How music moves: Musical parameters and listeners' images of motion

Music Perception

Volumn 23, Issue 3, 2006, Pages 221-248

  Eitan, Zohar ^a   Granot, Roni Y ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33847113357     PISSN: 07307829     EISSN: None     Source Type: Journal    
DOI: 10.1525/mp.2006.23.3.221     Document Type: Article

References (155)

1. Abril, C. (2001). The use of labels to describe pitch changes by bilingual children. Bulletin of the Council for Research in Music Education, 151, 31-40.
2. Agawu, V. K. (1982). The structural highpoint as determinant of form in nineteenth century music. Doctoral dissertation, Stanford University.
3. Angell, J. R. (1906). Psychology: An introductory study of the structure and function of human consciousness. New York: Henry Holt.
4. Ashley, R. (2003). Spatial elements of meaning in musicians' body movements: Pragmatic and semantic dimensions. Paper presented at the International Conference "Music and Gesture," University of East Anglia, Norwich, UK, August 28-30, 2003.
5. Ashley, R. (2005). Cross-modal processing of melodies: Musical, visual, and spatial aspects. Manuscript submitted for publication.
6. Ashley, R., & Joichi, J. (2004). Musical pitch, spatial relationships, and language family: A cross-cultural investigation. In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception & Cognition (ICMPC8). Adelaide: Causal Productions.
7. Baily, J. (1985). Music structure and human movement. In P. Howell, I. Cross, & R. West (Eds.), Musical structure and cognition (pp. 237-258). London: Academic Press.
8. Barker, A. (1989). Greek musical writings: Vol. 2. Harmonic and acoustic theory. Cambridge: Cambridge University Press.
9. Benjamini, Y., & Hochberg, Y. (1995). Controlling the false discovery rate: A practical and powerful approach to multiple testing. Journal of the Royal Statistical Society, Series B, 57, 289-300.
10. Bernstein, I. H., & Edelstein, B. A. (1971). Effects of some variations in auditory input upon visual choice reaction time. Journal of Experimental Psychology, 87, 241-247.
11. Berry, W. (1976). Structural functions in music. Englewood Cliffs, NJ: Prentice-Hall.
12. Bolivar, V. J., Cohen, A. J., & Fentress, J. C. (1994). Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action. Psychomusicology, 13, 122-154.
13. Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: MIT Press.
14. Brower, C. (2001). Pathway, blockage, and containment in Density 21.5. Theory and Practice, 22/23, 35-54.
15. Camurri, A., & Volpe, G. (Eds.). (2003). Gesture-based communication in human-computer interaction. 5th International Gesture Workshop, GW 2003, Genova, Italy, April 15-17, 2003 Selected Revised Papers. Lecture Notes in Artificial Intelligence, Vol. 2915. Berlin: Springer Verlag.
16. Cho, Y., & Proctor, R. (2005). Representing response position relative to display location: Influence on orthogonal stimulus-response compatibility. The Quarterly Journal of Experimental Psychology, A, 58, 839-864.
17. Clarke, E. F. (2001). Meaning and the specification of motion in music. Musicae Scientiae, 5, 213-234.
18. Clarke, E. F., & Davidson, J. (1998). The body in performance. In W. Thomas (Ed.), Composition-performance-reception. Studies in the creative process in music (pp. 74-92). Aldershot: Ashgate Press.
19. Clynes, M., & Nettheim, E. (1982). The living quality of music. In M. Clynes (Ed.), Music, mind and brain: The neurobiology of music. New York: Plenum Press.
20. Cohen, D. (2001). The imperfect seeks its perfection: Harmonic progression, directed motion, and Aristotelian physics. Music Theory Spectrum, 23, 139-169.
21. Collier, W. G., & Hubbard, T. L. (2001). Judgments of happiness, brightness, speed and tempo change in auditory stimuli varying in pitch and tempo. Psychomusicology, 17, 36-55.
22. Cook, N. (1998). Analysing musical multimedia. Oxford: Clarendon Press.
23. Costa-Giomi, E., & Descombes, V. (1996). Pitch labels with single and multiple meanings: A study of French-speaking children. Journal of Research in Music Education, 44, 204-214.
