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Module Reading List

Musical Encounters, 2019/20
Dr Emily Payne
Tutor information is taken from the Module Catalogue

Bailey, D. (1993). Improvisation : its nature and practice in music. New York: Da Capo Press.

Bayley, Amanda (2009). Multiple takes: using recordings to document creative process. In A. Bayley (Ed.) Recorded music : performance, culture and technology, pp. 206­–224. Cambridge: Cambridge University Press.

Becker, J. (2004). Deep listeners [electronic resource] : music, emotion, and trancing. Bloomington: Indiana University Press.

Bergh, A. & DeNora, T. (2009). From wind-up to iPod: techno-cultures of listening. In N. Cook, E. Clarke, D. Leech-Wilkinson & J. Rink. (Eds.) The Cambridge Companion to Recorded Music, pp. 102–115. Cambridge: Cambridge University Press.

Blackmore, S. (2005). Consciousness : a very short introduction. Oxford: Oxford University Press.

Brewster, B. & Broughton, F. (1999). Last Night a DJ Saved My Life. Headline Publishing.

Brown, J. A., Cook, N., & Cottrell, S. (Eds.). (2017). Defining the discographic self : Desert Island Discs in context ISBN: 9780197266175; 0197266177. London: British Academy.

Bull, M. (2008). Sound moves : iPod culture and urban experience. New York: Routledge.

Burland, K., and Pitts, S.E. (2010). Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival. Journal of New Music Research 39(2), 125–134.

Clarke, D.I., and Clarke, E.F (Eds.) (2011). Music and consciousness : philosophical, psychological, and cultural perspectives. Oxford: Oxford University Press.

Clarke, E. F., Dibben, N. & Pitts, S. (2010). Music and mind in everyday life. Oxford: Oxford University Press.

Cook, N. (1990). Music, Imagination & Culture. Oxford: Clarendon Press.

Collin, M. & Godfrey, J. (1997). Altered state : the story of ecstasy culture and acid house. London: Serpent’s Tail Publishers.

Csikszentmihalyi, M. (1996). Creativity : flow and the psychology of discovery and invention. New York: HarperCollins.

Deliège, I. & Davidson, J. (2011). (Eds.) Music and the mind : essays in honour of John Sloboda. Oxford: Oxford University Press.

DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.

Deutsch, D. (1999) (Ed.) The Psychology of Music. (2nd Ed.) New York: Academic Press.

Eerola, T & Vuoskoski, J. K. (2013). A review of music and emotion studies: approaches, emotion models, and stimuli. Music perception.: An Interdisciplinary Journal 30(3), 307–340.

Garratt, S. (1998). Adventures in Wonderland : a decade of club culture. Headline Publishing.

Hallam, S., Cross, I., & Thaut, M. (2009) (Eds.) The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.

Hallam, S. (2011). 21st Century conceptions of musical ability. Psychology of music. 38(3), 308–330.

Hargreaves, D. J. & North, A. N. (1997). (Eds). The social psychology of music. Oxford: Oxford University Press.

Hargreaves, D.J., Miell, D. & MacDonald, R. A. R. (2012). Musical imaginations : multidisciplinary perspectives on creativity, performance and perception. Oxford: Oxford University Press.

Herbert, R. (2011). Everyday music listening : absorption, dissociation and trancing. Aldershot: Ashgate.

Herbert, R. (2012a). Modes of music listening and modes of subjectivity in everyday life. Journal of Sonic Studies, 2/1

Herbert, R. (2012b). Musical and non-musical involvement in daily life: the case of absorption. Musicae scientiae. 16(1), 41–66.

Herbert, R. (2013). An empirical study of normative dissociation in musical and non-musical everyday life experiences. Psychology of music., 41(3), 372­–394.

Heye, A. & Lamont, A. (2010). Mobile listening situations in everyday life: The use of MP3 players whilst travelling. Musicae scientiae. 14(1), 95–120.

Juslin, P. N., Liljeström, S., Västfjäll, D., Barradas, G. and Silva, A (2008). An experience sampling study of emotional reactions to music: listener, music and situation. Emotion. 8/5, 668–683.

