References

The list below shows all citations on the wiki (as long as the page uses the cite module for that purpose). The references should be in Chicago author-date formatting style. Links are usable but not highlighted. You can click on the entry's "scroll icon" to learn where it is cited and how to use it on your page.


📜 Bergstrøm-Nielsen, Carl. 2006. Sound is Multi-Dimensional: Parameter analysis as a tool for creative music making. https://vbn.aau.dk/da/publications/sound-is-multi-dimensional-parameter-analysis-as-a-tool-for-creat

📜 Biswas, Ansuman. 2011. “The music of what happens: mind, meditation, and music as movement.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 95-110. Oxford: Oxford University Press.

📜 Cardew, Cornelius. 1969. “A Scratch Orchestra: Draft Constitution.” The Musical Times, Vol. 110, No. 1516, 125th Anniversary Issue, June: 617-619.

📜 Chase, Stephen Timothy. 2006. “Improvised Experimental Music and the Construction of a Collaborative Aesthetic.” PhD diss., University of Sheffield. https://etheses.whiterose.ac.uk/14904/1/440929.pdf

📜 Chou, Gabrielle. 2023. “Play Makes Perfect: An Exploration of Game and Play Elements in Composition and Performance.” PhD diss., City University of New York.
https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=6458&context=gc_etds

📜 Cubitt, Edward, 2022. Music is Easy: A Flow-state Music Learning Method. Self-published, Edward Cubitt.

📜 DeNora, Tia. 2011. “Practical consciousness and social relation in MusEcological perspective.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 309-326. Oxford: Oxford University Press.

📜 Dolscheid, Sarah, Simge Çelik, Hasan Erkan, Aylin Küntay, Asifa Majid. 2020. “Space-pitch associations differ in their susceptibility to language.”, Cognition, Volume 196, March: 104073. https://doi.org/10.1016/j.cognition.2019.104073

📜 Flanagan, Mary. 2009. Critical Play: Radical Game Design. Cambridge, Massachusetts: MIT Press.

📜 Fleugelman, Andrew, ed. 1976. The New Games Book. San Francisco: The Headlands Press, Inc.

📜 Gable, David. 1985. “Ramifying Connections: An Interview with Pierre Boulez.” The Journal of Musicology 4(1): 105–13. https://doi.org/10.2307/763725

📜 Godøy, Rolf Inge. 2011. “Sound-action awareness in music.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 231-244. Oxford: Oxford University Press.

📜 Gołębiowski, Łukasz. 1831. Gry i zabawy różnych stanów w kraju całym, lub niektórych tylko prowincyach : umieszczony tu kulig czyli szlichtada, łowy, maszkary, muzyka, tańce, reduty, zapusty, ognie sztuczne, rusałki, sobótki i.t.p. Warszawa: N. Glücksberg.

📜 Hogg, Bennett. 2011. “Enacting consciousness, intertextuality, and musical free improvisation: deconstructing mythologies and finding connections.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 79-94. Oxford: Oxford University Press.

📜 Holler, Judith, Linda Drijvers, Afrooz Rafiee, Asifa Majid. 2022. “Embodied Space-pitch Associations are Shaped by Language.” Cognitive Science, 46: e13083. https://doi.org/10.1111/cogs.13083

📜 Huizinga, Johan. 1949 [1938]. Homo Ludens: A Study of Play Element in Culture. [Translated by Richard Francis Carrington Hull]. London, Boston and Henley: Routledge & Kegan Paul‎

📜 Malm, William P. 2000 [1959]. Traditional Japanese Music and Musical Instruments. Tokyo: Kodansha International.

📜 Mathieu, William Allaudin. 1991. The Listening Book: Discovering Your Own Music. Boulder, Colorado: Shambhala Publications.

📜 McGuiness, Andy and Katie Overy. 2011. “Music, consciousness, and the brain: music as shared experience of an embodied present.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 245-262. Oxford: Oxford University Press.

📜 Nattiez, Jean-Jacques. 1999. “Inuit Throat-Games and Siberian Throat Singing: A Comparative, Historical, and Semiological Approach.” Ethnomusicology, Autumn, Vol. 43, No. 3: 399-418. Urbana-Champaign: University of Illinois Press on behalf of Society for Ethnomusicology.

📜 Peñalba Acitores, Alicia. 2011. “Towards a theory of proprioception as a bodily basis for consciousness in music.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by David Clarke and Eric Clarke, 215-230. Oxford: Oxford University Press.

📜 Schwartz, Elliott and Daniel Godfrey. 1993. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer Books.

📜 Sharp, John. 2015. Works of Game: On the Aesthetics of Games and Art. Cambridge, Massachusetts: MIT Press.

📜 Stockhausen, Karlheinz. 1958. “Musik und Sprache.” Darmstädter Beiträge zur neuen Musik, 1: 57-82. Mainz.

📜 Stuart, Wendy Bross. 1974. "Coast Salish Gambling Music." Canadian Folk Music Journal, vol. 2: 3-12. https://cjtm.icaap.org/content/2/v2art2.html

📜 Upton, Brian. 2015 The Aesthetic of Play. Cambridge, Massachusetts: MIT Press.

📜 Weiss, Philipp. 2017. “Game Pieces and Game Elements.” Master's Thesis, Royal Conservatoire The Hague. http://sonology.org/wp-content/uploads/2020/04/Thesis-Philipp_Weiss-Final.pdf

📜 Williams, Alastair. 1995. New Music and the Claims of Modernity. New York: Routledge.


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