|526 records in our database; 12 in Music with author name of P*.||Back to main category index|
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Palmer, Christopher, and Carol Krumhansl; "Mental Representations for Musical Meter" , Journal of Experimental Psychology: Human Perception and Performance 16/4 pp. 728-41.
Parncutt, Richard; and Lelio Camilleri, Editor; "Mind and Machines -- Journal for Artificial Intelligence, Philosophy, and Cognition Science: Music and Cognitive Volume 2, Number 4 " , Computer Music Journal 17:4 pp. 78-81.
Parncutt, Richard; "Review of the 1993 conference of the Society for Music Perception and Cognition" , Music theory online 6 pp. 1-28.
Parthasarathy, T.S.; "Rhythm in historical cognition (review)" , The journal of the Music Academy Madras 64 pp. p. 176-178.
Paynter, John; Ed.and by Howell, Timothy B.; Ed. by; Companion to contemporary musical thought , London: RoutledgeTwo Volumes. The following contributions are cited separately in this volume of RILM: Istvan ANHALT, Text, context, music (13164) and Pst...Pst...Are you listening? Hearing voices from yesterday (13163); Francis BAINES, Musical instruments and performers of the past (9875); Irmgard BONTINCK, Public performance and the concert as categories of musical action (14125); Walter BRANCHI, Verso-l'uno (11654); Yehezkel BRAUN, Aspects of melody: An examination of the structure of Jewish and Gregorian chants (11177); John BRYAN, "Anthemes for versus and chorus...apt for viols and voyces": The development of the English consort anthem, with some approaches to performance practice (9944); Joel CHADABE, Flying through a musical space: About real-time composition (11056); Eric F. CLARKE, Improvisation, cognition and education (10121); Rogers COVEY-CRUMP, Vocal consort style and tunings (9957); Hugh DAVIES, New musical instruments in the computer age: Amplified performance systems and related examples of low-level technology (9704); Graham DIXON, Liturgical reconstructions: An apologia and some guidelines (14428); Duncan DRUCE, Historical approaches to violin playing (9265); Jonathan DUNSBY, Musical analysis: Commentaries (10261); James FULKERSON, Morty Feldman is dead (4909); Joscelyn GODWIN, Speculative music: The numbers behind the notes (10270); Craig R. HARRIS, Artistic necessity, context orientation, configurable space (6044); Ellen T. HARRIS, Handel's ghost: The composer's posthumous reputation in the eighteenth century (2549); Lou HARRISON, Cloverleaf: A little narrative with several "off-ramps" (10429); Jonathan HARVEY, New directions: The conception and development of a composition (5004); Hanns-Werner HEISTER, Music in concert and music in the background: Two poles of musical realization (14153); Peter HOLMAN, "An addicion of wyer stringes beside the ordenary stringes": The origin of the baryton (9296); Timothy B. HOWELL, Analysis and performance: The search for a middleground (10276); David KERSHAW, Music and image on film and video: An absolute alternative (12341); Peter LE HURAY, Music and the arts in pre-Renaissance and Renaissance worship: A question of "expression" (13382); Edwin LONDON, On making music out of music (10680); Peter MANNING, Towards a new age in the technology of computer music (11115); Wilfrid Howard MELLERS, Music, the modern world, and the burden of history (4123) and Present and past: Intermediaries and interpreters (9852); F. Richard MOORE, A technological approach to music (14001); Klaus L. NEUMANN, Producer for early music: A cog in the mechanism of musical life (9897); Richard ORTON, Musical, cultural, and educational implications of digital technology (11130) and From improvisation to composition (11129); John PAYNTER, Music and people: The import of structure and form (13441); Bruce PENNYCOOK, Composers and audiences: New relationships in the technological age (6257); George PRATT, Aural training: Material and method (11369); Thomas A. REGELSKI, The action value of musical experience and learning (11372); Lorentz REITAN, Does it really mean anything? Some aspects of musical meaning (13462); Jean-Claude RISSET, Composing sounds with computers (9784); Curtis ROADS, Composition with machines (11144); Anthony ROOLEY, On patronage: "Musick, that mind-tempering art" (13470) and Renaissance attitudes to performance: A contemporary application (9906); R. Murray SCHAFER, Music, non-music, and the soundscape (14206); Peter SEYMOUR, Oratory and performance (9861); John Charles SHEPHERD, Musical as cultural text (13494); Robert SHERLAW-JOHNSON, Analysis and the composer (11009); John A. SLOBODA, Psychological structures in music: Core research 1980-1990 (13732); Denis SMALLEY, The listening imagination: Listening in the electroacoustic era (5594); Neil SORRELL, Improvisation (10136); John STEVENS, Music, number, and rhetoric in the early Middle Ages (1930); Keith SWANWICK, What makes music musical? (13517); Barry D. TRUAX, Electroacoustic music and the soundscape: The inner and outer world (9802); Philip WILBY, Lutoslawski and a view of musical perspective (13762); Peter F. WILLIAMS, Performance practice studies: Some current approaches to the early music phenomenon (9873); Christopher WINTLE, Analysis and psychoanalysis: Wagner's musical metaphors (12834); Trevor WISHART, Music and technology: Problems and possibilities (9811); Alison WRAY, Authentic pronunciation for early music (9925). SUBJECT: > musicology--publications--Companion to contemporary musical thought
Pearsall, Edward R.; "Trees and schemas: A cognitive approach to music analysis", ( PhD, University of Wisconsin, Madison )
Pearsall, Edward R:; "Reviews: Gerald Edelman, "Bright Air, Brilliant Fire"" , Computers in Music Research 5 pp. 119-32.
Peretz, Richard D. Isabelle; and Morais, Jose; "Music and modularity" , Contemporary music review vol. 4 pp. 279-294.In: Music and the cognitive sciences. Chur, Switzerland: Harwood, 1989.
Peretz, Isabelle; and Morais, Jose; "Rules of modules are not rules of art: Reply to Osmond-Smith" , Contemporary music review vol. 4 pp. 96-100.In: Music and the cognitive sciences. Chur, Switzerland: Harwood, 1989
Perry, David W; "A cognitive neuropsychological analysis of melody recall" , Contemporary Music Review 9 pp. 97-112.
Petitot, Jean; "Perception, cognition and morphological objectivity" , Contemporary music review vol. 4 pp. 171-180.In: Music and the cognitive sciences. Chur, Switzerland: Harwood, 1989.
Poli, Giovanni de; Ed. and Piccialli, Aldo; Ed. by ; Representations of musical signals , Cambridge, MA: Massachusetts Institute of Technology
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