Books

@book{ AlighieriSinclairInferno1939,
	title  =  { The Divine Comedy: Inferno },
	author = { Alighieri, Dante and Sinclair, John D. },
	translator = { Sinclair, John D. },
	isbn = { 978-0-19-500412-0 },
	catalogue-url = { https://www.worldcat.org/title/divine-comedy-of-dante-alighieri/oclc/1132460 },
	year = { 1939 },
	publisher = { Oxford University Press },
	location = { New York },
}

@book{ BarthesALoverSDiscourse1978,
	author = { Barthes, Roland },
	title = { A Lover's Discourse: Fragments },
	language = { English },
	isbn = { 978-0-37-452161-5 },
	lccn = { 98036167 },
	catalogue-url = { https://www.worldcat.org/title/lovers-discourse-fragments/oclc/3869971 },
	url = { https://monoskop.org/images/f/f7/Roland_Barthes_Roland_a_lover_s_discourse_1978.pdf },
	year = { 1978 },
	location = { New York },
	abstract = { ``A Lover's Discourse,'' at its 1978 publication, was
		revolutionary: Roland Barthes made unprecedented use of the
		tools of structuralism to explore the whimsical phenomenon of
		love. Rich with references ranging from Goethe's ``Werther'' to
		Winnicott, from Plato to Proust, from Baudelaire to Schubert,
		``A Lover's Discourse'' artfully draws a portrait in which
		every reader will find echoes of themselves. Roland Barthes was
		born in 1915 and studied French literature and the classics at
		the University of Paris. After teaching French at universities
		in Romania and Egypt, he joined the Centre National de
		Recherche Scientifique, where he devoted himself to research in
		sociology and lexicology. He was a professor at the College de
		France until his death in 1980. ``Barthes's most popular and
		unusual performance as a writer is `A Lover's Discourse,' a
		writing out of the discourse of love. This language---primarily
		the complaints and reflections of the lover when alone, not
		exchanges of a lover with his or her partner---is
		unfashionable. Thought it is spoken by millions of people,
		diffused in our popular romances and television programs as
		well as in serious literature, there is no institution that
		explores, maintains, modifies, judges, repeats, and otherwise
		assumes responsibility for this discourse\dots Writing out the
		figures of a neglected discourse, Barthes surprises us in `A
		Lover's Discourse' by making love, in its most absurd and
		sentimental forms, an object of interest.'' ---Jonathan
		Culler },
	pages = { 224 p. : },
	publisher = { Hill \& Wang },
	note = { First published in French in 1977 as \textit{Fragments d'un discours amoureux}.\enskip{}Editions du Seuil. },
}

@incollection{ BarthesTheDeathOfTheAuthor1967,
	title = { The death of the author },
	booktitle = { Image, music, text },
	publisher = { Fontana Press },
	author = { Barthes, Roland },
	language = { English },
	isbn = { 0-00-686135-0 },
	translator = { Heath, Stephen },
	year = { 1977 },
	pages = { 142-148 },
	location = { London },
	catalogue-url = { https://www.worldcat.org/title/1091289548 },
	subjects = { Music, philosophy and aesthetics.; Semiotics.; Structuralism.; Art and literature. },
	note = { The essay was first published in English in 1967 in the American magazine \textit{Aspen} (nn.\ 5--6), then the following year in French in the \textit{Manteia} magazine (n.\ 5) as \textit{La Mort de l'auteur}. },
}

@book{ BauerMorphologicalProductivity2001,
	title = { Morphological Productivity },
	author = { Bauer, Laurie },
	isbn = { 9781139428729 },
	series = { Cambridge Studies in Linguistics },
	language = { English },
	year = { 2001 },
	pages = { xiii, 245 p. : },
	publisher = { Cambridge University Press },
	catalogue-url = { https://worldcat.org/oclc/45394057 },
	subjects = { Linguistics.; Morphology (linguistics).; English language.; Word formation. },
	doi = { 10.1017/CBO9780511486210 },
}

@book{ BexWattsStandardEnglish1999,
	author = { Bex, Tony and Watts, Richard J. },
	title = { Standard English: The Widening Debate },
	language = { English },
	isbn = { 978-0-41-519163-0 },
	lccn = { 98036167 },
	catalogue-url = { https://www.worldcat.org/title/standard-english-the-widening-debate/oclc/441040775 },
	year = { 1999 },
	pages = { xi, 312 p. : },
	publisher = { Routledge },
}

@book{ CottStockhausen1973,
	author = { Cott, Jonathan },
	translator = { Abbate, Carolyn },
	title = { Stockhausen; Conversations with the Composer },
	publisher = { Simon \& Schuster },
	pages = { 252 p. : },
	year = { 1973 },
	language = { English },
	subjects = { Musicology. },
	catalogue-url = { https://openlibrary.org/books/OL5309656M/Stockhausen_conversations_with_the_composer },
	url = { https://b-ok.cc/book/18184915/1fb157 },
	isbn = { 0-3302-4165-6 },
	isbn13 = { 978-0-33-024165-6 },
}

@book{ ForkelAGeneralHistoryOfMusic1788,
	author = { Forkel, Johann Nikolaus },
	title = { Allgemeine Geschichte der Musik },
	publisher = { Schwickert },
	location = { Leipzig },
	year = { 1788 },
	language = { German },
	url = { https://archive.org/details/allgemeinegeschi00fork },
	note = { First German edition. },
}

@book{ GilovichHowWeKnowWhatIsnTSo1991,
	title = { How We Know what Isn't So: The Fallibility of Human Reason in Everyday Life },
	author = { Gilovich, Thomas },
	isbn = { 978-0-02-911705-7 },
	lccn = { 90026727 },
	catalogue-url = { https://www.worldcat.org/title/how-we-know-what-isnt-so-the-fallibility-of-human-reason-in-everyday-life/oclc/1035601748 },
	year = { 1991 },
	publisher = { Free Press },
	subjects = { Psychology.; Social psychology.; Decision making. },
	pages = { vii, 216 p. : },
}

@book{ HanslickCohenTheBeautifulInMusic1957,
	title = { The beautiful in music },
	author = { Hanslick, Eduard },
	translator = { Cohen, Gustave },
	editor = { Weitz, Morris },
	year = { 1957 },
	publisher = { Liberal Arts Press },
	language = { English },
	subjects = { Music Philosophy.; Aesthetics. },
	note = { First edition published in German in 1854 as \textit{Vom Musikalisch-Sch\"onen}.\enskip{}Rudolph Beigel. },
	pages = { xiv, 127 p. : },
	isbn = { 0-6726-0211-3 },
}

