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Clynes, M. (1977). Sentics, the touch of emotion. New York: Doubleday Anchor. Drake, C., & Palmer, C. (1993). Accent structures in music performance. Music Perception, 10, 343–378. Gabrielsson, A., & Juslin, P. (1996). Emotional expression in music performance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91. Juslin, P. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418. Mawer, D. (1999). Bridging the divide: embedding voice- leading analysis in string pedagogy and performance. British Journal of Music Education, 16, 179-195. Parncutt, R. (1994). Pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409–464. Parncutt, R. (1994). Template-matching models of musical pitch and rhythm perception.Journal of New Music Research, 23, 145-168.


Parncutt, R. (1998). Listening to music in the real world? A critical discussion of MarcLeman’s (1995) Music and Schema Theory: Cognitive Foundations of SystematicMusicology Journal of New Music Research, 27, 380-408. Shaffer, L. H. (1995). Musical performance as interpretation. Psychology of Music, 23, 17–38. Sloboda, J. (1983). The communication of musical metre in piano performance. Quarterly Journal of Experimental Psychology, 35A, 377-396. Sundberg, J. (1988). Computer synthesis of music performance. In J. A. Sloboda (Ed.), Generative processes in music. Oxford: Clarendon. Terhardt, E. (1974). Pitch, consonance, and harmony. Journal of the Acoustical Society of America, 55, 1061–1069. Todd, N. P. (1995). The kinematics of musical expression. Journal of the Acoustical Society of America, 97, 1940–1949, Watt, R. J., & Ash, R. L. (1998). A psychological investigation of meaning in music. Music Scientiae, 1, 33-53.








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