Часть I. Музыка в начале жизни
Глава 1. Первые шаги в музыке
1. Ruthsatz, J., Ruthsatz, K., and Stephens, K.R. (2013), ‘Putting practice into perspective: Child prodigies as evidence of innate talent’, I n t e lli g e n c e, http://dx.doi.org/10.1016/j.intell.2013.08.003.
2. Pujol, R., Laville-Rebillard, M., and Lenoir, M. (1998), ‘Development of sensory neural structures in the Mammalian cochlea’, in: E.W. Rubel, A.N. Popper and R.R. Fay (eds.), Development of the auditory system. New York: Springer Handbook of Auditory Research (pp. 146– 193). Springer-Verlag.
3. Abrams, R.M., et al. (1998), ‘Fetal music perception: The role of sound transmission’, Music Perception, 15, 307–317.
4. Smith, S.L., et al. (2003), ‘Intelligibility of sentences recorded from the uterus of a pregnant ewe and from the fetal inner ear’, Audiology and Neuro-Otology, 8, 347–353.
5. Draganova, R., et al. (2007), ‘Serial magnetoencephalographic study of fetal newborn auditory discriminative evoked responses’, Early Human Development, 83 (3), 199–207.
6. Richards, D.S., et al. (1992), ‘Sound levels in the human uterus’,
Obstetrics & Gynecology, 80 (2), 186–90.
7. Ando, Y., and Hattori, H. (1977), ‘Effects of noise on sleep of babies’, Journal of the Acoustical Society of America, 62, 199–204.
8. Granier-Deferre, C., et al. (2011), ‘A Melodic Contour Repeatedly Experienced by Human Near-Term Fetuses Elicits a Profound Cardiac Reaction One Month after Birth’, PLOS ONE, 6 (2): e17304.
9. James, W. (1890), The Principles of Psychology. Cambridge, MA: Harvard University Press (1981).
10.Winkler, I., et al. (2009), ‘Newborn infants detect the beat in music’, Proceedings of the National Academy of Sciences USA, 106
(7):2468–2471; информацию и стимулы можно найти по адресу: http://www.mcg.uva.nl/newborns/.
11.Bull, D., Eilers, R.E., and Oller, D.K. (1985), ‘Infants’ discrimination of final syllable fundamental frequency in multisyllabic stimuli’, Journal of the Acoustical Society of America, 77 (1), 289–295.
12.Nazzi, T., Floccia, C., and Bertoncini, J. (1998), ‘Discrimination of pitch contours by neonates’, Infant Behavior and Development, 21 (4), 779–784.
13.Mampe, B., Friederici, A., Christophe, A., and Wermke, K. (2009), ‘Newborns’ Cry Melody Is Shaped by Their Native Language’, Current Biology, 19 (23), 1994–1997.
14.Falk, D. (2004), ‘Prelinguistic evolution in early hominins: Whence motherese?’, Behavioral and Brain Sciences, 27, 491–541.
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15.Cooper, R.P., and Aslin, R.N. (1990), ‘Preference for infant-directed speech in the first month after birth’, Child Development, 61 (5), 1584– 1595.
16.Werker, J.F., and McLeod, P.J. (1989), ‘Infant preference for both male and female infant-directed talk: A developmental study of attentional affective responsiveness’, Canadian Journal of Psychology, 43 (2), 230–246.
17.Masataka, N. (2003), The onset of language. Cambridge: Cambridge University Press.
18.Boukydis, C.F., and Burgess, R.L. (1982), ‘Adult Physiological Response to Infant Cries: Effects of Temperament of Infant, Parental Status, and Gender’, Child Development, 53 (5), 1291–1298. Swain, J.E., Lorberbaum, J.P., Kose, S., and Strathearn, L. (2007), ‘Brain basis of early parent-infant interactions: psychology, physiology, and in vivo functional neuroimaging studies’, Journal of Child Psychology and Psychiatry, 48 (3–4), 262–287.
19.Werker, J.F., and McLeod, P.J. (1989), ‘Infant preference for both male and female infant-directed talk: A developmental study of
attentional affective responsiveness’, Canadian Journal of Psychology, 43 (2), 230–246.
20.Trainor, L.J., Austin, C.M., and Desjardins, R.N. (2000), ‘Is infant directed speech prosody a result of the vocal expression of emotion?’, Psychological Science, 11 (3), 188–195.
