Rhythm and pitch in music cognition

Psychological Bulletin

Volumn 126, Issue 1, 2000, Pages 159-179

  Krumhansl, Carol L ^a  

^a Department of Obstetrics Gynecology   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

COGNITION; HEARING; HUMAN; MUSIC; PERIODICITY; PSYCHOLOGICAL ASPECT; PSYCHOLOGICAL MODEL; PSYCHOPHYSICS; REVIEW;

AUDITORY PERCEPTION; COGNITION; HUMANS; MODELS, PSYCHOLOGICAL; MUSIC; PERIODICITY; PSYCHOACOUSTICS;

EID: 0033632239     PISSN: 00332909     EISSN: None     Source Type: Journal    
DOI: 10.1037/0033-2909.126.1.159     Document Type: Article

References (269)

1. Aiello, R., & Sloboda, J. A. (Eds.). (1994). Musical perceptions. New York: Oxford University Press.
2. Allik, J., Dzhafarov, E. N., Houtsma, A. J. M., Ross, J., & Versfeld, N. J. (1989). Pitch motion with random chord sequences. Perception & Psychophysics, 46, 513-527.
3. Bachem, A. (1954). Time factors in relative and absolute pitch determination. Journal of the Acoustical Society of America, 26, 751-753.
4. Bachem, A. (1955). Absolute pitch. Journal of the Acoustical Society of America, 27, 1180-1185.
5. Bamberger, J. S. (1991). The mind behind the musical ear: How children develop musical intelligence. Cambridge, MA: Harvard University Press.
6. Barnea, A., Granot, R., & Pratt, H. (1994). Absolute pitch - Electrophysiological evidence. International Journal of Psychophysiology, 16, 29-38.
7. Bartlett, J. C., & Dowling, W. J. (1980). Recognition of transposed melodies: A key-distance effect in developmental perspective. Journal of Experimental Psychology: Human Perception and Performance, 6, 501-515.
8. Benguerel, A.-P., & Westdal, C. (1991). Absolute pitch and the perception of sequential musical intervals. Music Perception, 9, 105-120.
9. Besson, M., & Faïta, F. (1995). An event-related potential (ERP) study of musical expectancy: Comparison of musicians with nonmusicians. Journal of Experimental Psychology: Human Perception and Performance, 21, 1278-1296.
10. Besson, M., Faïta, F., Peretz, I., Bonnel, A.-M., & Requin, J. (1998). Singing in the brain: Independence of lyrics and tunes. Psychological Science, 9, 494-498.
11. Bharucha, J. J. (1984a). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, 16, 485-518.
12. Bharucha, J. J. (1984b). Event hierarchies, tonal hierarchies, and assimilation: A reply to Deutsch and Dowling. Journal of Experimental Psychology: General, 113, 421-425.
13. Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception, 5, 1-30.
14. Bharucha, J. J. (1991). Pitch, harmony, and neural nets: A psychological perspective. In P. M. Todd & D. G. Loy (Eds.), Music and connectionism (pp. 84-99). Cambridge, MA: MIT Press.
15. Bharucha, J. J. (1996). Melodic anchoring. Music Perception, 13, 383-400.
16. Bharucha, J. J. (1999). Neural nets, temporal composites and tonality. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 413-440). New York: Academic Press.
17. Bharucha, J. J., & Krumhansl, C. L. (1983). The representation of harmonic structure in music: Hierarchies of stability as a function of context. Cognition, 13, 63-102.
18. Bharucha, J. J., & Olney, K. L. (1989). Tonal cognition, artificial intelligence and neural nets. Contemporary Music Review, 4, 341-356.
19. Bharucha, J. J., & Stoeckig, K. (1986). Reaction time and musical expectancy: Priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 12, 403-410.
20. Bharucha, J. J., & Stoeckig, K. (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception & Psychophysics, 41, 519-524.
21. Bharucha, J. J., & Todd, P. M. (1989). Modeling the perception of tonal structure with neural nets. Computer Music Journal, 13, 44-53.
22. Bigand, E. (1990). Abstraction of two forms of underlying structures in a tonal melody. Psychology of Music, 18, 45-59.
23. Bigand, E. (1993). The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas" in tonal musical patterns. Contemporary Music Review, 9, 123-137.
24. Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58, 125-141.
25. Boltz, M. (1991a). Some structural determinants of melody recall. Memory & Cognition, 19, 239-251.
26. Boltz, M. (1991b). Time estimation and attentional perspective. Perception & Psychophysics, 49, 422-433.
27. Boltz, M. (1992). The remembering of auditory event durations. Journal of Experimental Psychology: Learning, Memory, and Cognition, 18, 938-956.
28. Boltz, M. (1995). Effects of event structure on retrospective duration judgments. Perception & Psychophysics, 57, 1080-1096.
29. Boltz, M., & Jones, M. R. (1986). Does rule recursion make melodies easier to reproduce? If not, what does? Cognitive Psychology, 18, 389-431.
30. Brown, H., Butler, D., & Jones, M. R. (1994). Musical and temporal influences on key discovery. Music Perception, 11, 371-407.
