Alegant, Brian. 2013. “A Picture is Worth a Thousand Words: Road Maps as Analytical Tools.” Current Musicology 95.
Ashley, Richard. 2002. “Do[n’t] Change a Hair for Me: The Art of Jazz Rubato.” Music Perception: An Interdisciplinary Journal 19 (3): 311–332.
Baker, David. 1988. Jazz Improvisation: A Comprehensive Method of Study for All Players. Revised edition. Van Nuys, CA: Alfred Publishing.
Bauer, William R. 2014. “Expressiveness in Jazz Performance: Prosody and Rhythm.” In Expressiveness in Music Performance: Empirical Approaches Across Style and Cultures. Edited by Dorottya Fabian, Renee Timmers, and Emery Schubert, 131–153. New York: Oxford University Press.
Biamonte, Nicole. 2008. “Augmented-Sixth Chords vs. Tritone Substitutes.” Music Theory Online 14 (2).
Brownell, John. 1994. “Analytical Models of Jazz Improvisation.” Jazzforschung/Jazz Research 26: 9–29.
Burkholder, J. Peter, and Claude V. Palisca. 2014. Norton Anthology of Western Music. Seventh edition. New York: W. W. Norton.
Butterfield, Matthew. 2010a. “Participatory Discrepancies and the Perception of Beats in Jazz.” Music Perception: An Interdisciplinary Journal 27 (3): 157–176.
———. 2010b. “Variant Timekeeping Patterns and Their Effects in Jazz Drumming.” Music Theory Online 16 (4).
Campbell, Patricia Shehan, David Myers, Edward Sarath, Juan Chattah, Lee Higgins, Victoria Lindsay Levine, David Rudge, and Timothy Rice. 2016. Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors. Copy Edited Version. The College Music Society.
Caplin, William E. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
Ciorba, Charles R. 2009. “Predicting Jazz Improvisation Achievement through the Creation of a Path-Analytical Model.” Bulletin of the Council for Research in Music Education 180: 43–57.
Cohn, Richard. 2015. “Why We Don’t Teach Meter, and Why We Should.” Keynote address for the 2015 meeting of Music Theory Midwest. 9 May 2015.
———. 2012. Audacious Euphony. New York: Oxford University Press.
Coker, Jerry. 1986. Improvising Jazz. New York: Simon and Schuster.
Daoust, Timothy James. 2008. Polymeter in Twentieth Century Music: A Study in Notational Methods. M.M. thesis, University of North Carolina at Greensboro.
Dobbins, Bill. 1994. A Creative Approach to Jazz Piano Harmony. Rottenburg, Germany: Advance Music.
Folio, Cynthia. 1995. “An Analysis of Polyrhythm in Selected Improvised Jazz Solos.” In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies. Edited by Elizabeth West Marvin and Richard Hermann. Rochester, NY: University of Rochester Press: 103–134.
Geminiani, Francesco. 1756. The Art of Accompaniment or A New and Well Digested Method to Learn to Perform the Thorough Bass on the Harpsichord. London.
Giddins, Gary and Scott DeVeaux. 2009. Jazz. New York: W. W. Norton & Co.
Goehr, Lydia. 2007. The Imaginary Museum of Musical Works. Revised edition. New York: Oxford University Press.
Gridley, Mark C. 2006. Jazz Styles: History and Analysis. Ninth edition. Upper Saddle River, NJ: Pearson.
Harrison, Daniel. 1994. Harmonic Function in Chromatic Music. Chicago: University of Chicago Press.
Hasty, Christopher F. 1997. Meter as Rhythm. New York: Oxford University Press.
Hermann, Richard. 2004. “Charlie Parker’s Solo to ‘Ornithology’: Facets of Counterpoint, Analysis, and Pedagogy.” Perspectives of New Music 42 (2): 222–262.
Hindemith, Paul. 1949. Elementary Training for Musicians. New York: Schott Music Corporation.
Iyer, Vijay. 2002. “Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music.” Music Perception: An Interdisciplinary Journal 19 (3): 387–414.
Keil, Charles. 1994. “Motion and Feeling through Music.” In Music Grooves: Essays and Dialogues, by Charles Keil and Steven Feld, 53–76. Chicago: The University of Chicago Press.
Kilchenmann, Lorenz, and Olivier Senn. 2015. “Microtiming in Swing and Funk affects the body movement behavior of music expert listeners.” Frontiers in Psychology 6.
Kopp, David. 2006. Chromatic Transformations in Nineteenth-Century Music. New York: Cambridge University Press.
Kramer, Jonathan D. 1988. The Time of Music. New York: Schirmer Books.
Laitz, Steven G. 2008. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. Second edition. New York: Oxford University Press.
Larson, Steven. 2009. Analyzing Jazz: A Schenkerian Approach. Hillsdale, NY: Pendragon Press.
Levine, Mark. 1995. The Jazz Theory Book. Petaluma, CA: Sher Music.
Levy, Brian. 2006. “Polyrhythmic Superimposition in Jazz Hemiola and Implied Meters Before 1965.” Sonus 27 (1): 52–69.