@book{ KahnemanAttentionAndEffort1973,
	author = { Kahneman, Daniel },
	title = { Attention and Effort },
	pages = { x, 246 p. : },
	year = { 1973 },
	publisher = { Prentice-Hall },
	location = { New York },
	language = { English },
	catalogue-url = { https://search.worldcat.org/title/attention-and-effort/oclc/590203 },
	subjects = { Attention.; Concentration.; Psychological Theory Of Functions.; Creativity.; Motivation.; Performance.; Psychology. },
	isbn = { 978-0-13-050518-7 },
	lccn = { 73003375 },
}

@book{ KamienMusicAnAppreciation2008,
	author = { Kamien, Roger },
	title = { Music: An Appreciation },
	isbn = { 978-0-07-802509-9 },
	pages = { xxv, 435 p. : },
	year = { 2010 },
	publisher = { McGraw-Hill },
	location = { New York },
	language = { English },
	catalogue-url = { https://worldcat.org/title/964867622 },
	subjects = { Music.; Music appreciation. },
	note = { 7th brief ed. },
}

@book{ MatthewsConciseOxfordDictionaryOfLinguistics2007,
	title = { The Concise Oxford Dictionary of Linguistics (2 ed.) },
	author = { Matthews, Peter Hugoe },
	isbn = { 978-0-19-920272-0 },
	lccn = { 2013498157 },
	catalogue-url = { https://search.worldcat.org/title/167505258 },
	year = { 2007 },
	publisher = { Oxford University Press },
	subjects = { Linguistics. },
	pages = { x, 443 p. : },
}

@book{ MeyerContributionsToAPsychologicalTheoryOfMusic1901,
	title = { Contributions to a Psychological Theory of Music },
	author = { Meyer, Max Friedrich },
	number = { 1 },
	volume = { 1 },
	lccn = { 01010133 },
	series = { Contributions to a Psychological Theory of Music },
	url = { https://archive.org/details/contributionsto00meyegoog },
	year = { 1901 },
	publisher = { University of Missouri },
}

@book{ MirkaTheOxfordHandbookOfTopicTheory2014,
	editor = { Mirka, Danuta },
	title = { The Oxford Handbook of Topic Theory },
	publisher = { Oxford University Press },
	year = { 2014 },
	abstract = { The concept of topics was introduced into the vocabulary
		of music scholars by Leonard Ratner to account for
		cross-references between eighteenth-century styles and genres.
		The emergence of this phenomenon followed the rapid
		proliferation and consolidation of stylistic and generic
		categories. While music theorists and critics classified styles
		and genres, defining their affects and proper contexts for
		their usage, composers crossed the boundaries between them,
		using stylistic conventions as means of communication with the
		audience. Such topical use of styles and genres out of their
		proper contexts and their mixtures with other styles and genres
		became the hallmark of South-German instrumental music, which
		engulfed the so-called Viennese Classicism. Since this music
		did not develop its own aesthetics and, in its days, received
		no adequate critical appraisal, topic theory developed from
		Ratner's seminal insight by Wye J. Allanbrook, Kofi Agawu,
		Robert Hatten, Raymond Monelle, and others can be considered a
		theory of this music, and The Oxford Handbook of Topic Theory
		goes some way toward reconstructing its aesthetic
		underpinnings. The volume grounds the concept of topics in
		eighteenth-century music theory, aesthetics, and criticism;
		documents historical reality of individual topics on the basis
		of eighteenth-century sources, traces the origins of topical
		mixtures to transformations of eighteenth-century musical life,
		and relates topical analysis to other kinds of music analysis
		conducted from the perspectives of composers, performers, and
		listeners. It lays the foundation under further investigation
		of musical topics in the nineteenth, twentieth, and
		twenty-first centuries. },
	isbn = { 978-0-19-984157-8 },
	doi = { 10.1093/oxfordhb/9780199841578.001.0001 },
	catalogue-url = { https://www.worldcat.org/title/oxford-handbook-of-topic-theory/oclc/974933376 },
}

@book{ NattiezMusicAndDiscourse1990,
	author = { Nattiez, Jean Jacques },
	title = { Music and Discourse: Toward a Semiology of Music },
	translator = { Abbate, Carolyn },
	isbn = { 0-6910-9136-6 0-6910-2714-5 },
	publisher = { Princeton University Press, N.J },
	pages = { xv, 272 p. : },
	year = { 1990 },
	language = { English },
	subjects = { Musicology.; Musical analysis.; Semiotics. },
	catalogue-url = { https://nla.gov.au/nla.cat-vn1455644 },
	note = { First published in French in 1987 as \textit{Musicologie g\'en\'erale et s\'emiologie}.\enskip{}Christian Bourgois Editeur. },
}

@book{ OerbergLinguaLatina1983,
	author = { {\O}rberg, Hans Henning },
	title = { Lingua Latina Per Se Illustrata },
	isbn = { 978-8-78-807345-4 },
	language = { Latin },
	catalogue-url = { https://www.worldcat.org/title/lingua-latina-per-se-illustrata-1/oclc/645809312 },
	year = { 1983 },
	publisher = { Museum Tusculanum },
}

@book{ PopperConjecturesAndRefutations1962,
	title = { Conjectures and Refutations: The Growth of Scientific Knowledge },
	author = { Popper, Karl Raimund },
	isbn = { 978-0-71-006507-0 },
	lccn = { 63011566 },
	series = { Harper torchbooks },
	pages = { xiii, 431 p. : },
	url = { https://archive.org/details/conjecturesrefut0000popp },
	catalogue-url = { https://www.worldcat.org/title/conjectures-and-refutations-the-growth-of-scientific-knowledge/oclc/1027897851 },
	year = { 1962 },
	subjects = { Science.; Epistemology. },
	publisher = { Basic Books },
	location = { New York },
}

@book{ RatnerExpressionFormAndStyle1980,
	author = { Ratner, Leonard Gilbert },
	title = { Classic Music: Expression, Form, and Style },
	year = { 1980 },
	publisher = { Schirmer Books },
	location = { London },
	catalogue-url = { https://www.worldcat.org/title/classic-music-expression-form-and-style/oclc/12173422 },
	isbn = { 978-0-02-872020-3 },
	lccn = { 79057808 },
}

@book{ RichardsPracticalCriticism1930,
	author = { Richards, Ivor Armstrong },
	title = { Practical Criticism: A Study of Literary Judgment },
	lccn = { 29027523 },
	pages = { xiii, 375 p. : },
	url = { https://archive.org/details/in.ernet.dli.2015.215332 },
	catalogue-url = { https://www.worldcat.org/title/643944227 },
	year = { 1930 },
	publisher = { Routledge \& Kegan Paul },
	location = { London },
	note = { Revised edition.\enskip{}First edition published in 1929. },
}

