Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading, 2nd ed. New York: Harcourt, Brace, and Jovanovich, 1989
Apel, Willi. The Harvard Dictionary of Music, 2nd ed. Cambridge, Mass.: Harvard University Press, 1969
Bailey, Robert. “An Analytical Study of the Sketches and Drafts.” In Richard Wagner: Prelude and Transfiguration from Tristan und Isolde, ed. R. Bailey. New York: Norton, 1985, pp. 121–122
Beach, David. “A Recurring Pattern in Mozart's Music.”Journal of Music Theory, vol. 27, no. 1, Spring 1983, pp. 1–29
Bent, Ian. Analysis. New York: W. W. Norton, 1987
Bernstein, David. “Symmetry and Symmetrical Inversion in Turn-of-the-Century Theory and Practice.” In Music Theory and the Exploration of the Past, ed. D. Bernstein and C. Hatch. Chicago: University of Chicago Press, 1993, pp. 377–408
Brown, Matthew. “The Diatonic and the Chromatic in Schenker's Theory of Harmonic Relations.”Journal of Music Theory, vol. 30, no. 1, Spring 1986, pp. 1–33
Brown, Matthew. “A Rational Reconstruction of Schenker's Theory.” Ph.D. dissertation, Cornell University, 1989
Burnham, Scott. “Aesthetics, Theory and History in the Works of Adolph Bernhard Marx.” Ph.D. dissertation, Brandeis University, 1988
Burnham, Scott. “Method and Motivation in Hugo Riemann's History of Harmonic Theory.”Music Theory Spectrum, vol. 14, no. 1, Spring 1992, pp. 1–14
Burnham, Scott. Musical Form in the Age of Beethoven. Cambridge: Cambridge University Press, 1997
Catel, Charles-Simon. Traite d’harmonie … adopte par le Conservatoire pour servir a l’etude dans cet establissement. Leipzig: A. Kuhnel, early 1800s, with German trans. Also trans. L. Mason as A Treatise on Harmony. Boston: J. Loring, 1832
Childs, Adrian P.“Moving Beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 181–193
Christensen, Thomas. Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press, 1993
Christensen, Thomas. Review of Carl Dahlhaus’Studies on the Origin of Harmonic Tonality. Music Theory Spectrum, vol. 15, no. 1, Spring 1993, pp. 94–111
Christensen, Thomas. “Music Theory and its Histories.” In Music Theory and the Exploration of the Past, ed. D. Bernstein and C. Hatch. Chicago: University of Chicago Press, 1993, pp. 9–39
Cinnamon, Howard. “Tonic Arpeggiation and Successive Equal Third Relations as Elements of Tonal Evolution.”Music Theory Spectrum, vol. 8, 1986, pp. 1–24
Cohn, Richard. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late Romantic Triadic Progressions.”Music Analysis, vol. 15, no. 1, 1996, pp. 9–40
Cohn, Richard. “Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations.”Journal of Music Theory, vol. 42, no. 1, Spring 1997, pp. 1–66
Cohn, Richard. “Square Dances With Cubes.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 283–295
Cohn, Richard. “Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 167–179
Cohn, Richard. “As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert.”19th Century Music, vol. 22, no. 3, Spring 1999, pp. 213–232
Dahlhaus, Carl. “Terminologisches zum Begriff der harmonischen Funktion.”Die Musikforschung 28, no. 2, 1975, pp. 197–202
Dahlhaus, Carl. “Über den Begriff der tonalen Funktion.” In Beiträge zur Musiktheorie des 19. Jahrhundert, ed. Martin Vogel. Regensburg: Gustav Bolle, 1966, pp. 93–102
Dahlhaus, Carl. Studies on the Origin of Harmonic Tonality, trans. Robert Gjerdingen. Princeton: Princeton University Press, 1990
Dehn, Siegfried. Theoretische-Praktische Harmonielehre, mit angefugten Generalbaβbeispielen. Berlin: W. Thome, 1840
