Мы – это музыка. Как музыка влияет на наш мозг, здоровье и жизнь в целом - Виктория Уильямсон

286

Terry, P.C., Karageorghis, C.I., Saha, A.M., and D’Auria, S. (2012), ‘Effects of synchronous music on treadmill running among elite triathletes’, Journal of Science and Medicine in Sport, 15 (1), 52–57.

287

Bishop, D.T., Karageorghis, C.I., and Loizou, G. (2007), ‘A grounded theory of young tennis players’ use of music to manipulate emotional state’, Journal of Sport and Exercise Psychology, 29 (5), 584–607.

288

Bishop, D. (2010), ‘“Boom Boom How”: Optimising performance with music’, Sport and Exercise Psychology Review, 6, 35–47.

289

Kang, H.J., and Williamson, V.J. (2013), ‘Background music can facilitate second language learning’, Psychology of Music. DOI: 10.1177/0305735613485152.

290

Baddeley, A.D., Eysenck, M., and Anderson, M.C. (2009), Memory. Hove: Psychology Press. Baddeley, A.D. (2007), Working memory, thought and action. Oxford: Oxford University Press.

291

http://www.world-memory-statistics.com/disciplines.php.

292

http://www.worldmemorychampionships.com/memory-achievements/.

293

Hughes, E. (1915), ‘Musical memory in piano playing and piano study’, The Musical Quarterly, 1, 592–603.

294

Hallam, S. (1997), ‘The development of memorisation strategies in musicians: Implications for education’, British Journal of Music Education, 14 (1), 87–97.

295

Ginsborg, J. (2002), ‘Classical singers learning and memorising a new song: An observational study’, Psychology of Music, 30 (1), 58–101.

296

Chaffin, R., Lisboa, T, Logan, T., and Begosh, K.T. (2010), ‘Preparing for Memorized Cello Performance: The Role of Performance Cues’, Psychology of Music, 38, 3–30.

297

Noice, H., Chaffin, R., Jeffrey, J., and Noice, A. (2008), ‘Memorization by a jazz pianist: A case study’, Psychology of Music, 36 (1), 63–79.

298

Williamon, A., Valentine, E., and Valentine, J. (2002), ‘Shifting the focus of attention between levels of musical structure’, European Journal of Cognitive Psychology, 14 (4), 493–520. Williamon, A. (2002), ‘Memorising music’, in J. Rink (ed.), Musical Performance: A Guide to Understanding (pp. 113–126). Cambridge: Cambridge University Press. Chaffin, R., and Imreh, G. (2002), ‘Practicing perfection: Piano performance as expert memory’, Psychological Science, 13, 342–349.

299

Chaffin, R., and Imreh, G. (1997), ‘“Pulling teeth and torture”: Musical memory and problem solving’, Thinking & Reasoning, 3 (4), 315–336. Chaffin, R., and Imreh, G. (2002), ‘Practicing perfection: Piano performance as expert memory’. Psychological Science, 13, 342–349.

300

Williamon, A., and Valentine, E. (2002), ‘The role of retrieval structures in memorizing music’, Cognitive Psychology, 44 (1), 1–32. Williamon, A. and Egner, T. (2004), ‘Memory structures for encoding and retrieving a piece of music: An ERP investigation’, Cognitive Brain Research, 22 (1), 36–44.

301

Halpern, A.R, and Müllensiefen, D. (2008), ‘Effects of timbre and tempo change on memory for music’, Quarterly Journal of Experimental Psychology, 61 (9), 1371–1384.

302

Standing, L. (1973), ‘Learning 10,000 pictures’, Quarterly Journal of Experimental Psychology, 25 (2), 207–222.

303

Levitin, D.J. (1994), ‘Absolute memory for musical pitch: Evidence from the production of learned melodies’, Perception & Psychophysics, 56 (4), 414–423.

304

Frieler, K., et al. (2013), ‘Absolute Memory for Pitch: A Comparative Replication of Levitin’s 1994 Study in Six European Labs’, Musicae Scientiae, Special issue: Replication in music psychology, 7 (3), 334–349.

305

Dowling, W.J., and Bartlett, J.C. (1981), ‘The importance of interval information in long-term memory for melodies’, Psychomusicology, 1 (1), 30–49. Dowling, W.J., Kwak, S., and Andrews, M.W. (1995), ‘The time course of recognition of novel melodies’, Perception & Psychophysics, 57 (2), 197–210.

306

Stalinski, S.M., and Schellenberg, E.G. (2013), ‘Listeners Remember Music They Like’, Journal of Experimental Psychology: Learning, Memory, and Cognition, 39 (3), 700–716.

307

Weiss, M.W, Trehub, S.E., and Schellenberg, E.G. (2012), ‘Something in the Way She Sings: Enhanced Memory for Vocal Melodies’, Psychological Science, 23 (10), 1074–1078.

308

Krumhansl, C. (2010), ‘Plink! Thin slices of music’, Music Perception, 27 (5), 337–354.

309

Rubin, D.C. (1995), Memory in oral traditions: The cognitive psychology of epic, ballads, and counting-out rhymes. New York: Oxford University Press.

310

Dowling, W.J., Bartlett, J.C., Halpern, A.R., and Andrews, M.W. (2008), ‘Melody Recognition at Fast and Slow Tempos: Effects of Age, Experience, and Familiarity’, Perception and Psychophysics, 70 (3), 496–502.

311

Schulkind, M.D., Hennis, L.K., and Rubin, D.C. (1999), ‘Music, emotion, and autobiographical memory: They’re playing your song’, Memory & Cognition, 27 (6), 948–955.

