BallardDana, and YarbroughCornelia“The Effect Of Accidentals, Scale Degrees, Direction, And Performer Opinions On Intonation,”Update: Applications of research in music education8 (1990): 19–22.
2.
BalzanoGerald J.“Musical vs. Psychoacoustical Variables and their Influence on the Perception of Musical Intervals.”Bulletin of the Council for Research in Music Education70 (1982): 1–11.
3.
BarbieriPatrizio. “Violin Intonation: A Historical Survey,”Early music, 19 (1991): 69–88.
4.
BarbourJ. Murray. Tuning and Temperament, 2nd ed.New York: Da Capo Press, 1972.
5.
BenadeArthur H. Fundamentals of Musical Acoustics, 2nd ed., rev. New York: Dover Publications, 1990.
6.
BoerE. de, “Pitch Theories Unified.”Psychophysics and Physiology of Hearing ed. EvansE. F., and WilsonJ. P., 323–334. London: Academic Press, 1977.
7.
BoomsliterPaul, and CreelWarren“Extended Reference: An Unrecognized Dynamic in Melody.”Journal of Music Theory7 (1963), 2–22.
8.
BoomsliterPaul, and CreelWarren“The Long Pattern Hypothesis in Harmony and Hearing.”Journal of Music Theory5 (1961): 2–31.
9.
BregmanAlbert S. Auditory Scene Analysis: The Perceptual Organization of Sound.Cambridge, MA: MIT Press, 1990.
10.
BrownRebekah Ann. “Dynamics Of Intonation In Performances By Artist Violinists.” Ph.D. diss., Indiana University, 1996.
11.
BurnsEdward M.“Intervals, Scales, and Tuning.”The Psychology of Music, 2nd ed., ed. DeutschDiana, 215–64. New York: Academic Press, 1999.
12.
ButlerDavid. The Musician's Guide to Perception and Cognition.New York: Schirmer Books, 1992.
13.
DeutschDiana. “The Processing of Pitch Combinations.”The Psychology of Music, 2nd ed., ed. DeutschDiana, 349–411. New York: Academic Press, 1999.
14.
ElliotJ., PlattJ. R., and RacineR. J.“Adjustment of Successive and Simultaneous Intervals by Musically Experienced and Inexperienced Subjects.”Perception & Psychophysics42 (1987): 594–598.
15.
FykJanina. “Static And Dynamic Model Of Musical Intonation.” SMAC 93: Proceedings of the Stockholm Music Acoustics Conference, July 28–August 1, 1993. Stockholm: Kungliga Musikaliska Akademien, 1994, 89–95.
16.
FykJanina. Melodic intonation, psychoacoustics, and the violin. Trans. Joanna Ciecierska. Zielona Gora: Organon, 1995.
17.
GarmanBarry Rex. “The Effects Of Accompaniment Texture And Contextual Pitch Distance On String Instrumentalists' Intonational Performance.” Ph.D. diss., University of Miami, 1992.
18.
GelfandStanley. Hearing: An Introduction to Psychological and Physiological Acoustics.New York: Marcel Dekker, 1990.
19.
GenevroJ. Bradley.“Ways To Improve Intonation,”Teaching Music4 (1997): 30–32.
20.
GeringerJohn M.“Comparison Of Good Versus Bad Tone Quality/Intonation of Vocal and String Performances: Issues Concerning Measurement and Reliability of the Continuous Response Digital Interface,”Bulletin of the Council for Research in Music Education no.141 (Summer 1999): 86–92.
21.
GeringerJohn M.; MadsenClifford K.“Musicians' Ratings Of Good Versus Bad Vocal And String Performances,”Journal of Research in Music Education46 (1998): 522–534.
22.
GoldsteinJulius L.“An Optimum Processor Theory for the Central Formation of the Pitch of Complex Tones.”The Journal of the Acoustical Society of America54 (1973), 1496–1516.
23.
GreenePaul C. “Violin Performance with Reference to Tempered, Natural, and Pythagorean Intonation.”University of Iowa: Studies in the Psychology of Music, vol. 4, 232–251. Iowa City: Iowa University Press, 1937.
24.
HajduGeorg. “Low Energy and Equal Spacing; the Multifactorial Evolution of Tuning Systems.”Interface22 (1993): 319–333.