22
Views
3
CrossRef citations to date
0
Altmetric
Original Articles

Constant and variable influences on stages of musical activities

&
Pages 197-229 | Published online: 03 Jun 2008

References

  • Agmon , E. 1986 . Diatonism, Chromaticism and Enharmonicism: A Study in Cognition and Perception , City University of New York . Ph.D. dissertation,
  • Agmon , E. 1989 . A mathematical model of the diatonic system . Journal of Music Theory , 33 (1) : 1 – 25 .
  • Alvin , J. 1975 . Music Therapy , London : Hutchinson .
  • Andrews , M.W. and Dowling , W.J. 1991 . The development of perception of interleaved melodies and control of auditory attention . Music Perception , 8 (4) : 349 – 368 .
  • Appel , R. 1992 . A Cognitive Model for the Procedural Aspects of the Creative Process in Music with Emphasis on Transformation Processes in Western Music , University of Haifa . Ph.D. diss. submitted to
  • Askenfelt , A. , Fryden , L. and Sundberg , J. 1983 . “ What tells you the player is musical? ” . In Studies in Music Performance Edited by: Sundberg , J. 61 – 75 . Stockholm
  • Atlan , H. 1981 . “ Hierarchical self‐organization in living systems; noise and meaning ” . In Outopoiesis: A Theory of the Living Organization , Edited by: Zeleny , M. North Holland .
  • Atlan , H. 1987 . Self creation of meaning . Physica Scripta , 36 : 563 – 576 .
  • Babbitt , M. 1972 . “ The structure and function of musical theory ” . In Perspectives on Contemporary Music Theory , Edited by: Boretz , B. and Cone , E.T. New York : Norton .
  • Balzano , G.J. 1980 . The group theoretic description of 12‐fold and microtonal pitch systems . Computer Music Journal , 4 : 66 – 84 .
  • Berlyne , D.E. , ed. 1974 . Studies in the New Experimental Aesthetics: Steps toward an Objective Psychology of Aesthetics , Washington D.C. : Hemisphere Pub .
  • Bolinger , D. , ed. 1972 . Intonation: Selected Readings , Penguin Education .
  • Bregman , A.S. 1990 . Auditory Scene Analysis: The Perceptual Organization of Sound , Cambridge, Mass. : MIT Press .
  • Brown , R. 1981 . Tonal implication of the diatonic set . In Theory Only , : 6 – 7 . 3 – 21 .
  • Buelow , G. 1980 . “ Rhetoric and music ” . In The New Grove's Dictionary of Music , Edited by: Sadie , S. vol. 15 , 793 – 802 . London : MacMillan .
  • Buelow , G. 1983 . “ Johann Mattheson and the invention of the Affektenlehre ” . In New Mattheson Studies , Edited by: Buelow , G. and Marx , H. 393 – 407 . Cambridge : Cambridge University Press .
  • Carey , N. and Clampit , D. 1989 . Aspects of well‐formed scales . Music Theory Spectrum , 11 (1) : 187 – 206 .
  • Clough , J. and Mayerson , G. 1985 . Variety and multiplicity in diatonic systems . Journal of Music Theory , 29 : 249 – 270 .
  • Christopher , C. 1986 . “ Rhetoric ” . In The New Harvard Dictionary of Music , Edited by: Randel , D. 698 – 700 . Cambridge, MA : The Belknap Press of Harvard University Press . and London:
  • Clynes , M. , ed. 1982 . Music, Mind and Brain , New York : Plenum Press .
  • Clynes , M. and Nettheim , N. 1982 . “ The living quality of music: Neurobiologic basis of communicating feeling ” . In Music, Mind and Brain Edited by: Clynes , M. 47 – 82 .
  • Cogan , R. 1984 . New Images of Musical Sound , Cambridge, MA : Harvard University Press .
  • Cohen , D. 1969 . Patterns and frameworks of intonation . Journal of Music Theory , 13 (1) : 66 – 92 .
  • Cohen , D. 1971 . Palestrina counterpoint: A musical expression of unexcited speech . Journal of Music Theory , 15 : 23 – 57 .
  • Cohen , D. 1973 . “ Theory and practice in the liturgical music of Christian Arabs in Israel ” . In Studies in Eastern Chant , vol. 3 , 1 – 50 . Oxford University Press .
  • Cohen , D. 1978 . Rhythm and meter in music and poetry . Israeli Studies in Musicology , 1 : 99 – 141 .
  • Cohen , D. Separation and directivity as guiding principles in the comparison between Eastern and Western music . Proceedings of the World Congress on Jewish Music, Jerusalem . 1978 . pp. 127 – 147 . Tel Aviv : The Institute for the Translation of Hebrew Literature Ltd .
  • Cohen , D. 1983 . Birdcalls and the rules of Palestrina counterpoint: Towards the discovery of universal qualities in vocal expression . Israel Studies in Musicology , 3 : 292 – 317 .
