Butler, M. J. (2006a). Unlocking the groove: rhythm, meter, and musical design in electronic dance music: Vol. Profiles in popular music. Indiana University Press.
Butler, M. J. (2006b). Unlocking the groove: rhythm, meter, and musical design in electronic dance music: Vol. Profiles in popular music. Indiana University Press. https://contentstore.cla.co.uk//secure/link?id=fd44f2cb-e940-e911-80cd-005056af4099
Cadwallader, A. C. & Gagné David. (2011). Analysis of tonal music: a Schenkerian approach (3rd ed). Oxford University Press. https://contentstore.cla.co.uk//secure/link?id=b1c1f9d8-e940-e911-80cd-005056af4099
Christensen, T. (Ed.). (2002). The Cambridge History of Western Music Theory: Vol. The Cambridge History of Music. Cambridge University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1017/CHOL9780521623711
Cook, N. (1994). A guide to musical analysis. Oxford University Press. https://contentstore.cla.co.uk//secure/link?id=a759bbf8-e940-e911-80cd-005056af4099
Cook, N. (2007). The Schenker project : culture, race, and music theory in fin-de-siècle Vienna. Oxford University Press.
Cook, N., & Everist, M. (1999). Rethinking music. Oxford University Press. https://contentstore.cla.co.uk//secure/link?id=20c026ed-e940-e911-80cd-005056af4099
Cook, N. & Oxford University Press. (2014). Beyond the score: music as performance. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780199357406.001.0001
Dunsby, J., & Whittall, A. (1988). Music analysis in theory and practice. Faber. https://contentstore.cla.co.uk//secure/link?id=1fc026ed-e940-e911-80cd-005056af4099
Forte, A. (1973). The structure of atonal music. Yale University Press.
Forte, A. (1998). The atonal music of Anton Webern: Vol. Composers of the twentieth century. Yale University Press.
Forte, A., & Gilbert, S. E. (1982). Introduction to Schenkerian analysis. Norton.
Goehr, L. & Oxford University Press. (2004). The imaginary museum of musical works: an essay in the philosophy of music. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://doi.org/10.1093/0198235410.001.0001
Gollin, E., & Rehding, A. (2011). The Oxford handbook of neo-Riemannian music theories. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/oxfordhb/9780195321333.001.0001
Hasty, C. F. (1997). Meter as rhythm. Oxford University Press.
Huron, D. B. (2007). Sweet anticipation: music and the psychology of expectation. The MIT Press. https://ezproxy.lib.gla.ac.uk/login?url=https://cognet.mit.edu/book/sweet-anticipation
Kramer, J. D. (1988). The time of music: new meanings, new temporalities, new listening strategies. Schirmer. https://contentstore.cla.co.uk//secure/link?id=aa4dd400-ea40-e911-80cd-005056af4099
Lerdahl, F. (2001). Tonal pitch space. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195178296.001.0001
Lewin, D. (2007). Generalized musical intervals and transformations. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195317138.001.0001
Mamlok, U. (n.d.). Panta rhei =: Time in flux : violin, violoncello, and piano. C.F. Peters.
Mirka, D. (2014). Metric manipulations in Haydn and Mozart: chamber music for strings, 1787-1791: Vol. Oxford studies in music theory. Oxford University Press.
Mirka, D., & Agawu, V. K. (2008). Communication in eighteenth-century music. Cambridge University Press. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781107187375
Moore, A. F. (2001). Rock: the primary text : developing a musicology of rock: Vol. Ashgate popular and folk music series (2nd ed). Ashgate. https://contentstore.cla.co.uk//secure/link?id=024279e0-e940-e911-80cd-005056af4099
Moore, A. F. (2012). Song means: analysing and interpreting recorded popular song: Vol. Ashgate popular folk music series. Ashgate.
Moore, A. F. & Dawson Books. (2003). Analyzing popular music. Cambridge University Press. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780511306297
Neuwirth, O. (2006). Laki: für Trompete solo, 2006. Boosey & Hawkes.
Pankhurst, T. (2008). SchenkerGUIDE: a brief handbook and website for Schenkerian analysis. Routledge.
Parsons, L., & Ravenscroft, B. (Eds.). (2016). Analytical essays on music by women composers: concert music from 1960-2000. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780190236861.001.0001
Rings, S. (2011). Tonality and transformation: Vol. Oxford studies in music theory. Oxford University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.1093/acprof:oso/9780195384277.001.0001
Rink, J. (1995). The practice of performance: studies in musical interpretation. Cambridge University Press. https://contentstore.cla.co.uk//secure/link?id=014279e0-e940-e911-80cd-005056af4099
Rink, J. (2002). Musical performance: a guide to understanding. Cambridge University Press. http://lib.myilibrary.com/browse/open.asp?id=238937&entityid=https://idp.gla.ac.uk/shibboleth
Saariaho, K. (2002). Du cristal. Edition Wilhelm Hansen.
Straus, J. N. (2005). Introduction to post-tonal theory (3rd ed). Prentice Hall.
