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Dubinets, E. (2007), "Between Mobility and Stability: Earle Brown's Compositional Process 1", Contemporary Music Review, vol. 26, no. 3-4, pp. 409-426.

Forte, A. (1992), "Concepts of Linearity in Schoenberg Atonal Music - A Study of The Op.15 Song Cycle", Journal Of Music Theory; J.Music Theory, vol. 36, no. 2, pp. 285-382.

Lalitte, P. (2011), "The Theories of Helmholtz in the Work of Varèse", Contemporary Music Review, vol. 30, no. 5, pp. 327-342.

Mori, A. (1997), "Proportional Exchange in Stravinsky's Early Serial Music", Journal of Music Theory, vol. 41, no. 2, pp. 227-259.

Nonnenmann, R. & Hoban, W. (2005), "Music with Images--The Development of Helmut Lachenmann's Sound Composition Between Concretion and Transcendence", Contemporary Music Review, vol. 24, no. 1, pp. 1-29.

Polansky, L., Barnett, A. & Winter, M. (2011), "A few more words about James Tenney: dissonant counterpoint and statistical feedback", Journal of Mathematics and Music, vol. 5, no. 2, pp. 63-82.

Rice, H. (2009), "Serial expression in Schoenberg's Violin Concerto, op. 36", Tempo, vol. 63, no. 247, pp. 38-44.

Schoffman, N. (1981), "Serialism in the works of Charles Ives", Tempo, , pp. 21-32.

Searby, M. (2001), "Ligeti's "third way": "Non- atonal" elements in the 'Horn Trio'", Tempo; Tempo, vol. 216, pp. 17-22.