4Peter Kaminsky, Ravel1 s late Music and the Problem of i Polytonalityy,’,in Music Theory Spectrum 26/2 (2004) : 237 -264.
5Jennifer Putt Beavers, “Ravel in a New Key: Harmony in the Chamber Works, 1914 - 1927”,PhD dissertation, The University of Texasat Austin, 2010.
6Elliott Antokoletz, “Diatonic Expansion and Chromatic Compression in Maurice Ravel * s Sonate pour violon et violon-celle”,in Unmasking Ravel :New Perspectives on the Music, ed. Peter Kaminsky, University of Rochester Press, 2011:211 -242.
7SuzannneBarber Veiga,/!^ Analy-sis and Comparison of the Duo of Zoltan Kodaly and the Sonata of Maurice Ravel for Violin and Violoncello, DMA diss.,University ofKentucky, 1998.
8Milhauddescribes bitonality,4.⑨Peter Kaminsky, “ Ravel’s late Music and the Problem of 4 Polytonality1 ”,in Music Theory Spectrum 26/2 (2004) : 237 .264.
9Jennifer Putt Beavers. Ravel in a New Key; Harmony in the Chamber Works, 1914 - 1927[D] . Austin:The University of Texas atAustin, 2010.
10Elliott Antokoletz. Diatonic Expansion and Chromatic Compression in Maurice Ravel,s Sonate pour violon et violoncelle[ G]//Pe-ter Kaminsky. Unmasking Ravel:New Perspectives on the Music. Rochester:University of Rochester Press, 2011.
