Platel, H., Baron, J. C., Desgranges, B., Bernard, F., & Eustache, F. (2003). Semantic and Episodic Memory of Music Are Subserved by Distinct Neural Networks. Neuroimage, 20(1), 244-256.
Platt, J. R., & Racine, R. J. (1994). Detection of Implied Harmony Changes in Triadic Melodies. Music Perception, 243-264.
Poulin-Charronnat, B., Bigand, E., & Madurell, F. (2005). the Influence of Voice Leading on Harmonic Priming. Music Perception, 22(4), 613-627.
Poulin-Charronnat, B., Bigand, E., Lalitte, P., Madurell, F., Vieillard, S., & McAdams, S. (2004). Effects of a Change in Instrumentation on the Recognition of Musical Materials. Music Perception, 22(2), 239-263.
Povel, D. J. (2002). a Model for the Perception of Tonal Melodies. in Music and Artificial Intelligence (Pp. 144-154). Springer Berlin Heidelberg.
Povel, D. J. (2010). Melody Generator- A Device for Algorithmic Music Construction. Journal of Software Engineering & Applications, 3, 683-695.
Pressing, J. (1988). Improvisation- Methods and Models. John a. Sloboda (Hg.)- Generative Processes in Music, Oxford, 129-178.
Pressing, J. (1998). CHAPTER Two Psychological Constraints on Improvisational Expertise and Communication. the Course of Performance. Studies in the World of Musical Improvisation, 47-67
Reitan, I. E. (2009). Students’ attitudes to aural training in an academy of music. Innhold Contents, 207.
Repp, B. H. (1992). a Review of Carol L. Krumhansl's Cognitive Foundations of Musical Pitch. DOCUMENT RESUME ED 352 694 CS 508 026, 277.
Repp, B. H. (2001). Expressive timing in the mind’s ear. Musical Imagery, 185-200.
Reybrouck, M. (2001). Musical Imagery Between Sensory Processing and Ideomotor Simulation. Musical Imagery, 117-136.
Ribeiro-pereira, m. Prolegomena to a Theory of Modulatory Space in Music.
Memory Processes in the Acquisition of Expert Performance- The KP AM Model.
Rodrigues, H. (1998). Pequena crónica sobre notas de rodapé na educação musical
Rohrmeier, M. (2007). Modelling Dynamics of Key Induction in Harmony Progressions. in Proceedings of the 4th Sound and Music Computing Conference (Pp. 82-89).
Rohwer, d. (2006). the Role of Self-efficacy and Modeling in Improvisation
Ronkainen, S., & Kuusi, T. (2009). the Keyboard as a Part of Visual, Auditory and Kinesthetic Processing in Sight-reading at the Piano.
Rosner, B. S., & Narmour, E. (1992). Harmonic Closure- Music Theory and Perception. Music Perception, 383-411.
Rush, M. a. (1989). an Experimental Investigation of the Effectiveness of Training on Absolute Pitch in Adult Musicians (Doctoral Dissertation, Ohio State University)
see moreThat's it!