A Bibliography for Musical Scales, Acoustics, Temperament and Tuning



This bibliography is intended as a general complement to the other, more specialized biographies published by NEMO-Online, and is by no means meant to be exhaustive on the cited subjects.

It includes notably references representing an ethnomusicological point of view on the complex problematic of the scale, instrument tuning and the perception of music intervals.

The music perception musicological aspect is restricted for the time being to some topics related directly to the scale or to the temperament.


Musical Scales, Acoustics, Temperament and Tuning Bibliography

  1. Abraham, Otto and Erich M. von Hornbostel: “Suggested Methods for the Transcription of Exotic Music”, Ethnomusicology (1994) [doi:10.2307/852110], 425-456.
  2. Absil, FGJ: “Vocal Range: an Overview” (2004).
  3. Adkins, Cecil: “The Technique of the Monochord”, Acta Musicologica (1967) [doi:10.2307/932465], 34-43.
  4. Agawu, Kofi: “Theory and Practice in the Analysis of the Nineteenth-Century ‘Lied’”, Music Analysis (1992) [doi:10.2307/854301], 3-36.
  5. Agmon, Eytan: “A Mathematical Model of the Diatonic System”, Journal of Music Theory (1989) [doi:10.2307/843663], 1-25.
  6. Albersheim, Gerhard: “The Scale Step”, Philosophy and Phenomenological Research (1965) [doi:10.2307/2105469], 63-79.
  7. Alexander MacKenzie of Ord and Kenneth Mobbs: “The Musical Enigma of Longman and Broderip’s Monochord, c.1790”, The Galpin Society Journal (2004), 46-207.
  8. Alison McQueen Tokita: “Mode and Scale, Modulation and Tuning in Japanese Shamisen Music: The Case of Kiyomoto Narrative”, Ethnomusicology (1996) [doi:10.2307/852434], 1-33.
  9. Althuis, T. A. and F. Göbel: “Z-related pairs in microtonal systems” (2000).
  10. Ambrazevičius, Rytis: “Pseudo-Greek modes in traditional music as result of misperception”, ed. Mario Baroni, Society for Music Perception & Cognition :European Society for the Cognitive Sciences of Music, ([S.l.] :, 2006).
  11. Ambrazevičius, Rytis: “Returning to Musical Universals: Question of Equidistant Scale”, In Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009) Jyväskylä, Finland.
  12. Amiot, E.: “About the number of generators of a musical scale”, Arxiv preprint arXiv:0909.0039 (2009).
  13. Apel, Willi: “Early German Keyboard Music”, The Musical Quarterly (1937), 210-237.
  14. Archibald, R. C.: “Mathematicians and Music”, The American Mathematical Monthly (1924) [doi:10.2307/2298868], 1-25.
  15. Asmussen, R.: “A Rule-based System for Tuning Chord Progressions”.
  16. Aucouturier, Jean-Julien: “The Hypothesis of Self-Organization for Musical Tuning Systems”, Leonardo Music Journal (2008), 63-69.
  17. Avdeev, L. V and P. B Ivanov: “A mathematical model of scale perception”, J. Moscow Phys. Soc (1993), 331.
  18. Ayari, M. and S. McADAMS: “Aural Analysis of Arabic Improvised Instrumental Music (Taqsīm)”, Music Perception (2003), 159–216.
  19. B.: “Explanation of the Musical Scale”, The North-American Review and Miscellaneous Journal (1816), 18-32.
  20. Bagenal, Hope: “An Acoustic Questionnaire for Organists”, Music & Letters (1926), 236-239.
  21. Bagenal, Hope, Charles H. Moody, and T. H. Collinson: “An Acoustic Questionnaire for Organists”, Music & Letters (1926), 364-367.
  22. Bailhache, Patrice: “Valeur actuelle de l’acoustique musicale de Helmholtz”, Revue d’histoire des sciences (1986) [doi:10.3406/rhs.1986.4035], 301-324.
