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参考书目

《音乐初探·卷一》何谓音乐？ · 许佳衡 著 · 三部十章 · 23.8 万汉字 · ISBN 979-8-90690-023-4

本卷十章各自独立成篇，文献亦各自独立。此处按章汇总，跨章重复的条目予以保留，以便读者按章核对。

第一章　回接段与判定切口

  1. Bailes, F. (2010). Dynamic melody recognition: Distinctiveness and the role of musical expertise. Memory & Cognition, 38(5), 641–650. DOI 10.3758/MC.38.5.641
  2. Bloom, R. D., et al. (2017). Cell-Free DNA and Active Rejection in Kidney Allografts. Journal of the American Society of Nephrology, 28(7), 2221–2232. DOI 10.1681/ASN.2016091034
  3. Bowker, G. C., & Star, S. L. (1999). Sorting Things Out: Classification and Its Consequences. MIT Press.
  4. Bregman, A. S. (1990). Auditory Scene Analysis. MIT Press.
  5. Cecchetti, G., Herff, S. A., & Rohrmeier, M. (2023). Interpreting Rhythm as Parsing. Cognitive Science, 47(12), e13389. DOI 10.1111/cogs.13389
  6. Cuthbert, M. S., & Ariza, C. (2010). music21: A Toolkit for Computer-Aided Musicology and Symbolic Music Data. Proceedings of ISMIR 2010, 637–642.
  7. Dalla Bella, S., Peretz, I., & Aronoff, N. (2003). Time course of melody recognition: A gating paradigm study. Perception & Psychophysics, 65(7), 1019–1028.
  8. Carnap, R. (1950). Empiricism, Semantics, and Ontology. Revue Internationale de Philosophie, 4(11), 20–40.
  9. Danto, A. (1964). The Artworld. The Journal of Philosophy, 61, 571–584.
  10. Dickie, G. (1974). Art and the Aesthetic: An Institutional Analysis. Cornell University Press.
  11. Dowling, W. J., Kwak, S.-Y., & Andrews, M. W. (1995). The time course of recognition of novel melodies. Perception & Psychophysics, 57, 136–149.
  12. Espeland, W. N., & Sauder, M. (2007). Rankings and Reactivity: How Public Measures Recreate Social Worlds. American Journal of Sociology, 113(1), 1–40. DOI 10.1086/517897
  13. Goehr, L. (1992). The Imaginary Museum of Musical Works. Clarendon Press.
  14. Goodman, N. (1968). Languages of Art. Bobbs-Merrill.
  15. Green, D. M., & Swets, J. A. (1966). Signal Detection Theory and Psychophysics. Wiley.
  16. Grosjean, F. (1980). Spoken word recognition processes and the gating paradigm. Perception & Psychophysics, 28(4), 267–283.
  17. Hacking, I. (1999). The Social Construction of What? Harvard University Press.
  18. Husserl, E. (1991). On the Phenomenology of the Consciousness of Internal Time (1893–1917). Kluwer Academic Publishers.
  19. Jackendoff, R. (1991). Musical Parsing and Musical Affect. Music Perception, 9(2), 199–229. DOI 10.2307/40285529
  20. James, T. Y., et al. (2006). Reconstructing the early evolution of Fungi using a six-gene phylogeny. Nature, 443, 818–822. DOI 10.1038/nature05110
  21. Kaplan, E. L., & Meier, P. (1958). Nonparametric Estimation from Incomplete Observations. Journal of the American Statistical Association, 53(282), 457–481. DOI 10.1080/01621459.1958.10501452
  22. Katz, S. M. (1987). Estimation of probabilities from sparse data for the language model component of a speech recognizer. IEEE Transactions on Acoustics, Speech, and Signal Processing, 35(3), 400–401.
  23. Kawai, T., Cosimi, A. B., Spitzer, T. R., et al. (2008). HLA-Mismatched Renal Transplantation without Maintenance Immunosuppression. New England Journal of Medicine, 358, 353–361. DOI 10.1056/NEJMoa071074
  24. Levinson, J. (1979). Defining Art Historically. British Journal of Aesthetics, 19(3), 232–250. DOI 10.1093/bjaesthetics/19.3.232
  25. Levinson, J. (1980). What a Musical Work Is. The Journal of Philosophy, 77(1), 5–28.
