1960-1969
Babbitt, M. (1960), Twelve-Tone Invariants as Compositional Determinants, Musical Quarterly, Vol. 46, No. 2, 249-259 (Reprint in The Collected Essays of Milton Babbitt, Princeton University Press, 2003, 55-69).
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.
Gamer, C. (1967), Some combinational resources of equal-tempered systems, JMT 11 (1), 32-59.
1970-1979
Babbitt, M. (1972), Past and Present Concepts of the Nature and Limits of Music. In Perspectives on Contemporary Music Theory (edited by B. Boretz and E. T. Cone), W. W. Norton & Company, New York, 3-9. Reprinted in The Collected Essays of Milton Babbitt, Princeton University Press, 2003, 78-85.
Forte, A. (1973), The Structure of Atonal Theory, Yale University Press.
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.
Clough, J. (1979), Aspects of diatonic sets, JMT 23 (1), 4561.
1980-1989
Balzano, G. (1980), The group-theoretic description of 12-fold and microtonal pitch systems, CMJ, 4, 66-84.
Forte, A. (1980), Aspects of Rhythm in Webern’s Atonal Music, MTS 2, 90-109.
Lewin, D. (1980), On Generalized Intervals and Transformations, JMT, Vol. 24, No. 2 (Autumn), 243-51.
Vieru, A. (1980), Cartea modurilor. Bucharest : Muzicala (vers. angl. 1993, The Book of Modes, Editura Muzicala, Bucharest).
Browne, R. (1981), Tonal implications of the diatonic set, ITO 5 (6-7), 3-21.
Hasty, C. (1981), Segmentation and Process in Post-Tonal Music, MTS 3, 54-73.
Christensen, T. (1982), The Schichtenlehre of Hugo Riemann, In Theory Only, Vol. 6, No. 4, 37-44.
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 Monthly, 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, MTS10, 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), 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.
1990-1999
Mazzola, G. (1990), Geometrie der Töne, Birkhäuser Verlag.
Boros, J. (1990), Some Properties of the All-Trichord Hexachord, ITO, 11(6), 19-41.
Hasty, C.F. (1990), An Intervallic definition of Set Class, JMT, 31, 183-204.
Isaacson, E.J. (1990), Similarity of Interval-Class Content between Pitch-Class Sets : The IcVSIM relation, JMT, 34(1), 1-28.
Lewin, D. (1990), Klumpenhouwer Networks and Some Isographies That Involve Them, MTS, Vol. 12, No. 1 (Spring), 83-120.
Morris, R. (1990), Pitch-Class complementation and its generalizations, MT, 34(2), 175-245.
Perle, G. (1990), Pitch-Class Set Analysis : An Evaluation, Journal of Musicology, 8, 151-172.
Perle, G. (1990), The Listening Composer, University of California Press (en particulier lecture 4: Pitches or Pitch-Classes?, 93-121).
Clough, J and J. Douthett (1991), Maximally Even Sets, JMT, 35, 93-173.
Marvin, E.W. (1991), The Perception of Rhythm in Non-Tonal Music : Rhythmic Contours in the Music of Edgard Varèse, MTS, 13(1), 61-78.
Babbitt, M. (1992), The Function of Set Structure in the Twelve-Tone System, PhD Thesis, Princeton University, Departement of Music (orig. 1946).
Clough, J., J. Douthett, N. Ramanathan and L. Rowell (1993), Early Indian Heptatonic Scales and Recent Diatonic Theory, MTS, 15(1), 36-58.
Dunsby, J. (1993) (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).
Fripertinger, H. (1993), Enumeration in Musical Theory, Volume 1 of Beiträge zur elektronischen Musik. Graz : Institut für elektronische Musik an der Hochschule fr Musik und darstellende Kunst.
Gut, S. (1993), Plaidoyer pour une utilisation ponderée des principes riemanniens d'analyse tonale, Analyse Musicale, 1er trimestre, 13-20.
Morris, R. (1993), New Directions in the Theory and Analysis of Musical Contour, MTS, 15(2), 205-228.
Block S. and J. Douthett (1994), Vector products and intervallic weighting, JMT, 38(1), 21-41.
Clough, J. (1994), Diatonic interval cycles and hierarchical structure, PNM, 32(1), 228-253.
Conner, T. A. (1994), Techniques for Manipulating the Internal Structure of Mosaics, ITO, 12(7-8), 15-34.
Atlas R. et Cherlin M. (1994) (éd.) Musical Transformation and Musical Intuition (Eleven Essays in honor of David Lewin), Ovenbird Press.
Harrison, D. (1994), Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press, 215-322.