@book{ SaganPaleBlueDot1994,
	author = { Sagan, Carl Edward },
	title = { {P}ale {B}lue {D}ot: A Vision of the Human Future in Space },
	isbn = { 978-0-67-943841-0 },
	lccn = { 94028121 },
	pages = { 429 p. : },
	year = { 1994 },
	publisher = { Random House },
	language = { English },
	url = { https://archive.org/details/pale-blue-dot-carl-sagan/page/n161/mode/2up },
	catalogue-url = { https://www.worldcat.org/title/pale-blue-dot/oclc/754644052 },
	subjects = { Astrophysics.; Astronomy. },
}

@book{ SciarrinoCarteDaSuono2001,
	author = { Sciarrino, Salvatore },
	title = { Carte da suono },
	editor = { Olivieri, Dario },
	isbn = { 978-8-83-730416-4 },
	pages = { 339 p. : },
	year = { 2001 },
	series = { Dialoghi musicali },
	publisher = { Novecento Editore },
	language = { Italian },
	catalogue-url = { https://www.worldcat.org/title/carte-da-suono-1981-2001/oclc/54753347 },
	subjects = { Criticism.; Composition.; Interpretation. },
}

@book{ SchoenbergFundamentalsOfComposition1967,
	author = { Sch\"onberg, Arnold },
	title = { Fundamentals of Musical Composition },
	isbn = { 0-5710-9276-4 },
	publisher = { Faber and Faber },
	location = { London },
	pages = { xiv, 224 p. : },
	year = { 1967 },
	editor = { Stein, Leonard and Strang, Gerald },
	language = { English },
	subjects = { Music composition. },
	catalogue-url = { https://www.worldcat.org/title/fundamentals-of-musical-composition/oclc/880915 },
	note = { Op.\ posth. },
}

@book{ SchoenbergStyleAndIdea1950,
	author = { Sch\"onberg, Arnold },
	title = { Style and Idea },
	editor = { Newlin, Dika },
	translator = { Newlin, Dika },
	publisher = { Philosophical Library },
	location = { New York },
	pages = { vii, 224 p. : },
	year = { 1950 },
	editor = { Stein, Leonard and Strang, Gerald },
	language = { English },
	subjects = { Music composition. },
	catalogue-url = { https://search.worldcat.org/title/528460 },
	isbn = { 978-0-59-846675-4 },
	lccn = { 50008187 },
}

@book{ SchoenbergTheoryofHarmony1983,
	author = { Sch\"onberg, Arnold },
	title = { Theory of Harmony, third edition },
	translator = { Carter, Roy E. },
	isbn = { 978-0-52-004944-4 },
	publisher = { University of California Press },
	location = { Berkeley },
	pages = { xxi, 441 p. : },
	year = { 1983 },
	language = { English },
	subjects = { Music composition. },
	catalogue-url = { https://search.worldcat.org/title/9674279 },
	url = { https://archive.org/details/theoryofharmonyschoenberg },
	note = { The third German edition on which the English edition is based was published in 1922 as \textit{Harmonielehre}.\enskip{}Vienna: Universal Edition.\enskip{}The first German edition was published in 1911 by the same publisher. },
}

@book{ SulzerGeneralTheoryOfTheFineArts1774,
	author = { Sulzer, Johann Georg },
	title = { Allgemeine Theorie der Sch\"onen K\"unste },
	publisher = { Weidmann und Reich },
	location = { Leipzig },
	pages = { 1872 p. : },
	year = { 1774 },
	language = { German },
	catalogue-url = { https://search.worldcat.org/title/311699708 },
	url = { https://archive.org/details/allgemeinetheori01sulz },
	note = { First German edition. },
}

@book{ TenneyAHistory1988,
	author = { Tenney, James },
	title = { A History of Consonance and Dissonance },
	isbn = { 9780935016994 },
	lccn = { 86082304 },
	year = { 1988 },
	pages = { 117 p. : },
	location = { New York },
	publisher = { Excelsior },
	language = { English },
}


Articles

@article{ AdornoMusicAndPainting1995,
	author = { Adorno, Theodor Wiesengrund },
	title = { On Some Relationships between Music and Painting },
	translator = { Gillespie, Susan },
	journal = { The Musical Quarterly },
	year = { 1995 },
	volume = { 79 },
	pages = { 66-79 },
	publisher = { Oxford University Press },
	doi = { 10.1093/MQ/79.1.66 },
	note = { The original article was published in German in 1967 in \textit{Anmerkungen zur Zeit 12} (\"Uber einige Relationen zwischen Musik und Malerei). },
}

@incollection{ AdornoVersUneMusiqueInformelle1998,
	author = { Adorno, Theodor Wiesengrund },
	title = { Vers une musique informelle },
	booktitle = { Quasi Una Fantasia: Essays on Modern Music },
	translator = { Livingstone, Rodney },
	isbn = { 978-1-85-984159-4 },
	lccn = { 92027547 },
	series = { Classics Series },
	catalogue-url = { https://www.worldcat.org/title/quasi-una-fantasia-essays-on-modern-music/oclc/26403771 },
	year = { 1992 },
	publisher = { Verso },
	pages = { 269-322 },
	note = { Original essay published in German in 1961 in \textit{Darmst\"adter Beitr\"age zur Neuen Musik 4}, 73--102 (with the same title). Republished in 1963 in \textit{Quasi una fantasia. Musikalische Schriften}\enskip{}Suhrkamp Verlag. },
}

@article{ CalabrettoLaMusicaPerFilmAlCICSMEF2015,
	author = { Calabretto, Roberto },
	title = { La musica per film al {C}onvegno {I}nternazionale dei {C}entri {S}perimentali di {M}usica {E}lettronica di {F}irenze del 1968: alcuni segnali provenienti dall'{E}st },
	journal = { Musica/Tecnologia },
	volume = { 8--9 },
	publisher = { Firenze University Press in association with Ezio Franceschini Foundation },
	pages = { 157-180 },
	year = { 2015 },
	type = { Journal },
	language = { Italian },
	subjects = { Music.; Technology.; Film music. },
	catalogue-url = { https://oajournals.fupress.net/index.php/mt/issue/view/283 },
	doi = { 10.13128/Music_Tec-16451 },
}

@article{ CalvinoWhyReadtheClassics1986,
	author = { Calvino, Italo },
	type = { Journal },
	language = { English },
	title = { Why Read the Classics? },
	translator = { Creagh, Patrick },
	journal = { The New York Review of Books },
	year = { 1986 },
	month = { Oct },
	day = { 09 },
	volume = { 33 },
	number = { 15 },
	url = { https://www.nybooks.com/articles/1986/10/09/why-read-the-classics/ },
	subjects = { Literature.; Classic books.; Classics. },
	life-dates = { 1963 - },
	catalogue-url = { https://www.worldcat.org/title/new-york-review-of-books/oclc/1088775083 },
	note = { The essay is a translation of an article originally published in the Italian news magazine \textit{L'Espresso} (28th July 1981, 58--68), with the title `Italiani, vi esorto ai classici' (`Italians, I urge you to {[}read{]} the classics'). },
}