Juslin, P. N. & Sloboda, J. A. (Eds.) (2001). Music and emotion : theory and research. Oxford: Oxford University Press.

Juslin, P. N. & Sloboda, J. A. (2010) (Eds.) Handbook of Music and Emotion: Theory, Research, Applications. Oxford: Oxford University Press.

Kemp, A. E. (1996). The musical temperament : psychology and personality of musicians. Oxford: Oxford University Press.

Lehmann, A. C., Woody, R. H., Sloboda, J. A. (2007). Psychology for musicians : understanding and acquiring the skills. Oxford: Oxford University Press.

Levitin, D. (2007). This is your brain on music : understanding a human obsession. London: Atlantic.

MacDonald, R. A. R., Kreutz, G. & Mitchell, L. (2012). Music, health, and wellbeing. Oxford: Oxford University Press.

Martinus, T., McAlaney, J., McLaughlin, L. J., & Smith, H. (2010). Outdoor music festivals: Cacophonous consumption or melodious moderation? Drugs : education, prevention and policy. 17(6), 795–807.

Meyer, L. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press.

North, A. N. & Hargreaves, D. J. (2008). The social and applied psychology of music. Oxford: Oxford University Press.

Panksepp, J. & Bernatzky, G. (2002). Emotional sounds and the brain: the neuro-affective foundations of musical appreciation. Behavioural processes. 60, 133–155.

Parncutt, R. & McPherson, G. (Eds.) (2002). The science and psychology of music performance : creative strategies for teaching and learning. New York: Oxford University Press.

Redhead, S., Wynne, D. & O’Connor, J. (Eds.) (1997). The clubcultures reader : readings in popular cultural studies. Oxford: Blackwell.

Reynolds, S. (1997). Rave Culture: Living Dream or Living Death? In S. Redhead, D. Wynne & J. O’Connor (Eds.). The clubcultures reader : readings in popular cultural studies, pp. 102–111. Blackwell Publishers.

Reynolds, S. (1999). Generation ecstasy : into the world of techno and rave culture. London: Routledge.

Reynolds, S. (2008). Energy Flash: A Journey Through Rave Music and Dance Culture (2nd Ed.). Picador.

Rink, J. (2002).(Ed.). Musical performance : a guide to understanding. Cambridge: Cambridge University Press.

Sacks, O. (2007). Musicophilia: Tales of Music and The Brain. London: Picador.

Sawyer, R. K. (2003). Group creativity : music, theater, collaboration. Mahwah, New Jersey: Lawrence Erlbaum Associates.

Sawyer, R. K. & DeZutter, S. (2009). Distributed creativity: how collective creations emerge from collaboration. Psychology of aesthetics, creativity and the arts 3(2), 81–92

Sloboda, J. A. (2005). Exploring the Musical Mind: Cognition, Emotion, Ability, Function. Oxford: Oxford University Press.

Sloboda, J. A. & Deliege, I. (1996). Musical beginnings : origins and development of musical competence. Oxford University Press.

Sloboda, J. A., Lamont, A. & Greasley, A. E. (2009). Choosing to hear music: motivation, process and effect. In S. Hallam, I. Cross & M. Thaut. (Eds.) Oxford Handbook of Music Psychology, pp. 431–440. New York: Oxford University Press.

Small, C. (1998). Musicking : the meanings of performing and listening. Hanover: Wesleyan University Press.

Swanwick, K. (1996). A Basis For Music Education. Windsor: Routledge.

Thornton, S. (1995). Club cultures : music, media and subcultural capital. Polity Press.

Whaley, J., Sloboda, J. A. & Gabrielsson, A. (2009). Peak experiences in music. In S. Hallam, I. Cross & M. Thaut. (Eds.) The Oxford Handbook of Music Psychology, pp. 452–461. New York: Oxford University Press.

Williamon, A. (2004). (Ed.) Musical excellence : strategies and techniques to enhance performance. Oxford: Oxford University Press.

This list was last updated on 17/12/2018