  • Cohen , D. 1986 . The performance practice of the Rig‐Veda: A musical expression of excited speech . Yuval , 5 : 292 – 317 .
  • Cohen , D. 1987 . On comparing musical style: East and West . Israel Studies in Musicology , 4 : 73 – 92 .
  • Cohen , D. Hierarchical levels in the musical raw material . Proceedings of the George Herzog International Forum for Socio‐Musical Sciences . 1988 . Bar‐Ilan University Press . In Press.
  • Cohen , D. and Erez , A. 1991 . ERP measurements of cognitive components in response to pitch patterns . Music Perception , 8 : 405 – 430 .
  • Cohen , D. , Granot , R. , Pratt , H. and Barneah , A. 1993 . Cognitive meanings of musical elements as disclosed by ERP and verbal experiments . Music Perception , 11 (2) : 153 – 184 .
  • Cohen , D. , Mendel , Y. , Pratt , H. and Barneah , A. 1994 . Response to intervals by brainwave measurement and verbal means . Journal of New Music Research , 23 (3) : 265 – 290 .
  • Cone , E.T. 1974 . The Composer's Voice , Berkeley, CA : University of California Press . and London:
  • Cone , E.T. 1987 . On derivation, syntax and rhetoric . Music Analysis , 6 (3)
  • Cooper , G. and Meyer , L.B. 1960 . The Rhythmic Structure of Music , Chicago : University of Chicago Press .
  • Cross , J. 1985 . “ Music and change: On the establishment of rules ” . In Music Structure and Cognition , Edited by: Howell , P. , Cross , J. and West , R. 1 – 20 . London and New York : Academic Press .
  • Deutsch , D. 1982 . “ Organizational processes in music ” . In Music, Mind and Brain Edited by: Clynes , M. 119 – 133 .
  • Crozier , J.B. 1974 . “ Verbal and exploratory responses to sound sequences varying in uncertainty level ” . In Studies in the New Experimental Aesthetics Edited by: Berlyne , E. 27 – 87 .
  • Donchin , E. and Coles , M.G. 1988 . Is the P300 component a manifestation of context updating? . Behavioral and Brain Science , 11 : 357 – 374 .
  • Dowling , W.J. 1978 . Scale and contour: Two components of a theory of memory for melodies . Psychological Review , : 341 – 354 .
  • Duncan‐Johnson , C.C. and Donchin , E. 1982 . The P300 component of the event‐related brain potential as an index of information processing . Biological Psychology , 14 : 1 – 52 .
  • Eastman , L.W. 1987 . Melodic Perception and Cognition: The Influence of Tonality , Univ. of Michigan . Ph.D. diss.,
  • Elias , T. 1992 . Improvisation in the Instrumental Arabic Art‐Music in Israel ‐ by Individuals and Groups , Hebrew University of Jerusalem . Master's thesis,
  • Forte , A. 1973 . The Structure of Atonal Music , New Haven and London : Yale University Press .
  • Gauldin , R. 1983 . The cycle‐7 complex: Relations of diatonic set theory to the evolution of ancient tonal systems . Music Theory Spectrum , 5 : 39 – 55 .
  • Goldman , R.F. 1965 . Harmony in Western Music , New York : Norton .
  • Gordon , H.W. 1974 . Hemispheric asymmetry and musical performance . Science , 189 : 68 – 69 .
  • Granot , R. 1991 . The Interval as a Basic Musical Parameter; a Study of ERP and Verbal Responses , Hebrew University of Jerusalem . Master's thesis,
  • Granot , R. The Concept of Musical Expectancy Examined by Brainwave Recordings (ERP) and Verbal Responses. Ph.D. diss. , Hebrew University of Jerusalem . (N.d.)., In progress
  • Hargreaves , D.J. 1986 . The Developmental Psychology of Music , Cambridge University Press .
  • Howell , P. , Cross , J. and West , R. , eds. 1985 . Musical Structure and Cognition , London and New York : Academic Press .
  • Jones , M.R. , Maser , D.J. and Kidd , G.R. 1978 . Rate and structure in memory for auditory patterns . Memory and Cognition , 6 (3) : 246 – 258 .
  • Kahneman , D. and Tversky , A. 1982 . Variants of uncertainty . Cognition , 11 (2) : 143 – 157 .
  • Kamien , R. 1990 . The slow introduction of Mozart Symphony no. 38 in D, K. 504 (“Prague“): A possible model for the slow introduction of Beethoven's Symphony no. 2 in D, op. 36 . Israel Studies in Musicology , 5 : 113 – 131 .
  • Keefe , O.H. , Burns , E.U. and Nguen , Ph. 1991 . Vietnamese modal scales of the Dan Trank . Music Perception , 8 (4) : 449 – 468 .