31. Browne, R. (1981). Tonal implications of the diatonic set. In Theory Only, 5, 3-21.
32. Burns, E. M. (1981). Circularity in relative pitch judgments for inharmonic complex tones: The Shepard demonstration revisited, again. Perception & Psychophysics, 30, 467-472.
33. Burns, E. M., & Campbell, S. L. (1994). Frequency and frequency-ratio resolution by possessors of absolute and relative pitch: Examples of categorical perception. Journal of the Acoustical Society of America, 96, 2704-2719.
34. Burns, E. M., & Ward, W. D. (1978). Categorical perception - Phenomenon or epiphenomenon: Evidence from experiments in the perception of melodic musical intervals. Journal of the Acoustical Society of America, 63, 456-468.
35. Burns, E. M., & Ward, W. D. (1982). Interval, scales, and tuning. In D. Deutsch (Ed.), The psychology of music (pp. 241-269). New York: Academic Press.
36. Butler, D. A., & Brown, H. (1984). Tonal structure versus function: Studies of the recognition of harmonic motion. Music Perception, 2, 6-24.
37. Carlsen, J. C. (1981). Some factors which influence melodic expectancy. Psychomusicology, 1, 12-29.
38. Carlsen, J. C., Divenyi, P. L., & Taylor, J. A. (1970). A preliminary study of perceptual expectancy in melodic configurations. Council for Research in Music Education Bulletin, 22, 4-12.
39. Carterette, E. C., Kohl, D. V., & Pitt, M. A. (1986). Similarities among transformed melodies: The abstraction of invariance. Music Perception, 3, 393-410.
40. Castellano, M. A., Bharucha, J. J., & Krumhansl, C. L. (1984). Tonal hierarchies in the music of North India. Journal of Experimental Psychology: General, 113, 394-412.
41. Chomsky, N. (1968). Language and mind. New York: Harcourt, Brace & World.
42. Clarke, E. F. (1987). Categorical rhythm perception: An ecological perspective. In A. Gabrielsson (Ed.), Action and perception in rhythm and music (pp. 19-33). Stockholm: Royal Swedish Academy of Music.
43. Clarke, E. F. (1999). Rhythm and timing in music. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 473-500). New York: Academic Press.
44. Clarke, E. F., & Krumhansl, C. L. (1990). Perceiving musical time. Music Perception, 7, 213-252.
45. Cohen, A. J. (1991). Tonality and perception: Musical scales primed by excerpts from the Well-Tempered Clavier of J. S. Bach. Psychological Research/Psychologische Forschung, 53, 305-314.
46. Cook, N. (1987). The perception of large-scale tonal closure. Music Perception, 5, 197-205.
47. Cook, P. (Ed.). (1999). Music, cognition, and computerized sound. Cambridge, MA: MIT Press.
48. Cooper, G., & Meyer, L. B. (1960). The rhythmic structure of music. Chicago: University of Chicago.
49. Crozier, J. B. (1997). Absolute pitch: Practice makes perfect, the earlier the better. Psychology of Music, 25, 110-119.
50. Cuddy, L. L. (1968). Practice effects in the absolute judgment of pitch. Journal of the Acoustical Society of America, 43, 1069-1076.
51. Cuddy, L. L. (1970). Training the absolute identification of pitch. Perception & Psychophysics, 8, 265-269.
52. Cuddy, L. L. (1982). On hearing pattern in melody. Psychology of Music, 10, 3-10.
53. Cuddy, L. L., & Badertscher, B. (1987). Recovery of the tonal hierarchy: Some comparisons across age and levels of musical experience. Perception & Psychophysics, 41, 609-620.
54. Cuddy, L. L., & Cohen, A. J. (1976). Recognition of transposed melodic sequences. Quarterly Journal of Experimental Psychology, 28, 255-270.
55. Cuddy, L. L., Cohen, A. J., & Mewhort, D. J. K. (1981). Perception of structure in short melodic sequences. Journal of Experimental Psychology: Human Perception and Performance, 7, 869-883.
56. Cuddy, L. L., Cohen, A. J., & Miller, J. (1979). Melody recognition: The experimental application of musical rules. Canadian Journal of Psychology, 33, 148-157.
57. Cuddy, L. L., & Lunney, C. A. (1995). Expectancies generated by melodic intervals: Perceptual judgments in melodic continuity. Perception & Psychophysics, 57, 451-462.
58. Cuddy, L. L., & Lyons, H. I. (1981). Music pattern recognition: A comparison of listening to and studying tonal structures and tonal ambiguities. Psychomusicology, 1, 15-33.
59. Cuddy, L. L., & Thompson, W. F. (1992). Asymmetry of perceived key movement in chorale sequences: Converging evidence from a probetone analysis. Psychological Research, 54, 51-59.
60. Darwin, C. J., Turvey, M. T., & Crowder, R. G. (1972). An auditory analogue of the Sperling partial report procedure: Evidence for brief auditory storage. Cognitive Psychology, 3, 255-267.
61. Dawe, L. A., Platt, J. R., & Racine, R. J. (1993). Harmonic accents in inference of metrical structure and perception of rhythm patterns. Perception & Psychophysics, 54, 794-807.
