Bio-Aesthetics and the Aesthetic Trajectory: A Dynamic Cognitive and Cultural Perspective

Neuroaesthetics

Volumn , Issue , 2018, Pages 59-101

  Fitch, W Tecumseh ^a   von Graevenitz, Antje ^b   Nicolas, Eric ^b  

^a UNIVERSITY OF ST ANDREWS   (United Kingdom)

^b NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85144439134     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9781315224091-5     Document Type: Chapter

References (66)

1. Amira, J., and Cornelius, S. (1992). The music ofSanteria, New York: Talman.
2. Avital, E., and Jablonka, E. (2000). Animal traditions: Behavioural inheritance in evolution. Cambridge, MA: Cambridge University Press.
3. Baumgartner, T., Esslen, M., and Jancke, L. (2006). From emotion perception to emotion experience: Emotions evoked by pictures and classical music. International Journal of Psychophysiology, 60, 34-43.
4. Bernstein, L. (1981). The unanswered question: Six talks at Harvard (Charles Eliot Norton Lectures). Cambridge, MA: Harvard University Press.
5. Blood, A. J., and 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, USA, 98, 11818-11823.
6. Bonner, J. T. (1983). The evolution of culture in animals. Princeton: Princeton University Press.
7. Boyd, R., and Richerson, P. J. (1985). Culture and the evolutionary process. Chicago: University of Chicago Press.
8. Catchpole, C. K. (1973). The functions of advertising song in the sedge warbler (Acrocephalus schoenobaenus) and reed warbler (A. scirpaceus). Behaviour, 46, 300-320.
9. Cooke, M. (1998). Jazz. London: Thames and Hudso.
10. Cooper, H. (1982). The basic guide to how to read music. New York: Putnam: Perigee.
11. Cross, I. (2003). Music, cognition, culture and evolution. In I. Peretz and R. J. Zatorre (Eds.), The cognitive neuroscience of music (pp. 42-56). Oxford: Oxford University Press.
12. Dale, R. (2004). Teach yourself Jazz. London: Hodder Headline.
13. Dannenberg, R. B. (1993). Music representation issues, techniques, and systems. Computer Music Journal, 17, 20-30.
14. Fitch, W. T. (2006a). On the biology and evolution of music. Music Perception, 24, 85-88.
15. Fitch, W. T. (2006b). The biology and evolution of music: A comparative perspective.Cognition, 100, 173-215.
16. Gaare, M. (1997). Alternatives to traditional notation. Music Educators Journal, 83, 17-23.
17. Galef, B. G., Jr. (1992). The question of animal culture. Human Nature, 3, 157-178.
18. Gombrich, E. H. (1959). Art and illusion: A study in the psychology of pictorial representations. London: Phaidon.
19. Gooding, M. (2001). Abstract art. London: Tate Publishing.
20. Hahn, J., and Miinzel, S. (1995). Knochenfloten aus dem Aurignacien des Geissenklosterle bei Blaubeuren, Alb-Donau-Kreis. Fundberichte aus Baden-Wurttemberg, 20, 1-12.
21. Helmholtz, H. V. (1911). Handbuch der Physiologischen Optik. Hamburg: Voss.
22. Henshilwood, C., D’Errico, F., Yates, R., Jacobs, Z., Tribolo, C., Duller, G., et al. (2002).Emergence of modem human behavior: Middle Stone Age engravings from South Africa. Science, 295, 1278-1280.
23. Hutchinson, A. (1961). Labanotation. Norfolk, CT: New Directions.
24. Juslin, P., and Sloboda, J. A. (Eds). (2001). Music and emotion: Theory and research. Oxford:Oxford University Press.
25. Kilmer, A. D., and Tinney, S. (1996). Old Babylonian music instruction texts. Journal of Cuneiform Studies, 48, 49-56.
26. King, J. (1997). What jazz is: An insider’s guide to understanding and listening to jazz. New York: Walker and Co.
27. Koelsch, S., Gunter, T. C., Friederici, A. D., and Schroger, E. (2000). Brain indices of music processing: “Non-musicians” are musical. Journal of Cognitive Neuroscience, 12, 520-541.
28. Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology.Canadian Journal of Experimental Psychology, 51, 336-353.
29. Langer, S. K. (1942). Philosophy in a new key: A study in the symbolism of reason, rite and art. Cambridge, MA: Harvard University Press.
30. Lerdahl, F. (2001). Tonal pitch space. New York: Oxford University Press.
31. Lerdahl, F., and Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA:The MIT Press.
32. Locke, D. (1983). Drum Gahu: The rhythms of West African drumming. New York:Talman.
33. Malevich, K. S. (1915). From Cubism tofuturism to Suprematism: The new realism in painting. In T. Andersen (Ed.), The artist, infinity, Suprematism. Unpublished writings 1913-1933 (p. 51). Copenhagen: Borgen.
