References

0. Research Design and Methods

1. The Auditory Stimulus

2. The Auditory System

  1. Griffiths, T. “The neural processing of complex sounds”. In Cognitive Neuroscience of Music, Peretz, I. & Zatorre, R (Eds.), pp. 168-180. Oxford University Press. 2003.
  2. Peretz, I. “Brain specialization for music: new evidence from congenital amusia”. In Cognitive Neuroscience of Music, Peretz, I. & Zatorre, R (Eds.), pp. 192-203. Oxford University Press. 2003.
  3. McKinney, M.F. & Tramo, M.J. & Delgutte, B. “Neural correlates of the dissonance of musical intervals in the inferior colliculus”. In Physiological and Psycophysical Bases of Auditory Function. D.J. Breebaart, A.J.M. Houtsma, A. Kohlrausch, V.F. Prijs, and R. Schoonhoven (Eds), pp. 83-89. Maastricht: Shaker. 2001.
  4. Fay, R.R. & Popper, A.N. “Evolution of hearing in vertebrates: the inner ears and processing.”. Hearing research, 149: 1-10. 2000.
  5. Hoistad, D.L. & Hain, T.C. “Central hearing loss with a bilateral inferior colliculus lesion”. Audiol and Neurootol 8(2): 111-113. 2003. 10.1159/000068999
  6. Hauser, M.D. & McDermott, J. “The evolution of the music faculty: a comparative perspective.”. Nature Neuroscience, 6: 668-668. 2003.
  7. Watts, L. “Cochlear Mechanics: Analysis and Analog VLSI”. Doctoral dissertation. 1993.
  8. Carr, C.E. & Konishi, M. “Axonal delay lines for time measurement in the owl’s brainstem”. Proc. Natl. Acad. Sci. USA, 85: 8311-8315. 1988.
  9. Joris, P.X. & Smith, P.H. & Yin, T.C.T. “Coincidence Detection in the Auditory System”. Neuron, 21(6): 1235-1238. 1998. 10.1016/S0896-6273(00)80643-1
  10. Zatorre, R.J. & Belin, P. “Spectral and temporal processing in human auditory cortex.”. Cerebral Cortex, Vol. 11: 946-953. 2001.
  11. Liberman, M.C. & Dodds, L.W. & Pierce, S. “Afferent and efferent innervation of the cat cochlea: quantitative analysis with light and electron microscopy”. Journal of Computational Neurology, 301(3): 443-460. 1990. 10.1002/cne.903010309

3. Fundamentals of Psychoacoustics

  1. Hirsh, I.J. & Watson, C.S. “Auditory psychophysics and perception”. Annual Reviews of Psychology, 47: 461-484. 1996.
  2. McGurk, H. & MacDonald, J. “Hearing lips and seeing voices”. Nature, 264: 746-748. 1976.
  3. Schafer, R.M. “Soundscape: Our sonic environment and the tuning of the world”. Destiny Books. 1993.
  4. Bregman, A.S. “Auditory Scene Analysis”. MIT Press. 1997.
  5. Clifton, R.K. “Breakdown of echo suppression in the precedence effect”. Journal of the Acoustical Society of America, 82(5): 1834-1835. 1987.
  6. Blauert, J. “Spatial Hearing”. MIT Press’. 1983.
  7. Dent, M.L. & Tolin, D.J. & Yin, T.C.T. “Cats exhibit the Franssen Effect illusion”. Journal of the Acoustical Society of America, 116(5): 3070-3074. 2004.
  8. Wickens, T.D. “Elementary Signal Detection Theory”. Oxford University Press. 2001.
  9. Boltz, M.G. “Musical soundtracks as a schematic influence on the cognitive processing of filmed events”. Music Perception. 2001. 10.1525/mp.2001.18.4.427
  10. Narmour, E. “The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model”. University of Chicago Press’. 1990.
  11. Howard, D.M. & Angus, J. “Acoustics and Psychoacoustics”. Focal Press. 1996.

4. Consonance and Dissonance

  1. von Békésy, G. “Concerning the pleasures of observing, and the mechanics of the inner ear”. Nobel Lecture. 1961.
  2. Plomp, R. & Levelt, W. J. M. “Tonal Consonance and Critical Bandwidth”. The Journal of the Acoustical Society of America 38, 548. 1965. 10.1121/1.1909741
  3. Fletcher, H. “Auditory Patterns”. Rev. Mod. Phys. 12, 47. 1940. 10.1103/RevModPhys.12.47
  4. MacCallum, J. & Einbond, A. “Real-Time Analysis of Sensory Dissonance”. Computer Music Modelling and Retrieval, R. Kronland-Martinet, S. Ystad, and K. Jensen (Eds.), LNCS 4969, pp. 203-211. Springer-Verlag, Berlin, Heidelberg. 2008.