@article{ ChildsCitationMetaphorAndListeningTime1993,
	author = { Childs, Barney },
	title = { Citation, metaphor, and listening time },
	journal = { Contemporary Music Review },
	volume = { 7 },
	number = { 2 },
	pages = { 59--78 },
	year = { 1993 },
	publisher = { Routledge },
	doi = { 10.1080/07494469300640041 },
}

@article{ DannerTheUseOfAcousticMeasures1985,
	author = { Danner, Gregory },
	title = { The Use of Acoustic Measures of Dissonance to Characterize Pitch-Class Sets },
	journal = { Music Perception: An Interdisciplinary Journal },
	number = { 1 },
	pages = { 103-122 },
	publisher = { University of California Press },
	volume = { 3 },
	year = { 1985 },
	abstract = { Recent scholarship in acoustics has provided a
		mathematical model for the approximation of what has been
		termed "acoustic dissonance," or "roughness" in the interaction
		of two or more simultaneously sounded complex tones. Although
		these measures necessitate certain artificial considerations in
		their present form (i. e., spectrum, dynamics), their
		application should be of considerable interest to musical
		scholars interested in this aspect of musical style and
		structure. This article provides an overview of the acoustical
		theory, its application in profiling pitch-class sets, and a
		representative musical analysis. },
	issn = { 07307829, 15338312 },
	doi = { 10.2307/40285324 },
}

@article{ FernandezDominguezProductivityVsLexicalization2010,
	author = { Fern\'andez-Dom\'inguez, Jes\'us },
	type = { Journal },
	language = { English },
	title = { Productivity vs. Lexicalization: Frequency-Based Hypotheses on Word-Formation },
	journal = { Pozna\'n Studies in Contemporary Linguistics },
	year = { 2010 },
	volume = { 46 },
	number = { 2 },
	pages = { 193-219 },
	subjects = { Linguistics.; Morphology (linguistics).; English language.; Word formation. },
	catalogue-url = { https://www.degruyter.com/journal/key/psicl/46/2/html },
	doi = { 10.2478/v10010-010-0010-x },
}

@article{ GrimesACriticalInferno2012,
	title = { A Critical {I}nferno? {H}oplit, {H}anslick, and {L}iszt's \textit{Dante Symphony} },
	author = { Nicole Grimes },
	year = { 2012 },
	language = { English },
	volume = { 7 },
	pages = { 3-22 },
	journal = { Journal of the Society for Musicology in Ireland },
	issn = { 1649-7341 },
	doi = { 10.35561/JSMI07111 },
}

@article{ HutchinsonKnopoffWesternConsonance1978,
	author = { Hutchinson, William and Knopoff, Leon },
	title = { The acoustic component of {W}estern consonance },
	journal = { Interface },
	volume = { 7 },
	number = { 1 },
	pages = { 1-29 },
	year = { 1978 },
	publisher = { Routledge },
	abstract = { A formalism is developed for providing a measure of
		dissonance in a superposition of complex tones. The formalism
		is based on an extension of the Helmholtz-Plomp and Levelt
		model of beating as the cause of dissonance. For dyads this
		measure of dissonance gives a good fit to psychological rank
		orderings of dissonance and its absence (consonance), and to
		orderings of consonance and dissonance found in Western common
		practice and pedagogy. A logarithmic scale for the perception
		of consonance and dissonance is indicated. },
	doi = { 10.1080/09298217808570246 },
}

@article{ HutchinsonKnopoffWesternTriads1978,
	author = { Hutchinson, William and Knopoff, Leon },
	title = { The significance of the acoustic component of consonance in {W}estern triads },
	journal = { Journal of Musicological Research },
	volume = { 3 },
	number = { 1-2 },
	pages = { 5-22 },
	year = { 1979 },
	publisher = { Routledge },
	abstract = { The acoustically based formalism, previously developed by
		the authors to quantify the consonance and dissonance of dyadic
		musical intervals, is extended to encompass musical triads.
		Quantitative measures of the dissonance properties of triads,
		including four-voiced spacings of a major triad, are found to
		be consistent with the gradations of consonance and dissonance
		for triads found in common practice musical theory, stylistic
		analysis and pedagogy. The significance of these findings is
		discussed with respect to other explanations of consonance and
		dissonance, including explanations of historical and
		interdisciplinary origins. },
	doi = { 10.1080/01411897908574504 },
}

@article{ HuronIntervalClassContent1994,
	author = { Huron, David },
	title = { Interval-class content in equally tempered pitch-class sets: common scales exhibit optimum tonal consonance },
	issn = { 07307829, 15338312 },
	journal = { Music Perception: An Interdisciplinary Journal },
	number = { 3 },
	pages = { 289-305 },
	publisher = { University of California Press },
	volume = { 11 },
	year = { 1994 },
	abstract = { Pitch-class sets (such as scales) can be characterized
		according to the inventory of possible intervals that can be
		formed by pairing all pitches in the set. The frequency of
		occurrence of various interval classes in a given pitch-class
		set can be correlated with corresponding measures of perceived
		consonance for each interval class. If a goal of music-making
		is to promote a euphonious effect, then those sets that exhibit
		a plethora of consonant intervals and a paucity of dissonant
		intervals might be of particular interest to musicians. In this
		paper, it is shown that the pitch-class sets that provide the
		most consonant interval-class inventories are the major
		diatonic scale, the harmonic and melodic minor scales, and
		equally tempered equivalents of the Japanese Ritsu mode, the
		common pentatonic scale, and the common "blues" scale.
		Consonant harmonic intervals are more readily available in
		these sets than in other possible sets that can be drawn from
		the 12 equally tempered pitch chromas. },
	doi = { 10.2307/40285624 },
}

@incollection{ IrvineStyleAsDistinctiveness2001,
	author = { Irvine, Judith Temkin },
	editor = { Eckert, Penelope and Rickford, John R. },
	title = { `{S}tyle' as distinctiveness: the culture and ideology of linguistic differentiation },
	booktitle = { Style and Sociolinguistic Variation },
	location = { Cambridge },
	pages = { 21-43 },
	doi = { 10.1017/CBO9780511613258 },
	isbn = { 978-0-51-161325-8 },
	publisher = { Cambridge University Press },
	catalogue-url = { https://www.worldcat.org/title/style-and-sociolinguistic-variation/oclc/57301279 },
	subjects = { Sociolinguistics.; Anthropology.; Linguistic styles.; Linguistic registers.; Dialects. },
	year = { 2001 },
}