24. Cox, A. (1999). The metaphoric logic of musical motion and space. Doctoral dissertation, University of Oregon.
25. Cumming, N. (1997). The subjectivities of Erbarme Dich. Music Analysis, 16, 5-44.
26. Davidson, J. W. (2002). Understanding the expressive movements of a solo pianist. Musikpsychologie, 16, 9-31.
27. Davies, S. (1994). Musical meaning and expression. Ithaca: Cornell University Press.
28. Desain, P., & Honing, H. (1993). Tempo curves considered harmful. Contemporary Music Review, 7, 123-138.
29. Eitan, Z. (1997). Highpoints: A study of melodic peaks. Philadelphia: University of Pennsylvania Press.
30. Eitan, Z., & Granot, R. (2003). Inter-parametric analogy and the perception of similarity in music. Proceedings of the 5th ESCOM Conference, Hanover.
31. Eitan, Z., & Granot, R. (2005a). Intensity changes and perceived similarity: Interparametric analogies. Musicae Scientiae.
32. Eitan, Z., & Granot, R. (2005b). [The effect of dynamic changes in musical parameters on listeners' assessment of tempo change]. Unpublished raw data.
33. Eitan, Z., & Granot, R. (2005c). [Musical parameters and motion imagery: Three follow-up experiments]. Unpublished raw data.
34. Feldman, J., Epstein, D., & Richards, W. (1992). Force dynamics of tempo change in music. Music Perception, 10, 185-204.
35. Flowers, P. J., & Costa-Giomi, E. (1991). Verbal and nonverbal identification of pitch changes in a familiar song by English and Spanish speaking preschool children. Bulletin of the Council for Research in Music Education, 101, 1-12.
36. Fredrickson, W. E. (1997). Elementary, middle and high school student perceptions of tension in music. Journal of Research in Music Education, 45, 626-638.
37. Frego, R. J. D. (1996). The effect of aural, visual, and aural/visual conditions on students' response to perceived artistic tension in music and dance. Doctoral dissertation, Florida State University.
38. Friberg, A., & Sundberg, J. (1999). Does music performance allude to locomotion? A model of final ritardandi derived from measurements of stopping runners. Journal of the Acoustical Society of America, 105, 1469-1484.
39. Gabrielsson, A. (1973a). Adjective ratings and dimension analyses of auditory rhythm patterns. Scandinavian Journal of Psychology, 14, 244-260.
40. Gabrielsson, A. (1973b). Similarity ratings and dimension analysis of auditory rhythm patterns. I and II. Scandinavian Journal of Psychology, 14, 138-160, 161-176.
41. Gabrielsson, A. (1999). Music performance. In D. Deutsch (Ed.), Psychology of music (2nd ed., pp. 501-602). New York: Academic Press.
42. Garner, W. R. (1974). The processing of information and structure. Potomac, MD: Erlbaum.
43. Gjerdingen, R. O. (1994). Apparent motion in music? Music Perception, 11, 335-370.
44. Hair, H. I. (1981). Verbal identification of music concepts. Journal of Research in Music Education, 29, 11-21.
45. Hanslick, E. (1986). On the musically beautiful (G. Payzant, Trans. and Ed.). Indianapolis: Hackett. (Original work published 1891)
46. Hatten, R. S. (1994). Musical meaning in Beethoven: Markedness correlation, and interpretation. Bloomington: Indiana University Press.
47. Hatten, R. S. (1997-2002). Musical gesture: On-line lectures. Cyber Semiotic Institute, University of Toronto. Retrieved from http://www.chase.utoronto.ca/epc/srb/cyber/hatout.html
48. Hatten, R. S. (2005). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press.
49. Hays, W. L. (1973). Statistics for the social sciences (2nd ed.). New York: Holt, Rinehart, & Winston.
50. Honing, H. (2003). The final ritard: On music, motion, and kinematic models. Computer Music Journal, 27, 66-72.
51. Hopkins, R. G. (1990). Closure in Mahler's music: The role of secondary parameters. Philadelphia: University of Pennsylvania Press.
52. Horn, L. (1989). A natural history of negation. Chicago: University of Chicago Press.
53. Huron, D. (1990a). Crescendo/diminuendo asymmetries in Beethoven's piano sonatas. Music Perception, 7, 395-402.
54. Huron, D. (1990b). Increment/decrement asymmetries in polyphonic sonorities. Music Perception, 7, 385-393.
55. Huron, D. (1992). The ramp archetype and the maintenance of passive auditory attention. Music Perception, 10, 83-92.
56. Iyer, V. (2002). Embodied mind, situated cognition and expressive microtiming in African-American music. Music Perception, 19, 387-414.
