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.
📜 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. 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.
📜 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
📜 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. 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
📜 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.
📜 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
📜 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.
📜 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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