5. Pitch, Intervals and Key Areas

  1. Pressnitzer, D. & Patterson, R. & Krumbholtz, K. “The lower limit of melodic pitch”. Journal of the Acoustical Society of America, 109(5): 2076-2084. 2001.
  2. de Cheveigne, A. “Pitch perception models”. In Pitch, Plack, C. and Oxenham, A. (eds.). Springer Verlag. 2004.
  3. Krumhansl, C.L. “Cognitive foundations of musical pitch”. Oxford University Press. 1990.
  4. Licklider, J.C.R. “A duplex theory of pitch perception”. Journal of the Acoustical Society of America, 23(1): 147. 1951.
  5. Lin, JY & Hartmann, W.M. “The pitch of a mistuned harmonic: Evidence for a template model”. Journal of the Acoustical Society of America, 103: 2608. 1998. 10.1121/1.422781
  6. Patterson, R.D. & Allerhand, M.H. & Giguere, C. “Time‐domain modeling of peripheral auditory processing: A modular architecture and a software platform”. The Journal of the Acoustical Society of America, 98(4), 1890-1894. 1995.
  7. Schoenberg, A. & Stein, L. “Structural Functions of Harmony”. WW Norton & Company. 1969.
  8. Shepard, R.N. “Geometrical Approximations to the Structure of Musical Pitch”. Psychological Review 89(4). 1982.
  9. Slaney, M. & Lyon, R.F. “On the importance of time-a temporal representation of sound”. Visual representations of speech signals, Cooke, M., Beet, s., and Crawford, M (eds.), pp. 95-116. 1993.
  10. Warren, J.D. & Uppenkamp, S. & Patterson, R.D. & Griffiths, T.D. “Separating pitch chroma and pitch height in the human brain”. Proceedings of the National Academy of Sciences, 100(17), 10038-10042. 2003.

6. Timbre

  1. Wallmark, Z. “Describing sound: The cognitive linguistics of timbre”. In ‘Oxford Handbook of Timbre, Oxford University Press’. 2018. 10.1093/oxfordhb/9780190637224.013.14
  2. MacCallum, J. & Einbond, A. “Real-Time Analysis of Sensory Dissonance”. Computer Music Modelling and Retrieval, R. Kronland-Martinet, S. Ystad, and K. Jensen (Eds.), LNCS 4969, pp. 203-211. Springer-Verlag, Berlin, Heidelberg. 2008.
  3. Wessel, D.L. “Timbre space as a musical control structure”. Computer Music Journal, 3(2): 45-52. 1979.
  4. Grey, J.M. “An exploration of musical timbre”. Stanford University. 1975.

7. Rhythm

  1. Toussaint, G. “The geometry of musical rhythm: what makes a "good" rhythm good?”. CRC Press. 2019.
  2. Iyer, V. “Microstructures of Feel, Macrostructures of Sound: Embodied Cognition in West African and African-American Musics”. Doctoral Dissertation, University of California, Berkeley. 1998.
  3. Desain, P. & Windsor, L. “Rhythm perception and production”. http://www.nici.ru.nl/mmm/papers/rpp-book/rpp-book.html. 2000.
  4. Todd, N.P. “The auditory “primal sketch”: A multiscale model of rhythmic grouping”. Journal of New Music Research, 23: 25-70. 1994.
  5. Benadon, F. “Slicing the beat : Jazz eighth-notes as expressive microrhythm”. Ethnomusicology, 50(1): 73-98. 2006.
  6. Desain, P. & Honing, H. “The Formation of Rhythmic Categories and Metric Priming”. Perception. 2003. 10.1068/p3370
  7. Diedrichsen, J. & Ivry, R.B. & Pressing, J. “Cerebellar and basal ganglia contributions to interval timing”. In Functional and neural mechanisms of interval timing, Meck, W.H. (Ed.), pp. 457–483. 2003.
  8. Sadakata, M. & Desain, P. & Honing, H. “The Bayesian way to relate rhythm perception and production”. Music Perception, 23(3): 267-286. 2006.
  9. Buhusi, C.V. & Meck, W.H. “What makes us tick? Functional and neural mechanisms of interval timing”. Nature Reviews Neuroscience, 6: 755–765. 2005.
  10. Large, E.W. & Kolen, J.F. “Resonance and the Perception of Musical Meter”. Connection Science, 6: 177-208. 2007. 10.1080/09540099408915723
  11. Barlow, C. “On Musiquantics”. Report No.51 of the Musicological Institute / Musikinformatik & Medientechnik of the University of Mainz. 2012.

