“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.
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  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.
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  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.
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  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.
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  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.
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  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.
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  584. Sachs, Joel: “Some Aspects of Musical Politics in Pre-Nazi Germany”, Perspectives of New Music (1970) [doi:10.2307/832195], 74-95.
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  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.
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  593. Schawinsky, Xanti: “Play, Life, Illusion”, The Drama Review: TDR (1971) [doi:10.2307/1144680], 45-59.
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  596. Schjelderup-Ebbe, Dag: “Modality in Halfdan Kjerulf’s Music”, Music & Letters (1957), 238-246.
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  598. Schneider, Marius: “Kaukasische Parallelen zur mittelalterlichen Mehrstimmigkeit”, Acta Musicologica (1940) [doi:10.2307/931953], 52-61.
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  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.
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  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.
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  608. Sergio Luque: “The Stochastic Synthesis of Iannis Xenakis”, Leonardo Music Journal (2009), 77-84.
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  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.
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  627. Slonimsky, Nicolas: “The Changing Style of Soviet Music”, Journal of the American Musicological Society (1950), 236-255.
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