62. Deliège, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl & Jackendoff's grouping preference rules. Music Perception, 4, 325-360.
63. Deliège, I. (1989). A perceptual approach to contemporary musical forms. Contemporary Music Review, 4, 213-230.
64. Deliège, I., & El Ahmadi, A. (1990). A study of event hierarchies in tonal and post-tonal music. Psychology of Music, 18, 18-44.
65. Deliège, I., Mélen, M., Stammers, D., & Cross, I. (1996). Musical schemata in real-time listening to a piece of music. Music Perception, 14, 117-160.
66. Deliège, I., & Sloboda, J. A. (Eds.). (1996). Musical beginnings: Origins and development of musical competence. New York: Oxford University Press.
67. Desain, P. (1992). A (de)composable theory of rhythm perception. Music Perception, 9, 439-454.
68. Desain, P., & Honing, H. (1989). The quantization of musical time: A connectionist approach. Computer Music Journal, 13, 56-66.
69. Deutsch, D. (1980). The processing of structured and unstructured tonal sequences. Perception & Psychophysics, 28, 381-389.
70. Deutsch, D. (Ed.). (1982). The psychology of music. New York: Academic Press.
71. Deutsch, D. (1986a). A musical paradox. Music Perception, 3, 275-280.
72. Deutsch, D. (1986b). Recognition of durations embedded in temporal patterns. Perception & Psychophysics, 39, 179-186.
73. Deutsch, D. (1991). The tritone paradox: An influence of language on music perception. Music Perception, 8, 335-347.
74. Deutsch, D. (Ed.). (1999). The psychology of music (2nd ed.). New York: Academic Press.
75. Deutsch, D., & Feroe, J. (1981). The internal representation of pitch sequences in tonal music. Psychological Review, 99, 503-522.
76. Dewar, K. M., Cuddy, L. L., & Mewhort, D. J. K. (1977). Recognition memory for single tones with and without context. Journal of Experimental Psychology: Human Learning and Memory, 3, 60-67.
77. Dibben, N. (1994). The cognitive reality of hierarchic structure in tonal and atonal music. Music Perception, 12, 1-26.
78. Dowling, W. J. (1972). Recognition of melodic transformations: Inversion, retrograde, and retrograde inversion. Perception & Psychophysics, 12, 17-21.
79. Dowling, W. J. (1973). The perception of interleaved melodies. Cognitive Psychology, 5, 322-337.
80. Dowling, W. J. (1978). Scale and contour: Two components of a theory of memory for melodies. Psychological Review, 85, 341-354.
81. Dowling, W. J. (1990). Expectancy and attention in melody perception. Psychomusicology, 9, 148-160.
82. Dowling, W. J., & Harwood, D. L. (1986). Music cognition. Orlando, FL: Academic Press.
83. Dowling, W. J., Lung, K. M.-T., & Herrbold, S. (1987). Aiming attention in pitch and time in the perception of interleaved melodies. Perception & Psychophysics, 41, 642-656.
84. Eisler, H. (1976). Experiments on subjective duration 1868-1975: A collection of power function exponents. Psychological Bulletin, 83, 1154-1171.
85. Fletcher, H., & Munson, W. A. (1933). Loudness, its definition, measurement and calculation. Journal of the Acoustical Society of America, 5, 82-108.
86. Fraisse, P. (1956). Les structures rhythmiques [Rhythmical structures]. Louvain, Belgium: Editions Universitaires.
87. Fraisse, P. (1963). The psychology of time. New York: Harper.
88. Fraisse, P. (1978). Time and rhythm perception. In E. C. Carterette & M. P. Friedman (Eds.), Handbook of Perception (Vol. 8, pp. 203-254). New York: Academic Press.
89. Fraisse, P. (1982). Rhythm and tempo. In D. Deutsch (Ed.), The psychology of music (pp. 149-180). New York: Academic Press.
90. Francès, R. (1988). The perception of music (W. J. Dowling, Trans.). Hillsdale, NJ: Erlbaum. (Original work published 1958)
91. Fyk, J. (1995). Melodic intonation, psychoacoustics, and the violin. Zielona Góra, Poland: Organon.
92. Gabrielsson, A. (1973a). Similarity ratings and dimension analyses of auditory rhythm patterns: I. Scandinavian Journal of Psychology, 14, 138-160.
93. Gabrielsson, A. (1973b). Similarity ratings and dimension analyses of auditory rhythm patterns: II. Scandinavian Journal of Psychology, 14, 161-176.
94. Gabrielsson, A. (1988). Timing in music performance and its relation to expression. In J. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 27-51). Oxford, England: Oxford University Press.
95. Gabrielsson, A. (1999). Music performance. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 501-602). New York: Academic Press.
96. Garner, W. R. (1974). The processing of information and structure. Potomac, MD: Erlbaum.
97. Gotlieb, H., & Koneçni, V. J. (1985). The effects of instrumentation, playing style, and structure in the Goldberg Variations by Johann Sebastian Bach. Music Perception, 3, 87-102.
98. Gregersen, P. K. (1998). Instant recognition: The genetics of pitch perception. American Journal of Human Genetics, 62, 221-223.