  • Koppel , M. , Atlan , H. and Dupoy , J.P. 1987 . Triviality and alienation in systems: Proof of Von Forster's conjecture . International Journal of General Systems ,
  • Laske , O. 1992 . “ Artificial intelligence and music: A cornerstone of cognitive musicology ” . In Understanding Music with AI; Perspectives of Music Cognition , Edited by: Balaban , M. , Ebcioglu , K. and Laske , O. Cambridge : MIT‐Press .
  • Lerdahl , F. and Jackendoff , R.S. 1983 . A Generative Theory of Tonal Music , Cambridge, MA : MIT‐Press .
  • McAdams , S. , ed. 1987 . Music and Psychology:,A Mutual Regard , London and New York : Harwood Academic Publishers .
  • Merriam , A.P. 1965 . The Anthropology of Music , Evanston, IL : Northwestern University Press .
  • Meyer , L.B. 1956 . Emotion and Meaning in Music , Chicago : University of Chicago Press .
  • Meyer , L.B. 1973 . Explaining Music , Berkeley, CA : University of California Press . and London:
  • Meyer , L.B. 1989 . Style and Music: Theory, History and Ideology , Philadelphia : University of Pennsylvania Press .
  • Moles , A. 1966 . Information Theory and Esthetics Perception , Urbana : Univ. of Illinois Press . tr. by J.E. Cohen from the French edition of 1958
  • Naatanen , R. 1967 . Selective Attention and Evoked Potential , Helsinki : Suomalainen Tiedeakatemia .
  • Narmour , E. 1991 . The top‐down and bottom‐up systems of musical implication: Building on Meyer's theory of emotional syntax . Music Perception , 9 (1) : 1 – 26 .
  • Nattiez , J.J. 1976 . Fondements d'une sémiologie de la musique , Paris : Union Générale d'Editions .
  • Oster , E. 1983 . “ The Fantaisie Impromptu, a tribute to Beethoven ” . In Aspects of Schenkerian Theory , Edited by: Beach , D. New Haven : Yale University Press .
  • Postman , L. , Bruner , J. and Walk , R. 1951 . The perception of error . British Journal of Psychology , 42 (1 & 2) : 1 – 10 .
  • Rahn , J. 1983 . A Theory for All Music , Toronto and London : University of Toronto Press .
  • Reale , P.V. 1970 . The Process of Multivalent Thematic Transformation , University of Pennsylvania . Ph.D. diss.,
  • Reese , G. 1959 . Music in the Renaissance , New York : W.W. Norton & Company, Inc. .
  • Reti , R. 1951 . The Thematic Process in Music , New York : MacMillan Company .
  • Rosen , C. Influence, plagiarism and inspiration . Nineteenth Century Music , 4 (2) 87 – 100 .
  • Rothenberg , A. 1979 . The Emerging Goddess: The Creative Process in Art, Science and Other Fields , Chicago : University of Chicago Press .
  • Sachs , C. 1946 . The Commonwealth of Art , New York : W.W. Norton & Company, Inc. .
  • Salzer , F. 1952 . Structural Hearing , vols. 1 and 2 , New York : Charles Boni .
  • Sekeles , C. 1988 . “ Veraenderung des psychomotorischen Aktivitaet durch Musiktherapie bei hypotanischen Down‐Syndrom‐Kindern ” . In Musik bei Bekinderten , 157 – 171 . Frankfurt am Main : Peter Lang .
  • Shanon , B. and Atlan , H. 1990 . Von Forster's theory: Semantic application . New Ideas in Psychology , 9 : 81 – 90 .
  • Sloboda , J.A. Music structure and emotional response . Proceedings of the First International Conference on Music Perception and Cognition . Kyoto. pp. 377 – 382 .
  • Strauss , J. 1990 . Introduction to Post Tonal Theory , New Jersey : Prentice‐Hall Press .
  • Sundberg , J. 1982 . “ Speech, song and emotion ” . In Music, Mind and Brain Edited by: Clynes , M. 137 – 148 .
  • Tversky , A. 1977 . Features of similarity . Psychological Review , 84 (4) : 327 – 352 .
  • West , R. , Howell , P. and Cross , J. Modelling perceived musical structure . Musical Structure and Cognition , 21 – 52 .
  • Wolpert , R.S. 1990 . Recognition of melody, harmonic accompaniment and instrumentation: Musicians vs. nonmusicians . Music Perception , 1 (1) : 95 – 105 .
  • Wright , J.K. and Bergman , A.S. 1987 . “ Auditory stream segregation and the control of dissonance in polyphonic music ” . In Music and Psychology: A Mutual Regard , Edited by: McAdams , S. 63 – 92 . New York : Harwood Academic Publishers .
  • Yasser , J. 1933 . A Theory of Evolving Tonality New York

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.