Part of
Time Representations in the Perspective of Human Creativity
Edited by Anna Piata, Adriana Gordejuela and Daniel Alcaraz Carrión
[Human Cognitive Processing 75] 2022
► pp. 163186
References (86)
References
Alossa, N., & Castelli, L. (2009). Amusia and musical functioning. European Neurology, 61(5), 269–277. DOI logoGoogle Scholar
Alperson, P. (1980). “Musical time” and music as an “art of time”. The Journal of Aesthetics and Art Criticism, 38(4), 407–417.Google Scholar
Apel, W. (1962). The notation of polyphonic music: 900–1600. Cambridge, MA: The Mediaeval Academy of America. (Original work published 1961 as Die notation der polyphonen musik: 900–1600)Google Scholar
Barsalou, L. W. (1999). Perceptual symbol systems. Behavioral and Brain Sciences, 22(4), 577–660. DOI logoGoogle Scholar
Besada, J. L. (2018). Sharing and enacting cognitive metaphors in musical distributed contexts: A case study form IRCAM. In R. Parncutt & S. Sattmann (Eds.), Proceedings of ICMPC15/ESCOM10 (pp. 77–82). Graz: University of Graz.Google Scholar
Besada, J. L., Barthel-Calvet, A.-S., & Pagán Cánovas, C. (2021). Gearing time towards musical creativity: Conceptual integration and anchoring in Xenakis’ Psappa. Frontiers in Psychology, 11, 611316. DOI logoGoogle Scholar
Besada, J. L., & Pagán Cánovas, C. (2020). Timelines in spectral composition: A cognitive approach to musical creativity. Organised Sound, 25(2), 142–155. DOI logoGoogle Scholar
Bigand, E., Madurell, F., Tillmann, B., & Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25(1), 184–197. DOI logoGoogle Scholar
Born, G. (1995). Rationalizing culture: IRCAM, Boulez, and the institutionalization of the musical avant-garde. Berkeley, Los Angeles, & London: University of California Press. DOI logoGoogle Scholar
Boroditsky, L. (2000). Metaphoric structuring: Understanding time through spatial metaphors. Cognition, 75(1), 1–28. DOI logoGoogle Scholar
Boulez, P. (1963). Penser la musique aujourd’hui. Paris & Mainz: Gonthier & Schott. (Original work published 1963 as Musikdenken heute 1, Darmstädter Beiträge zur Neuen Musik 5)Google Scholar
(1971). Boulez on music today (S. Bradshaw & R. R. Bennett, Trans.). London: Faber & Faber. (Original work published 1963)Google Scholar
(1986). Orientations (J.-J. Nattiez, Ed., M. Cooper, Trans.). London: Faber & Faber. (Original work published 1985 as Points de repère, revised edition)Google Scholar
(1989). Le pays fertile: Paul Klee (P. Thévenin, Ed.). Paris: Gallimard.Google Scholar
(2005). Regards sur autri: Points de repère II (J.-J. Nattiez & S. Galaise, Eds.). Paris: Christian Bourgois.Google Scholar
Boulez, P., Changeux, J.-P., & Manoury, P. (2020). Enchanted neurons: The brain and music (G. Weiss, Trans.). Paris & New York: Odile Jacob. (Original work published 2014 as Les Neurones enchantés. Le cerveau et la musique)Google Scholar
Boyes Braem, P., & Bräm, T. (2000). A pilot study of the expressive gestures used by classical orchestral conductors. In K. Emmorey & H. Lane (Eds.), The signs of language revisited: An anthology to honor Ursula Bellugi and Edward Klima (pp. 143–167). Mahwah: Lawrence Erlbaum.Google Scholar
Bresciani, J.-P., Dammeier, F., & Ernst, M. O. (2008). Tri-modal integration of visual, tactile and auditory signals for the perception of sequences of events. Brain Research Bulletin, 75(6), 753–760. DOI logoGoogle Scholar
Brown, S. (2000). The “musilanguage” model of music evolution. In N. L. Wallin, B. Merker & S. Brown (Eds.), The origins of music (pp. 271–301). Cambridge, MA: MIT Press.Google Scholar
