On the Move: ACSIS conference 11-13 June Norrköping; Sweden 2013: I rörelse: ACSIS kulturforskningskonferens 11-13 juni Norrköping; Sverige 2013
Ahlbäck; S. (2004). Melody beyond notes: A study of melody cognition. Doctoral dissertation submitted to Department of Musicology & Film Studies; University of Gothenburg.
Anderson; T. (2006). For the record: Interdisciplinarity; cultural studies; and the search for method in popular music studies. In M. White & J. Schwoch (Eds); Questions of method in cultural studies (pp. 285-307). Oxford: Blackwell Publishing.
Antovic; M. (2009a). Musical metaphors in Serbian and Romani children: An empirical study. Metaphor and Symbol; 24(3); 184-202
Antovic; M. (2009b). Towards a semantics of music: The 20th century. Language and History; 52(1); 119-129.
Balkwill; L.; & Thompson; W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception; 17(1); 43-64.
Baron; J. H. (2010). Chamber music: A research and information guide (3rd ed.). New York; NY: Routledge.
Barthes; R. (1977). Image music text. London: Fontana Press.
Basegmez; V. (2005). Irish scene and sound: Identity; authenticity and transnationality among young musicians. Doctoral dissertation submitted to Department of Social Anthropology; Stockholm University.
Beament; J. (2001). How we hear music: The relationship between music and the hearing mechanism. Woodbridge; Suffolk: The Boydell Press.
Bejenaru; L. (2006). The metaphysics of music at Schopenhauer and Cioran. Cultura. International Journal of Philosophy of Culture and Axiology; 5; 35-40.
Bennett; A. (2000). Popular music and youth culture: Music; identity and place. London: Macmillan Press.
Berland; J. (1993). Sound; image and social space: Music video and media reconstruction. In S. Frith; A. Goodwin & L. Grossberg (Eds.); Sound and vision: The music video reader (pp. 25-43). New York; NY: Routledge.
Bhattacharya; J.; & Petsche; H. (2001). Universality in the brain while listening to music. Proceedings of The Royal Society B; 268; 2423-2433.
Born; G.; & Hesmondhalgh; D. (Eds). (2000). Western music and its others: Difference; representation; and appropriation in music. Berkeley and Los Angeles; California: University of California Press.
Cell Press. (2009; March 20). Language of music really is universal; study finds. ScienceDaily. Retrieved October 28; 2012 from
Cross; I. (2001). Music; cognition; culture and evolution. Annals of the New York Academy of Sciences; 930; 28-42.
Darwin; C. (1871/1981). The descent of man; and selection in relation to sex: Volume II. Princeton; New Jersey: Princeton University Press.
Deliege; I.; & Sloboda; J. (Eds). (1996). Musical beginnings: Origins and development of musical competence. New York: Oxford University Press.
DeVeaux; S. (1997). The birth of bebop: A social and musical history. Berkeley and Los Angeles; California: University of California Press.
Dissanayake; E. (2006). Ritual and ritualization: Musical means of conveying and shaping emotion in humans and other animals. In S. Brown & U. Volgsten (Eds); Music and manipulation: On the social uses and social control of music (pp. 31-56). New York: Berghahn Books.
Dostoyevsky; F. (2005). Crime and punishment. Clayton; Delaware: Prestwick House.
Dowling; W. J.; & Harwood; D. L. (1986). Music cognition. San Diego; California: Academic Press.
Fallahzadeh; M. (2005). Persian writing on music: A study of Persian musical literature from 1000 to 1500 AD. Doctoral dissertation submitted to Department of Linguistics and Philology; Uppsala University.
Fornäs; J. (1990). Popular music and youth culture in late modernity. In K. Roe & U. Carlsson (Eds); Popular music research (pp. 29-39). Göteborg: Nordicom-Sweden.
Fritz; T.; Jentschke; S.; Gosselin; N.; Sammler; D.; Peretz; I.; Turner; R.; Friederici A. D.; & Koelsch; S. (2009). Universal recognition of three basic emotions in music. Current Biology; 19(7); 573-576.
