Alves, Bill, 1989. "The Just Intonation System of Nicola Vicentino," 1/1: Journal of the Just Intonation Network 5 (No. 2, Spring): 8-13; also available on the web. This convenient summary of Vicentino's 16th-century approach to tuning and microtonalism includes a list of his recognized intervals and ratios, some resembling the "Wolves" of Renaissance meantone.
Barbour, J. Murray, 1933. "The Persistence of the Pythagorean Tuning System," Scripta Mathematica 1:286-304. This fascinating article on mathematics and music surveys the theory of Pythagorean tuning and its offshoots from ancient Greece to contemporary Europe and China, with related material on a 16th-century Chinese precedent for the division of the octave into 1200 cents, and on early musical applications of logarithms in 17th-century European sources.
Barbour, J. Murray, 1953. Tuning and Temperament: A Historical Survey. East Lansing: Michigan State College Press. A classic, this survey includes information on a wide variety of temperaments from the 17th and 18th centuries.
Corrigan, Vincent Justus, III, 1980. The Style of the Notre Dame Conductus (Ph.D. dissertation, Indiana University), 2 vols. The first volume of this study includes a description of Pythagorean tuning, pp. 16-22, and some vital observations on its interaction with consonance/dissonance perceptions and harmonic style around 1200.
Galilei, Vincenzo, 1985. Fronimo 1584, trans. and ed. Carol MacClintock, Musicological Studies and Documents 39. American Institute of Musicology. Neuhausen-Stuttgart: Hanssler-Verlag. ISBN 3775106588. The discussion of the lute's temperament and the issue of alternative frets (tastini) is at pp. 155-166.
Jacobus of Liege, 1955-1973. Jacobus Leodiens Speculum Musicae, ed. Roger Bragard, Corpus Scriptorum de Musica 3 (7 vols). Rome: American Institute of Musicology. In Books 2 and 4, Jacobus presents his encyclopedic survey of the intervals and their ratios in Pythagorean tuning. Dating from around 1325, this work reflects a conservative viewpoint championing the music of the author's youth in the later 13th century.
Jorgensen, Owen, 1977. Tuning the Historical Temperaments by Ear. Marquette: Northern Michigan University Press. ISBN 091861600X. A description of the complete medieval chromatic Pythagorean scale, including tuning instructions and beat frequencies, appears at pp. 48-53.
Jorgensen, Owen H., 1991. Tuning: Containing The Perfection of Eighteenth-Century Temperament, The Lost Art of Nineteeth-Century Temperament, and the Science of Equal Temperament, Complete with Instructions for Aural and Electronic Tuning. East Lansing: Michigan State University Press. ISBN 0870132903. This compendium of historical tunings and historical controversies surrounding them includes some interesting variants on Pythagorean tuning from the 14th to the 19th centuries.
Lindley, Mark, 1980a. "Pythagorean Intonation and the Rise of the Triad," Royal Musical Association Research Chronicle 16:4-61. ISSN 0080-4460. A germinal source, this article affirms the artistic and expressive value of Pythagorean tuning in a 13th-14th century Gothic context, and then explores both theoretical and musical evidence for an ingenious modification of this tuning around 1400 to suit a new stylistic leaning toward more blending thirds (see also Section 4.5 above).
Lindley, Mark, 1980b. "Pythagorean Intonation," New Grove Dictionary of Music and Musicians 15:485-487, ed. Stanley Sadie. Washington, DC: Grove's Dictionaries of Music. ISBN 0333231112. This short article gives a handy summary of Lindley's longer study on "Pythagorean Intonation and the Rise of the Triad" (see previous item).
Lindley, Mark, 1980c. "Temperaments," New Grove Dictionary of Music and Musicians 18:660-674, ed. Stanley Sadie. Washington, DC: Grove's Dictionaries of Music. ISBN 0333231112. This concise survey gives an overview of developments from the late 15th century on, with a large bibliography.
Loeb, David, 1976. "An Analytic Study of Japanese Koto Music," Music Forum 4:335-393. On the use of a three-voice 9/5 sonority similar to that of the Gothic era in Europe, see p. 347, and excerpts such as Example 3c at p. 346 and Example 10 at p. 358.
Zarlino, Gioseffo, 1588. Sopplimenti Musicali del Rev. M. Gioseffo Zarlino da Chioggia, Maestro di Cappella della Sereniss. Signoria di Venetia. Venice: Francesco de' Franceschi. Reprinted New York: Broude Brothers (c. 1980). ISBN 0845022156. Zarlino's paraphrase of arguments by his friend the Abbot Girolamo Roselli in favor of a division of the octave into 12 equal semitones appears in Book 4, Chapter 31, p. 212; for a partial translation, see Lindley 1980c, at p. 665.
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See also, Experimental Tuning Discussions, based on the present article.Margo Schulter