Музыкальный инстинкт. Почему мы любим музыку

Lomax, A. ‘Universals in song’, World of Music 19 (1/2), 117—29 (1977).

Longuet-Higgins, H. C. ‘Making sense of music’, Proceedings of the Royal Institution of Great Britain 45, 87—105 (1972).

Longuet-Higgins, H. C. and Lee, C. S. ‘The rhythmic interpretation of monophonic music’, in H. C. Longuet-Higgins (ed.), Mental Processes, MIT Press, Cambridge, Ma., 1987, pp. 150—68.

Longuet-Higgins, H. C. and Lee, C. S., ‘The perception of musical rhythms’, Perception 11, 115—28 (1982).

Lu, T. – C. ‘Music and salivary immunoglobulin A (sIgA): a critical review of the research literature’. Thesis, Drexel University, 2003.

Maess, B., Koelsch, S., Ganter, T. C. and Friederici, A. D. ‘Musical syntax is processed in Broca’s area: an MEG study’, Nature Neuroscience 4, 540—5 (2001).

Manning, J. The Finger Ratio. Faber & Faber, London, 2008.

Marvin, E. W. and Brinkman, A. ‘The effect of modulation and formal manipulation on perception of tonic closure by expert listeners’, Music Perception 16, 389—408 (1999).

Masataka, N. ‘Preference for consonance over dissonance by hearing newborns of deaf parents and of hearing parents’, Developmental Science 9, 46—50 (2006).

Maus, F. E. ‘Music as drama’, Music Theory Spectrum 10, 56—73 (1988).

Maus, F. ‘Music as narrative’, Indiana Theory Review 12, 1—34 (1991).

May, E. (ed.) Music of Many Cultures: An Introduction. University of California Press, Berkeley, 1980.

McAdams, S. and Bigand, E. (eds). Thinking in Sound: The Cognitive Psychology of Human Audition. Oxford University Press, Oxford, 1993.

McClary, S. Feminine Endings: Music, Gender and Sexuality. University of Minnesota Press, Minneapolis, 1991.

McDermott, J. ‘The evolution of music’, Nature 453, 287—8 (2008).

McDermott, J. and Hauser, M. ‘Are consonant intervals music to their ears? Spontaneous acoustic preferences in a nonhuman primate’, Cognition 94, B11–B21 (2004).

McDermott, J. and Hauser, M. ‘The origins of music: innateness, uniqueness and evolution’, Music Perception 23, 29—59 (2005).

McDermott, J. and Hauser, M. D. ‘Thoughts on an empirical approach to evolutionary origins of music’, Music Perception 24, 111—6 (2006).

McDermott, J. H., Lehr, A. J. and Oxenham, A. J. ‘Is relative pitch specific to pitch?’, Psychological Science 19, 1263—71 (2008).

McDonald, C. and Stewart, L. ‘Uses and functions of music in congenital amusia’, Music Perception 25, 345—55 (2008).

Merriam, A. P. The Anthropology of Music. Northwestern University Press, Evanston, 1964.

Meyer, L. B. Emotion and Meaning in Music. University of Chicago Press, Chicago, 1956.

Meyer, L. B. ‘Commentary’, Music Perception 13, 455—83 (1996).

Mithen, S. The Singing Neanderthals. Weidenfeld & Nicolson, London, 2005.

Moore, A. F. Rock: The Primary Text. Ashgate, Aldershot, 2001.

Moore, A. ‘The so-called “flattened seventh” in rock’, Popular Music 14, 185—201 (1995).

Musacchia, G., Sams, M., Skoe, E. and Kraus, N. ‘Musicians have enhanced subcortical and audiovisual processing of speech and music’, Proceedings of the National Academy of Sciences USA 104, 15894—8 (2007).

Musicae Scientiae special issue on emotions and music (2001/2002).

Narmour, E. The Analysis and Cognition of Basic Melodic Structures.

University of Chicago Press, Chicago, 1990.

Narmour, E. ‘The top-down and bottom-up systems of musical implication: building on Meyer’s theory of emotional syntax’, Music Perception 9, 1—26 (1991).

Narmour, E. ‘Analysing form and measuring perceptual content in Mozart’s sonata K282: a new theory of parametric analogues’, Music Perception 13, 265—318 (1996).

Nasr, S. ‘Audio software for the moody listener’, Technology Review online, 19 July 2006; Доступно на http://www.technologyreview.com/ read_article.aspx?id=17183&ch=infotech.

Nattiez, J. J. Music and Discourse: Toward a Semiology of Music. Princeton University Press, Princeton, 1990.

Nettl, B. Folk and Traditional Music of the Western Continents, 2nd edn. Prentice-Hall, Eaglewood Cliffs, NJ, 1973.

Newcomb, A. ‘Once more “between absolute and program music”: Schumann’s Second Symphony’, 19th Century Music 7, 233—50 (1984).

Oram, N. and Cuddy, L. L. ‘Responsiveness of Western adults to pitchdistributional information in melodic sequences’, Psychological Research 57, 103—18 (1995).

Page, M. F. ‘Perfect harmony: a mathematical analysis of four historical tunings’, Journal of the Acoustical Society of America 116, 2416—26 (2004).

Palmer, C. and Kelly, M. H. ‘Linguistic prosody and musical meter in song’, Journal of Memory and Language 31, 525—42 (1992).

Parncutt, R. Harmony: A Psychoacoustical Approach. Springer, Berlin, 1989.

Partch, H. Genesis of a Music. Da Capo, New York, 1974.

Patel, A. D., Gibson, E., Ratner, J., Besson, M. and Holcomb, P. J. ‘Processing syntactic relations in language and music: an eventrelated potential study’, Journal of Cognitive Neuroscience 10, 717—33 (1998).

Patel, A. D. ‘Syntactic processing in language and music: different cognitive operations, similar neural resources?’, Music Perception 16, 27—42 (1998).