Common use of North Clause in Contracts

North. The functions of music in everyday life: Rede ning the social in music psychology. Psychology of Music, 27(1):71 83, 1999. [8] ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. The social psychology of music / edited by ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. Oxford University Press, 1997. [9] ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇, and ▇. ▇▇▇▇▇. Cortical activation patterns during complex motor tasks in piano players and control subjects. A functional magnetic resonance imaging study. Neuroscience Letters, 278(0304-3940 SB - IM):189 193, January 2000. [10] ▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇▇▇. Cognitive foundations of musical pitch. Oxford University Press, New York, 1990. [11] ▇. ▇▇▇▇▇-▇▇▇▇▇▇▇▇▇. The changing sound of music: Approaches to studying recorded musical performance, 2009. [12] ▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. Why do we listen to music? A uses and grati cations analysis. British journal of psychology (London, England : 1953), 102(1):108 134, February 2011. [13] ▇▇▇▇▇ ▇. ▇▇▇▇▇, ▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇▇▇▇▇▇, ▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇ ▇▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇-▇▇▇▇▇▇, and ▇▇▇▇▇ ▇▇▇▇▇ ▇▇▇▇. Using music technology in music therapy with populations across the life span in medical and educational programs. Music and Medicine, 3(3):146 153, 2011. [14] A. C. North, ▇. ▇. ▇▇▇▇▇▇▇▇▇▇, and ▇. ▇. ▇'▇▇▇▇▇. The importance of music to adolescents. British Journal of Educational Psychology, 70 ( Pt 2)(2):255 272, 2000. [15] ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇. Frontal brain electrical activity (EEG) distinguishes valence and intensity of musical emotions. Cognition & Emotion, 15(4):487 500, 2001. [16] ▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇. ▇▇▇▇▇, and ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇. English and American Adolescents' Reasons for Listening to Music. Psychology of Music, 28(2):166 173, October 2000. [17] ▇▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇ ▇ ▇▇▇▇, and ▇▇▇▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇. When the brain plays music: auditory-motor interactions in music perception and production. Nature Reviews Neuroscience, 8(7):547 558, 2007. 2 Technological perspective

North. The functions of music in everyday life: Rede ning the social in music psychology. Psychology of Music, 27(1):71 83, 1999. [8] ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. The social psychology of music / edited by ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. Oxford University Press, 1997. [9] ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇, ▇. ▇▇▇▇▇▇▇, and ▇. ▇▇▇▇▇. Cortical activation patterns during complex motor tasks in piano players and control subjects. A functional magnetic resonance imaging study. Neuroscience Letters, 278(0304-3940 SB - IM):189 193, January 2000. [10] ▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇▇▇. Cognitive foundations of musical pitch. Oxford University Press, New York, 1990. [11] ▇. ▇▇▇▇▇ ▇▇▇▇▇-▇▇▇▇▇▇▇▇▇. The changing sound Changing Sound of musicMusic: Approaches to studying recorded musical performanceStudying Recorded Musical Performance. CHARM: London, ▇▇▇▇://▇▇▇.▇▇▇▇▇.▇▇▇.▇▇.▇▇/studies/chapters/intro.html (Accessed 11/04/2012), 2009. [12] ▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇. Why do we listen to music? A uses and grati cations analysis. British journal of psychology (London, England : 1953), 102(1):108 134, February 2011. [13] ▇▇▇▇▇ ▇. ▇▇▇▇▇, ▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇▇▇▇▇▇, ▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇ ▇▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇, ▇▇▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇-▇▇▇▇▇▇, and ▇▇▇▇▇ ▇▇▇▇▇ ▇▇▇▇. Using music technology in music therapy with populations across the life span in medical and educational programs. Music and Medicine, 3(3):146 153, 2011. [14] A. C. North, ▇. ▇. ▇▇▇▇▇▇▇▇▇▇, and ▇. ▇. ▇'▇▇▇▇▇. The importance of music to adolescents. British Journal of Educational Psychology, 70 ( (Pt 2)(2):255 272, 2000. [15] ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇ and ▇▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇. Frontal brain electrical activity (EEG) distinguishes valence and intensity of musical emotions. Cognition & Emotion, 15(4):487 500, 2001. [16] ▇▇▇▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇▇ ▇. ▇▇▇▇▇, and ▇▇▇▇▇ ▇. ▇▇▇▇▇▇▇▇▇▇. English and American Adolescents' Reasons for Listening to Music. Psychology of Music, 28(2):166 173, October 2000. [17] ▇▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇, ▇▇▇▇▇ ▇ ▇▇▇▇, and ▇▇▇▇▇▇▇▇ ▇ ▇▇▇▇▇▇▇. When the brain plays music: auditory-motor interactions in music perception and production. Nature Reviews Neuroscience, 8(7):547 558, 2007. 2 Technological perspective