22
La psychoacoustique dévoile le potentiel musical du timbre
[42] Bregman, A. S. & Campbell, J. (1971). Primary auditory stream segregation
and perception of order in rapid sequences of tones. Journal of Experimental
Psychology, 89, 244-249.
[43] Hartmann, W. M. & Johnson, D. (1991). Stream segregation and peripheral
channeling. Music Perception, 9, 155-184.
[44] Moore, B. C. J. & Gockel, H. (2002). Factors influencing sequential stream
segregation. Acustica united with Acta Acustica, 88, 320-332.
[45] Iverson, P. (1995). Auditory stream segregation by musical timbre: Effects
of static and dynamic acoustic attributes. Journal of Experimental Psychology:
Human Perception and Performance, 21, 751-763.
[46] Bey, C. & McAdams, S. (2003). Post-recognition of interleaved melodies
as an indirect measure of auditory stream formation. Journal of Experimental
Psychology: Human Perception and Performance, 29, 267–279.
[47] Singh, P. G. & Bregman, A. S. (1997). The influence of different timbre
attributes on the perceptual segregation of complex-tone sequences. Journal of
the Acoustical Society of America, 120, 1943-1952.
[48] Deliège, I. 1987. Grouping conditions in listening to music: An approach to
Lerdahl & Jackendoff’s grouping preference rules. Music Perception, 4, 325-360.
[49] Deliège, I. 1989. A perceptual approach to contemporary musical forms.
Contemporary Music Review, 4, 213-230.
[50] Brant, H. (1971). Orchestration. In J. Vinton (Ed.), Dictionary of
Contemporary Music (pp. 538-546). New York: E. P. Dutton.
[51] Erickson, R. (1975). Sound Structure in Music. Berkeley, CA: University of
California Press.
[52] Sandell, G. J. (1995). Roles for spectral centroid and other factors in
determining «blended» instrument pairings in orchestration. Music Perception,
13, 209-246.
[53] Tardieu, D. & McAdams, S. (en préparation). Perception of dyads of
percussive and sustained instruments.
[54] Bigand, E., Perruchet, P. & Boyer, M. (1998). Implicit learning of an
artificial grammar of musical timbres. Cahiers de Psychologie Cognitive/Current
Psychology of Cognition, 17(3), 577-600.
[55] Tillmann, B. & McAdams, S. (2004). Implicit learning of musical timbre
sequences: Statistical regularities confronted with acoustical (dis)similarities.
Journal of Experimental Psychology: Learning, Memory and Cognition, 30(5),
1131-1142.
[56] Lerdahl, F. & Jackendoff, R. (1983). The Generative Theory of Tonal Music.
Cambridge, MA: MIT Press.
[57] Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical
tension in short chord sequences: The influence of harmonic function, sensory
dissonance, horizontal motion, and musical training. Perception & Psychophysics,
58, 125-141.
[58] Parncutt, R. (1989). Harmony: A Psychoacoustical Approach. Berlin:
Springer-Verlag.
[59] Plomp, R. (1976). Aspects of Tone Sensation: A Psychophysical Study.
London: Academic Press.
[60] Paraskeva, S. & McAdams, S. (1997). Influence of timbre, presence/
absence of tonal hierarchy and musical training on the perception of tension/
relaxation schemas of musical phrases. Proceedings of the 1997 International
Computer Music Conference, Thessaloniki (pp. 438-441). San Francisco:
International Computer Music Association.
[61] Wright, J. K. & Bregman, A. S. (1987). Auditory stream segregation and the
control of dissonance in polyphonic music. Contemporary Music Review, 2(1),
63-92
[62] Gordon, J. W. (1987). The perceptual attack time of musical tones. Journal
of the Acoustical Society of America, 82, 88-105.
[63] McAdams, S. & Giordano, B. L. (2009). The perception of musical timbre.
In S. Hallam, I. Cross & M. Thaut (Eds.), Oxford Handbook of Music Psychology,
Oxford University Press, New York, pp. 72-80.
[64] McAdams, S. (1999). Perspectives on the contribution of timbre to musical
structure. Computer Music Journal, 23(2), 96-113.