E. Glenn Schellenberg. (2005). Music and Cognitive Abilities. University of Toronto. Current Directions in Psychological Science, 14(6), 317-320.

Sima H. Anvari, Laurel J. Trainor, Jennifer Woodside, and Betty Ann Levy. (2002). Relations among musical skills, phonological processing, and early reading ability in preschool children. McMaster University, J. Experimental Child Psychology 83, 111–130.

Research Music Bibliography.

John Bispham. (2006). Rhythm in Music: What is it? Who has it? And why? University of Cambridge. Rhythm in Music 125-134.

Douglas Eck and Sophie K. Scott. (2005) New Research in Rhythm Perception and Production. University of Montreal , University College London. Music Perception, 22(3), 365–369.

Eveline Geiser (1, 2), Esther Ziegler (1, 3), Lutz Jancke (1) and Martin Meyer (1). (2009). Early electrophysiological correlates of meter and rhythm processing in music perception. (1)
University Zurich, (2) Massachusetts Institute of Technology, (3) Institute for Behavioral Sciences, Swiss Federal Institute of Technology, Zurich, Switzerland. Coretx 45, 93-102.

Fabien Gouyon (1), Gerhard Widmer (2), Xavier Serra (3), and Arthur Flexer (4). (2006). Acoustic Cues to Beat Induction: A Machine Learning Perspective. (1) Austrian Research Institute for Artificial Intelligence, (2) Johannes Kepler University, (3) Pompeu Fabra University, (4) Institute ofMedical Cybernetics and Artificial Intelligence,Center for Brain Research,Medical University Vienna. Acoustic Cues to Beat Induction, 177-187.

Manon Grube and Timothy D. Griffiths. (2009). Metricality-enhanced temporal encoding and the subjective perception of rhythmic sequences. Newcastle University. Coretx 45, 72-79.

Michael D. Hall and Dawn G. Blasko. (2005).Attentional Interference in Judgments of Musical Timbre: Individual Differences in Working Memory. University of Nevada, The Pennsylvania State University at Erie. The Journal of General Psychology, 132(1), 94–112.

Edward W. Large, Philip Fink and J.A. Scott Kelso. (2002) Tracking simple and complex sequences. Florida Atlantic University. Psychological Researc 66, 3-17.

Jacques Larue. (2005). Initial Learning of Timing in Combined Serial Movements and a No-Movement Situation. Université de Basse-Normandie. Music Perception, 22(3), 509 –530.

Daniel J. Levitin and Vinod Menon. (2005). The Neural Locus of Temporal Structure and Expectancies in Music: Evidence From Functional Neuroimaging At 3 Tesla. McGill University, Stanford University School of Medicine. Music Perception, 22(3), 563–575.

Geoff Luck and Petri Toiviainen. (2006). Ensemble Musicians' Synchronzation with Conductors' Gestures: An Automated Feature-Extraction Analysis. University of Jyväskylä. Ensemble Musicians’Synchronization, 189-199.

Guy Madison. (2006). Experiencing Groove Induced by Music: Consistency and Phenomenology. Umeå University. Experiencing Groove Induced by Music, 201-208.

Bjorn H. Merker (1), Guy S. Madison (2) and Patricia Eckerdal (3). (2009). On the role and origin of isochrony in human rhythmic entrainment. (1) Gamla Kyrkv, (2) Umea University, (3) Uppsala University Hospital, Uppsala, Sweden. Coretx 45, 4-17.

Ryota Miyauchi and Yoshitaka Nakajima. (2006). Bilateral Assimilation of Two Neighboring Empty Time Intervals. Kyushu Institute of Design, Kyushu University. Music Perception, 22(3), 411–424.

Christine Neuhaus and Thoma R. Knosche. (2006). Processing of Rhythmic and Melodic Gestalts- An ERP Study. Max Planck Institute for Human Cognitive and Brain Sciences,Leipzig,Germany. Processing ofRhythmic and Melodic Gestalts 209- 222.

Katie Overy and Robert Turner. The rhythmic brain. (2009). University of Edinburgh, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany. Coretx 45, 1-3.

Katie Overy (1), Roderick I. Nicolson (1), Angela J. Fawcett (1), and Eric F. Clarke (2). (2003). Dyslexia and Music: Measuring Musical Timing Skills. (1) Department of Psychology, University of Sheffield, (2) Department of Music, University of Sheffield, UK. Dyslexia, 9, 18–36.

CarolinePalmer. (1997). Music Performance. The Ohio State University. Annual Revue Psychology,48, 115–38 .

