Literature Music: Structure
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Baker, M. (1989). A Computational Approach to Modeling Musical Grouping Structure. CMR, iv:
311-325.
Balaban, M. (1989). Music Structures: A Temporal-Hierarchical Representation for Music.
Musikometrika, Vol. 2.
Baroni, M. (1978). Proposal for a Grammar of Melody: the Bach Chorales. Montreal.
Baroni, M. & others (1982). A Grammar for Melody: Relationships between Melody and
Harmony. Musical Grammars and Computer Analysis: Modena: 201-218.
Baroni, M. (1983). The Concept of Musical Grammar. MAn, ii: 175-208.
Bengtsson, I. (1961). On the Relationship between Tonal and Rhythmic Structures in Western
Mulitpart Music. STMf xliii: 49-76.
Berg, Markwin J. van den (1996). Aspects of a Formal Theory of Music Cognition. Dissertation,
University of Amsterdam.
Berry, W. (1976). Structural Functions in Music. Englewood Cliffs, NJ.
Berry, W. (1989). Musical Structure and Performance. New Haven, CT.
Boltz, M. (1995). The Generation of Temporal and Melodic Expectancies during Musical
Listening. Perception and Psychophysics, liii: 585-600.
Briggs, H. B. (1897). The structure of plainsong. Proceedings of the Musical Association: for the
investigation and discussion of subjects connected with the art and science of music, Vol. 24: 63.
Caplin, W. (1983). Tonal Function and Metrical Accent: a Historical Perspective. Music Theory
Spectrum, v: 1-14.
Clarke, E. (1987). Levels of structure in the organization of musical time. Contemporary Music
Review. Vol. 2.
Clynes, M. (1983). Expressive Microstructure in Music, liked to Living Qualities. In: Studies of
Music Performance, edited by J.Sundberg. Stockholm: Royal Swedish Academy of Music, No. 39.
Clynes, M. (1987). What can a musician learn about music performance from newly discovered
microstructure principles (PM and PAS)? In: Action and Perception in Rhythm and Music, edited
by A. Gabrielsson. Royal Swedish Academy of Music, No. 55.
Cooper, G. & L. Meyer (1960). The Rhythmic Structure of Music. Chicago: University Press.
Cross, Ian & Eugene Narmour (1995). The Analysis & Cognition of Melodic complexity. Music
perception: an interdisciplinairy journal,Vol. 12 (4): 486-510.
Deliège, I. (1986). Grouping Conditions in Listening to Music: an Approach to Lerdahl and
Jackendoff’s Grouping Preference Rules. Music Perception, iv: 325-360.
Deutsch, D. (1980). The processing of structured and unstructured tonal sequences. Perception &
Psychophysics, 28: 381-389.
Deutsch, D. (1982). Organizational Processes in Music. In: Clynes, M. (ed., 1982). Music, Mind,
and Brain, New York: 119-136.
Deutsch, D. and J. Feroe (1981). The internal representation of pitch sequences in tonal music.
Psychological Review, 88: 503-522.
Dibben, N. (1994). The Cognitive Reality of Hierarchic Structure in Tonal and Atonal Music.
Music Perception, xii: 1-25.
Drake, C. and C. Palmer (1991). Recovering structure from expresssion in music performance.
Proceedings of Cognitive Science, Chicago.
* ! Drake, Carolyn; Penel, Amandine & Emmanuel Bigand (2000). Why musicians tap slower
than nonmusicians. In: Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and
Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: 239-245.
Erickson, R. (1970). Rhythmic Problems and Melodic Structure in Organum Purum: a ComputerAssisted Study. Dissertation, Yale U.
Faltin, P. (1979). Phänomenologie der musikalischen Form: eine experimental-psychologische
Untersuchung zur Wahrnehmung des musikalischen Materials und der musikalischen Syntax.
Wiesbaden.
Forte, A. (1973). The structure of atonal music. London: Yale University Press.
Forte, A. & S.E. Gilbert (1982). Introduction to Schenkerian Analysis. New York. [see also
Instruction Manual for Introduction to Schenkerian Analysis. New York.
Gjerdingen, Robert (1989). Using Connectionist Models to Explore Complex Musical Patterns.
