Reflexões sobre Linguística e cognição musical
BIBLIOGRAFIA
Marcelo Mello

ABAURRE M.B.M. (1996). “O estruturalista Jakobson: fonólogo e humanista”. Texto apresentado em mesa redonda em homenagem ao centenário de nascimento de Jakobson; documento para publicação.

AGAWU K. (1991). Playing with signs: a semiotic interpretation of classic music. Princeton: Princeton University Press. Apud Hatten (1992).

AGAWU K. (1995a). “The Invention of 'African Rhythm'”. Journal of the American Musicological Society 48(3):380-395. Apud DeWitts (s.d.a).

AGAWU K. (1995b). African Rhythm: A Northern Ewe Perspective. Cambridge UK: Cambridge University Press. Apud DeWitts (s.d.a).

AKSNES H. (s.d.). “Meaning generation in Music listening”. Online Metaphor Center; online http://www.uoregon.edu/~uophil/metaphor/aksnes.htm (citado em 09/12/2002).

ALBANO E. (1986). “Modulado contra modular: contribuição ao debate do inatismo”. ABRALIN - Boletim da Associação Brasileira de Lingüística (Faculdade de Filosofia, Ciências e Letras - USP) 08:36-62.

ALBANO E.C. (1990). Da fala à linguagem tocando de ouvido. São Paulo: Martins Fontes. Apud Morato (1996).

ALLEN J., SEIDENBERG M. (1999). “The emergence of grammaticality in connectionist networks”. IN MacWhinney B.(org.); Emergentist Approaches to Language: proceedings of the 28th Carnegie symposium on cognition; Erlbaum.

ALTHUSSER L. (1970). Ideologia e aparelhos ideológicos do Estado. Lisboa: Presença Martins Fontes; (1974).

ANDERSON J. (1980). Cognitive psychology and its implications. São Francisco: W.H Freeman. Apud Raffman (1993).

ARCANJO S. (1917). Lições elementares de teoria musical. São Paulo: Ricordi.

ARENDT R.J.J. (2000). “O desenvolvimento cognitivo do ponto de vista da enação”. Psicologia: Reflexão e Crítica 13(2): 223-231; online http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0102-79722000000200003&lng=en&nrm=iso (citado em 24/01/2003).

ARROYO M. (2001). “Música popular em um Conservatório de Música”. Revista da ABEM - Associação Brasileira de Educação Musical 6: pp 59-67.

ASHBY R.W. (1962). Principles of the Self-Organizing System. IN von Foester, Zopf (orgs.); Principles of Self-Organising systems; Pergamon; pp 255-78, 1962). Apud Ribeiro (s.d.).

ASHIDA S. (2001). “Three Studies of Culture and Emotion”. Music Cognition at the Ohio State University; online http://dactyl.som.ohio-state.edu/Music829D/Notes/Culture.html tate.edu/Music829D/Notes/Culture.html (citado em 24/01/2003).

ASSAYAG G. (2001). “Computability: From Logical Structures to Musical Implementation”. 12th Meeting of the FWO Research Society “Foundations of Music Research”; Internet (abstract) http://www.ipem.rug.ac.be/nfwo/nfwo.html .

AUROUX S. (1994). Filosofia da linguagem. Campinas: Editora da Unicamp.

AUSTIN J.L. (1962). How to do things with words. Oxford: Oxford University Press; (1986) . Apud Gabbi Jr (1994); Rajagopalan (1996).

AUSTIN J.L. (1983). Sentido e percepção. São Paulo: Martins Fontes.

AUTHIER-REVUZ. (1984). “Heterogeneidade(s) enunciativa(s)”. Cadernos de Estudos Lingüísticos (IEL - UNICAMP) 19:025-042; (1990) . Apud Possenti (1996); Mussalim (2000); Morato (1999); Brandão (1996).

AYERZA J. (1999). “Lacan - to resume again”. Lacanian Ink 2; online http://www.lacan.com/lacinkII0.htm (citado em 24/01/2003).

BABBITT M. (1972). “Past and present concepts of the nature and limits of music”. IN Boretz B., Cone E.(orgs.); Perspectives on contemporary music theory; New York: Norton. Apud Lerdahl, Jackendoff (1983b); Brown, Dempster (1989).

BAGHEMIL B. (1988). “The Morphology and Phonology of Katajjait (Inuit Throat Games)”. Canadian Journal of Linguistics / Revue Canadienne de Linguistique 33(1):01-58. Apud DeWitts (s.d.a).

BAILY J. (1985). “Music Structure and Human Movement”. IN Howell P., Cross I., West R.(orgs.); Musical Structure and Cognition; Londres: Academic Press. Apud Baily (1995); Baily, Driver (1992); DeWitts (s.d.a); Moisala (1995).

BAILY J. (1995). “Music and the Body”. World of Music 37(2):11-30.

BAILY J., DRIVER P. (1992). “Spatio-motor thinking in Playing Folk Blues Guitar”. World of Music 34(3):057-071.

BAIRD B. (1997). “A Cortical Model of Cognitive 40 hz Attentional Streams, Rhythmic Expectation, and Auditory Stream Segregation”. IN Shafto M.(org.); Proceedings of the Nineteenth Annual Conference of the Cognitive Science Society; Mahwah NJ: Lawrence Erlbaum Associates; pp 365-371; online http://www2.psy.uq.edu.au/~devin/cogsci96/baird.html (citado em 15/01/2003).

BAIRD B. (2000). “Research overview”. Documento online http://math.berkeley.edu/~baird/ (citado em 24/01/2003).

BAKHTIN M. (1984). Esthétique de la creation verbale. Paris: Gallimard. Apud Dalhe (1997).

BAKHTIN M. (1997). Problemas da poética de Dostoievsky. Rio de Janeiro: Forense Universitária.

BAKHTIN M., VOLOSHINOV V.N. (1930). Marxismo e Filosofia da Linguagem: problemas fundamentais do método sociológico na ciência da linguagem. São Paulo: Hucitec; (1986) .

BALZANO G. (1980). “The group-theoretic representation of 12-fold and microtonal pitch systems”. Computer Music Journal 4:66-84. Apud Cross (1999a).

BAMBERG M. (s.d.b). “Language, concepts and emotions`- the role of language in the construction of emotions”. documento online http://www.massey.ac.nz/~alock/virtual/welcome.htm (citado em 05/01/2003).

BAMBERGER J. (1990). “As estruturações cognitivas da apreensão e notação de ritmos simples”. IN Hermine S.(Org); A produção de notações na criança - Linguagem, número, ritmos e melodias; São Paulo: Cortez. Apud Fernandes (1998).

BARA B.G., TISSARA M., ZETTIN M. (1997). “Neuropragmatics: neuropsychological constraints on formal theories of dialogue”. Brain and Language 59:07-49.

BARBOSA P.A. (2001). “Generating Duration from a Cognitively Plausible Model of Rhythm Production”. Proceedings of the Seventh European Conference on Speech Communication and Technology (Eurospeech 2001), Aalborg, Danemark, September 3-7, vol 2; pp 967-970; online http://www.lafape.iel.unicamp.br/ (citado em 15/01/2003).

BARROS D.L.P. (1997). “Bakhtin e as contribuições para a teoria da linguagem”. IN Brait B.(org.); Bakhtin, dialogismo e construção de sentido; Campinas: Editorea da Unicamp.

BARTHES R. (1990). O óbvio e o obtuso - ensaios críticos III. Rio de Janeiro: Nova Fronteira.

BATES E. (1994). “Modularity, Domain Specificity And The Development Of Language”. IN Harnad S.; Course program: Explaining The Mind (Py104); (1996) ; online http://cogsci.soton.ac.uk/~harnad/Papers/Py104/bates-1994.html (citado em 09/12/2002).

BECKER H.S. (1989). “Ethnomusicology and Sociology: A Letter to Charles Seeger”. Ethnomusicology 33:275-285; (online http://www.soc.ucsb.edu/faculty/hbecker/seeger.html ; citado em 24/01/2003).

BECKER J. (1994). “Music and Trance”. Leonardo Music Journal 04:41-52.

BECKER J., BECKER A. (1979). “A Grammar of the Musical Genre srepegan”. Journal of Music Theory 23(1):01-44. Apud DeWitts (s.d.a).

BÉHAGUE G. (1995). “Conferência: Discurso Musical e Discurso sobre Música: Sistemas de Comunicação Incompatíveis?”. VIII Encontro Anual da Associação Nacional de Pesquisa e Pós Graduação em Música (ANPPOM), João Pessoa; online http://www.musica.ufmg.br/anppom/anais/anais8/muscofnmesa3.htm (citado em 09/12/2002).

BEHRENS R.R. (1998). Art, Design and Gestalt Theory. Documento online http://mitpress2.mit.edu/e-journals/Leonardo/isast/articles/behrens.html ournals/Leonardo/isast/articles/behrens.html (citado em 09/12/2002).

BELIN P., VAN EECKHOUT P.H., ZILBOVICIUS M., ET AL. (1996). “Recovery from nonfluent aphasia after melodic intonation therapy”. Neurology 47:1504-1511.

BELIN P., ZATORRE R.J., LAFAILLE P., AHAD P., PIKE B. (2000). “Voice-selective areas in human auditory cortex”. Nature 403:309-312 (online http://www.zlab.mcgill.ca/docs/Belin_et_al_2000.pdf ; citado em 24/01/2003).

BENGTSSON I. (1973). “Verstehen - Prolegomena zu einem semiotisch-hermeneutischen Ansatz”. IN Faltin P., Reinecke H-P.(orgs.); Musik und Verstehen: Aufsätze zur semiotischenTheorie, Ästhetik und Soziologie der musikalischen Rezeption; Köln: Arno Volk-Verlag, Hans Gerig KG. Apud Leman (1999b).

BENVENISTE E. (1966a). “A semiologia da língua”. IN Problemas de Lingüística Geral II; Campinas: Pontes; pp 43-67; (1974) .

BENVENISTE E. (1966b). “O aparelho formal da enunciação”. IN Problemas de Lingüística Geral II; Campinas: Pontes; pp 081-090; (1974) .

BERGSON. (1912). Introduction to metaphysics. New York: GP Putan’s Sons. Apud Langer (1953).

BERNARDELLI U. (1999). “Roboser: intro”. Ciborg Frictions; online http://zig.ini.unizh.ch/~ulysses/CF_Site/ (citado em 13/01/2003).

BERNSTEIN L. (1976). The unanswered question: six talks at Harvard. Cambridge MASS: Harvard University Press. Apud Lerdahl, Jackendoff (1981); Lerdahl, Jackendoff (1983b) ; Leman (1999b); Leman (1985); Pribam (1983); Raffman (1993); reviewed IN Jackendoff (1977).

BERRENDONER A. (1981). Eléments de linguistique pragmantique. Minuit, Paris; also IN Buenos Aires: Gedisa; (1987).

BESSON M. (1999). “The Musical Brain: Neural Substrates of Music Perception”. Journal of New Music Research 28(3):246-256.

BESSON M., KUTAS M. (1997). ”Manifestations életriques de l´activité de langage dans le cerveau”. IN Fuchs C., Robert S.(orgs.); Diversité des langues et représentations cognitives; Paris: Ophyrs; pp 251-271.

BEUTKE A.A. (2001). “CLAS Term Lecturer: interview with Philosopher Jerry Fodor”. The University of Florida College of Liberal Arts; Sciences Notes 15(10) (outubro); online http://clasnews.clas.ufl.edu/news/clasnotes/0110/ (citado em 13/01/2003).

BEVER T.G., CHIARELLO R.J. (1974). “Cerebral dominance in musicians and non-musicians”. Science 185:537-539. Apud Gil (1993); Henson (1985); Nepomuceno (1983); Peretz, Moraes (1980); Reybrouck (1989); Weinberger (1995); Weinberger (1997).

BEVER T.G., FODOR J.A, WEKSEL W. (1965). “On the acqusition of syntax”. Psychological Review 072. Apud Scarpa (1999).

BHARUCHA J.J. (1984). “Event hierarchies, tonal hierarchies and assimilation: a reply to Deutsh and Dowling”. Journal of Experimental Psychology 113:421-425. Apud Raffman (1993).

BHARUCHA J.J., KRUMHANSL C.L. (1983). “The representation of harmonic structure in music: hierarchies of stability as a function of context”. Cognition 13:63-102. Apud Bharucha, Todd (1989); Raffman (1993).

BHARUCHA J.J., TODD P.M. (1989). “Modeling the perception of tonal structure with neural nets”. Computer Music Journal 13(4):44-53; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 128-137.

BHATTACHARYA J., PETSCHE H., PEREDA E. (2001). “Long-range synchrony in the gamma band: role in music perception”. The Journal of Neuroscience 21(16):6329-6337; online (abstract) http://www.jneurosci.org/cgi/content/abstract/21/16/6329 (citado em 24/01/2003).

BILLIG M. (1987). Arguing and Thinking: a Rhetorical Approach to Social Psychology. Cambridge UK: Cambridge University Press.

BIRMAN J. (1993). “A Linguagem na Constituição da Psicanálise”. IN Ensaios de Teoria Psicanalítica - Vol I; Rio de Janeiro: Zahar.

BLACKING J. (1973). How Musical Is Man?. Seattle: University of Washington Press. Apud DeWitts (s.d.a); Moisala (1995); Vaneechoutte, Skoyles (1998); Béhague (1995); Hodges (2000); Cross (1999b).

BLACKING J. (1992). “The Biology of Music Making”. IN Myers H.(org.); Ethnomusicology: an introduction; Londres: MacMillan; pp 301-326. Apud Baily (1995); Arroyo (2001).

BLANCHARD M. (1999). “IQR421” . Documento online http://www.ini.unizh.ch/~jmb/iqr421.html (citado em 13/01/2003)

BLOCK N. (1993). “The computer model of mind”. IN Orsheron D.N., Smith E.E.(orgs.); Thinking: an invitation to cognitive science; Cambridge MASS: MIT Press; Also IN Goldman A.I.(org.); Readings in Philosophy and Cognitive Science; Cambridge MASS: MIT Press/Bradford Books.

BLOOD A.J., ZATORRE R.J., BERMUDEZ P., EVANS A.C. (1999). “Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions”. Nature Neuroscience 02: 382-387 (online http://www.zlab.mcgill.ca/docs/Blood_et_al_1999.pdf ; citado em 24/01/2003).

BONAKDARPOUR B., EFTEKHARZADEH A., ASHAYER H. (2000). “Preliminary Report On The Effects Of Melodic Intonation Therapy In The Rehabilitation Of Persian Aphasic Patients”. Iranian Journal of Medicine Sciences 25(3/4):156-160.

BORCHGREVINSK H.M. (1983). “Prosody And Musical Rhythm Are Controled By The Speech Hemisphere“. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 151-159.

BORCHGREVINSK H.M. (1991). “Prosody, musical, rhythm, tone pitch and response initiation during amytal hemisphere anaesthesia”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

BORETZ. (1969). “Meta-variations: studies in the foundation of musical thought”. Perspectives of New Music 08-11. Apud Slawson (1991); Brown, Dempster (1989).

BOTEZ M.(ORG.). (1987). Neuropsyhologie et neurologie du comportement. Montréal: Presses de l’Université de Montréal.

BRADDOCK G. (s.d.). “Perception and Judgment in Dennett and Merleau-Ponty”. Londres: Anglophone and European Philosophy of Mind Papers; (online http://www.philosophy-forum.org/lectures/Dennett%20and%20Merleau-Ponty.html ; citado em 09/12/2002).

BRANDÃO H.N. (1996). Introdução à análise do discurso. Campinas: Educ.

BREGMAN A.S. (1990). Auditory scene analysis: the perceptual organisation of sound. Cambridge MASS: MIT Press. Apud Cross (1999b).

BROADBENT G. (1964). “Accuracy of recognition for speech presented to the right and left ears”. Quaterly Journal of Experimental Psychology 16:359. Apud Nepomuceno(1983); Gordon, Bellamy (1991).

BROCA P. (1861). “Remarques Sur le siège de la faculté du langae articulé, suivies d’ue observation d’aphémie”. Bulletin de la Societé d’Anatomie 6:330-357. Apud Françozo (1986); Morato (2000a); Morato (1995); Auroux (1994); Coudry (1988).

BROECKX J. (1975). Contemporary values on musical style and aesthetics. Antwerp: Metropolis. Apud Leman (1999b).

BROWER C. (2002). “A cognitive theory of musical meaning”. Journal of Music Theory 46.