  26. Lücking, R., Aime, M. C., Robbertse, B., et al. (2021). Fungal Taxonomy and Sequence-Based Nomenclature. Nature Microbiology, 6, 540–548. DOI 10.1038/s41564-021-00888-x
  27. Margulis, E. H. (2014). On Repeat: How Music Plays the Mind. Oxford University Press.
  28. Marslen-Wilson, W. D. (1987). Functional parallelism in spoken word-recognition. Cognition, 25(1–2), 71–102.
  29. Merton, R. K. (1957). Priorities in Scientific Discovery. American Sociological Review, 22(6), 635–659.
  30. Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press.
  31. Mirka, D. (2009). Metric Manipulations in Haydn and Mozart. Oxford University Press.
  32. Morita, K., et al. (2012). New Results in the Production and Decay of an Isotope, 278113. Journal of the Physical Society of Japan, 81, 103201. DOI 10.1143/JPSJ.81.103201
  33. Narmour, E. (1990). The Analysis and Cognition of Basic Melodic Structures. University of Chicago Press.
  34. Oganessian, Yu. Ts., et al. (2006). Synthesis of the isotopes of elements 118 and 116. Physical Review C, 74, 044602. DOI 10.1103/PhysRevC.74.044602
  35. Pearce, M. T., & Wiggins, G. A. (2012). Auditory Expectation: The Information Dynamics of Music Perception and Cognition. Topics in Cognitive Science, 4(4), 625–652. DOI 10.1111/j.1756-8765.2012.01214.x
  36. Rammensee, H.-G., Bachmann, J., Emmerich, N. P., et al. (1999). SYFPEITHI: database for MHC ligands and peptide motifs. Immunogenetics, 50, 213–219.
  37. Ratcliff, R. (1978). A theory of memory retrieval. Psychological Review, 85(2), 59–108.
  38. Ratcliff, R., & McKoon, G. (2008). The diffusion decision model: Theory and data for two-choice decision tasks. Neural Computation, 20(4), 873–922.
  39. Redner, S. (2001). A Guide to First-Passage Processes. Cambridge University Press.
  40. Rheinberger, H.-J. (1997). Toward a History of Epistemic Things. Stanford University Press.
  41. Rosch, E. (1975). Cognitive representation of semantic categories. Journal of Experimental Psychology: General, 104(3), 192–233.
  42. Royston, P., & Parmar, M. K. B. (2013). Restricted Mean Survival Time. BMC Medical Research Methodology, 13, 152. DOI 10.1186/1471-2288-13-152
  43. Ryberg, M., & Nilsson, R. H. (2018). New Light on Names and Naming of Dark Taxa. MycoKeys, 30, 31–39. DOI 10.3897/mycokeys.30.24376
  44. Scandling, J. D., Busque, S., Dejbakhsh-Jones, S., et al. (2011). Induced Immune Tolerance for Kidney Transplantation. New England Journal of Medicine, 365, 1359–1360. DOI 10.1056/NEJMc1107841
  45. Schmalfeldt, J. (2011). In the Process of Becoming. Oxford University Press.
  46. Schoch, C. L., et al. (2012). Nuclear ribosomal internal transcribed spacer (ITS) region as a universal DNA barcode marker for Fungi. PNAS, 109, 6241–6246. DOI 10.1073/pnas.1117018109
  47. Searle, J. (1995). The Construction of Social Reality. Free Press.
  48. Small, C. (1998). Musicking: The Meanings of Performing and Listening. Wesleyan University Press.
  49. The Session (thesession.org). Community tune data export (tunes.json). 快照版本待补。
  50. UniProt Consortium (2023). UniProt: the Universal Protein Knowledgebase in 2023. Nucleic Acids Research, 51(D1), D523–D531.
  51. Zadeh, L. A. (1965). Fuzzy sets. Information and Control, 8(3), 338–353.
  52. Putnam, H. (1981). Reason, Truth and History. Cambridge University Press.
  53. Quine, W. V. O. (1969). Ontological Relativity. In Ontological Relativity and Other Essays. Columbia University Press.

