ÿþ<html><head><TITLE>Cambridge Music - Cross publications</TITLE></head><body> <HR> <font face="arial, helvetica, verdana"><H3>Ian Cross - Selected Publications</H3><p> <HR> <b><u>Books</u></b><p> <UL> <LI>Rohrmeier, M., Rebuschat, P., Hawkins, J. &amp; Cross, I. (Eds.) (2011) <A HREF="http://ukcatalogue.oup.com/product/9780199553426.do"><b><i>Language and Music as Cognitive Systems</i></b></A>. Oxford: Oxford University Press<P> <LI>Hallam, S., Cross, I. &amp; Thaut, M. (Eds.) (2009) <A HREF="http://www.oup.co.uk/academic/medicine/psychology/music_psychology/"><b><i>Oxford Handbook of Music Psychology</i></b></A>. Oxford: Oxford University Press<P> <LI>Howell, P., West, R. &amp; Cross, I., Eds. (1991) <b><i>Representing Musical Structure </i></b> London, Academic Press.<p> <LI>Howell, P., Cross, I. &amp; West, R. Eds.(1985) <b><i>Musical Structure and Cognition </i></b> London, Academic Press.<p> </UL> <HR> <b><u>Selected papers, book chapters, reviews</u></b><p> <UL> <LI><a href="#Heading1">Music and evolution</a> <LI><a href="#Heading2">Musical pitch</a> <LI><a href="#Heading3">Archaeology</a> <LI><a href="#Heading4">Ethnomusicology and cognition</a> <LI><a href="#Heading5">Musical rhythm</a> <LI><a href="#Heading6">Perceptual characterisation of violin acoustics</a> <LI><a href="#Heading7">Music, science& </a> <LI><a href="#Heading8">Reviews</a> </UL> <HR> <a NAME="Heading1"><b><u>Music and evolution</u></b> </a> <UL> <li>Cross, I. (2011) Music and biocultural evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IC_CSM_2011.pdf">[preprint (pdf) of revised chapter]</A> In M. Clayton, T. Herbert, &amp; R. Middleton (eds.), <I><B>The Cultural Study of Music: A Critical Introduction</B> (2nd edition)</I> London: Routledge, pp17-27.<P> <li>Cross, I. (2011). Music as social and cognitive process. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/LCMS chapter 34.pdf">[preprint.pdf]</A> In Rebuschat, P., Rohrmeier, M., Hawkins, J. & Cross, I. (Eds.) <i>Language and music as cognitive systems</i>, (pp315-328). Oxford, Oxford University Press.<P> <li>Cross, I. (2010). The evolutionary basis of meaning in music: some neurological and neuroscientific implications. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Cross_MSL_Neurol_Mus10.pdf">[preprint.pdf]</A> In Frank Clifford Rose (Ed.), <b><i>The Neurology of Music</i></b>. (pp1-15). London, Imperial College Press.<P> <li>Cross, I. (2009). Communicative Development: Neonate Crying Reflects Patterns of Native-Language Speech <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IC_CB10.pdf">[preprint.pdf]</A> (<i>see </i> <A HREF="http://www.cell.com/current-biology/abstract/S0960-9822%2809%2901824-7"><i>Mampe et al, Current Biology, 2010</i></A>). <b><i>Current Biology</i></b>, 19(23), R1078-R1079.<P> <li>Cross, I. (2009). The evolutionary nature of musical meaning. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMC_MS07_1.pdf">[preprint.pdf]</A> <i><b>Musicae Scientiae</b></i>, Special Issue: <i>Music and evolution</i>, 179-200.<P> <li>Cross, I. & Woodruff, G. E. (2009). Music as a communicative medium. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IC_GEW_Prehist_Lang_09.pdf">[preprint.pdf]</A> In R. Botha and C. Knight (Eds.) <b><i>The prehistory of language</i></b> (pp113-144), Oxford, Oxford University Press.<P> <li>Cross, I. & Morley, I. (2009). The evolution of music: theories, definitions and the nature of the evidence. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/CM_CM08.pdf">[preprint.pdf]</A> In S. Malloch & C. Trevarthen (Eds.), <b><i>Communicative musicality</i></b> (pp61-82), Oxford, Oxford University Press.<P> <li>Cross, I. (2008). Musicality and the human capacity for culture. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMC_MS07_2.pdf">[preprint.pdf]</A> <i><b>Musicae Scientiae</b></i>, Special Issue: <i>Narrative in music and interaction</i>, 147-167.