University of California, Berkeley
Department of Music




Music 220: Bibliography of Music Cognition



Aggleton, J.P. and R.E. Passingham Syndrome produced by lesions of the amygdala in monkeys (Macaca mulatta). Journal of Comparative and Physiological Psychology, Vol. 95 (1981) pp. 961-977.

Askenfelt, Anders "Analyzing acoustic characteristics of melody, instruments and voice,"
Stockholm: Dept. of Speech Communication and Music Acoustics, Royal Institute of Technology, Report TRITA-TOEM-88-2; ISSN 0280-9850, 1988.

Askenfelt, Anders, and E. Jansson "From touch to string vibrations -- The initial course of the piano tone", Report STL-QPSR, 1988.

Apelbaum, J., Silva, E., Frick, O., and Segundo, J. "Specificity and biasing of arousal reaction habituation,"
Electroencephalography and clinical Neurophysiology, Vol. 12 (1960) pp. 829-840.

Arnheim, Rudolf "Perceptual dynamics in musical expression,"
Musical Quarterly, Vol. 70, No. 3 (1984) pp. 295-309.

Bagshaw, M.H., Kimble, D.P., and K.H. Pribram "The GSR of monkeys during orienting and habituation and after ablation of the amygdala, hippocampus and inferotemporal cortex,"
Neuropsychologia Vol. 3 (1965) pp. 111-119.

Bakan, Paul (editor) Attention; An Enduring Problem in Psychology.
Princeton: Van Nostrand Co., 1966.

Barsz, Kathy "Auditory pattern perception: The effect of tonal frequency range on the perception of temporal order,"
Perception & Psychophysics, Vol. 43 (1988) pp. 293-303.

Bartholomeus, B. "Effects of task requirements on ear superiority for sung speech,"
Cortex, Vol. 10 (1974) pp. 215-233.

Basso, A., and E. Capitani "Spared musical abilities in a conductor with global aphasia and ideomotor apraxia,"
Journal of Neurology, Neurosurgery and Psychiatry, Vol. 48 (1985) pp. 407-412.

Békésy, G. von Experiments in Hearing.
New York: McGraw-Hill Book Co., 1959.

Bartholomew, Douglas "Problems with Piagetian conservation and musical objects,"
Council for Research in Music Education, Bulletin, No. 93 (1987) pp. 27-40.

Beauvillain, C. and Paul Fraisse "On the temporal control of polyrhythmic performance,"
Music Perception, Vol. 1, No. 4 (1984) pp. 485-499.

Bechara, A., Damasio, A.R., Damasio, H. and Anderson, S. "Insensitivity to future consequences following damage to human prefrontal cortex,"
Cognition, Vol. 50 (1994) pp. 7-12.

Bechara, A., Tranel, D., Damasio, H., and Damasio, A.R. "Failure to respond autonomically in anticipation of future outcomes following damage to human prefrontal cortex,"
Society for Neuroscience, [Abstracts] Vol. 19 (1993) p. 791.

Beranek, Leo L. Acoustics.
New York: McGraw-Hill, 1954; reprinted by the Acoustical Society of America, 1986.

Berger, Kenneth W. "Some factors in the recognition of timbre,"
Journal of the Acoustical Society of America, Vol. 36, No. 10 (1964) pp. 1888-1891.

Berlyne, Daniel E. "Novelty, complexity, and hedonic value,"
Perception & Psychophysics, Vol. 8, No. 5A (1970) pp. 279-286.

Berlyne, Daniel E. Aesthetics and Psychobiology.
New York: Appleton-Century-Crofts, 1971.

Bernstein, Alvin S. "The orienting response and direction of stimulus change,"
Psychonomic Science, Vol. 12, No. 4 (1968) pp. 127-128.

Bharucha, Jamshed J. "Reaction time and musical expectancy: Priming of chords,"
Journal of Experimental Psychology: Human Perception and Performance, Vol. 12, No. 4 (1986) pp. 403-410.

Bharucha, Jamshed J. "MUSACT: A connectionist model of musical harmony,"
In: Proceedings of the Cognitive Science Society, Hillsdale, N.J.: Lawrence Erlbaum Assoc., 1987.

Bharucha, Jamshed J. "Neural net modeling of music,"
In: Proceedings of the First Workshop on Artificial Intelligence and Music (1988) 10p.

Bharucha, Jamshed J. and Keiko Stoeckig "Priming of chords: Spreading activation or overlapping frequency spectra?,"
Perception & Psychophysics, Vol. 41, No. 6 (1987) pp. 519-524.

Bismarck, G. von "Sharpness as an attribute of the timbre of steady sounds,"
Acustica, Vol. 30 (1974) pp. 159-172.

Blombach, Ann K. "Harmony vs. counterpoint in the Bach Chorales,"
in: R.W. Bailey (editor) Computing in the Humanities, North-Holland Pub. 1982; pp. 79-87.

Boomsliter, Paul C. and Warren Creel "Prestimulus perceptual activity in perception of tone in musical sequences,"
Journal of the Acoustical Society of America, Vol. 65, Supplement No. 1 (1979) p.S123. (Abstract only)

Bregman, Albert S. "Perception and behavior as compositions of ideals,"
Cognitive Psychology, Vol. 9 (1977) pp. 250-292.

