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Music Cognition Reading List

Discussion in 'Score Study Resources' started by Doug Gibson, Nov 12, 2018.

  1. For those who like books, and are interested in the emerging field of music cognition I thought ya'll might find this list of interest.

    All the best


    Aiello, R.(Ed.) (1994). Musical perceptions. New York: Oxford University Press.

    Altenmuller, E., Wiesendanger, M., & Kesselring, J. (2006). Music, motor control, and the brain. New York: Oxford University Press.

    Arnheim, R.(1954). Art and visual perception. Berkeley, CA: University of California Press. A classic on visual perception and Gestalt psychology that offers rich insights into music perception.

    Bernstein, L. (1976). The unanswered question: Six talks at Harvard. Cambridge, MA: Harvard University Press. Although some of the information in this book is questionable, there is much to be learned from Leonard Bernstein’s great musical knowledge and keen intuitions. These lectures are also available as a video in the Avery Fisher Music Library.

    Bregman, S.(1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: The MIT Press. A classic.

    Chaffin, R., Imreh, G., & Crawford, M. (2002). Practicing perfection: Memory and piano performance. Mahawah, NJ: Erlbaum. A great book on memory strategies for music performance. This book comes with a beautiful CD of J.S. Bach Italian Concerto.

    ***Deutsch, D. (Ed.)(2013). The psychology of music (third edition). San Diego, CA: Elsevier.

    Dowling,W.J. & Harwood,D.L.(1986). Music cognition. New York: Academic Press. A very important book.

    *** Hallman,S., Cross, I., & Thaut, M.(Eds.)(2009). The Oxford handbook of music psychology. Oxford: Oxford U P.

    Helmholtz, H. L.F. (1954). On the sensations of tone as a physiological basis for the theory of music (A.J. Ellis, Trans.) New York: Dover. (Original work published 1877). A classic.

    Honing, H. (2011). Musical cognition: A science of listening

    (S. Marx and S. Van Der Werff-Woolhouse, Trans.) Piscataway, NJ:

    Transaction Publishers. (Original work published in 2009).

    ***Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.

    Jones, M.R.,Fay, R., & Popper, A. (Eds.) (2010). Music perception. New York: Springer.

    ***Juslin, P. & Sloboda, J.(Eds.) (2010). Handbook of music and emotion: Theory, research and applications. Oxford: Oxford University Press.

    Koelsch, S. (2012). Brain and music. Oxford: Wiley-Blackwell.

    Langer, S. (1948). Philosophy in a new key. Cambridge, MA: Harvard University Press.

    Leman, M. (2008). Embodied music cognition and mediation technology. Cambridge, MA: MIT Press.

    Lerdahl, F. & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.

    McPherson, G. (2008). The child as musician: A handbook of musical development. New York: Oxford University Press.

    ***Meyer, L.B. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press. A classic. A superb book! It anticipated and delineated the field of music cognition and research on music emotions.

    Meyer, L.B. (1973). Explaining music. Berkeley, CA: University of California Press.

    Miell, D., Macdonald, R. & Hargreaves, D. (Eds.)(2005). Musical

    communication. Oxford: Oxford University Press.

    North, A. & Hargreaves (2008). The social and applied psychology of music. Oxford: Oxford University Press.

    ***Parncutt, R. & McPherson, G. (Eds.)(2002). The science

    and psychology of music performance. New York: Oxford University Press.

    ***Patel, A. (2008). Music, language, and the brain. New York: Oxford University Press.

    ***Peretz, I. & Zatorre, R. (Eds.) (2004). The cognitive neuroscience of music. New York: Oxford University Press. This book is quite similar to the book listed below Zatorre, R. & Peretz, I. (Eds.) (2001), The biological foundations of music, New York: Annals of the New York Academy of Sciences, Volume 930. Both are based on the conference The Biological Foundations of Music sponsored by the New York Academy of Science in May, 2000.

    Rink, J. (Ed.) (2002). Musical performance: A guide to understanding. Cambridge: Cambridge University Press.

    Robinson, J. (2005). Deeper than reason: Emotion and its role in literature, music and art. New York: Oxford University Press.

    Schoenberg, A.(1975). Style and idea: Selected writings. Edited by Leonard Stein. Berkeley, CA: University of California Press. Essays written by Arnold Schoenberg.

    Sloboda, J.A.(1985). The musical mind: The cognitive psychology of music. London: Oxford University Press.

