"The distinction between tonality and noise is mathematical form" doesn't have the same ring to it, I suppose.
My favorite study of tonal harmony is "Theory of Harmony" by Arnold Schoenberg (sounds ironic; here's a preview on google books: <http://books.google.com/books?id=5Y5MyjbU87oC&lpg=PR3...). It was the first theory textbook that attempted to teach composition of harmony without value judgments about what is "correct" or "natural," instead taking pains at every step to justify itself on first principles. He wrote the book because he believed his students needed to understand conventional harmony before they could transcend it. In my mind Schoenberg falls into that class of visionaries whose legacies are more about their failed predictions than of their analyses and contributions (Marx shared a similar fate, his own fault of course). Schoenberg was partially right — nobody in their right mind argues that ninth chords can't be processed by our feeble minds (jazz is western canon at this point), or that the tritone will summon demons (well, maybe some people in Norway still believe that) — but classical harmony hasn't been completely replaced.
The scientific stuff in Schoenberg's Theory of Harmony is mostly garbage though. If you're interested in reading more about the modern understanding of the physical properties of music I'd recommend "Musimathics: The Mathematical Foundations of Music," and Benson's "Music: A Mathematical Offering." For an attempt to look at musical structure in terms of its cognition, I enjoyed "The Cognition of Basic Musical Structures" by David Temperley. It's a bit speculative, but that's the current state of the field if you're trying to go beyond the simplest aspects of music.