 Heller (2012) considers Helmholtz’s most enduring contributions to be his theories of dissonance and musical harmony (p. 441). In the theory of pitch, Heller analyzes a debate between “Helmholtz and Georg Ohm on one side and Rudolf Koenig and August Seebeck on the other”, which engaged physicists and instrument makers alike for decades (441ff.). Heller’s work provides an appreciation of the strengths and weaknesses of Helmholtz’s work from the perspective of modern physics and acoustical theory. Deutsch 1984 provides a complementary perspective on Helmholtz’s place in the history of the physiology and psychology of music perception.