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Última actualización: 05.04.07.

Bibliografía sobre Psicología de la Música

Colaboradores:

Marta García Quiñones

AIELLO, Rita; SLOBODA, John (ed.): Musical Perceptions, New York, OxfordUniversity Press, 1994.

BREGMAN, Albert S.: Auditory Scene Analysis. The perceptual organization of sound, Cambridge, MIT Press, 1990.

CLARKE, Eric F.: "Levels of structure in the organization of musical time", Contemporary Music Review, vol. 2, part 1 (issue editor: Stephen McAdams), London, Harwood Academic Publishers, 1987, pp. 211-239.

**: "Mind the gap: formal structures and psychological processes in music", Contemporary Music Review, vol. 3, part 1 (issue editors: Eric Clarke and Simon Emmerson), London, Harwood Academic Publishers, 1989, pp. 1-14.

**: Ways of Listening. An Ecological Approach to the Perception of Musical Meaning, Oxford, OxfordUniversity Press, 2005.

CLARKE, Eric; COOK, Nicholas (ed.): Empirical Musicology. Aims, Methods, Prospects, New York, OxfordUniversity Press, 2004.

CLAYTON, Martin; HERBERT, Trevor; MIDDLETON, Richard (ed.): The Cultural Study of Music, London, Routledge, 2003.

DELALANDE, François: "L'analyse des conduites musicales: Une étape du programme sémiologique?", Semiotica, vol. 66, 1/3, Amsterdam, Mouton de Gruyter, 1987, pp. 99-107.

DELIÈGE, Irène: "La perception de la musique", en NATTIEZ, Jean-Jacques (dir.): Musiques. Une encyclopédie pour le XXIe siècle, vol. 2: Les savoirs musicaux, Arles, Actes Sud/Cité de la Musique, 2004, pp. 359-389.

**: "Le parallélisme, support d'une analyse auditive de la musique: Vers un modèle des parcours cognitifs de l'information musicale", Analyse Musicale, VI, 1987, pp. 73-79.

DELIÈGE, Irène; SLOBODA, John (ed.): Perception and Cognition of Music, Hove, Psychology Press, 1997.

DEUTSCH, Diana (ed.): The psychology of music, San Diego, Academic Press, 1982, 1999 (2ª ed.).

DIBBEN, Nicola: "What do we hear when we hear music? Music perception and musical material", Musicae Scientiae, 5, 1994, pp. 161-194.

DOWLING, W. Jay; HARWOOD, Dane L.: Music Cognition, Orlando, Academic Press, 1986.

FRANCÈS, Robert: La perception de la musique, París, Librairie Philosophique J. Vrin, 1984, 2ª ed.

GAVER, William W.: “What in the World Do We Hear? An Ecological Approach to Auditory Event Perception”, Ecological Psychology, 5(1), 1993, pp. 1-29.

**: “How Do We Hear in the World? Explorations in Ecological Acoustics”, Ecological Psychology, 5(4), 1993, pp. 285-313.

HANDEL, Stephen: Listening. An Introduction to the Perception of Auditory Events, Cambridge, MIT Press, 1989.

IMBERTY, Michel: Entendre la musique. Sémantique psychologique de la musique, tome 1, Paris, Dunod, 1979.

**: Les écritures du temps. Sémantique psychologique de la musique, tome 2, Paris, Dunod, 1981.

**: "De la perception du temps musical à sa signification psychologique : à propos de la Cathédrale engloutie de C. Debussy", Analyse musicale, 1er trimestre 1987, pp. 28-79.

**: "How do we perceive atonal music? Suggestions for a theoretical approach", Contemporary Music Review, vol. 9 (Music and the Cognitive Sciences 1990. Proceedings of the Cambridge Conference on Music and the Cognitive Sciences, 1990, issue editors: Ian Cross and Irène Deliège), London, Harwood Publishers, 1993, pp. 325-337.

IMBERTY, Michel (ed.): De l'écoute à l'oeuvre: Études interdisciplinaires: Actes du colloque tenu en Sorbonne les 19 et 20 février 1999, París, L’Harmattan, 2001.

IMBERTY, Michel: "Qu'est-ce que le mouvement d'une oeuvre musicale?", en IMBERTY, Michel; ESCAL, Françoise (ed.): La Musique au regard des sciences humaines et des sciences sociales, 2 vols., Paris, L'Harmattan, 1997, pp. 21-44.

JONES, Mari Riess: "Musical Events and Models of Musical Time", en BLOK, Richard A.: Cognitive Models of Psychological Time, Hillsdale, Lawrence Erlbaum, 1990, pp. 207-240.

JUSLIN, Patrik N.; SLOBODA, John (ed.): Music and Emotion: theory and research, Oxford, Oxford University Press, 2001.

KEMP, Anthony E.: The Musical Temperamant. Psychology and Personality of Musicians, Oxford, OxfordUniversity Press, 1996.

KRUMHANSL, Carol L.: "Music Psychology and Music Theory: Problems and Prospects", Music Theory Spectrum, vol. 17, n. 1, 1995, pp. 53-80.

LARGE, Edward W.; PALMER, Caroline: "Perceiving temporal regularity in music", Cognitive Science, 26, 2002, pp. 1-37.

LERDAHL, Fred; JACKENDOFF, Ray: Teoría generativa de la música tonal, trad. Juan González Castelao, Madrid, Akal, 2003.

McADAMS, Stephen: "Music: A science of the mind?", Contemporary Music Review, vol. 2, part 1 (issue editor: Stephen McAdams), London, Harwood Academic Publishers, 1987, pp. 1-62.

McADAMS, Stephen; DELIÈGE, Irène (dir.): La musique et les sciences cognitives, Liège, Pierre Mardaga, 1989.

MEYER, Leonard B.: La emoción y el significado en la música, traducción y prólogo de José Luis Turina, Madrid, Alianza, 2001.

NARMOUR, Eugene: The Analysis and Cognition of Basic Melodic Structures. The implication-realization model, Chicago, University of Chicago Press, 1990.

PERETZ, Isabelle; ZATTORE, Robert (ed.): The Cognitive Neuroscience of Music, Oxford, OxfordUniversity Press, 2003.

SEASHORE, Carl. E.: Psychology of music, New York, Dover, 1967.

(primera ed.: New York, McGraw-Hill, 1938).

SLOBODA, John: The Musical Mind: the cognifive psychology of music, Oxford, Clarendon Press, 1987

**: Exploring the Musical Mind: cognition, emotion, ability, function, Oxford-New York, Oxford University Press, 2005.

SNYDER, Bob: Music and Memory. An Introduction, Cambridge, MIT Press, 2000.

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