@article{ KameokaKuriyagawaConsonanceOfDyads2005,
	author = { Kameoka, Akio and Kuriyagawa, Mamoru },
	title = { Consonance theory part {I}: consonance of dyads },
	journal = { The Journal of the Acoustical Society of America },
	volume = { 45 },
	number = { 6 },
	pages = { 1451-1459 },
	year = { 1969 },
	abstract = { Extensive psychological experiments were carried out in
		this Part I on the consonance sensation of various dyad tones
		consisting of two components. As the frequencies of two
		components f1 and f2 (with an equal SPL) separate, the
		consonance gradually decreases down to the most dissonant
		point, whereafter it monotonically increases and mostly
		recovers at an octave separation. This consonance
		characteristic turned out to show a simple V curve if
		consonance is plotted against the frequency percent deviation
		in a logarithmic scale, and it suggests a dynamic and a static
		factor in consonance perception. The most dissonant frequency
		deviation is approximately 10\\% at f1=440 Hz, and it increased
		with sound pressure and frequency, but it was not simply
		proportional to the critical bandwidth. For dyads whose two
		components have different sound-pressure levels (SPLs) L1 and
		L2, the consonance differs with spectrum forms, even when the
		level difference is the same. A dyad with a spectrum form
		(P1\\>P2, f1\\<f2) was more dissonant than that with its
		opposite spectrum form (P1 \\< P2). This asymmetrical
		property suggests a common origin in consonance perception with
		that observed in pure-tune masking or neural response pattern.
		The results obtained in this Part I provide fundamental data to
		theoretical consonance calculation to be described in Part II
		for static complex tones consisting of more than three
		components. },
	issn = { 0001-4966 },
	doi = { 10.1121/1.1911623 },
}

@article{ KoelschMusicLanguageAndMeaning2004,
	author = { Koelsch, Stefan and Kasper, Elisabeth and Sammler, Daniela and Schulze, Katrin and Gunter, Thomas and Friederici, Angela D. },
	type = { Journal },
	language = { English },
	title = { Music, language and meaning: brain signatures of semantic processing },
	journal = { Nature Neuroscience },
	year = { 2004 },
	month = { Mar },
	day = { 01 },
	volume = { 7 },
	number = { 3 },
	pages = { 302-307 },
	abstract = { Semantics is a key feature of language, but whether or not
		music can activate brain mechanisms related to the processing
		of semantic meaning is not known. We compared processing of
		semantic meaning in language and music, investigating the
		semantic priming effect as indexed by behavioral measures and
		by the N400 component of the event-related brain potential
		(ERP) measured by electroencephalography (EEG). Human subjects
		were presented visually with target words after hearing either
		a spoken sentence or a musical excerpt. Target words that were
		semantically unrelated to prime sentences elicited a larger
		N400 than did target words that were preceded by semantically
		related sentences. In addition, target words that were preceded
		by semantically unrelated musical primes showed a similar N400
		effect, as compared to target words preceded by related musical
		primes. The N400 priming effect did not differ between language
		and music with respect to time course, strength or neural
		generators. Our results indicate that both music and language
		can prime the meaning of a word, and that music can, as
		language, determine physiological indices of semantic
		processing. },
	issn = { 1546-1726 },
	doi = { 10.1038/nn1197 },
	url = { https://www.nature.com/articles/nn1197 },
	subjects = { Neuroscience.; Music semantics.; Semantic processing.; Music processing. },
	life-dates = { 1998 - },
}

@article{ LigetiMetamorphosesOfMusicalForm1965,
	author = { Ligeti, Gy\"orgy S\'andor },
	translator = { Cardew, Cornelius },
	title = { Metamorphoses of Musical Form },
	journal = { Die Reihe },
	series = { Die Reihe; a Periodical Devoted to Developments in Contemporary Music },
	volume = { 7 (Form---Space) },
	publisher = { Theodore Presser in association with Universal Edition },
	pages = { 5-19 },
	year = { 1965 },
	type = { Journal },
	language = { English },
	subjects = { Composition.; Musical analysis.; Musical form. },
	catalogue-url = { https://www.worldcat.org/title/form-space/oclc/896618137 },
	isbn = { 978-0-90-093853-5 },
	note = { The original article was published in German in 1960 as `Wandlungen der musikalischen Form', \textit{Die Reihe 7 (Form---Raum)} },
}

@incollection{ LisztStrunkBerliozAndHisHaroldSymphony1950,
	author = { Liszt, Franz },
	title = { {B}erlioz and his {H}arold {S}ymphony },
	booktitle = { Source Readings in Music History },
	editor = { Strunk, William Oliver and Treitler, Leo Treitler },
	translator = { Strunk, William Oliver },
	catalogue-url = { https://www.worldcat.org/title/Source-readings-in-music-history/oclc/31011770 },
	year = { 1950 },
	publisher = { Norton },
	pages = { 847-873 },
	note = { The original article was published in German in 1855 as `Berlioz und seine Harold-Symphonie', \textit{Neue Zeitschrift f\"ur Musik}; 43, 3 (13 July 1855): 25--32; 43, 4 (20 July 1855): 37--46; 43, 5 (27 July 1855): 49--55; 43, 8 (17 August 1855): 77--84; and 43, 9 (24 August 1855): 89--97. },
	location = { New York },
	isbn = { 0-3930-9742-0 },
	isbn13 = { 978-0-39-309742-9 },
	lccn = { 50010992 },
}

@article{ MasonStravinskyAndGesualdo1960,
	author = { Mason, Colin },
	title = { {S}travinsky and {G}esualdo },
	journal = { Tempo },
	year = { 1960 },
	number = { 55--56: Autumn--Winter },
	pages = { 39--48 },
	issn = { 00402982, 14782286 },
	publisher = { Cambridge University Press },
	doi = { 10.1017/S0040298200045575 },
}

@article{ McAdamsMusicAScienceOfTheMind1987,
	author = { McAdams, Stephen },
	title = { Music: A science of the mind? },
	journal = { Contemporary Music Review },
	volume = { 2 },
	number = { 1 },
	pages = { 1-61 },
	publisher = { Routledge },
	year = { 1987 },
	doi = { 10.1080/07494468708567053 },
}

@article{ MolinoMusicalFact1990,
	author = { Molino, Jean },
	title = { Musical Fact and the Semiology of Music },
	translator = { Underwood J. A. and Ayrey, Craig },
	journal = { Music Analysis },
	number = { 2 },
	pages = { 105-156 },
	publisher = { Wiley },
	volume = { 9 },
	year = { 1990 },
	url = { http://www.jstor.org/stable/854225 },
	urldate = { 2022-07-19 },
	issn = { 02625245, 14682249 },
}