Ferris, Joan. “The Evolution of Rameau's Harmonic Theories.”Journal of Music Theory, vol. 3, no. 1, Nov. 1959, pp. 231–256
Fétis, François-Joseph. Esquisse de l’histoire de l’harmonie (1840), trans. Mary Ⅰ. Arlin. Stuyvesant, NY: Pendragon Press, 1994
Forte, Allan, and Steven Gilbert. Introduction to Schenkerian Analysis. New York: W. W. Norton, 1982
Goetschius, Percy. The Theory and Practice of Tone-Relations, 28th ed. New York: G. Schirmer, 1931
Gollin, Edward. “Some Aspects of Three-Dimensional Tonnetze.”Journal of Music Theory, vol. 42, no. 2, Fall 1998, pp. 195–205
Grabner, Hermann. Handbuch der funktionellen Harmonielehre, vol. Ⅰ. Berlin: Max Hesse, 1950
Harrison, Daniel. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents. Chicago: University of Chicago Press, 1994
Hauptmann, Moritz. Die Natur der Harmonik und der Metrik. Leipzig: Breitkopf & Härtel, 1853. Also trans. W. E. Heathcote as The Nature of Harmony and Metre. London: Swan Sonnenschein, 1888
Hauptmann, Moritz. Die Lehre von der Harmonik. Leipzig: Breitkopf & Härtel, 1868
Hayes, Deborah. “Rameau's Theory of Harmonic Generation: an Annotated Translation and Commentary of Génération harmonique of Jean-Philippe Rameau.” Ph.D. dissertation, Stanford University, 1968. Ann Arbor: UMI Research Press, 1983
Heinichen, Johann David. Neu erfundene und grundliche anweisung wie ein Music-liebender … konne zu vollkommener Erlernung des Generalbaβes. Hamburg: B. Schillers, 1711
Helmholtz, Hermann. On the Sensations of Tone [1877, 4th ed.], trans. A. J. Ellis. New York: Dover, 1954
Hoffman, Mark. “A Study of German Theoretical Treatises of the Nineteenth Century.” Ph.D. dissertation, Eastman School of Music, 1953
Hyer, Brian. “Tonal Intuitions in Tristan und Isolde.” Ph.D. dissertation, Yale University, 1989
Hyer, Brian. “Reimag(in)ing Riemann.”Journal of Music Theory, vol. 39, no. 1, Spring 1995, pp. 101–138
Imig, Renate. Systeme der Functionsbezeichnung in den Harmonielehren seit Hugo Riemann. Düsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft, 1970
Jesson, Ronald. “Third Relation in the Late Eighteenth and Early Nineteenth Centuries.” Ph.D. dissertation, Indiana University, 1958
Jorgenson, Dale. Moritz Hauptmann of Leipzig. Lewiston, NY: The Edwin Mellen Press, 1986
Karg-Elert, Sigfrid. Polaristische Klang- und Tonalitätslehre. Leipzig: F. E. C. Leuckart, 1931
Keiler, Allan. “The Syntax of Prolongation.”In Theory Only, vol. 3, no. 5, Aug. 1977, pp. 3–27
Keiler, Allan. “Music as Metalanguage: Rameau's Fundamental Bass.” In Music Theory: Special Topics. New York: Academic Press, 1981
Keiler, Allan. “On Some Properties of Schenker's Pitch Derivations.”Music Perception, vol. 1, no. 2, Winter 1983/84, pp. 200–228
Kinderman, William, and Harald Krebs, eds. The Second Practice of Nineteenth-Century Tonality. Lincoln, Nebr.: University of Nebraska Press, 1996
Klumpenhouwer, Henry. “Some Remarks on the Use of Riemann Transformations.” Music Theory Online, vol. 0.9, July 1994
Kopp, David. “A Systematic Theory of Chromatic Mediant Relations in Mid-Nineteenth Century Music.” Ph.D. dissertation, Brandeis University, 1995
Kopp, David. “On the Function of Function.” Music Theory Online, vol. 1.3, May 1995
Kopp, David. “Pentatonic Organization in Two Piano Pieces of Debussy.”Journal of Music Theory, vol. 41, no. 2, Fall 1997, pp. 261–288
Kostka, Stefan, and Dorothy Payne. Tonal Harmony, 2nd, 3rd, and 4th eds. New York: Alfred A. Knopf, 1989, 1995, 1999