    ***Snyder, B. (2000). Music and memory. Cambridge, MA: MIT Press. A very clear and informative book written by a composer.

    Temperley, D. (2001). The cognition of basic musical structures. Cambridge, MA: MIT Press.

    ***Wallin N., Merker, B., & Brown, S. (Eds.) (2001). On the origins of music. Cambridge, MA: MIT Press.

    Williamon, A. (Ed.) (2004). Musical excellence: Strategies and techniques to enhance performance. Oxford: Oxford University Press.

    ***Zatorre, R.J. & Peretz, I. (Eds.) (2001). The biological foundations of music. New York: Annals of the New York

    Academy of Sciences,Volume 930. This book is quite similar to Peretz, I. & Zatorre, R. (Eds.) (2004), The cognitive neuroscience of music, New York: Oxford University Press. Both are based on the conference The Biological Foundations of Music sponsored by the New York Academy of Science in May, 2000.

  2. References: Articles and Chapters

    Aiello, R. (1994). Music and language: Parallels and contrasts. In R. Aiello (Ed.) Musical Perceptions (pp. 40-63). New York: Oxford University Press.

    Aiello, R. (1994). Can listening to language be experimentally tested? In R. Aiello (Ed.) Musical Perceptions (pp. 273-282). New York: Oxford University Press.

    Aiello, R. (2001). Playing the piano by heart: From behavior to cognition. In R. Zatorre & I. Peretz (Eds.) The Biological Foundations of Music. Annals of the New York Academy of Sciences, 930, 389-393.

    Aiello, R., Aaronson, D., & Demos, A. (2004). Musicians’

    Perception of Musical Boundaries. Proceedings of the 8th International Conference on Music Perception and Cognition (ICMPC8), Northwestern University, Evanston, Illinois, August 3-7, pp. 681-5.

    Aiello, R., Aaronson, D., & Demos, A. (2006). Individual differences in music perception. Proceedings of the 9th International Conference on Music Perception and Cognition (ICMPC2006), University of Bologna, Italy, August 22-26, pp. 1226-1232.

    Aiello, R., & Williamon, A. (2002). Memory. In R. Parncutt & G. McPherson (Eds.) The Science and Psychology of Music Performance (pp. 167-181). New York: Oxford University Press.

    Ashley, R. (2002). Do(n't) change a hair for me: The art of jazz rubato. Music Perception, 19(3), 311-332.

    Bathgage, M., Sims-Knight, S. & Schunn, C. (2012). Thoughts on thinking: Engaging novice music students in metacognition.

    Applied Cognitive Psychology, 26, 403-409

    Besson, M., & Schon, D. (2003). Comparison between language and music. In I. Peretz, & R. Zatorre (Eds)(pp. 269-293). The Cognitive Neuroscience of Music. NY: Oxford University Press.

    Bharucha, J. (1984). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, 16, 485-518.

    Bharucha, J., Curtis, M., & Paroo, K. (2006). Varieties of musical experience (2006). Cognition,
    100, 131-172.

    Bhatara, A., Tirovolas, A., Duan, L., Levy, B., & Levitin, D. (2011). Perception of Emotional Expression in Musical Performance. Journal of Experimental Psychology: Human Perception and Performance , 37, 3, 921–934.

    Bigand, E., & Poulin-Charronnat, B. (2006). Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training. Cognition, 100, 100-130.

    Bispham, J. (2006). Rhythm in music: What is it? Who has it?

    And Why? Music Perception, 24(2), 125-134.

    Blood, A., & Zatorre, R. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotions. Proceedings of the National Academy of Sciences, 98(20), 11818-11823.

    Brown, R., & Palmer. C. (2012). Auditory-motor learning influences auditory memory for music. Memory & Cognition, 40, 4567-578.

    Chabris, C (1999). Prelude or requiem for the ‘Mozart effect’? Nature, 400, 6747, 826-7.

    Chaffin, R., & Imreh, G. (2002). Practicing perfection: Piano performance as expert memory. Psychological Science, 13(4), 342-349.

    Chapin, H., Jantzen, K., Scott Kelso, JA., Steinberg, F., & Large, E. (2010). Dynamic emotional and neural responses to music depend on performance expression and listener experience. Plos One, 5(12), e13812 doi: 10137.

    Cross, I. (2001). Music, mind and evolution. Psychology of

    Music, 29, 95-102.

