Basart, Ann Phillips. Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music. University of California Bibliographic Guides. Berkeley: University of California Press, 1963. Mus Ref ML 128 .T9 B4
Use: A bibliographic guide to writings about serial and electronic music.
Coverage: Twelve-tone and electronic music, but also touches upon related topics: expressionism, pre-dodecaphonic atonality, musique concrete, and “chance” music. Covers these topics through early 1960s. Includes articles in several languages, including German, French, Italian.
Organization: Arranged by topic. Topics include: “Twelve-Tone Music,” “Electronic Music,” “The Viennese School,” and “Other Composers.” Includes author and subject indexes. Entries under each topic arranged chronologically.
Pros: In addition to bibliographic information, a short description of the contents of the study accompanies each entry.
Cons: Now badly outdated.
Damschroder, David, and David Russell Williams. Music Theory from Zarlino to Schenker: A Bibliography and Guide. Harmologia, No. 4. Stuyuesant, New York: Pendragon Press, 1990. Mus Ref ML 128 .T5 D27 1990
Use: Entries provide an essay on the theorist followed by a list of known writings, information regarding original manuscripts, microfilm, facsimile, modern editions and translations.
Coverage: Theorists included based upon an emphasis on compositional practice, speculative theory, and significant pedagogical works; music criticism, aesthetics, and perception are de-emphasized.
Organization: Three main sections: 1) dictionary of theorists in standard dictionary format that covers over two hundred authors. 2) Literature supplement lists articles, books, and dissertations which pertain to several authors in the aforementioned dictionary, and 3) various indices include topical index, chronological index of treatise titles, and index of authors mentioned anywhere else throughout the book. Also includes literature supplement bibliography of secondary literature organized in prioritized fashion according to importance of works included. Entries include complete list of theorists’ known writings, information regarding the location and availability of microfilm reproductions, facsimile or modern editions, and translations.
Pros: Clear introduction of the text subdivisions, cross-reference citations, dictionary of theorists and literature supplement.
Davidsson, Åke, ed. Catalogue critique et descriptif des ouvrages theoriques sur la musique: Imprimes au XVIe et au XVIIe siecles et conserves dans les bibliotheques Suedoises. Studia musicologica upsaliensia, II. Uppsala: Almqvist & Wiksells boktryckeri ab, 1953. Mus Ref ML 128 .T5 D3
Use: A bibliographic guide to the theory manuscripts in Swedish libraries
Coverage: Covers materials previously listed in Catalogue critique et descriptif des imprimes de musique des XVIe et XVIIe siecles conserves a la Biblioteque de l’Universite Royale d’Upsala and Catalogue critique et descriptif des imprimes de musique des XVIe et XVIIe siecles conserves dans les biblioteques suedoises. Covers only the most important manuscripts found there, and does not attempt to be comprehensive. Includes treatises in German, Latin, and Italian. Includes manuscripts from the sixteenth and seventeenth centuries.
Organization: Organized alphabetically by the name of the most important author. Each entry includes a physical description of the title page and contents of the work.
Pros: Includes physical description of the works listed, including page numbers, and a transcription of the title page.
Use: A guide to analyses at varying levels of complexity that have been performed on musical compositions within the realm of Western art music. Geared to music lovers of all levels so they may become more familiar with musical works they have heard or studied.
Coverage: Contains 4,600 citations to books, perdiocals, masters’ theses, and dissertations. Criteria for selecting compositions and analyses is not stated, but there are a fair number of obscure composers, both in the past and today, and a wide variety of analysis, especially on more well- known works. Level of complexity of analysis varies from beginner to undergraduate to graduate student or highly technically educated musician. Analyses confined to English-language listings.
Organization: Organized alphabetically according to composer. Under each composer, studies are grouped under general studies and those dealing with individual works. Each entry consists of a bibligraphic citation and an annotation describing the subject of the work, its level of complexity, and whether it contains musical examples. Entries are numbered sequentially. Dissertations and theses covering the work are included under their own heading within each composer’s section and are also grouped in the same way as described above. Since dissertation and theses often indicate their subject within the title and imply an advanced level of complexity, no annotation is included for them. Included in the book is an index of the distinctive titles of works that are discussed in the analyses.
Pros: An excellent resource for anyone, from a casual music lover to a seasoned performer, wanting to learn more about a particular work without having to locate articles or books to evaluate their suitability for use. Annotations are detailed enough to give a good idea of what the analysis contains.
Cons: Because only English-language publications are covered, someone doing advanced research would need to consult other sources, but this book provides a good starting point. An index listing composers and their works covered within the analyses would have been helpful.
Uses: Identify specific works published in major musical anthologies.
Coverage: International music up to the mid- 18th century. Includes multiple editions and multi- volume sets. Doesn’t include pedagogical anthologies.
Organization: Part 1 lists composers, part 2 lists subjects. Within composer, listings are by title. There is a cross reference guide. Each entry lists title, date of composition, the anthology it is in, example number in the anthology, and score format. Includes a bibliography of anthologies noted.Includes a genre locator index.
Pros: Detailed information about each anthology format is given. Genre index makes searches easier.
Cons: Contains no critiques of anthologies cited.
Use: A bibliography to published articles or books that address form and analysis theory.
Coverage: Cites publications in several languages, including German, Swedish, English, and Danish that deal with form and analysis theory. Publication, original language, English translation, reprint,
Organization: Bibliography divided into four sections: 1) Form and Analysis Treatises (A-L); 2) Form and Analysis Treatises (M-Z); 3) General Bibliography; 4) Index. Treatises in first two sections organized alphabetically by authors’ last name. Index includes names of authors and other individuals. Entries mention original language of publication, and citations about English translations and reprint editions.
