Music Integrative Neurotherapy™
Volume 2: Composing for Healing
SUMMARY (Part One) - PREFACE -BIBLIOGRAPHY (Part One)
Integrative
Neuro
Therapy™
Part One: BODY AND SOUND
Alexander J. GRAUR, Ph. D., MT-BC
First edition : 2003
“ Composing for Healing – Fundamentals of Music Integrative Neurotherapy™”,
Part One: Body and Sound, by Alexander Graur, Ph.D.,MT-BC
MPD-Medicamus Publishing Division/Alexander Graur, ©2003
Second Edition: 2004 Third Edition: 2006
Published in Italy by/ pubblicato in Italia da:
MPD- Medicamus Publishing Division,
a division of
Medicamus Center LLC- Edgewater, New Jersey, USA, and
Medicamus Italiana, Torino, Italy.
All rights reserved.
©2003-2006 MPD- Medicamus Publishing Division
e-mail: medicamu@medicamus.com
www.medicamus.com
Medicamus Center LLC, Medicamus Italiana, Music Integrative NeurotherapyÔ, Neuroterapia Musicale Integrativa,MPD, the Logo, are Ó andÔ
belonging to Alexander J. Graur.
All rights reserved under the United States of America and international laws.
Printed by/ Stampa: ARDEA Torino (Italy)
SUMMARY – Part One
Preface page 5
Introduction page 6
Chapter 1: The Body page 13
Nervous System
Central Nervous System (CNS)
Peripheral Nervous System (PNS)
Autonomic Nervous System (ANS)
Electrical Activity of the Brain
Electrical Activity of the Heart
Stress
Role of Chemical Elements
Chapter 2: The Sound page 32
Definition
Parameters
The Single Sound
Organization of the Sound
The Horizontal Dimension
Rhythm
Melody
The Vertical Dimension
Monophony
Heterophony
Harmony
Polyphony
The Temporal Dimension
The Musical Form
The Aesthetic Dimension
Chapter 3: Music Integrative Neurotherapy - A Presentation page 50
Definition and Basic Principles
Medical data
Uses of medical data
Using the Chemical Elements Characteristics
Using the Electrical Fields of the Body
Relationship between Music, Color and Images
The Concept of Target
Structure of the session
Individual and group Therapy
Appendix: Case Management Forms page 71
Form 1: General Data
Form 2: Assessment
Form 3: Contract (omitted)
Form 4: Therapy Plan
Form 5: Session Plan
Form 6: Patient’s Evaluation of the therapy
Form 7: Music Integrative Neurotherapy- Customized Material
Illustrations from the Power Point presentation
“ Music Integrative Neurotherapy- Part I”
1998-2002 Alexander Graur available also in Video CD/ DVD
Alexander Graur presents in this essay his method of music therapy, describing its theoretical fundamentals.
On doing this he demonstrates the courage to propose a material that offer the grounds for a serious discussion and, of course, elicit contradictory opinions.
This is compatible with a true and coherent scientific approach and testifies about the professionalism and the responsibility of the author.
Most of the theories regarding the complementary therapies don’t propose scientific solutions, lacking the rigorous research and knowledge necessary for to be accepted by the medical specialists.
The scientific approach of this essay is noticeable even more if we take in consideration that the issue of music as a therapy is often treated vaguely and superficially, at least from a strictly medical point of view.
The quantum model of the complex brain-mind relations used by Alexander Graur as a basic approach for composing the therapeutically events is as interesting as other models. What I consider really original is the idea to compose a music based on various medical data, to elicit piloted reactions of the organism to the music wrote for each disease and patient.
During one of the periods in which Alexander and I collaborated in a psychiatric institute in Turin one of the patients, a schizophrenic, shows serious improvements regarding the attention deficit and disturbed behavior. These improvements were clear not only to me but to the whole medical staff. What I found interesting because involved the multiple influences music therapy can have on the organism was the answer Alex gave to the patient, who wanted more detailed information about the music composed specially for him.
Alex said: “It is music. Just sit and listen to it”.
I hope this method will open the doors to a scientific debate not only between music therapists but in the medical world too.