  23. Bailhache, Patrice: “Tempéraments musicaux et mathématiques”, Sciences et techniques en perspective (1988), 83–114.
  24. Bailhache, Patrice: Leibniz et la théorie de la musique, Klincksieck (1992).
  25. Bailhache, Patrice: Une histoire de l’acoustique musicale, CNRS éditions (2001).
  26. Bailhache, Patrice, Antonia Soulez, and Céline Vautrin: Helmholtz, du son à la musique, Librairie Philosophique Vrin (2011).
  27. Baily, John: “Anthropological and Psychological Approaches to the Study of Music Theory and Musical Cognition”, Yearbook for Traditional Music (1988) [doi:10.2307/768168], 114-124.
  28. Baily, John: “Using Tests of Sound Perception in Fieldwork”, Yearbook for Traditional Music (1996) [doi:10.2307/767811], 147-173.
  29. Bake, Arnold: “Indian Folk-Music”, Proceedings of the Musical Association (1936), 65-77.
  30. Ballinger, B., N. Benbernou, F. Gomez, et al.: “The Continuous Hexachordal Theorem”, Mathematics and Computation in Music (2009), 11–21.
  31. Barbera, André: “Pythagoras”, Grove Music Online.
  32. Barbieri, Patrizio and Sandra Mangsen: “Violin Intonation: A Historical Survey”, Early Music (1991), 69-88.
  33. Barbour, J. Murray: “Synthetic Musical Scales”, The American Mathematical Monthly (1929) [doi:10.2307/2299681], 155-160.
  34. Barbour, J. Murray: “A Classification of Musical Scales”, Bulletin of the American Musicological Society (1937a), 24.
  35. Barbour, J. Murray: “Just Intonation”, Bulletin of the American Musicological Society (1937b), 11-12.
  36. Barbour, J. Murray: “Just Intonation Confuted”, Music & Letters (1938), 48-60.
  37. Barbour, J. Murray: “Bach and ‘The Art of Temperament’”, The Musical Quarterly (1947), 64-89.
  38. Barbour, J. Murray: “Irregular Systems of Temperament”, Journal of the American Musicological Society (1948), 20-26.
  39. Barnes, John: “Bach’s Keyboard Temperament: Internal Evidence from the Well-Tempered Clavier”, Early Music (1979), 236-249.
  40. Barnes, John, Margot Leigh Milner, and Peter Williams: “Edinburgh International Harpsichord Week”, Early Music (1983), 79-85.
  41. Barnett, Gregory: “Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century”, Journal of the American Musicological Society (1998), 245-281.
  42. Baron, Carol K.: “George Ives’s Essay in Music Theory: An Introduction and Annotated Edition”, American Music (1992) [doi:10.2307/3051596], 239-288.
  43. Barrett, W. A.: “Music in Cathedrals”, Proceedings of the Musical Association (1876), 84-98.
  44. Bartlett, Martin: “Relative Ratio Tuning: An Intonational Strategy for Performance Systems”, Leonardo Music Journal (1991) [doi:10.2307/1513124], 71-73.
  45. Bartók, Béla: “The National Temperament in Music”, The Musical Times (1928), 1079.
  46. Baskevitch, François: Les représentations de la propagation du son, d’Aristote à l’Encyclopédie, THESE, Université de Nantes (2008).
  47. Bass, Richard: “Sets, Scales, and Symmetries: The Pitch-Structural Basis of George Crumb’s ‘Makrokosmos’ I and II”, Music Theory Spectrum (1991), 1-20.
  48. Beach, David: “The Fundamental Line from Scale Degree 8: Criteria for Evaluation”, Journal of Music Theory (1988) [doi:10.2307/843437], 271-294.
  49. Beaton, Roderick: “Modes and Roads: Factors of Change and Continuity in Greek Musical Tradition”, The Annual of the British School at Athens (1980), 1-11.
  50. Becker, Judith: “Is Western Art Music Superior?”, The Musical Quarterly (1986), 341-359.
  51. Bélis, Annie: “Aristoxenus”, Grove Music Online.
  52. Benamou, J. D, F. Castella, T. Katsaounis, and B. Perthame: “High frequency limit of the Helmholtz equations” (1999).