21.Kuhl, P.K., et al. (1997), ‘Cross-language analysis of phonetic units in language addressed to infants’, Science, 277 (5326), 684–686.
22.Burnham, D.K., Vollmer-Conna, U., and Kitamura, C. (2000), ‘Talking to infants, pets, and adults: What’s the difference?’, paper presented at the XIIth Biennial International Conference on Infant Studies, Brighton, UK.
23.Trainor, L.J., and Desjardins, R.N. (2002), ‘Pitch characteristics of infant-directed speech affect infants’ ability to discriminate vowels’, Psychonomic Bulletin and Review, 9, 335–340.
24.Kitamura, C., and Lam, C. (2009), ‘Age-specific preferences for affective intent’, Infancy, 14, 77–100.
25.Sakkalou, E., and Gattis, M. (2012), ‘Infants infer intentions from prosody’, Cognitive Development, 27 (1), 1–16.
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26.Pinker, S. (1994), The Language Instinct: How the Mind Creates Language. New York: HarperCollins.
Глава 2. Музыка в детстве
1. Эта фраза относится к использованию данного термина в научной литературе и не подразумевает ссылки на охраняемый авторским правом термин The Mozart Effect®, copyright Don Campbell.
2. Rauscher, F.H., Shaw, G.L., and Ky, K.N. (1993), ‘Music and spatial task performance’, Nature, 365, 611.
3. Rauscher, F.H., Shaw, G.L., and Ky, K.N. (1995), ‘Listening to Mozart enhances spatial-temporal reasoning: Towards a neurophysiological basis’, Neuroscience Letters, 185 (1), 44–47.
4. Rauscher, F.H., and Shaw, G.L. (1998), ‘Key components of the Mozart Effect’, Perceptual and Motor Skills, 86 (3), 835–841.
5. Nantais, K.M., and Schellenberg, E.G. (1999), ‘The Mozart Effect: An Artifact of Preference’, Psychological Science, 10 (4), 370–373.
6. Schellenberg, E.G. (2012), ‘Cognitive performance after music listening: A review of the Mozart effect’, in R.A.R. MacDonald, G. Kreutz and L. Mitchell (eds.), Music, Health and Wellbeing (pp. 324– 338). Oxford: Oxford University Press.
7. Husain, G., Thompson, W.F., and Schellenberg, E.G. (2002), ‘Effects of Musical Tempo and Mode on Arousal, Mood and Spatial Abilities’, Music Perception, 20 (2), 151–171.
8. Steele, K.M., Bass, K.E., and Crook, M.D. (1999), ‘The Mystery of the Mozart Effect: Failure to Replicate’, Psychological Science, 10 (4), 366– 369.
9. Chabris, C.F. (1999), ‘Prelude or requiem for the “Mozart effect”?’,
Nature, 400, 826–827.
10.Schellenberg, E.G. (2012), ‘Cognitive performance after music listening: A review of the Mozart effect’, in R.A.R. MacDonald, G. Kreutz, and L. Mitchell (eds.), Music, health and wellbeing (pp. 324– 338). Oxford: Oxford University Press.
11.Brandler, S., and Rammsayer, T.H. (2003), ‘Differences in Mental Abilities between Musicians and Non-musicians’, Psychology of Music, 31 (2), 123–138.
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12. Schellenberg, E.G. (2004), ‘Music lessons enhance IQ’,
Psychological Science, 15 (8), 511–514.
13.Schellenberg, E.G. (2006), ‘Long-term positive associations between music lessons and IQ’, Journal of Educational Psychology, 98, 457–468.
14.Weiss, M.W., and Schellenberg, E.G. (2011), ‘Augmenting cognition with music’, in I. Segev and H. Markram (eds.), Augmenting cognition (pp. 103–125). Lausanne, Switzerland: EPFL Press.
15.Trainor, L.J., Shahin, A., and Roberts, L.E. (2003), ‘Effects of musical training on the auditory cortex in children’, Annals of the New York Academy of Sciences, 999, 506–513. Shahin, A., et al. (2008), ‘Music training leads to the development of timbre-specific gamma band activity’, NeuroImage, 41 (1), 113–122.
16.Krumhansl, C.L. (1990), Cognitive foundations of musical pitch. New York: Oxford University Press.