Aniruddh D. Patel. (2006). Musical, Rhythm, Linguistic Rhythm, and Human Evolution. The Neurosciences Institute. Musical Rhythm and Evolution, 99-103.

Amandine Penel (1, 2) and Maririess Jones (1). (2005). Speeded Detection of a Tone Embedded in a Quasi-isochronous Sequence: Effects of a Task-Irrelevant Temporal Irregularity. (1)The Ohio State University & (2) Cold Spring Harbor Laboratory Music Perception, 22(3), 371–388.

Isabelle Peretz and Robert J. Zatorre. (2005). Brain Organization for Music Processing. University of Montreal, McGill University. Annual Revue Psychology, 56, 89–114.

Douglas D. Potter (1), Maggi Fenwick (1), Donna Abecasis (2) and Renaud Brochard (3). (2009). Perceiving rhythm where none exists: Event-related potential (ERP) correlates of subjective accenting
(1) University of Dundee, UK, (2)Universite Rene Descartes, (3) Universite de Bourgogne. Coretx 45, 103-109.

Marc Pouliot and Simon Grondin. (2005). A Response-Time Approach for Estimating Sensitivity to Auditory Tempo Changes. Université Laval, Québec, Canada. Music Perception, 22 (3), 389–399.

Brunoh Repp and Rebecca Doggett. (2007). Tapping to a Very Slow Beat: A comparison of Musicians. Haskins Laboratories, Yale University.Tapping to a Very Slow Beat, 365- 376.

Bruno H. Repp. (2008). Multiple temporal references in sensorimotor synchronization with metrical auditory sequences. Haskins Laboratories. Psychological Research, 72, 79–98.

Dirk Moelants and Leon Noorden. (2005). The Influence of Pitch Interval on the Perception of Polyrhythms. Ghent University. Music Perception, 22(3), 425–440.

Joel Snyder (1, 2), Erine Hannon (3), Edward W. Large (4), and Mortenh Christiansen (5). Synchronization and Continuation: Tapping to Complex Meters. (1) VA Boston Healthcare System, (2) Harvard Medical School, (3) Harvard University, (4) Florida Atlantic University, (5) Cornell University. Tapping to Complex Meters, 135-145.

Marijtje L.A. Jongsma (1, 2), Esther Meeuwissen (3), Piet G. Vos (4), Roald Maes (2). (2007). Rhythm perception: Speeding up or slowing down affects different subcomponents of the ERP P3 complex. (1) University of Twente, (2) NICI/Department of Biological Psychology, Radboud University Nijmegen, (3) F.C. Donders Centre for Cognitive Neuroimaging, Radboud University Nijmegen, (4) NICI/ Division of Perception and Human Performance, Radboud University Nijmegen. The Biological Psychology, 5865, 1-10.

Sandra E. Trehub and Erin E. Hannon. (2009). Conventional rhythms enhance infants’ and adults’ perception of musical patterns. University of Toronto, University of Nevada. Coretx 45, 110-118.

L.van Noorden and D.Moelants. (2006). Papers from the 10 Rhythm Perception and Production Workshop. University of California. Music Perception 24(2), 123–124.

Peter Vuust (1, 2), Leif Ostergaard (1), Karen Johanne Pallesen (1, 3) Christopher Bailey (1, 3, 4) and Andreas Roepstorff (1, 5). (2009). Predictive coding of music – Brain responses to rhythmic incongruity. (1) Centre of Functionally Integrative Neuroscience, University of Aarhus, (2) Royal Academy of Music, Aarhus, (3) Helsinki University Central Hospital, Finland, (4) Aarhus University Hospital, (5) Institute of Anthropology, Linguistics and Archaeology, University of Aarhus. Coretx 45, 80-92.

Patrick C M Wong (1, 2), Erika Skoe (1, 5), Nicole M Russo (1, 2, 5), Tasha Dees (1) & Nina Kraus (1, 2, 3, 4). (2007). Musical experience shapes human brainstem encoding of linguistic pitch patterns. (1) The Roxelyn and Richard Pepper Department of Communication Sciences and Disorders, (2)Northwestern University Interdepartmental Neuroscience Program, (3) Department of Neurobiology and Physiology, (4) Department of Otolaryngology, Northwestern University. Nature: Neuroscience, Brief Communications, 1-3.

Thodore P. Zanto, Edward W. Large, Armi N. Fuchus, and J. A. Scott Kelso. (2005). Gamma-Band Responses to Perturbed Auditory Sequences: Evidence for Synchronization of Perceptual Processes. Florida Atlantic University. Music Perception, 22(3), 531–547.