Bartholomew Douglas Roy

• A Phenomenology of Music: Themes Concerning the Musical Object and Implications for Teaching and Learning. Ph. D. Diss., Case Western Reserve University, 1985.
• "Preamble to a Phenomenology of Music", Journal of Musicological Research, V/4, 1985, pp. 319-360, ora in AA. VV. Understanding the Musical Experience, a cura di F. J. Smith, New York/London/Paris, Gordon & Breach, pp. 1-42.

Batstone Philip

• "Musical Analysis as Phenomenology", Perspective of New Music, II, 1969, pp. 94-110.

Carpenter Patricia

• "Musical Form Regained", Journal of Philosophy, LXII, 1965, pp. 36-48.
• "The Musical Object", Current Musicology, V, 1967, pp.56-87.

 Chatterjee Margaret

• "Towards a Phenomenology of Time-consciousness in Music", Diogenes, LXXIV, 1971, pp. 49-56.

Clifton Thomas

• "Training in Music Theory: Process and Product", Journal of Music Theory, XIII/1, 1969, pp. 38-65. "An Application of Goethe's Concept of Steigerung to the Morphology of Diminution", Journal of Music Theory, XIV/2, 1970, pp. 165-189.
• "Recensione a: Pike, A. "A Phenomenological Analysis of Musical Experience", Journal of Music Theory, XIV/2, 1970, pp. 237-246.
• "Music and the A Priori", Journal of Music Theory, XVII/1, 1973, pp. 66-85.
• "Some Comparisons between Intuitive and Scientific Descriptions of Music", Journal of Music Theory, XIX/1, 1975, pp. 66-110.
• "Music as Constituted Object", Music and Man, II, 1976, pp. 73-98.
• "The Poetics of Musical Silence", Musical Quarterly, LXII, 1976, pp. 163-181.
• Music as Heard: A Study in Applied Phenomenology, Yale University Press, New Haven, 1983.

Ferrara Lawrence

• Referential Meaning in Music: A Conceptual Model Based on the Philosophy of M. Heidegger, Ph. D. Diss., School of Education, Health, Nursing and Arts Professions of New York University, New York, 1978.
• "Allowing Oneself to Be Moved. A Phenomenology of Music Evaluation.", in: Qualitative Evaluation in the Arts, a cura di David Ecker, New York University Press, New York, 1981.
• "Research and Practice in Music Education: the Problem of Dislocation", College Music Symposium, XXII, 1982, pp. 65-72.
• "Phenomenology as Tool for Musical Analysis", Musical Quarterly, LXX/3, 1984, pp. 355-373.
• "Music in General Studies a Look at Content and Method", College Music Symposium, XXVI, 1986, pp. 121-129.
• Philosophy and the Analysis of Music: Bridges to Musical Sound and Reference, Excelsior Music Publishing Co., New York, 1991.

Filler Susan

• Recensione a: Green David, B., Mahler, Consciousness and Temporality, Gordon and Breach, New York, 1984, Journal of Musicological Research, VII, 1985, pp.124-130.

Fisher George, Lochhead Judith Irene

• "Analysis, Hearing, and Performance", Indiana Theory Review, XIV/1, 1993, pp. 1-36.

Floyd Sheril Lynn

• A Phenomenological Account of Aesthetics Perception and Its Implications for Aesthetics Theory, Ph. D. Diss., Vanderbilt University, 1979.

Foster Effemae Morrison

• A Penomenological Study to the Foundations of Music, Ph. D. Diss., Florida State University, 1972

Fox Charles Warren

• "Modern Counterpoint: A Phenomenological Approach, Notes, December 1948, pp. 50-62.

Goldenzweig Hugo

• The Chopin Etudes: A Schenkerian and Phenomenological Analysis, Ph. D. Diss., New York University, 1986

Greene David

• Temporal Processes in Beethoven's Music, Gordon and Breach, New york, 1982.
• Mahler, Consciousness and Temporality, Gordon and Breach, New York, 1984.

Ihde Don

• "Discussion of sound and music.", in: The Fourth Lexington Conference of Pure and Applied Phenomenology, a cura di E. W. Strauss, R. M. Griffith., Duquesne University Press, Pittsburgh, Editions E. Nauwelaerts, Louvain, 1967.
• Sense and Significance, Duquesne University Press, Pittsburgh, 1973.
• Listening and Voice: a Phenomenology of Sound, Ohio University Press, Athens, 1976.

Jacobs Jo Ellen

• Toward an Ontology of Musical Works of Art, Ph. D. Diss., Washington University, St. Louis, 1977.

Johnston Keith

• "Musical Essence and perception", Perspective of New Music, XIX, 1980/1981.

Lewin David

• "Music Theory, Phenomenology and Modes of Perception", Music Perception, III/2, 1986, pp. 327-392.

Lochhead Judith Irene

• "Some Musical Application of Phenomenology", Indiana Theory Rewiew, III/3, 1979, pp. 18-27.
• The Temporal Structure of Recent Music: A Phenomenological Investigation, Ph. D. Diss., State University of New York at Stony Brook, New York, 1982.
• "Temporal Structure in Recent Music", Journal of Musicological Research, VI/1-2, 1986, pp. 49-93. Ora in AA. VV. Understanding the Musical Experience, a cura di F. J. Smith, Gordon & Breach, New York/London/Paris, 1989, pp. 121-165.

Magnusdottir Anna M.

• Toward a Phenomenology of Music, University of Illinois, Urbana, 1987.

