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Berentsen, N. (2016). Discantare Super Planum Cantum: New Approaches to Vocal Polyphonic Improvisation 1300–1470. (PhD Doctoral Thesis), Leiden: Leiden University.

 

Berger, A. M. B. (2005). Medieval Music and the Art of Memory. Berkeley: University of California Press.

 

Carruthers, M., Ziolkowski, J. M. (ed.) (2002). The Medieval Craft of Memory. Philadelphia: University of Pennsylvania Press.

 
Coleman, T. (2016). Polycyclic comprovisation. (Doctor of Musical Arts Thesis), University of Otago. https://www.academia.edu/33494030/POLYCYCLIC_COMPROVISATIONAccessed 23.02.2020
 
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Gundersen, J. (2017). An essay on the relation between Historically Informed Performance and Artistic Research. University of Bergen, the Grieg Academy – Department of Music. Available from https://www.researchcatalogue.net/profile/show-work?work=702001Accessed 23.02.2020.

 

Hayden, S., Windsor, L. (2007). Collaboration and the composer: Case studies from the end of the 20th Century. Tempo 61 (240). Cambridge: Cambridge University Press, p.28–39


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Joyce, J. (1992). Finnegans Wake. London: Penguin Books.
 
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Lakoff, G., Johnson, M. (1999). Philosophy in the Flesh: the Embodied Mind & its Challenge to Western Thought. New York: Basic Books.

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Fischer, K., Gallo, F. (Eds.) (1975) Polyphonic Music of the Fourteenth Century, vol. XII, Italian Sacred Music. Monaco: L´Oisaeu-Lyre, p.110–112


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Sciarrino S. (1976). 6 Caprices for Solo Violin. Milan: Ricordi

 

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Stern, D. (2010). Forms of Vitality: Exploring Dynamic Experience in Psychology, the Arts, Psychotherapy, and Development. Oxford: Oxford University Press.


Taylor, A. (2016). "Collaboration" in Contemporary Music: A Theoretical View. Contemporary Music Review, 35:6, Taylor and Francis online journal. p.562–578, available from https://doi.org/10.1080/07494467.2016.1288316


Walshe, J. (2016). The New Discipline. Bergen. Borealisfestival. https://www.borealisfestival.no/2019/the-new-discipline-4/Accessed 23.02.2020

 

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Accessed 23.02.2020