Dr. Silvano Calzi, M.D., psychiatrist
Torino, Italy
March 2006
- ANDREASEN, Nancy: The Broken Brain –The Biological Revolution in Psychiatry
- BECCACECI, Roberto : I Modi Alterni
Edizioni Ottocento, Italy, 1996
- BENCE, Leon – MEREAUX, Max : Musique Pour Guérir
Editions Van de Velde, France, 1988
Editura Muzicala, Romania, 1971
- BERGER, Wilhelm: Moduri si Proporttii
Editura Musicala,Romania, 1972
- BRAILOIU, Constantin: Folklore Musical
( Editions not mentioned)
- BUCIU, Dan : Elemente de structura modala
Editura Muzicala, Romania, 1981
- BUGHICI, Dumitru : Dictionar de forme musicale
Editura Muzicala, Romania, 1975
- CASELLA, Alfredo – MORTARI, Virgilio : La Tecnica Dell’Orchestra Contemporanea
- CHALMERS, David J. : The conscious mind: In search of a fundamental theory
Oxford Univerrsity Press New York, USA, 1996
- COMBARIEU, Jules: Musica e magia
Edizioni Einaudi, Italy, 1981
- COMES, Liviu : Lumea Polifoniei
Editura Musicala, Romania, 1984
- DAWKINS, Richard: The Selfish Gene
Oxford University Press, USA, 1976,1982
- Diagnostic and Statistical Manual of Mental Disorders- DSM – IV- TM
- GRAUR, Alexander: La Diastematica Bizantina
Edizioni Ottocento, Italy, 1996
- The GRAY’s ANATOMY
Courage Books, United Kingdom, 1974
- HAMEROFF, Stuart: Ultimate Computing: Biomolecular Consciousness
and nanotechnology
Elsevier Science Publishers B.V., USA, 1987
- HOFSTADTER, D.: Metamagical Themes- Questions for the essence of mind and patterns
Basic Books, USA, 1985
- HANSER, Suzanne : The New Music Therapist’s Handbook
Berklee Music Press, USA, 1999
- IMBERTY, Michel : Entendre la Musique- Sémantique psychologique de la musique
Dunod Editions, France, 1980
- from JOURNAL OF MEMETICS- Evolutionary Models of Information transmission
- JAN, Steven : Replicating sonorities: Toward a Memetics of Music (2000)
- PRETI, A. and MIOTTO, P.: Creativity, Evolution and Mental Illness (1997)
- VANEECHOUTTE, M. and SKOYLES, J.: The Memetic Origin of Language: Modern Humans as Musical Primates (1998)
- WILKINS, J.S.: What’s a Meme? (1999)
- JUNG, C.G. : Psicoanalisi o psicologia analitica
GTE Newton, Italy, 1974
- JUNG, C.G. : Psicologia della malattia mentale
GTE Newton, Italy, 1978
- KATZ, Bernard: Nerve, Muscle and Synapse
McGraw-Hill, USA, 1966 (first edition)
- The MEDICAL TERMS DICTIONARY – by Rothenberg & Chapman
Barron’s, USA, 1994
- The MERCK MANUAL of DIAGNOSIS and THERAPY
MERCK Research Laboratory, USA, 1999
- MENETRIER, Jaques : La Medecine des Fonctions
Editions Le François, France, 1978
- NEGRO, Francesco : L’Omeopatia
Tascabili Newton, Italy, 1996
- PINCHERLE, Mario : Sepher Jetzirah (traduzione e commento)
Filelfo, Italy, 1977
- SCHENKER, Heinrich : The Masterwork in Music
Cambridge University Press, United Kingdom, 1997
- SCHENKER, Heinrich : Free Composition
Longman, USA, 1979
- SCHACHTER, Carl: Unfoldings
Oxford University Press, USA, 1999
- SCHWARTZ,Jeffrey, BAGLEY, Sharon: The Mind and the Brain
HarperCollins, USA, 2002
- SEYLE, Hans : The Stress of Life
McGraw- Hill, USA, 1956
- SEYLE, Hans : Stress Without Distress
New American Library, USA, 1974
- STAHL, Stephen : Essential Psychopharmacology
Cambridge University Press, United Kingdom, 2000
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- SZASZ, Thomas: The Myth of Psychotherapy
Anchor/Doubleday, USA, 1978
Music
Integrative
Neuro
Therapy™
Part Second
Composing for Healing
Alexander J.Graur, Ph.D., MT-BC
First edition : 2007
MPD-Medicamus Publishing Division/Alexander Graur, ©2007
Published in Italy by/ pubblicato in Italia da:
MPD- Medicamus Publishing Division,
a division of
Medicamus Italiana, Torino, Italy.
