IMPROVISATION : METHODS AND MODELS to appear in : Generative processes in music
暂无分享,去创建一个
[1] W. E. Hick. Quarterly Journal of Experimental Psychology , 1948, Nature.
[2] Albert B. Lord,et al. The Singer of Tales , 1961 .
[3] P. N. Kugler,et al. 1 On the Concept of Coordinative Structures as Dissipative Structures: I. Theoretical Lines of Convergence* , 1980 .
[4] Leo Treitler,et al. HOMER AND GREGORY: THE TRANSMISSION OF EPIC POETRY AND PLAINCHANT , 1974 .
[5] G. Hendrickson,et al. Transfer of training in learning to hit a submerged target. , 1941 .
[6] S. Keele,et al. The Structure of Motor Programs , 1976 .
[7] N. A. Bernshteĭn. The co-ordination and regulation of movements , 1967 .
[8] Gerard H. Béhague. Improvisation in Latin American Musics , 1980 .
[9] D. Spalding. The Principles of Psychology , 1873, Nature.
[10] J. J. Denier,et al. The guiding of human writing movements , 1965, Kybernetik.
[11] C. Brunia. Motor preparation, recorded on the cortical and spinal level , 1980 .
[12] M. Serafine,et al. Cognition in music , 1983, Cognition.
[13] Patrick Rabbitt,et al. An elementary preliminary taxonomy for some errors in laboratory choice RT tasks , 1970 .
[14] Lorraine G. Kisselburgh,et al. Rapid visual feedback processing in single-aiming movements. , 1983, Journal of motor behavior.
[15] B. Hayes-Roth. Evolution of Cognitive Structures and Processes. , 1977 .
[16] Cesar Bresgen. Die Improvisation in der Musik , 1983 .
[17] P. Gehring. Improvisation In Contemporary Organ Playing , 1963 .
[18] E C POULTON. On the stimulus and response in pursuit tracking. , 1957, Journal of experimental psychology.
[19] J. Doyon. Skill learning. , 1997, International review of neurobiology.
[20] S. A. Wallace,et al. Conscious Mechanisms in Movement , 1978 .
[21] Richard W. Pew,et al. The Components of an Information Processing Theory of Skilled Performance Based on an Optimal Control Perspective , 1978 .
[22] J. Hollerbach. An oscillation theory of handwriting , 2004, Biological Cybernetics.
[23] B. Hennessey. The Social Psychology of Creativity , 2003, Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship.
[24] W. Luder. Introduction to thermodynamics of irreversible processes , 1955 .
[25] L. Squire. The neuropsychology of human memory. , 1982, Annual review of neuroscience.
[26] L. H. Shaffer,et al. Timing in Solo and Duet Piano Performances , 1984 .
[27] Carl Philipp Emanuel Bach,et al. Essay on the True Art of Playing Keyboard Instruments , 1948 .
[28] M. Dupré. Cours complet d'improvisation à l'orgue = Complete course in organ improvisation , 1925 .
[29] Derek Bailey. Improvisation: Its nature and practice in music , 1980 .
[30] J. Fodor. Psychology and Language. , 1970 .
[31] G. Hall. Early Jazz-Its Roots And Musical Development , 1968 .
[32] 竹中 晃二,et al. Psychomotor Learningにおける身体疲労の効果〔英文〕 , 1989 .
[33] J. Guilford. Creative abilities in the arts. , 1957, Psychological review.
[34] Wayne Douglas Gorder. Divergent Production Abilities as Constructs of Musical Creativity , 1980 .
[35] D. Glencross,et al. The processing of proprioceptive signals , 1979, Neuropsychologia.
[36] Nils J. Nilsson,et al. Artificial Intelligence , 1974, IFIP Congress.
[37] M. S. Mayzner,et al. Human information processing : tutorials in performance and cognition , 1975 .
[38] R. Schmidt. On the Underlying Structure of Well-Learned Motor Responses A Discussion of Namikas and Schneider and Fisk , 1983 .
[39] J. Guilford. The structure of intellect. , 1956, Psychological bulletin.
[40] J. Becker,et al. The rāgs of North Indian music , 1973, The Journal of Asian Studies.
[41] P. Morasso. Three dimensional arm trajectories , 1983, Biological Cybernetics.
