412 Vijay Iyer
Brown, D. E. (1991).
Human universals
. New York: McGraw-Hill.
Brown, J. (1991).
Star time.
Compact disc compilation of original releases 1956–1984.
New York: PolyGram Records.
Carroll-Phelan, B., & Hampson, P. J. (1996). Multiple components of the perception of
musical sequences: A cognitive neuroscience analysis and some implications for auditory
imagery.
Music Perception
,
13,
517–561.
Clark, A. (1997).
Being there: Putting brain, body, and world together again
. Cambridge,
MA: Bradford/MIT Press.
Clarke, E. (1999). Rhythm and timing in music. In D. Deutsch (Ed.),
The psychology of
music, 2nd ed.
(pp. 473–500). New York: Academic Press.
Collier, G. L., & Collier, J. L (1996). Microrhythms in jazz: a review of papers.
Annual
Review of Jazz Studies
,
3,
117–139.
Desain, P., & Honing, H. (1996). Physical motion as a metaphor for timing in music: The
final ritard.
Proceedings of the 1996 International Computer Music Conference
(pp.
458–460). Hong Kong: ICMPC.
Drake, C., & Palmer, C. (1993). Accent structures in music performance.
Music Perception
,
10,
343–378.
Floyd, S. (1995).
The power of Black music.
New York: Oxford University Press.
Fraisse, P. (1956).
Les structures rhythmiques.
Louvain, Paris: Publications Universitaires
de Louvain.
Fraisse, P. (1982). Rhythm and tempo. In D. Deutsch (Ed.),
The psychology of music
(pp.
149–180). New York: Academic Press.
Friberg, A., & Sundberg, J. (1995). Time discrimination in a monotonic, isochronous se-
quence.
Journal of the Acoustical Society of America, 98,
2524–2531.
Friberg, A., & Sundberg, J. (1999). Does music performance allude to locomotion? A model
of final ritardandi derived from measurements of stopping runners.
Journal of the Acous-
tical Society of America
,
105,
1469–1484.
Friberg, A., Sundberg, J., & Frydén, L. (2000). Music from motion: Sound level envelopes
of tones expressing human locomotion.
Journal of New Music Research, 29,
199–210.
Gibson, J. J. (1975). Events are perceivable but time is not. In J. T. Fraser & N. Lawrence
(Eds.),
The study of time II
(pp. 295–301). New York: Springer-Verlag.
Gibson, J. J. (1979).
The ecological approach to visual perception.
Boston: Houghton Mifflin.
Handel, S. (1990).
Listening.
Cambridge, MA: MIT Press.
Hardcastle, V. (1996).
How to build a theory in cognitive science.
Albany, NY: SUNY Press.
Held, R., & Hein, A. (1958). Adaptation of disarranged hand-eye coordination contingent
upon re-afferent stimulation.
Perceptual-Motor Skills, 8,
87–90.
Iyer, V. (1998).
Microstructures of feel, macrostructures of sound: Embodied cognition in
West African and African American musics.
Unpublished doctoral dissertation, Univer-
sity of California, Berkeley.
Iyer, V., Bilmes, J., Wright, M., & Wessel, D. (1997). A novel representation for rhythmic
structure.
Proceedings of the 1997 International Computer Music Conference
(pp. 97–
100). Thessaloniki, Greece: ICMPC.
Jamal, A. (1980).
What’s New.
Compact disc compilation of original 1952 & 1958 re-
leases. Woodland Hills, CA: Telstar Records.
Jeffress, L. A. (1948). A place theory of sound localization.
Journal of Comparative and
Physiological Psychology
,
41,
35–39.
Keil, C., & Feld, S. (1994).
Music grooves.
Chicago: University of Chicago Press.
Ladzekpo, C. K. (1995). Foundation course in African dance drumming (web document).
Available at http://cnmat.CNMAT.Berkeley.EDU/~ladzekpo/Foundation.html
Lakoff, G., & Johnson, M. (1999). Philosophy in the flesh: The embodied mind and its
challenge to Western thought. Chicago: University of Chicago Press.
Lashley, K. S. (1951). The problem of serial order in behavior. In L. A. Jeffries (Ed.),
Cere-
bral mechanisms in behavior: The Hixon Symposium
(pp. 112–146). New York: John
Wiley & Sons.
Laughlin, C., McManus, J., & D’Aquili, E. (1990).
Brain, symbol, & experience: Towards
a neurophenomenology of human consciousness.
New York: Columbia University Press.
This content downloaded from 162.233.200.40 on Thu, 30 Mar 2017 21:59:20 UTC
All use subject to http://about.jstor.org/terms