All rights reserved.
©2007 Alexander Graur & MPD- Medicamus Publishing Division
e-mail: medicamu@medicamus.com
www.medicamus.com
Medicamus Italiana, Medicamus Center LLC, Music Integrative NeurotherapyÔ, Neuroterapia Musicale Integrativa,MPD, the Logo, are Ó andÔ
belonging to Alexander J. Graur.
All rights reserved under the United States of America and international law
Starting March 25, 2008
Available on the World Wide Web at: www.medicamus.com
Each chapter is also available as a separate essay
SUMMARY
Introduction:
Music as a Therapy, Therapy with Music, Music for Therapy
1. Music as a therapy
1.1. Middle East: Egyptians, Assyrians, Jews, Phoenicians
1.2. Ancient Greece
1.3. Europe: Celts, Tracs, Goth
1.4. India
1.5. China
1.6. Inca, Maya, Aztecs
2. Therapy with music
2.1. Jung: psychotherapy and music
2.2. Tomatis, his method and the dangers of an unprofessionally approach to music therapy
2.3. Western Europe: the French school, the German school, the Scandinavian school
2.4. North America: approaches and tendencies of music therapy in the USA
2.5. South Korea: tradition, innovation and originality
3. Music for therapy
3.1. Music Integrative Neurotherapy™
3.2. A Quantum Model of the Brain- Mind Complex
1. Brain, Mind, Consciousness
1.1. Usefulness of a quantum model of consciousness for therapy goals
1.2. Definitions: quantum, quantum physics, quantum mechanics, neuronal nets
1.3. Heisenberg (quantum theory)
1.4. Schrödinger (wave analysis)
1.5. Dirac (quantum electrodynamics)
1.6. Feynman (quantum mechanics and neuronal nets)
1.7. Quantum Models of Consciousness
1.8. Pribram (hologramic mind)
1.9. Dawkins (the concept of meme)
1.10. Hameroff (cytoskeleton, microtubules, neuronal nets)
1.11. Transmission of the information : the cycle Brain- Mind- Brain- Organism
1.12. Biological non-linear transmission of the information
1.13. Fractal information and the hologramic mind
1.14. Fractal definitions
1.15. Types of fractal algorhytms
1.16. Consciousness as a result of Hologramic Mind- Brain interaction.
2. Music Integrative Neurotherapy- a working hypothesis and a model for therapy use
2.1. The concept and definition of target (with examples : Sleep Disorders and Attention Deficit Disorders)
2.2. Suggestions from the experience of the Acupuncture
2.3. Acupuncture’s Meridians and Points
2.4. Frequencies of the Acupuncture’s Meridians and Points
2.5. Musical information as organized waves
2.6. Reception of the sound in space : relationships between the sources of sound and cortical areas of reception/ reaction
2.7. Organizing the strings of waves in the final Musical Form :
2.7.1. The Spatial Dimensions
2.7.2. The Temporal Dimension
2.8. Piloting the Music (organized strings of waves) to a definite target : an analysis of a theoretical model
3. Analysis of a Music Integrative Neurotherapy piece ( Sleep Disorders. Insomnia 3)
With examples of a 30” fragment as a musical score (piano reduction, orchestra score) and as a sound wave image.
Addendum: Regarding the knowledge of various musical systems.
