• Audacity (capable sound editor, now with markup and spectrum display: use it to save extracts for study in the early version of Spectrogram, or to convert sample rate for Sforzando, or to compile sound examples: 2.5Mb)
http://audacity.sourceforge.net
• ArBPM Beat counter (counts beats per minute)
http://www.hitsquad.com/smm/programs/ArBPM/
• Director Musices (software for automated expressive performance)
http://www.speech.kth.se/music/performance/download/dm-download.htmlhttp://audacity.sourceforge.net/
• Expander (slows down WAV files without changing pitch)
http://www.inf.u-szeged.hu/%7Etothl/expander.html
• FreeRip (ripping CDs to wav/mp3/Ogg files):
http://www.kcl.ac.uk/kis/schools/hums/music/dlw/ssr/freeripmp3.exe
• Frequencies for equal-tempered scale (helps you to convert frequency readouts to pitch identifiers)
http://www.phy.mtu.edu/~suits/notefreqs.html
• Frequency to interval converter (given two frequencies )e.g top and bottom of a vibrato cycle) calculates distance in semitones)
http://www.geocities.com/CapeCanaveral/Lab/8779/chc1.html
• Metromon (plays any frequency: useful aid to reading Spectrogram)
http://www.kcl.ac.uk/kis/schools/hums/music/dlw/ssr/METROMON.EXE
• PRAAT (spectrum analyzer with poor display but good markup and data extraction facilities: 1.4Mb)
http://www.praat.org
• PRAAT for Musicologists
http://www.musicology.nl/WM/research/praat_musicologists.htm
• Sforzando (tapping and dynamic analysis environment):
http://www.kcl.ac.uk/kis/schools/hums/music/dlw/ssr/sfzpro11.zip
• Spectrogram (spectrum analyzer with good display and readouts but no markup or data extraction: 2.2Mb):
http://www.visualizationsoftware.com/gram.html
http://www.kcl.ac.uk/kis/schools/hum/music/dlw/ssr/gram50.zip (direct download of earlier version - only analyzes small extracts, 254Kb)
• Timing (simple tapping program):
http://www.soton.ac.uk/~musicbox/TIMING.EXE

• Daniel Leech-Wilkinson's sound analysis software page (with further links):
http://www.kcl.ac.uk/kis/schools/hums/music/dlw/ssr/ssr_software.html
• Introductory 'Analytical Techniques' web page (tapping analysis):
http://www.soton.ac.uk/~musicbox/charm5.html
• AHRC Centre for the History and Analysis of Recorded Music:
http://www.charm.rhul.ac.uk

• Bowen, José. 'Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance'. Journal of Musicological Research 16 (1996), 111-56
• Clarke, Eric and Nicholas Cook (eds.). Empirical Musicology: Aims, Methods, Prospects. New York: Oxford University Press, 2004. (See especially chapter by Clarke)
• Cook, Nicholas. 'Stravinsky Conducts Stravinsky'. In Jonathan Cross (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), 176-91
• Cook, Nicholas. 'The Conductor and the Theorist: Furtwängler, Schenker, and the First Movement of Beethoven's Ninth Symphony'. In John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation (Cambridge: Cambridge University Press, 1995), 105-125
• Day, Timothy. A Century of Recorded Music: Listening to Musical History. New Haven: Yale University Press, 2000
• Fink, Robert. '"Rigoroso (? = 126)": The Rite of Spring and the Forging of a Modernist Performing Style'. Journal of the American Musicological Society 52 (1999), 299-362
• Frisch, Walter. 'In Search of Brahms's First Symphony: Steinbach, the Meiningen Tradition, and the Recordings of Hermann Abendroth'. In Michael Musgrave and Bernard Sherman (eds.), Performing Brahms: Early Evidence of Performance Style (Cambridge: Cambridge University Press, 2003), 277-301 (also contains several other relevant chapters)
• Hill, Peter. Stravinsky: The Rite of Spring. Cambridge: Cambridge University Press, 2000
• Leech-Wilkinson, Daniel. 'Using Recordings to Study Musical Performance'. In Andy Linehan (ed.), Aural History: Essays on Recorded Sound (London: The British Library, 2001) 1-12
• Martin, Sarah. 'The Case of Compensating Rubato'. Journal of the Royal Musical Association 127 (2002), 95-129
• Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge: Cambridge University Press, 1992
• Repp, Bruno (Repp, B. H. [1998d]). 'A microcosm of musical expression'. Published in three parts in the Journal of the Acoustical Society of America, 104 (1998), 1085-1100; 105 (1999), 1972-1988; 106 (1999), 469-478
• Speech analysis and transcription software links: http://liceu.uab.es/~joaquim/phonetics/fon_anal_acus/herram_anal_acus.html

Default values are usually satisfactory except as follows:
Audacity
File/Preferences/Spectrograms, then
• FFT size: 2048 is suitable for most applications
• Maximum frequency (Hz): 8000 is suitable for most work with early recordings; choose 4000 or even 2000 if you want to enlarge the lower partials

Spectrogram
File/Parameters/Change or set in 'Modify analysis parameters' when opening file
• FFT size (points): 2048 as above
• Channels: use Left or Right, not Dual
• Scale (dB): 90 gives all detail, 30 gives very clean images, 60 may be a good compromise
• Time scale (msec): 4 or 6 is usually suitable (equivalent to zoom in/out in Audacity)