1960-1969
Forte, A. 1964. " A Theory of Set-Complexes for Music ", JMT, 8, 136-184.
Clough, J. 1965. Pitch-Set Equivalence and Inclusion (A comment on Forte's Theory of Set-Complexes), JMT 9(1), 163-180.
Lewin, D. 1966. " On Certain Techniques of Re-Ordering in Serial Music ", JMT, 10(2), 276-287.
1970-1979
Browne, R. 1974. Review of Allen Forte's theory of chords, JMT, 18(2), 390-415.
Morris, R. and D. Starr. 1974. " The structure of all-interval series ", JMT, 18(2), 364-389.
Regener, R. 1974. " On Allen Forte's theory of chords ", PNM, 13, 191-212.
Fuller, R. 1975. " A structuralist approach to the diatonic scale ", JMT, 19(2), 182-210.
Lansky, P. 1975. " Pitch-Class Consciousness ", PNM, 30-56.
Starr, D. 1978. " Sets, Invariance and partitions ", JMT, 22, 1-42.
Forte, A. 1978. The Harmonic organization of the Rite of Spring, Yale University Press.
Beach, D.W. 1979. " Pitch Structure and the Analytic Process in Atonal Music : An Interprestation of the Theory of Sets ", MTS, 1, 7-22.
Forte, A. 1980. " Aspects of Rhythm in Webern’s Atonal Music ", MTS, 2, 90-109.
1980-1989
Balzano, G. 1980. " The group-theoretic description of 12-fold and microtonal pitch systems ", CMJ, 4, pp.66-84.
Hasty, C. 1981. " Segmentation and Process in Post-Tonal Music ", MTS, 3, 54-73.
Lewin. D. 1982. " A Formal Theory of Generalized Tonal Functions ", JMT, 26(1), 23-60.
Morris, R. 1982. " Set groups, complementation, and mappings among pitch-class sets ", JMT, 26(1), 101-144.
Schmalfeldt, J. 1983. Berg's Wozzeck harmonic language and dramatic design. Yale University Press.
Clough, J. and G. Myerson. 1985. " Variety and multiplicity in diatonic systems ", JMT, 29(2), 249-270.
Cross, J. 1985. " Can Analysis be taught ? ", MA, 4, 1/2, 183-194.
Clough, J. and G. Myerson. 1986. " Musical scales and the generalized cycle of fifths ", American Mathematical Society, 93(9), 695-701.
Pople, A. 1986. Review of Janet Schmalfeldt’s Berg’s Wozzeck : Harmonic Language and Dramatic Design, MA, 5, 2/3, 265-270.
Roeder, J. 1987. " A geometric representation of pitch-class series ", PNM, 25, 362-409.
Cohn, R. 1988. " Inversional Symmetry and Transpositional Combination in Bartok ", MTS, 10, 19-42.
Morris, R. and B. Alegant, 1988. " The Even Partitions in The Twelve-Tone Music ", MTS, 10, 74-101.
Agmon, E. 1989. " A mathematicam model of the diatonic system ", JMT, 33, 1-25.
Carey, N. and D. Clampitt. 1989. " Aspects of Well-formed Scales ", MTS, 11(2), 187-206.
Clough, J. 1989. " Use of the exclusion relation to profile pitch-class sets ", JMT, 33, 181-201.
Cope, D. 1989. New Directions in Music (fifth edition), wcb, 1989 (en particulier le chapitre 2: " Roots of the experimental tradition ", 30-54).
Deliège, C. 1989. " La Set-Theory ou les enjeux du pléonasme ", Analyse Musicale, 4e trimestre, 64-79.
Forte, A. 1989. " La Set-complex theory : élevons les enjeux ", Analyse Musicale, 4e trimestre, 80-86.
Huck, W. 1989. " An Exploration of Linear Algebraic Models of Musical Spaces ", Indiana Theory Review, 10, 51-63.
Mead, A. 1989. " The State of Research in Twelve-Tone and Atonal Theory ", MTS, 11(1), 40-48.
Mead, A. 1989. . " The State of Research in Twelve-Tone and Atonal Theory ", MTS, 11(1), 40-48.
Mesnage, M. 1989. " La Set-Complex Theory : de quels enjeux s'agit-il? ", Analyse Musicale, 4e trimestre, 87-90.
Rahn, J. 1989/90. " Notes on Methodology in Music Theory ", JMT, 34, 143-154.
Rahn, J. 1989. " Toward a Theory of Chord Progression ", ITO, 11(1-2), 1-10.
Walker, R. 1989. " Modes and Pitch-Class sets in Messiaen : a brief discussion of 'Première Communion de la Vierge ", MA, 159-168.
1990
Mazzola, G. Geometrie der Töne, Birkhäuser Verlag.
Boros, J. " Some Properties of the All-Trichord Hexachord ", ITO, 11(6), 19-41.
Hasty, C.F. " An Intervallic definition of Set Class ", JMT, 31, 183-204.
Isaacson, E.J. " Similarity of Interval-Class Content between Pitch-Class Sets : The IcVSIM relation ", JMT, 34(1), 1-28.
Morris, R. " Pitch-Class complementation and its generalizations ", MT, 34(2), 175-245.
Perle, G. " Pitch-Class Set Analysis : An Evaluation ", Journal of Musicology, 8, 151-172.
Perle, G. The Listening Composer. University of California Press (en particulier lecture 4: Pitches or Pitch-Classes?, 93-121).
1991
Clough, J and J. Douthett. " Maximally Even Sets ", JMT, 35, 93-173.
Marvin, E.W. " The Perception of Rhythm in Non-Tonal Music : Rhythmic Contours in the Music of Edgard Varèse ", MTS, 13(1), 61-78.