Chapter I: The Spatial Dimensions: A. The Horizontal Dimensions
1. The Rhythm and the Meter
1.1. Definition
1.1.1. The Rhythm as an aspect of the day-by-day life
1.1.2. The Musical Rhythm
1.2. Relationships between the Rhythm and the qualities of the Sound
1.2.1. The Rhythm and the Amplitude (Intensity)
1.2.2. The Rhythm and the Frequency (Pitch)
1.2.3. The Rhythm and the Duration
1.2.4. The Rhythm and the Timber (Color) of the Sound
1.3. Rhythmic Cells
1.3.1. Definition
1.3.2. The mathematical relation between various durations
1.3.3. The Rhythm’s morphology
1.3.4. Metro-rhythmical cells: the prosody in poetry and music
1.4. The Meter
1.4.1. Definition and functionality
1.5. Monorhythmic and Polyrhythmic
1.6. Polimetry
1.7. Natural metro-rhythmic systems
1.7.1. Definition and characteristics
1.7.2. European systems
1.7.2.1. The Ancient Greek system
1.7.2.2. The Byzantine system
1.7.2.3. The Latin medieval system
1.7.2.4. The modern system
1.7.3. Main Asian systems
1.7.3.1. The Middle Eastern systems
1.7.3.4. The Indian system
1.7.3.5. The Chinese system
1.7.3.6. The Siberian system
1.7.4. Main African systems
1.7.5. Main American systems
1.7.5.1. The North-American Native Indian systems
1.7.5.2. The South-American Indian systems
1.7.5.3. The Rhythmical systems of: jazz, rock, pop, metal, bluegrass,
hiphop, rap
1.7.6. Main Australian systems
1.8. Elaborated metro-rhythmical systems
1.8.1. Definition
1.8.2. Olivier Messiaen
1.8.3. Roberto Beccaceci
1.9. The Rhythm and the Meter in the Musical Composition for Therapy
1.9.1. The importance of choosing the right metro-rhythmical system in composing music for therapy
1.9.2. Examples from the world’s musical folklore
1.9.2.1. Tarantella
1.9.2.2. Calushari
1.9.2.3. Mamutones
1.9.2.4. Makam for the rage
1.9.2.5. Raga for the snake’s bit
1.9.2.6. Brasile: Icaro
1.9.2.7. Benin
1.9.2.8. Sundance powow
1.9.2.9. Aborigen song and dance
1.9.2.10. Rhythmical meme : their use in the musical composition for therapy
1.10. Examples from Music Integrative Neurotherapy™
1.10.1. Capra (Bipolar II)
1.10.2. Paparuda (Depression)
1.10.3. Tomis (Attention Deficit)
Chapter I: The Spatial Dimensions: A.The Horizontal Dimensions
2. The Sound and the Melody
2.1. Basic elements
2.1.1. Temperance and un-temperance
2.1.2. Tone- Mode- Scale
2.1.3. Chromatism and diatonism
2.2. Natural un-tempered systems
2.2.1. Indian
2.2.2. Chinese
2.2.3. Byzantine: Damaschenos- Coucouzelous- Hrysant- Pann
2.2.4. Persian
2.2.5. Arabian
2.2.6. Balkanian: Greek- Bulgarian- Serbian-Romanian
2.2.7. African
2.2.8. North Americans
2.2.9. Australian
2.3. Elaborated un-tempered systems
2.3.1. Zarlino
2.3.2. Messiaen
2.3.3. Beccaceci
2.4. Tempered systems
2.4.1. Modal systems
2.4.1.1. Pythagoras and the Lambdoma
2.4.1.2 .Ioannis Damaschenos and the Octoichos
2.4.1.3. Gregory and the liturgical modes
2.4.1.4. Glareanus and the Dodecachordon
2.4.1.5. European folk music’s modes
2.4.1.6. Bartok and the axial system
2.5. The tonal system
2.5.1. Bach : the well-tempered system
2.5.2. Cuclin: the functional system
2.5.3. Schoenberg, Berg, Webern : dodecaphony and serialism
2.6. The historical development of the tempered systems- based organology
2.7. The Melody in the Music Integrative Neurotherapy
2.7.1. The directions of the melody
2.7.2. The vertical potentiality
2.7.3. Melodical meme and their use for therapy
2.7.3. The use of the Melody in various disorders: examples
Mood Disorders
2.7.3.1. Depression
2.7.3.2. Bipolar disturbs
2.7.3.3. Anxiety
Personality Disturbs
2.7.3.4. Schizophrenia
2.7.3.5. Borderline disturb
Sleep Disorders
2.7.3.6. Insomnia
2.7.3.7. Hypersomnia
2.7.3.8. Attention Deficit
2.7.3.9. Attention Deficit- Hyperactive
2.7.3.10. Stress
Chapter I: The Spatial Dimensions
B. The Vertical Dimension: Poliphony
1. Monody
1.1. Definition