99. Gregersen, P. K., Kowalsky, E., Kohn, N., & Marvin, E. W. (1999). Absolute pitch: Prevalence, ethnic variation, and the estimation of the genetic component. American Journal of Human Genetics, 65, 911-913.
100. Hall, D. E. (1973). The objective measurement of goodness-of-fit for tunings and temperaments. Journal of Music Theory, 17, 274-290.
101. Hall, D. E., & Hess, J. T. (1984). Perception of musical interval tuning. Music Perception, 2, 166-195.
102. Halpern, A. R. (1989). Memory for the absolute pitch of familiar songs. Memory & Cognition, 17, 572-581.
103. Handel, S. (1989). Listening: An introduction to the perception of auditory events. Cambridge, MA: MIT Press.
104. Hantz, E. C., Crummer, G. C., Wayman, J. W., Walton, J. P., & Frisina, R. D. (1992). Effects of training and absolute pitch on the neural processing of melodic intervals: A P3 event-related potential study. Music Perception, 10, 25-42.
105. Helmholtz, L. F. von. (1954). On the sensations of tone as a physiological basis for the theory of music (A. J. Ellis, Ed. & Trans.). New York: Dover. (Original work published 1863)
106. Howard, D., Rosen, S., & Broad, V. (1992). Major/minor triad identification and discrimination by musically trained and untrained listeners. Music Perception, 10, 205-220.
107. Howell, P., Cross, I., & West, R. (Eds.). (1985). Musical structure and cognition. London: Academic Press.
108. Howell, P., West, R., & Cross, I. (Eds.). (1991). Representing musical structure. London: Academic Press.
109. Huron, D. (1994). Interval-class content in equally tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Perception, 11, 289-308.
110. Huron, D., & Parncutt, R. (1993). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 154-171.
111. Hutchinson, W., & Knopoff, L. (1978). The acoustic component of Western consonance. Interface, 7, 1-29.
112. Imberty, M. (1981). Les écriture du temps [The writing of time]. Paris: Dunod.
113. Janata, P. (1995). ERP measures assay the degree of expectancy violation of harmonic contexts in music. Journal of Cognitive Neuroscience, 7, 153-164.
114. Janata, P., & Reisberg, D. (1988). Response-time measures as a means of exploring tonal hierarchies. Music Perception, 6, 161-172.
115. Johnson-Laird, P. N. (1991). Rhythm and meter: A theory at the computational level. Psychomusicology, 10, 88-106.
116. Jones, M. R., & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
117. Jones, M. R., Boltz, M., & Kidd, G. (1982). Controlled attending as a function of melodic and temporal context. Journal of Experimental Psychology: Human Perception and Performance, 7, 211-218.
118. Jones, M. R., & Holleran, S. (Eds.), (1992). Cognitive bases of musical communication. Washington, DC: American Psychological Association.
119. Jusczyk, P., & Krumhansl, C. L. (1993). Pitch and rhythmic patterns affecting infants' sensitivity to musical phrase structure. Journal of Experimental Psychology: Human Perception and Performance, 19, 627-640.
120. Kameoka, A., & Kuriyagawa, M. (1969a). Consonance theory: Part I. Consonance of dyads. Journal of the Acoustical Society of America, 45, 1451-1459.
121. Kameoka, A., & Kuriyagawa, M. (1969b). Consonance theory: Part II. Consonance of complex tones and its calculation method. Journal of the Acoustical Society of America, 45, 1460-1469.
122. Kessler, E. J., Hansen, C., & Shepard, R. N. (1984). Tonal schemata in the perception of music in Bali and the West. Music Perception, 2, 131-165.
123. Klein, M., Coles, M. G. H., & Donchin, E. (1985. March). People with absolute pitch process tones without producing a P300. Science, 223, 1306-1309.
124. Kristofferson, A. B. (1980). A quantal step function in duration discrimination. Perception & Psychophysics, 27, 300-306.
125. Krumhansl, C. L. (1979). The psychological representation of musical pitch in a tonal context. Cognitive Psychology, 11, 346-374.
126. Krumhansl, C. L. (1985). Perceiving tonal structure in music. American Scientist, 73, 371-378.
127. Krumhansl, C. L. (1990a). Cognitive foundations of musical pitch. New York: Oxford University Press.
128. Krumhansl, C. L. (1990b). Tonal hierarchies and rare intervals in music cognition. Music Perception, 7, 309-324.
129. Krumhansl, C. L. (1991a). Melodic structure: Theoretical and empirical descriptions. In J. Sundberg (Ed.), Music, language, speech, and brain (pp. 269-283). London: Macmillan.
130. Krumhansl, C. L. (1991b). Music psychology: Tonal structures in perception and memory. Annual Review of Psychology, 42, 277-303.
131. Krumhansl, C. L. (1995a). Effects of musical context on similarity and expectancy. Systematische Musikwissenschaft (Systematic Musicology), 3, 211-250.
132. Krumhansl, C. L. (1995b). Music psychology and music theory: Problems and prospects. Music Theory Spectrum, 17, 53-80.