    Cross, I. (2005). Music and meaning, ambiguity, and evolution. In D. Miell, R. MacDonald, & D. Hargreaves (Eds.) Musical communication (pp. 27-44). Oxford: Oxford University Press.

    Curtis, M. & Bharucha, J. (2009). Memory and musical expectation for tones in cultural context. Music Perception, 26 (4), 365-375.

    Curtis, M. & Bharucha.J.(2010). The minor third communicates sadness in specch, mirroring its use in music. Emotion, 10(3), 335-348.

    Davidson, J. (1993). Visual perception of performance manner in the movement of solo musicians. Psychology of Music, 21, 103-113.

    Daynes, H. (2010). Listeners’ perceptual and emotional responses to tonal and atonal music. Psychology of Music, 39(4), 468-502.

    Deliège, I. (1996). Cue-abstraction as a component of categorization processes in music listening. Psychology of Music, 24, 131-156.

    Deutsch, D. (2004). The octave illusion revisited again. Journal of Experimental Psychology: Human Perception and Performance, 30(2), 355-364.

    Dibben, N. (2001). What do we hear when we hear music? Music

    perception and musical material. Musicae Scientiae, V(2),


    Dowling, W. & Hollombe, A. (1977). The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour. Perception & Psychophysics 21(1), 60-64.

    Eerola, T. Vuoskoski, J. (2013). A review of music and emotion studies: Approaches, emotion models, and stimuli. Music Perception, 30 ( 3), 307–340

    Eitan, Z., & Granot, R. (2006). How music moves: Musical parameters and listeners’ images of motion. Music Perception, 23,(3), 221-247.

    Fritz, T., Jentschke, S., Gosselin, N., Sammier, D., Peretz, Ils, Turner, R., Friederici, A., & Koelsch, S. (2009). Universal recognition of three basic emotions in music.

    Gabrielsson, A. (2003). Music performance research at the millennium. Psychology of Music, 31(3), 221-272. This entire issue of Music Perception is dedicated to music performance.

  3. Gabrielsson, A., & Juslin, P. (2003). Emotional expression in music. In R. Davidson, K. Scherer, H. Goldsmith, (Eds.) Handbook of affective sciences (pp. 503-534). New York: Oxford University Press.

    Garrido, S., & Schubert, E. (2011). Individual Differences in the enjoyment of negative emotion in music: A Literature review and experiment. Music Perception, 28, 3, pp. 279-296.

    Gaver, W., & Mandler, G. (1987). Play it again, Sam: On liking music. Cognition and Emotion, 1, 259-82.

    Grewe, O., Kopiez, R. Altenmuller, E. (2009). The chill parameter: Goose bumps and shivers as promising measures in emotion research. Music Perception, 27(1), 61-74.

    Grewe, O., Nagel, F., & Altenmuller, E. (2007). Listening to music as a re-creative process: Physiological, psychological, and psycho acoustical correlates of chills and strong emotions. Music Perception, 24,(3), 297-314.

    Guhn, M., Hamm, A., & Zentner, M. (2007). Physiological and musico-acoustic correlates of the chill response. Music Perception, 24(5), 473-83.

    Habib, M., & Besson, M. (2009). What do music training and musical experience teach us about brain plasticity? Music Perception, 26(3), 279-285.

    Huron, D. (2003). In music an evolutionary adaptation? In I. Peretz & R. Zatorre, R. (Eds.) (pp. 57-75). The Cognitive

    Neuroscience of Music. NY: Oxford University Press.

    Hyde, K., Lerch, J., Norton, A., Forgeard, M., Winner, E., Evans, A., & Schlaug, G. (2009). Musical training shapes structural brain development. Journal of Neuroscience, 29(10), 3019-3025.

    Jackendoff, R., & Lerdahl, F. (2006). The capacity for music: What is it, and what's special about it? Cognition, 100(1), 33-72.

    Janata, P., & Grafton, S. (2003). Swinging the brain: Shared neural substrates for behaviors related to sequencing and music. Nature Neuroscience, 6,(7), 682-87.

    Janata, P., Tomic, S., & Rakowski, S. (2007). Characterization
    of music-evoked autobiographical memories. Memory, 15(8), 845- 860.

    Jenkins, J.S. (2001). The Mozart effect. Journal of the Royal Society of Medicine, 94, 170-172.