1.2. Types of monody
2. Heterophony
2.1. Definition
2.2. Types of heterophony
3. Harmony
3.1. Definition
3.2. Modal harmony
3.3. Tonal harmony
3.4. Extra-tonal harmony
3.5. Harmony of the un-tempered systems
4. Poliphony
4.1. Definition
4.2. The strict counterpoint
4.3. The free counterpoint
5. Other polyphonic forms, used in the Music Integrative Neurotherapy
5.1. The closed helix
5.2. The opened helix
5.3. The thorus
5.4. The tetra-flexagon
5.5. The hexa-flexagon
5.6. The hypercube
6. Examples of the polyphonic forms used in the Music Integrative Neurotherapy
6.1. The closed and opened helix : autism and schizophrenia
6.2. The thorus: insomnia
6.3. The tetra-flexagon and the hexa-flexagon: depression, bipolar disturbs and the border line disturb
6.4. The hypercube: anxiety, hypersomnia
Chapter 2: The Temporal Dimension
1. The perception of time and the perception in time
1.2. The objective (ontological) time
1.3. The subjective (psychological) time
2. Memory
2.1. Mechanics of memory
2.2. Types of memory
2.3. Functional memory
2.4. Meme and musical meme
3. The Temporal Dimension in the Music Integrative Neurotherapy™
3.1. Functional memory and its use in the musical composition for therapy
3.2. Example (Attention Deficit 3): the structure of the piece
Chapter 3: The Aesthetic Dimension
1.1. The Musical Form: definition and functionality
1.2. The importance of the Musical Form in music therapy
2. The Musical Forms of the Tempered System
2.1. The Canon
2.2. The Fugue and Fugato Forms
2.3. The Choral
2.4. The Single Forms
2.5. The Binary Forms
2.6. The Ternary Forms
2.7. The Dialectical Forms: definition and functionality
2.8. The Sonata
2.9. The Symphony and its derivates
3. The Musical Forms of the Un-tempered Systems
3.1. The Aulody
3.2. The Bizantine Hymn
3.3. The Balkanian Incantatio
3.4. The Arabian Makkam
3.5. The Indian Mantra
3.6. Native Americans Powow
3.7. Amazonian Icaro
4. Music Integrative Neurotherapy’s Proper Musical Forms
4.1. The Thorus
4.2. The Tetra-flexagon
4.3. The Hexa-flexagon
4.4. The Hypercube
5. The Orchestration of the Music for Therapy
5.1. The Woodwinds: Flutes, Pan flutes, Aulos, Hoboes, Clarinets, Bassoons, Saxophones, Bagpipe
5.2. The Brass: Trumpets, Horn, Trombones, Tuba Family
5.3. The Strings: Violin, Viola, Cello, Double Bass, Guitar, Banjo, Ukulele
5.4. The Harp
5.5. The Keyboards: Piano, MIDI keyboard, accordion, bandoneon
5.6. The Organ
5.7. Pitched Percussion
5.8. Un-Pitched Percussion
5.9. The Sound Generators
5.10. The Synthesizers
6. Digital Sound Processing as a Compositional Technique
6.1. The Sound Filters and their use in the Orchestration
6.2. Surround sound: positioning the sound source in space
6.3. Sound generators, synthesizers, sound processors: types of software used in the compositional process
7. Musical Instrumentation and Specific Pathologies
7.1. Depression, border line, bipolar disturbs
7.2. Anxiety
7.3. Schizophrenia
7.4. Insomnia
7.5. Hypersomnia
7.6. Attention Deficit (ADD)
7.7. Examples from Music Integrative Neurotherapy™
7.7.1. Adagio (Hoboe, Harp, Strings)
7.7.2. Capra (Percussions)
7.7.3. Insomnia 3 (synthesizers)
7.7.4. Kalium (mixed choir, orchestra,synthesizers)
8. Sound Image and Visual Image
8.1. Visual specter and sound specter
8.2. Correspondences between visual frequencies and sound frequencies
8.3. Visual Meme
8.4. The Visual Information
8.5. Visual Information and Sound Information: similarities and differences
8.6. Guided imagery: the therapeutical functionality of visual images
8.7. Music and Image in the Integrative Therapy
8.8. Examples from Music Integrative Neurotherapy™
8.8.1. Stress:Adagio
8.8.2. Sleep Disorders: Insomnia 3
8.8.3. Attention Deficit: ADD3
8.8.4. Depression: MD- D2
8.8.5. Bipolar II: MD-BP3
9. Clinical Cases
9.1. Schizophrenia
9.2. Bipolar II
