Edited Collections
Phillips-Silver, J., Stevens, C. J., & Toiviainen, P. (Eds.) (2014). Neuroentrainment: A body-centered framework for the neuroscience of affective and temporal entrainment in dance, music, and other forms of coordinated rhythmic movement. Research Topic, Frontiers in Human Neuroscience.
Stevens, C. J. (Ed.) (2014). Acoustics Australia, Special Issues on Auditory Perception: Speech and Music, Part 1 (9 articles), 42(2), August and Part 2 (3 articles) 42(3), December.
Dale, R., Burnham, D., & Stevens, C. J. (Eds.) (2011). Human communication science: A compendium. Sydney: The ARC Research Network in Human Communication Science.
Grove, R., Stevens, C., & McKechnie. S. (Eds.). (2005). Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance. Carlton: Melbourne University Press.
Stevens, C. J. (Ed.) (2014). Acoustics Australia, Special Issues on Auditory Perception: Speech and Music, Part 1 (9 articles), 42(2), August and Part 2 (3 articles) 42(3), December.
Dale, R., Burnham, D., & Stevens, C. J. (Eds.) (2011). Human communication science: A compendium. Sydney: The ARC Research Network in Human Communication Science.
Grove, R., Stevens, C., & McKechnie. S. (Eds.). (2005). Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance. Carlton: Melbourne University Press.
Book Chapters
deLahunta, S., Vincent, J. B., Old, E., Stewart, G., Leach, J., & Stevens, C. J. (2018). Exploring creative thought in choreography together: Process documentation with the Australian Dance Theatre. In E. Meehan & H. Blades (Eds.) Performing Process: Sharing Dance and Choreographic Practice (pp. 369-414). Bristol, UK/Chicago: Intellect Ltd.
Stevens, C. J. (2018). We dance what we remember: Memory in perceiving and performing contemporary dance. In B. Bissell & L. C. Haviland (Eds.) The Sentient Archive: Bodies, Performance and Memory (pp. 87-109). Middletown, CT.: Wesleyan University Press.
Stevens, C. J. (2017). Memory and dance: ‘Bodies of knowledge’ in contemporary dance. In P. Hansen and B. Blaesing (Eds.) Performing Psychologies: Performing the Remembered Present (pp. 39-68). Methuen.
Stevens, C. J. (2016). The Body in Mind: Response to Jackman, Utterback and Warburton. In Rhonda Blair & Amy Cook (Eds.) Theatre, Performance and Cognition: Languages, Bodies and Ecologies. London: Bloomsbury Methuen Drama.
Stevens, C., & Byron, T. (2016). Universals in music processing: Entrainment, acquiring expectations and learning. In S. Hallam, I. Cross, & M. Thaut (eds.) Oxford Handbook of Music Psychology (2nd ed), pp.19-31. Oxford: Oxford University Press.
Stevens, C. (2014). Implications for cognitive studies of musical expressiveness. In D. Fabian, E. Schubert & R. Timmers (Eds.), Expressiveness in music performance: Empirical approaches across styles and cultures (pp. 335-339). Oxford: Oxford University Press.
Stevens, C. J., Dean, R. T., Vincs, K., & Schubert, E. (2014). In the heat of the moment: Audience real time response to live music and dance performance for K. Burland and S. Pitts (Eds.) Coughing and clapping: Investigating audience experience. Routledge.
Stevens, C., & Petocz, A. (2009). The user knows: considering the cognitive contribution of the user in the design of auditory warnings. In D. Harris (Ed.) Engineering, Psychology and Cognitive Ergonomics, Human-Computer Interaction International 2009. Lecture Notes in Artificial Intelligence 5639 (pp. 126-135). Berlin: Springer-Verlag.
McDougall, S., Forsythe, A., Isherwood, S., Petocz, A., Reppa, I., & Stevens, C. (2009). The use of multimodal representations in icon interpretation. In D. Harris (Ed.) Engineering, Psychology and Cognitive Ergonomics,Human-Computer Interaction International 2009. Lecture Notes in Artificial Intelligence 5639. Berlin: Springer-Verlag.