Burgoon, J. K. (1993). Interpersonal expectations, expectancy violations, and emotional communication. Journal of Language and Social Psychology, 12(1–2), 13–21. DOI logoGoogle Scholar
Cage, J. (1969). Notations. New York: Something Else Press.Google Scholar
Campbell, E. (2010). Boulez, music and philosophy. Cambridge: Cambridge University Press.Google Scholar
Casasanto, D., & Boroditsky, L. (2008). Time in the mind: Using space to think about time. Cognition, 106(2), 579–593. DOI logoGoogle Scholar
Chuang, Y-C. (2012). Gestures, language, and what they reveal about thought: A music teacher’s use of metaphor in Taiwan. In F. MacArthur, J. L. Oncins-Martínez, M. Sánchez-García & A. M. Piquer-Píriz (Eds.), Metaphor in use: Context, culture and communication (pp. 261–284). Amsterdam: Benjamins. DOI logoGoogle Scholar
Collins, D. (2005). A synthesis process model of creative thinking in music composition. Psychology of Music, 33(2), 193–216. DOI logoGoogle Scholar
(2007). Real-time tracking of the creative music composition process. Digital Creativity, 18(4), 239–256. DOI logoGoogle Scholar
Coulson, S., & Pagán Cánovas, C. (2013). Understanding timelines. Journal of Cognitive Semiotics, 5(1–2), 198–219. DOI logoGoogle Scholar
Decroupet, P. (2003). Comment Boulez pense sa musique au début des années soixante. In P. Alberà (Ed.), Pli selon Pli de Pierre Boulez: Entretien et études (pp. 49–57). Geneva: Contrechamps. Open-access: [URL]. DOI logo
Deleuze, G. (1998). Boulez, Proust, and time: “Occupying without counting”. Angelaki: Journal of Theoretical Humanities, 3(2), 69–74. DOI logoGoogle Scholar
Deleuze, G., & Guattari, F. (1980). Mille plateaux: Capitalisme et schizophrénie. Paris: Minuit.Google Scholar
Donin, N., & Féron, F.-X. (2012). Tracking the composer’s cognition in the course of a creative process: Stefano Gervasoni and the beginning of Gramigna. Musicæ Scientiæ, 16(3), 262–285. DOI logoGoogle Scholar
Donin, N., & Theureau, J. (2006). Theoretical and methodological issues related to long term creative cognition: The case of musical composition. Cognition, Technology and Work, 9(4), 233–251. DOI logoGoogle Scholar
Eitan, Z., & Granot, R. Y. (2006). How music moves: Musical parameters and listeners’ images of motion. Music Perception, 23(3), 221–248. DOI logoGoogle Scholar
Gable, D. (1990). Boulez’s two cultures: The post-war European synthesis and tradition. Journal of the American Musicological Society, 43(3), 426–456. DOI logoGoogle Scholar
Gallagher, S. (2011). Time in action. In C. Callender (Ed.), The Oxford handbook of philosophy of time (pp. 420–438). New York: Oxford University Press.Google Scholar
Gentner, D., Imai, M., & Boroditsky, L. (2002). As time goes by: Evidence for two systems in processing space-time metaphors. Language and Cognitive Processes, 17(5), 537–565. DOI logoGoogle Scholar
Gibson, J. J. (1975). Events are perceivable but time is not. In J. R. Fraser & N. Lawrence (Eds.), The study of time II [Proceedings of the 2nd Conference of the ISST, Lake Yamakana] (pp. 295–301). Berlin: Springer. DOI logo
Goldman, J. (2011). The musical language of Pierre Boulez: Writings and compositions. Cambridge: Cambridge University PressGoogle Scholar
Gunter, T. C., Friederici, A. D., & Schriefers, H. (2000). Gender and semantic expectancy: ERPs reveal early autonomy and late interaction. Journal of Cognitive Neuroscience, 12(4), 556–568. DOI logoGoogle Scholar