17.Strait, D., and Kraus, N. (2011), ‘Playing music for a smarter ear: Cognitive, perceptual and neurobiological evidence’, Music Perception, 29 (2), 133–146.
18.Strait, D.L., Parbery-Clark, A., Hittner, E., and Kraus, N. (2012), ‘Musical training during early childhood enhances the neural encoding of speech in noise’, Brain & Language, 123, 191–201.
19.Kraus, N., and Chandrasekaran, B. (2010), ‘Music training for the development of auditory skills’, Nature Reviews Neuroscience 11, 599– 605.
20.
http://www.soc.northwestern.edu/brainvolts/projects/music/music_vid
21.Parbery-Clark, A., et al. (2011), ‘Musical Experience and the Aging Auditory System: Implications for Cognitive Abilities and Hearing Speech in Noise’, PLOS ONE 6 (5): e18082. Kraus, N., Strait, D.L., and Parbery-Clark, A. (2012), ‘Cognitive factors shape brain networks for auditory skills: Spotlight on auditory working memory’, Annals of the New York Academy of Sciences, 1252, 100–107.
22.Moreno, S., and Besson, M. (2006), ‘Musical training and language- related brain electrical activity in children’, Psychophysiology, 43 (3), 287–291.
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23.Moreno, S., et al. (2009), ‘Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity’, Cerebral Cortex, 19 (3), 712–723.
24.Moreno, S., et al. (2009), ‘Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity’, Cerebral Cortex, 19 (3), 712–723: «Обучение музыке было основано на следующих аспектах: ритм — детей учили воспроизводить и импровизировать ритмы при разных темпах и метрах;
мелодия — упражнения состояли из воспроизведения и импровизации мелодий, а также создания внутренних слуховых образов. Детей учили классифицировать мелодические рисунки и интервалы [то есть движение вверх и вниз; низкие, средние и высокие тоны; относительное чтение нот]; гармония — дети слушали гармонические последовательности вида I–IV–V–I, I–V– IV–I или I–IV–V–VI, которые их учили узнавать, различать и воспроизводить; тембр — распознавание тембров различных инструментов и голосов; форма — дети слушали классическую музыку и мелодии для детей».
25.Anvari, S.H., Trainor, L.J., Woodside, J., and Levy, B.A. (2002), ‘Relations among musical skills, phonological processing, and early reading ability in preschool children’, Journal of Experimental Child Psychology, 83 (2), 111–130.
26.Strait D.L., Hornickel, J., Kraus, N. (2011), ‘Subcortical processing of speech regularities predicts reading and music aptitude in
children’, Behavioral and Brain Functions, 7, 44.
27.Hallam, S. (2010), ‘The power of music: Its impact on the intellectual, social and personal development of children and young people’, International Journal of Music Education, 28 (3), 269–289.
28.Sloboda, J.A., and Howe, M.J.A. (1992), ‘Transitions in the early musical careers of able young musicians: choosing instruments and teachers’, Journal of Research in Music Education, 40 (4), 283–294.
29.Sosniak, L.A. (1985), ‘Learning to be a concert pianist’, in B.S. Bloom (ed.), Developing talent in young people (pp. 19–67). New York: Ballantine.
30.Sloboda, J.A., and Howe, M.J.A. (1991), ‘Biographical precursors of musical excellence: An interview study’, Psychology of Music, 19 (1), 3–21.
31.Davidson, J.W., et al. (1998), ‘Characteristics of Music Teachers and the Progress of Young Instrumentalists’, Journal of Research in Music Education, 46 (1) 141–160.
32.Davidson, J.W., et al. (1998), ‘Characteristics of Music Teachers and the Progress of Young Instrumentalists’, Journal of Research in Music Education, 46 (1) 141–160.
33.Austin, J., Renwick, J., and McPherson, G.E. (2006), ‘Developing motivation’, in G.E. McPherson (ed.), The child as musician: A handbook of musical development (pp. 213–238). Oxford: Oxford University Press.
34.Hallam, S. (1998), Instrumental Teaching: a practical guide to better teaching and learning. Oxford: Heinemann.
35.Ericsson, K.A., Krampe, R.T., and Tesch-Römer, C. (1993), ‘The Role of Deliberate Practice in the Acquisition of Expert Performance’, Psychological Review, 100 (3), 363–406.