BROWMAN C., GOLDSTEIN L. (1986). “Towards an Articulatory Phonology”. Phonology Yearbook 3:219-252. Apud Barbora (2001).

BROWN G., YULE G. (1983). Discourse analysis. Cambridge UK: Cambridge University Press.

BROWN G.J.(RESP.). (1997). “1996 NIPS Workshop on Connectionist Modelling of Auditory Scene Analysis homepage”. Documento online http://www.dcs.shef.ac.uk/~guy/NIPS/ (citado em 24/01/2003).

BROWN M., DEMPSTER D. (1989). “The scientific image of music theory”. Journal of Music Theory 33(1):65-105. Apud Seifert (1992).

BROWNE R. (1981). “Tonal implications of the diatonic set”. In Theory Only 5:3-21. Apud Cross (1999a).

CAMILLERI L., CARRERAS F., DURANTI C. (1990). “An expert system prototype for the study of musical segmentation”. Interface ; Journal Of New Music Research 19:147-154.

CARAMAZZA A. (1984). “The logic of neuro psychological research and the problem of patient classification in aphasia”. Brain and Language 21:09-20.

CARMELO L. (s.d.). “A música dos signos: Da lógica de John Deely à semiose de António Damásio”. Documento online http://bocc.ubi.pt/pag/carmelo-luis-musica-signos.html (citado em 09/12/2002).

CASTELLANO, M.A., BHARUCHA, J.J., KRUMHANSL, C.L. (1984). “Tonal hierarchies in the music of North India”. Journal of Experimental Psychology - General 113:394-412. Apud DeWitts (s.d.a); Baharucha, Todd (1990); Cross (1997); Cross (1998a); Moisala (1995); Huron (2002).

CAVELL S. (1967). “Music discomposed”. IN Capitan W.H., Merrill D.D.(orgs.); Art, Mind and Religion; Pittsburgh: University of Pittsburgh Press. Apud Raffman (1993).

CHAVES E.C. (s.d.). “A Filosofia Moderna e Descartes”. Documento online http://www.cfh.ufsc.br/~wfil/moderna.htm (citado em 09/12/2002).

CHOI I. (1996). “Compositional and semiotic practice as compositional process”. Computer Mathematic Applications 32(1):17-35.

CHOMSKY N. (1959). Book Review: Skinner B.F.; Verbal Behavior. Language 35(1): 26-58 (online http://cogprints.ecs.soton.ac.uk/archive/00001148/00/chomsky.htm ; citado em 24/01/2003).

CHOMSKY N. (1962). “Modelos explanatórios em Lingüística”. IN Dascal M.(org.); Fundamentos metodológicos da Lingüística Vol 1 - Concepções gerais da Teoria Lingüística; São Paulo: Global; (1978) .

CHOMSKY N. (1965). Aspects of the theory of syntax. Cambridge MASS: MIT Press. Apud Allen, Seidenberg (1999); Besson (1999); Dell (1986); Elman (1991); Lerdahl, Jackendoff (1981); Pereira de Castro (1997); Raffman (1993); Reybrouck (1989); Smoliar (1980); Albano (1986); Kaye (1998); Eco (1974).

CHOMSKY N. (1968). “Linguistic Contributions to the Study of Mind”. IN Language and miid; Harcout Brace Jovanovich; online http://www.marxists.org/reference/subject/philosophy/works/us/chomsky.htm (citado em 09/12/2002).

CHOMSKY N., HALLE M. (1968). The Sound Pattern of English. Cambridge MASS: MIT Press.

CHOMSKY N., MILLER G.A. (1963). “Introduction to the formal analysis of natural languages”. IN Luce R.D., Bush R.R., Galanter E.(orgs.); Handbook of Mathematical Psychology vol II; New York & Londres: John Wiley and Sons; pp 269-321. Apud Lerdahl, Jackendoff (1983b).

CHOUVEL J-M. (1993). “Musical form: from a model of hearing to an analytic procedure. Interface ; Journal Of New Music Research 22:099-117.

CHURCHLAND P., GRUSH R. (1999). “Computation and the brain”. In Heil F., Wilson R.(orgs.); The MIT Encyclopedia of Cognitive Sciences; Cambridge, MA: MIT Press; pp 155-158; online http://cognet.mit.edu/MITECS/Entry/churchland.html (citado em 24/01/2003).

CHURCHLAND P.M. (1981). “Eliminative Materialism and the Propositional Attitudes”. Journal of Philosophy 53(2):67-90; also IN Goldman A.I.(org.); Readings in Philosophy and Cognitive Science; Cambridge MASS: MIT Press/Bradford Books; (1993) .

CHURCHLAND P.S. (1986). Neurophilosophy: toward a unified science of the mind-brain. Computation Models of Language and Cognition; Cambridge MASS: MIT Press. Apud Cross (1998a); Damasio (1994); Velmans (1996).

CLYNES M. (1969). “Toward a Theory Of Man: precision of essentic form in living communication”. IN Leibovic K., Eccles J.(orgs.); Information processing in the nervous system; New York: Springer. Apud Clynes (1986); Clynes (1995).

CLYNES M. (1977). Sentics: the touch of emotions. New York: Anchor. Apud Clynes (1986); Clynes (1988); Clynes (1992); Clynes (1994); Clynes (1995); Clynes (s.d.); Clynes, Nettheim (1983); Clynes, Walker (1983); Huron (s.d.b); Juslin (1995); Lidov (1987); Leman (1999b).

CLYNES M. (1986). “Generative Principles of Musical Thought: Integration of Microstructure with Structure”. Journal for the Integrated Study of Artificial Intelligence, Cognitive Science and Applied Epistemology 03(3):185-223 (online http://www.microsoundmusic.com/clynes.htm ; citado em 24/01/2003).

CLYNES M. (1992). “Time Forms, Nature’s Generators and Communicators of Emotions”. IEEE International Workshop on Robot and Human Communication, Tokyo; online http://www.microsoundmusic.com/clynes.htm (citado em 24/01/2003).

CLYNES M. (1994). “Entities and brain organization: logogenesis of meaningful time-forms”. IN Pribam K.(org.); Brain and self-organization; Erlbaum Press; pp 604-632 (online http://www.microsoundmusic.com/clynes.htm ; citado em 24/01/2003).

CLYNES M. (1995). “Microstructural Musical Linguistics: composer’s pulses are liked best by the best musicians”. Cognition 55:269-310; (online http://www.microsoundmusic.com/clynes.htm ; citado em 24/01/2003).

CLYNES M. (s.d.). “The future Compassionate Computer: will it grow to be the everepresent Superfriend and Supershrink?”. Documento online http://www.microsoundmusic.com/clynes.htm (citado em 24/01/2003).

CLYNES M., NETTHEIM N. (1983). “The Living Quality Of Music: neurobiologic patterns of communicating feeling“. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 047-082.

CLYNES M., WALKER J. (1983). “Neurobiologic Functions Of Rhythm, Time And Pulse In Music”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 171-193.

COCHRANE R. (2000). “Playing by the rules: a pragmatic characterization of musical performances”. Journal of Aesthetics and Art Criticism 58(2):135-142.

COELHO NETTO J.T. (1983). Semiótica, informação e comunicação. São Paulo: Perspectiva. Apud Sekeff (1996).

COHEN D.E. (1993). “Metaphysics, ideology, discipline: Consonance, dissonance, and the foundations of Western polyphony”. Theoria 07:1-85. Apud Huron (s.d.a).

COLI J. (1995). “A forma e a impureza”. VIII Encontro Anual da Associação Nacional de Pesquisa e Pós Graduação em Música (ANPPOM), João Pessoa ; online http://www.musica.ufmg.br/anppom/anais/anais8/muscofnmesa4.htm (citado em 24/01/2003).

COOK N. (1987). A Guide to Musical Analysis. Londres: J.M.Dent & Sons. Apud Cross (1998a); Zampronha (1995).

COOK N. (1990). Music, imagination and culture. Oxford: Oxford University Press.

COONS E., KRAEHENBUEHL D. (1958). “Information as a measure of structure in music”. Journal of Music Theory 2:127-161. Apud Huron (2002).

COPELAND J. (2000). “What is Artificial Intelligence?”. Documento online http://www.alanturing.net/ (citado em 15/01/2003).

COUDRY M.I.H. (1988). Diário de Narciso: discurso e afasia. São Paulo: Martins Fontes.

COUDRY M.I.H., MORATO E.M., POSSENTI S. (1992). Mesa redonda: processos de significação - a visão da neurolingüística. ABRALIN - Boletim da Associação Brasileira de Lingüística (Faculdade de Filosofia, Ciências e Letras - USP) 13:59.

COULSON S., KING J.W., KUTAS M. (1998). “ERPs and Domain Specificity: Beating a Straw Horse”. Language And Cognitive Processes 13(6):653-672.

COULSON S., OAKLEY T. (s.d.). “Metonymy and Conceptual Blending”. Online http://cogsci.ucsd.edu/~coulson/metonymy-new.htm (citado em 24/01/2003).

COULTER J. (1983). Rethinking Cognitive Theory. New York: Saint Martin. Apud Hatten (1989).

COURTINE J-J. (1981). Alguns problemas teóricos e metodológicos em Análise Do Discurso, a propósito do discurso comunista dirigido aos cristãos (tradução Possenti S.). Langages 62.

CROSS I. (1993). “The Chinese Music Box”. Interface ; Journal Of New Music Research 22:165-172.

CROSS I. (1997). “Pitch schemata”. IN Deliège I., Sloboda J.(Orgs.); Perception and cognition of music; Hove: Psychology Press.

CROSS I. (1998a). “Music Analysis and Music Perception”. Music Analysis 17(1); online http://www.mus.cam.ac.uk/~ic108/MusicAnalysis/index.html (citado em 09/12/2002).

CROSS I. (1998b). “Music & science: three views”. Revue Belge de Musicologie LII:207-214 (online http://www-ext.mus.cam.ac.uk/~ic108/RBM/ ; citado em 09/12/2002).

CROSS I. (1999a). “AI and music perception”. AISB Quarterly (online http://www-ext.mus.cam.ac.uk/~ic108/AISB99/index.html ; citado em 09/12/2002).

CROSS I. (1999b). “Is music the most important thing we ever did? Music, development and evolution”. IN Suk W.Y.(Org.); Music, mind and science; Seoul: Seoul National University Press; pp 10-39 (online http://www-ext.mus.cam.ac.uk/~ic108/MMS/index.html ; citado em 09/12/2002).

CROSS I., ZUBROW E., COWAN F. (2002). “Musical behaviours and the archaeological record: a preliminary study”. British Archaeological Reports International Series 1035:25-34; also In Mathieu J.(org.); Experimental Archaeology; (preprint); (online http://www-ext.mus.cam.ac.uk/~ic108/lithoacoustics/BAR2002/BARpreprint.pdf ; citado em 24/01/2003).

CRUZ F.M. (2003). O metadiscurso clínico sobre a memória e o discurso da memória: implicações para a Neurolingüística. Dissertação (mestrado); Campinas: Institude de Estudos da Linguagem, Universidade Estadual de Campinas (trabaho em andamento).

CUPCHIK G.C., PHILLIPS K., HILL D.S. (2001). “Shared Processes in Spatial Rotation and Musical Permutation”. Brain and Cognition 46:373-382; online http://www.elsevier.com/locate/issn/02782626 (citado em 24/01/2003).

DAHLE P. (1997). “Dialogização enunciativa e paisagens do sujeito”. IN Brait B.(org.); Bakhtin, dialogismo e construção de sentido; Campinas: Editora da Unicamp.

DALLA BELLA S., PERETZ I. (1999). “Music Agnosias: Selective Impairments of Music Recognition After Brain Damage”. Journal of New Music Research 28(3):209-216 .

DALLA BELLA S., PERETZ I., ROUSSEAU L., GOSSELIN N. (2001). “A developmental study of the affective value of tempo and mode in music”. Cognition 80:B01-B10; online http://www.elsevier.com/locate/cognit (citado em 24/01/2003).

DAMASIO A. (1994). O erro de Descartes: razão, emoção e o cérebro humano. São Paulo: Companhia das Letras.

DAMASIO A. (2000). O Sentimento de Si- O corpo, a emoção e a neurobiologia da consciência. Lisboa: Publicações Europa-América. Apud Carmelo (s.d.).

DAMASIO A., GESCHWIND N. (1985). “Anatomical localization in clinical neuropsychology”. IN Frederiks J.A.M.(org.); Handbook of Clinical Neurology Vol 46 - Neurobehavioral Desorders; Amsterdam: Elsevier; pp 07-27.

DAMASIO A.R., DAMASIO H. (1978). “Musical faculty and cerebral dominance”. IN Critchley M., Henson R.A.(orgs.); Music and the Brain: studies in the Neurology of Music; Londres: Heinemann; pp 141-155. Apud Tervaniemi, Ilvonen, Karma, Alho, Näätänen (1997).

DANCY J. (1995). “Epistemology, problems of”. IN The Oxford Companion to Philosophy; Oxford University Press; online http://www.xrefer.com/entry/551938 (citado em 09/12/2002).

DASCAL M. (1983). Pragmatics and the Philosophy of Mind. Amsterdam: John Benjamins. Apud Morato (1996); Morato (1998); Morato (2000a); Françozo (1986).

DAVIDSON D. (1983). “A Coherence Theory of Truth and Knowledge”. IN Henrich D.(org.); Kant oder Hegel?; Stuttgart: Klett-Cotta, 1983; also IN LePore E.(org.); Truth and Interpretation; Oxford: Blackwell; pp 307-320; (1986) . Apud Sosa (1997).

DAVIDSON L., TORFF B. (1992). “Situated Cognition in Music”. World of Music 34(3):120-139. Apud DeWitts (s.d.a).

DE BOER B. (1997). “A Second Report on Emergent Phonology”. AI-MEMO 97-04; Bruxelas: Vrije Universiteit Brussel, AI-Lab. Apud Miranda (2000).

DE BOYSSON-BARDIES B., HALLE P., SAGART L., DURAND C.J. (1989). “A crosslinguistic investigation of vowel formants in babbling”. Child Language 16:1-17. Apud Vaneechoutte, Skoyles (1998).

DEAHENE-LAMBERTZ G. (1999). “Bases cerebrais da percepção de fonemas no bebê”. (online http://www.gomestranslation.com/translated_articles/deahene_lambertz.html ; citado em 15/01/2003).

DELEUZE. (1997). Péricles e Verdi-A filosofia de François Châtelet. Estratégias Criativas, Vila Nova de Gaia. Apud Carmelo (s.d.).

DELIO T. (1991). “contrecoup...Nonlinearity and Computer Aided Composition”. Interface ; Journal Of New Music Research 20(3/4).

DELL G.S. (1986). “A spreadinf-activation theory of retrieval in sentence production”. Psychological Review 093(3): pp 283-321.

DENNETT D. (1990). “Memes and the exploitation of imagination”. Journal of Aesthetics and Art Criticism 48:127-135. Apud Edmonds (1997).

DENNETT D. (1991). Consciousness Explained. Boston: Little, Brown. Apud Sperber, Hirschfeld (1999); Gallagher (1997); Damasio (1994); Braddock (s.d.); Varela (1996); Green (1996).

DENNETT D. (1995). Book Review: Damasio A.R.; Descartes' Error: Emotion, Reason, and the Human Brain; (1994). Times Literary Supplement August 25, 1995; pp 3-4.

DERRIDA J. (1967). A Escritura e a Diferença. Coleção Debates 49; São Paulo: Perspectiva; (1971) . Apud Zampronha (1995); Snarrenberg (1987); Samuels (1989); Auroux (1994).

DESAIN P., HONING H. (1989). “The quantization of musical time: A connectionist approach”. Computer Music Journal 13(3):56-66; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 150-160.

DESAIN P., HONING H. (1999). “Computational Models of Beat Induction: The Rule-Based Approach”. Journal of New Music Research 28(1).

DEWITTS M.(RESP.). (s.d.a). Bibliografia: Research on Cognition in Ethnomusicology. Documento online http://dactyl.som.ohio-state.edu/Music950/bibCogEthno.html (citado em 09/12/2002).

DIAS J.L. (1998). “Linguagem, Linguística e Filosofia”. Revista Múltipla 03(4); (online http://www.upis.br/revista_multipla/revista_multipla.htm ; citado em 05/01/2003).

DIBBEN N. (1994). “A Generative Theory of Tonal Music”. IN Dibben; Review of the Third International Coinference for Music; ESCOM Newletters 07; online http://musicweb.hmt-hannover.de/escom/english/Newsletter/Nl7e/3ICMPCE.htm (citado em 09/12/2002).

