OJ 10/13, [4] Handwritten letter from Dunn to Schenker, dated February 1, 1927

After a long silence, Dunn sends Schenker his abridged translation of Kontrapunkt, vol. 2, Parts III–IV, expresses regret that Hoboken’s illness prevented him from visiting, and hopes that they might meet up in London in June.

OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927

Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry.

OJ 10/13, [6] Handwritten letter from Dunn to Schenker, dated November 14, 1927

Dunn thanks Schenker for the copy of Meisterwerk 2 sent to him, and comments on the clarity with which Bach’s C minor Fugue (WTC I) is revealed; his musical instincts found confirmation in Schenker’s theories, and after the war he obtained all of Schenker’s books; he proposes that they meet some time, perhaps by making a side-trip from to Austria from Leipzig, where his wife grew up.

OJ 10/13, [7] Handwritten letter from Dunn to Schenker, dated June 16, 1928

Dunn sends Schenker greetings on his 60th birthday; his English adaptation is a success, but its impact is limited by the fact that a less enlightened colleague teaches first-year counterpoint. – He outlines his latest work, a study of orchestration from a theoretical point of view, and hopes that he and his wife might visit the Schenkers the following summer.

OJ 10/13, [8] Handwritten letter from Dunn to Schenker, dated December 30, 1930

Dunn thanks Schenker for sending Meisterwerk 3; he finds himself in complete agreement on the merits of jazz, which he holds responsible for the decline of contemporary music.

Diary entry by Schenker for 15 January 1924

Diary entry by Schenker for 5 February 1927

Diary entry by Schenker for 21 February 1931

Diary entry by Schenker for 23 February 1931

Diary entry by Schenker for 30 April 1931