    Juslin, P., & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: Different channels,same

    code? Psychological Bulletin, 129 (5), 770-814.

    Juslin, P., & Vastfjall, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559-621.

    Koelsch, S.(2011). Toward a neural basis of music perception- a review and updated model. Frontiers in Psychology, 2, article 110, 1-20.

    Krumhansl, C. (1983). Perceptual structures for tonal music. Music Perception, 1, 28-62.

    Krumhansl, C. (2000). Rhythm and pitch in music cognition. Psychological Bulletin, 126 (1), 159-179.

    Ladinig, O. & Schellenberg, E.G. (2012). Liking unfamiliar music: Effects of felt emotion and individual differences
    Psychology of Aesthetics, Creativity, and the Arts,6(2),146–154.

    Lerdahl, F., & Jackendoff, R.(1983). An overview of hierarchical structure in music. Music Perception, 1(2), 229- 252.

    Lerdahl, F., & Krumhansl, C. (2007). Modeling tonal tension. Music Perception,24 (4), 329-366.

    Loui, P., Wessel, D., & Hudson Kam, C. (2010). Humans rapidly learn grammatical structure in a new musical scale. Music Perception, 2(5), 377-388.

    Maidhof, C., & Koelsch, S. (2011). Effects of Selective Attention on Syntax Processing in Music and Language. Journal of Cognitive Neuroscience 23:9, pp. 2252–2267

    McMullen E., & Saffran, J. (2004). Music and language: A developmental comparison. Music Perception, 21 (3), 289-311.

    Menon, V., & Levitin, D. (2005). The rewards of music listening: Response and physiological connectivity of the mesolimbic system. Neuroimage, 28, 175-184.

    Moreno, S., Marques, C., Santos, A., Santos, M., Castro, S., & Besson, M. (2009). Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity. Cerebral Cortex, 19, 712-723.

    Narmour, E. (2011). Our varying histories and future potential: Models and maps in science, the humanities, and music theory. Music Perception, 29(1), 1-21.

    Parncutt, R. (2011). The tonic as triad: Key profiles as pitch salience profiles of tonic triads. Music Perception, 28 (4), 333-365.

    Patel, A. (2003). Language, music, syntax and the brain. Nature Neuroscience, 6,(7),674-81.

    Patel, A. (2006). Music,rhythm, linguistic rhythm, and human evolution. Music Perception, 24(1), 99-104.

    Patel, A. & Daniele, J. (2003), An empirical comparison of rhythm in language and music. Cognition, 87, B35-B45.

    Peretz, I. (2006). The nature of music from a biological perspective. Cognition, 100, 1-32.

    Peretz, I., & Coltheart, M. (2003). Modularity of music processing. Nature Neuroscience, 6,(7),688-91.

    Peretz, I., Rageau, M., & Auguin, M. (2004). Two-way interactions between music and language: Evidence from priming recognition of tune and lyrics in familiar songs. Memory & Cognition, 32(1), 142-152.

    Peretz, I., & Zatorre, R. (2005). Brain organization for music processing. Annual Review of Psychology, 56, 89-114.

    Phillips-Silver, J., & Trainor, L. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105, 535-546.

    Post, O., & Huron, D. (2009). Westerns music in the minor mode is slower (Except in the Romantic period). Empirical Musicology Review, 4, (1), 2-10.

    Rauscher, F. (1999). Reply to Prelude or requiem for the “Mozart effect’? Nature, 400 (6747), 827-8.

    Rauscher, F., Shaw, G., & Ky, K. (1993). Music and spatial task performance. Nature, 365, (6447), 611.

    Reynold, R. (2004).Compositional strategies in The Angel of Death Project. Music Perception, 22(2), 173-205. This entire issue of Music Perception is dedicated to understanding the compositional process.

    Rohrmeier, M., & Koelsch, S. (2012). Predictive information processing in music cognition. A critical review.

    International Journal of Psychophysiology, 83, 164–175.

    Rolison, J. & Edworthy, J. (2013). The whole song is greater than the sum of its parts: Local and structural features in music listening. Psychomusicology: Music, Mind and

    Brain, 23(1),33-48.

    Rozin,, A., Rozin, P., & Goldberg, E. (2004). The feeling of music past: How listeners remember musical affect. Music Perception, 22, (1), 15-39.

    Salimpoor, V., Benovoy. M., Longo, G., Cooperstock, J., & Zatorre, R. (2009). The rewarding aspects of music listening are related to degree of emotional arousal. Plos ONE, 4 (10), e7487.