133. Krumhansl, C. L. (1996). A perceptual analysis of Mozart's Piano Sonata K. 282: Segmentation, tension, and musical ideas. Music Perception, 13, 401-432.
134. Krumhansl, C. L. (1998). Topic in music: An empirical study of memorability, openness, and emotion in Mozart's String Quintet in C Major and Beethoven's String Quartet in A Minor. Music Perception, 16, 119-134.
135. Krumhansl, C. L., Bharucha, J. J., & Castellano, M. A. (1982). Key distance effects on perceived harmonic structure in music. Perception & Psychophysics, 32, 96-108.
136. Krumhansl, C. L., Bharucha, J. J., & Kessler, E. J. (1982). Perceived harmonic structure of chords in three related musical keys. Journal of Experimental Psychology: Human Perception and Performance, 8, 24-36.
137. Krumhansl, C. L., & Jusczyk, P. (1990). Infants' perception of phrase structure in music. Psychological Science, 1, 70-73.
138. Krumhansl, C. L., & Kassler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89, 334-368.
139. Krumhansl, C. L., Louhivuori, J., Toiviainen, P., Järvinen, T., & Eerola, T. (in press). Melodic expectation in Finnish spiritual folk hymns: Convergence of statistical, behavioral, and computational approaches. Music Perception.
140. Krumhansl, C. L., Sandell, G. J., & Sergeant, D. C. (1987). The perception of tone hierarchies and mirror forms in twelve-tone serial music. Music Perception, 5, 31-78.
141. Krumhansl, C. L., & Shepard, R. N. (1979). Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance, 5, 579-594.
142. Krumhansl, C. L., Toivanen, P., Eerola, T., Toiviainen, P., Järvinen, T., & Louhivuori, J. (1999). Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks. Manuscript submitted for publication.
143. Large, E. W., & Jones, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, 106, 119-159.
144. Large, E. W., & Kolen, J. F. (1994). Resonance and the perception of musical meter. Connection Science, 6, 177-208.
145. Lee, C. S. (1991). The perception of metrical structure: Experimental evidence and a model. In P. Howell, R. West, & I. Cross (Eds.), Representing musical structure (pp. 59-127). San Diego, CA: Academic Press.
146. Leman, M. (1995a). A model of retroactive tone-center perception. Music Perception, 12, 430-471.
147. Leman, M. (1995b). Music and schema theory: Cognitive foundations of systematic musicology. Berlin, Germany: Springer-Verlag.
148. Leman, M. (Ed.). (1997). Music, gestalt, and computing: Studies in cognitive and systematic musicology. Berlin, Germany: Springer-Verlag.
149. Lerdahl, F. (1988). Tonal pitch space. Music Perception, 5, 315-350.
150. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
151. Levitin, D. (1994). Absolute memory for musical pitch: Evidence from the production of learned melodies. Perception & Psychophysics, 56, 414-423.
152. Lindblom, B., & Sundberg, J. (1970). Towards a generative theory of melody. Swedish Journal of Music, 52, 71-88.
153. Longuet-Higgins, H. C., & Lee, C. S. (1982). The perception of musical rhythms. Perception, 11, 115-128.
154. Longuet-Higgins, H. C., & Steedman, M. J. (1971). On interpreting Bach. Machine Intelligence, 6, 221-241.
155. Malmberg, C. F. (1918). The perception of consonance and dissonance. Psychological Monographs, 25, 93-133.
156. Marin, S. M., & Perry, D. W. (1999). Neurological aspects of music perception and performance. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 653-724). New York: Academic Press.
157. Marvin, E. W., & Brinkman, A. R. (1999). The effect of key color and timbre on absolute-pitch recognition in musical contexts. Manuscript submitted for publication.
158. Mathews, M. V., & Pierce, J. R. (1980). Harmony and nonharmonic partials. Journal of the Acoustical Society of America, 68, 1252-1257.
159. McAdams, S., & Bigand, E. (Eds.). (1993). Thinking in sound: The cognitive psychology of human audition. Oxford, England: Oxford University Press.
160. Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago.
161. Meyer, L. B. (1973). Explaining music. Berkeley: University of California.
162. Miyazaki, K. (1988). Musical pitch identification by absolute pitch possessors. Perception & Psychophysics, 44, 501-512.
163. Miyazaki, K. (1989). Absolute pitch identification: Effects of timbre and pitch region. Music Perception, 7, 1-14.
164. Miyazaki, K. (1990). The speed of musical pitch identification by absolute pitch processors. Music Perception, 8, 175-186.
165. Miyazaki, K. (1992). Perception of musical intervals by absolute pitch possessors. Music Perception, 9, 413-426.
166. Miyazaki, K. (1995). Perception of relative pitch with different references: Some absolute-pitch listeners can't tell musical interval names. Perception & Psychophysics, 57, 962-970.
167. Monahan, C. B., & Carterette, E. C. (1985). Pitch and duration as determinants of musical space. Music Perception, 3, 1-32.
168. Monahan, C. B., Kendall, R. A., & Carterette, E. C. (1987). The effect of melodic and temporal contour on recognition memory for pitch change. Perception & Psychophysics, 41, 576-600.
