Music Theory
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 | Disciplining Music: Musicology and Its Canons
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 | Modernism and Music: An Anthology of Sources
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 | German Modernism: Music and the Arts (California Studies in 20th-Century Music) by Walter Frisch
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 | Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music
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 | Heinrich Schenker: A Guide to Research (Routledge Music Bibliographies) by Benjamin Ayotte
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 | Stravinsky's Late Music (Cambridge Studies in Music Theory and Analysis) by Joseph N. Straus
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 | Johann Sebastian Bach: The Learned Musician by Christoph Wolff
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 | J.S. Bach's Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts, Leipzig: 1738.: An article from: Notes by F. Ellsworth Peterson
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 | The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents
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 | Bach (Master Musicians Series) by Malcolm Boyd
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 | Repetition in Music: Theoretical and Metatheoretical Perspectives (Royal Musical Association Monographs) (Royal Musical Association Monographs) by Adam Ockelford
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 | Silence and Slow Time: Studies in Musical Narrative by Martin Boykan
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 | The Cambridge History of American Music (The Cambridge History of Music)
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 | The Cambridge History of Western Music Theory (The Cambridge History of Music)
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 | Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism) by Alexander Rehding
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 | Towards Tonality: Aspects of Baroque Music Theory (Collected Writings of the Orpheus Institute) by Thomas Christensen
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 | The String Quartets of Joseph Haydn by Floyd Grave
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 | Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century (Publications of the Center for the History of Music Theory and Literature)
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 | Haydn's Symphonic Forms: Essays in Compositional Logic (Oxford Monographs on Music) by Ethan Haimo
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 | Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven by William E. Caplin
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 | Oxford Composer Companions: Haydn
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 | Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians by Gary S. Karpinski
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 | Music, Talent & Performance A Conservatory Cultural System by Henry Kingsbury
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 | Chromatic Transformations in Nineteenth-Century Music (Cambridge Studies in Music Theory and Analysis) by David Kopp
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 | The Cambridge History of Nineteenth-Century Music (The Cambridge History of Music)
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 | Continuo Playing According to Handel: His Figured Bass Exercises (Early Music Series, No. 12)
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 | Bach's Well-Tempered Clavier: The 48 Preludes and Fugues by Dr. David Ledbetter
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 | Music Analysis in the Nineteenth Century: Volume 2, Hermeneutic Approaches (Cambridge Readings in the Literature of Music)
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 | Music Theory in the Age of Romanticism
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 | Rameau and Musical Thought in the Enlightenment (Cambridge Studies in Music Theory and Analysis) by Thomas Christensen
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 | Analysis (Norton/Grove Handbooks in Music) by Ian D. Bent
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| Composition With Pitch-Classes: A Theory of Compositional Design by Robert D. Morris
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 | Composition, Chromaticism and the Developmental Process: A New Theory of Tonality by Henry Burnett and Roy Nitzberg
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 | The Atonal Music of Arnold Schoenberg, 1908-1923 by Bryan R. Simms
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 | A Generative Theory of Tonal Music by Fred Lerdahl
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 | Music Theory and the Exploration of the Past
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 | Tonal Harmony by Stefan Kostka
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 | Theory, Analysis and Meaning in Music
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 | The Collected Essays of Milton Babbitt by Milton Babbitt
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 | Cognitive Foundations of Musical Pitch (Oxford Psychology Series, No 17) by Carol L. Krumhansl
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