Maniates Maria Rika

• "Sound Silence and Time: Towards a Fundamental Ontology of Music", Courrent Musicology, III, 1966, pp. 59-64.

Pike Alfred

• A Phenomenological Analysis of Music and Other Related Essays, St. John's University Press, New York, 1970.
• "Fondational Aspects of Musical Perception: A Phenomenological Analysis", Philosopy and Phenomneological Research, XXXIV/3, 1974, pp. 429-434.

Shearer Robert Lawrence

•   A Phenomenology of Aesthetics Value in Music, Ph. D. Diss., Florida State University, 1976.

Schutz Alfred

• "Fragments on the Phenomenology of Music", Music and Man, II/1-2, 1976, pp. 6-71.
• Making Music Together: a Study on Social Relationship, in Collected Papers II: Studies in Social Theory, Den Haag, Martinus Nijhoff, 1964, pp. 159-178.
• Mozart and the Philosophers, in Collected Papers II, : Studies in Social Theory, Den Haag, Martinus Nijhoff, 1964, pp. 179-200.

 
Nota: Tutti e tre questi scritti sono tradotti in italiano in:
A. Schutz, Frammenti di fenomenologia della musica, a cura di Nicola Pedone, Guerini e Associati, Milano 1996.

Shearer Robert Lawrence

•   A Phenomenology of Aesthetic Value in Music, Florida State University, 1976.

Silliman Cutler

• "Familiar Music and the A Priori: Beethoven's Seventh Symphony", Journal of Music Theory, XX/1, 1976, pp. 215-225.

Skarda Christine

• "Alfred Schutz's Phenomenology of Music", Journal of Musicological Research, III, 1979, pp. 75-132.

Smith Joseph

• "Vers une phénoménologie du son", Revue de Metaphysique et de Morale, agosto 1968, pp. 328-343.
• "Toward a Phenomenology of Musical Aesthetics.", in: Aisthesis and Aesthetics. The Fourth Lexington Conference of Pure and Applied Phenomenology, a cura di E. W. Strauss, R. M. Griffith., Duquesne University Press, Pittsburgh, Editions E. Nauvelaerts, Louvain, 1970, pp. 197-228. Ora in Smith Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Gordon & Breach, New York/London/Paris, 1979.
• "Being and Subjectivity: Heidegger and Husserl", in Phenomenology in Perspective a cura di F. Joseph Smith, Nijhoff, The Hague, 1970, pp. 122-156.
• "Mozart Revisited, K 550: the Problem of the Survival of Baroque Figures in the Classical Era", The Music Review, agosto 1970, pp. 201-214.
• "Don Juan: Idealist and Sensualist" in Facets of Eros: Phenomenology Essays, a cura di F. J. Smith, Nijhoff, The Hague, 1972, pp. 67-105.
• "Two Heideggerian Analyses", in Martin Heidegger in Europe and America, a cura di E. G. Ballard, C. E. Scott, Nijhoff, The Hague, 1973, pp. 171-182.
• "Aesthetic Re-education: the Experiencing of Musical Sound", Music and Man, I, 1973. Ora in Smith Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Gordon & Breach, New York/London/Paris, 1979.
• "Musical Sound as a Model for Husserlian Intuition and Time", Journal of Phenomenological Psychology, IV, 1973, pp. 271-296. Ora in Smith Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Gordon & Breach, New York/London/Paris, 1979.
• "Prelude to a Phenomenology of Sound, Main Currents, XXX, 1973, pp. 12-17. Ora in Smith Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Gordon & Breach, New York/London/Paris, 1979.
• "Traditional Harmony? a Radical Question", The Music Review, 1974, pp. 63-75.
• "Music Theory and the History of Ideas", in In Search of Musical Method, a cura di F. J. Smith, Gordon & Breach, London/New York/ Paris, 1976. Già in Music and Man, II, 1976.
• The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Gordon & Breach, New York/London/Paris, 1979.
• "The Negative Moment in an Open Dialectic of Music", Journal of Musicological Research, III, 1981, pp. 335-379.
• "Sight or Sound: Primacy or Synaesthesis?" in Essays in Memory of Aron Gurwitsch, a cura di L. Embree, University Press of America, Pittsburgh/Washington, 1984, pp. 305-322.
• "Variation in Music and Thought: a Critique of Factualism" in Understanding the Musical Experience, a cura di F. J. Smith, Gordon & Breach, New York/London/Paris, 1989, pp. 209-227.

Smith Gregory

• "Past, Present, Future: Contemplating Music, Time and Heidegger", Sonus: A Journal of Investigations Into Global Musical Possibilities, XIV/1, 1993.

Sorenson Jack Eugene

• Modalities of Musical Attention and Perception: A Phenomenological View of Aesthetics and Style.Ph. D. Diss., University of Washington, 1974

Sung-Il Kim Paul

• Olivier Messiaen's 'Catalogue d'oiseaux' for Solo Piano: A Phenomenological and Style Analysis, Ph. D. Diss., New York University, 1989.

Tenney James

• Recensione a Music as Heard di T. Clifton, Journal of Music Theory, XXIX/1, 1985.
• Meta+Hodos: A Phenomenology of Twentieth-Century Musical Materials and an Approach to the Study of the Form, Inter-American Institute for Musical Research, Gilbert Chase, Vol I, Inter-american Institute for Musical Research, Tulane University, New Orleans, 1964. Ora edito in: Tenney James, Meta+Hodos + META Meta+Hodos, Frog Peak Music, Oakland, Ca, 1986.