36.Marcus, G. (2012), Guitar Zero: The New Musicians and the Science of Learning. London: Penguin Press.
37.McPherson, G.E., and Renwick, J. (2011), ‘Self-regulation and mastery of musical skills’, in B. Zimmerman and D. Schunk (eds.), Handbook of self-regulation of learning and performance. New York: Routledge.
38.McPherson, G.E. (2005), ‘From child to musician: Skill development during the beginning stages of learning an instrument’, Psychology of Music, 33 (1), 5–35.
39.Sloboda, J.A., and Davidson, J.W. (1996), ‘The young performing musician’, in I. Deliège and J.A. Sloboda (eds.), Musical Beginnings: Origins and development of musical competence (pp. 171–190). Oxford: Oxford University Press.
40.Pitts, S., and Davidson, J. (2000), ‘Developing effective practice strategies: Case studies of three young instrumentalists’, Music Education Research, 2 (1), 45–56.
41.Pitts, S., and Davidson, J. (2000), ‘Developing effective practice strategies: Case studies of three young instrumentalists’, Music Education Research, 2 (1), 45–56.
42.Sloboda, J.A., Davidson, J.W., Howe, M.J.A., and Moore, D.G. (1996), ‘The role of practice in the development of performing musicians’, British Journal of Psychology, 87, 287–309.
43.Trainor, L.J., et al. (2012), ‘Becoming musically enculturated: effects of music classes for infants on brain and behavior’, Annals of the New York Academy of Sciences, 1252, 129–138.
44.Hannon, E.E., and Trainor, L.J. (2007), ‘Music acquisition: Effects of enculturation and formal training on development’, Trends in Cognitive Sciences, 11 (11), 466–472. Bigand, E., and Poulin- Charronnat, B. (2006), ‘Are we “experienced listeners“? A review of the musical capacities that do not depend on formal musical training’, Cognition, 100 (1), 100–130. Trainor, L.J., and Trehub, S.E. (1994), ‘Key membership and implied harmony in Western tonal music: Developmental perspectives’, Perception and Psychophysics, 56 (2), 125–132.
Глава 3. Музыка в подростковые годы
1. Вы поймете, что я подразумеваю, если смотрели фильм
«Отпетые мошенники» с Майклом Кейном и Стивом Мартином в главных ролях. Хороший фильм.
2. Bonneville-Roussy, A., Rentfrow, P.J., Xu, M.K., and Potter, J. (2013), ‘Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood’, Journal of Personality and Social Psychology, 105 (4), 703–717.
3. Juslin, P.N., et al. (2008), ‘An experience sampling study of emotional reactions to music: Listener, music, and situation’, Emotion, 8 (5), 668–683.
4. DeNora, T. (1999), ‘Music as a technology of the self’, Poetics, 27, 31–56. DeNora, T. (2000), Music in everyday life. Cambridge: Cambridge University Press.
5. Gabrielsson, A. (transl. R. Bradbury) (2011), Strong experiences with music. Oxford: Oxford University Press.
6. North, A.C., Hargreaves, D.J., and Hargreaves, J.J. (2004), ‘Uses of music in everyday life’, Music Perception, 22 (1), 41–77. North, A.C., and Hargreaves, D.J. (2009), ‘The power of music’, The Psychologist, 22 (2), 1012–1015.
7. Allen, R., Walsh, R., and Zangwell, N. (2013), ‘The same, only different: what can responses to music in autism tell us about the nature of musical emotions?’, Frontiers in Psychology, 4, 156.
8. Juslin, P., and Västfjäll, D. (2008), ‘Emotional responses to music: The need to consider underlying mechanisms’, Behavioral and Brain Sciences, 31 (5), 559–575.
9. Juslin, P.N., and Laukka, P. (2003), ‘Communication of emotion in vocal expression and music performance: Different channels, same code?’, Psychological Bulletin, 129 (5), 770–814.
10.Lerdahl, F., and Jackendoff, R. (1983), A generative theory of tonal music. Cambridge, MA: MIT Press.
11.Salimpoor, V.N., et al. (2011), ‘Anatomically distinct dopamine release during anticipation and experience of peak emotion to music’, Nature Neuroscience, 14, 257–262.