169. Nakajima, Y. (1987). A model of empty duration perception. Perception, 16, 485-520.
170. Nakajima, Y., Tsumura, T., Matsuura, S., Minami, H., & Teranishi, R. (1988). Dynamic pitch perception for complex tones derived from major triads. Music Perception, 6, 1-20.
171. Narmour, E. (1990). The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago.
172. Ohgushi, K. (1983). The origin of tonality and a possible explanation of the octave enlargement phenomenon. Journal of the Acoustical Society of America, 73, 1694-1700.
173. Oram, N., & Cuddy, L. L. (1995). Responsiveness of Western adults to pitch-distributional information in melodic sequences. Psychological Research, 57, 103-118.
174. Palmer, C. (1997). Music performance. Annual Review of Psychology, 48, 115-138.
175. Palmer, C., & Krumhansl, C. L. (1987a). Independent temporal and pitch structures in determination of musical phrases. Journal of Experimental Psychology: Human Perception and Performance, 13, 116-126.
176. Palmer, C., & Krumhansl, C. L. (1987b). Pitch and temporal contributions to musical phrase perception: Effects of harmony, performance timing, and familiarity. Perception & Psychophysics, 41, 505-518.
177. Palmer, C., & Krumhansl, C. L. (1990). Mental representation for musical meter. Journal of Experimental Psychology: Human Perception and Performance, 16, 728-741.
178. Parncutt, R. (1988). A revision of Terhardt's psychoacoustical model of the root(s) of a musical chord. Music Perception, 6, 65-94.
179. Parncutt, R. (1989). Harmony: A psychoacoustical approach. Berlin, Germany: Springer-Verlag.
180. Parncutt, R. (1994). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409-464.
181. Patel, A. (1998). Syntactic processing in language and music: Different cognitive operations, similar neural resources? Music Perception, 16, 27-42.
182. Patel, A., Gibson, E., Ratner, J., Besson, M., & Holcomb, P. (1998). Processing grammatical relations in language and music: An event-related potential study. Journal of Cognitive Neuroscience, 10, 717-733.
183. Peretz, I. (1993). Auditory agnosia: A functional analysis. In S. McAdams & E. Bigand (Eds.), Thinking in sound: The cognitive psychology of human audition (pp. 199-230). Oxford, England: Oxford University Press.
184. Perlman, M., & Krumhansl, C. L. (1996). An experimental study of internal interval standards in Javanese and Western musicians. Music Perception, 14, 95-116.
185. Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, 38, 548-560.
186. Pollard-Gott, L. (1983). Emergence of thematic concepts in repeated listening to music. Cognitive Psychology, 15, 66-94.
187. Povel, D.-J. (1981). Internal representation of simple temporal patterns. Journal of Experimental Psychology: Human Perception and Performance, 7, 3-18.
188. Povel, D.-J. (1984). A theoretical framework for rhythm perception. Psychological Research, 45, 315-337.
189. Povel, D.-J., & Essens, P. (1985). Perception of temporal patterns. Music Perception, 2, 411-440.
190. Rakowski, A. (1972). Direct comparison of absolute and relative pitch. In F. A. Bilsen (Ed.), Symposium on hearing theory (pp. 105-108). Eindhoven, The Netherlands: Instituut voor Perceptie Underzoek.
191. Rakowski, A. (1990). Intonation variants of musical intervals in isolation and in musical contexts. Psychology of Music, 18, 60-72.
192. Rakowski, A., & Miskiewicz, A. (1985). Deviations from equal temperament in tuning isolated musical intervals. Archives of Acoustics, 10, 95-104.
193. Rapoport, E. (1996). Emotional expression code in opera and lied singing. Journal of New Music Research, 25, 109-149.
194. Rasch, R. (1984). Theory of Helmholtz-beat frequencies. Music Perception, 1, 308-322.
195. Rasch, R. (1985). Perception of melodic and harmonic intonation of two-part musical fragments. Music Perception, 2, 441-458.
196. Repp, B. H. (1992). Probing the cognitive representation of musical time: Structural constraints on the perception of timing perturbations. Cognition, 44, 241-282.
197. Repp, B. (1994). The tritone paradox and the pitch range of the speaking voice: A dubious connection. Music Perception, 12, 227-255.
198. Revesz, G. (1953). Introduction to the psychology of music. London: Longmans.
199. Roberts, L. A., & Mathews, M. V. (1984). Intonation sensitivity for traditional and nontraditional chords. Journal of the Acoustical Society of America, 75, 952-959.
200. Robinson, K., & Patterson, R. D. (1995). The duration required to identify the instrument, the octave, or the pitch chroma of a musical note. Music Perception, 13, 1-15.
201. Rosner, B. S., & Meyer, L. B. (1982). Melodic processes and the perception of music. In D. Deutsch (Ed.), The psychology of music (pp. 317-341). New York: Academic Press.
202. Rosner, B. S., & Meyer, L. B. (1986). The perceptual roles of melodic process, contour, and form. Music Perception, 4, 1-39.
203. Schellenberg, E. G. (1996). Expectancy in melody: Tests of the implication-realization model. Cognition, 58, 75-125.
204. Schellenberg, E. G. (1997). Simplifying the implication-realization model of melodic expectancy. Music Perception, 14, 295-318.
