Benjamin, W.
(1981). Pitch-class counterpoint in tonal music. In: R. Browne (Ed.), Music Theory Special Topics. London: Academic Press.
2.
de Boer, E.
(1976). On the "residue" and auditory pitch perception. In: W. Keidel and W. Neff (Eds.), Handbook of Sensory Physiology (vol. V/3). New York: Springer-Verlag.
3.
Dahlhaus, C.
(1980). Harmony. In: S. Sadie (Ed.), Grove's Dictionary of Music. London: Macmillan.
4.
Erickson, R.
(1982). New music and psychology. In: D. Deutsch (Ed.), The Psychology of Music. London: Academic Press.
5.
Forte, A.
and Gilbert, S. (1982). Introduction to Schenkerian Analysis. New York: Norton.
6.
Lerdahl, F.
and Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambridge, Mass.: MIT Press.
7.
Reti, R.
(1967). Thematic Patterns in the Sonatas of Beethoven (Ed. Cooke). London: Faber & Faber.
8.
Rosen, C.
(1976). The Classical Style. London: Faber & Faber.
9.
Schenker, H.
(1980) (originally published 1906). Harmony. Chicago: University of Chicago Press.