For recent elaborations on music/dance see:

• Brown, Adrienne (2011), Mousiké: Musical Compositional Processes and American Modern Dance, Dance Notes: Dance Research Forum Ireland (Fóram Taighde Rince na hÉireann), Issue 2: 12-14.
• Cavia Naya, Victoria (2012), Nuevos horizontes para las artes escénicas en William Forsythe: del ballet Artifact (1984) a The The (1995), TRANS - Revista Transcultural de Música / Transcultural Music Review 16: 7, 1-34.
• Cohen, Annabel J. (2009), Music in Performance Arts: Film, Theatre, and Dance, ch. 41 in Slobada, John (ed.), The Role of Music in Everyday Life, pt. 9 in Hallam, Susan; Cross, Ian & Thaut, Michael (eds.), The Oxford Handbook of Music Psychology, Oxford University Press: 441-451.
• Damsholt, Inger (2006), Mark Morris, Mickey Mouse, and Choreomusical Polemic, Opera Quarterly 22(1): 4-21.
• García Malbrán, Eleonora (2011), Proyectos multimodales, ch. 8 in Giráldez, Andrea & Pimentel, Lucia (eds.), Educación artística, cultura y ciudadanía: De la teoría a la práctica, Madrid: Organización de Estados Iberoamericanos: 85-102.
• Jordan, Stephanie (2010), Listening to Dance ... with Our Bodies and Minds, Kinesthetic Empathy: Concepts and Contexts, peer-reviewed conference hosted by The Watching Dance Project.
• Jordan, Stephanie (2011), Choreomusical Conversations: Facing a Double Challenge, Dance Research Journal 43(1): 43-64.
• Mason, Paul H. (2012), Music, Dance and the Total Art Work: Choreomusicology in Theory and Practice, Research in Dance Education 13(1): 5-24.
• Pongracz, György (2008), Dance and Computer Technology.
• Prates, Eufrasio (2011), Música Holofractal em Cena: Experimentos de transdução semiótica de noções da física holonômica, teoria do caos e dos fractais no campo da improvisação performática, PhD thesis, Universidade de Brasília.
• Sinnott, Laura (2008), Mapping Strategies for the Augmented Tango Shoe, MM thesis, New York University.
• Vass-Rhee, Freya (2011), Audio-Visual Stress: Cognitive Approaches to the Perceptual Performativity of William Forsythe and Ensemble, PhD thesis, University of California at Riverside.
• Wilden, Sabine (2012), From Ear to Foot: How Intuitive Choreographers Interpret Music, MM thesis, University of New Mexico.

This webpage was last revised on July 30, 2013.

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