<P> <li>Cross, I. (2007). Music, science & culture. In I. Roth (Ed.) <i><b><A HREF="http://www.proc.britac.ac.uk/cgi-bin/somsid.cgi?page=volumes/pba147&session=414152A">Imaginative Minds (Proceedings of the British Academy, Vol 147)</A></b></i> (pp 147-165), Oxford, Oxford University Press.<P> <li>Cross, I. (2007). Music and cognitive evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/ICEvopsych07.pdf">[preprint.pdf]</A> In R. Dunbar & L. Barrett (Eds.) <i><b> Oxford Handbook of Evolutionary Psychology</b></i> (pp649-667), Oxford, Oxford University Press.<P> <li>Cross, I. (2006). Four issues in the study of music in evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Cross_Grauer_WoM06.pdf">[preprint.pdf]</A> <i><b>The World of Music</b></i>, 48 (3), 55-63.<P> <li>Cross, I. (2006). Music and social being. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Mus_Aust_paper06.pdf">[preprint.pdf]</A> <i><b>Musicology Australia</b></i>, 28, 114-126.<P> <li>Cross, I. (2006). <A HREF="http://caliber.ucpress.net/toc/mp/24/1">The origins of music: some stipulations on theory</A>. <b> <i>Music Perception</i></b>, 24(1), 79-82.<P> <li>Cross, I. (2005). <A HREF="http://www.annalsnyas.org/cgi/content/full/1060/1/3">Comments on Music, Ethology, and Evolution</A>. <b> <i>Annals of the New York Academy of Sciences</i></b>, 1060, 3-5.<P> <li>Cross, I. (2005). Music and meaning, ambiguity and evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCMC03.pdf">[preprint ([pdf)]</A>. In <I><B>Musical Communication</B></I>, edited by D. Miell, R. Macdonald &amp; D. Hargreaves, Oxford: Oxford University Press, pp27-43.<P> <li>Cross, I. (2003). Music as biocultural phenomenon. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCNYAS2003.PDF">[preprint ([pdf)]</A> <I><B>Annals of the New York Academy of Sciences (The Neurosciences and Music)</B></I>, Vol 999, G. Avanzini, C. Faienza, D. Minciacchi, et al (Eds.), 106-111.<P> <li>Cross, I. (2003). Music and evolution: causes and consequences. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCCMR03.PDF">[preprint ([pdf)]</A> <I><B>Contemporary Music Review</B></I>, 22 (3), 79-89.<P> <li>Cross, I. (2003) Music and biocultural evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCCSMCI.pdf">[preprint ([pdf)]</A> (Chapter for <I><B>The Cultural Study of Music: A Critical Introduction</B></I> (eds. M. Clayton, T. Herbert, R. Middleton), London: Routledge, pp19-30.<P> <li>Cross, I. & Morley, I. (2002) Music and evolution: the nature of the evidence. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/ICMPC7ICIM.pdf">[preprint ([pdf)]</A> In Stevens, C., Burnham, D., McPherson, G., Schubert, E. and Renwick, J. (Eds.) <B><I>Proceedings of the 7th ICMPC, Sydney, Austrialia</I></B>, pp416-419.<P> <li>Cross, I. (2001). Music, cognition, culture and evolution <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCNYAS.pdf">[preprint (pdf)]</A> <B><I>Annals of the New York Academy of Sciences</I></B>, Vol 930, pp 28-42.<P> <li>Cross, I. (2001). Music, mind and evolution <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCPM.pdf">[preprint (pdf)]</A> <B><I>Psychology of Music</I></B>, 29 (1), 95-102.<P> <li>Cross, I. (1999). Is music the most important thing we ever did? Music, development and evolution. <A HREF="http://www.mus.cam.ac.uk/~ic108/MMS/index.html">[preprint (html)]</A> <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCMMS98.pdf">[preprint (pdf)]</A> In Suk Won Yi (Ed.), <I><B>Music, mind and science</B></I> (pp10-39), Seoul: Seoul National University Press.