JAVS Spring 2024

22 (Zbikowski 2016:41) Lawrence Zbikowski, “Musical time, embodied and reflected”, Music in Time: Phenomenology, Perception, Performance, (Cambridge, Massachusetts. Harvard University, 2016): 41. Bibliography Abu Shumays, Sami and Farraj, Johnny. Inside Arabic Music: Arabic Maqam Performance and Theory in the 20 th Century. Oxford University Press, 2019.

Kirby, Jenn. “Composing Perceivable Time.” Leonardo 48 , n o. 1 (2015): 6–12.

Kramer, Jonathan D. The Time of Music: New Meanings, N ew Temporalities, NewListening Strategies. Schirmer Books, 1988. Margulis, Elizabeth Hellmuth. On Repeat: How Music P lays the Mind . New York: Oxford University Press, 2014. Shannon, Jonathan H. “Emotion, Performance, and Temporality in Arab Music: Reflections on Tarab.” Cultural Anthropology , vol. 18, no. 1 (2003): 72–98.

Allan, Lorraine. “The Perception of Time.” Perception and Psychophysics, no. 27 (1979): 340–54.

Arstila, Valtteri, and Dan Lloyd, eds. “The Perception of Time in Hypnosis.” In Subjective Time: The Philosophy, Psychology, and Neuroscience of Temporality . The MIT Press, 2014.

Snyder, Bob. Music and Memory: An Introduction . Cambridge Massachusetts: The MIT Press, 2000.

Coleman, Andrew. Dictionary of Psychology (Second Edition). Oxford University Press, 2006.

Zbikowski, Lawrence. “Musical time, embodied and r eflected”. Music in Time: Phenomenology, Perception, Performance . Cambridge, Massachusetts. Harvard University Department of publications in music. (2016): 33-54.

Grisey, Gérard. “Tempus ex Machina: A composer’s reflections on musical time.” Contemporary Music Review 2 , no. 1 (1987): 239–275.

Huron, David. Sweet Anticipation: Music and the Psychology of Expectation . Cambridge: MIT Press, 2006.

28

Journal of the American Viola Society / Vol. 40, No. 1, Spring 2024