{"id":635,"date":"2021-01-15T15:24:22","date_gmt":"2021-01-15T14:24:22","guid":{"rendered":"http:\/\/www.jacques-rougemont.ch\/?p=635"},"modified":"2021-01-15T15:24:24","modified_gmt":"2021-01-15T14:24:24","slug":"references","status":"publish","type":"post","link":"https:\/\/www.jacques-rougemont.ch\/?p=635&lang=en","title":{"rendered":"References"},"content":{"rendered":"\n

Theory of scales<\/h2>\n\n\n
    \n
  1. <\/a>C. Callender, I. Quinn and D. Tymoczko, Generalized voice-leading spaces.<\/span><\/a><\/strong>, Science<\/em>, vol. 320, no. 5874, 2008, pp. 346\u2013348.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  2. <\/a>N. Jacoby et al., Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing.<\/span><\/a><\/strong>, Current biology<\/em>, vol. 29, no. 19, 2019, pp. 3229\u20133243.e12.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  3. <\/a>S. Konar, The Sounds of Music: Science of Musical Scales. III: Indian Classical<\/span><\/strong>, Resonance<\/em>, vol. 24, no. 10, 2019, pp. 1125\u20131135.\n<\/span> [bibtex]<\/a><\/span><\/li>\n
  4. <\/a>M. C. LoPresto, Measuring Musical Consonance and Dissonance<\/span><\/strong>, Physics Teacher<\/em>, vol. 53, no. 4, 2015, pp. 225\u2013229.\n<\/span> [bibtex]<\/a><\/span><\/li>\n
  5. <\/a>F. Loosen, The Effect of Musical Experience on the Conception of Accurate Tuning<\/span><\/strong>, Music Perception: An Interdisciplinary Journal<\/em>, vol. 12, no. 3, 1995, pp. 291\u2013306.\n<\/span> [bibtex]<\/a><\/span><\/li>\n
  6. <\/a>M. Braun, The gamelan pelog scale of Central Java as an example of a non-harmonic musical scale<\/span><\/a><\/strong>, 2002.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  7. <\/a>J. M. McBride, T. Tlusty, Cross-cultural data shows musical scales evolved to maximise imperfect fifths<\/span><\/a><\/strong>, 2020, pp. 1\u201331.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  8. <\/a>J. H. McDermott, A. J. Lehr and A. J. Oxenham, Individual differences reveal the basis of consonance.<\/span><\/a><\/strong>, Current biology<\/em>, vol. 20, no. 11, 2010, pp. 1035\u20131041.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  9. <\/a>J. N. Oppenheim, M. O. Magnasco, Human time-frequency acuity beats the Fourier uncertainty principle.<\/span><\/a><\/strong>, Physical Review Letters<\/em>, vol. 110, no. 4, 2013, pp. 044301.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n
  10. <\/a>D. Tymoczko, Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music<\/span><\/em>, Oxford University Press, 2012.\n<\/span> [bibtex]<\/a><\/span><\/li>\n
  11. <\/a>S. C. Van Hedger, H. C. Nusbaum, Individual differences in absolute pitch performance: Contributions of working memory, musical expertise, and tonal language background.<\/span><\/a><\/strong>, Acta psychologica<\/em>, vol. 191, 2018, pp. 251\u2013260.\n<\/span> [bibtex]<\/a> [pdf]<\/a><\/span><\/li>\n<\/ol>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"

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