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Bibliography for Music 43509:
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This is a working bibliography for Music 43509, Larry Zbikowski’s seminar on musical time at the University of Chicago, Spring term 2009. |
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A.Adlington, Robert. “Moving Beyond Motion: Metaphors for Changing Sound.” Journal of the Royal Music Association 128, no. 2 (2003): 297-318. Agawu, Victor Kofi. African Rhythm: A Northern Ewe Perspective. Cambridge: Cambridge University Press, 1995. Arom, Simha. African Polyphony and Polyrhythm: Musical Structure and Methodology. Translated by Martin Thom, Barbara Tuckett, and Raymond Bond. Cambridge: Cambridge University Press, 1991. Arom, Simha. “Time Structure in the Music of Central Africa: Periodicity, Meter, Rhythm and Polyrhythmics.” Leonardo 22, no. 1 (1989): 91-99.
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Barry, Barbara R. Musical Time: The Sense of Order. Harmonologia Series, no. 5. Stuyvesant, NY: Pendragon Press, 1990. Bar-Yosef, Amatzia. “A Cross-Cultural Structural Analogy Between Pitch and Time Organizations.” Music Perception 24, no. 3 (2007): 265-80. Becker, Judith. “Time and Tune in Java.” In The Imagination of Reality: Essays in Southeast Asian Coherence Systems, edited by A.L. Becker and Aram A. Yengoyan, 197-210. Norwood, New Jersey: Ablex Publishing Company, 1979. Berger, Karol. Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity. Berkeley: University of California Press, 2007. Biancorosso, Giorgio. “Whose Phenomenology of Music: David Huron’s Theory of Expectation.” Music & Letters 89, no. 3 (2008): 396-404. Blom, Jan-Pettar. “The Dancing Fiddle: On the Expression of Rhythm in Hardingfele Slatter.” In Slattar for the Harding Fiddle, vol. 7 Springar in 3/4 Time, edited by Jan-Pettar Blom, Sven Nyhus, and Reidar Sevag. Norwegian Folk Music, Series I, 305-12. Oslo: Universitetsforlaget, 1981. Boykan, Martin. Silence and Slow Time: Studies in Musical Narrative. Lanham, Maryland: The Scarecrow Press, Inc., 2004. Brown, Nicholas. “The Flux Between Sounding and Sound: Towards a Relational Understanding of Music as Embodied Action.” Contemporary Music Review 25, no. 1 (2006): 37-46. Burrows, David. Time and the Warm Body: A Musical Perspective on the Construction of Time. Supplements to The Study of Time, 1873-7463, vol. 2. Leiden ; Boston: Brill, 2007.
Caplin, William E. “Theories of Musical Rhythm in the Eighteenth and Nineteenth Centuries.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen. Cambridge History of Music, 657-94. Cambridge: Cambridge University Press, 2002. Cherlin, Michael. Schoenberg’s Musical Imagination. Music in the 20th Century. Cambridge ; New York: Cambridge University Press, 2007. Clarke, Eric F., and Carol L. Krumhansl. “Perceiving Musical Time.” Music Perception 7, no. 3 (Spring 1990): 213-52. Clayton, Martin. Music, Time, and Place: Essays in Comparative Musicology. Delhi: B.R. Rhythms, 2007. Clayton, Martin. Time in Indian Music: Rhythm, Metre, and Form in North Indian Raÿamg Performance. Oxford Monographs on Music. Oxford: Oxford University Press, 2000. Clayton, Martin, Rebecca Sager, and Udo Will. “In Time with the Music: The Concept of Entrainment and Its Significance for Ethnomusicology.” European Meetings in Ethnomusicology 11 (2004): 1-45. Clifton, Thomas. Music as Heard: A Study in Applied Phenomenology. New Haven: Yale University Press, 1983. Cohn, Richard L. “Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting Music.” Perspectives of New Music 30, no. 2 (Summer 1992): 146-77. Cross, Ian, Satinder Gill, Sarah Knight, Chris Nash, Tal-Chen Rabinowitch, Lydia Slobodian, Neta Spiro, Ghofur Woodruff, and Matthew Woolhouse. “Commentary on ‘The Perception and Cognition of Time in Balinese Music’ by Andrew Clay McGraw.” Empirical Musicology Review 3, no. 2 (April 2008): 55-58.
D.Drake, Carolyn, and Daisy Bertrand. “The Quest for Universals in Temporal Processing in Music.” In The Biological Foundations of Music, edited by Robert J. Zatorre and Isabelle Peretz, 17-27. New York: New York Academy of Sciences, 2001.
E.Epstein, David. Beyond Orpheus: Studies in Musical Structure. Cambridge, Mass.: MIT Press, 1979. Epstein, David. Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books, 1995.
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G.Gallagher, Shaun, and Francisco J. Varela. “Redrawing the Map and Resetting the Time: Phenomenology and the Cognitive Sciences.” Canadian Journal of Philosophy Supplementary Volume 29 (2003): 93-132.
