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[APA format] Musical Temperament References

This is a list of references related to Musical Temperaments cited throughout Flutopedia.

The references on this page are a sub-set of the complete list of Flutopedia references.

For information on the format and other details of these citations, see the main references page.

[APA format] Musical Temperament References

[Asmussen 2001] Asmussen, R. (2001). Periodicity of sinusoidal frequencies as a basis for the analysis of Baroque and Classical harmony: A computer based study (Doctoral dissertation, School of Music, The University of Leeds, England).

[Barbour 1951] Barbour, J. M. (1951). Tuning and temperament: A historical survey. East Lansing, Michigan: Michigan State College Press. Publication tuningtemperamen00barb on Archive.org (open access).

[Boswell 1970] Boswell, G. W. (1970). The neutral tone as a function of folk-song text, Yearbook of the International Folk Music Council, 2, 127–132. Publication 767430 on JSTOR (subscription access).

[Braun-M 2002] Braun, M. (2002). The gamelan pelog scale of Central Java as an example of a non-harmonic musical scale, retrieved January 20, 2015.

[Bronk 2010] Bronk, B. (2010). It’s just intonation, Bandmasters Review, 15–21.

[Bucht 2004] Bucht, S., & Huovinen, E. (2004). Perceived consonance of harmonic intervals in 19-tone equal temperament, Proceedings of the Conference on Interdisciplinary Musicology (CIM04), Graz, Austria, April 15–18, 2004, 1–10.

[Carlos 1996] Carlos, W. (1996). Three asymmetric divisions of the octave.

[Cazden 1958] Cazden, N. (1958). Pythagoras and Aristoxenos reconciled, Journal of the American Musicological Society, 11(2/3), 97–105. Publication 829897 on JSTOR (subscription access).

[Cox 2013] Cox, T. (2013). Pitch shifting to 432 hz doesn’t improve music, retrieved July 6, 2015.

[Duffin 2008] Duffin, R. W. (2008). How equal temperament ruined harmony (and why you should care). W. W. Norton.

[Favaro 2003] Favaro, J. (2003). Slightly out of tune: The story of musical temperament.

[Forinash 2015] Forinash, K. (2015). An interactive ebook on the physics of sound. Indiana University Southeast, retrieved January 28, 2015.

[Gardner-Z 2013] Gardner, Z. (2013). 440Hz music – Conspiracy to detune us from natural 432Hz harmonics?, retrieved July 6, 2015.

[Geringer 1976] Geringer, J. M. (1976). Tuning preferences in recorded orchestral music, Journal of Research in Music Education, 24(4), 169–176, doi:10.2307/3345127. Publication 3345127 on JSTOR (subscription access).

[Hagerman 1980] Hagerman, B., & Sundberg, J. (1980). Fundamental frequency adjustment in barbershop singing, Journal of Research in Singing, 4(1), 3–17.

[Hahn-K 2002] Hahn, K., & Vitouch, O. (2002). Preference for musical tuning systems: How cognitive anatomy interacts with cultural shaping, Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney, Australia. Adelaide, Australia: Causal Productions, 757–760.

[Hall 1984] Hall, D. E., & Hess, J. T. (1984). Perception of musical interval tuning, Music Perception: An Interdisciplinary Journal, 2(2), 166–195, doi:10.2307/40285290. Publication 40285290 on JSTOR (subscription access).

[Heathwaite 2010] Heathwaite, A. (2010). Gallery of just intervals, retrieved January 28, 2015.

[Heathwaite 2011] Heathwaite, A. (2011). Overtone scales, retrieved January 28, 2015.

[Johnson-HB 1963] Johnson, H. B. (1963). An investigation of the tuning preferences of a selected group of singers with reference to just intonation, Pythagorean tuning, and equal temperament (Mus.Ed.D. dissertation, Indiana University).

[Jorgensen 1991] Jorgensen, O. H. {. (1991). Tuning — Containing the perfection of eighteenth-century temperament, the lost art of nineteenth-century temperament, and the science of equal temperament, complete with instructions for aural and electronic tuning. Michigan State University Press: published by, East Lansing, Michigan.

[Jorgensen 2009] Jorgensen, O. H. {. (2009). About the temperament used by J. S. Bach and others. Frank French on Tuner's Art: published by, retrieved November 24, 2011.

[Jorgensen 2006] Jorgensen, O., & Kanter, J. (2006). Temperaments visualized.

[Kanter 2006] Kanter, J. (2006). Temperaments visualized, retrieved December 6, 2011.

[Kappraff 2005] Kappraff, J., & McClain, E. G. (2005). The system of proportions of the parthenon: A work of musically inspired architecture, Music in Art, 30(1/2), 5–16. Publication 41818772 on JSTOR (subscription access).

[Keenan 2003] Keenan, D. C. (2003). Harmonic errors in equal tempered musical scales. Originally published February 19, 1998.

[Keislar 1991] Keislar, D., Blackwood, E., Eaton, J., Harrison, L., Johnston, B., Mandelbaum, J., & Schottstaedt, W. (1991). Six American composers on nonstandard tunings, Perspectives of New Music, 29(1), 176–211. Publication 833076 on JSTOR (subscription access).

[Kellner 1979] Kellner, H. A. (1979). A mathematical approach reconstituting J. S. Bach's keyboard-temperament, Bach, 10(4), 2–8. Publication 41640089 on JSTOR (subscription access).