McKechnie, S., & Stevens, C. (2009). Knowledge unspoken: contemporary dance and the cycle of practice-led research, basic and applied research, and research-led practice In H. Smith & R. Dean (Eds). Research-led practice and practice-led research (pp. 84-103). Edinburgh University Press.
McKechnie, S., & Stevens, C. J. (2009). Visible thought: choreographic cognition in creating, performing, and watching contemporary dance. In J. Butterworth & L. Wildschut (Eds.), Contemporary Choreography (pp. 38-51). Routledge.
Stevens, C., & Byron, T. (2009). Universals in music processing. In S. Hallam, I. Cross, & M. Thaut (Eds.) OxfordHandbook of Music Psychology (pp. 14-23). Oxford University Press.
Wilkie, S., Stevens, C., & Dean, R. (2008). Psychoacoustic manipulation of the sound induced illusory flash. In R. Kronland-Martinet, S. Ystad, & K. Jensen (Eds.). CMMR 2007, Lecture Notes in Computer Science 4969 (pp. 223-234). Berlin: Springer-Verlag.
Stevens, C., & McKechnie, S. (2005b). Minds and motion: Dynamical systems in choreography, creativity, and dance. In J. Birringer & J. Fenger (Eds.) Tanz im Kopf: Yearbook 15 of the German Dance Research Society, 2004 (pp. 241-252). Münster: LIT Verlag.
Stevens, C. (2005). Trans-disciplinary approaches to research into creation, performance and appreciation of contemporary dance. In R. Grove, C. Stevens, & S. McKechnie. (Eds.). Thinking in four dimensions: Creativity and cognition in contemporary dance (pp. 154-168). Carlton: Melbourne University Press.
Stevens, C., Malloch, S., McKechnie, S., & Steven, N. (2005). Chronology of Creating a Dance: Anna Smith’s Red Rain. In R. Grove, C. Stevens, & S. McKechnie. (Eds.). Thinking in four dimensions: Creativity and cognition in contemporary dance (pp. 169-187). Carlton: Melbourne University Press.
Stevens, C. (2001). Neural networks. In J. Michie (Ed.) Reader's Guide to the Social Sciences (pp. 1116-1117). London: Fitzroy Dearborn Publishers.
Latimer, C., Joung, W., & Stevens, C. (1996). Modelling symmetry detection with back-propagation networks. In C. W. Tyler (Ed.), Human symmetry perception and its computational analysis (pp. 209-225). Zeist, The Netherlands: VSP International Science Publishers.
Stevens, C., & Wiles, J. (1994). Tonal music as a componential code: Learning temporal relationships between and within pitch and timing components. In J. D. Cowan, G. Tesauro, J. Alspector (Eds.), Advances in Neural Information Processing Systems 6 (pp. 1085-1092). San Francisco, CA: Morgan Kaufmann.
Latimer, C. R., & Stevens, C. J. (1994). Eye movement measures and connectionist models of form perception. In S. Ballesteros (Ed.), Cognitive approaches to human perception (pp. 91-121). Hillsdale, New Jersey: Lawrence Erlbaum Associates.
Stevens, C. J. (2018). We dance what we remember: Memory in perceiving and performing contemporary dance. In B. Bissell & L. C. Haviland (Eds.) The Sentient Archive: Bodies, Performance and Memory (pp. 87-109). Middletown, CT.: Wesleyan University Press.
Stevens, C. J. (2017). Memory and dance: ‘Bodies of knowledge’ in contemporary dance. In P. Hansen and B. Blaesing (Eds.) Performing Psychologies: Performing the Remembered Present (pp. 39-68). Methuen.
Stevens, C. J. (2016). The Body in Mind: Response to Jackman, Utterback and Warburton. In Rhonda Blair & Amy Cook (Eds.) Theatre, Performance and Cognition: Languages, Bodies and Ecologies. London: Bloomsbury Methuen Drama.
Stevens, C., & Byron, T. (2016). Universals in music processing: Entrainment, acquiring expectations and learning. In S. Hallam, I. Cross, & M. Thaut (eds.) Oxford Handbook of Music Psychology (2nd ed), pp.19-31. Oxford: Oxford University Press.
Stevens, C. (2014). Implications for cognitive studies of musical expressiveness. In D. Fabian, E. Schubert & R. Timmers (Eds.), Expressiveness in music performance: Empirical approaches across styles and cultures (pp. 335-339). Oxford: Oxford University Press.