Haviland, J. (2007). Master speakers, master gesturers: A string quartet master class. In S. D. Duncan, J. Cassell & E. Levy (Eds.), Gesture and the dynamic dimension of language: Essays in honour of David McNeill (pp. 141–172). Amsterdam: Benjamins. DOI logoGoogle Scholar
Hopson, J. W. (2003). General learning models: Timing without a clock. In W. H. Meck (Ed.), Functional and neural mechanisms of interval timing (pp. 25–62). Boca Raton, FL: CRC Press. DOI logoGoogle Scholar
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press. DOI logoGoogle Scholar
Iddon, M. (2013). New music at Darmstadt: Nono, Stockhausen, Cage, and Boulez. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
Imberty, M. (2005). La musique creuse le temps. De Wagner à Boulez: Musique, psychologie, psychanalyse. Paris: L’Harmattan.Google Scholar
Imberty, M., & Capogreco, N. (2004). Repères pour une problématique du temps en musique au cours du XXe siècle. Musicæ Scientiæ, 8(1-suppl), 71–87. DOI logoGoogle Scholar
Johnson, M., & Larson, S. (2003). “Something in the way she moves”: Metaphors of musical motion. Metaphor & Symbol, 18(2), 63–84. DOI logoGoogle Scholar
Jones, M. R. (1976). Time, our lost dimension: Toward a new theory of perception, attention, and memory. Psychological Review, 83(5), 323–335. DOI logoGoogle Scholar
(2016). Musical time. In S. Hallam, I. Cross & M. H. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed.) (pp. 125–141). Oxford: Oxford University Press.Google Scholar
Keller, P. (1999). Attending in complex musical interactions: The adaptive dual role of meter. Australian Journal of Psychology, 51(3), 166–175. DOI logoGoogle Scholar
Koelsch, S. (2013). Brain and Music. Chichester: Willey-Blackwell.Google Scholar
Kosonen, K., & Raisamo, R. (2006). Rhythm perception through different modalities. In Proceedings of Eurohaptics 2006 (pp. 365–370).Google Scholar
Kozak, M. K. (2020). Enacting musical time: The bodily experience of new music. New York: Oxford University Press. DOI logoGoogle Scholar
Krumhansl, C. L. (1995). Effects of musical context on similarity and expectancy. Systematische Musikwissenschaft, 3(2), 211–250.Google Scholar
Langacker, R. W. (1987). Foundations of cognitive grammar, vol I: Theoretical prerequisites. Stanford, CA: Stanford University Press.Google Scholar
Large, E. W., & Jones, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, 106(1), 119–159. DOI logoGoogle Scholar
Large, E. W., & Kim, J. C. (2019). Musical expectancy. In P. J. Rentfrow & D. J. Levitin (Eds.), Foundations in music psychology: Theory and research (pp. 221–263). Cambridge, MA: MIT Press.Google Scholar
Mak, S. Y. (2016). String theory: An ethnographic study of a professional quartet in Hong Kong. Intégral, 30, 53–65.Google Scholar
Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.Google Scholar
Mithen, S. J. (2005). The singing Neanderthals: The origins of music, language, mind and body. Cambridge, MA: Harvard University Press.Google Scholar
Murphy, G. L. (1988). Comprehending complex concepts. Cognitive Science, 12(4), 529–562. DOI logoGoogle Scholar
Nattiez, J.-J. (2004). The battle of Chronos and Orpheus: Essays in applied musical semiology (J. Dunsby, Trans.). New York: Oxford University Press. (Original work published 1993 as Le combat de Chronos et Orphée)Google Scholar
Osherson, D. N., & Smith, E. E. (1982). Gradedness and conceptual conjunction. Cognition, 12(3), 299–318. DOI logoGoogle Scholar