@incollection{ PaddisonMusicAsIdeal2001,
	author = { Paddison, Max },
	editor = { Samson, JimEditor },
	title = { Music as ideal: the aesthetics of autonomy },
	booktitle = { The Cambridge History of Nineteenth-Century Music },
	series = { The Cambridge History of Music },
	publisher = { Cambridge University Press },
	year = { 2001 },
	pages = { 318-342 },
	doi = { 10.1017/CHOL9780521590174.013 },
	location = { Cambridge },
}

@article{ PetersonAFunctionalViewOfConsonance1925,
	author = { Peterson, Joseph },
	title = { A functional view of consonance },
	journal = { Psychological Review },
	year = { 1925 },
	volume = { 32 },
	number = { 1 },
	pages = { 17-33 },
	abstract = { Helmholtz explained consonance and dissonance on the basis
		of beats among the upper partial tones and later Krueger
		supplemented this work by pointing out the importance of
		difference tones. Professor Peterson's paper centers around the
		work of Helmholtz and Krueger but mention is made of Stumpf,
		Ogden, Watt, and others. The Helmholtz-Krueger view did not
		sufficiently stress the effects of habituation. Habituation is
		an important factor in a theory of consonance. Social
		habituation reaching from one generation to the next may be a
		factor in determining what intervals are perceived as
		consonant. Auditory elements at one time discrete may become
		unitary if repeatedly associated. Preliminary experiments are
		briefly presented. },
	subjects = { Auditory Perception.; Cognitive Dissonance.; Habituation.; Pitch (Frequency). },
	publisher = { American Psychological Association },
	doi = { 10.1037/h0074190 },
}

@article{ PousseurOutlineOfAMethod1959,
	author = { Pousseur, Henri },
	translator = { Cardew, Cornelius },
	title = { Outline of a method },
	journal = { Die Reihe },
	series = { Die Reihe; a Periodical Devoted to Developments in Contemporary Music },
	volume = { 3 (Musical Craftsmanship) },
	publisher = { Theodore Presser in association with Universal Edition },
	pages = { 44-88 },
	year = { 1959 },
	type = { Journal },
	language = { English },
	subjects = { Composition.; Musical analysis.; Musical craftsmanship. },
	catalogue-url = { https://www.worldcat.org/title/musical-craftsmanship/oclc/742441 },
	note = { The original article was published in German in 1957 as `Zur Methodik', \textit{Die Reihe 3 (Musikalisches Handwerk)}. },
}

@article{ PousseurYoungComposers1960,
	author = { Pousseur, Henri },
	translator = { Cardew, Cornelius },
	title = { {G}ottfried {M}ichael {K}oenig },
	journal = { Die Reihe },
	series = { Die Reihe; a Periodical Devoted to Developments in Contemporary Music },
	volume = { 4 (Young Composers) },
	publisher = { Theodore Presser in association with Universal Edition },
	pages = { 14-28 },
	year = { 1960 },
	type = { Journal },
	language = { English },
	subjects = { Composition.; Musical analysis.; Gottfried Michael Koenig.; Young Composers. },
	catalogue-url = { https://search.worldcat.org/title/young-composers/oclc/3369902 },
	note = { The original article was published in German in 1958, in \textit{Die Reihe 4 (Junge Komponisten)}. },
}

@article{ PraesentGioffreInterview2021,
	author = { Pr\"asent, Gerhard },
	title = { Interview with {S}tefano {G}ioffr\'e },
	journal = { Mitteilungen des Steirischen Tonk\"unstlerbundes },
	volume = { 43 },
	publisher = { Steirischer Tonk\"unstlerbund },
	pages = { 36-41 },
	year = { 2021 },
	month = { Oct },
	type = { Journal },
	language = { English },
	url = { http://www.steirischertonkuenstlerbund.at/PDF-Dokumente/2021/STB_Mitteilungen%2002-21.pdf },
	subjects = { Stefano Gioffr\'e.; Composers.; Performers.; Audience. },
	life-dates = { 2003 - },
	catalogue-url = { http://www.steirischertonkuenstlerbund.at/publikationen_Mitteilungen.html },
}

@article{ RileyCivilizingTheSavage2002,
	author = { Riley, Matthew },
	title = { Civilizing the savage: {J}ohann {G}eorg {S}ulzer and the `aesthetic force' of music },
	journal = { Journal of the Royal Musical Association },
	number = { 1 },
	pages = { 1-22 },
	publisher = { Royal Musical Association, Taylor & Francis, Ltd. },
	urldate = { 2023-10-26 },
	volume = { 127 },
	year = { 2002 },
	issn = { 02690403, 14716933 },
	doi = { 10.1093/jrma/127.1.1 },
	abstract = { Johann Georg Sulzer's Allgemeine Theorie der sch\"onen
		K\"unste (1771--4) exerted considerable influence on late
		eighteenth-century German musical writers. But for many modern
		commentators, it typifies the negative attitude to instrumental
		music characteristic of much Enlightenment rationalism. A
		reassessment of Sulzer, taking account of his philosophical
		background in Leibniz, Wolff and Baumgarten, shows that in fact
		he considered music the first of the fine arts. The arts have
		an ethical, civilizing role; but while most can affect only
		people who are already partly civilized, music possesses a
		special `aesthetic force' which energizes the minds of
		cognitively passive people or 'savages'. },
}

@article{ RosenSchoenbergAndAtonality1975,
	author = { Rosen, Charles },
	title = { Schoenberg and atonality },
	journal = { The Georgia Review },
	volume = { 29 },
	number = { 2 },
	pages = { 298-327 },
	publisher = { University of Georgia },
	year = { 1975 },
	url = { http://www.jstor.org/stable/41397182 },
}

@article{ ShannonAMathematicalTheoryOfCommunication1948,
	author = { Shannon, Claude Elwood },
	title = { A mathematical theory of communication },
	journal = { The Bell System Technical Journal },
	volume = { 27 },
	number = { 3 },
	publisher = { Institute of Electrical and Electronics Engineers },
	pages = { 379-423 },
	year = { 1948 },
	type = { Journal },
	language = { English },
	subjects = { Mathematics.; Information Theory.; Information.; Entropy. },
	catalogue-url = { https://search.worldcat.org/title/mathematical-theory-of-communication/oclc/642051597 },
}

@article{ StockhausenHowTimePasses1959,
	author = { Stockhausen, Karlheinz },
	translator = { Cardew, Cornelius },
	title = { How time passes },
	journal = { Die Reihe },
	series = { Die Reihe; a Periodical Devoted to Developments in Contemporary Music },
	volume = { 3 (Musical Craftsmanship) },
	publisher = { Theodore Presser in association with Universal Edition },
	pages = { 10-40 },
	year = { 1959 },
	type = { Journal },
	language = { English },
	subjects = { Composition.; Musical analysis.; Musical craftsmanship. },
	catalogue-url = { https://www.worldcat.org/title/musical-craftsmanship/oclc/742441 },
	note = { The original article was published in German in 1957 as `\dots{}wie die Zeit vergeht\dots{}', \textit{Die Reihe 3 (Musikalisches Handwerk)}. },
}