34. Malevich, K. S. (1976). The world as non-objectivity. Unpublished writings 1913-1933. Copenhagen: Borgen.
35. Marler, P. (1991). The instinct to learn. In S. Carey and R. Gelman (Eds.), The epigenesis of mind: Essays on biology and cognition (pp. 37-66). Hillsdale, NJ: Lawrence Erlbaum Associates.
36. Marler, P. (2000). Origins of music and speech: Insights from animals. In N. L. Wallin, B. Merker, and S. Brown (Eds.), The origins of music (pp. 31-48). Cambridge, MA: The MIT Press.
37. Marler, P., and Slabbekoom, H. (2004). Nature’s music: The science of birdsong. New York:Academic Press.
38. Marr, D. (1982). Vision: A computational investigation into the human representation and processing of visual information. San Francisco: W. H. Freeman and Co.
39. Marshack, A. (1976). Some implications of the paleolithic symbolic evidence for the origin of language. Current Anthropology, 17, 274-282.
40. McGrew, W. C. (2004). The cultured chimpanzee. Cambridge, MA: Cambridge University Press.
41. Mithen, S. (2005). The singing Neanderthals: The origins of music, language, mind, and body. London: Weidenfeld and Nicolson.
42. Nettl, B. (2000). An ethnomusicologist contemplates universals in musical sound and musical culture. In N. L. Wallin, B. Merker, and S. Brown (Eds.), The origins of music (pp. 463-472). Cambridge, MA: The MIT Press.
43. Nyklicek, I., Thayer, J. F., and Van Doomen, L. J. P. (1997). Cardiorespiratory differentiation of musically-induced emotions. Journal of Psychophysiology, 11, 304-321.
44. Peretz, I., and Zatorre, R. J. (Eds). (2003). The cognitive neuroscience of music. Oxford: Oxford University Press.
45. Read, G. (1969). Music notation: A manual of modern practice. New York: Crescendo:Taplinger Publishing.
46. Russo, W. (1961). Composing for the jazz orchestra. Chicago: University of Chicago Press.
47. Sloboda, J. A. (1985). The musical mind: The cognitive psychology of music. Oxford:Clarendon.
48. Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings.Psychology of Music, 19, 110-120.
49. Sloboda, J. A. (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford: Oxford University Press.
50. Sundberg, J., and Lindblom, B. (1976). Generative theories in language and music descriptions.Cognition, 4, 99-122.
51. Temperley, D. (2000). Meter and grouping in African music: A view from music theory.Ethnomusicology, 44, 66-96.
52. Tervaniemi, M. (2003). Musical sound processing: EEG and MEG evidence. In I. Peretz and R. J. Zatorre (Eds.), The cognitive neuroscience of music (pp. 294-309). Oxford: Oxford University Press.
53. Tervaniemi, M., Winkler, I., and Näätänen, R. (1997). Pre-attentive categorization of sounds by timbre as revealed by event-related potentials. NeuroReport, 8, 2571-2574.
54. Titon, J. T., Koetting, J. T., McAllester, D. P., Reck, D. B., and Slobin, M. (Eds). (1984).Worlds of music: An introduction to the music of the world’s peoples. New York:Schirmer Books.
55. Tomasello, M. (1999). The cultural origins of human cognition. Cambridge, MA: Harvard University Press.
56. Trainor, L. J., and Schmidt, L. A. (2003). Processing emotions induced by music. In I. Peretz and R. J. Zatorre (Eds.), The cognitive neuroscience of music (pp. 310-324). Oxford:Oxford University Press.
57. Trehub, S. E., and Trainor, L. J. (1998). Singing to infants: Lullabies and play songs. Advances in Infant Research, 12, 43-77.
58. West, M. L. (1994). The Babylonian musical notation and the Hurrian melodic texts. Music and Letters, 75, 161-179.
59. Whiten, A., Goodall, J., McGrew, W. C., Nishida, T., Reynolds, V., Sugiyama, Y., et al. (1999). Cultures in chimpanzees. Nature, 399, 682-685.
60. Wimsatt, W. K., and Beardsley, M. C. (1946). The intentional fallacy. Sewanee Review, 54, 468-488.
61. Wold, M., and Cykler, E. (1976). An introduction to music and art in the Western world. Dubuque, IA: Wm. C. Brown and Co.
62. Wolfe, T. (1975). The painted word. New York: Farrar, Straus and Giroux.
63. Wundt, W. M. (1908). Grundzilge der physiologischen Psychologie. Leipzig: Wilhelm Engelmann.
64. Zeki, S. (1999). Inner vision: An exploration of art and the brain. Oxford: Oxford University Press.
65. Zhadova, L. A. (1982). Malevich: Suprematism and revolution in Russion art 1910-1930. London: Thames and Hudson.
66. Zschocke, N. (2006). Der irritierte Blick: Kunstrezeption und Aufmerksamkeit. Munich:Wilhelm Fink Verlag.