Sandra E. Trehub Musical Universals: Perpsectives From Infancy

Actualit des
Universaux musicaux

Topics in
Universals in Music

Actualit des
Universaux musicaux

Topics in
Universals in Music

Sous la direction de :
Jean-Luc Leroy

Copyright 2012 ditions des archives contemporaines

Tous droits de traduction, de reproduction et dadaptation rservs pour tous pays. Toute reproduction ou
reprsentation intgrale ou partielle, par quelque procd que ce soit (lectronique, mcanique, photocopie,
enregistrement, quelque systme de stockage et de rcupration dinformation) des pages publies dans le prsent
ouvrage faite sans autorisation crite de lditeur, est interdite.

ditions des archives contemporaines
41, rue Barrault
75013 Paris (France)

www.archivescontemporaines.com

ISBN : 9782813000613

Avertissement :
Les textes publis dans ce volume nengagent que la responsabilit de leurs auteurs.
Pour faciliter la lecture, la mise en pages a t harmonise, mais la spcificit de
chacun, dans le systme des titres, le choix de transcriptions et des abrviations,
lemploi de majuscules, la prsentation des rfrences bibliographiques, etc. a t le
plus souvent conserve.

6. Musical universals:
Perspectives from infancy
Sandra E. TREHUB

The search for musical universals continues to be inspired by the pervasive belief in
language universals and their innate basis (e.g. Pinker, 1994). However, there are
increasing challenges to the notion of language universals and to Universal Grammar,
in particular. Evans and Levinson (2009) contend that misconceptions about cross-
linguistic similarity have arisen from the consideration of a relatively small set of
English-like languages. They point out that linguistic typologists have documented
important differences in sounds, meaning, and syntax in the thousands of extant
languages worldwide. Accordingly, they argue that cognitive scientists should be
attempting to account for language diversity rather than similarity. Other scholars,
including Christensen and Chater (2008), are challenging prevailing notions about the
domain-specific biological factors that are presumed to underlie language structure
and acquisition. They conceive of language as a complex cultural product that has
emerged in response to human social needs. Syal and Finlay (2011) also consider social
motivation as critical for the evolution and acquisition of language.
In the case of music, there is general acknowledgement of a universal capacity or
disposition for music but much less attention to the diverse ways of expressing that
musicality across cultures (Blacking, 1995). Even the boundary between musical and
non-musical behavior (i.e. what is music and what is not) differs across cultures (Nettl,
2005). In any case, the musical universals tentatively identified to date, including octave
equivalence, five to seven notes per octave, unequal-step scales, temporal regularity, and
repetition (Dowling & Harwood, 1984; Sloboda, 1985), are very basic as well as being
derived primarily from relatively recent forms of music. Moreover, these universals
focus largely on musical products rather than on behaviors, processes, or functions.
1. Musical universals in developmental perspective
If there is a universal disposition for music, some signs of that disposition should be
evident in early childhood. In fact, pre-verbal infants are surprisingly capable music
listeners (Trehub & Hannon, 2006). For example, they detect subtle differences in
musical pitch and timing (Trehub & Hannon, 2009) as well as global pitch and rhythm
patterns (Hannon & Trehub, 2005a; Trehub, Thorpe, & Morrongiello, 1987a; Trehub
& Thorpe, 1989). Moreover, they exhibit long-term memory for music heard regularly
6. Musical universals: Perspectives from infancy 6
(Saffran, Loman, & Robertson, 2000; Trainor, Wu, & Tsang, 2004), and they retain
more detail from vocal than from instrumental renditions (Volkova, Trehub, &
Schellenberg, 2006). By their first birthday, if not before, infants show sensitivity to
culture-specific regularities in the music around them (Hannon & Trehub, 2005b;
Soley & Hannon, 2010).
Universal disposition for musical parenting
Throughout the world music plays an important role in cultural rituals (Merker, 2009),
fostering communal identity or goals, and regulating emotion or arousal (Blacking,
1995; Trehub, Hannon, & Schachner, 2010). A cross-cultural disposition for musical
parenting is also evident. Caregivers everywhere soothe or amuse their infants with a
musical repertoire consisting of lullabies and play songs (Trehub & Trainor, 1998).
Lullabies are readily recognizable as such. For example, when nave listeners hear pairs
of foreign lullabies and non-lullabies matched on culture of origin and tempo, they
easily identify the lullabies (Trehub, Unyk, & Trainor, 1993a), perhaps on the basis of
their simplicity or repetitiveness (Unyk, Trehub, Trainor, & Schellenberg, 1992). What
is remarkable is that listeners are equally successful at identifying lullabies from
familiar musical cultures (i.e. Western European tradition) as from unfamiliar cultures
(Trehub et al., 1993a).
Although play songs also have a distinctive form, they are especially notable for their
distinctive performances in infant caregiving contexts (Nakata & Trehub, 2011;
Trehub et al., 1997). When nave listeners hear paired samples of the same song by the
same singer, one performed for an infant, the other performed informally with no
audience, they readily identify the infant-directed version (Trainor, 1996; Trehub et al.,
1997), even when the language and culture are unfamiliar (Trehub, Unyk, & Trainor,
1993b). Listeners seem to base their judgments primarily on the singers vocal tone
rather than on the measurable differences in pitch level (higher) and tempo (slower)
for infant-directed versions (Trainor, Clark, Huntley, & Adams, 1997; Trehub et al.,
1997). Performances for infants also have more timing regularity and greater
expressive variations in dynamics than typical informal performances of the same
songs (Nakata & Trehub, 2011). Mothers do not seem to have conscious didactic
goals when they sing to pre-verbal infants, but they intuitively highlight the structure
of the music, especially its timing and pitch contours.
Musical elements are also prominent in mothers speech to pre-verbal infants. For
example, maternal speech involves a greatly expanded pitch range, exaggerated pitch
contours, and considerable repetition (Fernald, 1991). There are similar pitch contours
in mothers speech across cultures (Fernald et al., 1989), but the pitch intervals are
individually distinctive (Bergeson & Trehub, 2007). These signature tunes may facilitate
maternal voice recognition.
Similarly, despite global similarities in some aspects of maternal singing, it is
individually distinctive. In fact, maternal performances of the same song on different
occasions are virtually identical in pitch level and tempo provided the infants mood is
comparable (Bergeson & Trehub, 2002). As would be expected, mothers fine-tune
their performances to infants mood or state of arousal. Maternal affect or arousal also
affects the nature of these performances. For example, maternal singing is more
expressive when mother and infant can see one another than when they are separated by
an opaque curtain (Trehub, Plantinga, & Russo, 2011, March). Heightened
expressiveness in the face-to-face context cannot be attributed to mothers dependence
on infant feedback because video feedback from the infant fails to close the
expressiveness gap.
Although spoken and sung interactions with infants are typically multimodal, featuring
gestures, touch, and movement, researchers attention has focused largely on the
acoustic features. What has escaped attention is that the visible components of
maternal speech and singing differ substantially. For example, mothers smile and
move considerably more when they sing than when they talk to infants (Plantinga,
Trehub, & Russo, 2011, June). In fact, singing mothers commonly move in time with
the music and smile almost continuously.
1.2. Universal responsiveness to musical parenting
Infants are highly receptive to singing in the maternal style, as they are to speech in
the maternal style (Cooper & Aslin, 1994; Fernald, 1985). For example, infants listen
significantly longer to infant-directed singing than to non-infant-directed singing
(Trainor, 1996), even as newborns (Masataka, 1999). When presented with audio-
visual renditions of maternal speech and singing, infants are substantially more
engaged by the singing than by the speech (Nakata & Trehub, 2004). Live maternal
singing also modulates infant arousal, as reflected in changes in cortisol concentrations
in their saliva (Shenfield, Trehub, & Nakata, 2003).
What is the essence of maternal singing for the infant audience? The simple, repetitive
structure of lullabies and play songs is likely to make some contribution. However,
expressive voice quality, facial gestures, touch, and movement seem to make a much
greater contribution. The various vocal and non-vocal features are combined to yield
performances that are irresistible to infants.
2. Implications
The available evidence is consistent with a human disposition for music listening and
learning (Trehub et al., 2010), which may capitalize on our capacity for vocal and
bodily imitation (Merker, 2009) and on our intensely social nature (Christensen &
Chater, 2008; Syal & Finlay, 2011). The cross-species disposition to care for infants
seems to include, in the human case, musical care. Although mothers are highly
selective in the music they provide for infants, they seem more focused on their
performances. In that light, it is interesting that the search for musical universals, with
some notable exceptions (e.g. Lomax, 1976b), has focused largely on musical form
rather than on style and context. A renewed focus on music from the oral tradition, as
performed in context, might yield fruitful perspectives on musical universals.
1

1
Acknowledgements ! Preparation of this paper was assisted by grants from the Social Sciences and
Humanities Research Council and the Natural Sciences and Engineering Research Council of Canada.

Abstracts / Rsums

6. Sandra E. TREHUB
Musical universals: Perspectives from infancy
The search for musical universals has been inspired, to a considerable extent, by the
apparent presence of language universals and the related presumption that some
aspects of linguistic knowledge are innate. To date, however, scholars of music have
failed to provide a convincing set of musical universals. It may comfort such musical
scholars to know that the consensus on language universals is rapidly evaporating. For
example, Evans and Levin (2009) argue that the 60008000 extant languages differ
radically in their sound composition, meanings, and syntax, so the challenge of
cognitive science is to account for linguistic diversity. Others have raised questions
about the domain-specific biological endowment that is thought to underlie language
structure (Christensen & Chater, 2008) and the acquisition of language (Chater, Reali,
& Christensen, 2009). Instead of considering languages as being shaped by the human
brain, these authors contend that languages are shaped and re-shaped by language
users and learners. Similar considerations undoubtedly apply to musical systems across
cultures. Nevertheless, there are important differences, which are elaborated in the
paper. According to Merker (2009), music is a critically important human ritual, which
has its biological basis in our capacity and motivation for vocal and bodily mimesis.
Although mimesis is not a uniquely human skill, our skill level greatly outstrips that of
any other species. Developmental and cross-cultural similarities and differences in the
form and function of musical rituals are considered.
Les universaux musicaux : perspectives partir de la petite enfance
La recherche duniversaux musicaux sest inspire, dans une large mesure, de
lapparente prsence duniversaux du langage et de la prsomption qui lui est lie que
des aspects de la connaissance linguistique sont inns. ce jour cependant, les
spcialistes de la musique nont pas russi fournir un ensemble duniversaux
musicaux convaincants. De tels spcialistes pourraient tre rconforts de savoir que
le consensus sur les universaux du langage sest rapidement vapor. Par exemple,
Evans et Levin (2009) soutiennent que les 6000 8000 langues existantes diffrent
radicalement dans leur composition sonore, leurs significations et leur syntaxe, de telle
sorte que le dfi des sciences cognitives est de rendre compte de la diversit
linguistique. Dautres ont soulev les questions du fondement biologique susceptible
Abstracts / Rsums 10
de sous-tendre la structure du langage (Christensen & Chater, 2008) et de lacquisition
du langage (Chater, Reali, & Christensen, 2009). Au lieu de considrer les langues
comme formes par le cerveau humain, ces auteurs soutiennent que les langues sont
formes et re-formes par les usagers et les apprenants. De telles considrations
sappliquent sans aucun doute aux systmes musicaux travers les cultures.
Nanmoins, dimportantes diffrences existent, qui sont dtailles dans la
contribution. Selon Merker (2009), la musique est dune importance critique pour le
rituel humain, qui a son fondement biologique dans notre capacit et notre motivation
pour la mimesis vocale et corporelle. Bien que la mimesis ne soit pas une comptence
uniquement humaine, notre niveau de comptence dpasse largement ceux des autres
espces. Les similitudes dveloppementales et transculturelles et les diffrences dans la
forme et la fonction des rituels musicaux sont examines.