  53. Bent, Margaret: “Accidentals, Counterpoint and Notation in Aaron’s Aggiunta to the Toscanello in Musica”, The Journal of Musicology (1994), 306-344.
  54. Berger, Karol: “The Expanding Universe of Musica Ficta in Theory from 1300 to 1550”, The Journal of Musicology (1985), 410-430.
  55. Bergholt, Ernest: “Greek Musical Notation”, The Musical Times and Singing Class Circular (1894) [doi:10.2307/3363408], 696-698.
  56. Berry, Wallace: “Formal Process and Performance in the ‘Eroica’ Introductions”, Music Theory Spectrum (1988), 3-18.
  57. Blaikley, D. J.: “Notes on the Trumpet Scale”, Proceedings of the Musical Association (1893), 115-123.
  58. Blandford, W. F. H.: “Some Observations on ‘Horn Chords: An Acoustical Problem’”, The Musical Times (1926) [doi:10.2307/912948], 128-131.
  59. Blandford, W. F. H.: “The Intonation of Brass Instruments”, The Musical Times (1936a) [doi:10.2307/919105], 19-21.
  60. Blandford, W. F. H.: “The Intonation of Brass Instruments (Concluded)”, The Musical Times (1936b) [doi:10.2307/918993], 118-121.
  61. Blandford, W. F. H., J. A. Fuller-Maitland, Harry Wall, et al.: “Some Puzzles about Temperament”, The Musical Times (1935) [doi:10.2307/920647], 927-929.
  62. Blaserna, Pietro: The theory of sound in its relation to music, D. Appleton and company (1888).
  63. Boatwright, Howard: “Ives’ Quarter-Tone Impressions”, Perspectives of New Music (1965) [doi:10.2307/832500], 22-31.
  64. Bohrer, Jocelei Cirilo Soares: Intonational Strategies In Ensemble Singing, PhD Thesis, City University (London, 2002).
  65. Bonard, J.M.: “The physicist’s guide to the orchestra”, European Journal of Physics (2001), 89.
  66. Bordas, Cristina, Luis Robledo, and Tess Knighton: “José Zaragozá’s Box: Science and Music in Charles II’s Spain”, Early Music (1998), 391-413.
  67. Borland, John E.: “Modern Music and an Ancient Notation”, The Musical Times(1936) [doi:10.2307/917755], 404-407.
  68. Bosanquet, Robert Holford Macdowall: “On Just Intonation in Music; with a Description of a New Instrument for the Easy Control of All Systems of Tuning other than the Ordinary Equal Temperament.[Abstract]”, Proceedings of the Royal Society of London (1872), 131.
  69. Bosanquet, Robert Holford Macdowall: “Temperament; Or, the Division of the Octave [Part II]”, Proceedings of the Musical Association (1874a), 112-158.
  70. Bosanquet, Robert Holford Macdowall: “Temperament; Or, the Division of the Octave [Part I]”, Proceedings of the Musical Association (1874b), 4-17.
  71. Bosanquet, Robert Holford Macdowall: An elementary treatise on musical intervals and temperament, with an account of an enharmonic harmonium exhibited in the loan collection of scientific instruments, South Kensington, 1876, also of an enharmonic organ exhibited to the Musical association of London, May, 1875, MacMillan and Co (London, 1876a).
  72. Bosanquet, Robert Holford Macdowall: “On some points in the harmony of perfect consonances”, Proceedings of the Musical Association (1876b), 145–153.
  73. Bosanquet, Robert Holford Macdowall: “On the Beats of Mistuned Harmonic Consonances”, Proceedings of the Musical Association (1881), 13–27.
  74. Bosanquet, Robert Holford Macdowall: The Theory of the Division of the Octave, and the Practical Treatment of the Musical Systems Thus Obtained. Revised Version of a Paper Entitled  ’On Just Intonation in Music; with a Description of a New Instrument for the Easy Control of Systems of Tuning other than the Equal Temperament of 12 Divisions in the Octave.
