Jackendoff, R. and Lerdahl, F. ‘The capacity for music: what is it, and what’s special about it?’, Cognition 100, 33—72 (2006).

Jairazbhoy, N. A. The ragas of North Indian Music: Their Structure and Evolution. Faber & Faber, London, 1971.

Janata, P. ‘Brain electrical activity evoked by mental formation of auditory expectations and images’, Brain Topography 13, 169—93 (2001).

Janata, P., Birk, J. L., Van Horn, J. D., Leman, M., Tillmann, B. and Bharucha, J. J. ‘The cortical topography of tonal structures underlying Western music’, Science 298, 2167—70 (2003).

Jennings, H. D., Ivanov, P. Ch., Martins, A. M., da Silva, P. C. and Viswanathan, G. M. ‘Variance fluctuations in nonstationary time series: a comparative study of music genres’, Physica A 336, 585—94 (2004).

Jones, M. R. and Holleran, S. (eds). Cognitive Bases of Musical Communication. American Psychological Association, Washington, DC, 1992.

Juslin, P. N. and Laukka, P. ‘Communication of emotions in vocal expression and music performance: Different channels, same code?’, Psychological Bulletin 129, 770—814 (2003).

Juslin, P. N. and Laukka, P. ‘Expression, perception, and induction of musical emotions: a review and questionnaire study of everyday listening’, Journal of New Musical Research 33, 217—38 (2004).

Juslin, P. N. and Sloboda, J. A. (eds). Music and Emotion. Oxford University Press, Oxford, 2001.

Juslin, P. N. and Västfjäll, D. ‘Emotional responses to music: the need to consider underlying mechanisms’, Behavioral and Brain Sciences 31, 559—75 (2008).

Karno, M. and Konecni, V. ‘The effects of structural interventions in the first movement of Mozart’s Symphony in G Minor K550 on aesthetic preference’, Music Perception 10, 63—72 (1992).

Kessler, E. J., Hansen, C. and Shepard, R. N. ‘Tonal schemata in the perception of music in Bali and the West’, Music Perception 2, 131—65 (1984).

Kivy, P. Introduction to a Philosophy of Music. Oxford University Press, Oxford, 2002.

Kivy, P. The Corded Shell: Reflections on Musical Expression. Princeton University Press, Princeton, 1980.

Kivy, P. New Essays on Musical Understanding. Oxford University Press, Oxford, 2001.

Koelsch, S. and Mulder, J. ‘Electric brain responses to inappropriate harmonies during listening to expressive music’, Clinical Neurophysiology 113, 862—69 (2002).

Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T. and Friederici, A. D. ‘Music, language and meaning: brain signatures of semantic meaning’, Nature Neuroscience 7, 302—7 (2004).

Koelsch, S. and Siebel, W. A. ‘Towards a neural basis of music perception’, Trends in Cognitive Sciences 9, 578—84 (2005).

Koelsch, S., Gunter, T. C., Wittfoth, M. and Sammler, D. ‘Interaction between syntax processing in language and in music: an ERP study’, Journal of Cognitive Neuroscience 17, 1565—77 (2005).

Koelsch, S., Fritz, T., Yves von Cramon, D., Müller, K. and Friederici, A. D. ‘Investigating emotion with music: an fMRI study’, Human Brain Mapping 27, 239—50 (2006).

Koelsch, S., Kilches, S., Steinbeis, N. and Schelinski, S. ‘Effects of unexpected chords and of performer’s expression on brain responses and electrodermal activity’, PLoS One e2631 (2008).

Koelsch, S., Fritz, T. and Schlaug, G. ‘Amygdala activity can be modulated by unexpected chord functions during music listening’, NeuroReport 19, 1815—19 (2008).

Koopman, C. and Davies, S. ‘Musical meaning in a broader perspective’, Journal of Aesthetics and Art Criticism 59, 261—73 (2001).

Kramer, J. D. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. Schirmer, New York, 1988.

Kramer, L. Musical Meaning: Towards a Critical History. University of California Press, Berkeley, 2002.

Kreutz, G., Bongard, S., Rohrmann, S., Hodapp, V. and Grebe, D. ‘Effects of choir singing and listening on secretory immunoglobulin A, cortisol, and emotional state’, Journal of Behavioral Medicine 27, 623—35 (2004).

Krumhansl, C. L. Cognitive Foundations of Musical Pitch. Oxford University Press, New York, 1990.

Krumhansl, C. L. ‘Music psychology: tonal structures in perception and memory’, Annual Reviews of Psychology 42, 277 (1991).

Krumhansl, C. L. ‘A perceptual analysis of Mozart’s piano sonata, K282: segmentation, tension, and musical ideas’, Music Perception 13, 401—32 (1996).

Krumhansl, C. L. and Keil, F. C. ‘Acquisition of the hierarchy of tonal functions in music’, Memory & Cognition 10, 243—51 (1982).

Krumhansl, C. L. and Kessler, E. J. ‘Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys’, Psychological Review 89, 334—68 (1982).

Krumhansl, C. L. and Lerdahl, F. ‘Modeling tonal tension’, Music Perception 24, 329—66 (2007).

Krumhansl, C. L., Louhivuori, J., Toiviainen, P., Järvinen, T. and Eerola, T. ‘Melodic expectation in Finnish folk hymns: convergence of statistical, behavioral, and computational approaches’, Music Perception 17, 151—97 (1999).

Krumhansl, C. L., Sandell, G. J. and Sergeant, D. C. ‘The perception of tone hierarchies and mirror forms in twelve-tone serial music’, Music Perception 5, 31—78 (1987).

Krumhansl, C. L. and Schmuckler, M. A. ‘The Petroushka chord’, Music Perception 4, 153—84 (1986).

Krumhansl, C. L., Toivanen, P., Eerola, T., Toiviainen, P., Järvinen, T. and Louhivuori, J. ‘Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks’, Cognition 76, 13—58 (2000).

Krumhansl, C. L. ‘An exploratory study of musical emotions and psychophysiology’, Canadian Journal of Experimental Psychology 51, 336—53 (1997).

Langer, S. K. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, 3rd edn. Harvard University Press, Cambridge, Ma., 1957.

Large, E. W. and Palmer, C. ‘Perceiving temporal regularity in music’, Cognitive Science 26, 1—37 (2002)

Lerdahl, F. and Jackendoff, R. A Generative Theory of Tonal Music, 2nd edn. MIT Press, Cambridge, Ma., 1996.

Lerdahl, F. ‘Tonal pitch space’, Music Perception 5, 315—50 (1988).

Lerdahl, F. ‘Cognitive constraints on compositional systems’, in J. Sloboda (ed.) Generative Processes in Music. Oxford University Press, Oxford, 1988.

Lerdahl, F. Tonal Pitch Space. Oxford University Press, New York, 2001.

Lerdahl, F. ‘Calculating tonal tension’, Music Perception 13, 319—63 (1996).

Lerdahl, F. and Krumhansl, C. L. ‘Modeling tonal tension’, Music Perception 24, 329—66 (2007).

Levitin, D. J. This is Your Brain on Music: The Science of a Human Obsession. Plume, New York, 2007.