The cite module integrates all citations on our wiki. The references are as Chicago author-date. You can click a "scroll icon" to learn which page cites the entry and how to use it in your article.
📜 Adamowicz, Elza. 2005. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press.
📜 ash, honor. 2024. “Fear, play and getting things wrong: Understanding emotional responses when collaborating in improvised music settings.” Master's thesis, Middlesex University.
https://hnr.fyi/fear_play_getting_things_wrong/
📜 Babbitt, Milton. 1958. “Who cares if you listen?” High Fidelity, February: 38-40.
https://archive.org/details/rm_High-Fidelity-1958-Feb/page/n39/mode/2up?view=theater
📜 Barboza, Joab da Silva. 2018. “Jogos e música em publicações da ABEM e da ANPPOM.” Master's thesis, Universidade Estadual Paulista. http://hdl.handle.net/11449/157171
📜 Barthes, Roland. 1971. Image Music Text. Translated by Stephen Heath. London: Fontana Press.
📜 Bergstrøm-Nielsen, Carl. 2006. Sound is Multi-Dimensional: Parameter analysis as a tool for creative music making. n.p. https://vbn.aau.dk/da/publications/sound-is-multi-dimensional-parameter-analysis-as-a-tool-for-creat
📜 Bergstrøm-Nielsen, Carl. 2009 [1992]. Intuitive Music: A Mini-Handbook. n.p. https://vbn.aau.dk/en/publications/intuitive-music-a-mini-handbook-version-2009f
📜 Bergstrøm-Nielsen, Carl. 2017. “RABR Analysis – Rating Degrees of Openness in Experimental Repertory”. Preprint. https://vbn.aau.dk/da/publications/rabr-analysis-rating-degrees-of-openness-in-experimental-repertor
📜 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.
📜 Bloomfield, Daniel. 1910. Games and puzzles for the musical: a collection of the best games, puzzles, etc., for musical clubs and the home. Philadelphia: Theodore Presser. https://archive.org/details/gamespuzzlesform00bloo/page/n3
📜 Boal, Augusto. 2002. Games for Actors and Non-Actors. Translated by Andrew Jackson. London: Routledge
📜 Borgo, David. 2022. Sync or Swarm: Improvising Music in a Complex Age, Revised edition. New York: Bloomsbury Academic.
📜 Brackett, John Lowell. 2008. John Zorn: Tradition and Transgression. Bloomington: Indiana University Press.
📜 Brotchie, Alistair. 1995. A Book of Surrealist Games. Boston & London: Shambhala Publications.
📜 Brown, Harko. 2006. Traditional Maori Games. n.p.
https://www.wavesouthcanterbury.co.nz/media/4693/tmgharkobrown160120.pdf
📜 Bryars, Gavin, Christopher Hobbs, and Michael Nyman. 1975. Experimental Music Catalogue 1975, London: Experimental Music Catalogue
📜 Cage, John. 1973 [1961]. Silence. Middletown, Connecticut: Wesleyan University Press.
📜 Caillois, Roger. 2001 [1958]. Man, Play and Games. Translated by Meyer Barash. Urbana and Chicago: University of Illinois 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
📜 Cheng, William. 2014. Sound Play: Video Games and the Musical Imagination. Oxford: Oxford University Press.
📜 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
📜 Clarke, David and Eric Clarke, eds. 2011. Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford: Oxford University Press.
📜 Corbett, John. 2016. A Listener's Guide to Free Improvisation, Chicago: University of Chicago Press.
📜 Cox, Christoph and Daniel Warner, eds. 2004. Audio Culture: Readings in Modern Music. New York: Continuum
📜 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.
📜 DiPiero, Dan. 2022. Contingent Encounters: Improvisation In Music and Everyday Life. Ann Arbor, Michigan: University of Michigan Press. https://doi.org/10.3998/mpub.12066852.
📜 Dolscheid, Sarah, Simge Çelik, Hasan Erkan, Aylin Küntay, and 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
📜 Dunbar, Julie C. 2011. Women Music Culture: An Introduction. New York: Routledge.
📜 Eco, Umberto. 1989 [1968]. The Open Work. Translated by Anna Cancogni. Cambridge, Massachusetts: Harvard University Press.
📜 Fleugelman, Andrew, ed. 1976. The New Games Book. San Francisco: The Headlands Press, Inc.
📜 Flusser, Elisabeth. 1983. “Approche du Jeu Musical.” Thesis for the musician-animator diploma, Chalon/Saone.
📜 French, Izabelle. 2023. “Playing Music: Reconsidering Game Pieces Through Tabletop Roleplaying Game Design.” Bachelor's thesis, Edith Cowan University. https://doi.org/10.25958/998d-3z69
📜 Friedman, Ken 2009. “Events and the Exquisite Corpse.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 49-81. Lincoln & London: University of Nebraska Press.
📜 Friedman, Ken, Owen Smith, and Lauren Sawchyn. 2002. The FluxusPerformanceWorkbook, A Performance Research e-publication
📜 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.