DOLSON M. (1989). “Machine Tongues XII: Neural networks”. Computer Music Journal 13(3):28-40; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 03-15.

DONAHOE J.W., PALMER D.C. (1993). Learning and Complex Behavior. Allyn and Bacon. Apud Marr (2000).

DONATO J. (1994). “ Entrevista a Almir Chediak”. IN Chediak A.(org.); Songbook Bossa Nova Vol 3; Rio de Janeiro: Lumiar.

DREYFUS H.L. (1992). What computers still can’t do: a critique of artificial reason. Cambridge MASS: MIT Press. Apud Mingers (2001).

DREYFUS H.L. (2002). “Heidegger and Foucault: on the Subject, Agency and Practices”. Documento online http://socrates.berkeley.edu/~hdreyfus/html/paper_heidandfoucault.html (citado em 15/01/2003).

DUCROT O. (1972). O dizer e o dito. Campinas: Pontes; (1984).

DUPUY J-P. (1996). Nas origens das Ciências Cognitivas. São Paulo: Editora da Unesp.

DYDO S. (1983). “Surface relations between music and language as compositional aids”. Interface ; Journal Of New Music Research 12:541-556.

ECHARD W. (1995). Book review: Tarasti E.; A Theory of Musical Semiotics. Semiotic Review of Books 6(3); online http://www.chass.utoronto.ca/epc/srb/srb/music.html (citado em 23/01/2003).

ECO U. (1974). As formas do conteúdo. São Paulo: Perspectiva.

EDELMAN G. (1992). Bright air, brilliant fire: On the matter of the mind. Basic Books. Apud Edmonds (1997); Raffman (1993); Damasio (1994); Aksnes (s.d.).

EDGREN J.G. (1895). “Amusie (musikalische Aphasie)”. Dtsch Z Nervenheilkd 6:1-30. Apud Poeck (1985).

EDMONDS B. (1997). “A Brief Overview and History of Memetics”. Journal of Memetics - Evolutionary Models of Information Transmission; online http://jom-emit.cfpm.org/overview.html (citado em 13/01/2003).

EGGEBRECHT H.H. (1973). “Über begriffliches und begriffsloses verstehen von musik”. IN Faltin P., Reinecke H-P.(orgs.); Musik und Verstehen: Aufsätze zur semiotischenTheorie, Ästhetik und Soziologie der musikalischen Rezeption; Köln: Arno Volk-Verlag, Hans Gerig KG. Apud Leman (1999b).

ELIADE M. (1963). Mito e realidade. São Paulo: Perspectiva; (1972) .

ELMAN J.L. (1990). “Finding structure in time”. Cognitive Science 14:179-211.

ELMAN J.L. (1991). “Language as a dynamical system”. IN Port R., van Gelder T.(orgs.); Mind as Motion: explorations in the Dynamics of Cognition; Cambridge MASS: MIT Press.

ELMAN J.L. (1993). “Learning and development in neural networks: The importance of starting small”. Cognition 48:71-99; (online ;ftp://ftp.crl.ucsd.edu/pub/neuralnets/cognition.pdf ; citado em 09/12/2002).

ERHAN H., BOROD J.C., TENKE C.E., BRUDER G.E. (1998). “Identification of emotion in a dichotic listening task: event-related brain potential and behavioral findings”. Brain and Cognition 37:286-307. Apud Blood, Zatorre, Bermudez, Evans (1999).

ERVIN F.R., MARTIN J. (1986). “Neurophysiological bases of the primary emotions”. IN Plutchik R., Kellerman H.(orgs.); Emotion: Theory, Research, and Experience Vol 3; New York: Academic Press, pp 145-170. Apud Fellous (1995).

FAIR C.M. (1992). Cortical memory functions. Berlin: Berkhauser Press. Apud Pocock (s.d.).

FARAH M.J. (1995). “The neural bases of mental imagery”. IN Gazzaniga M.S.(org.); The cognitive neurosciences; Cambridge MASS: MIT Press; pp 963-975. Apud Halpern, Zatorre (1999).

FARIAS P.L. (1999). “Semiótica e Cognição: Os conceitos de hábito e mudança de hábito em C.S.Peirce”. Revista Eletrônica Informação e Cognição 1(1); online http://www.marilia.unesp.br/atividades/extensao/revista/v1/index.html (citado em 15/01/2002).

FELD S. (1984a). “Communication, Music and Speech about Music”. Yearbook for Traditional Music 16:1-18. Apud Lybarger (2000).

FELD S. (1984b). “Sound Structure as Social Structure”. Ethnomusicology 28(3):383-409. Apud Béhague (1995).

FELLOUS J-M. (1995). “Emotion research in neuroscience: Region Level”. The emotion Home Page; online http://emotion.salk.edu/emotion.html (citado em 24/01/2003).

FERNALD A., SIMON T. (1984). “Expanded intonation contours in mothers' speech to newborns”. Developmental Psychology 20:104-113. Apud Vaneechoutte, Skoyles(1998).

FERNANDES J.N. (1998). “Paralelismo Entre História E Psicogênese Da Escrita Do Ritmo Musical”. Psicologia USP 9(2); online http://www.scielo.br (citado em 24/01/2003).

FERREIRO E. (1984). “La prática del dictado em el primer año escolar”. IN Cuadernos de Investigación 15; México: DIE. Apud Coudry (1988).

FIGUEIRA R.A. (2001). “Dados anedóticos: quando a fala da criança povoca o riso...humor e aquisição da linguagem”. Texto para publicação; 31 pp.

FISCHER K.V. (1984). “Guilds”. IN Sadie S.(org.); The New Grove Dictionary of Music and Musicians; Londres: McMillan Press.

FODOR J.A. (1975). The language of thought. New York: Crowel.

FODOR J.A. (1982). Representations: philosophical essays on the foundations of cognitive science. Cambridge MASS: MIT Press.

FODOR J.A. (1983). The Modularity of Mind. Cambridge MASS: MIT Press/Bradford Books. Apud Raffman (1993); Reybrouck (1989); Sperber, Hirschfeld (1999); Cross (1997); Albano (1990); Franchi (1986); Françozo (1986); Sperber (2000); Auroux (1994); Rockwell (1998); Albano (1986).

FODOR J.A. (1987). Psychosemantics: the problem of meaning in the Philosophy of Mind. Cambridge MASS: MIT Press / Bradford Books.

FODOR J.A. (1991). “Replies”. IN Loewer B., Rey G.(Orgs.); Meaning in mind: Fodor and his critics; Cambridge MASS: Blackwell. Apud Green (1996).

FODOR J.A. (1994). The elm and the expert: mentalese and its semantics. Cambridge MASS: MIT Press.

FODOR J.A. (1998). “The Trouble with Psychological Darwinism”. London Review of Books On Line 20(2); online http://humanities.uchicago.edu/faculty/goldsmith/CogSciCourse/Fodor.htm (citado em 09/12/2002).

FODOR J.A. (1999). “Let your brain alone: why does everyone go on so about the brain?”. London Review of Books online 21(19) (30/09/1999); online http://www.lrb.co.uk/v21/n19/fodo01_.html (citado em 15/01/2003).

FOLEY J. (1977). Foundations of theoretical phonology. Cambridge UK: Cambridge University Press.

FOLHA DE SÃO PAULO. (2002). “Ciência Nova”. São Paulo: Folha de São Paulo; Edição 26.898; Caderno MAIS! pp 4-8; 24/11/2002.

FOUCAULT M. (1969). A Arqueologia do Saber. Rio de Janeiro: Forense Universitária; (1987) . Apud Morato (1999); Mussalim (2000); Brandão (1996).

FOUCAULT M. (1971). A ordem do discurso. São Paulo: Loyola; (1996) .

FOUCAULT M. (1977). O nascimento da clínica. Rio de Janeiro: Forense Universitária.

FOUCAULT M. (1978). The history or sexuality. New York: Pantheon. Apud Brandão (1996).

FRANÇA C.C. (2001). “Engajando-se na conversação: considerações sobre a técnica e a compreensão musical”. Revista da ABEM - Associação Brasileira de Educação Musical 6:35-47.

FRANCÉS R. (1958). La perception de la musique. Paris: Vrin. Apud Piana (2001).

FRANCHI C. (1977). ”Linguagem - Atividade Constitutiva”. Almanaque - Cadernos De Literatura E Ensaio 05:9-27. Apud Coudry, Morato, Possenti (1992); Morato (1996); Morato (1998).

FRANCHI C. (1986). “Reflexões sobre a hipótese da modularidade da mente”. ABRALIN - Boletim da Associação Brasileira de Lingüística (Faculdade de Filosofia, Ciências e Letras - USP) 08:17-35.

FRANÇOZO E. (1986). “Afasia e modularidade da mente”. ABRALIN - Boletim da Associação Brasileira de Lingüística (Faculdade de Filosofia, Ciências e Letras - USP) 08:63-76.

FRANÇOZO E. (1987). Linguagem interna e afasia. Tese (Doutorado); Campinas: Instituto de Estudos da Linguagem, Universidade Estadual de Campinas.

FREGE G. (1972). Conceptografia, os fundamentos da aritmética e outros estudos. México: Universidade Estadual Autônoma de México; pp 10. Apud Dias (1998).

FREITAS M.T.A. (1997). “Nos textos de Bakhtin e Vygotsky: um encontro possível”. IN Brait B.(org.); Bakhtin, dialogismo e construção de sentido; Campinas: Editora da Unicamp.

FREUD S. (1891). A Interpretação das Afasias. Lisboa: Edições 70; (1977) .

FRIBERG A. (1997). A Quantitative Rule System for Musical Performance. Tese (doutorado); Estocolmo: Royal Institute of Technology; online http://www.speech.kth.se/music/publications/thesisaf/sammfa2nd.htm (citado em 24/01/2003).

GABBI JR O.F. (1994). Freud: racionalidade, sentido e referência. Coleção CLE vol 13; Campinas: Editora da UNICAMP.

GABRIELSSON A. (2000). “Expressive performance in Music, Dance, Speech, and Body Language (project description)”. Documento online http://www.psyk.uu.se/hemsidor/alf.gabrielsson/index.htm (citado em 24/01/2003).

GAGNON L., PERETZ I. (2000). “Jugements émotionnels pour la musique dans la démence de type Alzheimer”. 68e Congrès de l’Acfas; online (abstract) http://www.acfas.ca/congres/congres68/C2460.htm (citado em 15/01/2003).

GALLAGHER S. (1997). “Mutual Enlightenment: Recent Phenomenology in Cognitive Science”. Journal of Consciousness Studies 4(3):195-214; online http://www.imprint.co.uk/jcs.html (citado em 05/01/2003).

GARDNER H. (1983). Frames of Mind: the theory of multiple intelligences. New York: Basic Books. Apud Raffman (1993); Cross (1999a).

GARFINKEL H., SACKS H. (1970). “On formal structures of practical action”. IN McKinney J.C., Tiryakian E.(orgs.); Theoretical Sociology: Perspectives and Developments; New York: AppleCentury -Crofts; pp 160-193. Apud Morato (2001).

GASSER M., ECK D., PORT R. (1997). “Meter as mechanism: A neural network that learns metrical patterns”. IN Lynch M.(org.); The Cognitive Science of Prosody; North-Holland/Elsevier (online http://www.cs.indiana.edu/~gasser/Research/pubs.html ; citado em 24/01/2003).

GATES A., BRADSHAW J.L. (1977a). “The role of cerebral hemispheres in music”. Brain and Language 04:403-431. Apud Botez (1987).

GIBSON J.J. (1979). The Ecological Approach to Visual Perception. Boston Houghton Mifflin; also IN Hillsdale NJ: Lawrence Erlbaum.

GIEGERICH H. (1985). Metrical phonology and phonological structure: German and English. Cambridge UK: Cambridge University Press.

GIL R. (1993). “Les surdités corticales et les agnosies auditives”. IN Neuropsychologie; Paris: Masson.

GILBERT C. (1999). “Neural Plasticity”. In Heil F., Wilson R.(orgs.); The MIT Encyclopedia of Cognitive Sciences; Cambridge, MA: MIT Press; online http://cognet.mit.edu/MITECS/Entry/gilbert-c.html (citado em 09/12/2002).

GJERDINGEN R.O. (1989). “Using connectionist models to explore complex musical patterns”. Computer Music Journal 13(3):67-75; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 138-146.

GOLDSMITH J.A. (1976a). “An overview of autosegmental phonology”. Linguistic Analysis 02:23-68.

GOLDSTEIN K. (1951). “La actitude abstracta y el lenguaje”. IN La natureza humana a la luz de la psicopatologia; Buenos Aires: Paidós; (1967) .

GOODMAN N. (1976). Languages of art: an approach to theory of symbols. Indianapolis: Hackett. Apud Raffman (1993); Lidov (1987); Chomsky (1968).

GOPNIK A. (1993). “How we know our minds: The illusion of first-person knowledge of intentionality”. IN Goldman A.I.(org.); Readings in Philosophy and Cognitive Science; Cambridge MASS: MIT Press/Bradford Books; also IN Brain and Behavioral Sciences 16:1-14.

GORDON H.W., BELLAMY K. (1991). “Neurophisiology of brain function: an overview”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

GOTTSELIG J.M. (2000). Human neuroanatomical systems for perceiving emotion in music. Dissertation (PhD); University of Iowa; (UMI ProQuest Information and Learning; online http://www.lib.umi.com/dissertations/preview/9985561 ; citado em 30/09/2001).

GOVINDARAJAN K.K., GROSSBERG S., WYSE L.L., COHEN M.A. (1994). “A Neural Network Model of Auditory Scene Analysis and Source Segregation”. Boston University, Dept of Cognitive and Neural Systems: Technical Report CAS/CNS-TR-94-039.

GREEN C.D. (1996). “Fodor, functions, physics, and fantasyland: is Artificial Inteligence a Mickey Mouse discipline?”. Journal of Experimental and Theoretical Artificial Intelligence 8:95-106.

GREIMAS A.J. (1976). Semiótica do discurso científico. São Paulo: Difel.

GRICE H. (1967). “Lógica e conversação”. IN Dascal M.(org.); Fundamentos metodológicos da lingüística Vol 4 - Pragmática; Campinas: edição do autor; pp 081-103.

GRIFFITH N.J.L. (s.d.). “Connectionist Models of Music” (bibliografia). Documento online http://www.csis.ul.ie/staff/NiallGriffith/mnpdpp_bib.htm (citado em 09/12/2002).

GRIFFITHS P. (1986). “Sound-Code-Image”. In Eye Music: The Graphic Art of New Musical Notation; Londres: Arts Council; pp 5-11. Apud Zampronha (1995).

GROSSBERG S. (1982). “Competitive learning: from interactive activation to adaptive ressonace”. Cognitive Science 11:23-63. Apud Gjerdingen (1989); Laden, Keefe (1989); Scarborough, Miller, Jones (1989).

GRUND C. (2001). “Music, Logic and Intentionality”. 12th Meeting of the FWO Research Society “Foundations of Music Research”; online (abstract) http://www.ipem.rug.ac.be/nfwo/nfwo.html (citado em 09/12/2002).

GUIMARÃES R.C. (2001). “Código Genético e Auto-Organização”. Colóquios Michel Debrun; Marília: Faculdade de Filosofia - UNESP.

HABERMAS J. (1978). “Conhecimento e interesse”. IN Textos escolhidos / Benjamin, Habermas, Horkheimer, Adorno (Série Os Pensadores); São Paulo: Abril Cultural; (1983).

HALLAM S. (1996). Book Review: Deliège, Sloboda (eds.); Musical beginnings: origins and development of Musical Competence. ESCOM Newsletter 09; online http://musicweb.hmt-hannover.de/escom/english/Newsletter/NL9e/HallamE.htm (citado em 24/01/2003).

HALPERN A.R., ZATORRE R.J. (1999). “When that tune runs through your head: a PET investigation of auditory imagery for familiar melodies”. Cerebral Cortex 09:697-704 (online http://www.zlab.mcgill.ca/docs/Halpern_Zatorre_1999.pdf ; citado em 24/01/2003).

HAMLYN D.W. (1995). “Epistemology, history of”. IN The Oxford Companion to Philosophy; Oxford University Press; online http://www.xrefer.com/entry/551937 (citado em 09/12/2002).

