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Bibliography for Music 25700/31900:
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This is a working bibliography for Cognitive Science and Music Analysis, a class taught by Larry Zbikowski Winter term 2006 at the University of Chicago. |
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A.Aiello, Rita, and John Sloboda, eds. Musical Perceptions. New York: Oxford University Press, 1994.
B.
Bamberger, Jeanne. The Mind Behind the Musical Ear: How Children Develop Musical Intelligence. Cambridge, Massachusetts: Harvard University Press, 1991. Barsalou, Lawrence W. Cognitive Psychology: An Overview for Cognitive Scientists. Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1992.
C.
Clarke, Eric. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford, 2005. Clarke, Eric F., and Carol L. Krumhansl. “Perceiving Musical Time.” Music Perception 7, no. 3 (Spring 1990): 213-52. Cross, Ian. “Is Music the Most Important Thing we Ever Did?: Music, Development, and Evolution.” In Music, Mind, and Science, edited by Suk Won Yi, 10–39. Seoul, Korea: Seoul National University Press, 1999. Cross, Ian. “Music and Biocultural Evolution.” In The Cultural Study of Music: A Critical Introduction, edited by Martin Clayton, Trevor Herbert, and Richard Middleton, 19–30. New York: Routledge, 2003. Cross, Ian. “Music, Cognition, Culture, and Evolution.” In The Biological Foundations of Music, edited by Robert J. Zatorre and Isabelle Peretz, 28–42. New York: New York Academy of Sciences, 2001.
D.Damasio, Antonio R. Looking for Spinoza: Joy, Sorrow, and the Feeling Brain. Orlando, Florida: Harcourt Inc., 2003. Deacon, Terrence W. The Symbolic Species: The Co-Evolution of Language and the Brain. New York: W.W. Norton & Company, 1997.
E.Eitan, Zohar, and Roni Y. Granot. “How Music Moves: Musical Parameters and Listeners’ Images of Motion.” Music Perception. In press. Epstein, David. Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books, 1995.
F.
G.Gjerdingen, Robert O. A Classic Turn of Phrase: Music and the Psychology of Convention. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylvania Press, 1988. Gjerdingen, Robert O. “Shape and Motion in the Microstructure of Song.” Music Perception 6, no. 1 (Fall 1988): 35-64. Gjerdingen, Robert O. “Categorization of Musical Patterns by Self-Organizing Neuronlike Networks.” Music Perception 7, no. 3 (Summer 1990): 339-70. Gjerdingen, Robert O. “Revisiting Meyer’s ‘Grammatical Simplicity and Relational Richness.’” In Cognitive Bases of Musical Communication, edited by Mari Riess Jones and Susan Holleran, 225-43. Washington, D.C.: American Psychological Association, 1992. Goldin-Meadow, Susan. Hearing Gesture: How Our Hands Help Us to Think. Cambridge, Massachusetts: Harvard University Press, 2003.
H.Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press, 2004.
I.
J.Jones, Mari Riess, and Susan Holleran, eds. Cognitive Bases of Musical Communication. Washington, D.C.: The American Psychological Association, 1992. Juslin, Patrik N., and John A. Sloboda, eds. Music and Emotion: Theory and Research. New York: Oxford University Press, 2001.
K.Krumhansl, Carol L. Cognitive Foundations of Musical Pitch. New York: Oxford University Press, 1990. Krumhansl, Carol L. “Music Psychology and Music Theory: Problems and Prospects.” Music Theory Spectrum 17, no. 1 (Spring 1995): 53-80. Krumhansl, Carol L., and Diana Lynn Schenck. “Can Dance Reflect the Structural and Expressive Qualities of Music?: A Perceptual Experiment on Balanchine’s Choreography of Mozart’s Divertimento no. 15.” Musicæ Scientiæ 1, no. 1 (Spring 1997): 63-85.
L.Lerdahl, Fred. “The Sounds of Poetry Viewed as Music.” In The Biological Foundations of Music, edited by Robert J. Zatorre and Isabelle Peretz, 337-54. New York: New York Academy of Sciences, 2001. Lerdahl, Fred. Tonal Pitch Space. New York: Oxford University Press, 2001. Lerdahl, Fred, and Ray Jackendoff . A Generative Theory of Tonal Music. Cambridge, Massachusetts: MIT Press, 1983.Call no.: MT6 .L61 on reserve
M.McNeill, David. Hand and Mind: What Gestures Reveal About Thought. Chicago: University of Chicago Press, 1992. McNeill, David. Gesture and Thought. Chicago: University of Chicago Press, 2005. Meyer, Leonard. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956. Meyer, Leonard B. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press, 1989. Mitchell, Robert W., and Matthew C. Gallaher. “Embodying Music: Matching Music and Dance in Memory.” Music Perception 19, no. 1 (Fall 2001): 65-85.
N.
Narmour, Eugene. The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model. Chicago: University of Chicago Press, 1990. Niedenthal, Paula M., Lawrence W. Barsalou, Piotr Winkielman, Silvia Krauth-Gruber, and François Ric. “Embodiment in Attitudes, Social Perception, and Emotion.” Personality and Social Psychology Review. in press.
O.
P.Perlman, Marc. Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory. Berkeley, California: University of California Press, 2004.
R.
Rosner, Burton S., and Leonard B. Meyer. “The Perceptual Roles of Melodic Process, Contour, and Form.” Music Perception 4, no. 1 (Fall 1986): 1-40.
S.Saslaw, Janna K. “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music.” Journal of Music Theory 40, no. 2 (Fall 1996): 217-43. Sloboda, John A. The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press, 1985.
T.
Temperley, David. The Cognition of Basic Musical Structures. Cambridge, Massachusetts: MIT Press, 2001.
V.
W.Wallin, Nils, Björn Merker, and Steven Brown, eds. The Origins of Music. Cambridge, Massachusetts: MIT Press, 2000.
Y.
Z.Zbikowski, Lawrence M. “The Blossoms of ‘Trockne Blumen’: Music and Text in the Early Nineteenth Century.” Music Analysis 18, no. 3 (October 1999): 307-45. Zbikowski, Lawrence M. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002. Zbikowski, Lawrence M. “Modelling the Groove: Conceptual Structure and Popular Music.” Journal of the Royal Musical Association 129, no. 2 (2004): 272-97.
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Copyright © 2005 Lawrence M. Zbikowski
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