Gadalla; M. (2002). Egyptian rhythm: The heavenly melodies. Greensboro; NC: Tehuti Research Foundation.
Gorbman; C. (1987). Unheard melodies: Narrative film music. Bloomington; Indiana: Indiana University Press.
Grout; D. J. (1960). A history of Western music. New York; NY: W. W. Norton & Company.
Hamm; C. (1995). Putting popular music in its place. Cambridge: Cambridge University Press.
Hargreaves; D. J. (1986). The developmental psychology of music. Cambridge: Cambridge University Press.
Hargreaves; D. J.; & North; A. C. (Eds). (1997). The social psychology of music. New York: Oxford University Press.
Harnoncourt; N. (1988). Baroque music today: Music as speech. Ways to a new understanding of music. Portland; Oregon: Amadeus Press.
Hesmondhalgh; D. (2008). Towards a critical understanding of music; emotion and self-identity. Consumption Markets & Culture. 11(4); 329-343.
Hodges; D. A.; & Sebald; D. C. (2011). Music in the human experience: An introduction to music psychology. New York; NY: Routledge.
Horner; B.; & Swiss; T. (Eds). (1999). Key terms in popular music and culture. Malden; Massachusetts: Blackwell Publishers.
Inglis; I. (Ed.). (2000). The Beatles; popular music and society: A thousand voices. New York; NY: St. Martin’s Press.
Jones; S. (1992). Rock formation: Music; technology; and mass communication. Newbury Park; California: SAGE Publications.
Juslin; P. N. (1998). A functionalist perspective on emotional communication in music performance. Doctoral dissertation submitted to Department of Psychology; Uppsala University.
Juslin; P.; & Sloboda; J. (Eds). (2010). Handbook of music and emotion: Theory; research; applications. New York: Oxford University Press.
Khalfa; S.; Roy; M.; Rainville; P.; Bella; S. D.; & Peretz; I. (2008).Role of tempo entrainment in psychophysiological differentiation of happy and sad music? International Journal of Psychophysiology; 68; 17-26.
Le Guin; U. (2002). The dispossessed. London: Gollancz.
Lee; S. (2006; May 23). Lost in translation. The Guardian. Retrieved October 28; 2012 from
Longhurst; B. (1995). Popular music and society. Cambridge: Polity Press.
Lunde; A. (2004). ’Garbo talks!’: Scandinavians in Hollywood; the talkie revolution; and the crisis of foreign voice. In J. Fullerton (Ed.); Screen culture: History and textuality (pp. 21-39). Eastleigh: John Libbey Publishing.
MacDonald; R. A. R.; Hargreaves; D. J.; & Miell; D. (Eds). (2002). Musical identities. New York: Oxford University Press.
Malloch; S. (1999). Mothers and infants and communicative musicality. Musicae Scientiae (Special Issue on Rhythm; Musical Narrative and Origins of Human Communication; 1999-2000); 29-57.
Malloch; S.; & Trevarthen C. (Eds). (2008). Communicative musicality: Exploring the basis of human companionship. New York: Oxford University Press.
Manuel; P. (1988). Popular musics of the non-western world: An introductory survey. New York; New York: Oxford University Press.
Marks; M. M. (1997). Music and the silent film: Contexts and case studies; 1895-1924. New York; New York: Oxford University Press.
Mathiesen; T. J. (1999). Apollo’s lyre: Greek music and music theory in antiquity and the Middle Ages. Lincoln and London: University of Nebraska Press.
McGowan; C.; & Pessanha; R. (1998). The Brazilian sound: Samba; bossa nova; and the popular music of Brazil. Philadelphia: Temple University Press.
Negus; K. (1996). Popular music in theory: An introduction. Cambridge: Polity Press.
Orbach; J. (1999). Sound and music: For the pleasure of the brain. Lanham; Maryland: University Press of America.
Pareles; J. (2010; March 15). Classical Azeri poetry in song; from a team of father and daughter. The New York Times. Retrieved October 28; 2012 from
Proust; M. (2006). Remembrance of things past: Volume 2. Ware; Hertfordshire: Wordsworth Editions.