第二章　并读壁

  1. Krumhansl, C. L. Cognitive Foundations of Musical Pitch. New York: Oxford University Press, 1990.
  2. Krumhansl, C. L., & Kessler, E. J. “Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys.” Psychological Review, 89(4), 1982, 334–368.
  3. Temperley, D. Music and Probability. Cambridge, MA: MIT Press, 2007.
  4. Temperley, D. The Cognition of Basic Musical Structures. Cambridge, MA: MIT Press, 2001.
  5. Lerdahl, F., & Jackendoff, R. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983.
  6. Krebs, H. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999.
  7. Agawu, K. “Ambiguity in tonal music: a preliminary study.” In A. Pople (ed.), Theory, Analysis and Meaning in Music. Cambridge: Cambridge University Press, 1994, 86–107.
  8. Hasty, C. F. Meter as Rhythm. New York: Oxford University Press, 1997; 20th Anniversary Edition, 2020.
  9. Meyer, L. B. Style and Music: Theory, History, and Ideology. Philadelphia: University of Pennsylvania Press, 1989.
  10. Meyer, L. B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.
  11. Narmour, E. The Analysis and Cognition of Basic Melodic Structures. Chicago: University of Chicago Press, 1990.
  12. Empson, W. Seven Types of Ambiguity. London: Chatto & Windus, 1930.
  13. Bernstein, L. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press, 1976.
  14. Small, C. Musicking: The Meanings of Performing and Listening. Hanover, NH: Wesleyan University Press, 1998.
  15. Hanslick, E. On the Musically Beautiful. 1854; English trans. G. Payzant, Indianapolis: Hackett, 1986.
  16. Blacking, J. How Musical Is Man? Seattle: University of Washington Press, 1973.
  17. Clarke, E. F. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 2005.
  18. Huron, D. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press, 2006.
  19. Pearce, M. T. “Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation.” Annals of the New York Academy of Sciences, 1423(1), 2018, 378–395.
  20. Leopold, D. A., & Logothetis, N. K. “Multistable phenomena: changing views in perception.” Trends in Cognitive Sciences, 3(7), 1999, 254–264.
  21. Repp, B. H. “Sensorimotor synchronization: a review of the tapping literature.” Psychonomic Bulletin & Review, 12(6), 2005, 969–992.
  22. Cuevas-Rocha, J., et al. (eds.) Twinning in Crystals. （孪晶的晶体学基础综述，含孪晶界的对称关系与类型学）
  23. Sozinov, A., Likhachev, A. A., Lanska, N., & Ullakko, K. “Giant magnetic-field-induced strain in NiMnGa seven-layered martensitic phase.” Applied Physics Letters, 80(10), 2002, 1746–1748.
  24. Straka, L., Heczko, O., Seiner, H., et al. “Highly mobile twinned interfaces in 10 M modulated Ni–Mn–Ga martensite.” Acta Materialia, 59(20), 2011, 7450–7463.
  25. Heczko, O., Straka, L., & Seiner, H. “Different microstructures of mobile twin boundaries in 10 M modulated Ni–Mn–Ga martensite.” Acta Materialia, 61(2), 2013, 622–631.
  26. Faran, E., & Shilo, D. “Implications of twinning kinetics on the frequency response in NiMnGa actuators.” Applied Physics Letters, 100(15), 2012, 151901.（孪晶界迁移率与 Peierls 势垒决定 10 Hz 以上的动态响应）
  27. Ge, Y., Heczko, O., Söderberg, O., & Hannula, S.-P. “Magnetic domain evolution with applied field in a Ni–Mn–Ga magnetic shape memory alloy.” Scripta Materialia, 54(12), 2006, 2155–2160.
  28. Venkateswaran, S. P., Nuhfer, N. T., & De Graef, M. “Magnetic domain memory in multiferroic Ni2MnGa.” Acta Materialia, 55(16), 2007, 5419–5427.（洛伦兹透射电镜下的磁畴壁宽度测量与钉扎）
  29. Salje, E. K. H. “Multiferroic domain boundaries as active memory devices: trajectories towards domain boundary engineering.” ChemPhysChem, 11(5), 2010, 940–950.（畴壁工程：把壁本身当作功能载体）
  30. Catalan, G., Seidel, J., Ramesh, R., & Scott, J. F. “Domain wall nanoelectronics.” Reviews of Modern Physics, 84(1), 2012, 119–156.
  31. Skolnik, M. I. Introduction to Radar Systems, 3rd ed. New York: McGraw-Hill, 2001.（距离与多普勒模糊、PRF 选择）
  32. Richards, M. A. Fundamentals of Radar Signal Processing, 2nd ed. New York: McGraw-Hill, 2014.
  33. Trunk, G. V., & Brockett, S. F. “Range and velocity ambiguity resolution.” Proceedings of the IEEE National Radar Conference, 1993, 146–149.（多 PRF 与中国剩余定理解模糊）
  34. Scheres, S. H. W. “RELION: implementation of a Bayesian approach to cryo-EM structure determination.” Journal of Structural Biology, 180(3), 2012, 519–530.
  35. Scheres, S. H. W. “Classification of structural heterogeneity by maximum-likelihood methods.” Methods in Enzymology, 482, 2010, 295–320.（不分类而直接平均会重构出不存在的构象）
  36. Nakane, T., Kimanius, D., Lindahl, E., & Scheres, S. H. W. “Characterisation of molecular motions in cryo-EM single-particle data by multi-body refinement in RELION.” eLife, 7, 2018, e36861.
  37. Cuellar, M. S., et al. music21: A Toolkit for Computer-Aided Musicology. 见 Cuthbert, M. S., & Ariza, C. “music21: A Toolkit for Computer-Aided Musicology and Symbolic Music Data.” ISMIR 2010, 637–642.（本章所用语料与解析工具，版本 10.5.0）
  38. Schaffrath, H. The Essen Folksong Collection in Kern Format. D. Huron (ed.), Menlo Park, CA: CCARH, 1995.
  39. Sapp, C. S. “Online database of scores in the Humdrum file format.” ISMIR 2005, 664–665.
  40. Wilcoxon, F. “Individual comparisons by ranking methods.” Biometrics Bulletin, 1(6), 1945, 80–83.
  41. Kuhn, T. S. The Structure of Scientific Revolutions, 2nd ed. Chicago: University of Chicago Press, 1970.（不可通约；本章第二十节第九条与之划界）
  42. Kuhn, T. S. “Commensurability, Comparability, Communicability.” PSA 1982, vol. 2, 1983, 669–688.
  43. Gjerdingen, R. O. Music in the Galant Style. New York: Oxford University Press, 2007.（图式作为可迁移的后继约束）
  44. Jan, S. The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture. Aldershot: Ashgate, 2007.
  45. Bateson, G. Steps to an Ecology of Mind. Chicago: University of Chicago Press, 1972.（“造成差异的差异”）
  46. Hutchins, E. Cognition in the Wild. Cambridge, MA: MIT Press, 1995.（分布式认知）
  47. Goldstone, R. L. “Perceptual learning.” Annual Review of Psychology, 49, 1998, 585–612.（判别规则随经验改变）
  48. Gibson, J. J., & Gibson, E. J. “Perceptual learning: differentiation or enrichment?” Psychological Review, 62(1), 1955, 32–41.
  49. Bregman, A. S. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press, 1990.
  50. Cohn, R. “Complex hemiolas, ski-hill graphs and metric spaces.” Music Analysis, 20(3), 2001, 295–326.
  51. Nudds, M., & Kania, A. “Not Music, But Musics: A Case for Conceptual Pluralism in Aesthetics.” Estetika: The Central European Journal of Aesthetics, LIV/X(2), 2017, 151–174.（关于音乐的概念多元论；本章第二十节第十条与之划界）
  52. Kania, A. “The Philosophy of Music.” The Stanford Encyclopedia of Philosophy.
  53. Chang, H. Is Water H2O? Evidence, Realism and Pluralism. Dordrecht: Springer, 2012.（科学多元论）
  54. Reichenbach, H. The Philosophy of Space and Time. New York: Dover, 1958.（协调定义与测量的约定成分）

