| Abbate, C. (2004). Music: Drastic or gnostic? Critical Inquiry, 30(3), 505–536. |
 
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| Boethius. (1989). Fundamentals of music. C. M. Bower, Trans. New Haven and London: Yale University Press. |
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| Added by: Mark Grimshaw-Aagaard 6/11/24, 5:40 AM |
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| Cambron, M. A chat with Chance Thomas. Retrieved December 20, 2004, from http://www.gignews.com/goddess/chancethomas.htm |
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| Cobussen, M. (2003). Ethics and/in/as silence. Ephemera, 3 Retrieved September 9, 2004, from http://www.ephemeraweb. ... nal/3-4/3-4cobussen.pdf |
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| Cohen, A. J. (2002). Music as a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (pp. 249–272). Oxford: Oxford University Press. (Original work published 2001). |
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| Added by: Mark Grimshaw-Aagaard 9/2/05, 12:50 PM |
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| Deutsch, D. Illusions and research. Retrieved October 4, 2023, from http://deutsch.ucsd.edu/psychology/pages.php?i=201 |
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| Added by: Mark Grimshaw-Aagaard 10/4/23, 5:18 PM |
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| Econtact! 14.2: Biotechnological performance practice. (2012). Retrieved April 3, 2014, from http://cec.sonus.ca/econtact/14_2/index.html |
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| Added by: Mark Grimshaw-Aagaard 4/3/14, 8:46 AM |
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| van Elferen, I. (2011). ¡un forastero! Issues of virtuality and diegesis in videogame music. Music and the Moving Image, 4(2), 30–39. |
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| Added by: Mark Grimshaw-Aagaard 7/10/12, 11:28 AM |
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| Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23, Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Deleted user 7/31/09, 4:58 PM |
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| Knakkergaard, M. (2014). The music that’s not there. In M. Grimshaw (Ed), The Oxford Handbook of Virtuality (pp. 392–404). New York: Oxford University Press. |
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| Added by: Mark Grimshaw-Aagaard 1/18/14, 1:09 PM |
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| Kraemer, D. J. M., Macrae, C. N., Green, A. E., & Kelley, W. M. (2005). Musical imagery: Sound of silence activates auditory cortex. Nature, 434(158), 158. |
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| Added by: Mark Grimshaw-Aagaard 5/2/14, 12:00 PM |
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| van Leeuwen, T. (1999). Speech, music, sound. London: MacMillan Press. |
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| Added by: Mark Grimshaw-Aagaard 9/22/06, 3:16 PM |
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| Niazi, A. M. 2011. Effect of music tempo in first-person shooter on arousal and aggression. Netherlands: Department of Electrical Engineering, Mathematics & Computer Science, University of Twente. |
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| Added by: Mark Grimshaw-Aagaard 3/30/14, 6:17 PM |
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| Schmidt, L. A., & Trainor, L. J. (2001). Frontal brain electrical activity (EEG) distinguishes valence and intensity of musical emotions. Cognition and Emotion, 15(4), 487–500. |
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| Added by: Mark Grimshaw-Aagaard 5/28/09, 9:04 AM |
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| Sloboda, J. A., & Juslin, P. N. (2002). Psychological perspectives on music and emotion. In P. N. Juslin & J. A. Sloboda (Eds.), Music and Emotion: Theory and Research (pp. 71–104). Oxford: Oxford University Press. (Original work published 2001). |
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| Added by: Mark Grimshaw-Aagaard 11/1/10, 3:55 AM |
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| Small, C. (1998). Musicking: The meanings of performing and listening. Hanover, NH: Wesleyan University Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/22/23, 5:15 PM |
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| Stober, S., & Thompson, J. 2012, October, Music imagery information retrieval: Bringing the song on your mind back to your ears. Paper presented at The 13th International Conference on Music Information Retrieval. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/4/14, 12:50 PM |
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| Thompson, J. (2013). Neural decoding of subjective music listening experiences. Unpublished thesis Masters, Dartmouth College, New Hampshire. |
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| Added by: Mark Grimshaw-Aagaard 11/4/14, 12:35 PM |
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| Vuoskoski, J. K., Gatti, E., Spence, C., & Clarke, E. F. (2016). Do visual cues intensify the emotional responses evoked by musical performance? A psychophysiological investigation. Psychomusicology: Music, Mind, and Brain, 26(2), 179–188. |
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| Added by: Mark Grimshaw-Aagaard 10/28/19, 10:12 AM |
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| Walker, P. (2016). Cross-sensory correspondences: A theoretical framework and their relevance to music. Psychomusicology: Music, Mind, and Brain, 26(2), 103–116. |
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| Added by: Mark Grimshaw-Aagaard 10/28/19, 10:19 AM |
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