Klumpenhouwer, H. (1994), Some Remarks on the Use of Riemann Transformations, MTO, Vol. 0, No. 9, July.
Slough, J. (1994), Diatonic Interval Cycles and Hierarchical Structures, PNM, Vol. 32, No. 1, 228-253
Agmon, E. (1995), Functional harmony revisited : A prototype-theoretic approach. MTS 17 (2), 196214.
Agmon, E. (1995), Diatonicism and Farey Series, Muzica, 1, 68-73.
Clampitt, D. (1995), Some Refinements on the Three Gap Theorem, with application to music, Muzica, 2, 12-21.
Clough, J. and J. Douthett (1995), Hypertetrachords, Muzica, 1, 100-109.
Hyer, B. (1995), "Reimag(in)ing Riemann", JMT, Vol. 39, No. 1 (Spring), 101-138.
Morris, R. (1995), Compositional Spaces and Other Territories, PNM, 33(1/2), 328-358.
Morris, R. (1995), Equivalence and Similarity in pitch and their interaction with PCSet Theory, JMT, 39(2), 207-243.
Soderberg, S. (1995), Z-Related Sets as dual inversions, JMT, 39(1), 77-100.
Agmon, E. (1996), Coherent tone-systems: a study in the theory of diatonicism, JMT, 40(1), 39-59.
Alegant, B. (1996), Unveiling Schoenberg’s op. 33b, MTS, 18(2), 143-166.
Cohn, R. (1996), Maximally smooth cycles, Hexatonic systems, and the analysis of late-romantic triadic progressions, MA, 15/i, 9-40.
Haimo, E. (1996), Atonality, Analysis and the Intentional Fallacy, MTS, 18(2), 167-199.
Lewin, D. (1996), Cohn Functions, JMT, 40(2), 181-216.
Agmon, E. (1997), Musical Durations as Mathematical Intervals : Some implications for the Theory and Analysis of Rhythm, MA, 16/i, 45-75.
Agmon, E. (1997), 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 (1997) (ed.), Music Theory in Concept and Practice. Eastman Studies in Music.
Cope, D. (1997), Techniques of the Contemporary Composer. (en particulier le chapitre 7: "Pitch-Class sets", 77-98).
Cohn, R. (1997), Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations, JMT, Vol. 41, No. 1, 1-66.
Noll, T. (1997), Morphologische Grundlagen der abendländischen Harmonik, Musikometrika, Volume 7.
Carey, N. (1998), Distribution Modulo 1 and Musical Scales,
PhD Thesis, University of Rochester, 1998. Disponible en format
html à l'adresse :
http://theory.esm.rochester.edu/norman_carey/ncarey-diss.html
Clough, J. (1998), A rudimentary geometric model for contextual transposition and inversion, JMT, 42(2), 297-319.
Cohn, R. (1998), Introduction to neo-riemannian theory: a survey and a historical perspective, JMT, 42(2), 167-180.
Cohn, R. (1998), Square dances with cubes, JMT, 42(2), 283-296.
Douthett, J. and P. Steinbach (1998), Parsimonious graphs: a study in parsimony, contextual transformations, and modes of limited transposition, JMT, 42(2), 241-263.
Heinemann, S. (1998), Pitch-Class Set Multiplication in Theory and Practice, MTS, 20(1), 72-96.
Krumhansl, C. (1998), Perceived Triad Distance: Evidence Supporting the Psychological Reality of Neo-Riemannian Transformations, JMT, Vol. 42, No. 2 (Autumn), 265-81.
Morris, R. (1998), Voice-Leading Spaces, MTS, 20(2), 175-208.
Scott, D. and E. J. Isaacson (1998), The Interval Angle: a similarity measure for pitch-class sets, PNM, 36(2), 107-142.
Alegant, B. (1999), When Even becomes Odd : a partitional approach to inversion, JMT, 43(2), 193-230.
Clough, J., N. Engebretsen and J. Kochavi (1999), Scales, Sets and Interval Cycles: A Taxonomy, MTS, 21(1), 74-104.
2000-2008
Gollin, E. H. (2000), Representations of Space and Conceptions of distance in Transformational Music Theories, PhD, Harvard University.
Gould, M. (2000), Balzano and Zweifel: another look at generalized diatonic scales, PNM, 38(2), 88-105.
Meeùs, N. (2000), Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions, MTO, Vol. 6, No 1, January.
Santa, M. (2000), Analysing Post-Tonal Diatonioc Music: a Modulo 7 perspective, MA, 19/ii, 167-201.
Alegant, B. (2001), Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music, MTS, 23(1), 1-40.