9.3. Depression
9.4. Anxiety (GAD)
9.5. Insomnia
9.7. Multiple Personality
10. Music for the personalized therapy: compositional techniques
10.1. The Assessment and initial tests
10.2. Using the Medical Data to create compositional parameters
10.3. Personalized Therapy: the Aesthetic dimension
10.4. Personalized Therapy: the Temporal dimension
10.5. Personalized Therapy: the Spatial Dimensions
10.6. Personalized Therapy: the Orchestration
10.7. Personalized Therapy: the Digital Sound Processing
10.8. The Visual Dimension: Visual Meme
10.9. The Visual Dimension: Abstract Image and Figurative Image
10.10. The Visual Dimension: Digital Processing of the Image
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Starting March 25, 2008
Printed version
ORDERS via e-mail:
www.medicamus.com
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*see also the bibliography for the First Part
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- Arezzo, Guido d' : Micrologus
Brussels, Bibliothèque Royale, Belgium
- Atzori M. et alii :Il Carnevale in Sardegna
Editrice Mediterranea, Italy, 1989
- Auriol, Bernard : La Clef des Sons
Érès, France, 1994
- Al-Farabi : De scientiis
Al-Farabi's Arabic-Latin Writings on Music, Collection of Oriental Writers on Music, vol. 2
(Glasgow: The Civic Press, 1934; reprint ed.,London: Hinrichsen Edition Ltd., 1965
- Alexandru, Tiberiu: Folcloristica, organologie, muzicologie
Editura Musicala, Romania, 1978
- Aristoteles (Pseudo): Tractatus de musica
Scriptorum de musica medii aevi nova series aGerbertina altera, 4 vols., ed. Edmond de
Coussemaker (Paris: Durand, 1864-76; reprint ed.,Hildesheim: Olms, 1963
- Barbera, André: The Euclidean Division of the Canon: Greek and Latin Sources,
new critical texts and translations
The University of Nebraska Press, USA, 1991
- Beccaceci, Roberto : I Modi Alterni
Edizioni Ottocento, Italy, 1996
- Beda (Ps.?): Musica theorica
Patrologia cursus completus, series latina, ed. J. P. Migne, 221 vols. (Paris:
Garnier, 1844-1904), France
- Beldomandi, Prosdocimo de' : Proportiones &Monacordum
new critical texts and translations by Jan Herlinger .
The University of Nebraska Press, USA, 1987
- Boethius, Anicius Manlius Severinus: De institutione musica
Cambridge, Trinity College, UK
- Brailoiu, Constantin: Folklore Musical
( Editions not mentioned)
- Capella, Martianus: De nuptiis Philologiae et Mercurii
Antiquae musicae auctores septem. Graece et Latine, Marcus Meibomius restituit ac notis
explicavit, 2 vols. (Amstelodami, apud Ludovicum Elzevirium, 1652)
- Caton,Margaret: Introduction to Traditional Iranian Dastgâh Music
Middle East Studies Association Bulletin, USA, July 1994
- Chailley, Jacques: 40 000 Ans de Musique
Librairie Plon, France, 1961
- Chailley, Jacques: L’Imbroglio des modes
Leduc, France, 1966
- Chailley, Jacques: Traité Historique d’Analyse Musicale
Leduc, France, 1966
- Chomet, H.: The influence of music on health and life
New York,G. P. Putnam's sons,1875
- Ciobanu, Gheorghe: Studii de Etnomuzicologie si Bizantinologie (2 volumi)
Editura Musicala, Romania, 1974, 1978
- Cuclin, Dimitrie: Tratat de Estetica
Mss.Romania, circa 1930
- Cuclin, Dimitrie: Tratat de Stiinta Muzicii
Mss.Romania, circa 1960
- de Muris, Johannes : De numeris, qui musicas retinent consonantias, secundum Ptolomaeum de
Parisius
Scriptores ecclesiastici de musica sacra potissimum, 3 vols., ed. Martin Gerbert (St. Blaise:
Typis San-Blasianis, 1784; reprint ed., Hildesheim: Olms, 1963
- de Muris, Johannes: Tractatus de proportionibus
Scriptores ecclesiastici de musica sacra potissimum, 3 vols., ed. Martin Gerbert (St. Blaise:
Typis San-Blasianis, 1784; reprint ed., Hildesheim: Olms, 1963
- Empiricus, Sextus: Against the Musicians
a new critical text and translation by Denise Davidson Greaves