<P> <HR> </UL> <a NAME="Heading2"><b><u>Musical pitch</u> </b></a> <UL> <li>Rohrmeier, M., Rebuschat, P. & Cross, I. (2011) Incidental learning of melodic structure. <i><b>Consciousness & Cognition</b></i>, 24 (2), 214-222. <A HREF="http://dx.doi.org/doi:10.1016/j.concog.2010.07.004">Online version at <i>ScienceDirect</i></A><p> <li>Woolhouse, M., & Cross, I. (2010). <A HREF="http://caliber.ucpress.net/toc/mts/32/1">Using Interval Cycles to Model Krumhansl's Tonal Hierarchies</A>. <b><i>Music Theory Spectrum</i></b>, 32(1), 60-78.<P> <li>Rohrmeier, M. & Cross, I. (2008). Statistical Properties of Tonal Harmony in Bach's Chorales. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/MP081391.pdf">[preprint.pdf]</A> In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.) <b><i>Proceedings of the 10th International Conference on Music Perception & Cognition</i></b>, (ICMPC10), pp619-627, Sapporo, Japan. <P> <li>Woolhouse, M. & Cross, I. (2008). Using Kolmogorov-Smirnov to determine the effect of interval cycles on the formation of Krumhansl & Kessler's (1982) tonal hierarchies. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/MP081317.pdf">[preprint.pdf]</A> In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.) <b><i>Proceedings of the 10th International Conference on Music Perception & Cognition</i></b>, (ICMPC10), pp438-444, Sapporo, Japan. <P> <li>Cross, I. & Rohrmeier, M. (2007). Comments on <u>Facilitation and coherence between the dynamic and retrospective perception of segmentation in computer-generated music</u>, by Freya Bailes and Roger T. Dean. <A HREF="http://emusicology.org/v2n4/contents1.html"><i><b>Empirical Musicology Review</b></i>, 2 (4)</A>, 146-149.<P> <li>Cross, I. (2007). Bach in mind. <A HREF="http://www.bachnetwork.co.uk/ub2_contents.html"><b><i>Understanding Bach</i></b>, 2.</A><P> <li>Woolhouse, M. & Cross, I. (2006). An interval cycle-based model of pitch attraction. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/266.pdf">[preprint.pdf]</A> In M. Baroni, A. R. Addessi, R. Caterina, M. Costa, <i><b>Proceedings of ICMPC9</b></i>, pp763-771, Bologna, Italy.<P> <li>Woolhouse, M., Cross, I. & Horton, T. (2006). The perception of non-adjacent harmonic relations. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/204.pdf">[preprint.pdf]</A> In M. Baroni, A. R. Addessi, R. Caterina, M. Costa, <i><b>Proceedings of Proceedings of ICMPC9</b></i>, pp1236-1244, Bologna, Italy.<P> <li>Woolhouse, M. & Cross, I. (2004) The role of interval periodicity in hierarchical pitch perception. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/MP040219.pdf">[preprint ([pdf)]</A> <b><i>Proceedings of the 8th ICMPC</i></b>, pp486-492, Evanston, Ill., USA.<P> <li>Cross, I. (1997). Pitch schemata. <A HREF=http://www.mus.cam.ac.uk/~ic108/PCM/index.html>[preprint (html)]</A> In J. Sloboda &amp; I. Deli&egrave;ge (Eds), <I><B>Perception and cognition of music</B></I>. The Psychology Press: Hove, pp 353-386.<P> <li>Deli&egrave;ge, I., M&eacute;len, M., Stammers, D., & Cross, I. (1996). Musical schemata in real time listening to a piece of music. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Musical_Schemata_96.pdf">[preprint (html)]</A> <b><i>Music Perception</i></b>, 14 (2), 117-160.<P> <li>Cross, I., Stammers, D., M&eacute;len, M. &amp; Deli&egrave;ge, I. (1996). The cognitive representation of tonal musical structure. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Cross et al ICMPC96.pdf"> [preprint (pdf)]</A> In <i>Proceedings of the 4th International Conference on Music Perception and Cognition</i>, B Pennycook &amp; E. Costa-Giomi (Eds), McGill University, Montr&eacute;al, pp 59-64.<P> <li>Cross, I. (1994) Perceptie van melodie en harmonie. In F.&nbsp;Evers, M. Jansma, P. Mak &amp; B. de Vries (Eds),<b><i>Muziekpsychologie</i></b>, van Gorcum/Koninklijk Conservatorium: The Hague, pp 293-312.<P> <li>Lamont, A. &amp; Cross, I. (1994) Children's cognitive representations of musical pitch. <b><i>Music Perception</i></b>, 12 (1), 27-55.