12. Davies, J.B. (1978), The Psychology of Music. London: Hutchinson.
13.North, A.C., Hargreaves, D.J., and O’Neill, S.A. (2000), ‘The importance of music to adolescents’, British Journal of Educational Psychology, 70, 255–272.
14.Krause, A.E., North, A.C., and Hewitt, L.Y. (2013), ‘Music listening in everyday life: Devices and choice’. Psychology of Music, DOI: 10.1177/0305735613496860.
15.Schwartz, K.D., and Fouts, G.T (2003), ‘Music preferences, personality style and developmental issues of adolescents’, Journal of Youth and Adolescence, 32 (3), 205–213.
16.Lonsdale, A.J., and North, A.C. (2011), ‘Why do we listen to music? A uses & gratifications analysis’, British Journal of Psychology, 102 (1), 108–134.
17.Mullis, R.L., and Chapman, P. (2000), ‘Age, gender, and self-esteem differences in adolescent coping style’, Journal of Social Psychology, 140 (4), 539–541.
18.Saarikallio, S. (2007), ‘Music as mood regulation in adolescence’, Ph.D. dissertation, University of Jyväskylä, Jyväskylä, Finland. Saarikallio, S., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.
19.Miranda, D., and Claes, M. (2009), ‘Music listening, coping, peer affiliation and depression in adolescence’, Psychology of Music, 37 (2), 215–233.
20.Raviv, A., Bar-Tal, D., Raviv, A., and Ben-Horin, A. (1996), ‘Adolescent idolization of pop singers: Causes, expressions, and
reliance’, Journal of Youth and Adolescence, 25 (5), 631–650. Saarikallio, A., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.
21.Saarikallio, S., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.
22.North, A.C., and Hargreaves, D.J. (2003), ‘Is music important? Two common misconceptions’, The Psychologist, 16 (8), 406–410.
23.Статья Associated Press от 1957 г., полученная по адресу: http://quoteinvestigator.com/2012/07/13/rock-degenerate/ (загружена 3 сентября 2012 г.).
24.Maguire, E.R., and Snipes, J.B. (1994), ‘Reassessing the link between country music and suicide’, Social Forces, 72 (4), 1239–1243. Mulder, J., et al. (2007), ‘Music Taste Groups and Problem Behavior’, Journal of Youth and Adolescence, 36 (3), 313–324.
25.Bleich, S., Zillmann, D., and Weaver, J. (1991), ‘Enjoyment and consumption of defiant rock music as a function of adolescent rebelliousness’, Journal of Broadcasting and Electronic Media, 35 (3), 351–366. Hansen, C.H., and Hansen, R.D. (1990), ‘Rock music videos and antisocial behavior’, Basic and Applied Social Psychology, 11 (4), 357–369. Johnson, J.D., Jackson, L.A., and Gatto, L. (1995), “Violent attitudes and deferred academic aspiration: Deleterious effects of exposure to rap music’, Basic and Applied Social Psychology, 16 (1–2), 27–41.
26.Anderson, C.A., et al. (2003), ‘The influence of media violence on youth’, Psychological Science in the Public Interest, 4 (3), 81–110.
27.Martin, G., Clarke, M., and Pearce, C. (1993), ‘Adolescent suicide: Music preference as an indicator of vulnerability’, Journal of the American Academy of Child and Adolescent Psychiatry, 32 (3), 530–535.
28.Hansen, C.H., and Hansen, R.D. (1990), ‘Rock music videos and antisocial behavior’, Basic and Applied Social Psychology, 11 (4), 357–
369. Johnson, J.D., Jackson, L.A., and Gatto, L. (1995), “Violent
attitudes and deferred academic aspirations: Deleterious effects of exposure to rap music’, Basic and Applied Social Psychology, 16 (1–2), 27–41. Kalof, L. (1999), ‘The effects of gender and music video imagery on sexual attitudes’, Journal of Social Psychology, 139 (3), 378–385.
29.Anderson, C.A., Carnagey, N.L., and Eubanks, J. (2003), ‘Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings’, Journal of Personality and Social Psychology, 84 (5), 960–971.
30.North, A.C., and Hargreaves, D.J. (2005), ‘Brief report: Labelling effects on the perceived deleterious consequences of pop music listening’, Journal of Adolescence, 28 (3), 433–440.