Rahn, J. (2001), Music Inside Out. Going too far in musical essays, Overseas Publisher Association.
Klumpenhouwer, H. (2002), Dualist tonal space and transformation in nineteenth-century musical though. In The Cambridge History of Western Music Theory (Thomas Christensen ed.), Cambridge: Cambridge University Press, 456-76.
Hascher, X. (2002), Liszt et les sources de la notion d'agrégat, Analyse musicale, 43 (juin), 48-56
Hook, J. (2002), Uniform Triadic Transformations, JMT, Vol. 46, No2. 1-2 (Spring/Fall), 57-126.
Noll, T. (2002), Tone Apperception, Weber-Fechner's Law and the GIS-Model, (Séminaire MaMuX, séance « Formalisations et représentations musicales : entre Set-Theory, théories diatoniques et approches néo-riemanniennes », IRCAM, décembre)
Andreatta, M. et Schaub, S. (2003), Une introduction à la Set Theory : Les concepts à la base des théories d'Allen Forte et de David Lewin, Mus, Vol. X/1, 73-92 (draft version)
Cathé, P. (2003), Charles Koechlin, Sicilienne de la Deuxième Sonatine, opus 59 n° 2 : vecteurs et modalité harmonique, Mus, Vol. X/3-4.
Meeùs, N. (2003), Vecteurs harmoniques, Mus, Vol. X/3-4.
Riotte, A. (2003), Quelques réflexions sur l'analyse formalisée, Mus, Vol. X/1, 61-71.
Quinn, I. (2004), A Unified Theory of Chord Quality in Equal Temperaments, Ph. D. thesis, Eastman School of Music, University of Rochester, Rochester, New York.
Chouvel, J.-M. (2005), Représentation harmonique hexagonale toroïde, Musimédiane, n°1, décembre.
Gollin, E. (2005), Neo-Riemannian Theory, GMTH (Deutsche Gesellschaft für Musiktheorie).
Picard, F. (2005), Echelles et modes, pour une musicologie géenéralisée, (Document interne CRLM, disponible en pdf)
Tymoczko, D. (2006), The Geometry of Musical Chords, Science 313, 72-74 (Software ChordGeometries)
Amiot, E. (2007), David Lewin and Maximally Even Sets, JMM 1 (3), 157-172.
Andreatta, M., J.-M. Bardez, and J. Rahn (éd.) (2008), Autour de la Set Theory / Around Set Theory, Collection "Musique/Sciences", Ircam/Delatour, Sampzon.
Clifton C., Quinn, I. et Tymoczko D., (2008), Generalized Voice-Leading Spaces, Science 320 (5874), 346.
Hall, R. W. (2008), Geometrical Music Theory, Science, 320 (5874), 328-329.
Jedrzejewski, F. (2008), Generalized diatonic scales, JMM, 2(1), 21-36.
Junod, J. (2008), Etude combinatoire et informatique du caractère diatonique des échelles à sept notes, Mémoire de Master ATIAM, Ircam/Université Paris 6. (en pdf). Atlas des modes.
Textes de référence :
Forte, A. (1973), The Structure of Atonal Music, Yale University Press.
Riotte, A. (1978-1990), Formalisation de structures musicales (Contenu des cours dispensé à l'Université Paris 8 de 1978 à 1990). Disponible en ligne à l'adresse : http://www.andreriotte.org/formalisation/index.htm
Rahn, J. (1980), Basic Atonal Theory, Schirmer Books.
Lewin, D. (1987), Generalized Musical Intervals and Transformations, Yale University Press (nouvelle édition 2007, Oxford University Press).
Morris, R. (1987), Composition with Pitch-Classes : A Theory of Compositional Design, Yale University Press.
Lewin, D. (1993), Musical Form and Transformation: 4 Analytic Essays, Yale University Press (nouvelle édition 2007, Oxford University Press).
Verdi, L. (1998), Organizzazione delle altezze nello spazio temperato, Ensemble '900, Treviso.
Morris, R. (2001), Class Notes for Advanced Atonal Music Theory, Frog Peak Music.
Mazzola, G. (2002), The Topos of Music, Birkhäuser Verlag.
Johnson, T. A. (2003). Foundations of diatonic theory : a mathematical ly based approach to music fundamentals. Emeryville, CA : Key College Pub.
Jedrzejewski, F. (2006), Mathematical Theory of Music, Collection "Musique/Sciences", Ircam/Delatour France.
Moreno Andreatta,
Equipe Représentations Musicales
IRCAM/CNRS
Moreno.Andreatta [at] ircam.fr
[juillet 2008]