The phenomenological approach to musical perception
Philosophy and Phenomenological Research 27 (2):247-254 (1966)
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Sergei Gepshtein (2010). Two Psychologies of Perception and the Prospect of Their Synthesis. Philosophical Psychology 23 (2):217 – 281.
Shaun Gallagher & Jesper B. Sorensen (2006). Experimenting with Phenomenology. Consciousness and Cognition 15 (1):119-134.
Zohar Eitan (1993). Melodic Contour and Musical Style : A Quantitative Study. In M. G. Boroda (ed.), Fundamentals of Musical Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
Jerrold Levinson (1997). Music in the Moment. Cornell University Press.
Jeanette Bicknell (2001). The Problem of Reference in Musical Quotation: A Phenomenological Approach. Journal of Aesthetics and Art Criticism 59 (2):185–191.
Vincent Bergeron & Dominic Mciver Lopes (2009). Hearing and Seeing Musical Expression. Philosophy and Phenomenological Research 78 (1):1-16.
Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
John W. Osborne (1989). A Phenomenological Investigation of the Musical Representation of Extra-Musical Ideas. Journal of Phenomenological Psychology 20 (2):151-175.
Lelio Camilleri (1992). On Music Perception and Cognition: Modularity, Structure, and Processing. Minds and Machines 2 (4):365-377.
Alfred Pike (1974). Foundational Aspects of Musical Perception: A Phenomenological Analysis. Philosophy and Phenomenological Research 34 (3):429-434.
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