Baharloo S., Service S.K., Risch N., Gitschier J., Freimer N.B. (2000). Familial Aggregation of Absolute Pitch. „Th e American Journal of Human Genetics” 67, s. 755–758.

Chin Ch.S. (2003). Th e Development of Absolute Pitch: a Th eory Concerning the Roles of Music Training at an Early Developmental Age and Individual Cognitive Style. „Psychology of Music” 31, s. 155–171.

Cross I. (2003). Music and Evolution: Consequences and Causes. „Contemporary Music Review” 22(3), s. 79–89.

D’Amato M.R. (1988). A Search for Tonal Pattern Perception in Cebus Monkeys: Why Monkeys Can’t Hum a Tune. „Music Perception” 4, s. 453–480.

Deutsch D., Henthorn T., Dolson T. (2004). Absolute Pitch, Speech, and tone Language: Some Experiments and a Proposed Framework. „Music Perception” 21, s. 339–356.

Deutsch D., Henthorn T., Marvin E., Xu H.S. (2006). Absolute Pitch among American and Chinese Conservatory Students: Prevalence Diff erences, and Evidence for a Speech-related Critical

Period (L). „Journal of Acoustical Society of America” 119(2), s. 719–722.

Gray P.M., Krause B., Atema J., Payne R., Krumhansl C., Baptista L. (2001). Th e Music of Nature and the Nature of Music. „Science” 291, s. 52–54.

Hulse S.H., Cynx J. (1985). Relative Pitch Perception is Constrained by Absolute Pitch in Songbirds (Mimus, Molothrus, and Sturnus). „Journal of Comparative Psychology” 99, s. 176–196.

Laskowski R. (1999). Języki tonalne [w:] K. Polański, Encyklopedia językoznawstwa ogólnego (s. 278). Wrocław, Warszawa, Kraków: Zakład Narodowy im. Ossolińskich.

Levitin D.J. (1994). Absolute Memory for Musical Pitch: Evidence from the Production of Learned Melodies. „Perception & Psychophysics” 56(4), s. 414–423.

Levitin D.J., Rogers S.E. (2005). Absolute Pitch: Perception, Coding, and Controversies. „Trends in Cognitive Sciences” 9(1), s. 26–33.

Marvin E. (2008). ‘Perfect Pitch’ in Humans Far More Prevalent than Expected. PHYSorg.com. 25 sierpnia 2008. www.physorg.com/news138896631.html [dostęp: 25-07-2008].

Mithen S. (2006). Th e Singing Neanderthals. Th e Origin of Music, Language, Mind, and Body. Cambridge: Harvard University Press.

Miyazaki K., Rakowski A. (2002). Recognition of Notated Melodies by Possessors and Non-possessors of Absolute-pitch. „Perception and Psychophysics” 64, s. 1337–1345.

Patel A.D. (2008). Music, Language, and the Brain. Oxford, New York: Oxford University Press.

Peretz I. (2001). Th e Biological Foundations of Music, [w:] E. Dupoux (red.), Language, Brain, and Cognitive Development (s. 435–445), Cambridge: MIT Press.

Profita J., Bidder T.G. (1988). Perfect Pitch. „Th e American Journal of Medical Genetics” 29, s. 763–771.

Rakowski A., Morawska-Büngeler M. (1987). In Search of the Criteria for Absolute Pitch. „Archives of Acoustics” 12, s. 75–87.

Saffran J.R. (2003). Absolute Pitch in Infancy and Adulthood: Th e Role of Tonal Structure. „Developmental Science” 6, s. 35–47.

Schellenberg E.G., Trehub S.E. (2008). Is Th ere an Asian Advantage for Pitch Memory? „Music Perception” 25(3), s. 241–252.

Th eusch E., Basu A., Gitschier J. (2009). Genome-wide Study of Families with Absolute Pitch Reveals Linkage to 8q24.21 and Locus Heterogeneity. „Th e American Journal of Human Genetics” 85, s. 112–119.

Tramo M.J. (2001). Music of the Hemispheres. „Science” 291, s. 54–56.

Ward W.D. (1999). Absolute Pitch, [w:] D. Deutsch (red.), Th e Psychology of Music (s. 265–298), San Diego: Academic Press.