57. Jaques-Dalcroze, E. (1967). Rhythm, music, and education (H. F. Rubenstein, Trans.). London: The Dalcroze Society. (Original work published 1921).
58. Johnson, M. L. (1987). The body in the mind. Chicago: University of Chicago Press.
59. Johnson, M. L., & Larson, S. (2003). "Something in the way she moves": Metaphors of musical motion. Metaphor and Symbol, 18, 63-84.
60. Juslin, P. N., Friberg, A., & Bresin, R. (2002). Toward a computational model of expression in performance: The GERM model. Musicae Scientiae, Special Issue, 63-122.
61. Kivy, P. (1980). The corded shell: Reflections on musical expression. Princeton: Princeton University Press.
62. Kivy, P. (1990). Music alone: Philosophical reflections on the purely musical experience. Ithaca: Cornell University Press.
63. Kronman, U., & Sundberg, J. (1987). Is the musical retard an allusion to physical motion? In A. Gabrielsson (Ed.), Action and perception in rhythm and music (pp. 69-80). Stockholm: Publications issued by the Royal Academy of Music, No. 55.
64. Krumhansl, C. L. (1996). A perceptual analysis of Mozart's piano sonata K. 282: Segmentation, tension, and musical ideas. Music Perception, 13, 401-432.
65. Krumhansl, C. L., & Schenck, D. L. (1997). Can dance reflect the structural and expressive qualities of music? A perceptual experiment on Balanchine's choreography of Mozart's Divertimento No. 15. Musicae Scientiae, 1, 63-84.
66. Kubovy, M., & Van Valkenburg, D. (2001). Auditory and visual objects. Cognition, 80, 97-126.
67. Kurth, E. (1971). Grundlagen des linearen Kontrapunkts [Foundations of Linear Counterpoint]. Hildesheim: G. Olms. (Original work published 1917)
68. Kurth, E. (1969). Musikpsychologie. Hildesheim: G. Olms. (Original work published 1931)
69. Kurth, E. (1991). Selected writings (L. A. Rothfarb, Trans. & Ed.). Cambridge: Cambridge University Press.
70. Lakoff, G., & Johnson, M. (1980). Metaphors we live by. Chicago: University of Chicago Press.
71. Langer, S. (1953). Feeling and form. London: Routledge.
72. Larson, S. (1997). Musical forces and melodic patterns. Theory and Practice, 22/23, 55-71.
73. Lerdahl, F. (2001). Tonal pitch space. New York: Oxford University Press.
74. Lewin, D. (1987). Generalized musical intervals and transformations. New Haven: Yale University Press.
75. Lidov, D. (1987). Mind and body in music. Semiotica, 66, 69-97.
76. Lidov, D. (1999). Elements of semiotics. New York: St. Martin's Press.
77. Lipscomb, S. D. (in press). The perception of audio-visual composites: Accent structure alignment of simple stimuli. Selected Reports in Ethnomusicology, 12.
78. Lipscomb, S. D., & Kendall, R. A. (1994). Perceptual judgment of the relationship between musical and visual components in film. Psychomusicology, 13, 60-98.
79. Lipscomb, S. D., & Kim, E. M. (2004). Perceived match between visual parameters and auditory correlates: An experimental multimedia investigation In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception & Cognition (ICMPC8), Evanston, IL, 3-8 August, 2004. Adelaide: Causal Productions.
80. Madsen, C. K., & Fredrickson, W. E. (1993). The experience of musical tension: A replication of Nielsen's research using the continuous response digital interface. Journal of Music Therapy, 30, 46-63.
81. Malloch, S. N. (2000). Communicative musicality and human companionship. Paper presented to the 6th International Conference on Music Cognition and Perception, Keele, UK, August 2000.
82. Marks, L. E. (1978). The unity of the senses: Interrelations among the modalities. New York: Academic Press.
83. Marks, L. E. (2000). Synesthesia. In E. A. Cardeña, S. J. Lynn, & S. C. Krippner (Eds.), Varieties of anomalous experience: Phenomenological and scientific foundations. Washington, DC: American Psychological Association.
