Thomson, Andrew (Winter 2023). "Dissolution and resolution: superimposed fourth formations in Mahler 7 and Schoenberg's op.9". The Musical Times. 164 (1965): 27–44. JSTOR27294364.
Williamson, John (March 1986). "The Structural Premises of Mahler's Introductions: Prolegomena to an Analysis of the First Movement of the Seventh Symphony". Music Analysis. 5 (1): 29–57. JSTOR854340.
Scherzinger, Martin (March 1995). "The Finale of Mahler's Seventh Symphony: A Deconstructive Reading". Music Analysis. 14 (1): 69–88. JSTOR853963.
Mahler's specification of a Tenorhorn in the scoring of this work has often caused confusion. In Britain, the name 'tenor horn' is often given to the instrument that in the US is called the alto horn (in E♭ or F);[9] in Germany this (a contralto saxhorn) is known as the Althorn in E♭ or F, and is not the instrument requested by Mahler.[9] Nor does Mahler intend a euphonium, which in German is called either Euphonium or Baryton.[10] The German Tenorhorn [de] is actually a B♭ instrument similar to the instrument known in Britain and the USA as the baritone horn.[11]
