1. Phillips-Silver, Jessica (2009) ‘On the Meaning of Movement in Music, Development and the Brain,’ Contemporary Music Review, 28: 3, 293-31
Because Phillips-Silver approaches the neuroscience of music from a multi-disciplinary approach, her exploration of beat perception and synchronization explicitly applies to my interest in sensorimotor development and how such movements are cultivated.
2. Iyer, Vijay (2002) ‘Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music,’ Music Perception: An Interdisciplinary Journal, Vol. 19, No. 3 pp. 387-414
This article references how music correlates to bodily motions with data of what rhythmic pulses pertain to what kinds of vestibular motions. Beats are described as being felt, while bars counted; could the movements that we naturally feel help with subconsciously count bars, too?
3. Petr Janata, Stefan T. Tomic, and Jason M. Haberman (2011) ‘Sensorimotor Coupling in Music and the Psychology of the Groove,’Journal of Experimental Psychology, Vol. 141, No. 1, 54–75
[This week’s readings actually included things right up my alley,], this article discusses the urge to move when listening to music, relevant to my qualifying question of whether ; there may be a correlation to ‘groove,’ as remembering some rhythms may only be inhibited by adding the additional stimuli of movement.
4. Phillips-Silver & Trainor (2008), “Vestibular Influence on Auditory Metrical Interpretation,” Brain and Cognition 67, 94–102
Phillips-Silver & Trainor discuss the bias that vestibular influence can have on interpreting patterns, literally delving into the cognitive aspect of my project.
One of many findings on how characteristics of limbs used impacts the perception of rhythm- this could possibly create problems for my definition of ‘motion,’ and how trials differentiate.
6. Simone Dalla Bella, Anita Białuńska, and Jakub Sowiński (2013) ‘Why Movement Is Captured by Music, but Less by Speech: Role of Temporal Regularity’ PLoS One; 8(8): e71945.
This article mostly caught my attention because it supports my idea that music “has a pervasive tendency to rhythmically engage our body,” but that pitch also plays a role, not just rhythm, in dictating our comfortability in syncing to it (as opposed to speech). Applied to my question, I would have to think carefully about participants and what music/auditory stimuli I would use.
7. McNeill WH (1995) Keeping together in time: Dance and drill in human history. Cambridge, MA: Harvard University Press
This book addresses the theoretical aspect of the motion-oriented part of my question.
8. Zatorre RJ, Chen JL, Penhune VB (2007) ‘When the brain plays music: Auditory-motor interactions in music perception and production.’ Nat Rev Neurosci 8: 547-558.10.1038/nrn2152 PubMed: 17585307 [PubMed]
These auditory-motor interactions are referring to playing instruments themselves in relation to music, which makes me think about if certain musicians are then already primed by certain movements. Is a clarinetist aided by moving certain fingers along with rhythms; is a drummer hindered if both arms and legs are not allowed to move?
9. Zatorre RJ, Chen JL, Penhune VB (2006) ‘Interactions between auditory and dorsal premotor cortex during synchronization to musical rhythms’
This study for Zatorre et al, too, wants to “elucidate the neural correlates of these auditory–motor interactions,” yet I have not found a single study that approaches the construct of memory from music through dance. Even experiments that use movement to help encode memory do so for visual or speech patterns, not rhythmic ones.
10. Robert W. Mitchell and Matthew C. Gallaher (2001) ‘Embodying Music: Matching Music and Dance in Memory,’ Music Perception: An Interdisciplinary Journal, Vol. 19, No. 1 (pp. 65-85)
Dances were decidedly matched to certain musics, again returning to the idea that distinct movements may not accompany just particular tempos, but also musical styles and modes.