Backus, J. (1972),. The acoustical foundations of music, W. W. Norton & Company, Inc.
Balzano, G.J. (1984),. Absolute pitch and pure tone identification, Acoustical Society of America, 75, 623-625.
Brady, P. T. (1970),. Fixed-scale mechanism of absolute pitch, Acoustical Society of America, 48, 883-887.
Burge, D.L. (1983),. Perfect Pitch: Color hearing for expanded musical awareness, American Educational Music Publications Inc.
Cohen, A. J., and Baird, K. (1990),. Acquisition of Absolute Pitch: The question of critical periods, Psychomusicology, 9, 1, 31-35.
Crozier, J. (1980),. The developmental psychology of music, Cambridge University Press, 1986.
Cuddy, L. L. (1970),. Training the absolute identification of pitch, Perception and Psychophysics, 8, 5A.
Levitin, D. J. (1994),. Absolute memory for musical pitch: Evidence from the production of learned melodies. Perception & Psychophysics, 56,414-423.
Rush, M. A. (1989),. An experimental investigation of the effectiveness of training on absolute pitch in adult musicians,. PhD. diss., Music Education, Ohio State University. 431 p. DA8913969.
Sano, Hajime and Jenkins, B.K. (1989),. A neural network model for pitch perception, Computer Music Journal, 13, 3. Massachusetts Institute of Technology Press, 1991.
Simpson, J., and Huron, D. (1994),. Absolute pitch as a learned phenomenon: Evidence consistent with the Hick-Hyman law, Music Perception, 12, 2, 267-270.
Takeuchi, A.H., and Hulse, S.H. (1993),. Absolute pitch, Psychological Bulletin, 113, 2, 345-361.
Ward, W. D., and Burns, E. M . (1982),. Absolute pitch, The psychology of music. New York: Academic Press.