@article{ WarrenHowDoesTheBrainProcessMusic2008,
	author = { Warren, Jason },
	title = { How does the brain process music? },
	publisher = { Royal College of Physicians },
	type = { Journal },
	language = { English },
	journal = { Clinical Medicine },
	year = { 2008 },
	month = { Feb },
	volume = { 8 },
	number = { 1 },
	pages = { 32-36 },
	abstract = { The organisation of the musical brain is a major focus of
		interest in contemporary neuroscience. This reflects the
		increasing sophistication of tools (especially imaging
		techniques) to examine brain anatomy and function in health and
		disease, and the recognition that music provides unique
		insights into a number of aspects of nonverbal brain function.
		The emerging picture is complex but coherent, and moves beyond
		older ideas of music as the province of a single brain area or
		hemisphere to the concept of music as a `whole-brain'
		phenomenon. Music engages a distributed set of cortical modules
		that process different perceptual, cognitive and emotional
		components with varying selectivity. `Why' rather than `how'
		the brain processes music is a key challenge for the future. },
	doi = { 10.7861/clinmedicine.8-1-32 },
	url = { https://pubmed.ncbi.nlm.nih.gov/18335666/ },
	subjects = { Neuroscience.; Music processing. },
	life-dates = { 1998 - },
}


Musical scores

@book{ BachTheArtOfFugue1750,
	author = { Bach, Johann Sebastian },
	title = { The Art of Fugue },
	year = { 1750 },
	location = { Berlin },
	publisher = { C. Ph. E. Bach },
	subjects = { Fugue.; Baroque. },
	note = { Score published in 1751 (posthumous). },
}

@book{ Bartok2ndQuartet1917,
	author = { Bart\'ok, B\'ela Viktor J\'anos },
	title = { String Quartet No.~2 },
	year = { 1917 },
	location = { Vienna },
	publisher = { Universal Edition },
	subjects = { Music score.; String quartet.; Violin.; Viola.; Violoncello. },
	catalogue-url = { https://search.worldcat.org/title/604524 },
	note = { Op.\ 17.\enskip{}BB 75.\enskip{}Score published in 1920. },
}

@book{ BeethovenFifth1808,
	author = { Beethoven, Ludwig van },
	title = { Fifth Symphony },
	year = { 1808 },
	location = { Leipzig },
	publisher = { Breitkopf \& H\"artel },
	subjects = { Symphony.; Classical Music.; Symphonic Music.; Orchestra Music. },
	note = { Score published in 1826. },
}

@book{ BeethovenSeventh1812,
	author = { Beethoven, Ludwig van },
	title = { Seventh Symphony },
	year = { 1812 },
	location = { Vienna },
	publisher = { S. A. Steiner \& Co. },
	pages = { 224 p. : },
	subjects = { Symphony.; Classical Music.; Symphonic Music.; Orchestra Music. },
	catalogue-url = { http://www.worldcat.org/title/51081978 },
	note = { Score published in 1816. },
}

@book{ BerioSequenzaIX1980,
	author = { Berio, Luciano },
	title = { Sequenza IXa per clarinetto solo },
	year = { 1980 },
	location = { Vienna },
	publisher = { Universal Edition },
	pages = { 10 p. : },
	subjects = { Solo clarinet.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/1098344525 },
	isbn = { 978-3-7024-0599-1 },
	ismn = { 979-0-008-01148-1 },
}

@book{ BerioSequenzaX1984,
	author = { Berio, Luciano },
	title = { Sequenza X per tromba in do (e risonanze di pianoforte) },
	year = { 1984 },
	location = { Vienna },
	publisher = { Universal Edition },
	pages = { 7 p. : },
	subjects = { Solo trumpet.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/1283921909 },
}

@book{ BerioSequenzaXI1988,
	author = { Berio, Luciano },
	title = { Sequenza XI per chitarra sola },
	year = { 1988 },
	location = { Vienna },
	publisher = { Universal Edition },
	pages = { 12 p. : },
	subjects = { Solo guitar.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/21379440 },
	isbn = { 9783702426897 },
}

@book{ BerioSinfonia1969,
	author = { Berio, Luciano },
	title = { Sinfonia },
	year = { 1969 },
	location = { London },
	publisher = { Universal Edition },
	pages = { 129 p. : },
	catalogue-url = { https://www.worldcat.org/title/522538 },
	subjects = { Symphonic Music.; Orchestra Music.; Contemporary Music. },
}

@book{ BoulezStructuresI1952,
	author = { Boulez, Pierre },
	title = { Structures {I} },
	year = { 1952 },
	location = { Vienna },
	publisher = { Universal Edition },
	isbn = {  978-3-70-240473-4 },
	subjects = { Integral serialism. },
	catalogue-url = { https://www.worldcat.org/title/structures-2-pianos-a-4-mains/oclc/1219588 },
	note = { Score published in 1955. },
}

@book{ Cage4331952,
	author = { Cage, John Milton },
	title = { 4$'$~33$'$ },
	year = { 1952 },
	location = { New York },
	publisher = { Edition Peters },
	subjects = { New Music.; Avant-garde. },
	catalogue-url = { http://www.worldcat.org/title/725388868 },
	note = { First \textit{Tacet} Edition published in 1960. },
}

@book{ KulentyGoingUp21995,
	author = { Kulenty, Hanna },
	title = { Going Up 2 },
	year = { 1995 },
	location = { Amsterdam },
	pages = { 32 p. : },
	publisher = { Donemus },
	catalogue-url = { https://www.worldcat.org/title/954040823 },
	url = { https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2072143 },
	note = { Score published in 1998. },
}

@book{ LigetiLontano1967,
	author = { Ligeti, Gy\"orgy S\'andor },
	title = { Lontano },
	year = { 1967 },
	location = { Mainz },
	publisher = { Schott Music },
	pages = { 40 p. : },
	subjects = { Symphonic Music.; Orchestra Music. },
	catalogue-url = { http://www.worldcat.org/title/226415683 },
}

@book{ LigetiLuxAeterna1966,
	author = { Ligeti, Gy\"orgy S\'andor },
	title = { Lux Aeterna },
	year = { 1966 },
	location = { Leipzig },
	publisher = { Peters (Litolff) },
	subjects = { Choir.; A cappella.; SATB. },
	catalogue-url = { https://www.worldcat.org/title/lux-aeterna-1966/oclc/475488844 },
}