The University of Nebraska Press, USA, 1986
-Evans, C. C. :Chinese Traditional Music: Pitches, Scales and Mode
Internet Edition, USA, 2006
- Fields, Gary S: American Indian Music :Traditions and Contributions
Portland Public Schools American Indian Baseline Essays, USA, 1993
- Giuleanu, Victor: Teoria Ritmului
Editura Musicala, Romania, 1968
- Giuleanu, Victor: Melodica Bizantina
Editura Musicala, Romania, 1981
- Glareanus, Henricus : Dodecachordon
Basle: Henrichus Petri, 1547; reprint ed., New York: Broude Bros., 1967
- Graur, Alexander: La “sectio aurea” nella musica di Bartok: i quartetti per archi ed il Concerto
per Orchestra
Mss. Romania,1973; edizione italiana MPD, Torino, Italy, 2007
- Graur, Alexander: La Diastematica Bizantina
Edizioni Ottocento, Italy, 1996
- Hurley, E.G. : Gregorian Chant
Schirmer, USA, 1907
- Iusceanu, Victor: Moduri si Game
Editura Musicala, Romania, 1962
- Lendvai, Erno: Bela Bartok: An Analysis of His Music
Kahn & Averill Pub, UK,1979
- Marcus, Scott L. : Solo Improvisation (Taqâsîm) in Arab Music
Middle East Studies Association Bulletin, USA, July 1993
- Messiaen, Olivier: La Technique de Mon Langage Musical
Leduc, France, 1944
- Nichomachus: The Manual of Harmonics
Translated by Flora R. Levin, no edit., USA, 2000
- Odo xi sec.: Regulae de rhythmimachia
Scriptores ecclesiastici de musica sacra potissimum, 3 vols., ed. Martin Gerbert (St. Blaise:
Typis San-Blasianis, 1784; reprint ed., Hildesheim: Olms, 1963
- Oman's Traditional Music and Musicology
Arabian Music Quart., 1999, Oman, UAE
-Pann, Anton: Bazul Musicii Bisericesti
Romania, 1836
- Perseus & Petrus: Summa musice
The Summa Musice: A Thirteenth-Century Manual for Singers, ed. Christopher Page,
Cambridge Musical Texts and Monographs,Cambridge University Press, UK 1991
- Quintilianus, Aristides: Peri musiki- De Musica
Antiquae musicae auctores septem. Graece et Latine, Marcus Meibomius restituit ac notis
explicavit, 2 vols. (Amstelodami, apud Ludovicum Elzevirium, 1652
Internet Edition, India, 2005
- Rudhyar, Dane: The Magic of Tone and the Art of Music
Internet Edition, USA, 1982
- Tinctoris, Johannes: Complexus effectuum musices.
Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de
Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963
- Zarlino, Gioseffo : Le istitutioni armoniche
Venice, Italy,1558
- Warren, Dr. Fred.: The Music of Africa: An Introduction.
Prentice Hall, USA, 1970.
C. Music 2: Principal Scores quoted
- Antologhion ( Romanian)
Editura Institutului Biblic Ortodox, Romania, 1952
- Bach, J.S. : Musikalisches Opfer
Boosey& Hawkes, UK ,1952
- Bartok, Bela: Concerto for Orchestra
Boosey& Hawkes, UK ,1954
- Bartok, Bela: String Quartet # 3
Boosey& Hawkes, UK ,1953
- Beccaceci, Roberto: Cadenza terza per trombone solo
Berben, Italy, 1992
- Cuclin, Dimitrie: Sinfonia XIII
Editura Musicala, Romania,1972
- Dragoi, Sabin: 200 Cintece si jocuri
Editura Institutului de Folclor, Romania, 1964
- Enesco, Georges: Sonata III per violino e pianoforte
Salabert, France, 1968
- Graur, Alexander: Tre Canti Bizantini per trombone ed organo
Berben, Italy, 1991
- Graur, Alexander: Lamentatio Jeremiae Prophetae per trombone ed organo
Berben, Italy, 1991
- Joplin, Scott: Ragtimes (pianoforte solo)
Schirmer, USA, 1972
- *** : “Liber usualis missae et officii”
Desclée et Socii- S.Sedis Apostolicae et Sacrorum Rituum Congregationis Typographi
Parisiis-Tornaci- Romae- Neo Eboraci 1956
- Ligeti, Gyorgy: Lux Aeterna (coro misto a cappella)
Universal, Austria, 1970
- Messiaen, Olivier: Turangalìla- Symphonie
Durand, France,1953
- Messiaen, Olivier: Le Banquet Céleste (organo solo)
Leduc, France, 1966
- Sin-Agai Jipei, Filotei: Anastasimatar (1760)
Editura Musicala, Romania, 1987
- Strawinsky, Igor: Octet
Boosey & Hawkes, UK, 1968
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