Pros: Includes masters’ theses and doctoral dissertations. Includes revised as well as original versions of treatises. Relatively current.
Use: A bibliography by subject to treatises and books about harmony theory published since 1700.
Coverage: Chord harmony, and tonal theory in general harmony books, jazz harmony books, treatises and dissertations. 1700 to present.
Organization: Bibliography divided into four sections: 1) Harmony Treatises (A-L), 2) Harmony Treatises (M-Z); 3) General Bibliography; 4) Index. Harmony treatises alphabetized according to author’s last name. Dissertations that deal significantly with theory found among the treatises; those that deal with it less significantly found in the general bibliography. Index includes author and other individual names as search subjects.
Pros: Includes English translation and reprint information. Information on revised and original versions of treatises. Relatively current.
Cons: Masters’ theses not included.
Use: A reference guide for music theory teachers.
Coverage: Includes lists of anthologies suitable for use in music form and analysis classes. Excludes historical and listening emphasis as the main focus is analysis.
Organization: Fourteen anthologies are listed alphabetical order by author. This is the main thrust of the book. Information listed under each book is comprised of scope/style of each anthology. This is followed by three different indexes. The first is an index of composers and sources, listed alphabetically using original language title. (Keys are excluded from the original title). The second index in listed by complete movement and compositions. This is helpful for selecting material for form and analysis classes. This contains full score/piano/piano-vocal arrangements. The last index is organized by theoretical topics, arranged alphabetically by subject.
Pros: A fast way to select musical examples for a theory class.
Cons: May be other anthologies outside of the fourteen listed that my be of use.
Use: Presents bibliographic information on sources about orchestration, instrumentation, and arranging for jazz band and orchestra music.
Coverage: A comprehensive listing of significant research orchestration - includes books, articles, treatises, dissertations, and theses from around the world in various languages. Covers the beginning of written music history up to 1996. Also cites books that don’t deal completely with orchestration in a General Bibliography chapter. A chapter is committed to treatises that deal with specific instruments. If there are existing reviews on a source, they are cited as well.
Organization: Each section is organized alphabetically by author. Titles are in their original language; followed by an English translation, reprint information, and a brief overview by the author. Each additional work by one author on a single subject is listed. Includes an integrated index by title and author.
Pros: Clearly laid-out and easy to use.
Cons: Author’s bias of what should be categorized under General Bibliography.
Warfield, Gerald. Writings on Contemporary Music Notation: An Annotated Bibliography. MLA Index and Bibliography Series, Number 16. Ann Arbor,Mich.: Music Library Association, 1976. Mus Ref ML 113 .M16 no. 16
Use: A fairly comprehensive guide to writings on contemporary notation to 1975 for composers, performers, copyists.
Coverage: Attempt at comprehensive listing of books and articles on new notation, published from 1950 to 1975. A selected listing from the following topics: 1) writings on notation published from 1900 to 1950, 2) writings not primarily about new notation but which contain substantial sections or chapters on the subject, 3) writings on new performance techniques, that contain some suggestions for notation or describe techniques for which new notation is required, 4) writings on traditional notation, 5) writings concerned with techniques for music copying, autographing, and printing. Languages of works cited include Czechoslovakian, German, English, Danish, and more.
Organization: Information organized alphabetically by author or institution as author. Includes subject index at back of volume.
Pros: Includes brief description of contents of cited works with entries.
Cons: Relatively out of date.
Wenk, Arthur, comp. Analyses of Nineteenth- and Twentieth-Century Music: 1940-1985. MLA Index and Bibliography Series, ed. Robert Michael Fling, no. 25. Boston: Music Library Association, Inc., 1987. Mus Ref ML 113 .M16 no.25
Use: A bibliography listing works that analyze or include significant analysis of music composed during the nineteenth and twentieth centuries.
Coverage: Includes periodical articles, monographs, festschrifts, and dissertations written from 1940 to 1985 that contain serious technical writing about pieces composed in the nineteenth and twentieth centuries. Cited works present various methods and styles of musical analyses, including reductive techniques, comparative techniques, segmentation, category measurement and and feature counting, and set theory techniques. Analyses which are purely descriptive are not included. The index includes works in the major European and Scandinavian languages.
Organization: There is a table which lists all of the journals, monographs, festschrifts, and dissertations with the abbreviations used in the index. In the index proper, entries are organized alphabetically by composer. Composers that have many genres represented have sub-headings that list the genres alphabetically. Each work (article, dissertation, etc) is then listed alphabetically by author under the composer (or under the genre, if applicable). Each individual entry includes the name of the composer, the title, author, and source of the analysis, and the name of the work being analyzed. Each entry is numbered consecutively from beginning to end, regardless of composer.
Pros: The number of composers indexed is extensive, and includes many obscure composers. An excellent resource to begin scholarly research focusing on serious analysis.
Cons: Some major composers do not have very many entries. The numbering system seems to serve no major useful purpose.
Review: Lindahl, Charles. Notes: Quarterly Journal of the Music Library Association, (December 1990): 405-406.
Use: Good for researching the evolution of music theory (excluding the last 30 years). Intended for graduate students.
Coverage: Cites translations of and research pertaining to theoretical treatises. Works in French, German, Italian, Latin, Spanish and English included.
Organization: Divided into two parts: A) Introductory Bibliography, which includes books on history of music theory, sources containing collections of treatises, and sources containing related information, and B) The Theorists and Their Treatises. Section B divided by subjects such as time periods and the most historically-significant theorists. Includes indices to treatises and names.
Cons: Limited coverage of 20th-century theorists due to the nature of the Eastman School of Music course for which this work was designed. Includes subjective judgments of contents of works included.