HARNAD S. (1989). “Minds, Machines and Searle”. Journal of Theoretical and Experimental Artificial Intelligence 1:5-25; (online http://www.cogsci.soton.ac.uk/~harnad/Papers/Harnad/harnad89.searle.html ; citado em 09/12/2002).

HARRIS Z.S. (1952). “Discourse analysis”. Language 28:01-30; also IN Katz J.J., Fodor J.A.(orgs.); Readings in the Philosophy of Language; Englewood Cliffs NJ: Prentice-Hall; (1964).

HATTEN R. (1989). “Semiotic perspectives on issues in music cognition”. In Theory Only 11(3):01-11.

HATTEN R. (1992). Book review: Agawu; Playin with signs; Nattiez; Music and discourse. Music Theory Spectrum 11(3):88-99. .

HATTEN R. (1997). Musical gesture. Cyber Semiotic Institute Home Page; Documento online http://www.chass.utoronto.ca/epc/srb/cyber/cyber.html (citado em 23/01/2003).

HAYES B. (1984). “The phonology of rhythm in English”. Linguistic Inquiry 15:33-74.

HEAD H. (1929). Aphasia and kindred disorders of speech vol I. New York. Apud Jakobson (1954).

HEIDEGGER M. (1962). Being and time. Oxford: Blackwell. Apud Mingers (2001).

HELMHOLTZ H.L.F. (1863). On the sensations of tone as a physiological basis for the theory of music (tradução Ellis A.J.). New York: Dover; (1954). Apud Krumhansl (1995); Leman (1999b); Leman (1999a); McAdams (1983); Terhardt (2000).

HENRY P. (1990). “Os fundamentos teóricos da ‘Análise Automática do Discurso’ de Michel Pêcheux (1969)”. IN Gadet F., Hak T.(orgs.); Por uma Análise Automática do Discurso - uma introdução à obra de Michel Pêcheux; Campinas: Editora da UNICAMP; pp 13-38; (1990) .

HENSON R.A. (1985). “Amusia”. IN Frederiks J.A.M.(org.); Handbook of Clinical Neurology Vol 46 - Neurobehavioral Desorders; Amsterdam: Elsevier; pp 483-491.

HIRSCHKOP K. (2001). “Staff research interests: Ken Hirschkop”. Documento online; Department of English and American Studies, University of Manchester; online http://www.art.man.ac.uk/ENGLISH/staff/KH/HOME.HTM (citado em 09/12/2002).

HIRSCHKOP K. (s.d.). “Linguistic Turns in the Human Sciences”. Documento online http://www.art.man.ac.uk/ENGLISH/staff/KH/HOME.HTM (citado em 09/12/2002).

HODGES D.A. (2000). “Implications of music and brain research”. Music Educators Journal 87(2).

HOEN M., DOMINEY P.F. (2000). “ERP analysis of cognitive sequencing: a left anterior negativity related to structural transformation processing”. NeuroReport 11:1-5; (online http://cogprints.ecs.soton.ac.uk/archive/00002177/00/Hoen_et_Dominey_Neuroreport_LAN_2000.pdf ; citado em 15/02/2003).

HOLE G. (2000). “Lectures in Neuropsychology”. Documento online http://www.cogs.susx.ac.uk/users/grahamh/ATPNeuro1-4.pdf (citado em 09/12/2002).

HOLLANDA A.B. (1986). Novo Dicionário da Língua Portuguesa. Rio de Janeiro: Nova Fronteira.

HOPKINS P. (1982). “Aural Thinking”. IN Falck R., Rice T.(orgs.); Cross-Cultural Perspectives on Music; Toronto, Ontario: University of Toronto Press; pp 143-161. Apud DeWitts (s.d.a).

HÖRNEL D., ET ALL. (s.d.). “Bibliography on ‘Music and Computer Science’”. Documento online http://i11www.ira.uka.de/~musik/literatur.en.html (citado em 09/12/2002).

HUEN K. (s.d.). “A review of Chomsky’s criticism of Kripke’s Wittgenstein”. Chomsky for philosophers; online http://www.personal.kent.edu/~pbohanbr/Webpage/New/newintro.html (citado em 24/01/2003).

HUMBOLDT W. (1871). Linguistic Variability & Intellectual Development. Philadelphia: University of Pennsylvania Press; (1972) . Apud Morato (1996); Morato (2000a); Morato (1997a); Morato (1998); Chomsky (1968).

HURON D. (1991). Book Review: Parncutt R.; Harmony: a psychoacoustical approach. Psychology of Music 19(2):219-222; (online http://dactyl.som.ohio-state.edu/Huron/Publications/huron.Parncutt.review.html ; citado em 24/01/2003).

HURON D. (2002). “Musical Expectation”. Documento online http://dactyl.som.ohio-state.edu/Music829D/Notes/Expectation.html (citado em 24/01/2003).

HURON D. (s.d.a). “Music and Emotion: A Selected Bibliography”. Documento online http://www.musicog.ohio-state.edu/Music829D/music829D.bibliography.html (citado em 09/12/2002).

HURON D. (s.d.b). “Leonard Meyer”. Documento online http://dactyl.som.ohio-state.edu/Music829D/Notes/Meyer1.html (citado em 24/01/2003).

HURON D., VON HIPPEL P. (2000). “Tonal and Contra-tonal structure of Viennese twelve-tone rows”. Paper presented at the Society for Music Theory Conference, Toronto, Canada. Apud Huron (2002).

HUSSERL E. (1964). The idea of phenomenology. The Hague: Martinus Nijhoff. Apud Mingers (2001); Varela (1996).

HUSSERL E. (1972). Ideas: General Introduction to Pure Phenomenology. Londres (translation Boyce Gibson W.R.). Apud Aksnes (s.d.); Arnoux (1994).

JACKENDOFF R. (1977). Book review: Bernstein; The Unanswered question. Language 53:883-894. Apud Lerdahl, Jackendoff (1981); Raffman (1993).

JACKENDOFF R. (1983). Semantics and Cognition. Cambridge MASS: MIT Press.

JACKENDOFF R. (1987). Consciousness and the computational mind. Cambridge MASS: MIT Press.

JACKSON J.H. (1871). “On affections of speech from diseases of the brain”. IN Eling P.(org.); Reader in the history of aphasia; Amsterdam: John Benjamins; (1994) .

JAKOBSON R. (1954). “Dois aspectos da linguagem e dois tipos de afasia”. IN Lingüística e Comunicação (tradução Blikstein I., Paes J.P.); São Paulo: Cultrix; (1971) .

JAN S. (2000). “Replicating Sonorities: Towards a Memetics of Music”. Journal of Memetics - Evolutionary Models of Information Transmission 04; online http://jom-emit.cfpm.org/2000/vol4/jan_s.html (citado em 13/01/2003).

JANATA P. (1995). “ERP measures assay the degree of expectancy violation of harmonic context in music”. Journal of Cognitive Neuroscience 07:153-164. Apud Besson (1999); Leman (1999a); reviwed IN Weinberger N.(org.) 3(1) (1996).

JEANNEROD M. (1994). “The representing brain: neural correlates of motor intention and imagery”. Behavioral and Brain Sciences 17:187-245 (online http://www.bbsonline.org/documents/a/00/00/05/35/bbs00000535-00/bbs.jeannerod.html (citado em 09/12/2002).

JOHNSON M. (1987). The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: Chicago University Press. Apud Aksnes (s.d.); DeWitts (s.d.b); Varela (1996); Zbikowski (1998).

JOHNSON-LAIRD P.N. (1988). The computer and the mind. Cambridge MASS: Harvard University Press. Apud Searle (1993).

JONES M.R. (1990). “Musical events and models of musical time”. IN Block R.(org.); Cognitive Models of Time; Hillsdale NJ: Erlbaum; pp 207-240. Apud Raffman (1993); Cross (1997).

JORDAN M.I. (1986). “Serial order: a parallel distribuited processing approach”. Institute for Cognitive Science Report 8604, San Diego: University of California. Apud Dolson (1989); Todd (1991); Elman (1990).

JUSLIN N.P. (1995). “A Functionalistic perspective on Emotional Communication in Music”. ESCOM Newsletter 08; online http://musicweb.hmt-hannover.de/escom/english/Newsletter/Nl8e/JuslinE.htm (citado em 24/01/2003.)

KARMILOFF-SMITH A. (1992). Beyond modularity. Cambridge MASS: MIT Press. Apud Cross (1999a); Albano (1990); Pereira e Castro (2000).

KARMILOFF-SMITH A. (1999). “Modularity of mind”. In Heil F., Wilson R.(orgs.); The MIT Encyclopedia of Cognitive Sciences; Cambridge, MA: MIT Press; online http://cognet.mit.edu/MITECS/Entry/karmiloff-smith.html (citado em 24/01/2003).

KATZ J.J., FODOR J.A. (1964). “The structure of a semantic theory”. Language 39; also IN Katz, Fodor (orgs.); The structure of language; Prentice Hall. Apud Slawson (1991); Pereira de Castro (2000); Eco (1974); Albano (1986).

KAYE L.J. (1998). “Language of Though”. IN Marraffa M., Nani M.; A field Guide to Phylosophy of mind; (2002) ; online http://host.uniroma3.it/progetti/kant/field/lot.html (citado em 09/12/2002).

KENT R.D., TJADEN K. (1997). “Brain Functions underlying speech”. IN Hardcastle W.J., Laver J.(orgs.); The Handbook Of Phonetic Sciences; Oxford: Blackwell.

KIMURA D. (1964). “Left-right differences in the perception of melodies”. Quaterly Journal Of Experimental Psychology 16:355-358. Apud Botez (1987); Henson (1985); Poeck (1985); Nepomuceno (1983); Peretz, Moraes (1980); Samson (1999); Ostrosky-Solís, Ardilla (1986).

KIPPEN J. (1989). “Computers, Fieldwork, And The Analysis Of Cultural Systems”. Bulletin of Information on Computing and Anthropology 07: online http://lucy.ukc.ac.uk/bicaweb/b7/bica7_toc.html (citado em 13/01/2003).

KIPPEN J. (1992). “Music and the computer: some anthropological considerations”. Interface ; Journal Of New Music Research 21:257-262.

KIPPEN J., BEL B. (1994). “Computers, Composition and the Challenge of 'New Music' in Modern India”. Leonardo Music Journal 04:79-84.

KOFFKA. (1935). Princípios de Psicologia da Gestalt. São Paulo: Cultrix; (1975) .

KÖHLER W. (1929). Gestalt Psychology. New York: Liveright. Apud Lerdahl, Jackendoff (1981); Tenney, Polansky (1980); Leman (1999a).

KOHONEN T. (1984). Self-organization and associative memory. Berlim: Springer Verlag. Apud Rohde, Plaut (1999); Parncutt (1998); Dolson (1989); Gjerdingen (1989); Leman (1989); Parncutt (1998).

KOHONEN T. (1989). “A self-learning musical grammar, or ‘Associative memory of the second kind’”. Proceedings of the International Joint Conference on Neural Networks; New York: IEEE; pp 1-5. Apud Hörnel, et all (s.d.); Griffith (s.d.); reviewed IN Todd (1989b).

KOOKER M. (2001). “Psychoneuroimmunology: An Overview”. Wellness Support Programme Home Page; Documento online http://www.wellness.org.za/html/pni.html (citado em 09/12/2002).

KOSSLYN S.M., ALPERT N.M., THOMPSON W.L., MALJKOVIC V, WEISW S.B., CHABRIS C.E., HAMILTON S.E., RAUCH S.L., BUONANNO F.S. (1993). “Visual mental imagery activates topographically organized visual cortex: PET investigations”. Journal of Cognitive Neurosciences 05:263-287. Apud Halpern, Zatorre (1999).

KÖVECSES Z. (1990). Emotion concepts. New York: Springer-Verlag. Apud Zbikowski (1998).

KRAEHENBUEHL D., COONS E. (1959). “Information as a measure of the experience of music”. Journal of Aesthetics & Art Criticism 17:510-522. Apud Huron (2002).

KRAUSE C.M. (1999). “Event-Related desynchronization (ERD) and Synchronization (ERS) During Auditory Information Processing”. Journal of New Music Research 28(3):257-265.

KRISTEVA J. (1980). Desire in language. New York: Columbia University Press. Apud Choi (1996).

KRISTEVA J. (1984). Revolution in poetic language. New York: Columbia University Press. Apud Choi (1996).

KRUMHANSL C.L. (1990). Cognitive foundations of musical pitch. Oxford: Oxford University Press. Apud Leman (1999a); Repp (1991); Blood, Zatorre, Evans, Bermudez (1999); Cross (1999b); Cross (1997); Huron (2002).

KRUMHANSL C.L. (1995). “Music Psychology and music theory: problems and prospects”. Music Theory Spectrum 17(1):53-80; also IN Nord.

KRUMHANSL C.L., TOIVANEN P., EEROLA T., TOIVIAINEN P., JARVINEN T., LOUHIVUORI J. (2000). “Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks”. Cognition 76(1):13-58; online http://www.elsevier.com/locate/cognit (citado em 24/01/2003).

KUNST JOS. (1978). Making sense of music. Ghent BEL: Communication & Cognition; online http://www.joskunst.net/proefschrift/ (citado em 24/01/2003). Apud Reybrouck (1989); Laske (1980); Laske (1991); Leman (1985).

LACLAU E., MOUFFE C. (1985). Hegemony and socialist strategy. Londres: Verso. Apud Hirshkop (s.d.); Montgomery (s.d.)

LADEN B., KEEFE B.H. (1989). “The representation of pitch in a neural net model of pitch classification”. Computer Music Journal 13(4):12-26; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 64-78.

LAHUD M. (1977). “Alguns mistérios da lingüística”. Almanaque - Cadernos De Literatura E Ensaio 05:28-37. Apud Pereira de Castro (2000).

LAKOFF G. (1971). “Semântica gerativa (tradução: Fiad R.)”. IN Steiberg D.D., Jacobovits (orgs.); Semantics - na interdisciplinary reader in philosophy, linguistics and psychology; Cambridge UK: Cambridge University Press; pp 232-296; also IN Dascal M.(org.); Fundamentos metodológicos da Lingüística Vol 1 - Concepções gerais da Teoria Lingüística; São Paulo: Global; (1978).

LAKOFF G. (1997). ”Les universaux de la pensée métaphorique: variations dans l´expression linguistique”. IN Fuchs C., Robert S.(orgs.); Diversité des langues et représentations cognitives; Paris: Ophyrs; pp 165-181.

LAKOFF G., JOHNSON M. (1980). Metaphors we live by. Chicago: Chicago University Press. Apud Oliveira (2000); Lakoff (1997); Zbikowski (1998).

LAKOFF G., JOHNSON M. (1999). Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. Basic Books. Apud Marr (2000).

LANE R.D., KIVLEY L.S., DU BOIS M.A., SHAMASUNDARA P., SCHWARTZ G.E. (1995). “Levels of emotional awareness and the degree of right hemispheric dominance in the perception of facial emotion”. Neuropsychologia 33:25-38. Apud Blood, Zatorre, Bermudez, Evans (1999).

LANGER S. (1953). Feeling and Form: a theory of art developed from Phylosophy in a New Key. Londres: Routledge & Kegan.

LASKE O. (1977). Music, memory and Thought. University Microfilms International. Apud Leman (1985); Reybrouck (1989); Seifert (1992); Laske (1991); Leman (1999b).

LASKE O. (1980). “Towards an explicit and formal theory of listening”. Computer Music Journal 04(2):73-86.

LASKE O. (1991). “Toward an epistemology of composition”. Interface ; Journal Of New Music Research 20:235-269.

LASS R. (1983). English phonology and phonological theory: synchronic and diachronic studies. Cambridge UK: Cambridge University Press.

LAUGHLIN C.D. (s.d.). “Phenomenological Anthropology”. Documento online http://www.carleton.ca/~claughli/phenanth.htm (citado em 09/12/2002).

LEBRUN Y. (1983). Tratado da afasia. São Paulo: Paramed Editorial. Apud Coudry (1988).

LEMAN M. (1985). “Dynamical-Hierarchical Networks as Perceptual Memory Representations of Music”. Interface ; Journal Of New Music Research 14(3,4):125-164.

LEMAN M. (1989). “Simbolic ande Subsimbolic Information processing in models of musical communication and cognition”. Interface ; Journal Of New Music Research 18:148.

LEMAN M. (1995). Music and schema theory: cognitive foundations of sistematic musicology. Berlim: Springer Verlag. Apud Griffith (s.d.); Leman (1999a); Reviwed IN Parncutt (1998); Petroni (1996); Leman (1999b).