8. Gestalt and Melody

  1. Deutsch, D. “Diana Deutsch’s Audio Illusions”. http://philomel.com. 2003.
  2. Narmour, E. “The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model”. University of Chicago Press. 1990.
  3. Huron, D. “Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles”. Music Perception, 19(1): 1-64. 2001.
  4. Krumhansl, C.L. “Music psychology and music theory: Problems and prospects”. Music Theory Spectrum, 17: 53-80. 1995.
  5. von Hippel, P. & Huron, D. “Melodic gap-fill and regression to the mean”. American Musicological Society, Northern / Central California Chapter Meeting. 1998.

9. Scale and Harmony

  1. Aldwell, E. & Schachter, C. & Cadwallader, A. “Harmony and Voice Leading”. Cengage Learning. 2018.
  2. Barbour, J.M. “Tuning and temperament: A historical survey”. Courier Corporation. 2004.
  3. Blackwood, E. “Twelve microtonal etudes: for electronic music media, op. 28”. G. Schirmer. 1982.
  4. Bohlen, H. “13 Tonstufen in der Duodezime”. Acustica, 39(2): 76-86. 1978.
  5. von Helmholtz, H. “On the sensations of tone”. Courier Corporation. 2013.
  6. Grisey, G. “Tempus ex machina: a composer’s reflections on musical time”. Contemporary Music Review, 2(1): 239-276. 1987.
  7. Loui, P. & Wessel, D.L. & Hudson Kam, C.L. “Humans rapidly learn grammatical structure in a new musical scale”. Music Perception, 27(5): 377-388. 2010.
  8. Müller, N.-L. & Orlandatou, K. & Hajdu, G. “Starting Over – Chances Afforded by a New Scale”. In 1001 Microtones, Stahnke, M. and Safari, S. (Eds.). Von Bockel, 127–172. 2014.
  9. Parncutt, R. “Harmony: A Psychoacoustical Approach”. Springer-Verlag, Berlin. 1989.
  10. Partch, H. “Genesis Of A Music: An Account Of A Creative Work, Its Roots, And Its Fulfillments”. Da Capo Press. 1979.
  11. Saariaho, K. “Timbre and harmony: Interpolations of timbral structures”. Contemporary Music Review, 2(1): 93-134. 1987.
  12. Sabat, M. & von Schweinitz, W. “The Extended Helmholtz-Ellis JI Pitch Notation”. Plainsound Music Edition. 2004.
  13. Sethares, W.A. “Tuning, Timbre, Spectrum, Scale”. Springer Science & Business Media. 2005.
  14. Wessel, D.L. “Timbre space as a musical control structure”. Computer Music Journal, 3(2): 45-52. 1979.

10. Expectation and Anticipation

  1. Huron, D. “Sweet Anticipation”. MIT Press. 2006.
  2. Krumhansl, C.L. & Kessler, E.J. “Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys”. Psychological Review, 89(4): 334-368. 1982.
  3. Krumhansl, C.L. “Music Psychology and Music Theory: Problems and Prospects”. Music Theory Spectrum, 17(1): 53-57, 78-80. 1995.
  4. Castellano, M.A. & Bharucha, J.J. & Krumhansl, C.L. “Tonal hierarchies in the music of North India”. Journal of Experimental Psychology: General, 113(3): 394–412. 1984.
  5. Arom, S. “African polyphony and polyrhythm: musical structure and methodology”. Cambridge University Press. 1991.
  6. Krumhansl, C.L. “Cognitive Foundations of Musical Pitch”. Oxford University Press. 1990.