References

Abrahams, R. (Ed.) (1969). Jump-rope Rhymes: A dictionary. Austin, TX: University of Texas
Press.
Addessi, A. R. (2000). Claude Debussy et Manuel de Falla. Un caso di influenza stilistica. Bologna,
Italia: CLUEB.
Agawu, K. (1991). Playing with signs: A semiotic interpretation of classic music. Princeton, NJ:
Princeton University Press.
Aitken, K. J. & Trevarthen, C. (2003). Lorganisation soi/autrui dans le dveloppement
psychologique humain. La psychiatrie de lenfant, XLVI(2), 471-520.
Altenmller, E. O. (2003). How Many Music Centres Are in the Brain? In I. Peretz & R.
Zatorre (Eds.), The Cognitive Neuroscience of Music (p. 346-353). New York, NY: Oxford
University Press.
Aristotle (1985). Metaphysics (M. Furth, trans.). Indianapolis, IN: Hackett Publishing.
Arleo, A. (1988). Formulettes dlimination recueillies Saint-Nazaire, en Brire et dans la Presqule
gurandaise. Nantes, France : Centre dtudes Mtriques-Universit de Nantes.
Arleo, A. (2001). The Saga of Susie: The Dynamics of an International Handclapping Game. In
J. C. Bishop & M. Curtis (Eds.), Play for Today in the Primary School Playground: Life,
learning and creativity (p. 115-132). Buckingham, UK: Open University Press.
Arleo, A. (2006). Do childrens rhymes reveal universal metrical patterns? In P. Hunt (Ed.),
Childrens Literature: Critical Concepts in Literary and Cultural Studies, Vol. IV (p. 39-56).
London, UK: Routledge.
Arleo, A. (2009). Pif Paf Poof: Ablaut reduplication in childrens counting-out rhymes. In
J. L. Aroui & A. Arleo (Eds.), Towards a Typology of Poetic Forms: From linguistic structure to
metrics and beyond (p. 307-323). Amsterdam, The Netherlands: John Benjamins.
Arleo, A. (forthcoming). Concepts darwiniens et ltude de la tradition orale des enfants:
mtaphore ou modle ? Actes du colloque international Charles Darwins Legacy in
European Cultures, Universit de Nantes, France, 3-4 avril 2009.
Arleo, A. & Flament, B. (1990). Approche rythmique et mlodique de la ralisation de la squence finale
dans 7 comptines franaises la lumire dune analyse mingographique. Nantes, France : Centre
dtudes Mtriques-Universit de Nantes.
Arleo, A. & Mettouchi A. (2010). Jai perdu ma fille : tude dun jeu chant par des colires
berbres. Dans A. Arleo et J. Delalande (dir.), Cultures enfantines : universalit et diversit
(p. 107-120). Rennes, France : Presses Universitaires de Rennes.
Arom, S. (1999). African Polyphony and Polyrhythm: Musical structure and methodology (M. Thom et al.,
trans.). Cambridge, UK: Cambridge University Press.
References 12
Arom, S. (2000). Prolegomena to a Biomusicology. In N. L. Wallin, B. Merker, & S. Brown
(Eds.), The Origins of Music (p. 27-29). Cambridge, MA: The MIT Press.
Auner, J. (2003). A Schoenberg Reader: Documents of a Life. New Haven, CT: Yale University Press.
Ayari, M. & McAdams, S. (2003). Aural Analysis of Arabic Improvised Instrumental Music
(Taqs m). Music Perception, 21(2), 159-216.
Ayotte, J., Peretz, I., & Hyde, K. (2002). Congenital Amusia: A group study of adults afflicted
with a music-specific disorder. Brain, 125, 238-251.
Bachelard, G. (1936). La dialectique de la dure. Paris, France : Boivin & C
ie
.
Bachmann, M.-L. (1984). La rythmique Jaques-Dalcroze : une ducation par la musique et pour la
musique. Neuchtel, Suisse : La Baconnire.
Bailey, B. A. & Davidson, J. W. (2002). Adaptive characteristics of group singing: Perceptions
from members of a choir for homeless men. Musicae Scientiae, VI(2), 221-252.
Bakagiannis, S. & Tarrant, M. (2006). Can music bring people together? Effects of shared
musical preference on intergroup bias in adolescents. Scandinavian Journal of Psychology,
47, 129-136.
Balkwill, L.-L. (1997). Perception of emotion in music: A cross-cultural investigation. Unpublished
Doctoral Dissertation, York University, Toronto, Canada.
Balkwill, L.-L. & Thompson, W. (1999). A cross-cultural investigation of the perception of
emotion in music: Psychophysical and cultural cues. Music Perception, 17(1), 43-64.
Balpe, J.-P. (2006). Quelques concepts de lart numrique. Site du groupe Transitoire Observable
<http://transitoireobs.free.fr>.
Barkow, J. H., Cosmides, L., & Tooby, J. (1992). The Adapted Mind: Evolutionary Psychology and the
Generation of Culture. New York, NY: Oxford University Press.
Baroni, M. (1993). Linguaggio musicale e valori sociali. In M. Imberty, M. Baroni, & G.
Porzionato (Eds.), Memoria musicale e valori sociali. Metodi dindagine e aspetti educativi
(p. 33-71). Milano, Italia: Ricordi.
Baroni, M. (2010). GTTM and post-tonal music. Musicae Scientiae, Discussion Forum, 5, 69-93.
Baroni, M. & Callegari, L. (Eds.) (1984). Musical grammars and computer analysis. Firenze, Italia:
Olschki.
Baroni, M. & Dalmonte, R. (2009). Per una grammatica dello stile: considerazioni sulle arie da
camera del Seicento italiano. Rivista di Analisi e Teoria musicale, 15(2), 127-162.
Baroni, M., Dalmonte, R., & Jacoboni, C. (1999). Le regole della musica. Indagine sui meccanismi della
comunicazione. Torino, Italia: Edizioni di Torino. (English trans.: A computer-aided inquiry
on music communication. The rules of music. Lewiston, NY: The Edwin Mellen Press, 2003;
French trans.: Les rgles de la musique. tude sur les mcanismes de la communication.
Sampzon, France : Delatour, 2007.)
Baroni, M. & Jacoboni, C. (1978). Proposal for a grammar of melody. Montral, Canada: Les Presses
de lUniversit de Montral.
Bartlett, J. (1984). Cognition of complex events: Visual scenes and music. In W. R. Crozier &
A. J. Chapman (Eds.), Cognitive Processes in the Perception of Art (p. 225-251). Amsterdam,
The Netherlands: North-Holland.
Bastien, C. (1997). Les connaissances de lenfant ladulte. Paris, France : Armand Colin.
Beck, R. J., Cesario, T. C., Yousefi, A., & Enamoto, H. (2000). Choral singing, performance
perception, and immune system changes in salivary immunoglobulin A and cortisol.
Music Perception, 18(1), 87-106.
References 13
Becker, J. (2001). Anthropological perspectives on music and emotion. In P. N. Juslin & J. A.
Sloboda (Eds.), Music and Emotion: Theory and Research (p. 135-160). New York, NY:
Oxford University Press.
Benedict, R. (1934). Patterns of Culture. New York, NY: Houghton Miflin Company.
Bennet-Clarke, H. (2002). Le chant sexuel des cigales. Pour la Science, Hors-srie 34, 10-13.
Bent, I. & Drabkin, W. (1987). Analysis. London, UK: The Macmillan Press. (A. Curdevey et
J. Tabouret, trad. : LAnalyse musicale. Histoire et Mthodes. Nice, France : ditons Main
duvre, 1998.)
Bentley, A. (1983). Musikalische Begabung bei Kindern und ihre Messbarkeit (R. Jakoby, trans.).
Berlin, Deutschland: Verlag Moritz Diesterweg. (Original published in 1966.)
Bergeson, T. R. & Trehub, S. E. (2002). Absolute pitch and tempo in mothers songs to
infants. Psychological Science, 13(1), 72-75.
Bergeson, T. R. & Trehub, S. E. (2007). Signature tunes in mothers speech to infants. Infant
Behavior and Development, 30, 648-654.
Bergson, H. (1898). Essai sur les donnes immdiates de la conscience. Paris, France : Flix Alcan.
Berlin, B. & Kay, P. (1969). Basic Color Terms: Their Universality and Evolution. Berkeley, CA:
University of California Press.
Berry, W. (1986). Form in Music (2
d
ed.). Englewood Cliffs, NJ: Prentice-Hall.
Bhattacharya, J. & Petsche, H. (2001). Musicians and the gamma band: A secret affair?
NeuroReport, 12(2), 371-374.
Bispham, J. (2009-2010). Musics design features: Musical motivation, musical pulse, and
musical pitch. Musicae Scientiae, Special issue, 41-61.
Blacking, J. (1973). How Musical is man? Seattle, WA: University of Washington Press.
Blacking, J. (1975). Le sens musical. Paris, France : ditions de Minuit (Original book: How
musical is man?, 1973.)
Blacking, J. (1977). Les Universaux en musique, peut-on les entendre ? The World of Music, XIX,
23-29.
Blacking, J. (1984). What languages do musical language describe? In M. Baroni & L. Callegari,
Musical grammars and computer analysis (p. 363-370). Firenze, Italia: Olschki.
Blacking, J. (1995). Music, Culture, and Experience. Chicago, IL: University of Chicago Press.
Blondel, M. & Miller, C. (2009). Symmetry and childrens poetry in sign languages. In J.-L.
Aroui & A. Arleo (Eds.), Towards a Typology of Poetic Forms: From linguistic structure to
metrics and beyond (p. 143-163). Amsterdam, The Netherlands: John Benjamins.
Blood, A. J. & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with
activity in brain regions implicated in reward and emotion. Proceedings of the National
Academy of Sciences, 98, 11818-11823.
Bodner, E. & Gilboa, A. (2009). On the power of music to affect intergroup relations. Musicae
Scientiae, XIII(1), 85-112.
Bonini-Baraldi, F. (2010). Lmotion en partage (musiciens de Transylvanie). Thse de Doctorat,
Universit de Paris 10-La Dfense, Nanterre, France.
Boulez, P. & Cage, J. (1990). Correspondance et documents (J.-J. Nattiez, d.). Winterthur, Suisse :
Amadeus.
Bourdieu, P. (1990). The Logic of the Practice (R. Nice, trans.). Cambridge, UK: Polity Press.
References 14
Brailoiu, C. (1956/1984). Childrens rhythms. In L. Lloyd (Ed. and trans.), Problems of
Ethnomusicology (p. 206-238). Cambridge, UK: Cambridge University Press. (Problmes
dethnomusicologie [textes runis et prsents par G. Rouget]. Genve : Minkoff, 1973.)
Bregman, A. S. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge,
MA: The MIT Press.
Brhier, E. (1967). Histoire de la philosophie, Tome I : LAntiquit et le Moyen ge, Fascicule 3 : Moyen
ge et Renaissance (7
e
d.). Paris, France : P.U.F.
Brown, D. (1991). Human Universals. New York, NY: McGraw-Hill.
Brown, S. (2000). The Musilanguage Model of Music Evolution. In N. L. Wallin, B. Merker,
& S. Brown (Eds.), The Origins of Music (p. 271-300). Cambridge, MA: The MIT Press.
Brown, S. (2007). Contagious heterophony: A new theory about the origins of music. Musicae
Scientiae, 11(1), 3-26.
Brown, S., Merker, B., & Wallin, N. L. (2000). An Introduction to Evolutionary Musicology. In
N. L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (p. 3-24). The MIT
Press.
Brown, S. & Volgsten, U. (Eds.) (2005). Music and manipulation: On the social uses and social control
of music. New York, NY: Berghahn Books.
Buchet, E. (1966/1995). Beethoven : lgendes et vrit. Paris, France : Buchet/Chastel.
Burling, R. (1966). The metrics of childrens verse: A cross-linguistic study. American
Anthropologist, 68, 1418-1441.
Bystrina, I. (1983). Kodes und Kodewandel. Zeitschrift fr Semiotik, 5, 1-22.
Canguilhem, G. (1965). La connaissance de la vie. Paris, France : Vrin, 2009.
Cariani, P. (1989). On the design of devices with emergent semantic functions. Unpublished Doctoral
Dissertation, State University of New York, New York, NY.
Carterette, E. C. & Kendall, R. A. (1999). Comparative music perception and cognition. In
D. Deutsch (Ed.), The psychology of music (p. 725-791). San Diego, CA: Academic Press.
Chailley, J. (1954-1955). Formation et transformation du langage musical, 1 : Intervalles et chelles. Paris,
France : Les Cours de Sorbonne.
Chailley, J. (1985). lments de philologie musicale. Paris, France : Alphonse Leduc.
Changeux, J.-P. (1983). LHomme neuronal. Paris, France : Fayard.
Chauvin-Payan, C. (2010). Universaux spatiaux et gestuels dans les jeux de tape-mains. Dans A.
Arleo et J. Delalande (dir.), Cultures enfantines : universalit et diversit (p. 137-158).
Rennes, France : Presses Universitaires de Rennes.
Chvez, C. (1961). Musical Thought. Cambridge, MA: Harvard University Press.
Cheng, A. (1997). La pense chinoise. Paris, France : ditions du Seuil.
Cheng, E., Ockelford, A., & Welch, G. (2009). Researching and developing music provision in
special schools in England for children and young people with complex needs.
Australian Journal of Music Education, 2, 27-48.
Chomsky, N. (1965). Aspects of the Theory of Syntax. Cambridge, MA: The MIT Press.
Christensen, M. H. & Chater, N. (2008). Language as shaped by the brain. Behavioral and Brain
Sciences, 31, 489-509.
Clarke, E. C. (2005). Ways of Listening: An Ecological Approach to the Perception of Musical Meaning.
New York, NY: Oxford University Press.
References 15
Clayton, M. (2009). The social and personal functions of music in cross-cultural perspective. In
S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology (p. 35-
44). New York, NY: Oxford University Press.
Clayton, M., Herbert, T., & Middleton, R. (2003). The cultural study of music: A critical introduction.
New York, NY: Routledge.
Cohen, A. J., Thorpe, L. A., & Trehub, S. E. (1987). Infants Perception of Musical Relations in
Short Transposed Tone Sequences. Canadian Journal of Psychology, 41, 33-47.
Cohen, J. E. (1962). Information theory and music. Behavioral Science, 7(2), 137-163.
Cook, N. (2001). Theorizing musical meaning. Music Theory Spectrum, 23(2), 170-195.
Cooper, R. P. & Aslin, R. A. (1994). Developmental differences in infant attention to the
spectral properties of infant-directed speech. Child Development, 65, 1663-1677.
Cope, D. (1996). Experiments in musical intelligence. Madison, WI: A-R Editions.
