John Bispham
www.johnbispham.com
Publications:
• Bispham, J.C. (2022). Music, Evolution and the Experience of Time. Invited Chapter Submission for ‘Oxford Handbook of Time in Music’ (Oxford University Press).
• Bispham, J.C. (2018). Music’s Evolutionary “Design Features”. Thesis submitted (02/2018) in recognition of PhD in Biological Anthropology, University of Cambridge.
• Bispham, J.C. (in preparation). Music’s Evolutionary “Design Features” – A Precis. To be submitted to Behavioural Brain Sciences (CUP).
• Bispham, J.C. (2012). How musical is Man – An evolutionary perspective. Chapter in “Sound Musicianship: Understanding the Crafts of Music. - 1/7 Meaningful Music Making for Life”. Cambridge Scholars Publishing.
• Bispham, J. C. (2010). Modelisation de la musique - motivation, pulsation et tonalites musicales. In 'Musique et Evolution' Eds. Deliege, I., Vitouch, O.
• Bispham. J.C. (2009) – Music’s “design features”: Musical motivation, musical pulse, and musical pitch. Musicae Scientiae, special issue: music and evolution.
• Cross, I., Bispham, J., Himberg, T. &Swaine, J. (unpublished) – Evolution and Musical Rhythm. Submitted to Evolutionary Anthropology.
• Bispham, J.C. (2007) – Music as socio-affective confluential communication? Response to 'a commentary on Bispham’ (2006). Music Perception, 25;2
• Bispham. J.C. (2006) - Rhythm in Music: What is it? Who has it? And Why? Journal of Music Perception, special issue on rhythm perception and performance, 24;2, 125-134.
• Bispham, J.C. (2006) - Music means nothing if we don’t know what it means - lead review of ‘The Singing Neanderthals’ by S. Mithen. Journal of Human Evolution, 50, 587-593.
• Bispham, J.C. (2004) – Bridging the Gaps – Music as a Biocultural Phenonmenon. Commentary on ‘In time with the music: The concept of entrainment and its significance for ethnomusicology’ by Clayton, M., Sager, R., & Will, U. ESEM Counterpoint 1.
• Bispham, J.C. (2003) – Interpersonal Musical Entrainment: An Evolutionary Perspective. Thesis submitted in partial recognition of MPhil in Music Psychology, University of Cambridge.
Address: www.johnbispham.com
Publications:
• Bispham, J.C. (2022). Music, Evolution and the Experience of Time. Invited Chapter Submission for ‘Oxford Handbook of Time in Music’ (Oxford University Press).
• Bispham, J.C. (2018). Music’s Evolutionary “Design Features”. Thesis submitted (02/2018) in recognition of PhD in Biological Anthropology, University of Cambridge.
• Bispham, J.C. (in preparation). Music’s Evolutionary “Design Features” – A Precis. To be submitted to Behavioural Brain Sciences (CUP).
• Bispham, J.C. (2012). How musical is Man – An evolutionary perspective. Chapter in “Sound Musicianship: Understanding the Crafts of Music. - 1/7 Meaningful Music Making for Life”. Cambridge Scholars Publishing.
• Bispham, J. C. (2010). Modelisation de la musique - motivation, pulsation et tonalites musicales. In 'Musique et Evolution' Eds. Deliege, I., Vitouch, O.
• Bispham. J.C. (2009) – Music’s “design features”: Musical motivation, musical pulse, and musical pitch. Musicae Scientiae, special issue: music and evolution.
• Cross, I., Bispham, J., Himberg, T. &Swaine, J. (unpublished) – Evolution and Musical Rhythm. Submitted to Evolutionary Anthropology.
• Bispham, J.C. (2007) – Music as socio-affective confluential communication? Response to 'a commentary on Bispham’ (2006). Music Perception, 25;2
• Bispham. J.C. (2006) - Rhythm in Music: What is it? Who has it? And Why? Journal of Music Perception, special issue on rhythm perception and performance, 24;2, 125-134.
• Bispham, J.C. (2006) - Music means nothing if we don’t know what it means - lead review of ‘The Singing Neanderthals’ by S. Mithen. Journal of Human Evolution, 50, 587-593.
• Bispham, J.C. (2004) – Bridging the Gaps – Music as a Biocultural Phenonmenon. Commentary on ‘In time with the music: The concept of entrainment and its significance for ethnomusicology’ by Clayton, M., Sager, R., & Will, U. ESEM Counterpoint 1.
• Bispham, J.C. (2003) – Interpersonal Musical Entrainment: An Evolutionary Perspective. Thesis submitted in partial recognition of MPhil in Music Psychology, University of Cambridge.
Address: www.johnbispham.com
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