第三章　无持项

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  2. Marsh, J. A. 与 Teichmann, S. A. 蛋白复合体的结构、动力学、组装与演化. Annual Review of Biochemistry, 2015.
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  7. Kelleher, D. J. 与 Gilmore, R. 寡糖基转移酶复合体的亚复合体结构. Glycobiology, 2006.
  8. Thompson, A. R., Moran, J. M. 与 Swenson, G. W. Interferometry and Synthesis in Radio Astronomy. 第三版, Springer, 2017.
  9. Whitney, A. R. 等. VLBI 仪器综述. arXiv:astro-ph/0412294.
  10. Clivati, C. 等. 光纤时频传递到 VLBI 台站. Astronomy & Astrophysics, 602, 2017.
  11. Kim, J. 等. 南极望远镜的 VLBI 接收系统. arXiv:1805.09346.
  12. Event Horizon Telescope Collaboration. 首张黑洞图像（第二篇：阵列与仪器）. ApJL, 875, 2019.
  13. Deller, A. T. 等. DiFX 软件相关器. PASP, 123, 2011.
  14. Steele v. Louisville & Nashville Railroad Co., 323 U.S. 192 (1944).
  15. Ford Motor Co. v. Huffman, 345 U.S. 330 (1953).
  16. Vaca v. Sipes, 386 U.S. 171 (1967).
  17. Air Line Pilots Ass’n v. O’Neill, 499 U.S. 65 (1991).
  18. 美国《国家劳动关系法》第 9(a) 条与第 8(b)(1)(A) 条.
  19. Gorman, R. A. 与 Finkin, M. W. Basic Text on Labor Law. 第二版.
  20. Becker, H. S. 艺术作为集体行动. American Sociological Review, 39(6), 1974.
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  22. Hutchins, E. Cognition in the Wild. MIT Press, 1995.
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  24. Chandy, K. M. 与 Lamport, L. 分布式系统的全局状态快照. ACM TOCS, 3(1), 1985.
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  26. Searle, J. R. 集体意向与行动. 载 Intentions in Communication, MIT Press, 1990.
  27. Bratman, M. E. 共享合作活动. The Philosophical Review, 101(2), 1992.
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  32. Small, C. Musicking. Wesleyan University Press, 1998.
  33. Hasty, C. Meter as Rhythm. Oxford University Press, 1997.
  34. Allmendinger, J., Hackman, J. R. 与 Lehman, E. V. 交响乐团的团队研究. Human Relations, 49(2), 1996.
  35. Murnighan, J. K. 与 Conlon, D. E. 弦乐四重奏的动力学. Administrative Science Quarterly, 36(2), 1991.
  36. Tononi, G. 整合信息理论. BMC Neuroscience, 5, 2004.
  37. Williams, P. L. 与 Beer, R. D. 多变量信息的非负分解. arXiv:1004.2515.
  38. Cover, T. M. 与 Thomas, J. A. Elements of Information Theory. 第二版, Wiley, 2006.
  39. Paninski, L. 熵与互信息的估计. Neural Computation, 15(6), 2003.
  40. Cuturi, M. 等. 条件熵估计中的样本量偏倚（综述性讨论）.
  41. Cuthbert, M. S. 与 Ariza, C. music21：计算机辅助音乐学工具集. ISMIR, 2010.
  42. Weber, M. Die rationalen und soziologischen Grundlagen der Musik. 1921.
  43. Faulkner, R. R. Hollywood Studio Musicians. Aldine, 1971.
  44. Goodman, N. Languages of Art. Bobbs-Merrill, 1968.
  45. Dodd, J. Works of Music: An Essay in Ontology. Oxford University Press, 2007.

第四章　跨载续生场

[1] Goehr, L. The Imaginary Museum of Musical Works. Oxford University Press, 1992.

[2] Blacking, J. How Musical Is Man? University of Washington Press, 1973.

[3] DeNora, T. Music in Everyday Life. Cambridge University Press, 2000.

[4] Centers for Disease Control and Prevention. Principles of Epidemiology in Public Health Practice, 3rd ed., Lesson 1 §5 and Lesson 3 §2. CDC, 2012.

[5] Tsang, T. K., Wu, P., Lin, Y., Lau, E. H. Y., Leung, G. M., Cowling, B. J. Effect of changing case definitions for COVID-19 on the epidemic curve and transmission parameters in mainland China. The Lancet Public Health, 2020, 5: e289–e296. [https://doi.org/10.1016/S2468-2667(20)30089-X].

[6] Chow, A., Ho, H., Win, M. K., et al. Assessing sensitivity and specificity of surveillance case definitions for Zika virus disease. Emerging Infectious Diseases, 2017, 23(4): 677–679. [https://doi.org/10.3201/eid2304.161716].

[7] Morrison, C. N., Jacoby, S. F., Dong, B., Delgado, M. K., Wiebe, D. J. The unknown denominator problem in population studies of disease frequency. Spatial and Spatio-temporal Epidemiology, 2020, 35: 100361. [https://doi.org/10.1016/j.sste.2020.100361].

[8] Netea, M. G., Joosten, L. A. B., Latz, E., et al. Trained immunity: A program of innate immune memory in health and disease. Science, 2016, 352(6284): aaf1098. [https://doi.org/10.1126/science.aaf1098].

[9] Ifrim, D. C., Quintin, J., Joosten, L. A. B., et al. Trained immunity or tolerance: Opposing functional programs induced in human monocytes after engagement of various pattern recognition receptors. PNAS, 2014, 111(11): 4224–4229. [https://doi.org/10.1073/pnas.1322933111].

[10] Cirovic, B., de Bree, L. C. J., Groh, L., et al. BCG vaccination in humans elicits trained immunity via the hematopoietic progenitor compartment. Cell Host & Microbe, 2020, 28(2): 322–334.e5. [https://doi.org/10.1016/j.chom.2020.05.014].

[11] Bekkering, S., Blok, B. A., Joosten, L. A. B., Riksen, N. P., van Crevel, R., Netea, M. G. In vitro experimental model of trained innate immunity in human primary monocytes. Clinical and Vaccine Immunology, 2016, 23(12): 926–933. [https://doi.org/10.1128/CVI.00349-16].

[12] O’Farrell, A., et al. Stimulus-specific innate immune memory in human monocytes. bioRxiv preprint, 2025. [https://doi.org/10.1101/2025.01.22.634275].