    Schacter, S., & Singer, J. (1962). Cognitive, social, and physiological determinants of emotional state. Psychological Review, 69(5) 379-399.

    Schafer, T. & Sedlmeier, P. (2010). What makes us like music? Determinants of music preferences. Psychology of Aesthetics, Creativity and the arts, 4(4), 223-234.

    Schafer, T. & Sedlmeier, P. (2011). Does the body move the soul? The impact of arousal on music preference. Music Perception, 29(1), 37-50.

    Scherer, K. (2004). Which emotions can be induced by music? What are the underlying mechanisms? Ad how cn we measure them?

    Journal of New Music Research, 33(3), 239-251.

    Schubert, E. (2004). Modeling perceived emotion with continuous musical features. Music Perception, 21(4), 561-585.
    Schulkind, M., Posner, R., & Rubin, D. (2003). Musical features that facilitate melody identification: How do you know it's "your" song when they finally play it? Music Perception, 21, 217-249.

    Sloboda, J. (1991). Music structure and emotional response: Some empirical findings.Psychology of Music, 19, 110-20.

    Stalinski, S., & Schellenberg, E.G. (2012). Listeners remember music they like. Journal of Experimental Psychology:Learning, Memory, and Cognition. Online First Publication, August 20, 2012.

    Steinbeis, K., Koelsch, S., & Sloboda, J. (2006). The role of harmonic expectancy violations in musical emotions: Evidence from subjective, physiological, and neural responses. Journal of Cognitive Neuroscience, 18(8), 1380-1393.

    Tan, N., Aiello, R., & Bever, T.(1981). Harmonic structure as determinant of melodic organization. Memory and Cognition, 9(5), 535-539.

    Tirovolas, A. & Levitin, D. (2011). Music perception and cognition research from 1983 to 2010: A categorical and bibliometric analysis of empirical articles in music perception. Music Perception, 29(1), 23-36.

    Tolbert, E. (2001). Music and meaning: An evolutionary story.
    Psychology of Music,
    29, 84-94.
    Trainor, L. (2005). Are there critical periods for musical development? Developmental Psychobiology,
    46(3), 262-278.
    Trehub, S. (2003). The developmental origins of musicality. Nature Neuroscience,
    6,(7), 669-673.
    Vines, B., Krumhansl, C., Wanderley, M., Dalca, I., & Levitin, D. (2011). Music to my eyes: Cross-modal interactions in the perception of emotions in musical performance. Cognition, 118(2), 157-170.

    Williamon, A., & Valentine, E. (2002). The roles of retrieval structure in memorizing music. Cognitive Psychology, 44, 1-32.
    Zatorre, R., Chen, J.,& Penhune (2007). When the brain plays music: auditory-motor interactions in music perception and production. Nature Neuroscience,
    8, 547-558.
  4. Your Brain On Music by Dr. Daniel Levitin is a good read. Written for a popular audience. Levitin is a working neurologist and is co-author of a few of your listed studied. He has an interesting history: " Before becoming a neuroscientist, he worked as a session musician, sound engineer, and record producer working with artists such as Stevie Wonder and Blue Oyster Cult."

    Among many topics, Levitin traces how our hearing mechanisms deconstruct sound pressure waves into frequency and amplitude data (the hairs in the cochlear resonate at specific frequencies - sine wave), sends the freq data to the auditory cortex of the brain, where the auditory cortex reconstructs the data into an conscious auditory experience -- in its own way, with its own biases. Somehow the brain understands that, for example, out of a thousands pieces of freq data it is receiving at a point in time, five or so frequencies (fundamental and overtones) belong to a violin, and all the other data that is similar but slightly different belong to a group of violins )we hear the section), including the frequencies that are bouncing off the walls, ... Its processing somehow determine that same frequency coming from a horn does not belong the the violin. A sine wave is a sine wave. It's really quite amazing and shows, like with the eyes, our consciousness isn't directly experiencing the real world, its experiencing a personal fabrication of it. He also notes that some of the data that comes out of the cochlea is also sent directly to the limbic part of the brain, the old part of the brain (think reptile) tied to fight and flight and other basic urges and needs.

    DL also gets into theories about whether our capacity to understand and enjoyment of music is tied to existing verbal language centers or whether we are wired for music. The book is a good introduction.

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