AdornoT. W. (1984). Aesthetic Theory. (trans. C. Lenhardt). London: Routledge and Kegan Paul.
2.
BergerP. L., & LuckmannT. (1966). The social construction of reality: a treatise in the sociology of knowledge.New York: Doubleday.
3.
BlackingJ. (1987). A Commonsense View of all Music.CUP.
4.
ClarkeE. F., & DavidsonJ. W. (1998). The body in performance. In ThomasW. (ed.), Composition - Performance - Reception: Studies in the Creative Process in Music (pp. 74–92). London: Ashgate Publishing.
5.
CostallA. (1989). A closer look at direct perception. In GellatlyA, RogersD., and SlobodaJ. A. (eds), Cognition and Social Worlds (pp. 10–21). Oxford: Clarendon Press.
6.
CuttingJ. E., ProffitD. R., & KozlowskiL. T. (1978). A biomechanical invariant for gait perception.Journal of Experimental Psychology: Human Perception and Performance, 4, 357–72.
7.
GibsonJ. J. (1939). The aryan myth.Journal of Educational Sociology, 13, 164–71.
8.
GibsonJ. J. (1979). The Ecological Approach to Visual Perception.Hillsdale, NJ: Lawrence Erlbaum.
9.
HargreavesD. J., & NorthA. C. (eds), (1997). The Social Psychology of Music.Oxford: Oxford University Press.
10.
HebdigeD. (1979). Subculture: The Meaning of Style.London: Methuen.
LerdahlF., & JackendoffR. (1983). A Generative Theory of Tonal Music.Cambridge, Mass: MIT press.
13.
MeadG. H. (1934). Mind, Self and Society.Chicago: University of Chicago Press.
14.
NobleW. G. (1981). Gibsonian theory and the pragmatist perspective.Journal of the Theory of Social Behaviour, 11(1), 65–85.
15.
ShawR., & TurveyM. T. (1981). Coalitions as models for ecosystems: A realist perspective on perceptual organization. In KubovyM., and PomerantzJ. R. (eds), Perceptual Organisation (pp. 343–415). Hillsdale, NJ: Lawrence Erlbaum.
16.
ShepherdJ. (1991). Music as Social Text.Cambridge: Polity.
17.
ShotterJ. (1991). The rhetorical-responsive nature of mind: A social constructionist account. In StillA., and CostallA. (eds), Against Cognitivism: Alternative Foundations for Cognitive Psychology (pp. 55–79). Harvester: Wheatsheaf.
18.
SpitzerJ. (1987). Musical Attribution and Critical Judgement: The Rise and Fall of the Sinfonia Concertante for Winds, K.279b.Journal of Musicology, 5(3), 319–56.
19.
ToddN. P. (1995). The kinematics of musical expression.Journal of the Acoustical Society of America, 97, 1940–1949.
20.
van den ToornP. (1991). Politics, Feminism and Contemporary Music Theory.Journal of Musicology, 9 (3), 275–99.
21.
WindsorW. L. (1997). Frequency structure in electroacoustic music: ideology, function and perception.Organised Sound, 2(2), 77–82.