  75. Bosanquet, Robert Holford Macdowall and Rudolf Rasch: An elementary treatise on musical intervals and temperament (London 1876), Diapason Press (1987).
  76. Boucher, Archie M.: “Acoustic Properties of a Church”, The Musical Times (1923) [doi:10.2307/912579], 270.
  77. Bougeret, Gérard: “Correction du tempérament de l’orgue de Lorris: Essai de généralisation”, Revue de Musicologie (1989) [doi:10.2307/928966], 5-24.
  78. Box, Lionel: “Just Intonation!”, The Musical Times (1961) [doi:10.2307/949425], 167-168.
  79. Boyden, David D.: “Prelleur, Geminiani, and Just Intonation”, Journal of the American Musicological Society (1951), 202-219.
  80. Brennecke, Ernest: “The Amenities of Duet-Playing”, The Musical Quarterly (1926), 534-554.
  81. Bridges, Geoffrey: “Medieval Portatives: Some Technical Comments”, The Galpin Society Journal (1991) [doi:10.2307/842212], 103-116.
  82. Brisay, Aubrey C. de: “The German Temperament and the New Organ at Breslau”, The Musical Times (1915), 224.
  83. Broadwood, Lucy E.: “Additional Note on the Gaelic Scale System”, Journal of the Folk-Song Society (1911), 154-156.
  84. Brodsky, Warren: “Joseph Schillinger (1895-1943): Music Science Promethean”, American Music (2003) [doi:10.2307/3250556], 45-73.
  85. Brown, Colin: “The Minor Scale”, The Musical Times and Singing Class Circular (1878) [doi:10.2307/3355681], 682.
  86. Bruter, Claude Paul: “A mathematical interpretation of expressive intonation”, In Mathematics and art: mathematical visualization in art and education, Springer (2002), 141-148.
  87. Buchanan, Donna A.: “Metaphors of Power, Metaphors of Truth: The Politics of Music Professionalism in Bulgarian Folk Orchestras”, Ethnomusicology (1995) [doi:10.2307/924628], 381-416.
  88. Bucht, S. and E. Huovinen: “Perceived consonance of harmonic intervals in 19-tone equal temperament”, In R. Parncutt, A. Kessler, editor, Proceedings of the Conference on Interdisciplinary Musicology (CIM04) Graz/Austria (2004), 15–18.
  89. Burch, Cecil: “The Diapason Normal in Spain”, The Musical Times and Singing Class Circular (1879) [doi:10.2307/3355641], 223.
  90. Burraston, D.: “One Dimensional Cellular Automata Musical Experiments with Max”, In Proceedings of the11th International Conference on Human-Computer Interaction. HCI International.(Invited paper to be presented at the conference in Las Vegas (2005).
  91. C., A. R. and Arthur T. Froggatt: “New Scales and Chords”, The Musical Times (1920) [doi:10.2307/910452], 833-834.
  92. Cadwallader, Allen: “More on Scale Degree Three and the Cadential Six-Four”, Journal of Music Theory (1992) [doi:10.2307/843914], 187-198.
  93. Carbonnier, Youri: “Le personnel musical de l’Opéra de Paris sous le règne de Louis XVI”, Histoire, économie et société (2003) [doi:10.3406/hes.2003.2316], 177-206.
  94. Carey, N. and D. Clampitt: “Self-similar pitch structures, their duals, and rhythmic analogues”, Perspectives of New Music (1996), 62–87.
  95. Carey, Norman: “On Coherence and Sameness, and the Evaluation of Scale Candidacy Claims”, Journal of Music Theory (2002), 1-56.
  96. Carey, Norman and David Clampitt: “Aspects of Well-Formed Scales”, Music Theory Spectrum (1989), 187-206.
  97. Carlton Gamer: “Some Combinational Resources of Equal-Tempered Systems”, Journal of Music Theory (1967) [doi:10.2307/842948], 32-59.