Reinholdsson; P. (1998). Making music together: An interactionist perspective on small-group performance in jazz. Doctoral dissertation submitted to Department of Musicology; Uppsala University.
Romanou; K. (Ed.). (2009). Serbian and Greek art music: A patch to Western music history. Bristol: Intellect Books.
Schippers; H. (2010). Facing the music: Shaping music education from a global perspective. New York; New York: Oxford University Press.
Schopenhauer; A. (1958/1969). The world as will and representation: Volume I. (E. F. J. Payne; Trans.). New York: Dover Publications.
Serafine; M. L. (1988). Music as cognition: The development of thought in sound. New York: Columbia University Press.
Shepherd; J.; & Wicke; P. (1997). Music and cultural theory. Cambridge: Polity Press.
Sloboda; J. A. (1985). The musical mind: The cognitive psychology of music. New York: Oxford University Press.
Steinberg; R. (Ed.). (1995). Music and the mind machine: The psychophysiology and psychopathology of the sense of music. Berlin & Heidelberg: Springer-Verlag.
Swain; J. P. (1997). Musical languages. New York; NY: W. W. Norton & Company.
Swiss; T.; Sloop; J.; & Herman; A. (Eds). (1998). Mapping the beat: Popular music and contemporary theory. Malden; MA: Blackwell Publishers.
Tagg; P. (1982). Analysing popular music: Theory; method and practice. Popular Music; 2; 37-65.
Tagg; P. (1990). Music in mass media studies: Reading sounds for example. In K. Roe & U. Carlsson (Eds.); Popular music research (pp. 103-114). Göteborg: Nordicom-Sweden.
Tagg; P. (2006). Music; moving images; semiotics; and the democratic right to know. In S. Brown & U. Volgsten (Eds); Music and manipulation: On the social uses and social control of music (pp. 163-186). New York: Berghahn Books.
Temperley; D. (2001). The cognition of basic musical structures. Cambridge; Massachusetts: The MIT Press.
Thomas; W. (Ed.). (1998). Composition-performance-reception: Studies in the creative process in music. Aldershot; Hants: Ashgate Publishing.
Thompson; K.; & Bordwell; D. (1994). Film history: An introduction. New York: McGraw-Hill.
Trevarthen; C. (1999). Musicality and the intrinsic motive pulse: Evidence from human psychobiology and infant communication. Musicae Scientiae (Special Issue on Rhythm; Musical Narrative and Origins of Human Communication; 1999-2000); 155-215.
Turner; J. H.; & Stets; J. E. (2005). The sociology of emotions. New York; NY: Cambridge University Press.
van Leeuwen; T. (1999). Speech; music; sound. London: Macmillan Press.
Vickhoff; B. (2008). A perspective theory of music perception and emotion. Doctoral dissertation submitted to Department of Culture; Aesthetics and Media; University of Gothenburg.
Wagner; R. (1966). Beethoven. In R. Wagner; Richard Wagner’s prose works: Volume V Actors and singers (pp. 57-126). New York: Broude Brothers.
Wallin; N. L.; Merker; B.; & Brown; S. (Eds). (2000). The origins of music. Cambridge; Massachusetts: The MIT Press.
Williams; A. (1997). New music and the claims of modernity. Aldershot; Hants: Ashgate Publishing.
Williams; R. (1990). Television: Technology and cultural form (2nd ed.). London: Routledge.
Wollenberg; S. (2003). Music and mathematics: An overview. In J. Fauvel; R. Flood & R. Wilson (Eds.); Music and mathematics: From Pythagoras to fractals (pp. 1-9). New York: Oxford University Press.
Yang; Y.; & Chen; H. H. (2011). Music emotion recognition. Boca Raton; FL: CRC Press.
Zacharopoulou; K.; & Kyriakidou; A. (2009). A cross-cultural comparative study of the role of musical structural features in the perception of emotion in Greek traditional music. Journal of Interdisciplinary Music Studies; 3(1&2); 1-15.