LEMAN M. (1999a). ”Relevance of Neuromusicology for Music Research”. Journal of New Music Research 28(3).

LEMAN M. (1999b). “Naturalistic approaches to musical semiotics and the study of causal musical signification”. IN Zannos I.(org.); Music and Signs - Semiotic and Cognitive Studies in Music; Bratislava: ASCO Art and Science; pp 11-38; (online: http://www.ipem.rug.ac.be/staff/marc/marc.html ; citado em 09/12/2002).

LEMAN M.(ORG.). (1997). Music, Gestalt, and computing - studies in cognitive and systematic musicology. Berlin: Springer-Verlag. Apud Leman (1999b).

LEMOS C.T.G. (1982a). “Sobre a aquisição da linguagem e seu dilema (pecado) original”. ABRALIN - Boletim da Associação Brasileira de Lingüística (Faculdade de Filosofia, Ciências e Letras - USP) 03:97-126.

LEMOS C.T.G. (1992b). “Los processos metafóricos y metonímicos como mecanismos de cambio”. Substratum 1(1):121-186.

LEMOS C.T.G. (1995). “Processos metafóricos e metonímicos: seu estatuto descritivo e explicativo na aquisição da língua materna”. Texto apresentado em The Trento Lectures and Workshop on Metaphor and Analogy; 18pp - documento para publicação.

LERDAHL F. (1989). “Atonal prolongational structure”. Contemporary Music Review 04:65-87. Apud Cross (1999b).

LERDAHL F., JACKENDOFF R. (1981). “Generative Music theory and its relation to psychology”. Journal of Music Theory 25:45-90.

LERDAHL F., JACKENDOFF R. (1983a). A Generative Theory of Tonal Music. Cambridge MASS: MIT Press. Apud Besson (1999); Clynes (1986); Cross (1998a); Gasser, Port, Eck (1997); Hörnel, et all (s.d.); Huron (s.d.b); Laske (1991); Leman (1985); Lerdahl, Jackendoff (1983b); Raffman (1993); Reybrouck (1989); Scarborough, Miller, Jones (1989); Seifert (1992); Yako (1997); Leman (1999b); Cross (1999b).

LERDAHL F., JACKENDOFF R. (1983b). “A grammar parallel between music and language”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 083-102.

LERDAHL F., JACKENDOFF R. (1983c). “An overview of hierarchical structure in music”. Music Perception 02; also IN Schwanauer S.M., Levitt D.A.(orgs.); Machine models of music; Cambridge MASS: MIT Press; (1993) .

LEUTWYLER K. (2001). “Exploring the Musical Brain”. Scientific American - Explore: 22 de janeiro; online http://www.sciam.com/print_version.cfm?articleID=0006255F-8BAA-1C75-9B81809EC588EF21 (citado em 24/01/2003).

LEVITIN D.J. (1999a). “Memory for Musical Attributes”. IN Cook P.R.(Org.); Music, Cognition and Computerized Sound : An Introduction to Psychoacoustics; Cambridge MASS: MIT Press; (online http://ww2.mcgill.ca/psychology/levitin/ ; citado em 15/01/2003).

LEVITIN D.J. (1999b). “Absolute pitch: self-reference and human memory”. International Journal of Computing Anticipatory Systems. Reviwed IN MuSICA - Music & Science Information Computer Archive 06(3); online http://www.musica.uci.edu/index.html (citado em 13/01/2003).

LIBERMAN A.M., MATTINGLY I.G. (1985). “The motor theory of perception and speech revisited.”. Cognition 21:01-36. Apud Jeannerod (1994); Albano (1986).

LIBERMAN M., PRINCE A. (1977). “On Stress and Linguistic Rhythm”. Linguistic Inquiry 08:249-336.

LIBET B. (1985). “Unconscious cerebral initiative and the role of conscious will in voluntary action”. Behavioral and Brain Sciences 8:529-566. Apud Varela (1996).

LIDOV D. (1987). “Mind and body in music”. Semiotica 66(1,3):69-97.

LIEBERMAN P., HARRIS K.S., WOLFF P., RUSSELL L.H. (1972). “Newborn infant cry and nonhumane-primate vocalizations”. IN Lieberman P.(org.); The speech of primates; The Hague: Mouton; also IN Journal of Acoustic Society of América 365(a).

LINGRAM P. (2001). “Subject: Re: Codes, Formalists, Bakhtin and suchlike”. Dmitri Shostakovich and other Russian Composers Discussion List DSCH-L@LISTSERV.UH.EDU (3/03/2001 12:02 pm); online http://listserv.uh.edu/archives/dsch-l.html (citado em 23/01/2003).

LOCK A. (s.d.). “Against cognitivism: the discursive construction of cognitive mechanisms”. documento online http://www.massey.ac.nz/~alock/virtual/welcome.htm (citado em 05/01/2003).

LONGUET-HIGGINS H.C. (1978). “The perception of music”. Interdisciplinary Science Reviews 03:148-156. Apud Marsden, Popple (1989).

LONGUET-HIGGINS H.C. (1983). ”All in theory - the analysis of music: review of Lerdahl, Jackendoff; A generative theory of tonal music; Mit Press 1983. Nature 304:93. Apud Seifert (1992).

LONGUET-HIGGINS H.C. (1987). “The perception of melodies”. IN Schwanauer S.M., Levitt D.A.(orgs.); Machine models of music; Cambridge MASS: MIT Press; (1993) .

LOY D.G. (1989). “Prefaces to the First and Second Special Issues on Parallel Distribuited Processing and Neural Networks”. Computer Music Journal 13(3):24-27; Computer Music Journal 13(4):10-11.

LURIA A.R. (1976). Basic problems of Neurolinguistics. New York: Mouton. Apud Coudry, Morato, Possenti (1992); Morato (1996); Morato (2000a).

LURIA A.R. (1981). Fundamentos da Neuropsicologia. São Paulo: Livros Técnicos e Científicos Editora / USP.

LYBARGER L. (2000). “On Musicians' Speech About Music: Musico-Linguistic Discourse of Tabla Players”. Discourses in Music 2(2); online http://discourses.ca/v2n2a1.html (citado em 09/12/2002).

LYNCH J. (s.d.). “Structuralism”. IN The Guide to Literary Terms; online http://dept.english.upenn.edu/~jlynch/Terms/Temp/structuralism.html (citado em 09/12/2002).

MAIA JR A., VALLE R., MANZOLLI J. (1998). “Estruturas Matemáticas como Ferramenta Algorítmica para Composição”. XI Encontro Anual da Associação Nacional de Pesquisa e Pós-Graduação em Música (ANPPOM), Campinas: UNICAMP; (online http://www.nics.unicamp.br/first.htm ; citado em 13/01/2003).

MAINGUENEAU D. (1984). Gênese do discurso (tradução Possenti S.). Bruxelles: Pierre Mardaga.

MAINGUENEAU D. (1989). Novas Tendências em Análise do Discurso. Campinas: Pontes. Apud Coudry, Morato (1992); Morato (1996); Morato (1997a); Mussalim (2000).

MANZOLLI A., MAIA JR A. (1995). “Interactive composition using markov chain and boundary functions”. NICS Home Page; documento online (abstract) http://www.nics.unicamp.br/first.htm (citado em 13/01/2003).

MANZOLLI J. (1995). “Auto-organização: um paradigma Composicional”. Anais do VIII Encontro Anual da Associação Nacional de Pesquisa e Pos-graduação em Música, João Pessoa PB; (online http://www.nics.unicamp.br/first.htm (citado em 13/01/2003); also IN Debrun M., Gonzales M.E.Q., Pessoa Júnior O.; Auto-organização: Estudos Interdisciplinares; Coleção CLE 18, Campinas; pp 417-435.

MANZOLLI J. (2001b). “Apresentação - A Noção de Contexto Musical no Projeto Roboser”. Colóquios Michel Debrun; Marília: Faculdade de Filosofia - UNESP.

MANZOLLI J.(RESP.). (2001a). “NICS - projetos”. NICS Home Page; documento online http://www.nics.unicamp.br/first.htm (citado em 13/01/2003).

MARABLE K. (1995). “Fodor and Pylyshyn Refuted: Compositionality, Systematicty, and the Power of Distributed Representation”. Tese (bachelor); The Michigan University; online http://www.msu.edu/user/marablek/fp.htm (citado em 24/01/2003).

MARR J. (2000). “Flow, Intrinsic Motivation, and 2nd Generation Cognitive Science”. Athletic Insight: The Online Journal Of Sport Psychology; online http://www.athleticinsight.com/Vol2Iss3/Commentary_2.htm (citado em 09/12/2002).

MARSDEN A. (1998). Book review: Balaban M., Ebcioglu K., Laske O.(orgs.); Understanding Music with AI: perspectives on Music Cognition; Cambridge MASS: Mit Press. Journal of New Music Research 27(4):411-415.

MARSDEN A., POPLE A. (1989). “Towards a Connected Distributed Model of Musical Listening”. Interface ; Journal Of New Music Research 18:061-072.

MARTIN H. (1977). “Modes of analytical discourse”. Perspectives of New Music 15(2). Apud Brown, Dempster (1989).

MARTIN J.G. (1972). “Rhythmic (Hierarchical) versus Serial structure in Speech and Other Behavior”. Psychological Review 079:487-509.

MARTINEZ J.L. (1998). “A Semiotic Theory Of Music: According To A Peircean Rationale”. The Sixth International Conference on Musical Signification; Aix-en-Provence (online http://www.pucsp.br/~cos-puc/rism/jlm6ICMS.htm ; citado em 09/12/2002).

MARX K., ENGELS F. (1965). A ideologia alemã (tradução Dutra W., Fernandes F.). Rio de Janeiro: Zahar. Apud Althusser (1970); Brandão (1996).

MATTE A.C. (2001). “Ler/escrever ritmos: a análise psicolingüística de uma experiência com crianças”. Revista da ABEM - Associação Brasileira de Educação Musical 6:07-16.

MAYER J. (1997). “Bibliography: Clinical Linguistics/Neurolinguistics”. Internet http://www.ims.uni-stuttgart.de/phonetik/joerg/sgtutorial/literatur.html .

MCADAMS S. (1983). “Spectral Fusion And The Creation Of Auditory Images”. IN Clynes M.(ed.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 279-296.

MCCAWLEY J. (1986). “Today the world, tomorrow phonology”. Phonology Yearbook 03: 27-43.

MCCULLOCH W. (1948). “Why the mind is in the head”. Proceedings to the Hixon Symposium; Also IN McCulloch W.; Embodiments of Mind; Cambridge MASS: MIT Press; (1965) . Apud Dupuy (1996).

MCNALLY O. (s.d.a). “Current Research in Phenomenology”. Documento online http://ccwf.cc.utexas.edu/~ifrr425/currentnp.html (citado em 09/12/2002).

MEDLER D.A. (1998). “A brief history of Connectionism”. Neural Computing Surveys; online http://www.soe.ucsc.edu/NCS/vol1.html (citado em 09/12/2002).

MELTZOFF A.N., MOORE M.K. (1999). “Resolving the Debate about Early Imitation”. IN Slater A., Muir D.(Orgs.); Reader in Developmental Psychology; Oxford: Blackwell; pp 151-155.

MERLEAU-PONTY M. (1942). “Introduction: The problem of the relations of consciousness and nature”. IN The Strucutre of Behaviour; online http://www.marxists.org/reference/subject/philosophy/works/fr/merleaup.htm (citado em 09/12/2002).

MERLEAU-PONTY M. (1945). La Phénoménologie de la Perception. Paris: Gallimard; also IN Londres: Routledge and Kegan Paul; (1962) . Apud Varela (1996); Braddock (s.d.); Mingers (2001).

MERRIAM A. (1990). “African Music Rhythm and Concepts of Time-reckoning”. IN Kaufman K.(org.); Ethnomusicological Theory and Method; The Garland Library of Readings in Ethnomusicology Vol 2, New York NY: Garland Publishing; pp 293-311. Apud DeWitts (s.d.a).

MERSENNE M. (1636). “Traitez de la voix et des chants”. IN Harmonie universelle; Paris: Editions du Centre Nationel de la Recherche Scientifique; (1963) . Apud Thomas (1995).

MEYER J. (2001). “Strucutralism”. IN Murphy M.D.(org.); Anthropological Theories: A Guide Prepared By Students For Students; online http://www.as.ua.edu/ant/Faculty/murphy/struct.htm (citado em 09/12/2002).

MEYER L.B. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press. Apud Bharucha, Todd (1989); Clynes (1986); Gjerdingen (1989); Huron (s.d.a); Huron (s.d.b); Juslin (1995); Nepomuceno (1983); Parncutt (1998); Pribam (1983); Raffman (1993); Yako (1996); Béhague (1995); Aksnes (s.d.).

MIGUENS S. (s.d.). “Dennet e a IA”. Documento online http://www.cfh.ufsc.br/~wfil/dennett3.htm (citado em 09/12/2002).

MILLER G.A. (1981). ”Trends and debates in cognitive psychology”. Cognition 10:215-225. Apud Seifert (1992).

MILNER B. (1962). “Laterality effects in audition”. IN Mountcastle V.B.(org.); Interhemispheric relations and cerebral dominance; Baltmore: John Hopkins Press; pp 177. Apud Poeck (1985); Ostrosky-Solís, Ardilla (1986); Peretz, Morais (1980); Penhune, Zatorre, Evans (1998); Samson (1999); Popper, Eccles (1980); Henson (1985); Botez (1987).

MINGERS J. (2001). “Embodying information systems: the contribution of phenomenology”. Information and Organization 11(2):103-128; online http://www.elsevier.com/inca/publications/store/6/2/1/4/2/3/index.htt (citado em 09/12/2002).

MINSKY M. (1983). “Music, mind and meaning”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 001-019.

MINSKY M. (1986). The society of mind. New York: Simon and Schuster. Apud Smoliar (1992).

MINSKY M. (1990). “Logical vs Analogical or Symbolic vs Connectionist or Neat vs Scruffy”. IN Winston P.H.(org.); Artificial Intelligence at MIT: Expanding Frontiers; Cambridge MASS: MIT Press; Also in AI Magazine, 1991.

MINSKY M., PAPERT S.A. (1969). Perceptrons. Cambridge MASS: MIT Press. Apud Medler (1998); Dupuy (1996).

MIRANDA E.R. (1993). “Cellular automata music: an interdisciplinary project”. Interface ; Journal Of New Music Research 22(1):03-21.

MIRANDA E.R. (2000). “Sobre as origens e a evolução da música”. Revista Eletrônica de Musicologia 05(2); online http://www.cce.ufpr.br/~rem/rem.html (citado em 16/05/2001).

MOISALA P. (1993). “Cognitive Study of Music as Culture - Basic Premises for 'Cognitive Ethnomusicology'”. IN Laaksamo J., Louhivuori J.(orgs.); Proceedings of the First Internationsl Conference on Cognitive Musicology; Finlândia: University Jyväskylä; pp 186-198; also IN Journal of New Music Research 24:008-020; (1995) .

MOLAVI D.W. (1997). “Auditory and vestibular pathways”. The WUSM Neuroscience Tutorial; online http://thalamus.wustl.edu/course/ (citado em 15/01/2003).

MONTGOMERY M. (s.d.). “Ideology, Discourse, and Cultural Studies: The Contribution of Michel Pêcheux”. Canadian Journal of Communication 17(2); online http://www.cjc-online.ca/~cjc/BackIssues/17.2/montgome.html (citado em 24/01/2003).

MOONEY K. (1996). “The Table of Relations and Music Psychology in Hugo Riemann's Harmonic Theory”. Music Theory online 2(1); online (abstract) http://boethius.music.ucsb.edu/mto/issues/mto.96.2.1/mto.96.2.1.dis (citado em 24/01/2003).

MORAES M.R. (1991). Por uma teoria do ritmo : o caso da metáfora musical em lingüística. Tese (Doutorado); Campinas: Instituto de Estudos da Linguagem, Universidade Estadual de Campinas.

MORAES M.R.S. (1999). Materna / estrangeira: o que Freud fez da língua. Tese (doutorado); Campinas: Instituto de Estudos da Linguagem, Universidade Estadual de Campinas.

MORATO E.M. (1995). Um estudo da confabulação no contexto neuropsicológico: o discurso a deriva ou as sem-razões do discurso. Tese (Doutorado); Campinas: Instituto de Estudos da Linguagem, Universidade Estadual de Campinas.

MORATO E.M. (1996). Linguagem e cognição : as reflexões de L.S Vygotsky sobre a ação reguladora da linguagem. São Paulo: Plexus.