Krebs, Harald. “Third Relations and Dominant in Late 18th- and Early 19th-Century Music.” Ph.D. dissertation, Yale University, 1980
Krebs, Harald. “Alternatives to Monotonality in Early Nineteenth-Century Music.”Journal of Music Theory, vol. 25, no. 1, Spring 1981, pp. 1–16
Krebs, Harald. “Some Early Examples of Tonal Pairing.” In The Second Practice of Nineteenth-Century Tonality, ed. W. Kinderman and H. Krebs. Lincoln, Nebr.: University of Nebraska Press, 1996, pp. 17–33
Krehbiel, James. “Harmonic Principles of Jean-Philippe Rameau and his Contemporaries.” Ph.D. dissertation, Indiana University, 1964
Lerdahl, Fred. “Tonal Pitch Space.”Music Perception, vol. 5, no. 3, Spring 1988, pp. 315–349
Lester, Joel. Tonal Harmony in Theory and Practice. New York: Alfred A. Knopf, 1982
Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge, Mass.: Harvard University Press, 1992
Levenson, Irene. “Motivic-harmonic Transfer in the Late Works of Schubert: Chromaticism in Large and Small Spans.” Ph.D. dissertation, Yale University, 1981
Lewin, David. “A Formal Theory of Generalized Tonal Functions.”Journal of Music Theory, vol. 26, no. 1, Spring 1982, pp. 23–60
Lewin, David. “Amfortas’ Prayer to Tiurel and the Role of D in Parsifal: The Tonal Spaces and the Drama of the Enharmonic C ♭ /B.”19th Century Music, vol. 7, no. 3, Spring 1984, pp. 336–349
Lewin, David. Generalized Musical Intervals and Transformations. New Haven: Yale University Press, 1987
Lewin, David. “Some Notes on Analyzing Wagner: The Ring and Parsifal.”19th Century Music, vol. 16, no. 1, Summer 1992, pp. 49–58
Lewin, David. “Some Ideas about Voiceleading between PC Sets.”Journal of Music Theory, vol. 42, no. 1, Spring 1998, pp. 15–72
Lewis, Christopher. “Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality.”19th Century Music, vol. 11, no. 1, Summer 1987, pp. 26–42
Louis, Rudolf, and Ludwig Thuille. Harmonielehre. Stuttgart: Carl Gruninger, 1907. 3rd ed., 1910
Lubben, Joseph. “Schenker the Progressive: Analytic Practice in Der Tonwille.”Music Theory Spectrum, vol. 15, no. 1, Spring 1993, pp. 59–75
Marx, Adolph Bernhard. Die Lehre von der musikalischen Komposition, vol. 1. 1st ed., Leipzig: Breitkopf & Härtel, 1841; 7th ed., 1868. Also trans. H. S. Saroni from 3rd ed. as Theory and Practice of Musical Composition. New York: Mason Bros., 1860
Marx, Adolph Bernhard. Die alte Musiklehre im Streit mit unserer Zeit. Leipzig: Breitkopf und Härtel, 1841
McCreless, Patrick. “Schenker and Chromatic Tonicization: A Reappraisal.” In Schenker Studies, ed. Hedi Siegel. Cambridge: Cambridge University Press, 1990, pp. 125–145
McCreless, Patrick. “An Evolutionary Perspective on Nineteenth-Century Semitonal Relations.” In The Second Practice of Nineteenth-Century Tonality, ed. W. Kinderman and H. Krebs. Lincoln, Nebr.: University of Nebraska Press, 1996, pp. 87–113
McCune, Mark. “Moritz Hauptmann: Ein Haupt Mann in Nineteenth Century Music Theory.”Indiana Theory Review, vol. 7, no. 2, Fall 1986, pp. 1–28
McKinley, Thomas Lawrence. “Dominant-Related Chromatic Third Progressions.” Unpublished manuscript, Tulane University, 1994
Mickelson, William. Hugo Riemann's Theory of Harmony, with a translation of Riemann's Geschichte der Musiktheorie im Ⅸ–ⅩⅨ Jahrhundert, book Ⅲ (1898). Lincoln, Nebr.: University of Nebraska Press, 1977
Mooney, M. Kevin. “The ‘Table of Relations’ and Music Psychology in Hugo Riemann's Harmonic Theory.” Ph.D. dissertation, Columbia University, 1996