[13] Lew, H. S., Bao, Y., Sadek, F., Main, J. A., Pujol, S., Sozen, M. A. An Experimental and Computational Study of Reinforced Concrete Assemblies under a Column Removal Scenario. NIST Technical Note 1720. National Institute of Standards and Technology, 2011.

[14] Bao, Y., Main, J. A., Lew, H. S. Alternative load path analysis of a prototype reinforced concrete frame building. In Structures Congress 2017. American Society of Civil Engineers, 2017. [https://doi.org/10.1061/9780784480397.020].

[15] Hanslick, E. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music. Trans. G. Payzant. Hackett, 1986 [1854].

[16] Meyer, L. B. Emotion and Meaning in Music. University of Chicago Press, 1956.

[17] Small, C. Musicking: The Meanings of Performing and Listening. Wesleyan University Press, 1998.

[18] Gibson, J. J. The Ecological Approach to Visual Perception. Houghton Mifflin, 1979.

[19] Tullberg, M. Affordances of musical instruments: Conceptual consideration. Frontiers in Psychology, 2022, 13: 974820. [https://doi.org/10.3389/fpsyg.2022.974820].

[20] Clarke, E. F. What does musicking afford? Ecological Psychology, 2024. [https://doi.org/10.1080/10407413.2024.2355894].

[21] Lerdahl, F., Jackendoff, R. A Generative Theory of Tonal Music. MIT Press, 1983.

[22] Cage, J. Silence: Lectures and Writings. Wesleyan University Press, 1961.

[23] Huron, D. Sweet Anticipation: Music and the Psychology of Expectation. MIT Press, 2006.

[24] Koelsch, S., Vuust, P., Friston, K. Predictive processes and the peculiar case of music. Trends in Cognitive Sciences, 2019, 23(1): 63–77. [https://doi.org/10.1016/j.tics.2018.10.006].

[25] Mas-Herrero, E., et al. Musical pleasure is shaped by the dynamics of expectation and uncertainty. PNAS, 2025, 122(29): e2500494122. [https://doi.org/10.1073/pnas.2500494122].

[26] Pressing, J. Improvisation: Methods and models. In Sloboda, J. A. (ed.), Generative Processes in Music. Oxford University Press, 1988, 129–178.

[27] Stover, C. Time, territorialization, and improvisational spaces. Music Theory Online, 2017, 23(1). [https://doi.org/10.30535/mto.23.1.6].

[28] Bertinetto, A. Paganini does not repeat: Musical improvisation and the type/token ontology. Teorema, 2012, 31(3): 105–126.

[29] Lumaca, M., Ravignani, A., Baggio, G. Music evolution in the laboratory: Cultural transmission meets neurophysiology. Frontiers in Neuroscience, 2018, 12: 246. [https://doi.org/10.3389/fnins.2018.00246].

[30] Jukedeck. Nottingham Dataset: Cleaned ABC files of 1,021 folk tunes. GitHub repository. [https://github.com/jukedeck/nottingham-dataset].

[31] Youngblood, M. Cultural transmission modes of music sampling traditions remain stable despite delocalization in the digital age. PLOS ONE, 2019, 14(2): e0211860. [https://doi.org/10.1371/journal.pone.0211860].

[32] Schiavio, A., Witek, M. A. G., Stupacher, J. The affective dynamics of joint music making. Frontiers in Psychology, 2024, 14: 1326773. [https://doi.org/10.3389/fpsyg.2023.1326773].

[33] Ryan, J., et al. Association and interruption in musical improvisation: Toward computational accounts of interaction. Frontiers in Robotics and AI, 2023. [https://doi.org/10.3389/frobt.2023.1126033].

第五章　自改听域

1. Hanslick, Eduard. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music. 1854; English trans. Geoffrey Payzant, 1986.

2. Merriam, Alan P. The Anthropology of Music. Evanston: Northwestern University Press, 1964.

3. Blacking, John. How Musical Is Man? Seattle: University of Washington Press, 1973/1974.

4. Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: University Press of New England/Wesleyan University Press, 1998.

5. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.

6. Schafer, R. Murray. The Tuning of the World. New York: Alfred A. Knopf, 1977.

7. Rehding, Alexander. “Eco-Musicology.” Journal of the Royal Musical Association 127(2), 2002: 305–320.

8. Allen, Aaron S. “Ecomusicology: Ecocriticism and Musicology.” Journal of the American Musicological Society 64(2), 2011: 391–394.

9. Allen, Aaron S., and Kevin Dawe, eds. Current Directions in Ecomusicology: Music, Culture, Nature. Routledge, 2015.

10. Harrison, Jack. “Music, Language, and Technology in More-Than-Human Sonic Cultures.” Journal of the Royal Musical Association 149(2), 2024/2025: 627–637. DOI: 10.1017/rma.2024.39.

11. Virant-Doberlet, Meta, Nataša Stritih-Peljhan, Alenka Žunič-Kosi, and Jernej Polajnar. “Functional Diversity of Vibrational Signaling Systems in Insects.” Annual Review of Entomology 68, 2023: 191–210. DOI: 10.1146/annurev-ento-120220-095459.

12. Virant-Doberlet, Meta, and Andrej Čokl. “Vibrational Communication in Insects.” Neotropical Entomology 33, 2004: 121–134.

13. Cocroft, Reginald B., and Rafael L. Rodríguez. “The Behavioral Ecology of Insect Vibrational Communication.” BioScience 55, 2005: 323–334.

14. Polajnar, Jernej, Martin Svenšek, and Andrej Čokl. “Resonance in Herbaceous Plant Stems as a Factor in Vibrational Communication of Pentatomid Bugs.” Journal of the Royal Society Interface 9, 2012: 1898–1907. DOI: 10.1098/rsif.2011.0770.