84. Maurer, D. (1993). Neonatal synesthesia: Implications for the processing of speech and faces. In B. de Boysson-Bardies, S. de Schoenen, P. Jusczyk, P. McNeilage, & J. Morton (Eds.), Developmental neurocognition: Speech and face processing in the first year of life (pp. 109-124). Dordrecht, Holland: Kluwer.
85. Mazo, M. (1994). Lament made visible: A study of paramusical elements in Russian lament. In B. Yung & J. Lam (Eds.), Themes and variations: Writings on music in honor of Rulan Chao Pian (pp. 164-211). Harvard University, Dept. of Music, and the Institute of Chinese Studies, Chinese University of Hong Kong.
86. Melara, R. D., & Marks, L. E. (1990a). Perceptual primacy of dimensions: Support for a model of dimensional interaction. Journal of Experimental Psychology: Human Perception and Performance, 16, 398-414.
87. Melara, R. D., & Marks, L. E. (1990b). Interaction among auditory dimensions: Timbre, pitch, and loudness. Perception and Psychophysics, 48, 169-178.
88. Melara, R. D., & Marks, L. E. (1990c). Hard and soft interacting dimensions: Differential effects of dual context on classification. Perception and Psychophysics, 47, 307-325.
89. Melara, R. D., & O'Brien, T. P. (1987). Interaction between synesthetically corresponding dimensions. Journal of Experimental Psychology: General, 116, 323-336.
90. Meyer, L. B. (1989). Style and music: Theory, history, and ideology. Philadelphia: University of Pennsylvania Press.
91. Moog, H. (1976). The musical experience of the pre-school child. London: Schott.
92. Morris, R. (1987). Composition with pitch-classes: A theory of compositional design. New Haven: Yale University Press.
93. Mudd, S. A. (1963). Spatial stereotypes of four dimensions of pure tone. Journal of Experimental Psychology, 66, 347-352.
94. Nakamura, A. (1987). The communication of dynamics between musicians and listeners through musical performance. Perception and Psychophysics, 41, 525-533.
95. Nakamura, S., Sadato, N., Oohashi, T., Nishina, E., Fuwamoto, Y., & Yonekura, Y. (1999). Analysis of music-brain interaction with simultaneous measurement of regional cerebral blood flow and electroencephalogram beta rhythm in human subjects. Neuroscience Letters, 275, 222-226.
96. Narmour, E. (1990). The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago Press.
97. Narmour, E. (1992). The analysis and cognition of melodic complexity: The implication-realization model. Chicago: University of Chicago Press.
98. Neuhoff, J. G., & McBeath, M. K. (1996). The Doppler illusion: The influence of dynamic intensity change on perceived pitch. Journal of Experimental Psychology: Human Perception and Performance, 22, 970-985.
99. Neuhoff, J. G., McBeath, M. K., & Wanzie, W. C. (1999). Dynamic frequency change influences loudness perception: A central, analytic process. Journal of Experimental Psychology: Human Perception and Performance, 25, 1050-1059.
100. Nielsen, F. V. (1983). Oplevelse af musikalsk spænding [The Experience of Musical Tension]. Copenhagen: Akademisk Forlag.
101. Van Noorden, L. P. A. S. (1975). Temporal coherence in the perception of tone sequences. Doctoral dissertation, Eindhoven University of Technology, Holland.
102. Papousek, M. (1996). Intuitive parenting: A hidden source of musical stimulation in infancy. In I. Deliège & J. Sloboda (Eds.), Musical beginnings: Origins and development of musical competence (pp. 88-112). Oxford: Oxford University Press.
103. Penhune, V., Zattore, R. J., & Evans, A. C. (1998). Cerebellar contributions to motor timing: A PET study of auditory and visual rhythm reproduction. Journal of Cognitive Neuroscience, 10, 752-765.
104. Platel, H., Price, C., Baron, J. C., Wise, R., Lambert, J., Frackowiak, R. S., Lechevalier, B., & Eustache, F. (1997). The structural components of music perception: A functional anatomical study. Brain, 120, 229-243.
105. Pratt, C. C. (1930). The spatial character of high and low tones. Journal of Experimental Psychology, 13, 278-285.
106. Prendergast, R. M. (1992). Film music: A neglected art. A critical study of music in films (2nd ed.). New York: Norton.
