2 Source Readings in Music History from Classical Antiquity to the Romantic Era, ed. Oliver Strunk, 5 vols. (London, 1981), iv, 207.
1 Source Readings in Music History from Classical Antiquity to the Romantic Era, ed. Oliver Strunk, 5 vols. (London, 1981), iii, 4–5.
3 Downing A. Thomas, Music and the Origins of Language: Theories from the French Enlightenment (Cambridge, 1995), 169.
4 Marcello Sorce-Keller, ‘Musicologists and the Radio: A Shortlist of Questions, Problems, and Issues’, Talk About Radio: Towards a Social History of Radio, ed. Theo Maeusli (Zurich, 1999), 115–26 (p. 117).
5 Rob C. Wegman, ‘Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and Authenticity’, Early Music, 23 (1995), 298–312.
6 Heinrich Besseler, Das musikalische Hören der Neuzeit, Berichte über die Verhandlungen der Sächsischen Akademie der Wissenschaften zu Leipzig, Philologisch-historische Klasse, 104/6 (Berlin, 1959).
7 Stephen Davies, Musical Meaning and Expression (Ithaca, NY, 1994), 339.
8 Dan Sperber, Explaining Culture (Oxford, 1996).
9 Davies, Musical Meaning; Roger Scruton, The Aesthetics of Music (Oxford, 1997).
10 Michael Tomasello, Malinda Carpenter, Josep Call, Tanya Behne and Henrike Moll, ‘Understanding and Sharing Intentions: The Origins of Cultural Cognition’, Behavioral and Brain Sciences, 28 (2005), 675–91; Dan Sperber and Lawrence Hirschfield, ‘Culture, Cognition and Evolution’, MIT Encyclopedia of the Cognitive Sciences, ed. Robert A. Wilson and Frank C. Keil (Cambridge, MA, 1999), cxi–cxxxii.
11 Jamshed J. Bharucha, ‘Neural Nets, Temporal Composites and Tonality’, The Psychology of Music, ed. Diana Deutsch (2nd edn, London, 1999), 413–41.
12 Carol L. Krumhansl, The Cognitive Foundations of Musical Pitch (Oxford, 1990).
13 Jennifer R. Saffran, Elizabeth K. Johnson, Richard N. Aslin and Elissa L. Newport, ‘Statistical Learning of Tone Sequences by Human Infants and Adults’, Cognition, 70 (1999), 27–52.
14 Mary A. Castellano, Carol L. Krumhansl and Jamshed J. Bharucha, ‘Tonal Hierarchies in the Music of North India’, Journal of Experimental Psychology: General, 113 (1984), 394–412.
15 Barbara Tillmann and Emmanuel Bigand, ‘The Relative Importance of Local and Global Structures in Music Perception’, Journal of Aesthetics and Art Criticism, 62 (2004), 211–22.
16 Matthew Woolhouse, Ian Cross and Timothy J. Horton, ‘The Perception of Non-Adjacent Harmonic Relations’, Proceedings of the Ninth International Conference on Music Perception and Cognition, ed. Mario Baroni, Anna Rita Addessi, Roberto Caterina and Marco Costa (Bologna, 2006), 1236–44.
17 Henry Plotkin, Evolution in Mind (London, 1997).
18 Alan Baddeley, Human Memory: Theory and Practice (rev. edn, Hove, 1997).
19 Antonio Damasio, Descartes’ Error: Emotion, Reason and the Human Brain (London, 1995).
20 Jaak Panksepp and Günther Bernatzky, ‘Emotional Sounds and the Brain: The Neuro-Affective Foundations of Musical Appreciation’, Behavioural Processes, 60 (2002), 133–55.
21 Music and Emotion: Theory and Research, ed. Patrik N. Juslin and John A. Sloboda (Oxford, 2001).
22 Leonard B. Meyer, Emotion and Meaning in Music (London, 1956).
23 John A. Sloboda, ‘Musical Structure and Emotional Response: Some Empirical Findings’, Psychology of Music, 19 (1991), 110–20; David Huron, Sweet Anticipation: Music and the Psychology of Expectation (Cambridge, MA, 2006).