15. Hardin, Bobby O., and Vincent P. Drnevich. “Shear Modulus and Damping in Soils: Measurement and Parameter Effects.” Journal of the Soil Mechanics and Foundations Division, ASCE 98(SM6), 1972: 603–624. DOI: 10.1061/JSFEAQ.0001756.

16. Matzinger, Polly. “The Danger Model: A Renewed Sense of Self.” Science 296(5566), 2002: 301–305. DOI: 10.1126/science.1071059.

17. Pradeu, Thomas, and Edwin L. Cooper. “The Danger Theory: 20 Years Later.” Frontiers in Immunology 3, 2012: 287.

18. Pearce, Marcus T. “Statistical Learning and Probabilistic Prediction in Music Cognition: Mechanisms of Stylistic Enculturation.” Annals of the New York Academy of Sciences 1423(1), 2018: 378–395. DOI: 10.1111/nyas.13654.

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

20. Clarke, Eric F. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford University Press, 2005.

21. Leman, Marc. Embodied Music Cognition and Mediation Technology. Cambridge, MA: MIT Press, 2007.

22. Krueger, Joel. “Affordances and the Musically Extended Mind.” Frontiers in Psychology 4, 2014.

23. Margulis, Elizabeth Hellmuth. On Repeat: How Music Plays the Mind. Oxford University Press, 2014.

24. Eno, Brian, interview by Kevin Kelly. “Gossip Is Philosophy.” Wired, May 1995.

25. Schaffrath, Helmut. Essen Folksong Collection. Humdrum/CCARH digital corpus; public repository: ccarh/essen-folksong-collection.

26. Cage, John. 4′33″. 1952.

27. Devine, Kyle. “Decomposed: A Political Ecology of Music.” Popular Music 34, 2015.

28. Gilmurray, Jonathan. “Ecological Sound Art: Steps towards a New Field.” Organised Sound 22, 2017.

29. Matzinger, Polly. “Autoimmunity: Are We Asking the Right Question?” Frontiers in Immunology 13, 2022.

30. Strauß, Johannes, Nataša Stritih-Peljhan, Rachele Nieri, Meta Virant-Doberlet, and Valerio Mazzoni. “Communication by Substrate-Borne Mechanical Waves in Insects: From Basic to Applied Biotremology.” Advances in Insect Physiology, 2021.

第六章　声差续生

Blacking, J. (1973). How Musical Is Man? Seattle: University of Washington Press.

Born, G. (2005). On Musical Mediation: Ontology, Technology and Creativity. Twentieth-Century Music, 2(1), 7–36. https://doi.org/10.1017/S147857220500023X.

Clarke, E. F. (2005). Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford University Press.

de Zwart, F. J., Reus, B., Laporte, A. A. H., Sinha, V., & de Bruin, B. (2021). Metrical Oxidation States of 1,4-Diazadiene-Derived Ligands. Inorganic Chemistry, 60(5), 3274–3281. https://doi.org/10.1021/acs.inorgchem.0c03685.

Di Scipio, A. (2003). “Sound is the interface”: from interactive to ecosystemic signal processing. Organised Sound, 8(3), 269–277.

Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. MIT Press.

Large, E. W., & Jones, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, 106(1), 119–159. https://doi.org/10.1037/0033-295X.106.1.119.

Leman, M. (2007). Embodied Music Cognition and Mediation Technology. MIT Press.

Medlock, G. L., Carey, M. A., McDuffie, D. G., Mundy, M. B., Giallourou, N., Swann, J. R., Kolling, G. L., & Papin, J. A. (2018). Inferring Metabolic Mechanisms of Interaction within a Defined Gut Microbiota. Cell Systems, 7(3), 245–257.e7. https://doi.org/10.1016/j.cels.2018.08.003.

Nagae, M., Uenoyama, Y., Okamoto, S., Tsuchida, H., Ikegami, K., Goto, T., Majarune, S., Nakamura, S., Sanbo, M., Hirabayashi, M., Kobayashi, K., Inoue, N., & Tsukamura, H. (2021). Direct evidence that KNDy neurons maintain gonadotropin pulses and folliculogenesis as the GnRH pulse generator. Proceedings of the National Academy of Sciences, 118(5), e2009156118. https://doi.org/10.1073/pnas.2009156118.

Pontrelli, S., Szabo, R., Pollak, S., Schwartzman, J. A., Ledezma-Tejeida, D., Cordero, O. X., & Sauer, U. (2022). Metabolic cross-feeding structures the assembly of polysaccharide degrading communities. Science Advances, 8(8), eabk3076. https://doi.org/10.1126/sciadv.abk3076.

Small, C. (1998). Musicking: The Meanings of Performing and Listening. Wesleyan University Press.

Stern, E., Ruf-Zamojski, F., Zalepa-King, L., Pincas, H., Choi, S. G., Peskin, C. S., Hayot, F., Turgeon, J. L., & Sealfon, S. C. (2017). Modeling and high-throughput experimental data uncover the mechanisms underlying Fshb gene sensitivity to gonadotropin-releasing hormone pulse frequency. Journal of Biological Chemistry, 292(23), 9815–9829. https://doi.org/10.1074/jbc.M117.783886.

Stiefel, E. I., Waters, J. H., Billig, E., & Gray, H. B. (1965). The Myth of Nickel(III) and Nickel(IV) in Planar Complexes. Journal of the American Chemical Society, 87(13), 3016–3017. https://doi.org/10.1021/ja01091a047.

Vuust, P., & Witek, M. A. G. (2014). Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music. Frontiers in Psychology, 5, 1111. https://doi.org/10.3389/fpsyg.2014.01111.