MORATO E.M. (1997). “Discurso e Neurolingüística: problemas e perspectivas”. Cadernos da Faculdade de Filosofia Ciências e Letras de Marília 06(2):115-129.

MORATO E.M. (1998). “A contribuição de Vygotsky para a pesquisa hoje: As relações entre Linguagem e Cognição e sua repercussão para a pesquisa lingüística”. Mesa redonda: Centenário de nascimento de Piaget, Freinet, Vygotsky e Jakobson; FE/UNICAMP; pp 77-94.

MORATO E.M. (1999). “Afasia e heterogeneidade discursiva”. IN Cabral L.G., Morais J.; Investigando a linguagem; Florianópolis: Editora Mulheres; pp 287-296.

MORATO E.M. (2000a). “Neurolingüística”. IN Mussalim F, Bentes A.C.(orgs.); Introdução à Lingüística: domínios e fronteira Vol 2; São Paulo: Cortez.

MORATO E.M. (2000b). “As afasias entre o normal e o patológico: da questão (neuro)lingüística à questão social”. IN Direito à fala: a questão do preconceito lingüístico; Florianópolis: Insular.

MORATO E.M. (2001). “Comentários”. Mensagem online: ;edwigesmorato(at)hotmail.com> para marcelosfmello(at)yahoo.com.br ;mailto:marcelosfmello(at)yahoo.com.br ; 31/12/2001 15:14:05.

MORATO E.M., COUDRY M.I.H. (1991). “Processos enunciativo-discursivos e patologia da linguagem: algumas questões lingüístico-cognitivas”. Cadernos CEDAE 24:67-78.

MORATO E.M., FREITAS M.S. (1993). “Algumas questões sobre prosódia no contexto neurolingüístico”. Cadernos de Estudos Lingüísticos (IEL - UNICAMP) 25:161-173.

MORATO E.M., NOVAES-PINTO R.C. (1997). “A relação entre neologismo e jargonafasia: implicações neurolinguísticas”. Anais do II Celsul.

MUSSALIM F. (2000). “Análise do Discurso”. IN Mussalim F., Bentes A.C.(eds.); Introdução à Lingüística: domínios e fronteira Vol 2; São Paulo: Cortez.

NÄÄTÄNEN R. (1992). Attention and brain function. Hillsdale NJ: Lawrence Erlbaum Associates. Apud Deahene-Lambertz (1999).

NANTAIS K.M., SCHELLENBERG E.G. (1999). “The Mozart effect: An artifact of preference”. Psychological Science 10; (online http://www.uvm.edu/~dhowell/lies4thedition/Classfolder/MozartEffect/Nantais.html/ ; citado em 24/01/2003).

NARMOUR E. (1977). Beyond Schenkerianism. Chicago: University of Chicago Press. Apud Brown, Dempster (1989); Laske (1980).

NARMOUR E. (1990). The analysis and cognition of basic melodic structures: the implication - realization model. Chicago: University of Chicago Press. Apud Cross (1999b); Reviewed IN Smoliar (1991); Roedrer (1993).

NARMOUR E. (1991). “The melodic structures of music and speech: applications and dimensions of the implication-realization model”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

NATTIEZ J-J. (1975). Fondements d'une semiologie de la musique. Paris: Union Générale d'Editions. Apud Leman (1999b); Hatten (1992).

NATTIEZ J-J. (1990). Music and Discourse: Toward a Semiology of Music. Princeton NJ: Princeton University Press. Apud DeWiits (s.d.a); Sekeff (1996); Leman (1999b); Lidov (1987); Piana (2001); Lybarger (2000); reviewed in Hatten (1992).

NEHER A. (1961). “Auditory driving observed with scalp electrodes in normal subjects”. Electroencephalography and Clinical Neurophysiology 13:449-451. Apud Becker (1994); Rouget (1985).

NEHER A. (1962). “A physiological explanation of unusual behavior in ceremonies involving drums”. Human Biology 34:151-160. Apud Becker (1994); Rouget (1985).

NEPOMUCENO L.A. (1983). Considerações neurolingüísticas e processamento musical. Dissertação (mestrado); Campinas: PUCCamp.

NOGUCHI M.S. (1997). “A linguagem na doença de Alzheimer: considerações sobre a função cognitiva da linguagem”. Cadernos de Estudos Lingüísticos 32:095-107.

NOVAES-PINTO R.C. (1997). “Agramatismo e processamento normal da linguagem”. Cadernos de Estudos Lingüísticos 32:75-88.

OKRENT M. (1996). “Why the mind isn't a program (But some digital computer might have a mind)”. The Electronic Journal of Analytic Philosophy 4; online http://www.phil.indiana.edu/ejap/1996.spring/vangelder.1996.spring.abs.html (citado em 13/01/2003). Apud Gallagher (1997).

OLIVEIRA A.M.S. (2001). Movimento de sentido: questões de linguagem na introdução de atividades teatrais no Centro de Convivência de Afásicos/UNICAMP. Dissertação (mestrado); Campinas: Instituto de Artes, Universidade Estadual de Campinas.

OLIVEIRA J.M., AMARAL J.R. (2001). “O Pensamento Abstrato”. Cérebro e Mente 12; online http://www.epub.org.br/cm/n12/opiniao/pensamento.html (citado em 24/01/2003).

OLIVEIRA R.P. (2000). “Semântica”. IN MUSSALIM F., Bentes A.C.(eds.); Introdução à Lingüística: domínios e fronteira Vol 2; São Paulo: Cortez.

OLIVEIRA W.C. (1979). Beethoven proprietário de um cérebro. São Paulo: Perspectiva.

OSTERHOUT L.(RESP.). (2001). “Research Archive - Sintax and semantics”. Cognitive Neuroscience and Psycholinguistics Lab; University of Washington: Department of Psychology and Program in Neurobiology and Behavior; online http://faculty.washington.edu/losterho/synsem.htm (citado em 15/01/2003).

OSTROSKY-SOLÍS F., ARDILA A. (1986). Hemisferio derecho y conduta: un enfoque neuropsicológico. México: Trilhas.

PALMER C., KRUMHANSL C. (1990). “Mental representations for musical meter”. Journal of Experimental Psychology 16(4):728-741. Apud Yako (1990).

PAPCUN G.,ET ALL. (1974). “Is the left hemisphere specialized for speech, language or something else?”. Journal of Acoustical Society of America 055:0319-0327. Apud Peretz, Moraes (1980).

PAPE H. (1989). “Artificial intelligence, Leibniz and Peirce: The phenomenological concept of a person”. Études Phenomenologiques V(9/10):113-146.

PAPOUSEK M. (1996). “Intuitive parenting: a hidden source of musical stimulation in infancy”. IN Deliège i., Sloboda j.a.(orgs.); Musical beginnings : origins and development of musical competence; Oxford: Oxford University Press. Apud Cross(1999b); Cross(1998b); Reviwed IN Hallam (1996).

PARNCUTT R. (1989). Harmony: a psychoacoustical approach. Berlim: Springer-Verlag. Apud Cross (1999b); reviewed in Huron (1991).

PARNCUTT R. (1998). “Listening to Music in the real World? A Critical Discussion of Leman M.; (1995); Music and Schema Theory: Cognitive Foundations Of Systematic Musicology”. Journal of New Music Research 27(4):380-408.

PARRET H. (1988). Enunciação e pragmática. Campinas: Editora da UNICAMP.

PARRET H. (1997). A estética da comunicação: além da pragmática. Campinas: Editora da UNICAMP.

PATEL A.D., GIBSON E., RATNER J., BESSON M., HOLCOMB P.J. (1998). “Processing Syntactic Relations in Language and Music: An Event-Related Potential Study”. Journal of Cognitive Neuroscience 10:717-733; online (Abstract) http://www-mitpress.mit.edu/ (citado em 15/01/2003).

PATEL A.D., PERETZ I. (1997). “Is music autonomous to language? A neuropsychological appraisal”. IN Deliège I., Sloboda J.(Orgs.); Perception and cognition of music; Hove UK: Psychology Press; pp 191-215. Apud Steinke, Cuddy, Jakobson (2001).

PAUS T., PERRY D.W., ZATORRE R.J., WORSLEY K.J., EVANS A.C. (1996). “Modulation of cerebral blood flow in the human auditory cortex during speech: role of motor-to-sensory discharges”. European Journal of Neurosciences 8:2236-2246. Apud Blood, Zatorre, Bermudez, Evans (1999).

PÊCHEUX M. (1975). Semântica e discurso: a afirmação do óbvio. Campinas: Editora da UNICAMP; (1988).

PÊCHEUX M. (1983). “A Análise de Discurso: três épocas”. IN Gadet F., Hak T.(eds.); Por uma Análise Automática do Discurso - uma introdução à obra de Michel Pêcheux; Campinas: Editora da Unicamp; (1990) .

PEEL J., SLAWSON W. (1984). Book review: Lerdahl , Jackendoff; A Generative Theory of Tonal Music. Journal of Music Theory 28(2):271-294. Apud Cross (1998a).

PEIRCE C.S. (1974). Collected papers of Charles Sanders Peirce (Hartshorne, Weiss orgs.). Cambridge MASS: Belknap Press. Apud Pyle (1997); Hatten (1989); Sekeff (1996).

PENHUNE V.B., ZATORRE R.J., EVANS A.C. (1998). “Cerebellar Contributions to Motor Timing: A PET Study of Auditory and Visual Rhythm Reproduction”. Journal of Cognitive Neuroscience 10(6):752-765 (online http://www.zlab.mcgill.ca/docs/Penhune_et_al_1998.pdf ; citado em 24/01/2003).

PENROSE R. (1988). “On the physics of mathematics and thought”. IN Herken R.(org.); The universal Turing machine: a half century survey; Hamburgo/Berlim: Kämmerer & Univerzagt; pp 491-521. Apud Seifert (1992).

PEREIRA DE CASTRO M.F. (1997). “A fala do outro e a heterogeneidade da fala da criança”. Letras (UFSM - RS) 14:125-138.

PEREIRA DE CASTRO M.F. (2000). “Argumentação na aquisição de linguagem: interrogando hipóteses cognitivistas”. Painel Error as an empirical challenge to cognitivist approaches to language use; Budapest: 7^th International Pragmatics Conference.

PEREIRA J.A.T.R. (2003). A arte do ator e o ato do afásico. Dissertação (mestrado); Campinas: Faculdade de Educação, Universidade Estadual de Campinas (trabalho em andamento).

PERETZ I. (1990). “Processing of local and global musical information in unilateral brain damaged pacients”. Brain ; a Journal of Neurology 113:1185-1205.

PERETZ I., GAGNON L. (1999). “Dissociation between recognition and emotional judgment for Melodies”. Neurocase 5:21-30.

PERETZ I., GAGNON L., BOUCHARD B. (1998). “Music and emotion: perceptual determinants, immediacy and isolation after brain damage”. Cognition 68:111-141; online http://www.elsevier.com/locate/cognit (citado em 24/01/2003).

PERETZ I., HÉBERT S. (2000). “Toward a Biological Account of Music Experience”. Brain and Cognition 42(1):131-134; online http://www.elsevier.com/locate/issn/02782626 (citado em 24/01/2003).

PERETZ I., MORAES J. (1980). “Modes of processing melodies and ear asymmetry in non-musicians”. Neuropsychologia 18:477-489.

PERRY D.W., ZATORRE R.J., PETRIDES M., ALIVISATOS B., MEYER E., EVANS A.C. (1999). “Localization of cerebral activity during simple singing”. NeuroReport 10:3979-3984 (online http://www.zlab.mcgill.ca/docs/Perry_et_al_1999.pdf ; citado em 24/01/2003).

PETRONI N.C. (1996). Book review: Leman; Music and schema theory: cognitive foundations of sistematic musicology. ESCOM Newsletter 09; online http://musicweb.hmt-hannover.de/escom/english/Newsletter/NL9e/PetroniE.htm (citado em 05/01/2003).

PIAGET J. (1973). Psicologia e epistemologia: Por uma teoria do conhecimento. Rio de Janeiro: Forense; pp 7-16; (online http://www.ufrgs.br/faced/slomp/edu01136/piaget-epistemo.htm ; citado em 24/01/2003).

PIAGET J. (1978). A epistemologia genética: Textos escolhidos. São Paulo: Abril Cultural. Apud Arendt (2000).

PIANA G. (2001). A Filosofia da Música. Bauru: Editora da Universidade do Sagrado Coração.

PINKER S. (1997). How the mind works. Londres: Allen Lane. Apud Cross (1999a); Fodor (1998a); Sperber (2000).

PITTS W., MCCULLOCH. (1947). “How we know universals: the perception of auditory and visual forms“. Bulletin of Mathematical Biophysics 09:127-147. Apud Laden, Keefe (1989).

PLASTINO C.E. (1999). “Relativismo Cognitivo”. IN Enciclopédia de Filosofia da Educação; Universidade de São Paulo (online http://www.cfh.ufsc.br/~wfil/textos.htm ; citado em 05/01/2003).

PLENGER P.M., ET ALL. (1996). “Lateralization of memory for music: evidence from the intracarotid sodium amobarbital procedure”. Neuropsychologia 34(10):1015-1018.

PLUTCHICK R. (1980). Emotion: A Psychoevolutionary synthesis. New York: Harper & Row. Apud Fellous (1995).

POCOCK P.R. (s.d.). “Methodological Solipsism – Fodor. Documento online http://users.cyberone.com.au/access/index.html .

POECK K. (1985). “Temporal lobe syndromes”. IN Frederiks J.A.M.(org.); Handbook of Clinical Neurology Vol 46 - Neurobehavioral Desorders; Amsterdam: Elsevier; pp 07-27.

POLK M., KERTESZ A. (1993). “Music And Language In Degenerative Diseases Of The Brain”. Brain and Cognition 22:98-117.

POPPER K.R. (1974). The poverty of historicism. Londres: Routledge & Kegan Paul. Apud Leman (1999b); Brown, Dempster (1989).

POPPER K.R., ECCLES J.C. (1980). O eu e seu cérebro. Campinas: Papirus.

PORT R., ANDERSON S. (1989). “Recognition of melody fragments in continuously performed music”. Proceedings of the Eleventh Annual Conference of the Cognitive Science Society; Hillsdale, NJ: Erlbaum Associates; pp 820-827. Apud Griffith (s.d.).

PORT R., CUMMINS F., GASSER M. (1996). “A Dynamic Approach to Rhythm in Language: Toward a Temporal Phonology”. IN Luka B., Need B.(orgs.); Proceedings of the Chicago Linguistics Society; Departament of Linguistics, University of Chicago (online http://www.cs.indiana.edu/~gasser/Research/pubs.html ; citado em 24/01/2003).

PORTER R. (1993). “ ‘Expressando sua enfermidade’: a linguagem da doença na Inglaterra georgiana”. IN Burke P., Porter R.(orgs.); Linguagem, Indivíduo e Sociedade; São Paulo: Editora da UNESP. Apud Morato (2000b).

POSSENTI S. (1996). “O dado dado e o dado dado (o dado em Análise do Discurso)”. IN Pereira de Castro M.F.(ed.); O método e o dado no estudo da linguagem; Campinas: Editora da UNICAMP. Apud Figueira (2001); Mussalim (2000).

POSSENTI S. (1996). “Pragmática na Análise do Discurso”. Cadernos de Estudos Lingüísticos (IEL - UNICAMP) 30: pp 071-84.

POTTER J. (1996). “Discourse Analysis and Constructionist Approaches: Theoretical Background”. IN Richardson J.T.E.(org.); Handbook of qualitative research methods for psychology and the social sciences; Leicester: BPS Books; (online http://www.massey.ac.nz/~alock/virtual/welcome.htm ; citado em 05/01/2003).

POTTER J. (1999). “Post-cognitive psychology”. Virtual Faculty; documento online http://www.massey.ac.nz/~alock/virtual/welcome.htm (citado em 05/01/2003).

POVEL D.J., ESSENS P. (1985). “Perception of temporal patterns”. Music Perception 02(4). Apud Yako (1997).

POWERS H. (1980). “Language Models and Musical Analysis”. Ethnomusicology 24(1):01-60. Apud DeWitts (s.d.a); Slawson (1991).

PREMACK D., WOODRUFF G. (1978). “Does the chimpanzee have a theory of mind?”. Behavioral and Brain Sciences 01:516 - 526. Apud Sperber, Hirschfeld (1999).

