Forel?pig litteraturliste pr. 03.09.15
(800-1000 s. fra listen velges som pensum i samr?d med foreleserne)
Kjernepensum
Bonde, L. O., 2009. Musik og Menneske. Fredriksberg: Samfundslitteratur, 371 s.
God?y, R. I. and Leman, M. (eds.) 2010. Musical Gestures: Sound, Movement, and Meaning. New York: Routledge. Kap. 1-6 (150 s.)
Ruud, E. (2013). Musikk og identitet, 2. utg. Oslo: Universitetsforlaget. Kap. 2, 3 og 6 (107 s.)
Tilvalgspensum
Aksnes, H. (2002). Music and its Resonating Body. Dansk ?rbog for Musikforskning 2001, vol. XXIX, 2002, s. 81-101.
Aksnes, H. (2002): Perspectives of Musical Meaning. A Study Based on Selected Works by Geirr Tveitt, dr.art.-avhandling Universitetet i Oslo. Chapter 8.
Aksnes, H. (2006). Kropp og sinn i skj?nn forening: Perspektiver p? musikalsk mening. Svensk tidskrift f?r musikforskning 2006, s. 11-26.
Aksnes, H. & Ruud, E. (2008). Body-based schemata in receptive music therapy. Musicae scientiae, vol. XII, no. 1, Spring 2008, pp. 49-74.
Cox, A. (2001). The mimetic hypothesis and embodied musical meaning. Musicae Scientiae, Vol. V, No. 2, 195-212.
Cox, A. (2011). Embodying Music: Principles of the Mimetic Hypothesis. Music Theory Online, Vol. 17, No. 2, July 2011, 24 pp.
Gabrielsson, A. (2010). "Strong experiences with music." I Juslin & Sloboda (eds.) Handbook of Music and Emotion. Oxford University Press.
God?y, Rolf Inge (2009). "Geometry and Effort in Gestural Renderings of Musical Sound." Lecture Notes in Computer Science. 5084, s 205- 215.
Hodges, D. A. (2009). "Bodily responses to music." I Hallam, S., Cross, I., & Thaut, M. (eds.), Oxford Handbook of Music Psychology. Oxford: Oxford University Press, pp. 121-130.
Johnson, M. (2007). The Meaning of the Body. Aesthetics of Human Understanding. The University of Chicago Press. (Kap. 12: “The Meaning of the Body”, s. 263-283).
Juslin, P. N. (2011). "Music and emotion: Seven questions, seven answers." I: I. Deliège & J. Davidson (Eds.), Music and the mind: Essays in honour of John Sloboda (pp. 113-135). New York: Oxford University Press.
Juslin, P. N. & V?stfj?ll, D. (2008). "Emotional responses to music: The need to consider underlying mechanisms." Behavioral and brain sciences, 31, 559–621.
Juslin, P. N., Liljestr?m, S., V?stfj?ll, D. & Lundquist, L.-O. (2010). "How does music evoke emotions? Exploring the underlying mechanisms." I Juslin & Sloboda (eds.) Handbook of Music and Emotion. Oxford: Oxford University Press.
Malloch, S. & Trevarthen, C. (2009). "Musicality: Communicating the vitality and interests in life." I: Malloch & Trevarthen (Eds.) Communicative Musicality. Exploring the Basis of Human Companionship. Oxford University Press, pp. 1-15.
Ruud, E. (2013). Musikk og identitet, 2. utg. Oslo: Universitetsforlaget (hele).
Sk?nland, M. (2013). "Everyday music listening and affect regulation: The role of MP3 players." International Journal of Qualitative Studies on Health and Well-being, Vol. 8, pp. 29-38.
Sloboda, J. A. (2010). "Music in everyday life: the role of emotions." I Juslin & Sloboda (eds.) Handbook of Music and Emotion. Oxford University Press.
Zeiner-Henriksen, Hans T. (2009): The "PoumTchak" Pattern: Correspondences Between Rhythm, Sound, and Movement in Electronic Dance Music! PhD-avhandling Universitetet i Oslo (elektronisk ). Chapter 4.
Zeiner-Henriksen, Hans T. (2015). Emotional Experiences of Ascending Melodic Lines, pp. 1-14. Paper CMMR Plymouth, June 2015.
Supplerende lesning
Aksnes, H. & Ruud, E. (2006)."Metonymic Associations of Nature and Culture in a BMGIM Program." Nordic Journal of Music Therapy, vol. 15, no. 1, pp.49-57.