1. A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychology and Cultural Cues;Music Perception,1999
2. Music and Emotion: Theory and Research, ed. Patrik Juslin and John Sloboda (Oxford, 2001).
3. Observe that relationships (whether or not they are zygonic) which link different values use half-arrowheads (in contradistinction to full arrowheads, which are indicative of identity). Note also that some arrowheads are open and some are filled – the former showing a link between single values, and the latter indicating a compound connection within or between ‘constants’ (typically, values extended in time) – implying a network of relationships the same. For fuller explanations, see Ockelford, The Cognition of Order in Music.
4. A fuller discussion of key issues in zygonic theory, including what counts as sameness and similarity, and how these interact with the notions of salience, categorization and derivation, is to be found elsewhere. See Ockelford, ‘On Similarity, Derivation, and the Cognition of Musical Structure’.
5. Robert Gjerdingen, ‘An Experimental Music Theory?‘, Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford, 1999), 161–70 (p. 166).