107. Repp, B. H. (1992a). Diversity and commonality in musical performance. An analysis of timing microstructure in Schumann's "Träumerei." Journal of the Acoustical Society of America, 9, 2546-2568.
108. Repp, B. H. (1992b). A constraint on the expressive timing of a melodic gesture: Evidence from performance and aesthetic judgment. Music Perception, 10, 221-242.
109. Repp, B. H. (1993). Music as motion: A synopsis of Alexander Truslit's "Gestaltung und Bewegung in der Musik" (1938). Psychology of Music, 21, 48-72.
110. Repp, B. H. (1998). Musical motion in perception and performance. In D. A. Rosenbaum & C. E. Collyer (Eds.), Timing of behavior: Neural, psychological, and computational perspectives (pp. 125-144). Cambridge, MA: MIT Press.
111. Repp, B., Windsor, L., & Desain, P. (2002). Effects of tempo on the timing of simple musical rhythms. Music Perception, 19, 565-593.
112. Rink, J. (1999). Translating musical meaning: The nineteenth-century performer as narrator. In N. Cook & M. Everist (Eds.), Rethinking music (pp. 217-238). Oxford: Oxford University Press.
113. Roffler, S. K., & Butler, R. A. (1968). Localization of tonal stimuli in the vertical plane. Journal of the Acoustical Society of America, 43, 1260-1265.
114. Saslaw, J. (1996). Forces, containers, and paths: The role of body-derived image schemas in the conceptualization of music. Journal of Music Theory, 40, 217-243.
115. Schenker, H. (1979). Free composition (E. Oster, Trans. & Ed.). New York: Longman. (Original work published 1935)
116. Scruton, R. (1997). The aesthetics of music. Oxford: Clarendon Press.
117. Shapiro, M. (1976). Asymmetry: An inquiry into the linguistic structure of poetry. Amsterdam: North Holland.
118. Shove, P., & Repp, B. (1995). Musical motion and performance: Theoretical and empirical perspectives. In J. Rink (Ed.), The practice of performance: Studies in musical interpretation (pp. 55-83). Cambridge: Cambridge University Press.
119. Spence, C., & Driver, J. (1997). Audiovisual links in exogenous overt spatial orienting. Perception & Psychophysics, 59, 1-22.
120. Spitzer, M. (2004). Metaphor and musical thought. Chicago: Chicago University Press.
121. Stein, B. E., Wallace, M. T., & Meredith, M. A. (1995). Neural mechanisms mediating attention and orientation to multisensory cues. In M. Gazzaniga (Ed.), The cognitive neurosciences (pp. 683-702). Cambridge, MA: MIT Press.
122. Stern, D. N. (1985). The interpersonal world of the infant: A view from psychoanalysis and developmental psychology. New York: Basic Books.
123. Stevens, S. S. (1961). The psychophysics of the sensory function. In W. A. Rosenblict (Ed.), Sensory communication (pp. 1-33). New York: John Wiley and MIT Press.
124. Stevens, S. S. (1975). Psychophysics: Introduction to its perceptual, neural, and social prospects. New York: Wiley.
125. Stevens, S. S., & Guirao, M. (1963). Subjective scaling of length and area and the matching of length to loudness and brightness. Journal of Experimental Psychology, 66, 177-186.
126. Stevens, S. T., & Arieh, Y. (2005). What you see is what you hear: The effect of auditory pitch on the detection of visual targets. Poster presented at the 76th annual meeting of the Eastern Psychological Society, Boston, MA.
127. Stewart, L., Walsh, V., & Frith, U. (2004). Reading music modifies spatial mapping in pianists. Perception & Psychophysics, 66, 183-195.
128. Sullivan, J. W., & Horowitz, F. D. (1983). Infant intermodal perception and maternal multimodal stimulation: Implications for language development. In L. P. Lipsitt & C. K. Rovee-Collier (Eds.), Advances in infancy research (Vol. 2, pp. 183-239). Norwood, NJ: Ablex.
129. Sundberg, J., & Verrillo, V. (1980). On the anatomy of the retard: A study of timing in music. Journal of the Acoustical Society of America, 68, 772-779.