Sapp, C. S. Bach 370 Four-Part Chorales in Humdrum format. Digital corpus used for the minimal falsification run; files chor001, chor002, chor003, chor004, chor005, chor010, chor020. Accessed 2026-08-16.

机械统计：正文主体中文字符数（不含中英文摘要、表格、附录与参考文献）约 20,248 字。

第七章　差异的有效期

Berkowitz, B., Dror, I., Hansen, S. K., & Scher, H. (2016). Measurements and models of reactive transport in geological media. Reviews of Geophysics, 54(4), 930–986.

Blacking, J. (1973). How Musical Is Man? Seattle: University of Washington Press.

Centers for Disease Control and Prevention. (2012). Principles of Epidemiology in Public Health Practice, Lesson 6: Investigating an Outbreak. Atlanta, GA: CDC.

Clarke, E. F. (2005). Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford: Oxford University Press.

Clayton, M. (2012). What is entrainment? Definition and applications in musical research. Empirical Musicology Review, 7(1–2), 49–56.

Cowdery, J. R. (1984). A fresh look at the concept of tune family. Ethnomusicology, 28(3), 495–504.

Eliot, T. S. (1919/1920). Tradition and the Individual Talent. In The Sacred Wood: Essays on Poetry and Criticism. London: Methuen.

Gal, A., & Kronauer, D. J. C. (2022). The emergence of a collective sensory response threshold in ant colonies. PNAS, 119(23), e2123076119.

Gordon, D. M. (2021). Movement, encounter rate, and collective behavior in ant colonies. Annals of the Entomological Society of America, 114(5), 541–546.

Hacking, I. (1995). The looping effects of human kinds. In D. Sperber et al. (Eds.), Causal Cognition. Oxford: Clarendon Press.

Hacking, I. (1999). The Social Construction of What? Cambridge, MA: Harvard University Press.

Hasty, C. (1997). Meter as Rhythm. New York: Oxford University Press.

Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press.

Jauss, H. R. (1970/1982). Literary History as a Challenge to Literary Theory. In Toward an Aesthetic of Reception (T. Bahti, Trans.). Minneapolis: University of Minnesota Press.

Kauffman, S. A. (2000). Investigations. New York: Oxford University Press.

Killin, A. (2016). Rethinking music’s status as adaptation versus technology. Ethnomusicology Forum, 25(2), 210–233.

Levinson, J. (1990). Music, Art, and Metaphysics. Ithaca, NY: Cornell University Press.

Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press.

Narmour, E. (1990). The Analysis and Cognition of Basic Melodic Structures. Chicago: University of Chicago Press.

Polifonia Project. (2024). folk_ngram_analysis: Tune family membership annotation for The Session corpus [Data and code repository].

Rogers, E. M. (2003). Diffusion of Innovations (5th ed.). New York: Free Press.

Rosati, D. P., Woolhouse, M. H., Bolker, B. M., & Earn, D. J. D. (2021). Modelling song popularity as a contagious process. Proceedings of the Royal Society A, 477, 20210457.

Sacks, H., Schegloff, E. A., & Jefferson, G. (1974). A simplest systematics for the organization of turn-taking for conversation. Language, 50(4), 696–735.

Savage, P. E., Passmore, S., Chiba, G., Currie, T. E., Suzuki, H., & Atkinson, Q. D. (2022). Sequence alignment of folk song melodies reveals cross-cultural regularities of musical evolution. Current Biology, 32(6), 1395–1402.e8.

Sawyer, R. K. (2003). Group Creativity: Music, Theater, Collaboration. Mahwah, NJ: Lawrence Erlbaum.

Seigneur, N., Mayer, K. U., & Steefel, C. I. (2019). Reactive transport in evolving porous media. Reviews in Mineralogy and Geochemistry, 85(1), 197–238.

Small, C. (1998). Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.

Theraulaz, G., Bonabeau, E., & Deneubourg, J.-L. (1998). Response threshold reinforcements and division of labour in insect societies. Proceedings of the Royal Society B, 265, 327–332.

Ulrich, Y., Kawakatsu, M., Tokita, C. K., Saragosti, J., Chandra, V., Tarnita, C. E., & Kronauer, D. J. C. (2021). Response thresholds alone cannot explain empirical patterns of division of labor in social insects. PLOS Biology, 19(6), e3001269.

van der Schyff, D., & Schiavio, A. (2017). Evolutionary musicology meets embodied cognition. Frontiers in Neuroscience, 11, 519.

van Kranenburg, P., Volk, A., & Wiering, F. (2013). A comparison between global and local features for computational classification of folk song melodies. Journal of New Music Research, 42(1), 1–18.

Weitz, M. (1956). The role of theory in aesthetics. The Journal of Aesthetics and Art Criticism, 15(1), 27–35.

Wittgenstein, L. (1953). Philosophical Investigations (G. E. M. Anscombe, Trans.). Oxford: Blackwell.