PRIBAM K. (1983). “Brain Mechanisms In Music: prolegomena for a theory of the meaning of meaning”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 021-036.

PRIBAM K.H., MELGES F.T. (1969). “Psychophysiologica basis of emotion”. IN Vinken P.J., Bruyn G.W.(orgs.); Handbook of clinical neurology; Amsterdam: Noth-Holland Publishing.

PRINCE A. (1983). “Relating to the grid”. Linguistic Inquiry 14:019-100. Apud Giegerich (1985); Hayes (1984).

PYLE C. (1997). Lacan’s theory of language. Documento online http://www.modempool.com/pyle/lacan.html (citado em 05/01/2003); (2001) .

RACETTE A., HÉBERT S., GAGNON L., PERETZ I. (2000). “La mélodie aide-t-elle à récupérer la parole chez l'aphasique adulte?”. 68e Congrès de l’Acfas; online (abstract) http://www.acfas.ca/congres/congres68/C824.htm (citado em 15/01/2003).

RAFFMAN D. (1993). Language, music and mind. Cambridge MASS: MIT Press.

RAHN J. (1979a). “Aspects of musical explanation”. Perspectives of New Music 17:204-224. Apud Brown, Dempster (1989).

RAHN J. (1979b). “Logic, set theory, music theory”. College Music Symposium; pp 114-127. Apud Brown, Dempster (1989).

RAJAGOPALAN K. (1996). “O Austin do qual a Lingüística não tomou conhecimento e a Lingüística com a qual Austin sonhou”. Cadernos de Estudos Lingüísticos (IEL - UNICAMP) 30:105-116.

RAMOGNINO N. (1999). “Linguistique et sociologie, un point de vue méthodologique”. Sociologie et Sociétés 31(1):35-50. Apud Morato (2001).

RAUSHER F., SHAWN G., KY K. (1994). “Music and spacial task performance”. American Psychological Association 102nd Annual Convention, Los Angeles; also IN Nature 365:611; (1993); (online http://www.twinblues.com/data.html ; citado em 24/01/2003).

REPP B.H. (1991). “Some cognitive and perceptual aspects of speech and music”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

RESTLE F. (1970). “Theory of serial pattern learning: structural trees”. Psychological Review 77(6):481-495. Apud Brown, Dempster (1989).

REYBROUCK M. (1989). “Music and the higher functions of the brain”. Interface ; Journal Of New Music Research 18:073-088.

RIBEIRO H.M. (2000). “On the Philosophy of Cognitive Science”. Documento online http://www.bu.edu/wcp/Papers/Cogn/CognRibe.htm (citado em 05/01/2003).

RISCHEL J. (1991). “Invariance in the linguistic expression, with digressions into music”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

ROCKWELL T. (1998). “The Modularity of Dynamic Systems”. Colloquia Manilana 6; (online http://www.california.com/~mcmf/mod.html ; citado em 05/01/2003).

RODRIGUEZ E., GEORGE N., LACHAUX J-P., MARTINERIE J., RENAULT B., VARELA F.J. (1999). “Perception's shadow: long-distance synchronization of human brain activity”. Nature 397(4):430-433; (online http://www.ccr.jussieu.fr/varela/neuronal_integration/articles.html ; citado em 05/01/2003).

ROEDRER J.G. (1993). Book review: Narmour; The analysis and cognition of basic melodic structures: the implication - realization model. In Music Theory Spectrum 15(2).

ROHDE D.L.T., PLAUT D.C. (1999). “Language acquisition in the absence of explicit negativ evidence: how important is starting small?”. Cognition 72:67-109; documento online http://www.elsevier.com/locate/cognit (citado em 24/01/2003).

ROSS E.D., ROBIN D., THOMPSON R.D., YENKOSKY J. (1997). “Lateralization of Affective Prosody in Brain and the Callosal Integration of Hemispheric Language Functions”. Brain and Language 56(1):27-54.

ROUGET G. (1985). Music and trance : a theory of the relations between music and possession. Chicago :The University of Chicago Press.

ROWE R. (1993). Interactive music systems. Cambridge MASS: MIT Press.

RUMELHART D.E., MCCLELLAND J.L.(ORGS.). (1986). Parallel Distributed Processing, Explorations in the Microstructure of Cognition. Cambridge MASS: MIT Press.

SACKS O. (1985). O homem que confundiu sua mulher com um chapéu e outras histórias clínicas. São Paulo: Companhia das Letras.

SAFFRAN J.R., JOHNSON E.K., ASLIN R.N., NEWPORT E.L. (1999). “Statistical learning of tone sequences by human infants and adults”. Cognition 70:27-52. Apud Huron (2002).

SAIWAKI N., KATO K., INOKUCHI S. (1997). “An Approach to Analysis of EEGs Recorded During Music Listening”. Journal of New Music Research 26(3.

SALZER F. (1962). Structural Hearing: tonal coherence in music. New York: Dover.

SAMSON S. (1999). “Musical Function and Temporal Lobe Structures: A Review of Brain Lesion Studies”. Journal of New Music Research 28(3):217-228.

SAMUELS. (1989). “Derrida and Snarrenberg”. In Theory Only 11(1/2).

SANO H., JENKINS K.B. (1989). “A neural network model for pitch perception”. Computer Music Journal 13(3):41-48; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 42-49.

SASLAW J.K. (1996). “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music”. Journal of Music Theory 40(2):217-43. Apud Zbikowski (1998).

SAUSSURE F. (1916). Curso de Lingüística Geral. São Paulo: Cultrix; (1971) .

SCARBOROUGH D.L., MILLER B.O., JONES J.A. (1989). “Connectionist models for tonal analysis”. Computer Music Journal 13(3):49-55; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 54-60.

SCARPA E. (1991). ”Sobre a aquisição da prosódia”. Anais do II Encontro Nacional sobre Aquisição da Linguagem; Porto Alegre: PUCRS; pp 103-116.

SCARPA E. (1999). “Sons preenchedores e guardadores de lugar: relações entre fatos sintáticos e prosódicos na aquisição da linguagem”. IN Scarpa E.(org.); Estudos de Prosodia; Campinas: Editora da Unicamp; pp 253-284.

SCARPA E. (2000). “Aquisição da linguagem”. IN Mussalim F., Bentes A.C.(orgs.); Introdução à Lingüística: domínios e fronteiras Vol 2; São Paulo: Cortez.

SCHAEFFER P. (1966). Traitée des objets musicaux: Essai interdisciplines. Paris: Editions du Seuil. Apud Leman (1999b).

SCHATZ C. (1997). “Mozart and the ‘author function’”. Documento online http://www.lawrence.edu/dept/english/courses/60A/handouts/chrismain.html (citado em 24/01/2003).

SCHATZ C. (1999). Book review: Lerdahl, Jackendoff; A Generative Theory of Tonal Music. Documento online http://userpages.chorus.net/schatz/theorist/lerdahl.html .

SCHURMANN E. (1989). A música como linguagem - uma abordagem histórica. São Paulo: Brasiliense.

SCHWANAUER S.M., LEVITT D.A.(ORGS.). (1993). Machine models of music. Cambridge MASS: MIT Press.

SCRUTON R. (1982). “Introdução ao pensamento de Wittgenstein”. IN Introdução à Filosofia Moderna; Rio de Janeiro: Zahar; pp 268-28 (online http://www.cfh.ufsc.br/~mafkfil/scruton.htm ; citado em 05/01/2003).

SCRUTON R. (1983). “Understanding Music”. Ratio 25(2):106. Apud Zbikowski (1998).

SEARLE J.R. (1969). Os actos da fala: um ensaio de filosofia da linguagem. Coimbra: Almedina; (1981); also IN Cambridge UK: Cambridge University Press. Apud Mingers (2001); Mussalim (2000); Rajagopalan (1996); Albano (1986).

SEARLE J.R. (1980). “Minds, brains, and programs”. Behavioral and Brain Sciences 03:417-424; also IN Rosenthal D.M.(org.); The Nature of Mind; NeW York: Oxford University Press; (1991) . Apud Green (1996); Pocock (s.d.); Harnad (1989); Cross (1993); Searle (1993).

SEARLE J.R. (1987). Mente, Cérebro E Ciência. Lisboa: Fragmentos; also IN Cambridge MASS: Harvard University Press.

SEARLE J.R. (1990). “Is the brain’s mind a computer program?”. Scientific American 262(1):26-31; (online http://cogsci.soton.ac.uk/~harnad/Papers/Py104/searle.comp.html ; citado em 05/01/2003). Apud Mingers (2001).

SEARLE J.R. (1993). “The critique of cognitive reason”. IN Goldman A.I.(org.); Readings in Philosophy and Cognitive Science; Cambridge MASS: MIT Press/Bradford Books.

SEARLE J.R. (1998). O mistério da consciência. São Paulo: Paz e Terra. Apud Farias (1999).

SEARLE J.R. (s.d.). “The problem of consciousness”. Documento online http://cogsci.soton.ac.uk/~harnad/Papers/Py104/searle.prob.html (citado em 05/01/2003).

SEASHORE C. (1938). Psychology of music. New York: Dover; (1967) . Apud DeWitts (s.d.a).

SEEGER C. (1977a). Studies in Musicology (1935)-(1975). Berkeley: University of California Press. Apud DeWitts (s.d.a); Béhague (1995).

SEEGER C. (1977b). “Introduction: Systematic (Synchronic) and Historical (Diachronic) Orientations in Musicology”. IN Studies in Musicology (1935)-(1975); Berkeley CA: University of California Press; pp 01-15.

SEEGER C. (1977c). “Speech, Music, and Speech About Music”. IN Studies in Musicology (1935)-(1975); Berkeley CA: University of California Press; pp 16-30. Apud DeWitts (s.d.a); Béhague (1995).

SEIFERT U. (1992). “Cognitive science: a new research program for musicology”. Interface ; Journal Of New Music Research 21:219-238.

SEKEFF M.L. (1996). Curso e dis-curso do sistema musical (tonal). São Paulo: Anna Breume.

SHALIZI C.R. (2001). “Self-organization”. Documento online http://www.santafe.edu/~shalizi/notebooks.html (citado em 05/01/2003).

SHANNON C.E. (1948). “A mathematical theory of communication”. Bell System Technical Journal 27:379-423, 623-656. Apud Huron (2002).

SHEPARD R.N. (1982). “Geometrical approximations to the structure of musical pitch”. Psychological Review 089:305-333. Apud Hörnel, et all (s.d.); Raffman (1993).

SHEPARD R.N., JORDAN D. (1984). “Auditory illusions demonstrating that tones are assimiled to an internalised musical scale”. Science 226:1333-1334. Apud Raffman (1993).

SHEPHERDSON C. (1995). “History and the Real: Foucault with Lacan” . Postmodern Culture 5(2); online http://www.iath.virginia.edu/pmc/text-only/issue.195/shepherd.195 (citado em 05/01/2003).

SHOTTER J. (1996). “Vico, Wittgenstein, and Bakhtin: ‘Practical trust’ in dialogical communities”. Virtual Faculty; documento online http://www.massey.ac.nz/~alock/virtual/welcome.htm (citado em 05/01/2003).

SHOTTER J. (s.d.). “Instead Of Theory Critique And Debate: Voloshinov's Unending, Dialogically-Structured Participatory Mode Of Inquiry”. Virtual Faculty; documento online http://www.massey.ac.nz/~alock/virtual/welcome.htm (citado em 05/01/2003).

SITNIKOVA T., KUPERBERG G., HOLCOMB P.J. (s.d.). “Semantic integration in videos of real-world events: an electrophysiological investigation”. Documento online http://neurocog.psy.tufts.edu/papers/PDFs/MoviePaperFormat.pdf (citado em 15/02/2003).

SKINNER B.F. (1989). “The Origins of Cognitive Thought”. IN Recent Issues in the Analysis of Behavior; Merrill Publishing Company; (online http://marxists.org/reference/subject/philosophy/works/us/skinner.htm ; citado em 24/01/2003).

SLAWSON W. (1991). “Structure and association in description of music”. IN Sundberg J., Carlson R., Nord L.(orgs.); Music, language, speech and brain - Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990; Londres: MacMillan Publishers.

SLOBODA J.A. (1991). “Music structure and emotional response: Some empirical findings”. Psychology of Music 19(2):110-120. Apud Huron (2002); Blood, Zatorre, Bermudez, Evans (1999).

SLOBODA J.A.(ORG.). (1985). The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press. Apud Dalla Bella, Peretz (1999); Moisala (1995); Raffman (1993); Reybrouck (1989); França (2001).

SMITH L. (S.D.). “References relating to neural networks, music perception and composition”. Documento online http://www.leighsmith.com/Research/research.html (citado em 13/01/2003).

SMOLENSKY P. (1988). “On the proper treatment of connectionism”. Behavioral and Brain Sciences 11. Apud Elman (1990); Raffman (1993); van Gelder (1999).

SMOLIAR S. (1974). “Process structuring and music theory”. Journal of Music Theory; also IN Schwanauer S.M., Levitt D.A.(orgs.); Machine models of music; Cambridge MASS: MIT Press; (1993) .

SMOLIAR S. (1980). “Music programs: an approach to music through computational linguistics”. Journal of Music Theory 20(1).

SMOLIAR S. (1991). Book review: Narmour; The analysis and cognition of basic melodic structures: the implication - realization model. In Theory Only 12(1,2).

SMOLIAR S. (1992). “Elements of a neuronal model of listening to music”. In Theory Only 12(3,4):29-46.

SNARRENBERG. (1987). “The play of différance: Brahms’ Intermezzo op 118 n 2”. In Theory Only 10.

SOSA E. (1997). “The Mythology of the Given”. The History of Philosophy Quarterly 14:275-86 (online http://www.stir.ac.uk/departments/arts/philosophy/cnw/webpapers/sosa2.htm ; citado em 24/01/2003).

SOUZA F.F. (2001). O corpo dança - um estudo das com(tradições) e possibilidades de sujeitos afásicos no CCA/IEL/UNICAMP. Dissertação (mestrado); Campinas: Faculdade de Educação, Universidade Estadual de Campinas.

SPERBER D. (2000). “In Defense Of Massive Modularity”. Documento online http://www.dan.sperber.com/modularity.htm (citado em 24/01/2003).

SPERBER D., HIRSCHFELD L. (1999). “Culture, Cognition, and Evolution”. IN Wilson R., Keil F.(orgs.); MIT Encyclopedia of the Cognitive Sciences; Cambridge MASS.: MIT Press; pp 111-132.

SPERBER D., WILSON D. (1986). Relevance: communication and cognition. Oxford: Blackwell. Apud Pereira de Castro (2000); Cross (1999a); Sperber (2000).

STEINKE W.R., CUDDY L.L., JAKOBSON L.S. (2001). “Dissociations among functional subsystems governing melody recognition after right-hemisphere damage”. Cognitive neuropsychology 18(5):411-437.

STICH S. (1983). From Folk Psychology to Cognitive Science: The Case Against Belief. Cambridge MASS: MIT Press. Apud Kaye (1998); Cross (1998b); Raffman (1993).

STRAVINSKY I. (1956). Poetics of Music. New York: Vintage.

SUGA N. (1995). “Processing of auditory information carried by species-specific complex sounds”. IN Gazzaniga M.S.(org.); The cognitive neurosciences; Cambridge (MASS): MIT Press; pp 295-314.

SUNDBERG J. (1983). “Speech, Song And Emotions: How Different Emotions Manifest Themselves In Speech And In Music?”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 137-147.

SUNDBERG J. (2000). “Four years of research on music and motion”. Journal of New Music Research 29(3):183-185.

SUNDBERG J.(RESP.). (2001). “Publications Relating to Music Performance” (Bibliografia). Documento online http://www.speech.kth.se/music/performance/performance_publications.html (citado em 24/01/2003).

SUNDBERG J., ASKENFELT A., FRYDÉN L. (1983). “Musical performance: A synthesis-by-rule approach”. Computer Music Journal 07:37-43. Apud Sundberg (2001).

SUNDBERG J., LINDBLOM B. (1976). “Generative theories in language and music description”. Cognition 04:99-122; also IN Schwanauer S.M., Levitt D.A.(orgs.); Machine models of music; Cambridge MASS: MIT Press; (1993) .

TAN S. (1999). “A history of neurolinguistic programation”. Documento online http://nlp-platform.com/temp/resources/Introductions/Articles.asp (citado em 24/01/2002).

TARASTI E. (1994). A Theory of Musical Semiotics. Indiana: Indiana University Press. Apud Echard (1995).