Cornulier (de), B. (2009). Minimal chronometric forms: On the durational metrics of 2-2-
stroke groups. In J.-L. Aroui & A. Arleo (Eds.), Towards a Typology of Poetic Forms: From
linguistic structure to metrics and beyond (p. 123-141). Amsterdam, The Netherlands: John
Benjamins.
Corpataux, F. (2010). Jeux chants sur trois continents : approche comparative. Dans A. Arleo
et J. Delalande (dir.), Cultures enfantines : universalit et diversit (p. 97-106). Rennes,
France : Presses Universitaires de Rennes.
Costa-Giomi, E. (2010, March). Look at whos singing!: Infants and adults perception of timbre-melody
associations. Paper presented at the International Conference in Infant Studies,
Baltimore, MD.
Costa-Giomi, E. (2011a, Feb). Infants recognize their mothers singing voice. Paper presented at the
Texas Music Educators Association, San Antonio, TX.
Costa-Giomi, E. (2011b, Feb.). Infant discriminate female voices in speech but not music. Paper
presented at the Texas Music Educators Association, San Antonio, TX.
Costa-Giomi, E., Cohen, L., Solan, D., & Brock, A. (under review). Infant discrimination and
categorization of timbre and melody.
Costa-Giomi, E. & Davila, Y. (2010, July). Infant discrimination of female voices. Paper presented at
the International Society for Music Education, Research Commission Meeting,
Changchun, China.
Cox, A. (2001). The Mimetic Hypothesis and Embodied Musical Meaning. Musicae Scientiae,
5(2), p. 195-212.
Cross, I. (2006). The Origins of Music: Some Stipulations on Theory. Music perception, 24(1), 79-81.
Cross, I. (2009-2010). The evolutionary nature of musical meaning. Musicae Scientiae, Special
issue, 179-197. (A. Tognetti, trad. : La nature volutionnaire de la signification
musicale. Dans I. Delige, O. Vitouch et O. Ladinig [dir.], Musique et volution [p. 157-
169]. Wavre, Belgique : Mardaga, 2010.)
Cross, I. & Morley, I. (2008). The evolution of music: Theories, definitions and the nature of
the evidence. In S. Malloch & C. Trevarthen (Eds.), Communicative musicality (p. 61-82).
Crowder, R. (1985). Perception of the major/minor distinction: III. Hedonic, musical, and
affective discriminations. Bulletin of the Psychonomic Society, 23(4), 314-316.
References 16
Dale, N. & Salt, A. (2007). Early support developmental journal for children with visual
impairment: The case for a new developmental framework for early intervention.
Child: Care, Health and Development, 33(6), 684-690.
Damasio, A. (2000). The Feeling of What Happens: Body and Emotion in the Making of Consciousness.
London, UK: Vintage.
Damasio, A. (2010). Lautre moi-mme. Paris, France : Odile Jacob.
Da Silva Neves, R. (1999). Psychologie cognitive. Paris, France : Armand Colin.
Davidson, P. A. (2004). Turbulence: An Introduction for Scientists and Engineers. New York, NY:
Davidson, R. (1994). On emotion, mood, and related affective constructs. In P. Ekman &
R. Davidson (Eds.), The Nature of Emotion: Fundamental Questions (p. 51-55). New York,
NY: Oxford University Press.
Davies, J. B. (1978). The psychology of music. Stanford, CA: Stanford University Press.
Dawkins, R. (1976). The Selfish Gene. New York, NE: Oxford University Press.
DeCasper, A. & Fifer, W. (1980). Of human bonding: Newborns prefer their mothers voices.
Science, 208, 11741176.
Delalande, F. (1996). Les Units Smiotiques Temporelles : Problmatique et essai de
dfinition. Dans L. M. Marseille (dir.), Les Units Smiotiques Temporelles : lments
nouveaux danalyse musicale (p. 16-25). Marseille, France : Laboratoire Musique et
Informatique de Marseille.
Delavenne, A. (2006). Vers une approche musicale de lorganisation temporelle des
interactions vocales prcoces. Mmoire de fin dtudes, Universit Paris X, Nanterre,
France.
Delavenne, A., Gratier, M., Devouche, E., & Apter, G. (2010). Temps et phras fragment des
interactions entre des mres prsentant un trouble de la personnalit et leurs
nourrissons trois mois. Dans I. Delige, O. Vitouch et O. Ladinig (dir.), Musique et
volution (p. 141-153). Wavre, Belgique : Mardaga.
Delige, C. (1984). Les fondements de la musique tonale. Paris, France : J.-C. Latts.
Delige, C. (2003). Cinquante ans de modernit musicale : de Darmstadt lIRCAM. Contribution
historiographique une musicologie critique. Sprimont, Belgique : Mardaga.
Delige, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl and
Jackendoffs grouping preferences rules. Music Perception, 4(4), 325-360.
Delige, I., Vitouch, O., & Ladinig, O. (dir.) (2010). Musique et volution. Wavre, Belgique :
Mardaga.
Demeuldre, M. (dir.) (2004). Sentiments doux-amers dans les musiques du monde. Paris, France :
LHarmattan.
DeNora, T. (2000). Music in Everyday Life. Cambridge, UK: Cambridge University Press.
DeNora, T. (2001). Quand la musique de fond entre en action. Terrain, 37, 75-88.
Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming.
Descola, P. (2005). Par-del nature et culture. Paris, France : Gallimard.
Deutsch, D. (1982). Organizational Processes in Music. In M. Clynes (Ed.), Music, Mind and
Brain. The Neuropsychology of Music (p. 119-135). New York, NY: Plenum Press.
Devillers, C. & Tintant, H. (1996). Questions sur la thorie de lvolution. Paris, France : P.U.F.
References 17
DeWitt, L. & Samuel, A. (1999). The role of knowledge-based expectations in music
perception: Evidence from musical restoration. Journal of Experimental Psychology:
General, 119(2), 123-144.
Di Francesco, M. (1998). Lio e i suoi s. Identit personale e scienza della mente. Milano, Italia:
Raffaello Cortina Editore.
Dimatati, M. (2009). Exploring absolute pitch in children and young people with congenital
visual impairment. MSc thesis, Goldsmiths College, London, United Kingdom.
Dimatati, M., Ockelford, A., Heaton, P., Pring, L., & Downing, J. (2010). Absolute pitch in
children with congenital visual impairment: A preliminary study. Poster presented at
ICMPC 11, Seattle, WA.
Dissanayake, E. (2000). Antecedents of the temporal arts in early mother-infant interaction. In
N. L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (p. 389-410).
Cambridge, MA: The MIT Press.
Dissanayake, E. (2006). Ritual and Ritualization: Musical Means of Conveying and Shaping
Emotion in Humans and Other Animals. In S. Brown & U. Volgsten (Eds.), Music and
manipulation (p. 31-56). New York, NY: Berghahn Books.
Dissanayake, E. (2008). If music is the food of love, what about survival and reproductive
success? Musicae Scientiae, Special issue, 169-192.
Dobzhansky, T. (1956). What is an adaptive trait? The American Naturalist, 90(855), 337-347.
Dogana, F. (1983). Suono e senso. Fondamenti teorici ed empirici del simbolismo fonetico.
Milano, Italia: Angeli.
Dowling, W. J. (1978). Scale and contour: Two components of a theory of memory for
melodies. Psychological Review, 85(4), 341-354.
Dowling, W. J. (1989). Simplicit et complexit en musique et en cognition. Dans S. McAdams
et I. Delige (dir.), La musique et les sciences cognitives (P. Drianne, trad.) (p. 351-360).
Bruxelles, Belgique : Mardaga.
Dowling, W. J. & Harwood, D. L. (1986). Music cognition. Orlando, FL: Academic Press.
Drake, C. (1998). Psychological Processes Involved in the Temporal Organization of Complex
Auditory Sequences: Universal and Acquired Processes. Music Perception, 16(1), 11-26.
Drake, C. & Bertrand, D. (2003). The quest for universals in temporal processing in music. In
I. Peretz & R. Zatorre (Eds.), The Cognitive Neuroscience of Music (p. 21-31). New York,
Drake, C. & Palmer, C. (1993). Accent structures in music performance. Music Perception, 10(3),
343-378.
Dreyfus, H. (1991). Being-in-the-World: A Commentary on Heideggers Being and Time, Division I.
Dufter, A. & Noel Aziz Hanna, P. (2009). Natural versification in French and German counting-
out rhymes. In J.-L. Aroui & A. Arleo (Eds.), Towards a Typology of Poetic Forms: From
linguistic structure to metrics and beyond (p. 101-121). Amsterdam, The Netherlands: John
Benjamins.
Dupont, F. (1991). Homre et Dallas. Paris, France : Hachette.
Durham, W. H. (1991). Coevolution: Genes, Culture and Human Diversity. Stanford, CA: Stanford
University Press.
During, J. (1994). Quelque chose se passe. Lagrasse, France : Verdier.
Duve (de), C. (2002). lcoute du vivant. Paris, France : Odile Jacob.
References 18
Ebcioglu, K. (1986). An expert system for harmonization of chorales in the style of J. S. Bach.
Ph. D. Dissertation, Department of Computer Science and Engineering, University at
Buffalo, New York, NY.
Edelman, G. M. (1989). Neural Darwinism: The theory of group selection. New York, NY: Basic
Books.
Eliot, T. S. (1920/1997). The Sacred Wood: Essays on Poetry and Criticism. London, UK: Faber and
Faber.
Eliot, T. S. (1933). The Use of Poetry and the Use of Criticism. London, UK: Faber and Faber.
Ellis, A. J. (1885). On the musical scales of various nations. Journal of the Society of Arts, 33, 485-
527.
Erickson, R. (trans.) (1995). Musica enchiriadis and Scolica enchiriadis. New Haven, CT: Yale
University Press.
Ericsson, K. A. & Charness, N. (1994). Expert performance: Its structure and acquisition.
American psychologist, 49(8), 725-747.
Ericsson, K. A., Krampe, R. T., & Tesch-Rmer, C. (1993). The role of deliberate practice in
the acquisition of expert performance. Psychological review, 100(3), 363-406.
Etoile (de l), S. (2009). Processes of music therapy: Clinical and scientific rationales and
models. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music
Psychology (p. 493-502). New York, NY: Oxford University Press.
Evans, N. & Levinson, S. C. (2009). The myth of language universals: Language diversity and
its importance for cognitive science. Behavioral and Brain Sciences, 32, 429-492.
Fassbender, C. (1995). La sensibilit auditive du nourrisson aux paramtres acoustiques du
langage et de la musique. Dans I. Delige et J. A. Sloboda, Naissance et dveloppement du
sens musical (p. 63-99). Paris, France : P.U.F. (Infants auditory sensitivity towards
acoustic parameters of speech and music. In I. Delige & J. A. Sloboda [Eds.], Musical
Beginnings: Origins and Development of Musical Competence [p. 56-87]. New York, NY:
Oxford University Press, 1996.)
Fauconnier, G. (1985/1994). Mental Spaces: Aspects of Meaning Construction in Natural Language.
Cambridge, UK: Cambridge University Press.
Fauconnier, G. & Turner, M. (2002). The Way We Think: Conceptual Blending and the Minds
Hidden Complexities. New York, NY: Basic Books.
Fay, W. (1973). On the echolalia of the blind and of the autistic child. Journal of Speech and
Hearing Disorders, 38(4), 478-489.
Feld, S. (1981). Flow like a Waterfall: The Metaphors of Kaluli Musical Theory. Yearbook for
Traditional Music, 13, 22-47.
Feld, S. (1982). Sound and Sentiment. Philadelphia, PA: University of Pennsylvania Press.
Feldman, M. & Laland, K. (1996). Gene-culture coevolutionary theory. Trends in Ecology and
Evolution, 11, 453-457.
Fernald, A. (1985). Four-month-old infants prefer to listen to motherese. Infant Behavior and
Development, 8, 181-195.
Fernald, A. (1989). Intonation and communicative intent in mothers speech to infants: Is the
melody the message? Child Development, 60, 1497-1510.
Fernald, A. (1991). Prosody in speech to children: Prelinguistic and linguistic functions. Annals
of Child Development, 8, 43-80.
References 19
Fernald, A., Taeschner, T., Dunn, J., Papou!ek, M., Boysson-Bardies (de), B., & Fukui, I.
(1989). A cross-language study of prosodic modifications in mothers and fathers
speech to preverbal infants. Journal of Child Language, 16, 477-501.
Feuerstein, R. & Rand, Y. (1991/1995). Prface. Dans B. Dias, De lvaluation psychomtrique
lvaluation du potentiel dapprentissage. Lucerne, Suisse : SZH-SPC.
Fitch, W. T. (2006). The biology and evolution of music: A comparative perspective. Cognition,
100, 173-215.
Fnagy, I. (1977). Le statut de la phonostylistique. Phonetica, 34, 1-18.
Franois, P. (2004). Professionnels et amateurs. Dans J.-J. Nattiez (dir.), Musiques : une
encyclopdie pour le XXI
e
sicle, Vol. 2 : Les savoirs musicaux (p. 585-607). Arles, France :
Actes sud.
Frith, S. (1987). Toward an aesthetic of popular music. In R. Leppert & S. McClary (Eds.),
Music and society (p. 133-149). Cambridge, UK: Cambridge University Press.
Frith, S. (1996). Rhythm: Race, Sex and the Body. In Performing Rites. New York, NY: Oxford
University Press.
Frith, S. (1996). Rhythm: Time, Sex and the Mind. In Performing Rites. New York, NY: Oxford
University Press.
Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., & Koelsch, S. (2009). Universal
Recognition of Three Basic Emotions in Music. Current Biology, 19, 1-4.
Fucks, W. (1962). Mathematical analysis of the formal structure of music. Institute of Radio
Engineers Transactions on Information Theory, 8, 225-228.
Gabrielsson, A. (2001). Emotions in strong experiences with music. In P. N. Juslin & J. A.
Gabrielsson, A. & Lindstrm, E. (2001). The influence of musical structure on emotional
expression. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and