Computer music journal, Vol. 13 (3): 67-.. .
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Guck, M.A. (1978). The Functional Relations of Chords: a Theory of Musical Intuitions. In Theory
Only, iv/6: 29-42.
Hauptmann, M. (1853/1873). Die Natur der Harmonik und der Metrik. ed. O. Paul, Leipzig. Eng.
transl. 1888.
Houten, Kees van & Marinus Kasbergen (1985). Bach en het getal: een onderzoek naar de
getallensymboliek en de esoterische achtergronden in het werk van Johann Sebastian Bach.
Zutphen: De Walburg Pers.
Jones, M. R. (1982). Validating internal hierarchies: A reply to Deutsch. Perception &
Psychophysics, 31: 599-600.
Jones, M. R. (1985). Structural organization of events in time: A review. In J.A. Michon & J.
Jackson-Roy (Eds.), Time, mind and behavior. Heidelberg: Springer-Verlag.
Jones, M. R. (1988). What is an expectancy? Invited commentary submitted to Behavioral and
Brain Sciences, 11: 387-388.
Jones, M. R. (1990). Learning and the development of expectancies: An interactionist approach.
Psychomusicology, 9: 193-228.
Jones, M. R. (1993). Understanding melody and music. How melody and rhythm fit together. In T.
Tighe & W.J. Dowling (Eds.), Psychological approaches to understanding music. pgs 67-92.
Jones, M. R., Boltz, M., & Kidd, G. (1982). Controlled attending as a function of melodic and
temporal context. Perception & Psychophysics, 32: 211-218.
Jones, M. R., Summerell, L., & Marshburn, E. (1987). Recognizing melodies: A dynamic
interpretation. Quarterly Journal of Experimental Psychology, 39A: 89-121.
Jones, M. R., & Ralston, J. (1991). Some influences of accent structure on melody recognition.
Memory and Cognition, 19: 8-20.
Jones, M. R., Boltz, M., & Klein, J. (1993). Duration judgments and expected endings. Memory
and Cognition, 21: 646-665.
Koch, H.C. (1782). Versuch einer Anleitung zur Composition, i, Rudolstadt, 1782; ii-iii (Leipzig,
1787-1793; partial Eng. trans., 1995.
Komar, A. (1971). Theory of Suspensions. Princeton, NJ.
Lerdahl, F. (1995). Calculating Tonal Tension. Music Perception, xiii,6: 319-363.
Lester, J. (1979). Articulation of Tonal Structures as a Criterion for Analytic Choices. Music
Theory Spectrum, i: 67-79.
Lewin, D. (1980). On Generalized Intervals and Transformations. JMT, xxiv: 243-251.
Lewin, D. (1982). A Formal Theory of Generalized Tonal Functions. JMT, xxvi: 23-60.
Meeùs, N. (1993). Heinrich Schenker: une introduction. Brussels.
Morris, R. (1993). New Directions in the Theory and Analysis of Musical Contour. Music Theory
Spectrum, xv: 205-228.
Narmour, Eugene (1990). The Analysis and Cognition of Basic Melodic Structures: the
Implication-Realization Model. Chicago.
Narmour, Eugene (1992). The Analysis and Cognition of Melodic Complexity: the ImplicationRealization Model. Chicago.
Narmour, Eugene & Robert O. Gjerdingen (1992). The Analysis and Cognition of Basic Melodic
Structures: The Implication Realization Model. Notes: the quarterly journal of the Music Library
Association, Vol. 49 (2) (dec): 588-.. .
Narmour, Eugene & William Forde Thompson (1996). The Analysis and Cognition of Basic
Melodic Structures and The Analysis and Cognition of Melodic Complexity. Journal of the
American Musicological Society, Vol. 49 (1): 127-144.
Neumeyer, D. & S. Tepping (1992). A Guide to Schenkerian Analysis. Englewood Cliffs, NJ.
Noorden, L.P.A.S. van, (1975). Temporal Coherence in the Perception of Tone Sequences. PhD
Thesis. Eindhoven University of Technology, The Netherlands.