<P> <li>Cross, I. &amp; Stammers, D. (1992) Music analysis and the perception of set-theoretic relations. In <b><i>Proceedings of the Secondo Convegno Europeo di Analisi Musicale</i></b>, R. Dalmonte &amp; M. Baroni (Eds), Universit&agrave; degli Studi di Trento: Trento, pp 105-112.<P> <li>West, R., Cross, I. &amp; Howell, P. (1991) Activation of schemas in perception - the case of musical scale conformance. <b><i>Psychologica Belgica</i></b><i> </i>, 31 (2), 197-216.<P> <li>Cross, I. (1991) Computer-aided learning and the cognition of musical pitch. <b><i>Musicus</i></b><i> </i>, 3, 59-75<P> <li>West, R., Cross, I. &amp; Howell, P. (1987) Modelling musical perception as input-output and as process. <b><i>Psychology of Music</i></b><i> </i>, 15 (1), 7-29.<P> <li>Cross, I., Howell, P. &amp; West, R. (1985) Pitch relations and the formation of scalar structure. <b><i>Music Perception</i></b><i> </i>,2 (3), 329-344.<P> <li>Howell, P., West, R. &amp; Cross, I. (1984) The detection of notes incompatible with scalar structure. <b><i>Journal of</i></b> <b><i>the Acoustical Society of America</i></b><i> </i>, 76 (6), 1682-1689.<P> <li>Cross, I., Howell, P. &amp; West, R. (1983) Preferences for scale structure in melodic sequences. <b><i>Journal of Experimental Psychology: Human Perception and Performance</i></b>, 9 (3),444-460.<P> <li>Cross, I., Howell, P. West, R. (1983) The perception of musical pitch - a sense of scale. In D. Rogers &amp; J &amp; Sloboda (Eds.) <b><i>The Acquisition of Symbolic Skills </i></b><i> </i>Plenum, N.Y. </UL> <HR> <a NAME="Heading3"><b><u>Archaeology</u></b> </a> <i>Click <A HREF="http://www.mus.cam.ac.uk/~ic108/lithoacoustics/">here</A> for more information about the lithoacoustics project</i> <UL> <li>Blake, E., Cross, I. (2008). Flint tools as portable sound-producing objects in the Upper Palaeolithic context: an experimental study. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Chapter_1_3.pdf">[preprint.pdf]</A> In Cunningham, P., Heeb, J. & Paardekooper, R. (Eds.) <i><b>Experiencing Archaeology by Experiment</b></i>, (pp1-19). Oxford: Oxbow Books.<P> <li>Cross, I & Watson, A. (2006). Acoustics and the human experience of socially organised sound <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Archaeosound_Ch11.pdf">[preprint.pdf]</A> In <b><i>Acoustics, space and intentionality: identifying intentionality in the ancient use of acoustic spaces and structures</i></b>, Scarre, C. & Lawson, G. (eds.), Cambridge, McDonald Institute for Archaeological Research, 107-116.<P> <li>Cross, I., Zubrow, E. and Cowan, F. (2002) Musical behaviours and the archaeological record: a preliminary study. <A HREF="http://www.mus.cam.ac.uk/~ic108/lithoacoustics/BAR2002/BARpreprint.pdf">[preprint (pdf)]</A> In J. Mathieu (Ed.), <B><I>Experimental Archaeology. British Archaeological Reports International Series 1035</I></B>, 25-34.<P> <li>Lawson, G., Scarre, C., Cross, I. and Hills, C. (1998). Mounds, megaliths, music and mind: some reflections on the acoustical properties and purposes of archaeological spaces. <B><I>Archaeological Review from Cambridge</I></B>, 15 (1), 111-134<P> </UL> <HR> <a NAME="Heading4"><b><u>Ethnomusicology and cognition</u></b> </a> <UL> <li>Slobodian, L. & Cross, I. (2008). Experimental Investigation of Relative Pitch Salience in Northern Mozambican Damba. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/MP081166.pdf">[preprint.pdf]</A> In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.) <b><i>Proceedings of the 10th International Conference on Music Perception & Cognition</i></b>, (ICMPC10), pp705-711, Sapporo, Japan. <P> <li>Cross, I., Gill, S., Knight, S., Nash, C., Rabinowitch, T., Slobodian, L., Spiro, N., Woodruff, G., & Woolhouse, M. (2008). Commentary on <u>The Perception and Cognition of Time in Balinese Music</u>, by Andrew Clay McGraw, <A HREF="http://emusicology.org/v3n2/index.html"><b><i>Empirical Musicology Review</i></b>, 3(2)</A>, 54-57.