Stevens, C. J., Dean, R. T., Vincs, K., & Schubert, E. (2014). In the heat of the moment: Audience real time response to live music and dance performance for K. Burland and S. Pitts (Eds.) Coughing and clapping: Investigating audience experience. Routledge.
Stevens, C., & Petocz, A. (2009). The user knows: considering the cognitive contribution of the user in the design of auditory warnings. In D. Harris (Ed.) Engineering, Psychology and Cognitive Ergonomics, Human-Computer Interaction International 2009. Lecture Notes in Artificial Intelligence 5639 (pp. 126-135). Berlin: Springer-Verlag.
McDougall, S., Forsythe, A., Isherwood, S., Petocz, A., Reppa, I., & Stevens, C. (2009). The use of multimodal representations in icon interpretation. In D. Harris (Ed.) Engineering, Psychology and Cognitive Ergonomics,Human-Computer Interaction International 2009. Lecture Notes in Artificial Intelligence 5639. Berlin: Springer-Verlag.
McKechnie, S., & Stevens, C. (2009). Knowledge unspoken: contemporary dance and the cycle of practice-led research, basic and applied research, and research-led practice In H. Smith & R. Dean (Eds). Research-led practice and practice-led research (pp. 84-103). Edinburgh University Press.
McKechnie, S., & Stevens, C. J. (2009). Visible thought: choreographic cognition in creating, performing, and watching contemporary dance. In J. Butterworth & L. Wildschut (Eds.), Contemporary Choreography (pp. 38-51). Routledge.
Stevens, C., & Byron, T. (2009). Universals in music processing. In S. Hallam, I. Cross, & M. Thaut (Eds.) OxfordHandbook of Music Psychology (pp. 14-23). Oxford University Press.
Wilkie, S., Stevens, C., & Dean, R. (2008). Psychoacoustic manipulation of the sound induced illusory flash. In R. Kronland-Martinet, S. Ystad, & K. Jensen (Eds.). CMMR 2007, Lecture Notes in Computer Science 4969 (pp. 223-234). Berlin: Springer-Verlag.
Stevens, C., & McKechnie, S. (2005b). Minds and motion: Dynamical systems in choreography, creativity, and dance. In J. Birringer & J. Fenger (Eds.) Tanz im Kopf: Yearbook 15 of the German Dance Research Society, 2004 (pp. 241-252). Münster: LIT Verlag.
Stevens, C. (2005). Trans-disciplinary approaches to research into creation, performance and appreciation of contemporary dance. In R. Grove, C. Stevens, & S. McKechnie. (Eds.). Thinking in four dimensions: Creativity and cognition in contemporary dance (pp. 154-168). Carlton: Melbourne University Press.
Stevens, C., Malloch, S., McKechnie, S., & Steven, N. (2005). Chronology of Creating a Dance: Anna Smith’s Red Rain. In R. Grove, C. Stevens, & S. McKechnie. (Eds.). Thinking in four dimensions: Creativity and cognition in contemporary dance (pp. 169-187). Carlton: Melbourne University Press.
Stevens, C. (2001). Neural networks. In J. Michie (Ed.) Reader's Guide to the Social Sciences (pp. 1116-1117). London: Fitzroy Dearborn Publishers.
Latimer, C., Joung, W., & Stevens, C. (1996). Modelling symmetry detection with back-propagation networks. In C. W. Tyler (Ed.), Human symmetry perception and its computational analysis (pp. 209-225). Zeist, The Netherlands: VSP International Science Publishers.
Stevens, C., & Wiles, J. (1994). Tonal music as a componential code: Learning temporal relationships between and within pitch and timing components. In J. D. Cowan, G. Tesauro, J. Alspector (Eds.), Advances in Neural Information Processing Systems 6 (pp. 1085-1092). San Francisco, CA: Morgan Kaufmann.
Latimer, C. R., & Stevens, C. J. (1994). Eye movement measures and connectionist models of form perception. In S. Ballesteros (Ed.), Cognitive approaches to human perception (pp. 91-121). Hillsdale, New Jersey: Lawrence Erlbaum Associates.