Bibliography

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Apel, Willi, Ed.. Harvard Dictionary of Music. Cambridge, MA: Havard University Press, 1969.

Barbour, J. Murray. Tuning and Temperament: A Historical Survey. East Lansing: Michigan State College Press, 1967.

Benjamin, Thomas, Michael Horvit and Robert Nelson.Techniques and Materials of Tonal Music: With an Introduction to Twentieth-Century Techniques, Fifth Edition. Belmont, CA: Wadsworth, 1998.

Bernstein, Leonard. The Unanswered Question. Cambridge, MA: Havard University Press, 1976.

Campbell, Murray and Clive Greated. The Musicians' Guide to Acoustics. New York: Schirmer, 1987.

Cook, Perry. Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. Cambridge, MA: MIT Press, 1999.

Cowell, Henry. New Musical Resources. Cambridge: Cambridge University Press, 1996.

Gauldin, Robert. Harmonic Practice in Tonal Music. New York: Norton, 1997.

Helmholtz, Hermann. On the Sensations of Tone. New York: Dover, 1954.

Hindemith, Paul. The Craft of Musical Composition, Book 1: Theory, Fourth Edition. New York: Schott, 1970.

Koff, Charles. Harmony from the Science of Acoustics. Studio City, CA: Koff Music Co. Publishers, 1975.

Partch, Harry. Genesis of a Music, 2nd Edition. New York: Da Capo, 1974.

Pierce, John R.. The Science of Musical Sound, Revised Edition. New York: W. H. Freeman and Company, 1992.

Pellman, Samuel. An Introduction to the Creation of Electroacoustic Music. Belmont, CA: Wadsworth, 1994.

Schenker, Heinrich. Harmony. Chicago: University of Chicago Press, 1980.

Where you can learn more about the harmonic series...

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The Overtone Series (Harmonic Series) is briefly introduced in following sources:

• Benjamin 1998, "The Overtone Series," p. 211.
  
• Gauldin 1997, "Vibration Form and Timbre," pp. 623-625.
  
• Koff 1976, "The Twenty Overtone Harmonics," p. 2.
  
• Pellman 1994, "The Color of Sound," pp. 210-214.
  

A more thorough treatment may be found in:

• Apel 1969, "Acoustics IV, Harmonics, overtones," pp. 10-11.
• Hindemith 1945: "Overtones," pp. 15-17; "Nature of the Overtone Series, pp. 17-21."

Musical instruments and overtones:

• Hindemith 1945, "Effect of the Values of a Bb Trumpet," pp. 20-21.
• Hindemith 1945, "Harmonics on the G-String of the Violin," pp. 19-20.
• Hindemith 1945, "Overblowing on the (Boehm) Flute," p. 21.

Acoustical Foundations and Implications in Tonal Theory:

• Campbell 1987, "Pitch of complex tones," pp. 81-83; "Fusion of pure tone components, pp. 84-85; "Experiments with slightly inharmonic tone complexes, pp. 86-88.
• Cowell 1996, "The Influence of Overtones in Music," pp. 3-24.
• Helmholtz 1954, "On the Analysis of Musical Tones by the Ear," pp. 49-52.
• Partch 1974, "Equal Temperaments," pp. 407-439.
• Pierce 1992, "Sine Waves," pp. 38-45.
• Schenker 1996, "The Overtone Series: Conclusions To Be Drawn from It with Regard to Tonal Systems," pp. 21-22; "Critique and Rejection of These Conclusioins, pp. 22-24; "No Overtone beyond the Fifth in the Series Has Any Application to Our Tonal System," pp. 25-26; "The Major Triad in Nature and in Our System," pp. 26-29.

Updated: April 1, 2003