TENNEY J., POLANSKY L. (1980). “Temporal Gestalt Perception In Music”. Journal of Music Theory 24:205-241.

TERHARDT E. (1974). “Pitch, consonance, and harmony”. Journal of Acoustical Society of America 055:1061-1069 (online abstract http://www.mmk.e-technik.tu-muenchen.de/persons/ter/ab/022.html ).

TERHARDT E. (1982). “Pitch of Complex signals According to Virtual-Pitch Theory: Tests, Examples, and Predictions”. Journal of Acoustical Society of America 071:671-678 (online abstract http://www.mmk.e-technik.tu-muenchen.de/persons/ter/ab/056.html ; citado em 05/01/2003). Apud Laden, Keefe (1989).

TERHARDT E. (1987). “Gestalt principles and music perception”. IN Yost W.A., Watson C.S.(orgs.); Perception of Complex Auditory Stimuli; Hillsdale NJ: Erlbaum; pp 157-166 (Internet abstract http://www.mmk.e-technik.tu-muenchen.de/persons/ter/ab/076.html ).

TERHARDT E. (2000a). “Virtual pitch”. Documento online http://www.mmk.e-technik.tu-muenchen.de/persons/ter/top/virtualp.html (citado em 05/01/2003).

TERHARDT E. (2000b). “Harmony”. Documento online http://www.mmk.e-technik.tu-muenchen.de/persons/ter/top/harmony.html (citado em 05/01/2003).

TERRA E. (1996). Minigramática. São Paulo: Scipione.

TERVANIEMI M. (1999). “Pre-Attentive Processing of Musical Information in the Human Brain”. Journal of New Music Research 28(3):237-245.

TERVANIEMI M., ILVONEN T., KARMA K., ALHO K., NÄÄTÄNEN R. (1997). “The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects”. Neuroscience Letters 226:01-04.

TERVANIEMI M., VAN ZUIJEN T.L. (1999). “Methodologies of Brain Research in Cognitive Musicology”. Journal of New Music Research 28(3):200-208.

THACH W. (1996). “On the specific role of the cerebellum in motor learning and cognition: Clues from PET activation and lesion studies in man”. Behavioral and Brain Sciences 19:411-431. Apud Penhume, Zatorre, Evans (1998).

THACH W., GOODKIN H., KEATING J. (1992). “The cerebellum and the adaptive coordination of movement”. Annual Review of Neuroscience 15:403-442. Apud Penhume, Zatorre, Evans (1998).

THAGARD P. (1996). “Cognitive Science”. Stanford Encyclopedia of Philosophy; online http://plato.stanford.edu/entries/cognitive-science/ (citado em 05/01/2003).

THOMAS D.A. (1995). Music and the Origins of Language. Cambridge UK: Cambridge University Press.

THURLIN L. (s.d.). “Reader’s Guide in Cognitive Science”. IN Cognitive Science Archive; documento online http://www.helsinki.fi/hum/kognitiotiede/archive.html .

TODD N.P.A., O’BOYLE D.J., LEE C.S. (1999). “A Sensory-Motor Theory of Rhythm, Time Perception and Beat Induction”. Journal of New Music Research 28(1):05-28.

TODD P.M. (1989a). “A connectionist approach to algorithmic composition”. Computer Music Journal 13(4):27-43; also IN Todd P.M., Loy G.; (1990); Music and Connectionism; Cambridge MASS: MIT Press; pp 173-189.

TODD P.M. (1989b). “ Review: Kohonen, A self-learning musical grammar, or 'Associative memory of the second kind'”. Neural Network Review 03:114-116. Apud Griffith (s.d.).

TODD P.M., LOY D.G.(ORGS.). (1990). Music and Connectionism. Cambridge MASS: MIT Press; also IN Computer Music Journal 13(3,4).

TOLBERT E. (1992). “Theories of Meaning and Music Cognition: An Ethnomusicological Approach”. World of Music 34(3):007-021. Apud DeWitts (s.d.a); Moisala (1995).

TOLSTOI L.N. (1950). Sonata a Kreutzer. Pôlnoie sobrâine sotchiniênii. Apud Vygotsky (1999).

TOOP R. (1983). “New music and neuropsychological research: can they meet?”. IN Clynes M.(org.); Music, Mind and Brain: The Neuropsychology of Music; New York: Plenum; pp 388-395.

TREHUB S.E. (1991). “The listening skills of infants and young children”. IN Tighe T.J., Dowling W.J.(orgs.); Psychology and Music: the understanding of Melody and Rhythm; London: Lawrence Erlbaum. Apud Cross (1999a).

TREHUB S.E. (1997). “The origins of music perception and cognition: a developmental perspective”. IN Deliège I., Sloboda J.A.(orgs.); Perception and cognition of music; Hove: Psychology Pres; pp 103-128. Apud Dalla Bella, Peretz, Rousseau, Gosselin (2001).

TREVARTHEN C. (1980). “The foundations of intersubjectivity: development of interpersonal and cooperative understanding in infants”. IN Olson D.(org.); The social foundation of language and thought; New York: Norton. Apud Cross (1999a).

TURING A. (1936). “On Computable Numbers, with an Application to the Entscheidungsproblem”. Proceedings of the London Mathematical Society 42:230-265. Apud Dupuy (1996); Searle (1990); Seifert (1992).

TURING A. (1950). “Computing Machinery and Intelligence”. Mind 59:433-460. Apud Dupuy (1996); Searle (1990); Seifert (1992).

TURNER M., FAUCONNIER G. (1999). “A Mechanism of Creativity”. Poetics Today 20(3): 397-418; also AS “Life on Mars: Language and the Instruments of Invention”; IN Wheeler R.(org.); The Workings of Language; Westport CONN: Praeger; pp 181-200; (online http://www.wam.umd.edu/~mturn/ ; citado em 24/01/2003).

ULRICH W. (1977). “The analysis and synthesis of jazz by computer”. IN Kaufmann W.(org.); Proceedings of the Fifth International Joint Conference on Artificial Intelligence vol 2; Los Altos CA: William. Apud Hörnel (s.d.).

UNYK A.M., TREHUB S.E., TRAINOR L.J., SCHELLEUBERG E.G. (1992). “Lullabies and simplicity: a cross-cultural perspective”. Psychology of Music 20. Apud DeWitts (s.d.b); Weinberger (1995).

VALLACHER R., NOWAK A.(ORGS.). (1993). Dynamical Systems in Social Psychology. New York: Academic Press. Apud van Gelder (1999).

VAN GELDER T.J. (1996). “Wooden iron? Husserlian phenomenology meets cognitive science”. The Electronic Journal of Analytic Philosophy 4; online http://www.phil.indiana.edu/ejap/1996.spring/vangelder.1996.spring.abs.html (citado em 13/01/2003).

VAN GELDER T.J. (1999). “Dynamic approaches to cognition”. IN Wilson R., Keil F.(orgs.); The MIT Encyclopedia of Cognitive Sciences ; Cambridge MASS: MIT Press; pp 244-246; (online http://www.arts.unimelb.edu.au/~tgelder/Publications.html ; citado em 13/01/2003).

VAN GELDER T.J. (2001). “Beyond the mind-body problem”. IN Johnson D., Erneling C.(eds); Mind as a Scientific Object: Between Brain and Culture; New York: Oxford University Press; (online http://www.arts.unimelb.edu.au/~tgelder/Publications.html ; citado em 13/01/2003).

VAN LANCKER D., FROMKIN V. (1973). “Hemispheric specialization for pitch and tone: eviodence from Thai”. Journal of Phonetics 1:101-109. Apud Zatorre (1993).

VANEECHOUTTE M., SKOYLES J.R. (1998). “The memetic origin of language: modern human as musical primates”. Journal of Memetics - Evolutionary Models of Information Transmission 02; online http://jom-emit.cfpm.org/1998/vol2/vaneechoutte_m&skoyles_jr.html (citado em 13/01/2003).

VARELA F.J. (1996). “Neurophenomenology: A methodological remedy for the hard problem”. Journal of Consciousness Studies 3(4):330-349 (online http://www.geocities.com/complexidade/enativa.html ; citado em 13/01/2003).

VARELA F.J., SHEAR J. (s.d.). “First-person Methodologies: What, Why, How?”. Documento online http://www.ccr.jussieu.fr/varela/human_consciousness/JCSCHAP.htm (citado em 13/01/2003).

VAUGHN K. (1992). “Experimental Ethnomusicology: A Perceptual Basis for Jairazbhoy's Circle of that”. World of Music 34(3):099-119.

VELMANS M. (1996). “Goodbye to Reductionism“. In Hameroff S., Kaszniac A., Scott A.(eds); Toward a Science of Consciousness: The Second Tucson Discussions and Debates; Cambridge MASS: MIT Press; pp 45-52; (1998) ; (online http://cogprints.soton.ac.uk/documents/disk0/00/00/02/44/cog00000244-00/velmans7.html ; citado em 13/01/2003).

VYGOTSKY L.S. (1934). Pensamento e linguagem. São Paulo: Martins Fontes; (1987) .

VYGOTSKY L.S. (1978). Mind in Society: The Development of Higher Psychological Processes. Cambridge MASS: Harvard University Press. Apud Murphy (1997); Albano (1986).

VYGOTSKY L.S. (1999). Psicologia da Arte. São Paulo: Martins Fontes; also IN Cambridge MASS: MIT Press; (1978) .

WASSERMAN K.(RESP.). (2001). Roboser web site. Documento online http://www.roboser.com (citado em 24/01/2003).

WEBER M. (1911). Os Fundamentos Racionais e Sociológicos da Música. São Paulo; (1995) . Apud Zampronha (1995).

WEGNER U. (1993). “Cognitive Aspects of amadinda Xylophone Music From Buganda: Inherent Patterns Reconsidered”. Ethnomusicology 37(2):201-241. Apud DeWitts (s.d.a); Leman (1999b).

WEINBERG I.R., VAN WYK C.P. (s.d.). “An Integrative Neurological Model Of Consciousness: the case for quantum-determinism”. Documento online http://www.wellness.org.za/html1/articles/a-conc.html (citado em 13/01/2003)

WEINBERGER N.M. (1998). “Brain, behavior, biology and Music: some research findings and their implications for educational policy”. Arts Education Policy Review 99(3):28-36 (online http://www.encyclopedia.com/html/r1/rhythm-b.asp ; citado em 24/01/2003).

WEINBERGER N.M. (1999). “Music Research at the Turn of the Millenium”. MuSICA 6(3); online http://www.musica.uci.edu/index.html (citado em 13/01/2003).

WEINBERGER N.M. (2000a). “What the brain tell us about music”. MuSICA 7(3); online http://www.musica.uci.edu/index.html (citado em 13/01/2003).

WEINBERGER N.M. (2000b). “Musical brain - special area discovered for reading music scores”. MuSICA - Music & Science Information Computer Archive 07(1); online http://www.musica.uci.edu/index.html (citado em 13/01/2003).

WEINBERGER N.M.(ORG.). (s.d.). MuSICA - Music & Science Information Computer Archive. Documento online http://www.musica.uci.edu/index.html (citado em 13/01/2003).

WERNICKE C. (1874). Der Aphasiche Symptomen-komplex. Breslau POL: Cohen & Weigert. Apud Françozo (1986); Morato (2000a); Morato (1995); Auroux (1994); Coudry (1988).

WERTHEIMER M. (1923). “Laws of Organization in Perceptual Forms”. Translation IN Ellis W.; A source book of Gestalt Psychology; Londres: Routledge & Kegan Paul; pp 71-88; also IN Green D.(org.); Classics in the History of Psychology; online http://psychclassics.asu.edu/Wertheimer/Forms/forms.htm (citado em 13/01/2003).

WIERZBICKA A. (1994). “Emotion, language, and cultural scripts”. In Kitayama S., Markus H.R.(orgs.); Emotion and Culture: Empirical Studies of Mutual Influence; Washington: American Psychological Association; pp 133-196. Apud Bamberg (s.d.); Reviewed in Ashida (2001).

WIERZBICKA A. (1995). “Emotion and facial expression: A semantic perspective”. Culture and Psycholoy 1:227-258. Apud Bamberg (s.d.).

WILDGEN W. (s.d.). “From Lullus to Cognitive Semantics: The Evolution of a Theory of Semantic Fields”. Paidea - Philosophy and Cognitive Science ; online http://www.bu.edu/wcp/Papers/Cogn/CognWild.htm (citado em 13/01/2003).

WINOGRAD T. (1968). “Linguistics and the computer analysis of tonal harmony”. Journal of Music Theory 12(1):02-49; also IN Schwanauer S.M., Levitt D.A.(orgs.); Machine models of music; Cambridge MASS: MIT Press; (1993) .

WITTGENSTEIN L. (1921). Tratado lógico-filosófico. Lisboa: Fundação Calouste Gulbenkian; (1987) . Apud Dias (1998); Carmelo (s.d.); Scruton (1982).

WITTGENSTEIN L. (1953). Investigações filosóficas. Lisboa: Fundação Calouste Gulbenkian; (1987) .

WRIGHT J.J., LILEY D.T.J. (1996). “Dynamics of the brain at global and microscopic scales: Neural networks and the EEG”. Behavioral and Brain Sciences 19. Apud van Gelder (1999).

WUNDT W. (1896). Outlines of Psychology. Chicago: The University of Chicago Press / Thoemmes Press; (1998). Apud Leman (1999a); McNally (s.d.).

YAKO M. (1997). “The Hierarquical Structure Of Time And Meter”. Computer Music Journal 21(1):47-57.

YOUNG J. (1999). “The cognitive value of music”. Journal of Aesthetics and Art Criticism 57(1):42-54.

ZAMPRONHA E. (1995). “Representação Musical como um Processo de Co-determinação”. VIII Encontro Anual da Associação Nacional de Pesquisa e Pós Graduação em Música (ANPPOM), João Pessoa ; online http://www.musica.ufmg.br/anppom/anais/anais8/muscompairel4.htm (citado em 13/01/2003).

ZAMPRONHA E. (s.d.). “Non-Linear Timbers And Perceptual Instability”. Documento online http://www.itaucultural.org.br/invencao/papers/zampronha.htm (citado em 13/01/2003).

ZATORRE R.J. (1988). “Pitch perception of complex tones and human temporal-lobe function”. Journal of Acoustical Society of America 084:566-572. Apud Parncutt (1998); Samson (1999); Weinberger (1994b); Zatorre (1999); Blood, Zatorre, Evans, Bermudez (1999).

ZATORRE R.J. (1993). “On the representation of multiple languages in the brain: old problems and new directions”. Brain And Language 36(1):127-148.

ZATORRE R.J. (1999). “Brain Imaging Studies of Musical Perception and Musical Imagery”. Journal of New Music Research 28(3):229-236.

ZATORRE R.J., EVANS A., MEYER E., HALPERN A., PERRY D. (1996). “Hearing in the mind’s ear: a PET investigation of musical imagery and perception”. Journal of Cognitive Neuroscience 08:29-46. Apud Leman (1999a); Zatorre(1999).

ZAWIDZKI T. (2002). “Fodor, Jerry A.”. IN Dictionary of Philosohy of Mind; online http://ascc.artsci.wustl.edu/~philos/MindDict/fodor.html (citado em 13/01/2003)

ZBIKOWSKI L.M. (1998). “Metaphor and Music Theory: Reflections from Cognitive Science”. Music Theory online 4(1); online http://www.societymusictheory.org/mto/issues/mto.98.4.1/mto.98.4.1.zbikowski.html (citado em 24/01/2003).

ZOPPI FONTANA M.M. (1991). “Signo ideolólgico versus interação comunicativa: o social e o ideológico nas teorias da linguagem”. Cadernos CEDAE 24:44-50.

ZURCHER P. (1996). “The Path of the Ant”. ESCOM Newsletter 09; online http://musicweb.hmt-hannover.de/escom/english/Newsletter/NL9e/ZurcherE.html (citado em 24/01/2003).

MELLO M. (2003). Reflexões sobre Lingüística e  cognição musical. Tese (Mestrado); Campinas: Instituto de Estudos da Linguagem, Universidade Estadual de Campinas.

Este documento está licenciado com uma Licença Creative Commons Atribuição-NãoComercial-CompartilhaIgual 4.0 Internacional. (http://creativecommons.org/licenses/by-nc-sa/4.0/)
Para maiores detalhes, consulte a página sobre o site.

Última modificação desta página html:
03/abril/2020.
https://marcelomelloweb.net/mmreflexoeslinguisticacognicaomusical_bibliografia.htm

Acessos ao site desde janeiro/2022: