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  1. Scale and contour: Two components of a theory of memory for melodies.W. Jay Dowling - 1978 - Psychological Review 85 (4):341-354.
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  • A Generative Theory of Tonal Music.Fred Lerdahl & Ray Jackendoff - 1987 - Journal of Aesthetics and Art Criticism 46 (1):94-98.
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  • Perception and Communication.Donald Eric Broadbent - 1958 - Pergamon Press.
    This book discusses principles and theories regarding perception and communication. Relevant research data is presented which support these theories. 2004 APA, all rights reserved).
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  • Auditory and visual objects.Michael Kubovy & David Van Valkenburg - 2001 - Cognition 80 (1-2):97-126.
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  • The relative importance of local and global structures in music perception.Barbara Tillmann & Emmanuel Bigand - 2004 - Journal of Aesthetics and Art Criticism 62 (2):211–222.
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  • The development of rhythmic attending in auditory sequences: attunement, referent period, focal attending.Carolyn Drake, Mari Riess Jones & Clarisse Baruch - 2000 - Cognition 77 (3):251-288.
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  • Orienting of attention.M. I. Posner - 1980 - Quarterly Journal of Experimental Psychology 32 (1):3-25.
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  • Attentional persistence for features of hierarchical patterns.Lynn C. Robertson - 1996 - Journal of Experimental Psychology: General 125 (3):227.
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  • Dynamic attending and responses to time.Mari Riess Jones & Marilyn Boltz - 1989 - Psychological Review 96 (3):459-491.
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  • In defense of the theory of indispensable attributes.David Van Valkenburg & Michael Kubovy - 2003 - Cognition 87 (3):225-233.
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  • Structure and function of auditory cortex: music and speech.R. Zatorre - 2002 - Trends in Cognitive Sciences 6 (1):37-46.
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  • The development of rhythmic attending in auditory sequences: theory and research.Carolyn Drake, Mari Riess Jones & Clarisse Baruch - 2000 - Cognition 77 (3):251-288.
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  • Pitch variation is unnecessary for the formation of auditory objects.John G. Neuhoff - 2003 - Cognition 87 (3):219-224.
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