第八章　灌注半径

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  8. Snyder, B. (2000). Music and Memory: An Introduction. MIT Press.
  9. Miller, G. A. (1956). The magical number seven, plus or minus two. Psychological Review 63(2): 81–97.
  10. Lerdahl, F. & Jackendoff, R. (1983). A Generative Theory of Tonal Music. MIT Press.
  11. Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press.
  12. Margulis, E. H. (2014). On Repeat: How Music Plays the Mind. Oxford University Press.
  13. Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. MIT Press.
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  17. Pearce, M. T., & Wiggins, G. A. (2012). Auditory expectation: The information dynamics of music perception and cognition. Topics in Cognitive Science 4(4): 625–652. DOI 10.1111/j.1756-8765.2012.01214.x.
  18. Paulus, J., Müller, M., & Klapuri, A. (2010). Audio-based music structure analysis. Proceedings of the 11th International Society for Music Information Retrieval Conference: 625–636.
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  22. 数据说明：当前稿仅报告“某公开传统曲调数据仓库 tunes.json（55,019 条记谱，去重后 23,201 首）”；仓库身份、版本与固定链接待按三十之一节补齐。
  23. 复核材料说明：原稿称有 prereg_p1.md、p1_run.json 与脚本，但当前 Word 文件未提供可访问仓库、commit、环境与校验值；在复核闸门通过前，不宣称第三方可独立复算。

第九章　退占体

  1. Blacking, J. (1973). How Musical Is Man? University of Washington Press.
  2. Bregman, A. S. (1990). Auditory Scene Analysis. MIT Press.
  3. Brouns, J. E. P., & Dankers, P. Y. W. (2021). Regulation of Extracellular Matrix Remodeling by Cell–Matrix Interactions. Biomacromolecules, 22(1), 4–23.
  4. Cage, J. (1961). Silence: Lectures and Writings. Wesleyan University Press.
  5. Calverley, P. M. A., & Koulouris, N. G. (2005). Flow Limitation and Dynamic Hyperinflation. European Respiratory Journal, 25(1), 186–199.
  6. Conklin, D., & Witten, I. H. (1995). Multiple Viewpoint Systems for Music Prediction. Journal of New Music Research, 24(1), 51–73.
  7. Cowan, N. (2001). The magical number 4 in short-term memory. Behavioral and Brain Sciences, 24(1), 87–114.
  8. Cuthbert, M. S., & Ariza, C. (2010). music21: A Toolkit for Computer-Aided Musicology and Symbolic Music Data. Proceedings of ISMIR 2010, 637–642.
  9. Hanslick, E. (1986). On the Musically Beautiful (G. Payzant, Trans.). Hackett. (Original 1854).
  10. Hashimoto, T., Stedinger, J. R., & Loucks, D. P. (1982). Reliability, Resiliency, and Vulnerability Criteria. Water Resources Research, 18(1), 14–20.
  11. Hegel, G. W. F. (1975). Aesthetics: Lectures on Fine Art (T. M. Knox, Trans.). Clarendon Press.
  12. Huron, D. (2006). Sweet Anticipation. MIT Press.
  13. Husserl, E. (1991). On the Phenomenology of the Consciousness of Internal Time (J. B. Brough, Trans.). Kluwer.
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  18. Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press.
  19. Miller, G. A. (1956). The magical number seven, plus or minus two. Psychological Review, 63(2), 81–97.
  20. Moore, B. C. J. (2012). An Introduction to the Psychology of Hearing (6th ed.). Emerald.（前向掩蔽与信息掩蔽）
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第十章　接出序

  1. Bailes, F. (2010). Dynamic melodic connectivity in music imagery. Musicae Scientiae, 14(2 suppl), 91–112.
  2. Blacking, J. (1973). How Musical Is Man? University of Washington Press.
  3. Born, G. (2010). For a relational musicology: Music and interdisciplinarity, beyond the practice turn. Journal of the Royal Musical Association, 135(2), 205–243.
  4. Brandes, U. (2001). A faster algorithm for betweenness centrality. Journal of Mathematical Sociology, 25(2), 163–177.
  5. Cage, J. (1961). Silence: Lectures and Writings. Wesleyan University Press.
  6. Clarke, E. F. (2005). Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford University Press.
  7. Crossley, N. (2022). From musicking to music worlds: On Christopher Small’s important innovation. Music Research Annual, 3, 1–24.
  8. Dahl, A. (2019). Constraints on conventions: Resolving two puzzles of conventionality. Cognition, 190, 50–58.
  9. DeNora, T. (2000). Music in Everyday Life. Cambridge University Press.
  10. Garfinkel, H. (1967). Studies in Ethnomethodology. Prentice-Hall.
  11. Goehr, L. (1992). The Imaginary Museum of Musical Works. Oxford University Press.
  12. Hanslick, E. (1854/1986). On the Musically Beautiful. Hackett.
  13. Hasty, C. F. (1997). Meter as Rhythm. Oxford University Press.
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  23. Langer, S. K. (1942). Philosophy in a New Key. Harvard University Press.
  24. Lerdahl, F., & Jackendoff, R. (1983/1996). A Generative Theory of Tonal Music. MIT Press.
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  26. Merriam, A. P. (1964). The Anthropology of Music. Northwestern University Press.
  27. Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press.
  28. Meyer, L. B. (1989). Style and Music: Theory, History, and Ideology. University of Pennsylvania Press.
  29. Narmour, E. (1990). The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model. University of Chicago Press.
  30. Narmour, E. (1992). The Analysis and Cognition of Melodic Complexity. University of Chicago Press.
  31. Pearce, M. T., & Wiggins, G. A. (2012). Auditory expectation: The information dynamics of music perception and cognition. Topics in Cognitive Science, 4(4), 625–652.
  32. Rohrmeier, M., & Koelsch, S. (2012). Predictive information processing in music cognition: A critical review. International Journal of Psychophysiology, 83(2), 164–175.
  33. Sacks, H., Schegloff, E. A., & Jefferson, G. (1974). A simplest systematics for the organization of turn-taking for conversation. Language, 50(4), 696–735.
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  35. Sawyer, R. K. (1996). The semiotics of improvisation: The pragmatics of musical and verbal performance. Semiotica, 108(3–4), 269–306.
  36. Sawyer, R. K. (1999). The emergence of creativity. Philosophical Psychology, 12(4), 447–469.
  37. Sawyer, R. K. (2003). Group Creativity: Music, Theater, Collaboration. Lawrence Erlbaum.
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