RE: Bibliography

These are from the bibliography from my forthcoming paper. These may or may
not be in the tuning bibliography (the ones with an asterisk are
specifically concerned with questions of tuning):

Blackwell, H. and Scholsberg, H. 1943. "Octave Generalization, Pitch
Discrimination, and Loudness Threshold in the White Rat." Journal of
Experimental Psychology Vol. 33 p. 407.

*Blackwood, Easley. 1991. "Modes and Chord Progressions in Equal Tunings."
Perspectives of New Music Vol. 29 No. 2 pp. 166-200.

*Fokker, Adriaan D. 1975. New Music with 31 Notes. Verlag fUr systematische
Musikwissenschaft GmbH, Bonn.

Goldstein, J. L. 1973. "An optimum processor theory for the central
formation of the pitch of complex tones." J. Acoust. Soc. Amer. Vol. 54 p.
1496.

*Keislar, Douglas. 1991. "Six American Composers on Nonstandard Tunings."
Perspectives of New Music Vol. 29 No. 2 p. 177.

*Krumhansl, Carol L. 1987. "General Properties of Musical Pitch Systems:
Some Psychological Considerations." In: Harmony and Tonality. J. Sundberg,
ed. (q.v.) [My paper corrects a factual error in this paper.]

*Mann, Chester D. 1990. Analytic Study of Harmonic Intervals. Tustin, Calif.

*Meyer, Max F. 1929. "The Musician's Arithmetic: Drill Problems for an
Introduction to the Scientific Study of Musical Composition." University of
Missouri Studies Vol. IV. Columbia, Missouri.

Parncutt, Richard, 1989. Harmony: A Psychoacoustical Approach.
Springer-Verlag, New York, p. 70.

*Partch, Harry. 1974. Genesis of a Music. Da Capo Press, New York.

Roederer, Juan G. 1975. Introduction to the Physics and Psychophysics of
Music. Springer-Verlag, New York.

*Sundberg, J., ed. 1987. Harmony and Tonality. Royal Swedish Academy of
Music, Stockholm.

Terhardt, E. 1974. "Pitch, consonance and harmony." J. Acoust. Soc. Amer.
Vol 55 p. 1061.

*van Eck, C. L. van Panthaleon. 1981. J. S. Bach's Critique of Pure Music.
Princo, Culemborg, The Netherlands.

Wightmann, F. L. 1973. "The pattern-transformation model of pitch." J.
Acoust Soc. Amer. Vol. 54 p. 407.

*Yasser, Joseph 1932. A Theory of Evolving Tonality. American Library of
Musiclogy, New York.


Received: from eartha.mills.edu [144.91.3.20] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Mon, 17 Jun 1996 17:08 +0100
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id IAA02577; Mon, 17 Jun 1996 08:08:23 -0700
Date: Mon, 17 Jun 1996 08:08:23 -0700
Message-Id: <05960617150350/0005695065PK4EM@MCIMAIL.COM>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu

>The scale Pauls Hahn and Erlich posted in TD 1412 is precisely the
>"Triple Just" scale that Bill Flavell has been promoting on the
>rec.music.theory USENET newsgroup. Flavell derived his scale by
combining just major scales on 1/1, 4/3 and 5/3.

You must have missed the fact that Bill Flavell himself started the
whole thread himself with some (slightly incorrect) ratios he posted to
>this list. I failed to see anything special about his scale except the seven
>just major triads. Someone should let Bill know that there is a 12-tone scale
>which contains just as many just major triads as, but one more just minor
>triad than, his scale. Of course, this "better" scale doesn't have any "just
>major scales."