[Kellner 1999] Kellner, H. A. (1999). A mathematical approach reconstituting J. S. Bach's keyboard-temperament, Bach, 30(1), 1–9. Publication 41640471 on JSTOR (subscription access).

[Kopiez 2003] Kopiez, R. (2003). Intonation of harmonic intervals: Adaptability of expert musicians to equal temperament and just intonation, Music Perception: An Interdisciplinary Journal, 20(4), 383–410, doi:10.1525/mp.2003.20.4.383. Publication 10.1525/mp.2003.20.4.383 on JSTOR (subscription access).

[Ladd 2008] Ladd, D. R. (2008). Intonational phonology, Cambridge Studies in Linguistics. Cambridge University Press.

[Lee-KM 2015] Lee, K. M., Skoe, E., Kraus, N., & Ashley, R. (2015). Neural transformation of dissonant intervals in the auditory brainstem, Music Perception: An Interdisciplinary Journal, 32(5), 445–459, doi:10.1525/mp.2015.32.5.445. Publication 10.1525/mp.2015.32.5.445 on JSTOR (subscription access).

[Lehman 1967] Lehman, P. R. (1967). Review of An investigation of the tuning preferences of a selected group of singers with reference to just intonation, Pythagorean tuning, and equal temperament, Bulletin of the Council for Research in Music Education, 10, 51–53. Publication 40316936 on JSTOR (subscription access).

[Lewis-P 1998] Lewis, P. (1998). Understanding temperaments, Version 1.2.

[Long 2008] Long, D. R. (2008). Coincidence theory: Seeking a perceptual preference for just intonation, equal temperament, and Pythagorean intonation in excerpts for wind instruments (Ph.D. dissertation, The University of Southern Mississippi).

[Loosen 1993] Loosen, F. (1993). Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations, Journal of the Acoustical Society of America, 93(1), 525–539, doi:10.1121/1.405632.

[Loosen 1995] Loosen, F. (1995). The effect of musical experience on the conception of accurate tuning, Music Perception: An Interdisciplinary Journal, 12(3), 291–306. Publication 40286185 on JSTOR (subscription access).

[Mandelbaum 1961] Mandelbaum, M. J. (1961). Multuple division of the octave and the tonal resources of 19-tone temperament (Doctoral dissertation, Indiana University).

[Marcus 1993] Marcus, S. (1993). The interface between theory and practice: Intonation in Arab music, Asian Music, 24(2), 39–58. Publication 834466 on JSTOR (subscription access).

[Mason-JA 1960] Mason, J. A. (1960). Comparison of solo and ensemble performances with reference to Pythagorean, Just, and Equi-Tempered intonations, Journal of Research in Music Education, 8(1), 31–38. Publication 3344235 on JSTOR (subscription access).

[McClain 1979] McClain, E. G.; Hung, M. S. (translations) (1979). Chinese cyclic tunings in late antiquity, Ethnomusicology, 23(2), 205–224.

[Messiaen 1944] Messiaen, O.; Satterfield, J. (translation) (1944). The technique of my musical language — La technique de mon langage musical. Paris, France: Alfonse Leduc.

[Missin 2004] Missin, P. (2004). Audio examples of just intonation and equal temperament applied to the harmonica, retrieved July 6, 2015.

[Monzo 2004] Monzo, J. L. (2004). The measurement of Aristoxenus's divisions of the tetrachord.

[Renold 2004] Renold, M.; Stevens, B. (translation); Meuss, A. R. (editor) (2004). Intervals, scales, tones and the concert pitch C = 128 Hz. East Sussex, England: Temple Lodge Publishing.

[Rich-R 2010] Rich, R. (2010). Tuning presets in the motm 650.

[Russell-J 2013] Russell, J. (2013). Towards a difference limen of pitch perception. 21harmony.com.

[Schellenberg 1996] Schellenberg, E. G., & Trehub, S. E. (1996). Natural musical intervals: Evidence from infant listeners, Psychological Science, 7(5), 272–277. Publication 40062961 on JSTOR (subscription access).

[Schellenberg 2001] Schellenberg, E. G. (2001). Asymmetries in the discrimination of musical intervals: Going out-of-tune is more noticeable than going in-tune, Music Perception: An Interdisciplinary Journal, 19(2), 223–248. Publication 10.1525/mp.2001.19.2.223 on JSTOR (subscription access).

[Surjodiningrat 1972] Surjodiningrat, W., Sudarjana, P. J., & Susanto, A. (1972). Tone measurements of outstanding Javanese gamelan in Jogjakarta and Surakata, Second Revised Edition. Jogjakarta, Indonesia: Gadjah Mada University Press.

[Vurma 2006] Vurma, A., & Ross, J. (2006). Production and perception of musical intervals, Music Perception: An Interdisciplinary Journal, 23(4), 331–344. Publication 10.1525/mp.2006.23.4.331 on JSTOR (subscription access).

[Zaw 1940] Zaw, K. (1940). Burmese music — A preliminary enquiry, Bulletin of the School of Oriental and African Studies, University of London, 10(3), 717–754, doi:10.1017/S0041977X0008873X. Publication 608839 on JSTOR (subscription access).

[Zaw 1940a] Zaw, K. (1940). Burmese music — A preliminary enquiry, Journal of the Burma Research Society, 30, 387–422.

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