Research (p. 223-248). New York, NY: Oxford University Press.
Gabrielsson, A. & Lindstrm, E. (2009). The role of structure in the musical expression of
emotions. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion (p. 367-
400). New York, NY: Oxford University Press.
Gallagher, S. & Zahavi, D. (2008). The Phenomenological Mind: An Introduction to Philosophy of Mind
and Cognitive Science. New York, NY: Routledge.
Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory event
perception. Ecological Psychology, 5(1), 1-29.
Geertz, C. (1983). Local knowledge: Further essays in interpretative anthropology (Chap. 1: Blurred
genres: The refiguration of social thought, p. 19-35). New York, NY: Basic Books.
Geissmann, T. (2000). Gibbon Songs and Human Music from an Evolutionary Perspective. In
Giannattasio, F. (1992). Il concetto di musica. Roma, Italia: NIS.
Gibbs, R. W. (1999). Intentions in the Experience of Meaning. Cambridge, UK: Cambridge
University Press.
Gibbs, R. W. (2005). Embodiment and Cognitive Science. Cambridge, UK: Cambridge University
Press.
Gibson, J. J. (1966). The Senses Considered as Perceptual Systems. London, UK: Allen & Unwin.
References 20
Gibson, J. J. (1979). The ecological Approach to Visual Perception. Hillsdale, NJ: Lawrence Erlbaum.
Gjerdingen, R. (1988). Classic Turn of Phrase: Music and the Psychology of Convention. Philadelphia,
PA: University of Pennsylvania Press.
Gobes, S. & Bolhuis, J. (2007). Birdsong memory: A neural dissociation between song
recognition and production. Current Biology, 17(9), 789-793.
Goddard, C. (2002). The search for the shared semantic core of all languages. In C. Goddard &
A. Wierzbicka (Eds.), Meaning and Universal Grammar: Theory and Empirical Findings,
Vol. I (p. 5-40). Amsterdam, The Netherlands: John Benjamins.
Godfrey-Smith, P. (2009). Darwinian Populations and Natural Selection. New York, NY: Oxford
University Press.
Goldschmidt, W. (1959). Mans Way: A Preface to the Understanding of Human Society. New York,
NY: Holt.
Gordon, E. E. (1989). Manual for the advanced measures of music audiation. Chicago, IL: GIA
Publications.
Gould, S. J. (1996). Full House: The Spread of Excellence from Plato to Darwin. New York, NY:
Harmony Books.
Gould, S. J. (2002). The Structure of Evolutionary Theory. Cambridge, MA: Harvard University
Press. (M. Blanc, trad. : La structure de la thorie de lvolution. Paris, France : Gallimard,
2006.)
Gould, S. J. & Lewontin, R. (1979). The spandrels of San Marco and the Panglossian paradigm: A
critique of the adaptationist programme. Proceedings of the Royal Society B, 205, 581-598.
Gourlay, K. A. (1984). The Non-Universality of Music and the Universality of Non-Music. The
World of Music, XXVI, 25-36.
Gratier, M. (1999-2000). Expressions of belonging: The effect of acculturation on the rhythm
and harmony of mother-infant vocal interaction. Musicae Scientiae, Spcial issue, 93-119.
Gratier, M. (2001). Rythmes et appartenances culturelles. tude acoustique des changes vocaux entre mres
et bbs autochtones et migrants. Thse de Doctorat, Universit Ren Descartes, Paris,
France.
Gratier, M. (2003). Expressive timing and interactional synchrony between mothers and
infants: Cultural similarities, cultural differences, and the immigration experience.
Cognitive Development, 18, 533-554.
Gratier, M. & Apter-Danon, G. (2008). The musicality of belonging: Repetition and variation
in mother-infant interaction. In C. Trevarthen & S. Malloch (Eds.), Communicative
musicality (p. 301-327). New York, NY: Oxford University Press.
Greenberg, H. (Ed.) (1963). Universals of language. Cambridge, MA: The MIT Press.
Grewe, O., Altenmller, E., Nagel, F., & Kopiez, R. (2009-2010). Individual emotional
reactions towards music: Evolutionary-based universals? Musicae Scientiae, Special
issue, 261-287. (M. Gratier, trad. : Ractions individuelles motionnelles la musique :
des universels issus de lvolution ? Dans I. Delige, O. Vitouch et O. Ladinig [dir.],
Musique et volution [p. 207-225]. Wavre, Belgique : Mardaga, 2010.)
Grigorenko, E. L. (2003). Expertise and mental disabilities: Bridging the unbridgeable? In
R. J. Sternberg & E. L. Grigorenko (Eds.), The psychology of abilities, competencies, and
expertise (p. 156-185). Cambridge, UK: Cambridge University Press.
Gundlach, R. (1935). Factors determining the characterization of musical phrases. American
Journal of Psychology, 47(4), 624-644.
References 21
Hagen, E. H. & Hammerstein, P. (2009-2010). Did Neanderthals and other early humans sing ?
Seeking the biological roots of music in the territorial advertisements of primates, lions,
hyenas, and wolves. Musicae Scientiae, Special issue, 291-320. (S. Renard, trad. : LHomme
de Nandertal et les premiers Hommes chantaient-ils ? Peut-on trouver les racines
biologiques de la musique dans les avertissements territoriaux des primates, des lions,
des hynes et des loups ? Dans I. Delige, O. Vitouch et O. Ladinig [dir.], Musique et
volution [p. 229-249]. Wavre, Belgique : Mardaga, 2010.)
Handel, S. (1989). Listening: An introduction to the perception of auditory events. Cambridge, MA: The
MIT Press.
Hannon, E. E. & Trehub, S. E. (2005a). Metrical categories in infancy and adulthood.
Psychological Science, 16, 48-55.
Hannon, E. E. & Trehub, S. E. (2005b). Tuning in to musical rhythms: Infants learn more readily
than adults. Proceedings of the National Academy of Sciences USA, 102, 12639-12643.
Hanslick, E. (1865). Vom Musikalisch-Schnen: ein Beitrag zur Revision der Aesthetik der Tonkunst.
Leipzig, Deutschland: Weigel.
Hanslick, E. (1893/2004). Du beau dans la musique : essai de rforme de lesthtique musicale (C.
Bannelier, trad.). Paris, France : Phnix.
Hargreaves, D. J. & North, A. C. (Eds.) (1997). The social psychology of music. New York, NY:
Hargreaves, D. J. & North, A. C. (1999). The function of music in everyday life: Redefining the
social in music psychology. Psychology of Music, 27, 71-83.
Harris, Z. S. (1951). Methods in Structural Linguistics. Chicago, IL: Chicago University.
Harwood, D. L. (1976). Universals in Music: A Perspective from Cognitive Psychology.
Ethnomusicology, 20(3), 521-533.
Hauser, M. D. (2000). The Sound and the Fury: Primate Vocalizations as Reflections of
Emotion and Thought. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of
Music (p. 77-102). Cambridge, MA: The MIT Press.
Hauser, M., Chomsky, N., & Fitch, W. T. (2002). The Faculty of Language: What Is, Who Has
It, and How Did It Evolve? Science, 298, 1570-1579.
Hayes, B. & McEachern, M. (1998). Quatrain form in English verse. Language, 74(3), 473-507.
Heaton, P. (2009). Assessing musical skills in autistic children who are not savants. Philosophical
Transactions of the Royal Society B, 364(1552), 1,443-1,447.
Heaton, P., Hermelin, B., & Pring, L. (1998). Autism and pitch-processing: A precursor for
savant musical ability? Music Perception, 15(3), 291-305.
Heaton, P., Williams, K., Cummins, O., & Happ, F. (2008). Autism and pitch-processing
splinter skills: A group and subgroup analysis. Autism, 12(2), 203-219.
Helmlinger, A. (2008). Les steelbands de Trinidad et Tobago: ethnomusicologie cognitive
dune mmoire dorchestre. Intellectica, 48(1), 81-101.
Hevner, K. (1936). Experimental studies of the elements of expression in music. American
Journal of Psychology, 48(2), 246-268.
Heyduk, R. G. (1975). Rated Preference For Musical Compositions as it Relates to Complexity
and Exposure Frequency. Perception & Psychophysics, 17(1), 84-91.
Higgins, K. M. (2006). The Cognitive and Appreciative Import of Musical Universals. Revue
Internationale de Philosophie, 238, 486-503.
References 22
Hirtler, E. (1995). Die Musik als scientia mathematica von der Spatntike bis zum Barock. Frankfurt
am Main, Deutschland: Lang.
Hjelmslev, L. (1943/1961). Prolegomena to a Theory of Language (F. J. Whitfield, Trans.). Madison,
WI: University of Wisconsin Press.
Horton, T. (2001). The compositionality of tonal structures: A generative approach to the
notion of musical meaning. Musicae Scientiae, 5(2), 131-160.
Houston, D. & Jusczyk, P. (2000). The role of talker-specific information in word
segmentation by infants. Journal of Experimental Psychology, 26, 1570-1582.
Houston, D. & Jusczyk, P. (2003). Infants long-term memory for the sound patterns of words
and voices. Journal of Experimental Psychology, 29, 1143-1154.
Howe, M. J. A. & Davidson, J. W. (2003). The early progress of able young musicians. In
R. J. Sternberg & E. L. Grigorenko (Eds.), The psychology of abilities, competencies, and
expertise (p. 186-212). Cambridge, UK: Cambridge University Press.
Hucbald (1978). De harmonica institutione. In Hucbald, Guido, and John on Music: Three Medieval
Treatises (W. Babb, trans.). New Haven, CT: Yale University Press.
Hughes, D. W. (1989). Grammars of non Western music: A selective survey. In P. Howell, R.
West, & I. Cross (Eds.), Representing musical structure (p. 327-362). London, UK:
Academic Press.
Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: The
MIT Press.
Hurt-Thaut, C. (2009). Clinical practice in music therapy. In S. Hallam, I. Cross, & M. Thaut
(Eds.), The Oxford Handbook of Music Psychology (p. 503-514). New York, NY: Oxford
University Press.
Husserl, E. (1893-1917/1991). On the Phenomenology of the Consciousness of Internal Time (J. B.
Brough, trans.). Dordrecht, The Netherlands: Kluwer Academic Publishers.
Hyde, K. L., Zatorre, R. J., Griffiths, T. D., Lerch, J. P., & Peretz, I. (2006). The brain
morphometry of congenital amusic individuals. Brain, 129, 2562-2570.
Ibsen al Faruqi, L. (1987). The Cantillation of the Quran. Asian Music, 19(1), 1-25.
Ilari, B. & Polka, L. (2006). Infants preferences and long-term memory for complex music.
International Journal of Music Education, 24, 7-20.
Imberty, M. (1981). Les critures du temps. Smantique psychologique de la musique, Tome 2. Paris,
France : Bordas.
Imberty, M. (2003). Langage, musique et cognition : quelques remarques sur lvolution
ncessaire des problmatiques psychologiques des vingt dernires annes. Circuit :
Musiques Contemporaines, 13(2), 93-110.
Imberty, M. (2005). La musique creuse le temps. De Wagner Boulez: Musique, psychologie, psychanalyse.
Paris, France : LHarmattan.
Imberty, M. & Gratier, M. (dir.) (2007). Temps, geste et musicalit. Paris, France : LHarmattan.
Jackendoff, R. (1987). Consciousness and the Computational Mind. Cambridge, MA: The MIT Press.
Jackendoff, R. & Lerdahl, F. (1977). Toward a formal theory of tonal music. Journal of Music
Theory, 21(1), 111-171.
Jackendoff, R. & Lerdahl, F. (2006). The capacity for music: What is it, and whats special
about it? Cognition, 100(1), 33-72.
References 23
Jairazbhoy, N. A. (1971/1995). The r gs of North Indian Music: Their structure and evolution.
Bombay, India: Popular Prakashan Pvt. Ltd.
Jakobson, R. (1976). Six leons sur le son et le sens. Paris, France : ditions de Minuit.
Jan, S. (2007). The memetics of music: A neo-Darwinian view of musical structure and culture. Aldershot,
UK: Ashgate.
Janata, P. (2001). Neurophysiological mechanisms underlying auditory image formation in
music. In R. I. Gody & H. Jrgensen (Eds.), Musical imagery (p. 27-42). Lisse, The
Netherlands: Swets & Zeitlinger.
Jaques-Dalcroze, E. (1907). Le rythme, la musique et lducation. Lausanne, Suisse : Foetisch.
Jeannerod, M. (2002). La nature de lesprit. Paris, France : Odile Jacob.
Jeffries, T. (1974). Relationship of interval frequency count to ratings of melodic intervals.
Journal of Experimental Psychology, 102(5), 903-905.
Johnson, M. (1987). The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason.
Chicago, IL: University of Chicago Press.
Johnson, M. (2007). The Meaning of the Body: The Aesthetics of Human Understanding. Chicago, IL:
University of Chicago Press.
Johnson-Laird, P. & Oatley, K. (1992). Basic emotions, rationality, and folk theory. Cognition
and Emotion, 6(1), 201-223.
Joliat, F. (2000). La formation musicale des futurs enseignants. Revue Musicale Suisse, 5, 17-20.
Joliat, F. (2003, aot). Preliminary aptitude test for discrimination of acoustico-gestual
synchronisation between two clips (PATDAGS). Poster presented at the
International conference Music and gesture, University of East Anglia, Norwich, United
Kingdom.
Joliat, F. (2008). Leffet de laptitude musicale dans la dtection de la dsynchronisation audiovisuelle : lil
musical ou le syndrome de Ludwig van Beethoven. Thse de doctorat, Universit de Fribourg,
Fribourg, Suisse.
Joliat, F. (2010a). La mesure de laptitude musicale : ses thories, ses outils et ses rsultats.
Mdecine des Arts, 67, 30-43.
Joliat, F. (2010b). Leffet de laptitude musicale dans la dtection de la dsynchronisation
audiovisuelle : lil musical ou le syndrome de Ludwig van Beethoven. Recherche en
ducation Musicale, Numro spcial, 28, 29-48.
Jusczyk, P., Pisoni, D., & Mullennix, J. (1992). Some consequences of stimulus variability on
speech processing by 2-month-old infants. Cognition, 43, 253-291.