  98. Cartwright, J.H.E., D.L. González, and O. Piro: “Nonlinear dynamics of the perceived pitch of complex sounds”, Physical review letters (1999), 5389–5392.
  99. 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.
  100. Causas, Rerum Cognoscere: “The Burnham Scale”, The Musical Times (1944) [doi:10.2307/921579], 92.
  101. Cavallo, Tiberius: “Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c. By Mr. Tiberius Cavallo, F. R. S.”, Philosophical Transactions of the Royal Society of London (1788), 238-254.
  102. Cazden, Norman: “Staff Notation as a Non-Musical Communications Code”, Journal of Music Theory (1961) [doi:10.2307/842874], 113-128.
  103. Cazden, Norman: “Sensory Theories of Musical Consonance”, The Journal of Aesthetics and Art Criticism (1962) [doi:10.2307/427328], 301-319.
  104. Cellier, Alexandre and Hope Bagenal: “Acoustic Experiences with Comments”, Music & Letters (1926), 165-176.
  105. Chailley, Jacques: “‘Ut queant laxis’ et les Origines de la Gamme”, Acta Musicologica (1984) [doi:10.2307/932616], 48-69.
  106. Chao, Yuen Ren: “A Note on Chinese Scales and Modes”, Oriens (1957) [doi:10.2307/1578764], 140-143.
  107. Cherbuliez, Antoine E.: “Quelques Observations sur le ‘Psaltérion’ (Tympanon) Populaire Suisse: ‘Hackbrett’”, Journal of the International Folk Music Council (1960) [doi:10.2307/835422], 23-27.
  108. Chesnut, John Hind: “Mozart’s Teaching of Intonation”, Journal of the American Musicological Society (1977), 254-271.
  109. Childs, Barney: “Ben Johnston: Quintet for Groups”, Perspectives of New Music (1968) [doi:10.2307/832429], 110-121.
  110. Chislett, Laura: “Sulle Scale della Fenice: Performer’s Notebook”, Perspectives of New Music (1991) [doi:10.2307/833433], 94-99.
  111. Christensen, Thomas: “Alembert, Jean le Rond d’”, Grove Music Online.
  112. Christoph, John: “Of the Various Genera and Species of Music among the Ancients, with Some Observations concerning Their Scale; In a Letter from John Christoph. Pepusch, Music. D. & F.R.S. to Mr. Abraham de Moivre, F. R. S.”, Philosophical Transactions (1683-1775) (1746), 266-274.
  113. Clarke, Eric F.: “Theory, Analysis and the Psychology of Music: A Critical Evaluation of Lerdahl, F. and Jackendoff, R., A Generative Theory of Tonal Music”, Psychology of Music (1986) [doi:10.1177/0305735686141001], 3 -16.
  114. Clarke, Paul: “‘A Magic Science’: Rock Music as a Recording Art”, Popular Music (1983), 195-213.
  115. Clay, R. S.: “Modern Scales and Acoustics”, The Musical Times (1922) [doi:10.2307/909758], 52.
  116. Clements, E.: “The Interpretation of Greek Music”, The Journal of Hellenic Studies (1922) [doi:10.2307/625898], 133-166.
  117. Clements, E.: “The Interpretation of Greek Music: An Addendum”, The Journal of Hellenic Studies (1936) [doi:10.2307/626032], 25-35.
  118. Clements, Ernest: “The Four Parent Scales of Modal Music”, Proceedings of the Musical Association (1935), 77-91.
  119. Clough, J., J. Cuciurean, and J. Douthett: “Hyperscales and the generalized tetrachord”, Journal of Music Theory (1997), 67–100.
  120. Clough, J., J. Douthett, N. Ramanathan, and L. Rowell: “Early Indian heptatonic scales and recent diatonic theory”, Music Theory Spectrum (1993), 36–58.
  121. Clough, John and Gerald Myerson: “Musical Scales and the Generalized Circle of Fifths”, The American Mathematical Monthly (1986) [doi:10.2307/2322282], 695-701.
  122. Clough, John, Nora Engebretsen, and Jonathan Kochavi: “Scales, Sets, and Interval Cycles: A Taxonomy”, Music Theory Spectrum (1999), 74-104.