📜 Havriliv, Mark. 2005. “Playing with Audio: The Relationship Between Music and Games.” Master's thesis, University of Wollongong.
https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1761&context=theses
📜 Hermans, Phillip. 2013. “Cooperation and Competition in Music Composition.” Master's thesis, Dartmouth College. http://philliphermans.com/scores/Hermans%20MA%20Thesis.pdf
📜 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, and 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
📜 Jannarone, Kimberly. 2009. “Exquisite Theater.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 221-242. Lincoln & London: University of Nebraska Press.
📜 Joyce, Michael. 2009. “«together in their dis-harmony»: Internet Collaboration and Le Cadavre Exquis.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 164-186. Lincoln & London: University of Nebraska Press.
📜 Juul, Jesper. 2002. “The Open and the Closed: Games of Emergence and Games of Progression.” In Computer Games and Digital Cultures Conference Proceedings, edited by Frans Mäyra, 323–329. Tampere: Tampere University Press.
📜 Kayali, Fares. 2008. “Playing Music: Design, Theory, and Practice of Music-based Games.” PhD diss., Vienna University of Technology. http://hdl.handle.net/20.500.12708/13412
📜 Kern, Anne M. 2009. “From One Exquisite Corpse (in)to Another: Influences and Transformations from Early to Late Surrealist Games.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 3-28. Lincoln & London: University of Nebraska Press.
📜 Kim, Hey-jung. 2014. Nongak: Community Band Music, Dance, and Rituals in the Republic of Korea. Translated by Park Jung-eun. Seoul: Korea Cultural Heritage Foundation
📜 Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, eds. 2009. The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game., Lincoln & London: University of Nebraska Press.
📜 Laxton, Susan. 2009. “This Is Not a Drawing.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 29-48. Lincoln & London: University of Nebraska Press.
📜 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.
📜 Miller, George A. 1956. “The magical number seven, plus or minus two: Some limits on our capacity for processing information.” Psychological Review, 63(2): 81–97.
📜 Moseley, Roger. 2016. Keys to Play: Music as a Ludic Medium from Apollo to Nintendo. Oakland: University of California Press. http://doi.org/10.1525/luminos.16
📜 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.
📜 Nyman, Michael. 1999 [1974]. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press.
📜 O'Neill, Matthew. 2020. “Facilitating an Empirical Understanding of the Free Improvisation Environment: A Progressive Set of Games Focusing on Listening, Space, and Feedback.” PhD diss., Texas Tech University. https://hdl.handle.net/2346/86689
📜 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.
📜 Salen, Katie, and Eric Zimmerman. 2003. Rules of Play: Game Design Fundamentals. Cambridge, Massachusetts: MIT Press.
📜 Schaffner, Ingrid. 2009 [1993]. “The Corpse Encore.” In The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game, edited by Kochhar-Lindgren, Kanta, Davis Schneiderman, and Tom Denlinger, 107-126. Lincoln & London: University of Nebraska Press.
📜 Schleuse, Paul. 2015. Singing Games in Early Modern Italy: The Music Books of Orazzio Vecchi. Bloomington and Indianapolis: Indiana University Press
📜 Schwartz, Elliott and Daniel Godfrey. 1993. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer Books.
📜 Shadow-Sky, Mathius. 2018. The Book of Ephemerodes. Berlin: Éditions AquAvivA.
📜 Sharp, John. 2015. Works of Game: On the Aesthetics of Games and Art. Cambridge, Massachusetts: MIT Press.
📜 Simms, Bryan R. 1986. Music of the twentieth century: style and structure. New York: Schirmer Books
📜 Small, Christopher. 1998. Musicking: The Meaning of Performing and Listening, Middletown, Connecticut: Wesleyan University Press
📜 Smith, Julian. 2010. “Reunion: Duchamp, Cage and Ludology.” Master's thesis, York University. https://www.collectionscanada.gc.ca/obj/thesescanada/vol2/002/MR62326.PDF
📜 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
📜 Szczelkun, Stefan. 2018. Improvisation Rites: from John Cage’s ’Song Books’ to the Scratch Orchestra’s ‘Nature Study Notes’. Collective practices 2011-2017. London: Routine Art Co.
📜 Taylor, Coty. 2021. “Playing Music: A Curricular Outline for Music Learned Through Improvisatory Games.” Master's thesis, Indiana University.
https://scholarworks.iu.edu/iuswrrest/api/core/bitstreams/af1e094b-f612-48a3-a391-0970f9cf7e3a/content
📜 Upton, Elizabeth Randell. 2013. Music and Performance in Later Middle Ages, New York: Pelgrave Macmillan.
📜 Upton, Brian. 2015 The Aesthetic of Play. Cambridge, Massachusetts: MIT Press.
📜 Varèse, Edgard and Chou Wen-chung. 1966. “The Liberation of Sound.” Perspectives of New Music, Vol. 5, No. 1, Autumn - Winter: 11-19.
📜 Watkins, Glenn. 1988. Soundings: Music in the Twentieth Century. New York: Schirmer Books.
📜 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.
📜 Xenakis, Iannis. 1971. Formalized Music: Thought and Mathematics in Composition. Bloomington: Indiana University Press.
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