1993
Clough, J., J. Douthett, N. Ramanathan and L. Rowell " Early Indian Heptatonic Scales and Recent Diatonic Theory ", MTS, 15(1), 36-58.
Dunsby, J. (ed.) Models of Musical Analysis. Early Twentieth-Centiry Music, Blackwell (en particulier, le chapitre 6: " The Theory of Pitch-Class Sets " by B. Simms et le chapitre 7: " Foreground Rhythm in Early Twentieth-Century Music " by A; Forte).
Morris, R. " New Directions in the Theory and Analysis of Musical Contour ", MTS, 15(2), 205-228.
Vieru, A. The Book of Modes, Editura Muzicala, Bucharest.
1994
Block S. and J. Douthett. " Vector products and intervallic weighting ", JMT, 38(1), 21-41.
Clough, J. " Diatonic interval cycles and hierarchical structure ", PNM, 32(1), 228-253.
Conner, T. A. " Techniques for Manipulating the Internal Structure of Mosaics ", ITO, 12(7-8), 15-34.
Atlas R. et Cherlin M. (éd.) Musical Transformation and Musical Intuition (Eleven Essays in honor of David Lewin), Ovenbird Press.
1995
Agmon, E. " Diatonicism and Farey Series ", Muzica, 1, 68-73.
Clampitt, D. " Some Refinements on the Three Gap Theorem, with application to music ", Muzica, 2, 12-21.
Clough, J. and J. Douthett. " Hypertetrachords ", Muzica, 1, 100-109.
Morris, R. " Compositional Spaces and Other Territories ", PNM, 33(1/2), 328-358.
Morris, R. " Equivalence and Similarity in pitch and their interaction with PCSet Theory ", JMT, 39(2), 207-243.
Soderberg, S. " Z-Related Sets as dual inversions ", JMT, 39(1), 77-100.
1996
Agmon, E. " Coherent tone-systems: a study in the theory of diatonicism ", JMT, 40(1), 39-59.
Alegant, B. " Unveiling Schoenberg’s op. 33b ", MTS, 18(2), 143-166.
Cohn, R. " Maximally smooth cycles, Hexatonic systems, and the analysis of late-romantic triadic progressions ", MA, 15/i, 9-40.
Haimo, E. " Atonality, Analysis and the Intentional Fallacy ", MTS, 18(2), 167-199.
Lewin, D. " Cohn Functions ", JMT, 40(2), 181-216.
1997
Agmon, E. " Musical Durations as Mathematical Intervals : Some implications for the Theory and Analysis of Rhythm ", MA, 16/i, 45-75.
Agmon, E. " Octave Equivalence versus Octave Relatedness: Circle versus Helix; chord versus melody ", Proceedings of the Third Triennial Escom Conference, Uppsala University, 122-127.
Baker, J., D. Beach and J. Bernard (ed.). Music Theory in Concept and Practice. Eastman Studies in Music.
Cope, D. Techniques of the Contemporary Composer. (en particulier le chapitre 7: " Pitch-Class sets ", 77-98).
Noll, T. Morphologische Grundlagen der abendländischen Harmonik, Musikometrika, Volume 7.
1998
Clough, J. " A rudimentary geometric model for contextual transposition and inversion ", JMT, 42(2), 297-319.
Cohn, R. " Introduction to neo-riemannian theory: a survey and a historical perspective ", JMT, 42(2), 167-180.
Cohn, R. " Square dances with cubes ", JMT, 42(2), 283-296.
Douthett, J. and P. Steinbach : " Parsimonious graphs: a study in parsimony, contextual transformations, and modes of limited transposition ", JMT, 42(2), 241-263.
Heinemann, S. " Pitch-Class Set Multiplication in Theory and Practice ", MTS, 20(1), 72-96.
Morris, R. " Voice-Leading Spaces ", MTS, 20(2), 175-208.
Scott, D. and E. J. Isaacson. " The Interval Angle: a similarity measure for pitch-class sets ", PNM, 36(2), 107-142.
1999
Alegant, B. " When Even becomes Odd : a partitional approach to inversion ", JMT, 43(2), 193-230.
Clough, J., N. Engebretsen and J. Kochavi. " Scales, Sets and Interval Cycles: A Taxonomy ", MTS, 21(1), 74-104.
2000
Gould, M. " Balzano and Zweifel: another look at generalized diatonic scales ", PNM, 38(2), 88-105.
Santa, M. " Analysing Post-Tonal Diatonioc Music: a Modulo 7 perspective ", MA, 19/ii, 167-201.
Gollin, E. H. Representations of Space and Conceptions of distance in Transformational Music Theories, PhD, Harvard University.
2001
Alegant, B. " Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music ", MTS, 23(1), 1-40.
Rahn, J. Music Inside Out. Going too far in musical essays, Overseas Publisher Association.
2002
Mazzola, G. The Topos of Music, Birkhäuser Verlag.
Textes de référence :
Forte, A. The Structure of Atonal Music, Yale University Press, 1973.
Rahn, J. Basic Atonal Theory, Schirmer Books, 1980.
Lewin, D. Generalized Musical Intervals and Transformations, Yale University Press, 1987.
Morris, R. Composition with Pitch-Classes : A Theory of Compositional Design, Yale University Press, 1987.
Lewin, D. Musical Form and Transformation: 4 Analytic Essays, Yale University Press, 1993.
Verdi, L. Organizzazione delle altezze nello spazio temperato, Ensemble '900, Treviso, 1998.
Morris, R. Class Notes for Advanced Atonal Music Theory, Frog Peak Music, 2001.
Moreno Andreatta,
Equipe Représentations Musicales
IRCAM
(November 2002).