<P> <li>Stobart, H. & Cross, I. (2000). The Andean Anacrusis? rhythmic structure and perception in Easter songs of Northern Potos&iacute;, Bolivia. <A HREF="http://www.open.ac.uk/Arts/music/mclayton/bje9-2finalpdf.PDF"><I><B>British Journal of Ethnomusicology</B></I>, 9(2)</A>, 63-94. <A HREF="http://www.mus.cam.ac.uk/~ic108/BJE">Musical examples</A>.<P> <li>Stobart, H., and Cross, I. (1994) Aspects of rhythmic structure in the music on Northern Potos&igrave;, Bolivia. <b><i>Proceedings of the 3rd ICMPC</i></b>, Li&egrave;ge, pp 393-395.<P> </UL> <HR> <a NAME="Heading5"><b><u>Musical rhythm</u></b> </a> <UL> <li>London, J., Himberg, T. & Cross, I. (2009). <A HREF="http://caliber.ucpress.net/doi/abs/10.1525/mp.2009.27.2.103">The effect of structural and performance factors in the perception of anacruses</A>. <b><i>Music Perception</i></b>, 27 (2), 103-120.<P> <li>London, J., Himberg, T. & Cross, I. (2006). The effect of tempo on the perception of anacruses. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/196.pdf">[preprint.pdf]</A> In M. Baroni, A. R. Addessi, R. Caterina, M. Costa, <i><b>Proceedings of ICMPC9</b></i>, pp1641-1647, Bologna, Italy.<P> </UL> <HR> <a NAME="Heading6"><b><u>Perceptual characterisation of violin acoustics</u></b> </a> <i>Click <A HREF="http://www2.eng.cam.ac.uk/~cf291/projectviolin.htm">here</A> for more information about the violins project</i> <UL> <LI>Fritz, C., Blackwell, A. F., Cross, I., Woodhouse, J., & Moore, B. C. J. (2012). <A HREF="http://asadl.org/jasa/resource/1/jasman/v131/i1/p783_s1">Exploring violin sound quality: Investigating English timbre descriptors and correlating resynthesized acoustical modifications with perceptual properties</A>. <b><i>The Journal of the Acoustical Society of America</i></b>, 131(1), 783-794.<P> <LI>Fritz,C., Woodhouse, Cheng, F. J., Cross, I., Moore, B. C. J., and Blackwell, A.F. (2010). <A HREF="http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JASMAN000127000001000513000001&idtype=cvips&gifs=Yes">Perceptual studies of violin body damping and vibrato</A>. <b><i>Journal of the Acoustical Society of America</i></b>, 127 (1) , 513-524.<P> <li>Fritz, C., Blackwell, A. F., Cross, I., Moore, B.C.J. & Woodhouse, J. (2008). Investigating English Violin Timbre Descriptors. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/MP081183.pdf">[preprint.pdf]</A> In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.) <b><i>Proceedings of the 10th International Conference on Music Perception & Cognition</i></b>, (ICMPC10), pp638-641, Sapporo, Japan. <P> <li>Fritz, C., Cross, I., Moore, B. C. J. & Woodhouse, J. (2007) <A HREF="http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JASMAN000122000006003640000001&idtype=cvips&gifs=Yes">Perceptual thresholds for detecting modifications applied to the acoustical properties of a violin</A>. <i><b>Journal of the Acoustical Society of America</b></i>, 122 (6), 1340-1350<P> <li>Woodhouse, J. Cross, I., Moore, B. C. J. & Fritz, C. (2006). Perceptual tests with virtual violins. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Woodhouse_IOA06.pdf">[preprint.pdf]</A> <b><i>Proceedings of the Institute of Acoustics</i></b>, 28(1), 615-622.<P> <li>Fritz, C., Cross, I., Peterson, U., Weaver, K., Williamson, E., Woodhouse, J. & Moore, B. (2006). Perceptual correlates of violin acoustics: preliminary studies. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/67.pdf">[preprint.pdf]</A> In M. Baroni, A. R. Addessi, R. Caterina, M. Costa, <i><b>Proceedings of Proceedings of ICMPC9</b></i>, pp1864-1871, Bologna, Italy.<P> </UL> <HR> <a NAME="Heading7"><b><u>Music, science...</u></b></a> <UL> <li> Cross, I. (2011). The meanings of musical meanings: Comment on <u>Towards a neural basis of processing musical semantics</u>, by Stefan Koelsch. <i>Physics of Life Reviews</i>, 8, 116-119. <A HREF="http://www.sciencedirect.com/science/journal/15710645/8/2">Online version at <i>ScienceDirect</i></A><P> <li>Cross, I. (2009). Listening as covert performance. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/Cross_JRMA_0110.pdf">[preprint ([pdf)]</A> <b><i>Journal of the Royal Musical Association</i></b>, 134 (1), 67-77.<P> <li>Cross, I. & Tolbert, E. (2009). Music and meaning. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/OUP_Mus_Psych_Hbook_Meaning08.pdf">[preprint.pdf]</A> In S. Hallam, I. Cross and M. Thaut (Eds.) <b><i>The Oxford Handbook of Music Psychology</i></b> (pp24-34), Oxford, Oxford University Press.<P> <li>Cross, I. (2001). Music, science, and post-positivist pluralities. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCIntegral.pdf">[preprint ([pdf)]</A>. <I><B>Int&eacute;gral</B></I>, 14/15, 20-26<P> <li>Cross, I. (1999). AI and music perception <A HREF=http://www.mus.cam.ac.uk/~ic108/AISB99/index.html>[preprint (html)]</A> <I><B>AISB Quarterly</B></I>, 102, pp12-25.<P> <li>Cross, I. (1998). Music &amp; science: three views <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/RBM.pdf">[preprint (pdf)]</A> <I><B>Revue Belge de Musicologie</B></I>, Vol LII (1998), pp207-214.<P> <li>Cross, I. (1998). Music analysis &amp; music perception <A HREF="http://www.mus.cam.ac.uk/~ic108/MusicAnalysis/">[preprint (html)]</A> <I><B>Music Analysis</B></I>, 1998, 17 (1), 3-20.<P> <li>Cross, I (1998). Cognitive science and music - the case of musical pitch. <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/CogSciMus.pdf">[preprint (pdf)]</A> In M. Olivetti Belardinelli & F. Cifarielo Ciardi (eds), <I><B>Psicologia cognitiva e composizione musicale</B></I>. Rome: Edizioni Kappa, pp 85-111.<P> <li>Cross, I., Bennett, A. &amp; Meredith, D. (1996). Computer applications in musicology. In <i>New Technologies for the Humanities</i>, C. Mullings, M Deegan, S Ross &amp; S Kenna (Ed.), British Library/Bowker-Saur, London pp 219-318.<P> <li>Cross, I. (1993) The Chinese Music Box. <b><i>Interface</i></b>. 22, 165-172.<P> </UL> <HR> <a NAME="Heading8"><b><u>Reviews</u></b> </a> <UL> <li>Cross, I. (2007). <A HREF="http://caliber.ucpress.net/toc/mp/24/5">Review</A> of <i>The musical human: rethinking John Blacking's ethnomusicology in the twenty-first century</i> (ed. Suzel Ana Reily), Ashgate, 2006 <i><b>Music Perception</b></i>, 24(5), 507-510.<P> <li>Cross, I. (2006). <A HREF="http://www.ucpress.edu/journals/jams/contents.htm">Review</A> of <i>Conceptualizing music</i>, by Laurence Zbikowski (Oxford: OUP, 2002) <b> <i>Journal of the American Musicological Society</i></b>, 59(1), 220-227.<P> <li>Cross, I. (2003). Review of <I>Musicology and Sister Disciplines</I> <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCIMS.PDF">[preprint ([pdf)]</A>(Proceedings of the 16th IMS, London, 1997, ed. D. Greer). Oxford: Oxford University Press, 2000. <I><B>Music & Letters</B></I>, 84 (2), pp 262-266<P> <li>Cross, I. (2001). Review of "The Origins of Music" <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCMP.pdf">[preprint (pdf)]</A> (ed Wallin, N. Merker, B. and Brown, S.), MIT Press, 2000. <B><I>Music Perception</I></B>, 18 (4), pp 513-521<P> <li>Cross, I. (2001). Review of "The Origins of Music" <A HREF="http://www.mus.cam.ac.uk/~ic108/PDF/IRMCTINS.pdf">[preprint (pdf)]</A> (ed Wallin, N. Merker, B. and Brown, S.), MIT Press, 2000. <I><B>Trends in Neurosciences</B></I>, 2001, 24(3), p190.<P> <li>Cross, I. (1995) Review of The analysis and cognition of melodic complexity: the implication-realization model <A HREF=http://www.mus.cam.ac.uk/~ic108/Narmourev.pdf>[preprint (pdf)]</A>, by E. Narmour, Univ. of Chicago Press, Chicago, 1992. <b><i>Music Perception</i></b>, 12 (4), 486-509.<P> </UL> <HR> Go back to <A HREF="http://www.mus.cam.ac.uk/~ic108/">Ian Cross's personal page</A> </font></body></html>