  123. Clutsam, G. H.: “The Whole-Tone Scale and Its Practical Use”, The Musical Times (1910a) [doi:10.2307/906172], 702-706.
  124. Clutsam, G. H.: “The Whole-Tone Scale and Its Practical Use (Concluded)”, The Musical Times (1910b) [doi:10.2307/906020], 775-778.
  125. Cohen, Dalia: “Patterns and Frameworks of Intonation”, Journal of Music Theory (1969) [doi:10.2307/843215], 66-92.
  126. 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.
  127. Cohen, Francis L.: “Ancient Musical Traditions of the Synagogue”, Proceedings of the Musical Association (1892), 135-158.
  128. Colles, H. C.: “The Childhood of the Whole-Tone Scale”, The Musical Times (1914) [doi:10.2307/905700], 16-20.
  129. Collins, Chris: “Manuel de Falla, ‘L’acoustique nouvelle’ and Natural Resonance: A Myth Exposed”, Journal of the Royal Musical Association (2003), 71-97.
  130. Cone, Edward T.: “Sessions’s Concertino”, Tempo, New Series (1975), 2-10.
  131. Cook, Scott: “‘Yue Ji’ 樂記 — Record of Music: Introduction, Translation, Notes, and Commentary”, Asian Music (1995) [doi:10.2307/834434], 1-96.
  132. Corbett-Smith, A.: “The Chinese and Their Music”, The Musical Times (1912) [doi:10.2307/907623], 573-575.
  133. Corona-Alcalde, Antonio: “‘You Will Raise a Little Your 4th Fret’: An Equivocal Instruction by Luis Milan?”, The Galpin Society Journal (1991) [doi:10.2307/842206], 2-45.
  134. Creedy, E. J.: “The Major Scale”, Music & Letters (1951), 202-203.
  135. Cross, Charles R.: “Notes on Equal Temperament and the Character of Musical Keys”, Proceedings of the American Academy of Arts and Sciences (1885) [doi:10.2307/25129834], 499-503.
  136. Crotch, Dr.: “On the Derivation of the Scale, Tuning, Temperament, the Monochord, &c.”, The Musical Times and Singing Class Circular (1861) [doi:10.2307/3355208], 115-118.
  137. Crotchet, Dotted: “Private Musical Collections. II. The Rev. F. W. Galpin’s Musical Instruments”, The Musical Times (1906) [doi:10.2307/904057], 521-529.
  138. Curtis, J.: “Greek Music”, The Journal of Hellenic Studies (1913) [doi:10.2307/624083], 35-47.
  139. Dalla Bella, Simone, Jean-François Giguère, and Isabelle Peretz: “Singing proficiency in the general population”, The Journal of the Acoustical Society of America (2007) [doi:10.1121/1.2427111], 1182.
  140. Daniels, Arthur: “Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas”, Journal of Music Theory (1965a) [doi:10.2307/843148], 2-51.
  141. Daniels, Arthur: “Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas”, Journal of Music Theory (1965b) [doi:10.2307/843162], 234-280.
  142. Davies, H. Walford: “Some New Scales and Chords”, The Musical Times (1920) [doi:10.2307/910690], 736-738.
  143. Davies, Harold: “Palæolithic Music”, The Musical Times (1927) [doi:10.2307/913812], 691-695.
  144. Day, C. R.: “Notes on Indian Music”, Proceedings of the Musical Association (1893), 45-66.
  145. Day-O’Connell, Jeremy: “The Rise of 6 in the Nineteenth Century”, Music Theory Spectrum (2002), 35-67.
  146. Dayton C. Miller: “The Pipes of Pan, Old and New, and How the Musical Scale Grew”, Bulletin of the American Musicological Society (1936), 11.
  147. Degazio, B.: “The Schillinger System of Musical Composition and Contemporary Computer Music” (1988).
  148. Degazio, Bruno: “The Evolution of Musical Organisms”, Leonardo Music Journal (1997) [doi:10.2307/1513242], 27-33.
  149. Delisle, Léopold: “Essai sur les neumes.”, Bibliothèque de l’école des chartes (1853) [doi:10.3406/bec.1853.445134], 264-284.