205. Schenker, H. (1979). Free composition (E. Oster, Trans.). New York: Longmans.
206. Schlaug, G., Jäncke, L., Huang, Y., & Steinmetz, H. (1995). In vivo evidence of structural brain asymmetry in musicians. Science, 267, 699-671.
207. Schmuckler, M. A. (1989). Expectation in music: Investigations of melodic and harmonic processes. Music Perception, 7, 109-150.
208. Schmuckler, M. A. (1990). The performance of global expectations. Psychomusicology, 9, 122-147.
209. Schmuckler, M. A., & Boltz, M. G. (1994). Harmonic and rhythmic influences on musical expectancy. Perception & Psychophysics, 56, 313-325.
210. Schoenberg, A. (1969). Structural functions of harmony. New York: Norton.
211. Serafine, M. L., Glassman, N., & Overbeeke, C. (1989). The cognitive reality of hierarchic structure in music. Music Perception, 6, 397-430.
212. Sergeant, D. C. (1969). Experimental investigation of absolute pitch. Journal of Research in Music Education, 17, 135-143.
213. Shackford, C. (1961). Some aspects of perception: Part I. Sizes of harmonic intervals in performance. Journal of Music Theory, 5, 162-202.
214. Shackford, C. (1962). Some aspects of perception: Part II. Interval sizes and tonal dynamics in performance. Journal of Music Theory, 6, 66-90.
215. Shaffer, L. H. (1981). Performances of Chopin, Bach and Bartok: Studies in motor programming. Cognitive Psychology, 13, 326-376.
216. Shepard, R. N. (1964). Circularity in judgments of relative pitch. Journal of the Acoustical Society of America, 36, 2346-2353.
217. Shepard, R. N. (1982a). Geometrical approximations to the structure of musical pitch. Psychological Review, 89, 305-333.
218. Shepard, R. N. (1982b). Structural representations of musical pitch. In D. Deutsch (Ed.), The psychology of music (pp. 344-390). New York: Academic Press.
219. Shepard, R. N. (1983). Demonstrations of circular components of pitch. Journal of the Audio Engineering Society, 31, 641-649.
220. Siegel, J., & Siegel, W. (1977a). Absolute identification of notes and intervals by musicians. Perception & Psychophysics, 21, 143-152.
221. Siegel, J., & Siegel, W. (1977b). Categorical perception of tonal intervals: Musicians can't tell sharp from flat. Perception & Psychophysics, 21, 399-407.
222. Simon, H. A., & Sumner, R. K. (1968). Pattern in music. In B. Kleinmuntz (Ed.), Formal representation of human judgment (pp. 219-250). New York: Wiley.
223. Sloboda, J. (1985). The musical mind: The cognitive psychology of music. Oxford, England: Oxford University Press.
224. Sloboda, J. A. (Ed.). (1988). Generative processes in music: The psychology of performance, improvisation, and composition. Oxford, England: Oxford University Press.
225. Sloboda, J. A., & Gregory, A. H. (1980). The psychological reality of musical segments. Canadian Journal of Psychology, 34, 274-280.
226. Smith, K. C., & Cuddy, L. L. (1989). Effects of metric and harmonic rhythm on the detection of pitch alterations in melodic sequences. Journal of Experimental Psychology: Human Perception and Performance, 15, 457-471.
227. Sternberg, S., Knoll, R. L., & Zukofsky, P. (1982). Timing by skilled musicians. In D. Deutsch (Ed.), The psychology of music (pp. 182-239). New York: Academic Press.
228. Stevens, S. S., & Volkmann, J. (1940). The relation of pitch to frequency: Revised scale. American Journal of Psychology, 53, 329-353.
229. Studdert-Kennedy, M., Liberman, A. M., Harris, K. S., & Cooper, F. S. (1970). Motor theory of speech perception: A reply to Lane's critical review. Psychological Review, 77, 234-249.
230. Sundberg, J., & Lindblom, B. (1976). Generative theories in language and music descriptions. Cognition, 4, 99-122.
231. Sundberg, J., & Lindqvist, J. (1973). Musical octaves and pitch. Journal of the Acoustical Society of America, 54, 922-929.
232. Sundberg, J., Nord, L., & Carlson, R. (Eds.). (1991). Music,
233. Takeuchi, A. H., & Hulse, S. H. (1991). Absolute pitch judgments of black-and white-key pitches. Music Perception, 9, 27-46.
234. Takeuchi, A. H., & Hulse, S. H. (1993). Absolute pitch. Psychological Bulletin, 113, 345-361.
235. Tekman, J. G., & Bharucha, J. J. (1992). Time course of chord priming. Perception & Psychophysics, 51, 33-39.
236. Terhardt, E. (1974). Pitch, consonance, and harmony. Journal of the Acoustical Society of America, 55, 1061-1069.
237. Terhardt, E. (1979). Calculating virtual pitch. Hearing Research, 1, 155-182.
238. Terhardt, E., & Seewann, M. (1983). Aural key identification and its relationship to absolute pitch. Music Perception, 1, 63-83.