Palmer, C. (1996). On the assignment of structure in music performance. Music Perception, 14:
23-56.
Palmer, C. & van de Sande, C. (1993). Units of knowledge in music performance. Journal of
Experimental Psychology: Learning, Memory, and Cognition, 19 (2): 457-470.
Pearsall, E. (1996). Multiple Hierarchies: Another Perspective on Prolongation. Indiana Theory
Review, xvii/1: 37-66.
Peretz, I. (1990). Processing of local and global musical information in unilateral brain-damaged
patients. Brain 113: 1185-1205.
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Peretz, I. & R. Kolinsky (1993). Boundaries of Separability between Melody and Rhythm in Music
Discrimination: A Neuropsychological Perspective. The quarterly journal of experimental
psychology Vol. 46 (Issue 2): 301-326.
Platel, H.; Price, C.; Baron, J.-C.; Wise, R.; Lambert, J.; Frackowiak, R.S.J.; Lechevalier, B. & F.
Eustache (1997). The structural components of music perception. A functional anatomical study.
Brain: a journal of neurology, Vol. 120: 229-244.
Povel, D. (1977). Temporal Structure of Performed Music, Some Preliminary Observations. Acta
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Povel D.J. (1981). Internal Representation of Simple Temporal Patterns. Journal of Experimental
Psychology: Human Perception and Production. 7(1).
Povel, D.J. & P. Essens (1985). Perception of temporal Patterns. Music Perception, 2(4): 411-440
Radcliffe, P. (1930-31). The Relation of Rhythm and Tonality in the 16th Century. PRMA, lvii: 7397.
Repp, B. H. (1994). Relational Invariance of Expressive Microstructure Across Global Tempo
Changes in Music Performance: An Exploratory Study. Psychological Research, 56: 269-284.
Riemann, H. (1877). Musikalische Syntaxis. Leipzig.
Rosner, Burton S. & Eugene Narmour (1992). Harmonic Closure: Music Theory and Perception.
Music perception: an interdisciplinairy journal, Vol. 9 (4) (Summer): 383-.. .
Sadie, Stanley & John Tyrrell (eds., 2001). The New Grove Dictionary of Music and Musicians.
Lemma: Analysis, vol. 1: 526-588.
Salzer, Felix (1952). Structural hearing, tonal coherence in music. Dover Publication, New York.
Schönberg, A. (1954). Structural Functions of Harmony. London, rev. 2/1969 by L. Stein.
Smith, C.J. (1981). Prolongations and Progressions as Musical Syntax. In: R. Browne (ed., 1980).
Music Theory: Special Topics, New York: 139-174.
Solomon, L. (1982). The List of Chords, their Properties and Use in Analysis. Interface, xi/2:61107.
Tatlow, Ruth Mary (1991). Bach and the riddle of the number alphabet. Cambridge University
Press.
Temperley, David & Daniel Sleator (1999). Modeling Meter and Harmony: A Preference-Rule
Approach. Computer Music Journal, 23 (1): 10-27.
Tenney, J. & L. Polansky (1980). Temporal Gestalt Perception in Music. JMT, xxiv: 205-241.
Turpin, Edmund H. (1888). The instincts of musical form. Proceedings of the Musical
Association: for the investigation and discussion of subjects connected with the art and science of
music, Vol. 15: 19.
Webb, F. Gilbert (1904). The higher aspects of musical form. Proceedings of the Musical
Association: for the investigation and discussion of subjects connected with the art and science of
music, Vol. 31: 131.
Wennerstrom, Mary H. (1983). Anthology of Musical Structure & Style. Indiana University.
Prentice-Hall, Inc., Englewood Cliffs, New Jersey.
West, Robert; Howell, Peter, & Ian Cross (1985). Modelling Perceived Musical Structure. In:
Musical Structure and Cognition, Academic Press Inc., London: 21-53.
Zbikowski, L. (1991). Large-Scale Rhythm and Systems of Grouping. Dissertation, Yale U.
Zbikowski, Lawrence & Eugene Narmour (1993). The Analysis and Cognition of Basic Melodic
Structures: The Implication-Realization Model. Journal of music theory, Vol. 37(1): 177-206.
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