  150. Dench, Chris: “Sulle Scale della Fenice: Postscript”, Perspectives of New Music (1991) [doi:10.2307/833434], 100-105.
  151. Densmore, Frances: “Scale Formation in Primitive Music”, American Anthropologist, New Series (1909), 1-12.
  152. Deutsch, Diana, Alf Gabrielsson, John Sloboda, et al.: “Psychology of music”, Grove Music Online.
  153. Dickinson, Alan E. F.: “The Fingering of Scales on the Pianoforte”, The Musical Times (1924) [doi:10.2307/914001], 432-438.
  154. Dickson, Stewart: “On Electronic Strings in Live Performance: The Design and Construction of an Electroacoustic Monochord”, Perspectives of New Music (1981) [doi:10.2307/942433], 623-639.
  155. Donahue, Thomas: The modern classical organ: a guide to its physical and musical structure and performance implications, McFarland & Co. (1991).
  156. Donington, Robert: “The Harpsichord”, Music & Letters (1951), 201-202.
  157. Dostrovsky, Sigalia, Murray Campbell, James F. Bell, and C. Truesdell: “Physics of music”, Grove Music Online.
  158. Downes, C.: “Prime Numbers in Music Tonality”.
  159. Dubnov, S.: Polyspectral analysis of musical timbre, Citeseer (1996).
  160. Duchez, Marie-Elisabeth: “La repŕesentation spatio-verticale du caractère musical grave-aigu et l’élaboration de la notion de hauteur de son dans la conscience musicale occidentale”, Acta Musicologica (1979) [doi:10.2307/932176], 54-73.
  161. Dugot, Joël: “Les cordes pincées”, Revue de Musicologie (1993) [doi:10.2307/946896], 335-342.
  162. Duncan, Dudley: “Max Weber’s Unlucky Number”, Sociological Theory (1993) [doi:10.2307/202144], 230-233.
  163. Duriyanga, Phra Chen: “Siamese Music”, Asian Music (1982) [doi:10.2307/833879], 55-90.
  164. Edison Denisov: “The Compositional Process”, Tempo, New Series (1973), 2-11.
  165. Ekwueme, Laz E. N.: “Concepts of African Musical Theory”, Journal of Black Studies (1974), 35-64.
  166. Ellis, Alexander J.: “On the Conditions, Extent, and Realization of a Perfect Musical Scale on Instruments with Fixed Tones”, Proceedings of the Royal Society of London (1863), 93-108.
  167. Ellis, Alexander J.: “Tonic Sol-fa Minor Scale”, The Musical Times and Singing Class Circular (1886a) [doi:10.2307/3361705], 547-549.
  168. Ellis, Alexander J.: “Tonic Sol-Fa Minor Scale. Correction”, The Musical Times and Singing Class Circular (1886b) [doi:10.2307/3363218], 679.
  169. Ellis, Alexander John: “Illustrations of Just and Tempered Intonation”, Proceedings of the Musical Association (1874), 159-165.
  170. Ellis, Catherine J.: “Pre-Instrumental Scales”, Ethnomusicology (1965) [doi:10.2307/850317], 126-137.
  171. Elschek, Oskár: Die Musikforschung der Gegenwart: ihre Systematik, Theorie und Entwicklung, E. Stiglmayr (1992).
  172. Emerson, John A. and Kees Vellekoop: “Vollaerts, Jan W.A.”, Grove Music Online.
  173. Erlich, P.: “Tuning, tonality, and twenty-two-tone temperament”, Xenharmonikon (1998), 12–40.
  174. Erlich, P.: “A middle path between just intonation and the equal temperaments, part 1”, Xenharmonikôn (2006), 159–199.
  175. Fales, Cornelia: “The Paradox of Timbre”, Ethnomusicology (2002) [doi:10.2307/852808], 56-95.
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