11. Music and Language

12. Music and the Body

  1. Behne, K.-E. ““Blicken Sie auf die Pianisten?!” Zur bildbeeinflussten Beurteilung von Klaviermusik im Fernsehen (Do you watch the pianists? On visually influenced judgements of piano music)”. Medienpsychologie, 2(2): 115-131. 1990.
  2. Behne, K.-E. & Wöllner, C. “Seeing or hearing the pianists? A synopsis of an early audiovisual perception experiment and a replication”. Musicae Scientiae, 15(3): 324-342. 2011.
  3. Broughton, M. & Stevens, C. “Music, movement and marimba: an investigation of the role of movement and gesture in communicating musical expression to an audience”. Psychology of Music, 37(2): 137-153. 2009. 10.1177/0305735608094511
  4. Burger, B. & Saarikallio, S. & Luck, G. & Thompson, M.R. & Toiviainen, P. “Relationships between perceived emotions in music and music-induced movement”. Music Perception, 30(5): 519-535. 2013.
  5. Burger, B. & Thompson, M.R. & Saarikallio, S. & Luck, G. & Toiviainen, P. “Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement”. Frontiers in Psychology, 4:183. 2013.
  6. Burger, B. & Toiviainen, P. “Embodiment in Electronic Dance Music: Effects of musical content and structure on body movement”. Musicae Scientiae, 24(2): 186-205. 2020.
  7. Burger, B. & Toiviainen, P. “MoCap Toolbox – A Matlab toolbox for computational analysis of movement data.”. Proceedings of the 10th Sound and Music Computing Conference (SMC10) (pp. 172–178). 2013.
  8. Carlson, E. & Burger, B. & Toiviainen, P. “Dance like someone is watching: A social relations model study of music-induced movement”. Music & Science, 1. 2018.
  9. Chapados, C. & Levitin, D.J. “Cross-modal interactions in the experience of musical performances: physiological correlates”. Cognition, 108(3): 639-651. 2008.
  10. Davidson, J.W. “Visual perception of performance manner in the movements of solo musicians”. Psychology of Music, 21: 103-113. 1993.
  11. Hajdu, G. “Embodiment and disembodiment in networked music performance”. In Body, sound and space in music and beyond: Multimodal explorations, Wöllner, C. (ed.), (pp. 257–278). New York: Routledge. 2017.
  12. Keller, P.E. & Knoblich, G. & Repp, B.H. “Pianists duet better when they play with themselves: On the possible role of action simulation in synchronization”. Conciousness and Cognition, 16: 102-111. 2007.
  13. Leman, M. “Embodied music cognition and mediation technology”. MIT Press. 2007.
  14. Luck, G. & Saarikallio, S. & Burger, B. & Thompson, M.R. & Toiviainen, P. “Effects of the Big Five and musical genre on music-induced movement”. Journal of Research in Personality, 44(6): 714-720. 2010.
  15. Miranda, E.R. & Wanderley, M.M. “New Digital Musical Instruments: Control and interaction beyond the keyboard”. Madison, WI: A-R Editions. 2006.
  16. Schutz, M. & Lipscomb, S. “Hearing gestures, seeing music: vision influences perceived tone duration”. Perception, 36(6): 888-897. 2007.
  17. Solberg, R.T. & Jensenius, A.R. “Group behaviour and interpersonal synchronization to electronic dance music”. Musicae Scientiae, 23(1): 111-134. 2019.
  18. Todd, N.P.M.A. & Cody, F.W. “Vestibular responses to loud dance music: A physiological basis of the “rock and roll threshold””. Journal of the Acoustical Society of America, 107: 496. 2000. 10.1121/1.428317
  19. Toiviainen, P. & Luck, G. & Thompson, M.R. “Embodied meter: Hierarchical eigenmodes in music-induced movement”. Music Perception, 28(1): 59-70. 2010.
  20. Trainor, L.J. & Gao, X. & Lei, J.-J. & Lehtovaara, K. & Harris, L.R. “The primal role of the vestibular system in determining musical rhythm”. Cortex, 45(1): 35-43. 2009.
  21. Van Dyck, E. & Moelants, D. & Demey, M. & Deweppe, A. & Coussement, P. & Leman, M. “The impact of the bass drum on human dance movement”. Music Perception, 30(4): 349-359. 2013.
  22. Varela, F.J. & Thompson, E. & Rosch, E. “The embodied mind: Cognitive science and human experience”. MIT Press. 1991.
  23. Vines, B.W. & Krumhansl, C.L. & Wanderley, M.M. & Levitin, D.J. “Cross-modal interactions in the perception of musical performance”. Cognition, 101(1): 80-113. 2006. 10.1016/j.cognition.2005.09.003
  24. Weiss, A.E. & Nusseck, M. & Spahn, C. “Motion types of ancillary gestures in clarinet playing and their influence on the perception of musical performance”. Journal of New Music Research, 47(2): 129-142. 2018. 10.1080/09298215.2017.1413119
  25. Wöllner, C. “Anticipated sonic actions and sounds in performance”. In The Oxford handbook of sound and imagination, Grimshaw, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.), vol. 2 (pp. 37–57). New York: Oxford University Press. 2019.
  26. Wöllner, C. & Deconinck, F.J.A & Parkinson, J. & Hove, M.J. & Keller, P.E. “The perception of prototypical motion: Synchronization is enhanced with quantitatively morphed gestures of musical conductors”. Journal of Experimental Psychology: Human Perception and Performance, 38(6): 1390–1403. 2012. 10.1037/a0028130