, Richard K.: “Emotional Dimensions of Ritual Music among the Kotas, a South Indian Tribe”, Ethnomusicology (2001) [doi:10.2307/852864], 379-422.
  711. Wolfgang von Schweinitz and Harriett Watts: “Points of View”, Tempo, New Series (1980), 12-14.
  712. Wood, James: “Microtonality: Aesthetics and Practicality”, The Musical Times (1986) [doi:10.2307/965071], 328-330.
  713. Woodland, William: “Deputy Organists”, The Musical Times (1935) [doi:10.2307/920388], 1020.
  714. Wörner, Karl H., George Perle, and John S. Weissmann: “Current Chronicle”, The Musical Quarterly (1960), 509-535.
  715. Wright, David: “An Introduction to Bainbridge”, The Musical Times (1988) [doi:10.2307/964881], 294-297.
  716. Wyatt, E. G. P.: “Handel”, The Musical Times (1935) [doi:10.2307/920706], 445.
  717. Xenakis, Iannis: “Towards a Metamusic”, Tempo, New Series (1970), 2-19.
  718. Yannay, Yehuda: “A European Trilogy”, Perspectives of New Music (1988) [doi:10.2307/833198], 281-299.
  719. Yasser, Joseph: “Mediæval Quartal Harmony: A Plea for Restoration–Part II”, The Musical Quarterly (1937), 333-366.
  720. Young, Gayle: “The Pitch Organization of Harmonium for James Tenney”, Perspectives of New Music (1988) [doi:10.2307/833190], 204-212.
  721. Young, James O.: “Key, Temperament and Musical Expression”, The Journal of Aesthetics and Art Criticism (1991) [doi:10.2307/431477], 235-242.
  722. Zachary Lyman and Johnny Reinhard: “Realizing Ives’s Universe Symphony: An Interview with Johnny Reinhard”, American Music (2010), 459-480.
  723. Zaplitny, Michael and Iannis Xenakis: “Conversation with Iannis Xenakis”, Perspectives of New Music (1975) [doi:10.2307/832544], 86-103.
  724. Zimmerman, Franklin B.: “Melodic Indexing for General and Specialized Use”, Notes, Second Series (1966) [doi:10.2307/895200], 1187-1192.
  725. Zollinger, Albert: “Duke Ernest’s Opera ‘Santa Chiara’”, The Musical Times and Singing Class Circular (1893) [doi:10.2307/3362245], 619.
  726. Zweifel, Paul F.: “Generalized Diatonic and Pentatonic Scales: A Group-Theoretic Approach”, Perspectives of New Music (1996) [doi:10.2307/833490], 140-161.
 Posted by at 09:29

Sorry, the comment form is closed at this time.