@book{ Liszt2ndHungarianRhapsody1847,
	author = { Franz Liszt },
	title = { Hungarian Rhapsody No.2 },
	year = { 1847 },
	location = { Leipzig },
	publisher = { Bartholf Senff },
	pages = { 18 p. : },
	subjects = { Piano. },
	note = { Score published in 1851. },
}

@book{ LutoslawskiPreludesAndFugue1972,
	author = { Lutos\l{}awski, Witold },
	title = { Preludes and fugue for 13 solo strings },
	year = { 1972 },
	url = { https://issuu.com/scoresondemand/docs/preludes_fugue_7736 },
	location = { London },
	publisher = { Chester Music },
	subjects = { Music score.; Chamber music. },
	catalogue-url = { https://catalogue.nla.gov.au/Record/5020188 },
	isbn = { 978-0-71-192260-0 },
	note = { Score published in 1973. },
}

@book{ MozartK4671785,
	author = { Mozart, Wolfgang Amadeus },
	title = { Piano Concerto No.\ 21 in C major, K.\ 467 },
	year = { 1785 },
	location = { Leipzig },
	publisher = { Breitkopf \& H\"artel },
	subjects = { Symphony.; Classical Music.; Symphonic Music.; Orchestra Music. },
	catalogue-url = { http://www.worldcat.org/title/750442466 },
	note = { First edition possibly published in 1800 (or earlier). },
}

@book{ PergolesiStabatMater1736,
	author = { Pergolesi, Giovanni Battista },
	title = { Stabat mater },
	year = { 1736 },
	location = { London },
	publisher = { John Walsh },
	pages = { 26 p. : },
	subjects = { Solo voices, with instrumental ensemble.; Women's voices, 2 parts.; Stabat Mater sequence.; Musical settings. },
	catalogue-url = { https://www.worldcat.org/title/221939898 },
	note = { First edition printed in 1749. },
}

@book{ PetrassiCoroDiMorti1941,
	author = { Petrassi, Goffredo },
	title = { Coro di morti },
	year = { 1941 },
	location = { Milano },
	publisher = { Suvini Zerboni },
	pages = { 34 p. : },
	subjects = { Choruses, with instrumental ensemble.; Men's voices, 4 parts.; Vocal scores with piano (4 hands).; Leopardi, Giacomo, 1798-1837.; Musical settings.; Madrigals. },
	catalogue-url = { https://www.worldcat.org/title/221939898 },
}

@book{ PetrassiNunc1971,
	author = { Petrassi, Goffredo },
	title = { Nunc },
	year = { 1971 },
	location = { Milano },
	publisher = { Suvini Zerboni },
	pages = { 7 p. : },
	subjects = { Guitar.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/220587358 },
	ismn = { 9790215605305 },
}

@book{ PetrassiSecondaSerenataTrio1962,
	author = { Petrassi, Goffredo },
	title = { Seconda serenata -- Trio },
	year = { 1962 },
	location = { Milano },
	publisher = { Suvini Zerboni },
	pages = { 18 p. : },
	subjects = { Harp.; Guitar.; Mandolin.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/seconda-serenata-trio-per-arpa-chitarra-e-mandolino/oclc/1069851 },
	note = { Score published in 1973. },
}

@book{ PetrassiSuoniNotturni1961,
	author = { Petrassi, Goffredo },
	title = { Suoni notturni },
	year = { 1961 },
	location = { Milano },
	publisher = { Ricordi },
	pages = { 32 p. : },
	subjects = { Guitar.; Chamber Music. },
	catalogue-url = { https://www.worldcat.org/title/suoni-notturni-per-chitarra/oclc/12968533 },
}

@book{ RavelBolero1928,
	author = { Ravel, Joseph Maurice },
	title = { Bol\'ero },
	year = { 1928 },
	location = { Paris },
	publisher = { Durand },
	pages = { 66 p. : },
	subjects = { Ballet Music.; Orchestra Music. },
	catalogue-url = { http://www.worldcat.org/title/152434654 },
	note = { Score published in 1929. },
}

@book{ SchoenbergSuiteOp25,
	author = { Sch\"onberg, Arnold },
	title = { Suite. Op.\ 25 },
	year = { 1923 },
	location = { Vienna },
	publisher = { Universal Edition },
	subjects = { Piano.; Pianoforte.; Chamber music.; Twelve-tone technique. },
	catalogue-url = { https://search.worldcat.org/title/suite-fur-klavier-op-25-praludium-gavotte-musette-intermezzo-menuett-gigue/oclc/227012882 },
	note = { Score published in 1925. },
}

@book{ SchoenbergVariationsOp31,
	author = { Sch\"onberg, Arnold },
	title = { Variationen f\"ur Orchester. Op.\ 31 },
	year = { 1928 },
	location = { Vienna },
	publisher = { Universal Edition },
	subjects = { Orchestra.; Variations.; Twelve-tone technique. },
	catalogue-url = { https://www.worldcat.org/title/variationen-fur-orchester-op-31/oclc/460490789 },
	note = { Score published in 1929. },
}

@book{ SchubertSchwanengesang1828,
	author = { Schubert, Franz },
	title = { Schwanengesang },
	year = { 1828 },
	location = { Vienna },
	publisher = { Tobias Haslinger },
	pages = { 44 p. : },
	subjects = { Chamber music.; German Lieder. },
	note = { {D}.~957.\enskip{}Score published in 1829. },
}

@book{ StravinskyMonumentumProGesualdo1960,
	author = { Stravinsky, Igor },
	title = { Monumentum pro Gesualdo di Venosa ad CD Annum },
	year = { 1960 },
	location = { London },
	publisher = { Hawkes \& Son },
	catalogue-url = { https://www.worldcat.org/title/217370005 },
	pages = { 15 p. : },
	subjects = { Transcriptions. },
	note = { K094. IIS 92. },
}

@book{ StravinskySymphonyOfPsalms1930,
	author = { Stravinsky, Igor },
	title = { Symphony of Psalms },
	year = { 1931 },
	location = { Berlin },
	publisher = { Russischer Musikverlag },
	subjects = { Choruses, Sacred with instrumental ensemble.; Vocal scores with piano (4 hands).; Musical settings. },
	catalogue-url = { https://www.worldcat.org/title/153631925 },
}

@book{ StravinskyTheRiteOfSpring1913,
	author = { Stravinsky, Igor },
	title = { The Rite of Spring },
	year = { 1913 },
	location = { Berlin },
	publisher = { Editions Russes de Musique },
	pages = { 139 p. : },
}

@book{ ZimmermannIntercomunicazione1967,
	author = { Zimmermann, Bernd Alois },
	title = { Intercomunicazione },
	year = { 1967 },
	location = { Mainz },
	publisher = { Schott Music },
	subjects = { Music score. },
	catalogue-url = { https://www.worldcat.org/title/intercomunicazione/oclc/976507184 },
	note = { Score published in 1968. },
}