Lewis, George. 1996. “Improvised Music after 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16 (1): 91–122.
Liebman, David. “The Complete Transcription Process.” David Liebman: Official Website. Accessed May 19, 2016.
London, Justin. 2012. Hearing in Time: Psychological Aspects of Musical Meter. Second edition. New York: Oxford University Press.
Love, Stefan. 2013. “Subliminal Dissonance or ‘Consonance’? Two Views of Jazz Meter.” Music Theory Spectrum 35 (1): 48–61.
———. 2012. “An Approach to Phrase Rhythm in Jazz.” Journal of Jazz Studies 8 (1): 4–32.
Madura, Patrice D. 1996. “Relationships among Vocal Jazz Improvisation Achievement, Jazz Theory Knowledge, Imitative Ability, Musical Experience, Creativity, and Gender.” Journal of Research in Music Education 44 (3): 252–267.
Martin, Henry and Keith Waters. 2012. Jazz: The First 100 Years. Third edition. Boston: Cengage Learning.
Martinez, Amanda Rose. 2010. “The Improvisational Brain.” Seedmagazine. Accessed June 15, 2016.
May, Lissa F. 2003. “Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation.” Journal of Research in Music Education 51 (3): 245–258.
McClelland, Ryan. 2006. “Teaching Phrase Rhythm through Minuets from Haydn’s String Quartets.” Journal of Music Theory Pedagogy 20: 5–35.
Meyer, Leonard. 1989. Style and Music. Philadelphia: University of Pennsylvania.
Michaelsen, Garrett. 2016. “Rhythm Changes, Improvisation, and Chromaticism: Who Could Ask for Anything More?” Engaging Students: Essays in Music Pedagogy 4.
———. 2014. “Improvising to Learn/Learning to Improvise: Designing Scaffolded Group Improvisations for the Music Theory Classroom.” Engaging Students: Essays in Music Pedagogy 2.
Miner, Michael. “Chicago’s Neil Tesser wins Grammy.” The Bleader. February 4, 2014.
Owens, Thomas. 1974. Charlie Parker: Techniques of Improvisation. Ph.D. diss., University of California, Los Angeles.
Palmer, C. Michael. 2014. “Learning Basic Music Theory through Improvisation: Implications for Including Improvisation in the University Curriculum.” College Music Symposium 54.
Peebles, Crystal. 2013. “Using Audacity to Participate in Active Musical Listening.” Engaging Students: Essays in Music Pedagogy 1.
Pellegrin, Richard S. 2013. On Jazz Analysis: Schenker, Salzer, and Salience. Ph.D. diss., University of Washington.
Rawlins, Robert. 2000. “Review of Mark Levine, The Jazz Theory Book.” Music Theory Online 6 (1).
The Real Book. 2004. Sixth edition. Milwaukee, WI: Hal Leonard.
Rings, Steven. 2011. Tonality and Transformation. New York: Oxford University Press.
Russell, George. 2001. The Lydian Chromatic Concept of Tonal Organization. New York: Concept Pub.
Salley, Keith. 2007. “Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation.” Journal of Music Theory Pedagogy 21: 97–118.
Sarath, Edward. 2010. Music Theory Through Improvisation. New York: Routledge.
Schmalfeldt, Janet. 1992. “Cadential Processes: The Evaded Cadence and the ‘One More Time’ Technique.” Journal of Musicological Research 12 (1–2): 1–52.
Schubert, Peter. 2014. “Teaching Music Analysis through Improvisation.” Engaging Students: Essays in Music Pedagogy 2.
———. 2013. “My Undergraduate Skills-Intensive Counterpoint Learning Environment (MUSICLE).” Engaging Students: Essays in Music Pedagogy 1.
Shaffer, Kris, Bryn Hughes and Brian Moseley. 2014. Open Music Theory. Hybrid Pedagogy Publishing.
Starer, Robert. 1999. Basic Rhythm Training. Alfred Publishing Company.
Stover, Chris. 2015. “Jazz Harmony: A Progress Report.” Journal of Jazz Studies 10 (2): 157–197.
Terefenko, Dariusz. 2014. Jazz Theory: From Basic to Advanced Study. New York: Routledge.
———. 2013. “The Passacaglia – A Primer for Teaching Baroque Improvisation.” Ars Inter Culturas 2: 173–196.
Tesser, Neil. Liner notes. “Afro Blue Impressions” digital e-book. Accessed June 15, 2016.
Waters, Keith. 2011. The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford University Press.
———. 1996. “Blurring the Barline: Metric Displacement in the Piano Solos of Herbie Hancock.” Annual Review of Jazz Studies 8: 19–37.
Witek, Maria A. G., Eric F. Clarke, Mikkel Wallentin, Morton L. Kringelbach, and Peter Vuust. 2014. “Syncopation, Body-Movement and Pleasure in Groove Music.” PLoS ONE.
Woody, Robert H. 2012. “Playing by Ear: Foundation or Frill?” Music Educators Journal 99 (2): 82–88.
Zbikowski, Lawrence M. 2004. “Modelling the Groove: Conceptual Structure and Popular Music.” Journal of the Royal Musical Association 129 (2): 272–297.