Apel, W.
(1969). Color and music. In: W. Apel (Ed.), Harvard Dictionary of Music, 2nd ed.Cambridge, Mass.: Belknap.
2.
Block, L.
(1983). Comparative tone-colour responses of college music majors with absolute pitch and good relative pitch. Psychology of Music, 11, 59-66.
3.
Carroll, J. B.
and Greenberg, J. H. (1961). Two cases of synaethesia for color and musical tonality associated with absolute pitch ability. Perceptual and Motor Skills, 13, 48-48.
4.
Critchley, M.
(1977). Ecstatic and synaesthetic experiences during music perception. In: M. Critchley and R. A. Henson (Eds.), Music and the Brain. Springfield, Illinois: C. C. Thomas.
5.
Cuddy, L. L.
(1985). The color of melody. Music Perception, 2, 345-360.
6.
Otterstrom, T.
(1975). A Theory of Modulation. New York: Da Capo. (First published in 1935, University of Chicago Press.)
7.
Scholes, P. A.
(1970). Colour and music. In: P. A. Scholes, The Oxford Companion to Music, 10th ed. (J. O. Ward, ed.). London: Oxford University Press.
8.
Ward, W. D.
and Burns, E. M. (1982). Absolute pitch. In: D. Deutsch (Ed.). Psychology of Music. New York: Academic Press.