References

1

Johann Sebastian Bach.
389 Choralgesänge für vierstimmigen gemischten Chor.
Breitkopf & Härtel, Wiesbaden, ca. 1912.

2

Patrizio Barbieri.
Violin intonation: A historical survey.
Early Music, 19(1):69-88, February 1991.

3

Easley Blackwood.
The Structure of Recognizable Diatonic Tunings.
Princeton University Press, Princeton, 1985.

4

Brombaugh and Associates.
The Brombaugh Organ in Duke University Chapel.
http://www.chapel.duke.edu/organs/Brombaugh/default.html.

5

Steve DeFuria and Joe Scacciaferro.
MIDI Programmer's Handbook.
M&T Books, Redwood City, CA, 1989.

6

Ben Denckla and Patrick Pelletier.
The Rogus McBogus MIDI Library.
http://theremin.media.mit.edu/rogus.

7

David B. Doty.
A response to harold waage.
1/1: The Journal of the Just Intonation Network, 7(4):2,16, 1992.

8

David B. Doty.
The Just Intonation Primer: An Introduction to the Theory and Practice of Just Intonation.
The Just Intonation Network: a project of Other Music, Inc., San Francisco, 1994.

9

Glenn Frantz.
A scaleless sequencer.
1/1: The Journal of the Just Intonation Network, 6(3):4,5,14, 1990.

10

James Gosling, Bill Joy, and Guy Steele.
The Java$^{\mbox{\scriptsize{TM}}}$ Language Specification.
Addison-Wesley, 1997.
Also available electronically at http://www.javasoft.com/docs/books/jls/index.html.

11

Bruce Haynes.
Beyond temperament: Non-keyboard intonation in the 17th and 18th centuries.
Early Music, 19(3), August 1991.

12

Hermann L. F. Helmholtz.
On the Sensations of Tone as a Physiological Basis for the Theory of Music.
Dover, New York, 1954.
Edited, translated, and added to by Alexander J. Ellis.

13

David Lewin.
Generalized Musical Intervals and Transformations.
Yale University Press, New Haven, 1987.

14

Mark Lindley and Ronald Turner-Smith.
Mathematical Models of Musical Scales: A New Approach.
Verlag für systematische Musikwissenschaft GmbH, Bonn, 1993.

15

Tod Machover et al.
The Brain Opera.
http://brainop.media.mit.edu.

16

R. Plomp and W. J. M. Levelt.
Tonal consonance and critical bandwidth.
Journal of the Acoustical Society of America, 38:548-560, 1965.

17

Theodor H. Podnos.
Intonation for Strings, Winds, and Singers: a Six-Month Course.
Scarecrow Press, 1981.

18

Larry Polansky.
Paratactical tuning: an agenda for the use of computers in experimental intonation.
Computer Music Journal, 11(1):61-68, 1987.

19

Rudolf Rasch.
Does ``well-tempered'' mean ``equal-tempered?''.
In Williams, editor, Bach, Händel, Scarlatti Tercentenary Essays, pages 293-310, Cambridge, 1985. Cambridge University Press.

20

Eric Regener.
Pitch Notation and Equal Temperament: A Formal Study.
University of California Press, Berkeley, 1973.

21

William A. Sethares.
Adaptive tunings for musical scales.
Journal of the Acoustical Society of America, 96(1):10-19, July 1994.

22

R. Jules Siegel.
Algorithmic tuning via midi.
1/1: The Journal of the Just Intonation Network, 3(4):4-6, 1987.

23

R. Jules Siegel.
Totally dynamic tuning using midi pitchbend.
1/1: The Journal of the Just Intonation Network, 8(2):11,15, 1994.

24

Rita Steblin.
A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries.
UMI Research Press, 1983.

25

Bjarne Stroustrup.
The C++ Programming Language, Second Edition.
Addison-Wesley, 1991.

26

Barry Vercoe.
The Csound Music Synthesis Language.
ftp://sound.media.mit.edu/pub/Csound.

27

Harold M. Waage.
The intelligent keyboard.
1/1: The Journal of the Just Intonation Network, 1(4):1,12-13, 1985.

28

Harold M. Waage.
Harold waage replies.
1/1: The Journal of the Just Intonation Network, 7(4):16, 1992.

29

Harold M. Waage.
Liberation for the scale-bound consonance.
1/1: The Journal of the Just Intonation Network, 7(3):1,6-10, 1992.

30

Jonathan Walker.
Intonational injustice: A defense of just intonation in the performance of renaissance polyphony.
The Online Journal of the Society for Music Theory, 2(6), September 1996.
http://boethius.music.ucsb.edu/mto/issues/mto.96.2.6/mto.96.2.6.walker.html.