Juslin, P. N. (1997). Perceived emotional expression in synthesized performances of a short
melody: Capturing the listeners judgement policy. Musicae Scientiae, 1(1), 225-256.
Juslin, P. N., Friberg, A., & Bresin, R. (2001-2002). Toward a computational model of
expression in music performance: The GERM model. Musicae Scientiae, Special issue,
63-122.
Juslin, P. N. & Sloboda, J. A. (Eds.) (2001). Music and Emotion: Theory and Research. New York,
NY: University Press.
Juslin, P. N. & Sloboda, J. A. (Eds.) (2009). Handbook of music and emotion: Theory, research,
applications. New York, NY: Oxford University Press.
Juslin, P. N. & Timmers, R. (2009). Expression and communication of emotion in music
performance. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion
(p. 453-489). New York, NY: Oxford University Press.
References 24
Kaemmer, J. E. (1993). Music in human life: Anthropological perspectives on music. Austin, TX:
University of Texas Press.
Keil, C. (1987). Participatory Discrepancies and the Power of Music. Cultural Anthropology, 2(3),
275-283.
Kim, J. (1995). Mind-Body Problem. In T. Honderich (Ed.), Oxford Companion to Philosophy.
Kippen, J. & Bel, B. (1992). Modeling music with grammars: Formal language representation in
the Bol processor. In A. Marsden & A. Pople (Eds.), Computer representations and models
in music (p. 207-238). London, UK: Academic Press.
Kivy, P. (1984). Sound and semblance: Reflections on musical representation. Princeton, NJ: Princeton
University Press.
Konvalinka, I., Vuust, P., Roepstorff, A., & Frith, C. D. (2010). Follow you, follow me:
Continuous mutual prediction and adaptation in joint tapping. The Quarterly Journal of
Experimental Psychology, i-First, 1-11.
Kramer, L. (1991). Musical narratology: A theoretical outline. Indiana Theory Review, 12, 141-162.
Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology.
Canadian Journal of Experimental Psychology, 51(4), 336-352.
Krumhansl, C. L. & Agres, K. R. (2008). Musical Expectancy: The Influence of Musical
Structure on Emotional Response. Behavioral and Brain Sciences, 31(5), 584-585.
Kuhl, P. K. (1979). The perception of speech in early infancy. In N. J. Lass (Ed.), Speech and
Language: Advances in Basic Research and Practice. New York, NY: Academy Press.
Kuhl, P. K. (1983). Perception of auditory equivalence classes for speech in early infancy. Infant
Behavior and Development, 6, 263-285.
Kuhl, P. K. & Miller, J. D. (1982). Discrimination of auditory target dimensions in the
presence or absence of variation in a second dimension by infants. Perception &
Psychophysics, 31, 279-292.
Kupiec, J.-J. (2003). Les espces existent-elles ? Sciences et Avenir, Hors-srie, 134, 34-39.
Labussire, A. (1976). Rythme enfantin, pentatonismes et giusto syllabique dans les crations
mlodiques des enfants. Revue de Musicologie, LXII(1), 25-84.
Labussire, A. (1983). Rflexion sur le rle de lducation musicale dans lenseignement
secondaire contemporain. Civilisations, 8, 77-84.
Labussire, A. (1994). Un parcours oblig de lanalyse mlodique : lcoute analytique de
productions vocales denfants dge scolaire. Dans Production et expressivit musicale chez
lenfant (p. 15-25). Paris, France : Universit Paris Sorbonne-Paris IV.
Labussire, A. (1994-1995). Le style musical enfantin, concepts et mthodes danalyse. Musique
et style, mthodes et concepts (p. 115-124). Paris, France : Universit Paris Sorbonne-Paris
IV.
Labussire, A. (1997). Rflexion sur la modalit partir de productions vocales denfants dge
scolaire. Musurgia, IV(3), 81-118.
Labussire, A. (2007a). Prennit du sens modal dans lorganisation du chant traditionnel
voix nue. Dans M. Favrot, Lanalyse mlodique (p. 29-44). Paris, France : Universit
Paris Sorbonne-Paris IV.
Labussire, A. (2007b). Chantez-moi ce texte , le modle linguistique franais face au modle
mlodique dans limprovisation vocale sur un texte impos : interfrences, ruptures,
References 25
conciliations. Dans B. Bossis, M.-N. Masson et J.-P. Olive, Le modle vocal, la musique, la
voix, la langue (p. 211-228). Rennes, France : Presses Universitaires de Rennes.
Labussire, A. (2007c). Geste et structure dans le chant traditionnel voix nue. Dans J.-J.
Nattiez (dir.), Musiques : une encyclopdie pour le XXI
e
sicle, Vol. 5 : Lunit de la musique
(p. 980-1028). Arles, France : Actes sud.
Labussire, A. (2008). Voix de Turquie. Une tude stylistique de chants traditionnels voix
nue. Musurgia, XV(4), 5-36.
Lakoff, G. (1987). Women, Fire, and Dangerous Things: What Categories Reveal about the Mind.
Chicago, IL: University of Chicago Press.
Lakoff, G. & Johnson, M. (1980). Metaphors We Live By. Chicago, IL: University of Chicago
Press.
Lakoff, G. & Johnson, M. (1999). Philosophy in the Flesh: The Embodied Mind and Its Challenge to
Western Thought. New York, NY: Basic Books.
Langacker, R. (1987). Foundations of cognitive grammar, Vol. 1. Stanford, CA: Stanford University
Press.
Larson, S. (2004). Musical Forces and Melodic Expectations: Comparing Computer Models
with Experimental Results. Music Perception, 21, 457-498.
Lartillot, O. (2004a). Fondements dun systme danalyse musicale suivant une modlisation cognitiviste de
lcoute. Thse de doctorat, Universit Paris VI, Paris, France.
Lartillot, O. (2004b). A musical pattern discovery system founded on a modeling of listening
strategies. Computer Music Journal, 28(3), 53-67.
Lartillot, O. (2009). Taxonomic categorisation of motivic patterns. Musicae Scientiae, Discussion
Forum, 4(B), 25-46.
Lartillot, O. (2010). Reflexions towards a generative theory of musical parallelism. Musicae
Scientiae, Discussion Forum, 5, 195-229.
Lartillot, O. & Ayari, M. (2009). Segmentation of Tunisian modal improvisation: Comparing
listeners responses with computational predictions. Journal of New Music Research,
38(2), 117-127.
Lartillot, O. & Toiviainen, P. (2007a). A Matlab Toolbox for Musical Feature Extraction from Audio.
Paper presented at the International Conference on Digital Audio Effects, Bordeaux,
France.
Lartillot, O. & Toiviainen, P. (2007b). Motivic matching strategies for automated pattern
extraction. Musicae Scientiae, Discussion Forum, 4(A), 281-314.
Lea, R., Rapp, D., Elfenbein, A., Mitchel, A., & Romine, R. (2008). Sweet silent thought:
Alliteration and resonance in poetry comprehension. Psychological Science, 19(7), 709-716.
Lebedeva, G. & Kuhl, P. K. (2010). Sing that tune: Infants perception of melody and lyrics
and the facilitation of phonetic recognition in songs. Infant Behaviour and Development,
33(4), 419-430.
Lecanuet, J.-P. (1995). Lexprience auditive prnatale. Dans I. Delige et J. A. Sloboda,
Naissance et dveloppement du sens musical (p. 7-38). Paris, France : P.U.F. (Prenatal
auditory experience. In I. Delige & J. A. Sloboda [Eds.], Musical Beginnings: Origins and
Development of Musical Competence [p. 3-34]. New York, NY: Oxford University Press,
1996.)
Leech, G. L. (1974). Semantics. Middlesex, UK: Penguin Books.
References 26
Lefebvre, H. (2004). Rhythmanalysis: Space, time and everyday life (S. Elden and G. Moore, trans.).
London, UK: Continuum. (Original book: lments de rythmanalyse : introduction la
connaissance des rythmes. Paris, France : ditions Syllepse, 1992.)
Lefkoff, G. (Ed.) (1967). Papers from the West Virginia University Conference on Computer Applications
in Music. Morgantown, WV: West Virginia University Library.
Lehmann, C., Welker, L., & Schiefenhvel, W. (2009-2010). Towards an Ethology of Song: A
categorization of musical behaviour. Musicae Scientiae, Special issue, 321-338. (S.
Renard, trad. : Vers une thologie du chant : une catgorisation du comportement
musical. Dans I. Delige, O. Vitouch et O. Ladinig [dir.], Musique et volution [p. 267-
Lehmann, A. C. & Gruber, H. (2009). Music. In K. A. Ericsson, N. Charness, P. J. Feltovich, &
R. R. Hoffman, The Cambridge handbook of expertise and expert performance (p. 457-470).
Cambridge, MA: Cambridge University Press.
Leman, M. (2008). Embodied music cognition and mediation technology. Cambridge, MA: The MIT
Press.
Leman, M. (2010). An embodied approach to music semantics. Musicae Scientiae, Discussion
Forum, 5, 43-67.
Lerdahl, F. (1988). Cognitive constraints on compositional systems. In J. A. Sloboda (Ed.),
Generative processes in music (p. 231-259). New York, NY: Oxford University Press.
Lerdahl, F. (1992). Cognitive constraints on compositional systems. Contemporary Music Review,
6(1), 97-121.
Lerdahl, F. (2001). Tonal pitch space. New York, NY: Oxford University Press.
Lerdahl, F. & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: The MIT
Press.
Leroy, J.-L. (2003). Vers une pistmologie des savoirs musicaux. Paris, France : LHarmattan.
Leroy, J.-L. (2005). Le vivant et le musical. Paris, France : LHarmattan.
Leroy, J.-L. (2009a). A general model for the dynamic functioning of musical systems. Musicae
Scientiae, 13(1), 3-34.
Leroy, J.-L. (2009b). Les styles musicaux comme mdiateurs culturels dans llaboration du
sens musical ! 1. Le concept de style musical. Journal de Recherche en ducation Musicale
(JREM), 8, 7-50.
Leroy, J.-L. (2010). Principes dorganisation des hauteurs discrtes dans les systmes musicaux.
Musurgia, XVII(1), 17-47.
Leroy, J.-L. (2012). Un paradigme pour les sciences de lducation musicale : de la musique objet la
musique fonction. Universit de Paris-Sorbonne/Observatoire Musical Franais
(Document de recherche O.M.F., srie Didactique de la musique, n 33).
Leroy, J.-L. (forthcoming). Outline for a general theory of music. Paris, France : ditions des
Archives Contemporaines.
Leroy, Y. (2002). Lunivers sonore animal. Pour la Science, Hors-srie, 34, 6-9.
Lestel, D. (2009). Les origines animales de la culture. Paris, France : Flammarion.
Lvi-Strauss, C. (1963). Structural Anthropology (C. Jacobson and B. G. Schoepf, trans.). New
York, NY: Doubleday Anchor Books. (Original book published in 1958.)
Levitin, D. J. & Tirovolas, A. K. (2009). Current advances in the cognitive neuroscience of
music. Annals of the New York Academy of Sciences, 1156, 211-231.
References 27
Leydier, K. (2007, juin). Le rle des berceuses dans le dveloppement psychique du nourrisson.
Communication prsente lUniversit de Franche-Comt, France.
Liberman, M. Y. (1975). The intonational system of English. Bloomington, In: Indiana University
Linguistics Club.
Lidov, D. & Gabura, J. (1973). A Melody Writing Algorithm Using a Formal Language Model.
Computer Studies in the Humanities, 4(3-4), 138-148.
Lipscomb, S. D. (2005). The perception of audio-visual composites: Accent structure
alignment of simple stimuli. Selected reports in ethnomusicology, 12, 37-67.
Livingstone, S. L. & Thompson, W. F. (2009-2010). The emergence of music from the Theory
of Mind. Musicae Scientiae, Special issue, 83-115. (S. Renard, trad. : mergence de la
musique et thorie de lesprit. Dans I. Delige, O. Vitouch et O. Ladinig [dir.],
Musique et volution [p. 47-63]. Wavre, Belgique : Mardaga, 2010.)
Lomax, A. (1976a). Cantometrics: A method in musical anthropology. Berkeley, CA: University of
California Press.
Lomax, A. (1976b). Cantometrics: An approach to the anthropology of music. Berkeley, CA: University
of California Press.
Lord, A. B. (1960). The singer of Tales. Cambridge, MA: Harvard University Press.
Lortat-Jacob, B. (1996). Canti di passione. Castelsardo, Sardegna: Lucca, LIM.
Lortat-Jacob, B. (2003). Loreille Jazz : essai dethnomusicologie. Circuit, XIV(1), 43-51.
Lortat-Jacob, B. (2004). Ce que chanter veut dire. tude de pragmatique. LHomme, 171-172,
83-101.
Lortat-Jacob, B. (2010). Quand les affects confondent parole et musique Sardaigne et
Albanie. Dans C. Calame, F. Dupont, B. Lortat-Jacob et M. Manca (dir.), La voix acte.
Pour une nouvelle ethnopotique (p. 245-261). Paris, France : Kim.
Lsche, I. (1990). Sensorimotor and action development in autistic children from infancy to
early childhood. Journal of Child Psychology and Psychiatry, 31(5), 749-761.
Lumsden, C. & Wilson, E. (1981). Genes, Mind and Culture. Cambridge, MA: Harvard University
Press.
Lynch, M. P., Eilers, R. E., Oller, D. K., & Urbano, R. C. (1990). Innateness, Experience, and
Music Perception. Psychological Science, 1, 272-276.
Mttnen, P. (1993). Action and Experience: A Naturalistic Approach to Cognition. Helsinki,
Sweden: Academia Scientiarum Fennica.
Mche, F.-B. (1983). Musique, mythe, nature ou Les dauphins dArion. Paris, France : Klincksieck.
Mche, F.-B. (2000). The necessity of and problems with a universal musicology. In N. L.
Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (p. 473-479). Cambridge,
MA: The MIT Press.
Mche, F.-B. (2001). Musique au singulier. Paris, France : Odile Jacob.
Malloch, S. (1999-2000). Mothers and infants and communicative musicality. Musicae Scientiae,
Special issue, 29-57.
Margulis, E. H. (2003). Melodic Expectation: A Discussion and Model. Ph. D. Dissertation,
Columbia University, New York, NY.
Margulis, E. H. & Levine W. H. (2004). Melodic Expectation: A Priming Study. In S. D.
Lipscomb, R. Ashley, R. O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8
th