312

Finke, C., Esfahani, N.E., and Ploner, C.J. (2012), ‘Preservation of musical memory in an amnesic professional cellist’, Current Biology, 22 (15), R591–2.

313

Samson, S., Dellacherie, D., and Platel, H. (2009), ‘Emotional power of music in patients with memory disorders: clinical implications of cognitive neuroscience’, The Neurosciences and Music III: disorders and plasticity (Annals of the New York Academy of Sciences), 1169, 245–255: Baird, A., and Samson, S. (2009), ‘Memory for music in Alzheimer’s disease: Unforgettable?’, Neuropsychological Review, 19 (1), 85–101.

314

Schulkind, M.D. (2009), ‘Is memory for music special?’, Annals of the New York Academy of Science, 1169, 216–24.

315

Schacter, D.L. (1987), ‘Implicit Memory: History and Current Status’, Journal of Experimental Psychology: Learning, Memory, and Cognition, 13 (3), 501–518. Hassin, R.R. (2013), ‘Yes It Can: On the Functional Abilities of the Human Unconscious’, Perspectives on Psychological Science, 8 (2), 195–207.

316

De Gelder, B., De Haan, E.H.F., and Heywood, C.A. (2001), Out of mind: Varieties of unconscious processes. London: Oxford University Press. Cavaco, S., et al. (2004), ‘The scope of preserved procedural memory in amnesia’, Brain, 127 (8): 1853–1867.

317

Liikkanen L. (2012), ‘Musical Activities Predispose to Involuntary Musical Imagery’, Psychology of Music, 40 (2), 236–256.

318

Brown, S. (2006), ‘The perceptual music track: The phenomenon of constant musical imagery’, Journal of Consciousness studies, 13 (6), 25–44.

319

Sacks, O. (2007), Musicophilia: Tales of music and the brain. New York: Alfred A. Knopf.

320

Kellaris, J.J. (2008), ‘Music and consumers’, in C.P. Haugtvedt, P. Herr and F.R. Kardes (eds.), Handbook of consumer psychology (pp. 837–856). New York: Taylor & Francis.

321

Levitin, D.J. (2006), This is your brain on music. New York: Dutton.

322

Halpern, A.R., and Bartlett, J.C. (2011), ‘The persistence of musical memories: A descriptive study of earworms’, Music Perception, 28 (4), 425–443. Beaman, C.P., and Williams, T.I. (2010), ‘Earworms (stuck song syndrome): Towards a natural history of intrusive thoughts’, British Journal of Psychology, 101 (4), 637–653.

323

Williamson, V.J., and Jilka, S.R. (2013), ‘Experiencing earworms: An interview study of Involuntary Musical Imagery’, Psychology of Music, DOI: 10.1177/0305735613483848.

324

Müllensiefen, D., et al., ‘Individual differences in spontaneous involuntary musical imagery’, Music Perception (in press 2013).

325

Wammes, M., and Barušs, I. (2009), ‘Characteristics of spontaneous musical imagery’, Journal of Consciousness Studies, 16 (1), 37–61.

326

Floridou, G., Williamson, V.J., and Müllensiefen, D. (2012), ‘Contracting earworms: The roles of personality and musicality’, in E. Cambouropoulos, C. Tsougras, K. Mavromatis, K. Pastiadis (eds.), Proceedings of ICMPC-ESCOM 12 (Thessaloniki, Greece), 302–310.

327

Williamson, V.J., and Müllensiefen, D. (2012), ‘Earworms from three angles’, in E. Cambouropoulos, C. Tsougras, K. Mavromatis, K. Pastiadis (eds.), Proceedings of ICMPC-ESCOM 12 (Thessaloniki, Greece), 1124–1133.

328

Williamson, V.J., et al. (2012), ‘How do earworms start? Classifying the everyday circumstances of Involuntary Musical Imagery’, Psychology of Music, 40 (3), 259–284.

329

Kvavilashvili, L., and Mandler, G. (2004), ‘Out of one’s mind: A study of involuntary semantic memories’, Cognitive Psychology, 48 (1), 47–94. Berntsen, D. (2009), Involuntary Autobiographical Memories: An Introduction to the Unbidden Past. Cambridge: Cambridge University Press.

330

Schlagman, S., and Kvavilashvili, L. (2008), ‘Involuntary autobiographical memories in and outside the laboratory: How different are they from voluntary autobiographical memories?’, Memory and Cognition, 36 (5), 920–932.

331

Sloboda, J. (2005), Exploring the musical mind: Cognition, Emotion, Ability, Function. Oxford: Oxford University Press.

332

Saarikallio, S. (2012), ‘Cross cultural approaches to music and health’, in R.A.R Macdonald, G. Kreutz and L. Mitchell (eds.) Music, Health and Wellbeing (pp. 477–490). Oxford: Oxford University Press.

333

http://staff.bath.ac.uk/ecsscw/But_what_is_Wellbeing.pdf.

334

Macdonald, R.A.R, Kreutz, G., and Mitchell, L. (eds.) (2012), Music, Health and Wellbeing. Oxford, Oxford University Press.

335

Bruscia, K.E. (1998), Defining Music Therapy (2nd edn). Gilsum: Barcelona Publishers.

336

Gold et al. (2011), ‘Music therapy or music medicine?’, Psychotherapy and Psychosomatics, 80, 304.

337

Lane, D. (2011), ‘Music as Medicine, Music and the Brain’ (podcast), available at: http://www.loc.gov/podcasts/musicandthebrain/podcast_lane.html.

338

Cepeda, M.S., Carr, D.B., Lau, J., and Alvarez, H. (2006), ‘Music for pain relief, Cochrane Database of Systematic Reviews, Issue 2. Art. No.: CD004843. DOI: 10.1002/14651858.CD004843.pub2.