Albersheim, G.
(1964). Mind and Matter in Music. Journal of Aesthetics and Art Criticism, 22, 289-289.
2.
Allen, D.
(1967). Octave Discriminability of Musical and Non-musical Subjects. Psychonomic Science, 7/12, 421-422.
3.
Bauer-Mengelberg, S.
, and Ferentz, M. (1965). On Eleven-interval Twelve-tone Rows. Perspectives of New Music, 3/2, 93-103.
4.
Blackwell, H. R.
, and Schlosberg, H. (1943). Octave Generalization, Pitch Discrimination and Loudness Thresholds in the White Rat. Journal of Experimental Psychology, 33, 407-419.
5.
Brindle, R. S.
(1966). Serial Composition. London: Oxford University Press.
6.
Deutsch, D.
(1972). Octave Generalization and Tune Recognition. Perception and Psychophysics, 11/6, 411-412.
7.
Frances, R. (1958). La Perception de la Musique. Paris: Vrin.
8.
Humphreys, L. G.
(1939). Generalization as a Function of Method of Reinforcement. Journal of Experimental Psychology, 25, 361-372.
9.
Kramer, J.
(1971). The Row as Structural Background and Audible Foreground: the First Movement of Webern's First Cantata. Journal of Music Theory, 15, 158-181.
10.
Meyer, L. B.
(1967). Music, the Arts and Ideas. Chicago.
11.
Pousseur, H.
(1966). The Question of Order in New Music. Perspectives of New Music, 5/1, 93-120.
12.
Robinson, E. S.
, and Brown, M. A. (1926). Effects of Serial Position upon Memorization. American Journal of Psychology, 37, 538-552.
13.
Rufer, J.
(1954). Comnposition with 12 Notes, trans. H. Searle. London.