31.Fischer, P., and Greitemeyer, T. (2006), ‘Music and aggression. The impact of sexual-aggressive song lyrics on aggression-related thoughts, emotions and behavior toward the same and the opposite sex’, Personality and Social Psychology Bulletin, 32 (9), 1165–1176.
32.MacDonald, R.A.R., Hargreaves, D.J., and Miell, D. (eds.), Musical identities. Oxford: Oxford University Press.
33. O’Neill, S.A. (2002), ‘The self-identity of young musicians’, in
R.A.R. MacDonald, D.J. Hargreaves and D. Miell (eds.), Musical identities (pp. 79–96). Oxford: Oxford University Press.
34.Rentfrow, P.J. (2012), ‘The role of music in everyday life: Current directions in the social psychology of music’, Social and Personality Psychology, 6 (5), 402–416.
35.Rentfrow, P.J., and Gosling, S.D. (2003), ‘The do re mi’s of everyday life: the structure and personality correlates of music preferences’, Journal of Personality and Social Psychology, 84 (6), 1236–1256.
36.Tarrant, M., North, A.C., and Hargreaves, D.J. (2000), ‘English and American adolescents’ reasons for listening to music’, Psychology of Music, 28 (2), 166–173.
37.Tekman, H.G., and Hortaçsu, N. (2002), ‘Aspects of stylistic knowledge: What are different styles like and why do we listen to them?’, Psychology of Music, 30 (1), 28–47.
38.Berger, J., and Heath, C. (2008), ‘Who Drives Divergence? Identity- Signaling, Outgroup Dissimilarity, and the Abandonment of Cultural Tastes’, Journal of Personality and Social Psychology, 95 (3), 593–607.
39.Tarrant, M., North, A.C., and Hargreaves, D.J. (2001), ‘Social categorisation, self-esteem, and the estimated musical preferences of male adolescents’, Journal of Social Psychology, 141 (5), 565–581.
40. Zillmann, D., and Gan, S. (1997), ‘Musical taste in adolescence’, in
D.J. Hargreaves, and A. North (eds.), The social psychology of music
(pp. 161–187). Oxford: Oxford University Press.
41.Knobloch, S., Vorderer, P., and Zillmann, D. (2000), ‘The impact of music preferences on the perception of potential friends in adolescence’, Zeitschrift für Sozialpsychologie, 31, 18–30.
42.Rodríguez-Bailón, R., Ruiz, J., and Moya, M. (2009), ‘The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People’, Group Processes Intergroup Relations, 12 (3) 381–396.
43.Holbrook, M.B., and Schindler, R.M. (1989), ‘Some exploratory findings on the development of musical tastes’, Journal of Consumer Research, 16, 119–124.
44.Gabrielsson, A. (transl. R. Bradbury) (2011), Strong Experiences with Music. Oxford: Oxford University Press.
45.Rentfrow, P.J. (2012), ‘The role of music in everyday life: Current directions in the social psychology of music’, Social and Personality Psychology, 6 (5), 402–416.
46.Salimpoor, V.N., et al. (2011), ‘Anatomically distinct dopamine release during anticipation and experience of peak emotion to music’, Nature Neuroscience, 14, 257–262.
47.Janata, P., Tomic, S.T., and Rakowski, S.K. (2007), ‘Characterisation of music-evoked autobiographical memories’, Memory, 15, 845–860.
48.Janata, P. (2009), ‘The neural architecture of music-evoked autobiographical memories’, Cerebral Cortex, 19 (11), 2579–2594.
49.(Sittin’ on) the Dock of the Bay («Сидя на причале в заливе») — Отис Реддинг, Across the Universe («Через Вселенную») — Beatles, Bachata Rosa («Розовая бачата») — Хуан Луис Герра, Mr Tambourine Man («Мистер с тамбурином») — The Byrds, Piece of my Heart («Кусочек моего сердца») — Big Brother and the Holding Company (солирует Дженис Джоплин). Bachata Rosa явно выбивается из этого ряда.
50.The Moors («Вересковая пустошь») — Weather Report, If You Want Me To Stay («Если ты хочешь, чтобы я остался») — Слай Стоун, Concrete Jungle («Бетонные джунгли») — Wailers, September Gurls («Девушки сентября») — Big Star Алекса Чилтона, Be My Baby («Будь моим любимым») — The Ronettes, Every Day («Каждый день») — Бадди Холли.
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