Morgan, Robert. “Dissonant Prolongations: Theoretical and Compositional Precedents.”Journal of Music Theory, vol. 20, no. 1, Spring 1976, pp. 49–91
Morgan, Robert. “Symmetrical Form and Common-Practice Tonality.”Music Theory Spectrum, vol. 20, no. 1, Spring 1998, pp. 1–47
Morgan, Robert. “Are There Two Tonal Practices in Nineteenth-Century Music?”Journal of Music Theory, vol. 43, no. 1, Spring 1999, pp. 135–163
Morris, Robert. Composition with Pitch Classes. New Haven: Yale University Press, 1987
Pastille, William. “The Development of the Ursatz in Schenker's Published Work.” In Trends in Schenkerian Research, ed. Allan Cadwallader. New York: Schirmer, 1990
Piston, Walter, and Mark DeVoto. Harmony, 5th ed. New York: Norton, 1987
Proctor, Gregory. “Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chromaticism.” Ph.D. dissertation, Princeton University, 1978. Ann Arbor: UMI Research Press
Rameau, Jean-Philippe. Traité de l’harmonie réduite à ses principes naturels. Paris: J. Ballard, 1722; repr. Slatkine, Geneva, 1986
Rameau, Jean-Philippe. Nouveau systeme de musique theorique, ou l’on decouvre le principe de toutes les regles necessaires a la pratique, pour servir d’introduction au Traite de l’harmonie. Paris: J. Ballard, 1726. All Rameau treatises also reissued in facsimile by the American Institute of Musicology, 1966–68
Rameau, Jean-Philippe. Generation harmonique, ou Traite de musique theorique et pratique. Paris: Prault fils, 1737
Rameau, Jean-Philippe. Démonstration du principe de l’harmonie, servant de base a tout l’art musical theorique et pratique. Paris: Durand, 1750
Rameau, Jean-Philippe. Code de musique pratique, ou methodes pour apprendre la musique, meme a des aveugles. Paris: de la Imprimerie royale, 1760
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press, 1986
Reicha, Anton. Cours de Composition Musicale, ou Traité Complet et Raisonné d’Harmonie Pratique. Paris: Gambaro, 1818
Rexroth, Dieter. “Arnold Schönberg als Theoretiker der Tonalen Harmonik.” Ph.D. dissertation, Rheinische Friedrich-Wilhelms-Universität, Bonn, 1971
Riemann, Hugo. “Musikalische Logik.”Neue Zeitschrift für Musik, vol. 28, 1872, pp. 279–282
Riemann, Hugo. Über das Musikalische Hören. Leipzig: Fr. Andrä's Nachfolger, 1874
Riemann, Hugo. Skizze einer neuen Methode der Harmonielehre. Leipzig: Breitkopf & Härtel, 1880. Also 3rd and 7th eds., as Handbuch der Harmonielehre, 1887 and 1920
Riemann, Hugo. Die Natur der Harmonik. In Sammlung musikalischer Vorträge, P. G. Waldersee, ed., vol. Ⅳ. Leipzig: Breitkopf und Härtel, 1882. Trans. John C. Fillmore as The Nature of Harmony. Philadelphia: Theodore Presser, 1886
Riemann, Hugo. Musik-Lexicon. Mainz: B. Schott's Söhne, 1st, 4th, 11th, and 12th eds.; 1882, 1900, 1929, and 1967
Riemann, Hugo. Systematische Modulationslehre als Grundlage der Musikalischen Formenlehre. Hamburg: J. F. Richter, 1887
Riemann, Hugo. Allgemeine Musiklehre (Katechismus der Musik). Berlin: Max Hesse, 1888
Riemann, Hugo. Katechismus der Harmonielehre. Berlin: Max Hesse, 1890. Also 7th ed., as Handbuch der Harmonie- und Modulationslehre, 1920
Riemann, Hugo. Harmony Simplified (Vereinfachte Harmonie, oder die Lehre von der tonalen Funktionen der Akkorde) (1893), trans. anonymous. London: Augener Ltd., 1896
Riemann, Hugo. Groβe Kompositionslehre, vol. Ⅰ. Berlin: W. Spemann, 1902
Riemann, Hugo. “Ideen zu einer ‘Lehre von den Tonvorstellungen.’” In Jahrbuch der Musikbibliothek Peters 1914–15, ed. Rudolf Schwartz, vols. ⅩⅪ–ⅩⅫ, pp. 1–25. Leipzig, 1916