[42] H. Gelernter,et al. Realization of a geometry theorem proving machine , 1995, IFIP Congress.
[43] Frieda Goldman Eisler. Psycholinguistics : experiments in spontaneous speech , 1968 .
[44] Charles Parsons,et al. Reason and Intuition* , 2000, Synthese.
[45] Janice E. Kleeman. The Parameters of Musical Transmission , 1985 .
[46] L. Shaffer. 26 Analysing Piano Performance: A Study of Concert Pianists , 1980 .
[47] Nicolas Slonimsky,et al. Thesaurus Of Scales And Melodic Patterns , 1947 .
[48] M. Harrell. The music of the gamelan degung of West Java , 1974 .
[49] J. Yorke,et al. Period Three Implies Chaos , 1975 .
[50] G. Ryle,et al. The concept of mind. , 2004, The International journal of psycho-analysis.
[51] J. Gibson. The Ecological Approach to Visual Perception , 1979 .
[52] Karl Signell. Esthetics of Improvisation in Turkish Art Music , 1974 .
[53] David Cope,et al. New Directions in Music , 1971 .
[54] R. Shaw,et al. Perceiving, Acting and Knowing : Toward an Ecological Psychology , 1978 .
[55] T. Bastick,et al. Intuition--how we think and act , 1982 .
[56] Terry Winograd,et al. FRAME REPRESENTATIONS AND THE DECLARATIVE/PROCEDURAL CONTROVERSY , 1975 .
[57] P. N. Kugler,et al. Patterns of human interlimb coordination emerge from the properties of non-linear, limit cycle oscillatory processes: theory and data. , 1981, Journal of motor behavior.
[58] C. B. Gibbs. PROBABILITY LEARNING IN STEP-INPUT TRACKING. , 1965, British journal of psychology.
[59] F. Delcomyn. Neural basis of rhythmic behavior in animals. , 1980, Science.
[60] L. Squire,et al. Preserved learning and retention of pattern-analyzing skill in amnesia: dissociation of knowing how and knowing that. , 1980, Science.
[61] M. Häusser,et al. Neurobiology , 2001, Current Opinion in Neurobiology.
[62] M. R. Westcott. Toward a contemporary psychology of intuition : a historical, theoretical, and empirical inquiry , 1968 .
[63] Shinichi Suzuki. The Suzuki Concept: An Introduction to a Successful Method for Early Music Education , 1974 .
[64] E. Paul Torrance,et al. Guiding creative talent , 1962 .
[65] Frank P. Tirro. Constructive Elements in Jazz Improvisation , 1974 .
[66] Jerry Coker. The Jazz Idiom , 1975 .
[67] Alvin Shrier,et al. Chaos in neurobiology , 1983, IEEE Transactions on Systems, Man, and Cybernetics.
[68] M. Bunge,et al. Intuition and Science. , 1963 .
[69] H. T. H. PIAGGIO,et al. Analysis of Intelligence , 1936, Nature.
[70] Habib Hassan Touma,et al. The Maqam Phenomenon: An Improvisation Technique in the Music of the Middle East , 1971 .
[71] W. McCulloch. The heterarchy of values determined by the topology of nervous nets. , 1945, The Bulletin of mathematical biophysics.
[72] Robert M. May,et al. Simple mathematical models with very complicated dynamics , 1976, Nature.
[73] N. Cohen. Neuropsychological evidence for a distinction between procedural and declarative knowledge in human memory and amnesia , 1981 .
[74] Joel Chadabe,et al. Interactive Composing: An Overview , 1984, ICMC.
[75] M. Schlossberg. Introduction to Physiological Psychology , 1892, Nature.
[76] Graham Vulliamy,et al. The New Grove Dictionary of Music and Musicians , 1982, Popular Music.
[77] J. Adams,et al. A closed-loop theory of motor learning. , 1971, Journal of motor behavior.
[78] M. L. Tsetlin,et al. SOME METHODS OF CONTROL FOR COMPLEX SYSTEMS , 1962 .
[79] V. Vīķis-Freibergs. Creativity and Tradition in Oral Folklore or the Balance of Innovation and Repetition in the Oral Poets Art1 , 1984 .
[80] W. M. Smith,et al. The effects of delayed and displaced visual feedback on motor control. , 1980, Journal of motor behavior.