References 28
International Conference on Music Perception and Cognition (p. 364-366). Evanston, IL:
Casual Productions.
Marler, P. (2000). Origins of Music and Speech: Insights from Animals. In N. L. Wallin, B.
Merker, & S. Brown (Eds.), The Origins of Music (p. 31-48). Cambridge, MA: The MIT
Press.
Marler, P. (2004). Les origines animales de la musique. Dans J.-J. Nattiez (dir.), Musiques : une
encyclopdie pour le XXI
e
sicle, Vol. 2 : Les savoirs musicaux (p. 495-505). Arles, France :
Actes sud.
Marsden, A. & Pople, A. (Eds.) (1992). Computer representations and models in music. London, UK:
Academic Press.
Marsh, K. (2008). The Musical Playground: Global tradition and change in childrens songs and games.
Martin, D.-C. (2001). Chanter lamour . Musique, fiert et pouvoir. Terrain, 37, 89-104.
Martin, P. J. (2006). Music, Identity, and Social Control. In S. Brown & U. Volgsten (Eds.),
Music and manipulation: On the social uses and social control of music (p. 57-73). New York,
NY: Berghahn Books.
Masataka, N. (1999). Preference for infant-directed singing in 2-day-old hearing infants of deaf
parents. Developmental Psychology, 35, 1001-1005.
Massin, B. & Massin, J. (1990). Wolfgang Amadeus Mozart. Paris, France : Fayard.
Mayer, R. E. (2003). What causes individual differences in cognitive performance? In
R. J. Sternberg & L. Grigorenko (Eds.), The psychology of abilities, competencies, and expertise
(p. 263-273). Cambridge, UK: Cambridge University Press.
Maynard Smith, J. (2001). La construction du vivant : gnes, embryons et volution. Paris, France :
ditions Cassini.
Mayr, E. (1983). How to carry out the adaptationist program? The American Naturalist, 121(3),
324-334.
McAdams, S. & Battier, M. (2005). Creation and perception of a contemporary musical work:
The Angel of the Death by Roger Reynolds. Paris, France: IRCAM/Centre
Pompidou.
McAdams, S. & Bertoncini, J. (1997). Organization and discrimination of repeating sound
sequences by newborn infants. Journal of the Acoustical Society of America, 102, 2945-2953.
McAdams, S. & Bregman, A. (1979). Hearing Musical Streams. Computer Music Journal, 3(4), 26-43.
McDermott, J. H. (2009). What can experiments reveal about the origins of music? Current
Directions in Psychological Science, 18(3), 164-169.
McDermott, J. & Hauser, M. D. (2005). The Origins of Music: Innateness, Uniqueness, and
Evolution. Music Perception, 23(1), 29-59.
McDermott, J. & Hauser, M. D. (2006). Thoughts on an Empirical Approach to the
Evolutionary Origins of Music. Music Perception, 24(1), 111-116.
McDonald, R., Hargreaves, D. J., & Miell, D. (Eds.) (2002). Musical identities. New York, NY:
McDonald, R., Hargreaves, D. J., & Miell, D. (2009). Musical identities. In S. Hallam, I. Cross,
& M. Thaut (Eds.), The Oxford Handbook of Music Psychology (p. 462-470). New York,
References 29
McDonald, R., Miell, D., & Wilson, G. (2005). Talking about music: A vehicle for identity
development. In D. Miell, R. MacDonald, & D. J. Hargreaves (Eds.), Musical
communication (p. 321-338). New York, NY: Oxford University Press.
McEvoy, R., Loveland, K., & Landry, S. (1988). The functions of immediate echolalia in
autistic children. Journal of Autism and Developmental Disorders, 18(4), 657-668.
McNeill, W. H. (1995). Keeping together in time: Dance and drill in human history. Cambridge, MA:
Harvard University Press.
McPherson, S. (1915). Form in Music. London, UK: Joseph Williams Ltd.
Mees, N. (1997). Mode et systme, conceptions ancienne et moderne de la modalit. Musurgia,
IV(3).
Mehler, J., Bertoncini, J., Barrire, M., & Jassik-Gerschenfeld, D. (1978). Infant recognition of
mothers voice. Perception, 7, 491-497.
Mehler, J., Bertoncini, J., Barriere, M., & Jassik-Gerschenfeld, D. (1984). Recognition of the
mothers voice by newborns. Cuadernos de Psicologa, 6, 61-70.
Merker, B. (2006). The Uneven Interface Between Culture and Biology in Human Music. Music
Perception, 24(1), 95-98.
Merker, B. (2009). Ritual foundations of human uniqueness. In S. Malloch & C. Trevarthen
(Eds.), Communicative musicality (p. 45-59). New York, NY: Oxford University Press.
Merleau-Ponty, M. (1942). La Structure du Comportement. Paris, France : Presses Universitaires de
France. (A. Fisher, trans.: The Structure of Behaviour. London, UK: Methuen, 1965.)
Merleau-Ponty, M. (1945). Phnomnologie de la perception. Paris, France : Gallimard. (C. Smith,
trans.: Phenomenology of Perception. London, UK: Routledge, 2002.)
Merleau-Ponty, M. (1964). The Primacy of Perception: And Other Essays on Phenomenology, Psychology,
the Philosophy of Art, History and Politics (E. Edie, Ed.). Evanston, IL: Northwestern
University Press.
Merriam, A. P. (1964). The anthropology of music. Evanston, IL: Northwestern University Press.
Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago, IL: The University of Chicago
Press.
Meyer, L. B. (1967). Music, the Arts, and Ideas. Chicago, IL: The University of Chicago Press.
Meyer, L. B. (1973). Explaining Music. Chicago, IL: The University of Chicago Press.
Meyer, L. B. (1989). Style and Music Theory, History and Ideology. Philadelphia, PA: University of
Pennsylvania Press.
Meyer, L. B. (1998). Un univers duniversaux. Philosophie, 59(4), 23-48.
Meyer, L. B. (2001). Music and emotion: Distinctions and uncertainties. In P. N. Juslin & J. A.
Michaels, C. & Carello, C. (1981). Direct Perception. Englewood Cliffs, NJ: Prentice-Hall.
Miell, D., McDonald, R., & Hargreaves, D. J. (Eds.) (2005). Musical Communication. New York,
Miereanu, C. & Hascher, X. (Eds.) (1998). Les Universaux en musique. Actes du 4
e
Congrs
international sur la signification musicale. Paris, France : Publications de la Sorbonne.
Mikiten, T. (1996). A method for research in music medicine. In R. R. Pratt & R. Spintge
(Eds.), Musicmedicine, Vol. 2 (p. 14-23). Saint Louis, MO: MMB Music.
Miller, O. & Ockelford, A. (2005). Visual Needs. London, UK: Continuum.
References 30
Mills, A. (1993). Visual handicap. In D. Bishop & K. Mogford (Eds.), Language Development in
Exceptional Circumstances (p. 150-164). Hove, UK: Psychology Press.
Mills, M. & Melhuish, E. (1974). Recognition of mothers voice in early infancy. Nature, 252,
123-124.
Mithen, S. (2005). The Singing Neanderthals: The Origins of Music, Language, Mind and Body. London,
UK: Weidenfeld and Nicholson.
Mithen, S. (2009). The Music Instinct: The Evolutionary Basis of Musicality. Annals of the New
York Academy of Sciences, 1169 (p. 3-12). Boston, MA: Blackwell Publishing.
Moles, A. (1968). Information Theory and Esthetic Perception. Urbana, IL: University of Illinois
Press.
Molino, J. (1975). Fait musical et smiologie de la musique. Musique en Jeu, 17, 37-62.
Molino, J. (2000). Towards an evolutionary theory of music and language. In N. L. Wallin, B.
Merker, & S. Brown (Eds.), The Origins of Music (p. 165-176). Cambridge, MA: The
MIT Press.
Molino, J. & Nattiez, J.-J. (2005). Tipologie e universali. In J.-J. Nattiez, M. Bent, R. Dalmonte,
& M. Baroni (Eds.), Enciclopedia della Musica, Vol. 5: Lunit della musica (p. 331-366).
Torino, Italia: Einaudi.
Molino, J. & Nattiez, J.-J. (2007). Typologie et Universaux. Dans J.-J. Nattiez (dir.), Musiques :
une encyclopdie pour le XXI
e
sicle, Vol. 5 : Lunit de la musique (p. 337-396). Arles,
France : Actes sud.
Monod, J. (1970). Le hasard et la ncessit. Paris, France : ditions du Seuil.
Morin, E. (1973). Le paradigme perdu : la nature humaine. Paris, France : ditions du Seuil.
Morrongiello, B. & Roes, C. (2000). Childrens memory for new songs: Integration or
independent storage of words and tunes? Journal of Experimental Child Psychology, 50(1),
25-38.
Motte-Haber (de la), H. (1994). Principales thories scientifiques en psychologie de la
musique : les paradigmes. Dans A. Zenatti (dir.), Psychologie de la musique (p. 27-53).
Paris, France : PUF.
Murdock, G. P. (1945). The Common Denominator of Cultures. In R. Linton (Ed.), The Science
of Man in the World Crisis (p. 123-142). New York, NY: Columbia University Press.
Nakata, T. & Trehub, S. E. (2004). Infants responsiveness to maternal speech and singing.
Infant Behavior & Development, 27(4), 455-464.
Nakata, T. & Trehub, S. E. (2011). Expressive timing and dynamics in infant-directed and non-
infant-directed singing. Psychomusicology: Music, Mind & Brain, 21(1-2), 45-53.
Narmour, E. (1990). The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization
Model. Chicago, IL: University of Chicago Press.
Narmour, E. (1992). The Analysis and Cognition of Melodic Complexity: The Implication-Realization
Model. Chicago, IL: University of Chicago Press.
Nattiez, J.-J. (1973). Trois modles linguistiques pour lanalyse musicale. Musique en jeu, 10, 3-11.
Nattiez, J.-J. (1975). Fondements dune smiologie de la musique. Paris, France : Union Gnrale
dditions.
Nattiez, J.-J. (1987). Musicologie gnrale et smiologie. Paris, France : Christian Bourgois.
Nattiez, J.-J. (1990). Music and discourse: Towards a semiology of music (C. Abbate, Trans.).
Princeton, NJ: Princeton University Press. (Original book published in 1987.)
References 31
Nattiez, J.-J. (2002). Musica e significato. In J.-J. Nattiez, M. Bent, R. Dalmonte, & M. Baroni
(Eds.), Enciclopedia della Musica, Vol. 2: Il sapere musicale (p. 206-238). Torino, Italia:
Einaudi. (La signification comme paramtre musical. Dans J.-J. Nattiez [dir.],
Musiques : une encyclopdie pour le XXI
e
sicle, Vol. 2 : Les savoirs musicaux [p. 256-289].
Arles, France : Actes sud, 2004.)
Nattiez, J.-J. (2003). Musiche tradizionali e significati. In J.-J. Nattiez, M. Bent, R. Dalmonte, &
M. Baroni (Eds.), Enciclopedia della Musica, Vol. 3: Musica e culture (p. 841-861). Torino,
Italia: Einaudi.
Nattiez, J.-J. (2004). Ethnomusicologie. Dans J.-J. Nattiez (dir.), Musiques : une encyclopdie pour le
XXI
e
sicle, Vol. 2 : Les savoirs musicaux (p. 721-739). Arles, France : Actes sud.
Neisser, U. (1976). Cognition and reality. New York, NY: Freeman.
Nemoto, I., Fujimaki, T., & Wang, L. (2010). fMRI measurement of brain activities to major
and minor chords and cadence sequences. Conference Proceedings IEEE Engineering in
Medicine and Biology Society, 1, 5,640-5,643.
Nettl, B. (1983). The Study of Ethnomusicology: Twenty-nine Issues and Concepts. Urbana, IL:
University of Illinois Press.
Nettl, B. (2000). An Ethnomusicologist Contemplates Universals in Musical Sound and
Musical Cultures. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music
(p. 463-472). Cambridge, MA: The MIT Press.
Nettl, B. (2005). The Study of Ethnomusicology: Thirty-One Issues and Concepts. Champaign, IL:
University of Illinois Press.
Nielzn, S. & Cesarec, Z. (1982). Emotional experience of music as a function of musical
structure. Psychology of Music, 10(1), 7-17.
North, A. C., Hargreaves, D. J., & Hargreaves, J. J. (2004). Uses of Music in Everyday Life.
Ockelford, A. (1988). Some observations concerning the musical education of blind children and those with
additional handicaps. Paper presented at the 32
nd
Conference of the Society for Research
in Psychology of Music and Music Education (now SEMPRE), University of Reading,
United Kingdom.
Ockelford, A. (1991). The role of repetition in perceived musical structures. In P. Howell,
R. West, & I. Cross (Eds.), Representing Musical Structure (p. 129-160). London, UK:
Academic Press.
Ockelford, A. (1999). The Cognition of Order in Music: A Metacognitive Study. London, UK:
Roehampton Institute.
Ockelford, A. (2005). Repetition in Music: Theoretical and Metatheoretical Perspectives. London, UK:
Ashgate.
Ockelford, A. (2006). Implication and expectation in music: A zygonic model. Psychology of
Music, 34(1), 81-142.
Ockelford, A. (2008). Music for Children and Young People with Complex Needs. New York, NY:
Ockelford, A. (2009a). Zygonic Theory: Introduction, Scope, Prospects. Zeitschrift der Gesellschaft
fr Musiktheorie, 6(2), 91-172.
Ockelford, A. (2009b). Similarity relations between groups of notes: Music-theoretical and
music-psychology perspectives. Musicae Scientiae, Discussion Forum, 4(B), 47-93.
Ockelford, A. (2010a). Understanding autism. Libretto, 3, 11.
References 32
Ockelford, A. (2010b). Music window on the autistic mind. In K. Heid & I. Joly (Eds.),
Whats Special? Opera, Dance and Music Education for and with People with Special Needs across
Europe (p. 48-51). Brussels, Belgium: Reseo.
Ockelford, A. (2011). Another exceptional musical memory: Evidence from a savant of how
atonal music is processed in cognition. In I. Delige & J. Davidson (Eds.), Music and
the Mind: A Book to Honour the Achievements of John Sloboda. New York, NY: Oxford
University Press.
Ockelford, A., Gott, S., Risdon, J., & Zimmermann, S. (2011). Focus on Music, 3: Exploring the
Musical Interests and Abilities of Blind and Partially-Sighted Children with Leber Congenital
Amaurosis. London, UK: Institute of Education.
Ockelford, A. & Matawa, C. (2009). Focus on Music, 2: Exploring the Musical Interests and Abilities of
Blind and Partially-Sighted Children with Retinopathy of Prematurity. London, UK: Institute
of Education.
Ockelford, A., Pring, L., Welch, G., & Treffert, D. (2006). Focus on Music: Exploring the Musical
Interests and Abilities of Blind and Partially-Sighted Children with Septo-Optic Dysplasia.
London, UK: Institute of Education.
Ockelford, A. & Sergeant, D. (under review). Musical expectancy in atonal contexts: Musicians
perception of antistructure.
Ockelford, A., Welch, G., Jewell-Gore, L., Cheng, E., Vogiatzoglou, A., & Himonides, E.
(2011). Sounds of Intent, Phase 2: Approaches to the quantification of music-
developmental data pertaining to children with complex needs. European Journal of
Special Needs Education.
Opie, I. & Opie, P. (1985). The Singing Game. New York, NY: Oxford University Press.
Paillard, J. (1994). La conscience. Dans M. Richelle, J. Requin et M. Robert (dir.), Trait de
psychologie exprimentale, Vol. 2 (p. 639-684). Paris, France : P.U.F.
Panksepp, J. (1998). Affective neuroscience. New York, NY: Oxford University Press.
Panksepp, J. (2009-2010). The emotional antecedents to the evolution of music and language.
In O. Vitouch & O. Ladinig (Eds.), Musicae Scientiae, Special issue, 229-259. (M.
Gratier, trad. : Les antcdents motionnels de lvolution de la musique et du
langage. Dans I. Delige, O. Vitouch et O. Ladinig [dir.], Musique et volution [p. 189-
Panksepp, J. (2010). See Panksepp, J. (2009-2010).
Panksepp, J. & Bernatzky, G. (2002). Emotional sounds and the brain: The neuro-affective
foundations of music appreciation. Behavioral Processes, 60, 133-155.
Papou!ek, H. (1995). Musicalit et petite enfance. Origines biologiques et culturelles de la