239. Terhardt, E., Stoll, G., & Seewan, M. (1982a). Algorithm for extraction of pitch and pitch salience from complex tonal signals. Journal of the Acoustical Society of America, 71, 679-688.
240. Terhardt, E., Stoll, G., & Seewann, M. (1982b). Pitch of complex signals according to virtual-pitch theory: Test, examples, and predictions. Journal of the Acoustical Society of America, 71, 671-678.
241. Terhardt, E., & Ward, W. D. (1982). Recognition of musical key: Exploratory study. Journal of the Acoustical Society of America, 72, 26-33.
242. Tervaniemi, M., Alho, K., Paavilainen, P., Sams, M., & Näätänen, R. (1993). Absolute pitch and event-related brain potentials. Music Perception, 10, 305-316.
243. Thomassen, J. M. (1982). Melodic accent: Experiments and a tentative model. Journal of the Acoustical Society of America, 71, 1596-1605.
244. Thompson, W. F. (1993). Modeling perceived relationships between melody, harmony, and key. Perception & Psychophysics, 52, 13-24.
245. Thompson, W. F., & Cuddy, L. L. (1989). Sensitivity to key change in chorale sequences: A comparison of single voices and four-voice harmony. Music Perception, 7, 151-168.
246. Thompson, W. F., & Cuddy, L. L. (1992). Perceived key movement in four-voice harmony and single voices. Music Perception, 9, 427-438.
247. Thompson, W. F., & Cuddy, L. L. (1997). Music performance and the perception of key. Journal of Experimental Psychology: Human Perception and Performance, 23, 116-135.
248. Thompson, W. F., Cuddy, L. L., & Plaus, C. (1997). Expectancies generated by melodic intervals: Evaluation of principles of melodic implication in a melody-completion task. Perception & Psychophysics, 59, 1069-1076.
249. Todd, N. P. McA. (1994). The auditory "primal sketch": A multiscale model of rhythmic grouping. Journal of New Music Research, 23, 25-70.
250. Treisman, A. M. (1964). Verbal cues, language, and meaning in selective attention. American Journal of Psychology, 77, 206-219.
251. Ueda, K., & Ohgushi, K. (1987). Perceptual components of pitch: Spatial representation using a multidimensional scaling technique. Journal of the Acoustical Society of America, 82, 1193-1200.
252. Unyk, A. M., & Carlsen, J. C. (1987). The influence of expectancy on melodic perception. Psychomusicology, 7, 3-23.
253. Vos, J. (1982). The perception of pure and mistuned musical fifths and major thirds: Thresholds for discrimination, beats, and identification. Perception & Psychophysics, 32, 297-313.
254. Vos, J. (1984). Spectral effects in the perception of pure and tempered intervals: Discrimination and beats. Perception & Psychophysics, 32, 173-185.
255. Vos, J. (1986). Purity ratings of tempered fifths and major thirds. Music Perception, 3, 221-257.
256. Vos, J. (1988). Subjective acceptability of various regular twelve-tone tuning systems in two-part musical fragments. Journal of the Acoustical Society of America, 83, 2383-2392.
257. Vos, J., & van Vianen, B. G. (1984). Thresholds for discrimination between pure and tempered intervals: The relevance of nearly coinciding harmonics. Journal of the Acoustical Society of America, 77, 176-187.
258. Vos, J., & van Vianen, B. G. (1985). The effect of fundamental frequency on the discriminability between pure and tempered fifths and major thirds. Perception & Psychophysics, 37, 507-514.
259. Wapnick, J., Bourassa, G., & Sampson, J. (1982). The perception of tonal intervals in isolation and in melodic context. Psychomusicology, 2, 21-37.
260. Ward, W. D. (1963). Absolute pitch: Part II. Sound, 2, 33-41.
261. Ward, W. D. (1970). Musical perception. In J. V. Tobias (Ed.), Foundations of modern auditory theory (Vol. 1, pp. 405-407). New York: Academic Press.
262. Ward, W. D., & Burns, E. M. (1982). Absolute pitch. In D. Deutsch, The psychology of music (pp. 431-451). New York: Academic Press.
263. Watkins, A. J. (1985). Scale, key, and contour in the discrimination of tuned and mistuned approximations to melody. Perception & Psychophysics, 37, 275-285.
264. Weir, C., Jesteadt, W., & Green, D. M. (1977). Frequency discrimination as a function of frequency and sensation level. Journal of the Acoustical Society of America, 61, 178-184.
265. Welker, R. L. (1982). Abstraction of themes from melodic variations. Journal of Experimental Psychology: Human Perception and Performance, 8, 435-447.
266. Windsor, W. L. (1993). Dynamic accents and the categorical perception of meter. Psychology of Music, 21, 127-140.
267. Yeston, M. (1976). The stratification of musical rhythm. New Haven, CT: Yale University Press.
268. Zatorre, R., & Beckett, C. (1989). Multiple coding strategies in the retention of musical tones by possessors of absolute pitch. Memory & Cognition, 17, 582-589.
269. Zatorre, R., & Halpern, A. (1979). Identification, discrimination, and selective adaptation of simultaneous musical intervals. Perception & Psychophysics, 26, 384-395.