[81] David L. Kleinman,et al. A control theoretic approach to manned-vehicle systems analysis , 1971 .
[82] Ben Jamin Kotkov. Principles of Training , 1966 .
[83] Ella Zonis. Classical Persian Music: An Introduction , 1974 .
[84] WALTER J. M. KICKERT,et al. Some Comments on Cybernetics and Control , 1978, IEEE Trans. Syst. Man Cybern..
[85] Walter Schneider,et al. Controlled and automatic human information processing: II. Perceptual learning, automatic attending and a general theory. , 1977 .
[86] R W Angel,et al. Correction of tracking errors without sensory feedback. , 1970, Journal of experimental psychology.
[87] I. Prigogine,et al. Biological order, structure and instabilities , 1971, Quarterly Reviews of Biophysics.
[88] David Levitt,et al. A melody description system for jazz improvisation , 1981 .
[89] L. J. West. Vision and kinesthesis in the acquisition of typewriting skill. , 1967, The Journal of applied psychology.
[90] R. Chernikoff,et al. Reaction time to kinesthetic stimulation resulting from sudden arm displacement. , 1952, Journal of experimental psychology.
[91] J. Adams. Issues for a Closed-Loop Theory of Motor Learning , 1976 .
[92] Alexander L. Ringer,et al. Yearbook of the International Folk Music Council , 1971 .
[93] R. B. Wilberg,et al. Memory for Movement: Discussion of Adams and Saltzman and Kelso , 1983 .
[94] W. Rhodes. Studies in African Music , 1960 .
[95] R. Davis,et al. The Human Operator as a Single Channel Information System , 1957 .
[96] Jeff Pressing,et al. Cognitive Processes in Improvisation , 1984 .
[97] A. Welford,et al. On the sequencing of action. , 1974, Brain Research.
[98] E. Holst. Relations between the central Nervous System and the peripheral organs , 1954 .
[99] Michael N. Nagler. Spontaneity and Tradition: A Study in the Oral Art of Homer , 1974 .
[100] W. Wyrick,et al. The development of a test of motor creativity. , 1968, Research quarterly.
[101] P. Alperson,et al. On Musical Improvisation , 1984 .
[102] L. H. Shaffer,et al. Timing in the Motor Programming of Typing , 1978 .
[103] D J Glencross,et al. Control of skilled movements. , 1977, Psychological bulletin.
[104] J. Kelso,et al. Toward a Dynamical Account of Motor Memory and Control , 1983 .
[105] L. H. Shaffer,et al. Performances of Chopin, Bach, and Bartok: Studies in motor programming , 1984, Cognitive Psychology.
[106] P. Viviani,et al. 32 Space-Time Invariance in Learned Motor Skills , 1980 .
[107] J. A. Leonard. Tactual Choice Reactions: I , 1959 .
[108] Charles Vernon Burnsed,et al. The development and evaluation of an introductory jazz improvisation sequence for intermediate band students , 1978 .
[109] Jazz Improvisation , 1963 .
[110] D. Aspinall. Components for information processing , 1977, Microprocess..
[111] Bonnie C. Wade. Chiz in Khyal: The Traditional Composition in the Improvised Performance , 1973 .
[112] J. Gibson,et al. The Senses Considered As Perceptual Systems , 1967 .
[113] G. Talland. Plans and the Structure of Behavior , 1961 .
[114] J. Paillard,et al. 15 The Multichanneling of Visual Cues and the Organization of A Visually Guided Response , 1980 .
[115] É. Jaques-Dalcroze,et al. Eurhythmics, art and education , 1930 .
[116] V. Erlmann. Model, Variation and Performance. Ful'be Praise-Song in Northern Cameroon , 1985, Yearbook for Traditional Music.
[117] J. C. Johnston,et al. Attention and performance. , 2001, Annual review of psychology.
[118] Antony J. Chapman,et al. Cognitive processes in the perception of art , 1984 .
[119] W A Sparrow,et al. The efficiency of skilled performance. , 1983, Journal of motor behavior.
[120] Douglas B. Lenat. Computer Software for Intelligent Systems. , 1984 .
[121] A. D. Fisk,et al. Attention Theory and Mechanisms for Skilled Performance. , 1983 .