H.Hasty, Christopher. “Just in Time for More Dichotomies—a Hasty Response.” Music Theory Spectrum 21, no. 2 (Fall 1999): 275-93. Hasty, Christopher. Meter as Rhythm. New York: Oxford University Press, 1997. Hasty, Christopher. “On the Problem of Succession and Continuity in Twentieth-Century Music.” Music Theory Spectrum 8 (1986): 58-74. Hasty, Christopher. “Phrase Formation in Post-Tonal Music.” Journal of Music Theory 28 (1984): 167-90. Hasty, Christopher. “Rhythm in Post-Tonal Music: Preliminary Questions of Duration and Motion.” Journal of Music Theory 25 (1981): 183-216. Houben, Eva-Maria. Die Aufhebung der Zeit: zur Utopie unbegrenzter Gegenwart in der Musik des 20. Jahrhunderts. Stuttgart: F. Steiner, 1992.
I.Imberty, Michel. La musique creuse le temps: de Wagner à Boulez: musique, psychologie, psychanalyse. Univers Musical. Paris: L’Harmattan, 2005.
J.
K.Klein, Richard, Eckehard Kiem and Wolfram Ette (eds). Musik in der Zeit, Zeit in der Musik. Weilerswist: Velbrück, 2000. Kramer, Jonathan. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer, 1988. Kvifte, Tellef. “Categories and Timing: On the Perception of Meter.” Ethnomusicology 51, no. 1 (Winter 2007): 64-84.
L.Landes, David S. Revolution in Time: Clocks and the Making of the Modern World. Cambridge, MA: Harvard University Press, 2000. London, Justin. “Hasty’s Dichotomy.” Music Theory Spectrum 21, no. 2 (Fall 1999): 260-74. London, Justin. Hearing in Time: Psychological Aspects of Musical Meter. New York: Oxford University Press, 2004.
M.McGraw, Andrew Clay. “The Perception and Cognition of Time in Balinese Music.” Empirical Musicology Review 3, no. 2 (April 2008): 38-54. Morgan, Robert P. “Musical Time/Musical Space.” Critical Inquiry 6, no. 4 (Spring 1980): 527-38. Morgan, Robert P. “Review of Jonathan D. Kramer, The Time of Music.” Music Theory Spectrum 12, no. 2 (Fall 1990): 247-55.
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O.Ockelford, Adam. “Review of David Huron’s Sweet Anticipation: Music and the Psychology of Expression (MIT 2006).” Psychology of Music 36, no. 3 (July 2008): 367–82. Ornstein, Robert E. On the Experience of Time. Boulder, Colo.: WestviewPress, 1997.
P.Pressing, Jeff. “Black Atlantic Rhythm: Its Computational and Transcultural Foundations.” Music Perception 19, no. 3 (Spring 2002): 285-310.
Q.Quinn, Ian. “Minimal Challenges: Process Music and the Uses of Formalist Analysis.” Contemporary Music Review 25, no. 3 (June 2006): 283-94.
R.
Reiner, Thomas. Semiotics of Musical Time. Berkeley Insights in Linguistics and Semiotics. New York: Peter Lang Publishers, 2000. Roeder, John. “Review of Christopher Hasty’s Meter as Rhythm.” Music Theory Online 4, no. 4 (July 1998). Rubin, David C. “The Basic-Systems Model of Episodic Memory.” Perspectives on Psychological Science 1, no. 4 (2006): 277-311.
S.Schneider, Herbert ed. Aspekte der Zeit in der Musik: Alois Ickstadt zum 65. Geburtstag. Musikwissenschaftliche Publikationen, vol. 4. Hildesheim: G. Olms, 1997. Snyder, Bob. Music and Memory: An Introduction. Cambridge, Massachusetts: MIT Press, 2000. Stefanou, Danae, and Pavlos Antoniadis. “Inter–Structures: Rethinking Continuity in Post–1945 Piano Repertoire.” Journal of Interdisciplinary Music Studies 3, no. 1&2 (Spring/Fall 2009): 77–93. Stockhausen, Karlheinz. .“. . . . . how time passes . . . . .” In Die Reihe, edited by Herbert Eimert and Karlheinz Stockhausen, 10-40. London: Universal Edition, 1959. Stockhausen, Karlheinz. “Structure and Experiential Time.” In Die Reihe, edited by Herbert Eimert and Karlheinz Stockhausen, 64-74. London: Universal Edition, 1959.
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Todd, Neil P. McAngus, Donald J. O’Boyle, and Christopher S. Lee. “A Sensory-Motor Theory of Rhythm, Time Perception and Beat Induction.” Journal of New Music Research 28, no. 1 (1999): 5-28.
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X.Xenakis, Iannis. “Concerning Time.” Perspectives of New Music 27, no. 1 (Winter 1989): 84-92.
Y.
Z.Zbikowski, Lawrence M. Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002. Zbikowski, Lawrence M. “Dance Topoi, Sonic Analogues, and Musical Grammar: Communicating with Music in the Eighteenth Century.” In Communication in Eighteenth Century Music, V. Kofi Agawu and Danuta Mirka, 283-309. New York: Cambridge University Press, 2008. Zbikowski, Lawrence M. “Musical Gesture and Musical Grammar: A Cognitive Approach.” In New Perspectives on Music and Gesture, edited by Anthony Gritten and Elaine King. in press. Aldershot: Ashgate Publishing Ltd.
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Copyright © 2009 Lawrence M. Zbikowski
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