24 Gabriela Husain, William Forde Thompson and E. Glenn Schellenberg, ‘Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities’, Music Perception, 20 (2002), 151–71; Patrick Gomez and Brigitta Danuser, ‘Relationships between Musical Structure and Psychophysiological Measures of Emotion’, Emotion, 7 (2007), 377–87.
25 Robert A. Foley, Humans before Humanity (Oxford, 1995).
26 Martin Clayton, Rebecca Sager and Udo Will, ‘In Time with the Music: The Concept of Entrainment and its Significance for Ethnomusicology’, ESEM Counterpoint, 1 (2005), 1–45.
27 Bjorn Merker, ‘Synchronous Chorusing and Human Origins’, The Origins of Music, ed. Nils Wallin, Bjorn Merker and Steven Brown (Cambridge, MA, 2000), 315–28; John Bispham, ‘Rhythm in Music: What is it? Who has it? and Why?’ Music Perception, 24 (2006), 125–34.
28 Bruno H. Repp, ‘Musical Synchronization’, Music, Motor Control, and the Brain, ed. Eckart Altenmuller, Mario Wiesendanger and Jurg Kesserling (Oxford, 2006), 55–76; Mari Riess Jones and Marilyn Boltz, ‘Dynamic Attending and Responses to Time’, Psychological Review, 96 (1989), 459–91; Carolyn Drake and Daisy Bertrand, ‘The Quest for Universals in Temporal Processing in Music’, The Biological Foundations of Music, ed. Robert J. Zatorre and Isabelle Peretz, Annals of the New York Academy of Sciences, 930 (New York, 2001), 17–27.
29 Carolyn Drake and J. Ben El Heni, ‘Synchronizing with Music: Intercultural Differences’, The Neurosciences and Music, ed. Giuliano Avanzini et al., Annals of the New York Academy of Sciences, 999 (2003), 429–37.
30 Justin London, Hearing in Time: Psychological Aspects of Musical Metre (Oxford, 2004).
31 Bruno H. Repp, ‘Sensorimotor Synchronization: A Review of the Tapping Literature’, Psychonomic Bulletin and Review, 12 (2005), 969–92.
32 Tommi Himberg, ‘Co-operative Tapping and Collective Time-Keeping: Differences of Timing Accuracy in Duet Performance with Human or Computer Partner’, Proceedings of the Ninth International Conference on Music Perception and Cognition, ed. Baroni et al., 377.
33 See, for example, The Cognitive Neuroscience of Music, ed. Isabelle Peretz and Robert J. Zatorre (Oxford, 2003).
34 Petr Janata and Scott T. Grafton, ‘Swinging in the Brain: Shared Neural Substrates for Behaviors Related to Sequencing and Music’, Nature Neuroscience, 6 (2003), 682–7.
35 Stefan Koelsch, Thomas Fritz, D. Yves von Cramon, Karstein Müller and Angela D. Friederici, ‘Investigating Emotion with Music: An fMRI Study’, Human Brain Mapping, 27 (2006), 239–50.
36 Ian Cross, ‘Music and Cognitive Evolution’, The Oxford Handbook of Evolutionary Psychology, ed. Robin I. M. Dunbar and Louise Barrett (Oxford, 2007), 649–67.
37 Jerome Lewis, ‘As Well as Words: Congo Pygmy Hunting, Mimicry, and Play’, The Cradle of Language, ed. Rudie Botha and Chris Knight (Oxford, 2008), 381–413.
38 Ian Cross, ‘The Evolutionary Nature of Musical Meaning’, Musicae scientiae, Special Issue: Music and Evolution (2009), 143–59.
39 Steven Pinker, How the Mind Works (London, 1997).
40 Ian Cross, ‘Music and Social Being’, Musicology Australia, 28 (2006), 114–26.