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 which page cites it and how to use it in the article that you're editing.


📜 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. https://vbn.aau.dk/da/publications/sound-is-multi-dimensional-parameter-analysis-as-a-tool-for-creat

📜 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.

📜 Brotchie, Alistair. 1995. A Book of Surrealist Games. Boston & London: Shambhala Publications.

📜 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. 2021 [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

📜 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

📜 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

📜 Eco, Umberto. 1989 [1968]. The Open Work. Translated by Anna Cancogni. Cambridge, Massachusetts: Harvard University Press.

📜 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.

📜 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.

📜 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

📜 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.

📜 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.

📜 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.

📜 Salen, Katie, and Eric Zimmerman. 2003. Rules of Play: Game Design Fundamentals. Cambridge, Massachusetts: MIT 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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