Riemann, Hugo. L. Van Beethovens sämtliche Klavier-Solosonaten, vols. Ⅰ–Ⅲ. Berlin: Max Hesse, 1920
Rosen, Charles. The Classical Style. New York: W. W. Norton, 1972
Rosen, Charles. Sonata Forms. New York: W. W. Norton, 1980
Rosen, Charles. The Romantic Generation. Cambridge, Mass.: Harvard University Press, 1995
Rummenhöller, Peter. Musiktheoretisches Denken im 19. Jahrhundert. Regensburg: Gustav Bolle, 1967
Saslaw, Janna K.“Gottfried Weber and Multiple Meaning.”Theoria, vol. 5, 1990–91, pp. 74–103
Saslaw, Janna K. and James P. Walsh. “Musical Invariance as a Cognitive Structure.” In Music Theory in the Age of Romanticism, ed. Ian Bent. Cambridge: Cambridge University Press, 1996, pp. 211–232
Schenker, Heinrich. Der freie Satz [Free Composition, 1935], trans. Ernst Oster. New York: Longman, 1979
Schenker, Heinrich. Fünf Urlinie-Tafeln [New York: Mannes School of Music, c. 1933], repr. as Five Graphic Music Analyses. New York: Dover Publications, 1969
Schenker, Heinrich. Harmony [Harmonielehre, 1906], trans. Elizabeth Borghese, ed. Oswald Jonas. Cambridge, Mass.: MIT Press, 1978
Schoenberg, Arnold. Structural Functions of Harmony (1954). New York: W. W. Norton, 1969
Schoenberg, Arnold. Theory of Harmony [Harmonielehre, 1911–22], trans. Roy Carter. Berkeley: University of California Press, 1978
Seidel, Elmer. “Die Harmonielehre Hugo Riemanns.” In Beiträge zur Musiktheorie des 19. Jahrhundert, ed. Martin Vogel. Regensburg: Gustav Bolle Verlag, 1966, pp. 39–92
Shirlaw, Matthew. The Theory of Harmony, 2nd ed. DeKalb, Ill.: Dr. Birchard Coar, 1955
Slatin, Sonia. “The Theories of Heinrich Schenker in Perspective.” Ph.D. dissertation, Columbia University, 1967. Ann Arbor: UMI Research Press
Smith, Charles J.“The Functional Extravagance of Chromatic Chords.”Music Theory Spectrum, vol. 8, 1986, pp. 94–139
Somer, Avo. “Chromatic Third-Relations and Tonal Structure in the Songs of Debussy.”Music Theory Spectrum, vol. 17, no. 2, Fall 1995, pp. 215–241
Stein, Deborah. Hugo Wolf's Lieder and Extensions of Tonality. Ann Arbor: UMI Research Press, 1985
Thompson, David M. A History of Harmonic Theory in the United States. Kent, Oh.: The Kent State University Press, 1980
Tischler, Hans. “Chromatic Mediants – A Facet of Musical Romanticism.”Journal of Music Theory, vol. 2, no. 1, April 1958, pp. 94–97
Todd, R. Larry. “The ‘Unwelcome Guest’ Regaled: Franz Liszt and the Augmented Triad.”19th Century Music, vol. 12, no. 2, Fall 1988, pp. 93–115
Todd, R. Larry. “Franz Liszt, Carl Friedrich Weitzmann, and the Augmented Triad.” In The Second Practice of Nineteenth-Century Tonality, ed. W. Kinderman and H. Krebs. Lincoln, Nebr.: University of Nebraska Press, 1996, pp. 153–177
Tovey, Donald Francis. “Schubert's Tonality.” Music and Letters, vol. 9, no. 4, 1928, reprinted in The Main Stream of Music and Other Essays. New York: Meridian Books, 1959
Wason, Robert. “Schenker's Notion of Scale Step in Historical Perspective: Non-Essential Harmonies in Viennese Fundamental Bass Theory.”Journal of Music Theory, vol. 27, no. 1, Spring 1983, pp. 49–73
Wason, Robert. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor: UMI Research Press, 1985
Weber, Gottfried. Versuch einer geordneten Theorie der Tonsetzkunst (1817–21), vols. Ⅰ–Ⅱ. Mainz: B. Schott's Söhne, 3rd ed., 1830–32. Also trans. J. Warner as The Theory of Musical Composition. London: R. Cocks, 1851
Wuensch, Gerhard. “Hugo Riemann's Musical Theory.”Studies in Music from the University of Western Ontario, vol. 2, 1977, pp. 108–124
