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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. (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.

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.

Russo, F. a., Cuddy, L. L., Galembo, A., & Thompson, W. F. (2007). Sensitivity to Tonality Across the Piano Range. Psychology Publications and Research, 11.

Saintilan, N. (2008). in Search of the Inner Voice. a Qualitative Exploration of the Internalised Use of Aural, Visual, Kinaesthetic, And Other Imagery in the Perception and Performance of Music.

Salamon, J. J. (2008). Chroma-Based Predominant Melody and Bass Line Extraction From Music Audio Signals (Doctoral Dissertation, Universitat Pompeu Fabra Barcelona, Spain).

Samson, S. (2003). Neuropsychological Studies of Musical Timbre. Annals of the New York Academy of Sciences, 999(1), 144-151.

Sanchez, D. J., & Reber, P. J. (2013). Explicit Pre-training Instruction Does Not Improve Implicit Perceptual-motor Sequence Learning. Cognition, 126(3), 341-351.

Santiago, P. F. (2006). A integração da prática deliberada e da prática informal no aprendizado da música instrumental. Per musi, 13, 52-62.

Scheirer, E. D. (1998) Music Perception Systems. a Proposal for a Ph.D. Dissertation

Schenker, C. (2003). Artistic Research (2003 09-05-25)

Schmuckler, m. a., & Tomovski, r. (2005). Perceptual Tests of an Algorithm for Musical Key-finding. Journal of Experimental Psychology Human Perception and Performance, 31(5), 1124.

Schroeder, D. (2002). Four Approaches to Jazz Improvisation Instruction. Philosophy of Music Education Review, 10(1), 36-40.

Schubert, E., & Stevens, C. (2006). the Effect of Implied Harmony, Contour and Musical Expertise on Judgments of Similarity of Familiar Melodies. Journal of New Music Research, 35(2), 161-174.

Schürmann, M., Raij, T., Fujiki, N., & Hari, R. (2002). Mind's ear in a musician- Where and when in the brain. Neuroimage, 16(2), 434-440.

Shenoy, A., & Wang, Y. (2005). Key, Chord, And Rhythm Tracking of Popular Music Recordings. Computer Music Journal, 29(3), 75-86.

Sherriff, B. N. (2011). Exploring Everyday Musical Imagery. an Experience-sampling Study (Doctoral Dissertation).

Shifres, F. La Educación Auditiva y la formación de los músicos.

Sisley, B. a. (2008). a Comparative Study of Approaches to Teaching Melodic Dictation (Doctoral Dissertation, Kent State University).

Skull, C. (2011). Sustained Excellence- Toward a Model of Factors Sustaining Elite Performance in Opera.

Sloboda, J. a. (2000). Individual Differences in Music Performance. Trends in Cognitive Sciences, 4(10), 397-403.

Smit, C. (2011). Characterization of the Singing Voice From Polyphonic Recordings (Doctoral Dissertation, COLUMBIA UNIVERSITY)

Smith, H., & Dean, R. T. (2009). Practice-Led Research, Research-led Practice in the Creative Arts. Edinburgh University Press.

Smith, J. D., Wilson, M., & Reisberg, D. (1995). the Role of Subvocalization in Auditory Imagery. Neuropsychologia, 33(11), 1433-1454.

Spigins, j. Tradition as the Basis of Creativity in the Aspect of a Problem of Training Contemporary Improvisers. in Music Pedagogy, 33.

Steinke, W. R., Cuddy, L. L., & Holden, R. R. (1997). Dissociation of Musical Tonality and Pitch Memory From Nonmusical Cognitive Abilities. Canadian Journal of Experimental Psychology, 51(4), 316-335.

Steinke, W. R., Cuddy, L. L., & Jakobson, L. S. (2001). Dissociations Among Functional Subsystems Governing Melody Recognition After Right-hemisphere Damage. Cognitive Neuropsychology, 18(5), 411-437.

Stevens, C. (1997). New Orleans to Bop and Beyond- A Comprehensive Jazz Instructional Programme for Secondary Level Students (Doctoral Dissertation, Concordia University).

Stock, A., & Stock, C. (2004). a Short History of Ideo-motor Action. Psychological Research, 68(2-3), 176-188.

Streich, S. (2007). Music Complexity. a Multi-faceted Description of Audio Content. Universitat Pompeu Fabra.

Stringham, D. a. (2010). Improvisation and Composition in a High School Instrumental Music Curriculum (Doctoral Dissertation, University of Rochester).

Sullivan, G. (2009). Making Space. the Purpose and Place of Practice-led Research. Practice-Led Research, Research-led Practice in the Creative Arts, 41-65.

Tandberg, S. E. (2008). Imagination, Form, Movement and Sound-Studies in Musical Improvisation ArtMonitor, Diss.

Temperley, D. (1997). an Algorithm for Harmonic Analysis. Music Perception, 31-68.

Temperley, D. (2005). a Bayesian Key-finding Model. MIREX Extended Abstract.