Ayres, Barbara. 1973. "Effects of infant carrying practices on rhythm in music." Ethos 1/4:387-404.

Cohen, Dalia, Roni Granot, Hillel Pratt, and Anat Barnea. 1993. "Cognitive meanings of musical elements as disclosed by event-related potential (ERP) and verbal experiments." Music Perception 11/2:153-184.

Western vs Arab 11-23 yr olds.

Darrow, Alice-Ann, Paul Haack, and Fumio Kuribayashi. 1987. "Descriptors and preferences for Eastern and Western musics by Japanese and American nonmusic majors." Journal of Research in Music Education 35/4:237-248.

Dowling, W. Jay, and Dane L. Harwood. 1986. Music Cognition. Academic Press Series in Cognition and Perception, San Diego, CA: Academic Press.
ML3838.D731 1986 MUSI.

Du, Shanshan. 1995. "The aesthetic axis in the construction of emotions and decisions: Love-pact suicide among the Lahu Na of southwest China," Social perspectives on emotion, v. 3, editors Michael G. Flaherty, and Carolyn Ellis, 199-221. Greenwich, CT: Jai Press, Inc.

Eibl-Eibesfeldt, Irenaeus. 1989. Human ethology. xv, 848 pp. Foundations of human behavior, Hawthorne, NY: Aldine De Gruyter.

Gregory, Andrew H., and Nicholas Varney. 1996. "Cross-cultural comparisons in the affective response to music." Psychology of Music 24/1:47-52.

Hargreaves, David J., Kate C. Castell, and Robert D. Crowther. 1986. "The effects of stimulus familiarity on conservation-type responses to tone sequences: A cross-cultural study." Journal of Research in Music Education 34/2:88-100.

familiar vs unfamiliar tone sequences, performance on pitch transposition & rhythmic inversion music conservation tasks, 6 vs 8 yr olds, US vs UK.

Hatta, Takeshi, and Stuart J. Dimond. 1984. "Differences in face touching by Japanese and British people." Neuropsychologia 22/4:531-534.

Cross-cultural differences in face-touching found. One of the three conditions was listening to music. Authors interpret findings as evidence of cross-cultural differences in cerebral functioning.

Hinde, R. A. 1975. "The comparative study of non-verbal communication," in The Body as a Medium of Expression J. Benthall, and T. Polhemus. New York, NY: Dutton.

Hinde uses ethological data to illuminate issues in human communication. He suggests that investigating animal behavior allows us to study non-verbal communication without the added complexity of verbal language. Hinde makes three distinctions between "expression" and "communication". First, communication affects the behavior of others, but expression does not. Second, communication is intentional and directed towards affecting the behavior of others, whereas expression is not. Third, communicative behaviors have been selected, are an evolutionary adaption, and are employed by all members of a species, whereas this may not be true of expressive behaviors. Hinde acknowledges that there is a continuum between communication and expression, and that some behaviors do not fit neatly into one category or another (music not mentioned specifically, but makes an interesting example). Whether communication is learned or genetically determined receives some discussion. Hinde realizes the difficulty in resolving this issue, but provides an example from the development of the song of the chaffinch (referenced in Blacking, 1992). Chaffinches must hear the normal song prior to the time they produce the song themselves; they will learn songs with an altered structure, but they will not learn chaffinch songs performed on an organ or birdsongs of other species. These results point to a complex interaction between genetics and the environment over a period of time; chaffinches (and other species, presumably) are not tabulae rasae. Finally, Hinde asks, "how are expressive behaviors used by humans?" He suggests that the primary emotions (happiness, sadness, anger, surprise, disgust, and fear (Ekman and Friesen, 1971), common to all cultures, are not learned and develop in a fixed way so that development progresses similarly in all cultures despite differences in experience. However, the same emotional state in different cultures may be expressed differently because of learning (ex.: eyebrow raising, commonly used as a greeting, is considered indecent in Japan and is suppressed.). Hinde also speculates on the phylogenetic development of laughter and smiling as suggested by expressive displays of chimpanzees and monkeys.
Rosalee Meyer.

Igaga, J. M., and J. Title Source . Vol 6(1), 1978, 61-64. Abstract Versey. 1978. "Cultural differences in rhythmic performance." Psychology of Music 6/1:61-64.

Rhythmic Performance Test. Ugandan vs. English 10-15 yr olds.

Kalekin-Fishman, Devorah. 1986. "Music and not-music in kindergartens." Journal of Research in Music Education 34/1:54-68.

classification of varieties of music making, kindergartners, implications for social & cultural determinants of concept of music, Israel vs West Germany.

Keefe, Douglas H., Edward M. Burns, and Phong Nguyen. 1991. "Vietnamese Modal Scales of the Dan Tranh." Music Perception 8/4:449-468.

Lomax, Alan J. 1968. Folk Song Style and Culture. Publication No. 88. Washington, DC: American Association for the Advancement of Science.
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Maher, Timothy F. 1976. ""Need for resolution" ratings for harmonic musical intervals: A comparison between Indians and Canadians." Journal of Cross-Cultural Psychology 7/3: 259-276.

Reference to 1975 work with Jairazbhoy. Study of musical consonance.

Moore, Randall S., and Myra Staum. 1987. "Effects of age and nationality on auditory/visual sequential memory of English and American children." Bulletin of the Council for Research in Music Education 91:126-131.

British vs. American, 5-7 yr olds.

Moreno, Joseph. 1988. "Multicultural music therapy: The world music connection." Journal of Music Therapy 25/1:17-27.

Moreno, Joseph J. 1995. "Ethnomusic therapy: An interdisciplinary approach to music and healing." Arts in Psychotherapy 22/4:329-338.

Rogers, Richard A. 1998. "A dialogics of rhythm: Dance and the performance of cultural conflict." Acta Neurobiologiae Experimentalis 9/1:5-27.

Postmodern analysis of black/white race conflict as manifested in dance style?

Rothbaum, Fred, and Bill Yuk-Piu Tsang. 1998. "Lovesongs in the United States and China: On the nature of romantic love." Journal of Cross-Cultural Psychology 29/2:306-319.

Rothbaum, Fred, and Xiaofang Xu. 1995. "The theme of giving back to parents in Chinese and American songs." Journal of Cross-Cultural Psychology 26/6:698-713.

Schellenberg, E. Glenn. 1996. "Expectancy in melody: Tests of the implication-realization model." Cognition 58/1:75-125.

Used both American and Chinese subjects.

Trehub, Sandra E., and Anna M. Unyk. 1991. "Music prototypes in developmental perspective." Psychomusicology 10/2:73-87.

Discusses the utility of the notion of natural prototypes in the domain of music.

Trehub, Sandra E., Anna M. Unyk, and Laurel J. Trainor. 1993. "Adults identify infant-directed music across cultures." Infant Behavior & Development 16/2:193-211.

Playing pairs of excerpts from different cultures, asked adults to identify the lullaby in each pair.

Trehub, Sandra E., Anna M. Unky, and Laurel J. Trainor. 1993. "Maternal singing in cross-cultural perspective." Infant Behavior & Development 16/3:285-295.

identification of mother singing to infant vs singing alone in English vs Hindi, 18-49 yr old native speakers of English vs Hindi, North America vs India.

Unyk, Anna M., Sandra E. Trehub, Laurel J. Trainor, and E. Glenn Schellenberg. 1992. "Lullabies and simplicity: A cross-cultural perspective." Psychology of Music 20/1:15-28.

Subjects judged lullabies from different cultures to be simpler than comparison songs. Complexity judgments seemed not to correlate with structural complexity of the music, but with similarity to prosody of infant speech.