prcocit. Dans I. Delige et J. A. Sloboda (dir.), Naissance et dveloppement du sens
musical (p. 41-62). Paris, France : PUF. (Musicality in infancy research: Biological and
cultural origins of early musicality. In I. Delige & J. A. Sloboda [Eds.], Musical
Beginnings: Origins and Development of Musical Competence [p. 37-55]. New York, NY:
Oxford University Press.)
Papou!ek, M. (1995). Le comportement parental intuitif, source cache de la stimulation
musicale dans la petite enfance. Dans I. Delige et J. A. Sloboda (dir.), Naissance et
dveloppement du sens musical (p. 101-130). Paris, France : PUF. (Intuitive parenting: A
hidden source of musical stimulation in infancy. In I. Delige & J. A. Sloboda [Eds.],
Musical Beginnings: Origins and Development of Musical Competence [p. 88-112]. New York,
NY: Oxford University Press.)
References 33
Patel, A. D. (2006). Musical Rhythm, Linguistic Rhythm, and Human Evolution. Music
Perception, 24, 99-104.
Patel, A. D. (2008). Music, Language, and the Brain. New York, NY: Oxford University Press.
Patel, A. D. (2010). Music, biological evolution, and the brain. In M. Bailar (Ed.), Emerging
Disciplines (p. 91-144). Houston, TX: Rice University Press.
Patnaik, P. (1997). Rasa in Aesthetics. New Delhi, Delhi: DK Printworld.
Pattee, H. (1995). Artificial life needs a real epistemology. In F. Moran, A. Moreno, J. Merelo, &
P. Chacon (Eds.), Advances in Artifical Life: Lecture Notes in Artificial Intelligence (p. 23-38).
Berlin, Deutschland: Springer.
Payne, K. (2000). The Progressively Changing Songs of Humpback Whales: A Window on the
Creative Process in a Wild Animal. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The
Origins of Music (p. 135-150). Cambridge, MA: The MIT Press.
Payne. R. & Sorensen, M. (2005). The Cuckoos: Cuculidae. New York, NY: Oxford University
Press.
Peretz, I. (2002). La musica e il cervello. In J.-J. Nattiez, M. Bent, R. Dalmonte, & M. Baroni
(Eds.), Enciclopedia della Musica, Vol. 2: Il sapere musicale (p. 241-279). Torino, Italia :
Einaudi. (Le cerveau musical. Dans J.-J. Nattiez [dir.], Musiques : une encyclopdie pour le
XXI
e
sicle, Vol. 2 : Les savoirs musicaux [p. 293-320]. Arles, France : Actes sud, 2004.)
Peretz, I. (2003). Brain specialization for music: New evidence from congenital amusia. In
I. Peretz & R. Zatorre (Eds.), The Cognitive Neuroscience of Music (p. 193-203). New
York, NY: Oxford University Press.
Peretz, I. (2006). The nature of music from a biological perspective. Cognition, 100, 1-32.
Peretz, I., Gagnon, L., & Bouchard, B. (1998). Music and emotion: Perceptual determinants,
immediacy, and isolation after brain damage. Cognition, 68(2), 111-141.
Peretz, I. & Zatorre, R. (Eds.) (2003). The Cognitive Neuroscience of Music. New York, NY: Oxford
University Press.
Petrini, K., Dahl, S., Rocchesso, D., Waadeland, C. H., Avanzini, F., Puce, A., & Frank, E. P.
(2009). Multisensory integration of drumming actions: Musical expertise affects
perceived audiovisual asynchrony. Experimental brain research, 198(2-3), 339-352.
Phan, M., Pytte, C., & Vicario, D. (2006). Early auditory experience generates long-lasting
memories that may subserve vocal learning in songbirds. Proceedings of the National
Academy of Sciences of the United States of America, 103(4), 1,088-1,093.
Phillips-Silver, J., Toiviainen, P., Gosselin, N., Pich, O., Nozaradan, S., Palmer, C., & Peretz,
I. (2011). Born to dance but beat deaf: A new form of congenital amusia.
Neuropsychologia, 49, 961-969.
Piaget, J. (1967). Biologie et connaissance. Paris, France : Gallimard.
Piaget, J. (1987). Introduction. Dans J. Piaget, P. Mounoud et J.-P. Bronckart (dir.), Psychologie
(p. 307-316). Paris, France : Gallimard.
Pinker, S. (1994). The language instinct. New York, NY: William Morrow.
Pinker, S. (2002). The Blank Slate. New York, NY: Viking Press.
Pinker, S. & Bloom, P. (1990). Natural Language and Natural Selection. Behavioral and Brain
Sciences, 13, 707-784.
Plantinga, J., Trehub, S. E., & Russo, F. A. (2011, June). Multimodal aspects of maternal speech and
singing. Paper presented at Neurosciences and Music IV, Edinburgh, Scotland.
References 34
Pomerantz, J. R. (1986). Visual form perception: An overview. In E. C. Schwab & H. C.
Nusbaum (Eds.), Visual perception, Vol. 2: Pattern recognition by humans and machines (p. 1-
30). New York, NY: Academic Press.
Port, R. & Leary, A. (2005). Against formal phonology. Language, 81(4), 927-964.
Pring, L. & Ockelford, A. (2005). Children with septo-optic dysplasia musical interests,
abilities and provision: The results of a parental survey. The British Journal of Visual
Impairment, 23(2), 58-66.
Rapp, D. & Samuel, A. (2002). A reason to rhyme: Phonological and semantic influences on
lexical access. Journal of Experimental Psychology: Learning, Memory and Cognition, 28(3),
564-571.
Ratner, L. G. (1980). Classic music: Expression, form, and style. New York, NY: Schirmer.
Rauschecker, J. P. (2003). Functional Organization and Plasticity of Auditory Cortex. In
I. Peretz & R. Zatorre (Eds.), The Cognitive Neuroscience of Music (p. 357-365). New
Reti, R. (1951). The thematic process in music. New York, NY: Macmillan.
Reuchlin, M. (1990). Laptitude. Encylopaedia universalis, Vol. 2 (p. 681-685). Paris, France :
Encyclopaedia universalis.
Rvsz, G. (1953). Introduction to the psychology of music (G. I. C. de Courcy, trans.). London, UK:
Longsmans, Green and Co. (Original published in 1946.)
Rey, A. (dir.) (2001). Le Grand Robert de la langue franaise, Vol. 6. Paris, France : Dictionnaires Le
Robert.
Reybrouck, M. (1997). Gestalt Concepts and Music: Limitations and Possibilities. In M. Leman
(Ed.), Music, Gestalt and Computing: Studies in Cognitive and Systematic Musicology (p. 57-69).
Berlin-Heidelberg, Deutschland: Springer Verlag.
Reybrouck, M. (2001a). Biological roots of musical epistemology: Functional Cycles, Umwelt,
and enactive listening. Semiotica, 134(1-4), 599-633.
Reybrouck, M. (2001b). Musical imagery between sensory processing and ideomotor
simulation. In R. I. Gody & H. Jrgensen (Eds.), Musical imagery (p. 117-135). Lisse,
The Netherlands: Swets & Zeitlinger.
Reybrouck, M. (2004). Music Cognition, Semiotics and the Experience of Time:
Ontosemantical and Epistemological Claims. Journal of New Music Research, 33(4), 411-
428.
Reybrouck, M. (2005a). A Biosemiotic and Ecological Approach to Music Cognition: Event
Perception between Auditory Listening and Cognitive Economy. Axiomathes: An
International Journal in Ontology and Cognitive Systems, 15(2), 229-266.
Reybrouck, M. (2005b). Body, mind and music: Musical semantics between experiential
cognition and cognitive economy. TRANS-Transcultural Music Review, 9,
<http://www.sibetrans.com/trans/>.
Reybrouck, M. (2006). Musical creativity between symbolic modelling and perceptual constraints:
The role of adaptive behaviour and epistemic autonomy. In I. Delige & G. Wiggins
(Eds.), Musical Creativity: Multidisciplinary Research in Theory and Practice (p. 42-59). Hove,
UK: Psychology Press.
Reynolds, R. (2004). Compositional strategies in The Angel of Death, for piano, chamber
orchestra, and computer-processed sound. Music Perception, 22(2), 173-205.
References 35
Rimland, B. & Edelson, S. M. (1995). A pilot study of auditory integration training in autism.
Journal of Autism and Developmental Disorders, 25, 61-70.
Rizzolatti, G. & Craighero, L. (2004). The mirror-neuron system. Annual Review of Neuroscience,
27, 169-192.
Rizzolati, G. & Sinigaglia, C. (2008). Les neurones miroirs. Paris, France : Odile Jacob.
Roads, C. (1984). An overview of music representations. In M. Baroni & L. Callegari (Eds.),
Musical grammars and computer analysis. Firenze, Italia: Olschki.
Robb, L. (1999-2000). Emotional musicality in mother-infant vocal affect, and an acoustic
study of postnatal depression. Musicae Scientiae, Special issue, 123-154.
Robinson, D. (1995). Charlot : entre rire et larmes. Paris, France : Gallimard.
Rosch, E. (1978). Principles of categorization. In E. Rosch & B. Lloyd (Eds.), Cognition and
categorization. Hillsdale, NJ: Lawrence Erlbaum.
Rosner, B. & Meyer, L. B. (1986). The perceptual roles of melodic process, contour and form.
Rothenberg, D. (2001). Music in nature. Alternatives Journal, 27(2), 30-31.
Roud, S. (2010). The Lore of the Playground: One hundred years of childrens games, rhymes and traditions.
London, UK: Random House Books.
Rousseau, J.-J. (1768). Dictionnaire de musique. New York, NY: Georg Olms/Johnsons Reprint
Corporation.
Rubin, D. (1995). Memory in Oral Traditions: The Cognitive Psychology of Epic, Ballads and Counting-
Out Rhymes. New York, NY: Oxford University Press.
Ruwet, N. (1967). Musicologie et linguistique. Revue internationale des sciences sociales, 19(1), 85-93.
Ruwet, N. (1987). Methods of analysis in musicology (M. Everist, Trans.). Music Analysis, 6(1-
2), 3-36. (Mthodes danalyse en musicologie, Revue belge de Musicologie, 20[1-4], 65-90.)
Saarikallio, S. H. (2008). Music in mood regulation: Initial scale development. Musicae Scientiae,
XII(2), 291-307.
Sachs, C. (1953). Rhythm and Tempo: A study in music history. London, UK: Dent.
Sacks, O. (2007). Musicophilia: Tales of Music and the Brain. New York, NY: Vintage Books.
Saffran, J. R., Johnson, E. K., Aslin, R. N., & Newport, E. L. (1999). Statistical learning by 8-
month-old infants. Science, 274, 27-52.
Saffran, J. R., Loman, M. M., & Robertson, R. R. W. (2000). Infant memory for musical
experiences. Cognition, 77, 15-23.
Sallis, J. (2006). Transfigurements: On the True Sense of Art. Chicago, IL: University of Chicago
Press.
Saussure (de), F. (1983). Course in general linguistics (R. Harris, Trans.). London, UK: Duckworth.
(Original book published in 1916.)
Schaeffer, P. (1966). Trait des objets musicaux. Paris, France : ditions du Seuil.
Schafer, M. (1979). The Tuning of the World. New York, NY: Knopf.
Schellenberg, E. G. & Trehub, S. E. (1996). Natural Musical Intervals: Evidence from Infant
Listeners. Psychological Science, 7, 272-277.
Schellenberg, E. G. & Trehub, S. E. (1999). Culture-general and culture-specific factors in the
discrimination of melodies. Journal of Experimental Psychology, 74, 107-127.
References 36
Schenker, H. (1906). Harmonielehre (Neue musikalische Theorien und Phantasien, Band 1). Stuttgart,
Deutschland: Cotta.
Schenker, H. (1935). Der freie Satz (Neue musikalische Theorien und Phantasien, Band 3). Vienna,
Austria: Universal Edition.
Scherer, K. R. (1989). Vocal correlates of emotional arousal and affective disturbance. In
H. Wagner & A. Manstead (Eds.), Handbook of social psychophysiology. New York, NY:
Wiley.
Scherer, K. R. (1991). Emotion expression in speech and music. In J. Sundberg, L. Nord, &
R. Carlson (Eds.), Music, Language, Speech and Brain (p. 146-156). London, UK:
Macmillan.
Scherer, K. R., Banse, R., & Wallbott, H. (2001). Emotion inferences from vocal expression
correlate across languages and cultures. Journal of Cross-Cultural Psychology, 32(1), 76-92.
Scherer, K. R. & Oshinsky, J. (1977). Cue utilization in emotion attribution from auditory
stimuli. Motivation and Emotion, 1(4), 336-346.
Scherer, K. R. & Zentner, K. (2001). Emotional effects of music: Production rules. In
P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (p. 361-392).
Schoenberg, A. (1967). Fundamentals of Musical Composition. London, UK: Faber and Faber.
Schoenberg, A. (1975). Style and Idea: Selected Writings of Arnold Schoenberg (L. Stein, Ed., L. Black,
trans.). New York, NY: St. Martins Press; London, UK: Faber & Faber.
Schn, D., Moreno, S., Boyer, M., Kolinsky, R., Besson, M., & Peretz, I. (2006). Why do mothers
sing to their children? Paper presented at the International Conference in Music
Perception and Cognition, Bologna, Italia.
Schubert, E. (2009-2010). The fundamental function of music. Musicae Scientiae, Special issue,
63-81. (S. Renard, trad. : Les fonctions fondamentales de la musique. Dans I. Delige,
O. Vitouch et O. Ladinig [dir.], Musique et volution [p. 35-46]. Wavre, Belgique :
Mardaga, 2010.)
Scruton, R. (1977). The Aesthetics of Music. Oxford, UK: Clarendon Press.
Scruton, R. (2009). Understanding Music: Philosophy and Interpretation. London, UK: Continuum.
Seashore, C. E. (1967). Psychology of music. New York, NY: Dover. (Original published in 1938.)
Segr, G. (2001). La voix dElvis Terrain, 37, 61-74.
Selfridge-Field, E. (2007). Social dimensions of melodic identity, cognition, and association.
Musicae Scientiae, Discussion Forum, 4(A), 77-94.
Selincourt (de), B. (1920/1956). Music and duration. Music and Letters, 1, 286-293. (In S. Langer
[Ed.], Reflections on Art [p. 152-160]. New York, NY: Oxford University Press.)
Serafine, M., Crowder, R., & Repp, B. (1984). Integration of melody and text in memory for
songs. Cognition, 16(3), 285-303.
Sve, B. (2002). LAltration Musicale ou ce que la musique apprend au Philosophe. Paris, France :
ditions du Seuil.
Shaffer, H. L. (1989). Cognition et affect dans linterprtation musicale. In S. McAdams & I.
Delige (dir.), La musique et les sciences cognitives (p. 537-550). Paris, France : Mardaga.
Shaw, R., Flascher, O., & Mace, W. (1996). Dimensions of Event Perception. In W. Prinz &
B. Bridgeman (Eds.), Handbook of Perception and Action, Vol. 1: Perception (p. 345-395).
London, UK: Academic Press.
References 37
Shaw, R. & Pittenger, J. (1978). Perceiving change. In H. L. Pick & E. Salzman (Eds.), Modes of
Perceiving and Processing Information (p. 187-204). Hillsdale, NJ: Lawrence Erlbaum.
Shenfield, T., Trehub, S. E., & Nakata, T. (2003). Maternal singing modulates infant arousal.
Psychology of Music, 31, 365-375.
Shepard, R. N. (1981). Psychophysical complementarity. In M. Kuboby & J. R. Pomerantz
(Eds.), Perceptual organization (Chap. 10). Hillsdale, NJ: Lawrence Erlbaum.
Shuter-Dyson, R. & Gabriel, C. (1981). The psychology of musical ability. London, UK: Methuen.
Slater, P. (2000). Birdsong Repertoires: Their Origins and Use. In N. L. Wallin, B. Merker, & S.
Brown (Eds.), The Origins of Music (p. 49-63). Cambridge, MA: The MIT Press.
Sloboda, J. A. (1985). The musical mind: The cognitive psychology of music. Oxford, UK: Clarendon
Press.
Sloboda, J. A. (1992). Etudes empiriques de la rponse motionnelle la musique. Analyse
Musicale, 26, 14-21.
Sloboda, J. A. (1999). Everyday uses of music listening: A preliminary study. In S. W. Yi (Ed.), Music,
mind and science (p. 354-369). Seoul, South Korea: Western Music Research Institute.
Sloboda, J. A. (2001). Do pshychologists have anything useful to say about composition? In
Analyse et cration musicales (p. 69-78). Paris, France : LHarmattan.
Sloboda, J. A. (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford, NY:
Sloboda, J., Lamont, A., & Greasley, A. (2009). Choosing to hear music: Motivation process
and effect. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music
Psychology (p. 431-440). New York, NY: Oxford University Press.
Sloboda, J. A., ONeill, S. A., & Ivaldi, A. (2001). Functions of music in everyday life: An
exploratory study using the Experience Sampling Method. Musicae Scientiae, V(1), 9-29.
Smith, J. F. (1979). The Experiencing of Musical Sound: Prelude to a Phenomenology of Music. New
York, NY: Gordon and Breach.
Snyder, A. W., Mulcahy, E. L., Taylor, J., Mitchell, D. J., Sachdev, P., & Gandevia, S. C. (2003).
Savant-like skills exposed in normal people by suppressing the left fronto-temporal
lobe. Journal of integrative neuroscience, 2(2), 149-158.
Soley, G. & Hannon, E. E. (2010). Infants prefer the musical meter of their own culture: A
cross-cultural comparison. Developmental Psychology, 46, 286-292.
Sparshott, F. (1994). Music and feeling. Journal of Aesthetics and Art Criticism, 52(1), 23-35.
Sperber, D. & Wilson, D. (1995). Relevance: Communication and Cognition. Oxford, UK: Blackwell.
Spintge, R. & Droh, R. (Eds.) (1992). Music Medicine. Saint-Louis, MO: MMB Music.
Steedman, M. J. (1984). A generative grammar for jazz chord sequences. Music Perception, 2(1),
52-77.
Stern, D. N. (1981). Mre-enfant. Les premires relations. Sprimont, Belgique : Mardaga. (Original
book: The First Relationship: Infant and Mother. Cambridge, MA: Harvard University
Press, 1977.)
Stern, D. N. (1989). Le monde interpersonnel du nourrisson. Une perspective psychanalytique et
dveloppementale (A. Lazartigues et D. Prard, trad.). Paris, France : P.U.F. (Original
book: The interpersonal world of the infant: A View from Psychoanalysis and Developmental
Psychology, 1985.)
References 38
Stern, D. N. (1997). La constellation maternelle (A. Cupa, trad.). Paris, France : Calmann-Lvy.
(Original book: The Motherhood Constellation: A unified view of parent-infant therapy, 1995.)
Stern, D. N. (2003). Le moment prsent en psychothrapie. Un monde dans un grain de sable (M. Garne,
trad.). Paris, France : Odile Jacob.
Stevens, C. (2004). Cross-cultural studies of musical pitch and time. Acoustical Science and
Technology, 25(6), 433-438.
Stevens, S. (1951). Mathematics, Measurement, and Psychophysics. In S. Stevens (Ed.),
Handbook of Experimental Psychology (p. 1-49). New York, NY: Wiley-Chapman & Hall.
Storino, M. T., Dalmonte, R., & Baroni, M. (2007). An empirical investigation on the
perception of musical style. Music Perception, 24(5), 417-432.
Stravinsky, I. (1942). Poetics of Music. Cambridge, MA: Harvard University Press.
Sundberg, J. & Lindblom, B. (1976). Generative theories in language and music descriptions.
Cognition, 4(1), 99-122.
Suzuki, M., Okamura, N., Kawachi, Y., Tashiro, M., Arao, H., Hoshishiba, T., Gyoba, J., &
Yanai, K. (2008). Discrete cortical regions associated with the musical beauty of major
and minor chords. Cognitive, Affective, and Behavioural Neuroscience, 8(2), 131-161.
Swain, J. P. (1997). Musical languages. New York, NY: Norton.
Syal, S. & Finlay, B. (2011). Thinking outside the cortex: Social motivation in the evolution and
development of language. Developmental Science, 14, 417-430.
Tafuri, J. (2008, Sept.). Singing before speaking: Experiences in the first year of life. Keynote Paper
presented at the Conference Musical Development & Learning, Roehampton
University, London, United Kingdom.
Tarrant, M., North, A. C., & Hargreaves, D. J. (2000). English and American
adolescentsreasons for listening to music. Psychology of Music, 28, 166-173.
Teplov, B. M. (1966). Psychologie des aptitudes musicales (J. Deprun, trad.). Paris, France : PUF.
Thayer, A.-W. (1964). The Thayers Live of Beethoven (E. Buchet, trad.). New York, NY:
Princeton University Press.
Thberge, M. (2002). La question du dveloppement artistique chez lenfant. Dans M.
Wirthner et M. Zulauf (Eds.), la recherche du dveloppement musical (p. 59-92). Paris,
France : LHarmattan.
Thompson, W. F. & Robitaille, B. (1992). Can composers express emotions through music?
Empirical Studies of the Arts, 10(1), 79-89.
Thompson, W. F. & Schellenberg, E. G. (2006). Listening to Music. In R. Colwell (Ed.),
MENC Handbook on Musical Cognition and Development. New York, NY: Oxford
University Press.
Thorpe, M., Ockelford, A., & Aksentijevic, A. (2011). An empirical exploration of the zygonic
model of expectation in music. Psychology of Music.
Todt, D. (1971). quivalente und konvalente gesangliche Reaktionen einer extrem regermig
singenden Nachtigall (Luscinia megarhynchos B.). Zeitschr. fr vergl. Physiol., 71, 262-285.
Trainor, L. J. (1996). Infant preferences for infant-directed versus noninfant-directed playsongs
and lullabies. Infant Behavior and Development, 19, 83-92.
Trainor, L. J., Clark, E. D., Huntley, A., & Adams, B. (1997). The acoustic basis of preferences
for infant-directed singing. Infant Behavior and Development, 20, 383-396.
References 39
Trainor, L. J., Wu, L., & Tsang, C. D. (2004). Long-term memory for music: Infants remember
tempo and timbre. Developmental Science, 7, 289-296.
Trehub, S. E. (1985). Infants perception of melodies: Changes in a single tone. Infant Behavior
and Development, 8, 213-223.
Trehub, S. E. (1987). Infants perception of musical patterns. Perception and Psychophysics, 41,
635-641.
Trehub, S. E. (2000). Human Processing Predispositions and Musical Universals. In
Trehub, S. E. (2001). Musical predispositions in infancy. Annals of the New York Academy of
Sciences, 930, 1-16.
Trehub, S. E. (2003a). The developmental origins of musicality. Nature Neuroscience, 6, 669-673.
Trehub, S. E. (2003b). Musical predispositions in infancy: An update. In I. Peretz & R. Zatorre
(Eds.), The Cognitive Neuroscience of Music (p. 3-20). New York, NY: Oxford University
Press.
Trehub, S. E. (2003c). Toward a Developmental Psychology of Music. Annals of the New York
Academy of Sciences, 999, 402-413.
Trehub, S. E., Bull, D., & Thorpe, L. A. (1984). Infants perception of melodies: The role of
melodic contour. Child Development, 55, 821-830.
Trehub, S. E., Endman, M., & Thorpe, L. A. (1990). Infants perception of timbre:
Classification of complex tones by spectral structure. Journal of Experimental Child
Psychology, 49, 300-313.
Trehub, S. E. & Hannon, E. E. (2006). Infant music perception: Domain-general or domain-
specific mechanisms? Cognition, 100, 73-99.
Trehub, S. E. & Hannon, E. E. (2009). Conventional rhythms enhance infants and adults
perception of musical patterns. Cortex, 45, 110-118.
Trehub, S. E., Hannon, E. E., & Schachner, A. (2010). Perspectives on music and affect in the
early years. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory,
research, applications (p. 645-668). New York, NY: Oxford University Press.
Trehub, S. E. & Nakata, T. (2001-2002). Emotion and music in infancy. Musicae Scientiae,
Special issue, 37-61.
Trehub, S. E., Plantinga, J., & Russo, F. A. (2011, March). Maternal singing to infants in view or out
of view. Paper presented at the Society for Research in Child Development, Montreal,
Canada.
Trehub, S. E. & Thorpe, L. A. (1989). Infants perception of rhythm: Categorization of
auditory sequences by temporal structure. Canadian Journal of Psychology, 43, 217-229.
Trehub, S. E., Thorpe, L. A., & Morrongiello, B. A. (1987a). Organizational processes in
infants perception of auditory patterns. Child Development, 58, 741-749.
Trehub, S. E., Thorpe, L. A., & Morrongiello, B. A. (1987b). Infants perception of melodies:
Changes in a single tone. Infant Behavior and Development, 8, 213-223.
Trehub, S. E. & Trainor, L. J. (1998). Singing to infants: Lullabies and play songs. Advances in
Infancy Research, 12, 43-77.
Trehub, S. E., Unyk, A. M., Kamenetsky, S. B., Hill, D. S., Trainor, L. J., Henderson, J. L., &
Saraza, M. (1997). Mothers and fathers singing to infants. Developmental Psychology, 33,
500-507.
References 40
Trehub, S. E., Unyk, A. M., & Trainor, L. J. (1993a). Adults identify infant-directed music
across cultures. Infant Behavior and Development, 16, 193-211.
Trehub, S. E., Unyk, A. M., & Trainor, L. J. (1993b). Maternal singing in cross-cultural
perspective. Infant Behavior and Development, 16, 285-295.
Trevarthen, C. (1999-2000). Musicality and the intrinsic motive pulse: Evidence from human
psychobiology and infant communication. Musicae Scientiae, Special issue, 155-215.
Trevarthen, C. (2004). Learning about ourselves, from children: Why a growing human brain
needs interesting companions? Annual report Hokkaido University research and clinical
center for child development, 26, 9-44.
Trevarthen, C. & Gratier, M. (2005). Voix et musicalit. Nature, motion, relations et culture.
Dans M.-F. Castarde et G. Konopczynski (dir.), Au commencement tait la voix (p. 105-
116). Toulouse, France : rs.
Trevarthen, C. & Malloch, S. (2009). Musicality: Communicating the Vitality and Interests of
Life. In S. Malloch & C. Trevarthen (Eds.), Communicative Musicality: Exploring the Basis
of Human Companionship. New York, NY: Oxford University Press.
Truchot, P. (2006). Une approche Bergsonienne de la spatialit en Musique. Astrion, 4, 217-
236.
Tsang, C. D. & Trainor, L. J. (2002). Spectral slope discrimination in infancy: Sensitivity to
socially important timbres. Infant Behavior and Development, 25(2), 183-194.
Tulving, E. (1972). Episodic and semantic memory. In E. Tulving & A. Donaldson (Eds.),
Organization of memory. New York, NY: Academic Press.
Unyk, A. M. & Carlsen, J. (1987). The Influence of Expectancy on Melodic Perception.
Psychomusicology, 7(1), 3-23.
Unyk, A. M., Trehub, S. E., Trainor, L. J., & Schellenberg, E. G. (1992). Lullabies and
simplicity: A cross-cultural perspective. Psychology of Music, 20, 15-28.
Uttal, W. R. (1973). The Psychobiology of Sensory Coding. New York, NY: Harper & Row.
Uttal, W. R. (1998). Toward a New Behaviorism: The Case Against Perceptual Reductionism. Mahwah,
NJ: Lawrence Erlbaum.
Vandermersch, B. (1999). Article sujet . Dans H. Bloch, R. Chemana, . Dpret, A. Gallo,
P. Leconte, J.-F. Le Ny, J. Postel et M. Reuschlin, Grand Dictionnaire de la Psychologie
(p. 912-913). Paris, France : Larousse-Bordas.
Varse, E. & Wen-Chung, C. (1966). Perspectives of New Music, 5(1), 11-19.
Vion-Dury, J. (2008). Musique et Mmoire : Plis et replis de la pense. Dans G. Comet, A.
Lejeune et C. Maury-Rouan (dir.), Mmoire individuelle, mmoire collective et histoire (p. 47-
71). Marseille, France : ditions Solal.
Vion-Dury, J. & Besson, M. (2010). Llectroencphalographie et la musique : apports, limites
et perspectives pistmologiques. Dans L. Guirard (dir.), Cinquante ans de psychologie de
la musique. Lcole de Robert Francs (p. 74-107). Montauban, France : Alexitre ditions.
Vitouch, O. & Ladinig, O. (Eds.) (2009-2010). Music and Evolution. Musicae Scientiae, Special issue.
Volkova, A., Trehub, S. E., & Schellenberg, E. G. (2006). Infants memory for musical
performances. Developmental Science, 9, 584-590.
Wallace, W. (1994). Memory for music: Effect of melody on recall of text. Journal of
Experimental Psychology: Learning, Memory and Cognition, 20(6), 1,471-1,485.
Wallin, N. L. (1991). Biomusicology: Neurophysiological and Evolutionary Perspectives on the Origins and
Purposes of Music. New York, NY: Pendragon Press.
References 41
Wallin, N. L., Merker, B., & Brown, S. (Eds.) (2000). The Origins of Music. Cambridge, MA: The
MIT Press.
Wallon, H. (1942). De lacte la pense. Paris, France : Flammarion.
Watson, K. (1942). The nature and measurement of musical meanings. Psychological Monographs,
54(2), 1-43.
Welch, G., Ockelford, A., Carter, F.-C., Zimmermann, S., & Himonides, E. (2009). Sounds of
Intent: Mapping musical behaviour and development in children and young people
with complex needs. Psychology of Music, 37(3), 348-370.
Wermke, K. & Mende, W. (2009-2010). Musical elements in human infants cries: In the
beginning is the melody. Musicae Scientiae, Special issue, 151-175. (L. Richelle, trad. :
lments musicaux dans les cris du nourrisson : au commencement est la mlodie.
Dans I. Delige, O. Vitouch et O. Ladinig [dir.], Musique et volution [p. 123-139].
Wavre, Belgique : Mardaga, 2010.)
Westerlund, H. (2002). Bridging Experience, Action, and Culture in Music Education. Helsinki,
Sweeden: Sibelius Academy.
Whaley, J., Sloboda, J., & Gabrielsson, A. (2009). Peak experiences in music. In S. Hallam,
I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology (p. 452-461). New
Whaling, C. (2000). Whats Behind a Song? The Neural Basis of Song Learning in Birds. In
N. L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (p. 65-76). Cambridge,
MA: The MIT Press.
Wierzbicka, A. (1996). Semantics: Primes and Universals. New York, NY: Oxford University Press.
Wiggins, G. A., Mllensiefen, D., & Pearce, M. T. (2010). On the non-existence of music: Why
music theory is a figment of the imagination. Musicae Scientiae, Discussion Forum, 5,
231-255.
Willems, E. (1936/1987). Les bases psychologiques de lducation musicale. Fribourg, Suisse : Pro
Musica.
Williams, L. R. (2009). Effect of Voice-part Training and Music Complexity on Focus of
Attention to Melody or Harmony. Contributions to Music Education, 36(2), 45-57.
Wilson, S., Abbott, D., Lusher, D., Gentle, E., & Jackson, G. (2010). Finding your voice: A
singing lesson from functional imaging. Human Brain Mapping, 32(12), 2115-2130.
Winkler, I., Hden, G. P., Ladinig, O., Sziller, I., & Honing, H. (2009). Newborn infants detect
the beat in music. PNAS, 2468. (Retrieved from
<http://www.pnas.org/content/106/7/2468.full>.)
Winograd, T. (1968). Linguistics and the computer analysis of tonal harmony. Journal of Music
Theory, 12(1), 2-49.
Wittmann, M. & Pppel, E. (1999-2000). Temporal mechanisms of the brain as fundamentals
of communication with special reference to music perception and performance.
Musicae Scientiae, Special issue, 13-28.
Zatorre, R. & Peretz, I. (Eds.) (2001). The Biological Foundations of Music. New York, NY: The
New York Academy of Sciences.
Zbikowski, L. M. (1998). Metaphor and music theory: Reflections from cognitive science.
Music Theory Online, 4(1).
Zbikowksi, L. M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York,
References 42
Zuckerkandl, V. (1956). Sound and Symbol: Music and the External World. New York, NY:
Pantheon Books.

Sandra E. Trehub Musical Universals: Perpsectives From Infancy

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Sandra E. Trehub Musical Universals: Perpsectives From Infancy

Transféré par

Droits d'auteur :

Formats disponibles

Actualit des

Vous aimerez peut-être aussi