The Cognitive Neuroscience of Music

(Brent) #1

55.Papouˇsek, M.(1992) Early ontogeny of vocal communication in parent–infant interactions. In
H. Papouˇsek, U. Jürgens, and M. Papouˇsek (eds) Nonverbal Vocal Communication: Comparative
and Developmental Approaches. Cambridge: Cambridge University Press, pp. 230–61.
56.Trainor, L. J., R. N. Desjardins, and C. Rockel(1999) A comparison of contour and interval
processing in musicians and nonmusicians using event-related potentials.Australian J. Psychol.
51, 147–53.
57.Bartlett, J. C.and W. J. Dowling(1980) Recognition of transposed melodies: a key-distance effect
in developmental perspective.J. Exp. Psychol.: Hum. Percept. Perform.6, 501–15.
58.Dowling, W. J.(1978) Scale and contour: two components of a theory of memory for melodies.
Psychological Rev.85, 341–54.
59.Cuddy, L. L., A. J. Cohen, and D. J. K. Mewhor t(1981) Perception of structure in short melodic
sequences.J. Exp. Psychol.: Hum. Percept. Perform.7, 869–83.
60.Krumhansl, C. L., J. J. Bharuchaand E. J. Kessler(1982) Perceived harmonic structure of chords
in three related keys.J. Exp. Psychol.: Hum. Percept. Perform.8, 24–36.
61.Schellenberg, E. G.and S. E. Trehub(1999) Culture-general and culture-specific factors in the
discrimination of melodies.J. Exp. Child Psychol.74, 107–27.
62.Dowling, W. J.and D. Fujitani(1971) Contour, interval, and pitch recognition in memory for
melodies.J. Acoust. Soc. Am.49, 524–31.
63.Levitin, D. J.(1994) Absolute memory for musical pitch: evidence from the production of
learned melodies.Percept. Psychophys.56, 414–23.
64.Schellenberg, E. G.and S. E. Trehub(2003). Good pitch memory is widespread.Psychol. Sci. 14,
262 – 6.
65.Cohen, A. J., L. A. Thorpe, and S. E. Trehub(1987) Infants’perception of musical relations in
short transposed tone sequences.Canadian J. Psychol.41, 33–47.
66.Trainor, L. J.and S. E. Trehub(1993) Musical context effects in infants and adults: key distance.
J. Exp Psychol.: Hum. Percept. Perform.19, 615–26.
67.Trainor, L. J.and S. E. Trehub(1993) What mediates infants’and adults’superior processing of
the major over the augmented triad? Music Percept.11, 185–96.
68.Trehub, S. E., L. A. Thorpe, and L. J. Trainor(1990) Infants’perception ofgoodand badmelodies.
Psychomusicology9, 5–19.
69.Trainor, L. J.and S. E. Trehub(1992) A comparison of infants’and adults’sensitivity to Western
musical structure.J. Exp. Psychol.: Hum. Percept. Perform.18, 394–402.
70.Trehub, S. E., E. G. Schellenberg, and S. B. Kamenetsky(1999) Infants’and adults’perception of
scale structure.J. Exp. Psychol.: Hum. Percept. Perform.25, 965–75.
71.Lynch, M. P., R. E. Eilers, D. K. Oller, and R. C. Urbano(1990) Innateness, experience, and music
perception.Psychol. Sci.1, 272–6.
72.Schellenberg, E. G.and S. E. Trehub(1996) Natural musical intervals: evidence from infant
listeners.Psychol. Sci.7, 272–7.
73.Schellenberg, E. G.and S. E. Trehub(1994) Frequency ratios and the discrimination of pure tone
sequences.Percept. Psychophys.56, 472–8.
74.Schellenberg, E. G.and S. E. Trehub(1996) Children’s discrimination of melodic intervals.
Developmental Psychol.32, 1039–50.
75.Meyer, L. B.(1956) Emotion and Meaning in Music. Chicago: University of Chicago Press.
76.Sachs, C.(1943) The Rise of Music in the Ancient World: East and West.New York:Norton.


    17
Free download pdf