Palmer, C., & Zamm, A. (2017). Interactions in ensemble music performance: Empirical and mathematical accounts. In M. Lessaffre, P.-J. Maes & M. Leman (Eds.), The Routledge companion on embodied music interaction (pp. 370–379). London: Routledge. DOI logoGoogle Scholar
Patel, A. D. (2008). Music, language, and the brain. New York: Oxford University Press.Google Scholar
Pérez-Sobrino, P., & Julich, N. (2014). Let’s talk music: A corpus-based account of musical motion. Metaphor & Symbol, 29(4), 298–315. DOI logoGoogle Scholar
Pressing, J. (1999). The referential dynamics of cognition and action. Psychological Review, 106(4), 714–747. DOI logoGoogle Scholar
Reiner, T. (2000). Semiotics of musical time [Berkekey Insights in Linguistics and Semiotics 43]. Bern: Peter Lang.Google Scholar
Repp, B. H. (2005). Sensorimotor synchronization: A review of the tapping literature. Psychonomic Bulletin and Review, 12(6), 969–992. DOI logoGoogle Scholar
Repp, B. H., & Su, Y. H. (2013). Sensorimotor synchronization: A review of recent research (2006–2012). Psychonomic Bulletin and Review, 20(3), 403–452. DOI logoGoogle Scholar
Rosch, E. (1973). Natural categories. Cognitive Psychology, 4(3), 328–350. DOI logoGoogle Scholar
(2011). “Slow lettuce”: Categories, concepts, fuzzy sets, and logical deduction. In R. Bělohlávek & G. L. Klir (Eds.), Concepts and fuzzy logic (pp. 89–120). Cambridge, MA: MIT Press.Google Scholar
Rosch, E., & Mervis, C. B. (1975). Family resemblances: Studies in the internal structure of categories. Cognitive Psychology, 7(4), 573–605. DOI logoGoogle Scholar
Russo, F. (2019). Multisensory processing of music. In M. H. Thaut & D. A. Hodges (Eds.), The Oxford handbook of music and the brain (pp. 212–234). Oxford: Oxford University Press.Google Scholar
Savage-Rumbaugh, S., & Lewin, R. (1994). Kanzi: The ape at the brink of the human mind. New York: Willey & Sons.Google Scholar
Scheffer, F. (Director). (1994). Éclat [Film]. Allegri & Avro.Google Scholar
Schreiber, E. (2016). Skelett der Zeit. Körper des Klanges. Die organische Metapher in Schriften und Werk von Gérard Grisey. In M. Kunkel (Ed.), Les espaces sonores: Stimmungen – Klanganalysen – spektrale Musiken (pp. 78–96). Friedberg: Pfau.Google Scholar
Sloboda, J. A. (1985). The musical mind: The cognitive psychology of music. Oxford: Oxford University Press.Google Scholar
Small, C. (1998). Musicking: The meanings of performing and listening. Middletown, CT: Wesleyan University Press.Google Scholar
Smith, E. E., Osherson, D. N., Rips, L. J., & Keane, M. (1988). Combining prototypes: A selective modification model. Cognitive Science, 12(4), 485–527. DOI logoGoogle Scholar
Talmy, L. (1996). Fictive motion in language and “ception”. In P. Bloom, M. A. Peterson, L. Nadel & M. F. Garrett (Eds.), Language and space (pp. 211–276). Cambridge, MA: MIT Press.Google Scholar
Vermeil, J. (1996). Conversations with Boulez: Thoughts on conducting (C. Naish, Trans.) Portland: Amadeus Press. (Original work published 1989 as Conversations de Pierre Boulez sur la direction d’orchestre)Google Scholar
Wynne, C. D. L. (2008). Aping language: A skeptical analysis of the evidence for nonhuman primate language. Skeptic, 13, 10–14.Google Scholar
Zadeh, L. A. (1965). Fuzzy sets. Information and Control, 8(3), 338–353. DOI logoGoogle Scholar
Zbikowski, L. M. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. New York: Oxford University Press. DOI logoGoogle Scholar
(2017). Foundations of musical grammar. New York: Oxford University Press. DOI logoGoogle Scholar