MELODIC CONTOUR TYPOLOGY

[1] [Anonymous], 1928, J AM FOLKLORE, V41, P183

[2] BRANDEL R, 1962, ETHNOMUSICOLOGY, V6, P75

[3] BROWN CT, 1968, STUDENT MUSICOLOGIST, V3, P87

[4] Coker Jerry, 1964, IMPROVISING JAZZ

[5] Cole H., 1974, SOUNDS SIGNS ASPECTS

[6] COURVOISIER DM, 1957, THESIS INDIANA U

[7] DENSMORE F, 1918, 61 BUR AM ETHN B

[8] CONTOUR, INTERVAL, AND PITCH RECOGNITION IN MEMORY FOR MELODIES [J]. JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA, 1971, 49 (02) : 524 - &

[9] EDWARDS AC, 1956, ART MELODY

[10] Elschekova A., 1966, J INT FOLK MUSIC COU, V18, P56

[1] [Anonymous], 1928, J AM FOLKLORE, V41, P183

[2] BRANDEL R, 1962, ETHNOMUSICOLOGY, V6, P75

[3] BROWN CT, 1968, STUDENT MUSICOLOGIST, V3, P87

[4] Coker Jerry, 1964, IMPROVISING JAZZ

[5] Cole H., 1974, SOUNDS SIGNS ASPECTS

[6] COURVOISIER DM, 1957, THESIS INDIANA U

[7] DENSMORE F, 1918, 61 BUR AM ETHN B

[8] CONTOUR, INTERVAL, AND PITCH RECOGNITION IN MEMORY FOR MELODIES [J]. JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA, 1971, 49 (02) : 524 - &

[9] EDWARDS AC, 1956, ART MELODY

[10] Elschekova A., 1966, J INT FOLK MUSIC COU, V18, P56