130. Tekman, H. G. (1997). Interactions of perceived intensity, duration and pitch in pure tone sequences. Music Perception, 14, 281-294.
131. Timble, O. C. (1934). Localization of sound in the anterior-posterior and vertical dimensions of "auditory" space. British Journal of Psychology, 24, 320-334.
132. Todd, N. P. M. (1985). A model of expressive timing in tonal music. Music Perception, 3, 33-58.
133. Todd, N. P. M. (1992). The dynamics of dynamics: A model of musical expression. Journal of the Acoustical Society of America, 91, 3540-3550.
134. Todd, N. P. M. (1994). The auditory "primal sketch": A multiscale model of rhythmic grouping. Journal of New Music Research, 23, 25-70.
135. Todd, N. P. M. (1995). The kinematics of musical expression. Journal of the Acoustical Society of America, 97, 1940-1949.
136. Todd, N. P. M. (1999). Motion in music: A neurobiological perspective. Music Perception, 17, 115-126.
137. Tolbert, E. (1990). Women cry with words: Symbolization of affect in the Karelian lament. Yearbook for Traditional Music, 22, 80-105.
138. Vines, B., Wanderley, M. M., Nuzzo, R., Levitin, D., & Krumhansl, C. (2004). Performance gestures of musicians: What structural and emotional information do they convey? Proceedings of the 5th International Workshop on Gesture and Sign Language based Human-Computer Interaction. In the series "Lecture Notes in Artificial Intelligence." Berlin: Springer.
139. Vos, P. G., & Troost, J. M. (1989). Ascending and descending melodic intervals: Statistical findings and their perceptual relevance. Music Perception, 6, 383-396.
140. Wagner, Y. S., Winner, E., Cicchetti, D., & Gardner, H. (1981). "Metaphorical" mapping in human infants. Child Development, 52, 728-731.
141. Walker, B. N. (2000). Magnitude estimation of conceptual data dimensions for use in sonification. Doctoral dissertation, Rice University.
142. Walker, R. (1987). The effects of culture, environment, age, and musical training on choices of visual metaphors for sound. Perception and Psychophysics, 42, 491-502.
143. Wallin, N. L., Merker, B., & Brown, S. (Eds.), (2000). The origins of music. Cambridge, MA: MIT Press.
144. Wanderley, M., & Battier, M. (Eds.), (2000). Trends in gestural control of music. Paris: Ircam.
145. Weeks, D. J., & Proctor, R. W. (1990). Salient-features coding in the translation between orthogonal stimulus and response dimensions. Journal of Experimental Psychology: General, 119, 355-366.
146. Widmann, A., Kujala, T., Tervaniemi, M., Kujala, A., & Schroger, E. (2004). From symbols to sounds: Visual symbolic information activates sound representations. Psychophysiology, 41, 709-715.
147. Williamon, R. A., & Davidson, J. W. (2002). Exploring co-performer communication. Musicae Scientiae, 6, 1-17.
148. Windsor, L., Aarts, R., Desain, P., Heijink, H., & Timmers, R. (2001). The timing of grace notes in skilled musical performance at different tempi: A preliminary case study. Psychology of Music, 29, 149-169.
149. Wühr, P., & Müsseler, J. (2002). Blindness to response-compatible stimuli in the psychological refractory period paradigm. Visual Cognition, 9(4-5), 421-457.
150. Zatorre, R. J. (2001). Do you see what I'm saying? Interactions between auditory and visual cortices in cochlear implant users. Neuron, 31, 13-14.
151. Zatorre, R. J., Evans, A. C., & Meyer, E. J. (1994). Neural mechanisms underlying melodic perception and memory for pitch. Neuroscience, 14, 1908-1919.
152. Zatorre, R. J., Mondor, T. A., & Evans, A. C. (1999). Auditory attention to space and frequency activates similar cerebral systems. NeuroImage, 10, 544-554.
153. Zbikowski, L. (1997). Conceptual models and cross-domain mapping: New perspectives on theories of music and hierarchy. Journal of Music Theory, 41, 193-225.
154. Zbikowski, L. (1998). Metaphor and music theory. Music Theory Online, 4. Retrieved from http://societymusictheory.org/mto/issues/mto.98.4.1/ mto.98.4.1.zbikowski.html
155. Zbikowksi, L. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. New York: Oxford University Press.