Bregman, Albert S. "Auditory streaming: Competition among alternative organizations,"
Perception & Psychophysics, Vol. 23 (1978) pp. 391-398.

Bregman, Albert S. "Asking the `What For' question in auditory perception,"
In: Raymond S. Nickerson (editor) Attention and Performance VIII. Hillsdale, N.J.: Lawrence Erlbaum Assoc., 1980; pp. 99-118.

Bregman, Albert S. Auditory Scene Analysis; The Perceptual Organization of Sound.
Cambridge, Massachusetts: MIT Press, 1990.

Bregman, Albert S., Jack Abramson, Peter Doehring, and Christopher Darwin
"Spectral integration based on common amplitude modulation,"
Perception & Psychophysics, Vol. 37 (1985) pp. 483-493.

Bregman, Albert S. and Jeffrey Campbell "Primary auditory stream segregation and perception of order in rapid sequences of tones,"
Journal of Experimental Psychology, Vol. 89, No. 2 (1971) pp. 244-249.

Bregman, Albert S. and Gary L. Dannenbring "The effect of continuity on auditory stream segregation,"
Perception & Psychophysics, Vol. 13, No. 2 (1973) pp. 308-312.

Bregman, Albert S. and Gary L. Dannenbring "Auditory continuity and amplitude edges,"
Canadian Journal of Psychology/Revue Canadienne de Psychologie Vol. 31, No. 3 (1977) pp. 151-159.

Bregman, Albert S. and Peter Doehring "Fusion of simultaneous tonal glides: The role of parallelness and simple frequency relations,"
Perception & Psychophysics, Vol. 36, No. 3 (1984) pp. 251-256.

Bregman, Albert S. and Steven Pinker "Auditory streaming and the building of timbre,"
Canadian Journal of Psychology, Vol. 32, No. 1 (1978) pp. 19-31.

Bregman, Albert S. and S. I. Rudnicky "Auditory segregation: stream or streams?,"
Journal of Experimental Psychology/Human Perceptual Performance, Vol. 1 (1975) pp. 263-267.

Broadbent, D. E. Perception and Communication.
London: Pergamon, 1958.

Brokx, J.P.L and S.G. Nooteboom "Intonation and the perceptual separation of simultaneous voices,"
Journal of Phonetics, Vol. 10 (1982) pp. 23-36.

Bruner, Cheryl L. "The perception of contemporary pitch structures,"
Music Perception, Vol. 2 No. 1 (1984) pp. 25-39.

Brown, Helen "The interplay of set content and temporal context in a functional theory of tonality perception,"
Music Perception, Vol. 5, No. 3 (1988) pp. 219-250.

Brown, Helen and David Butler "Diatonic trichords as minimal tonal cue-cells,"
In Theory Only, Vol. 5 (1981) pp. 39-55.

Bukofzer, M. Music in the Baroque Era.
New York: Pergamon Press, 1947.

Burns, E. M. and W. D. Ward "Categorical perception -- phenomenon or epiphenomenon: Evidence from experiments in the perception of melodic musical intervals,"
Journal of the Acoustical Society of America, Vol. 63 (1978) pp. 456-468.

Butler, David "A further study of melodic channeling,"
Perception & Psychophysics, Vol. 89 (1971) pp. 244-249.

Butler, David and Helen Brown "Tonal structure versus function: Studies of the recognition of harmonic motion,"
Music Perception, Vol. 2, No.1 (1974) pp. 6-24.

Carlsen, James C. "Developing aural perception of music in context,"
Journal of Research in Music Education, Vol. 17 (1969) pp. 47-50.

Carlsen, James C. "Some factors which influence melodic expectancy,"
Psychomusicology, Vol. 1 (1981) pp. 12-29.

Carlsen, James C., Pierre L. Divenyi, and Jack A. Taylor "A Preliminary study of perceptual expectancy in melodic configurations,"
Council for Research in Music Education, Bulletin, No. 22 (1970) pp. 4-12.

Carterette, Edward C., Donald V. Kohl, and Mark A. Pitt "Similarities among transformed melodies: The abstraction of invariants,"
Music Perception, Vol. 3, No. 4 (1986) pp. 393-410.

Castellano, Mary, Jamshed Bharucha, and Carol Krumhansl "Tonal hierarchies in the music of North India,"
Journal of Experimental Psychology: General, Vol. 113 (1984) pp. 394-412.

Chion, Michel "La dissolution de la notion de timbre,"
Analyse Musicale, Vol. 3 (1986) pp. 7-8.

Cherry, E. Colin "Some experiments on the recognition of speech, with one and with two ears,"
Journal of the Acoustical Society of America, Vol. 25, No. 5 (1953) pp. 975-979.

Cook, Nicholas "The perception of large-scale tonal closure,"
Music Perception, Vol. 5, No. 2 (1987) pp. 197-205.

Cooke, D. The Language of Music. Oxford: Oxford University Press, 1959.

Clarke, Eric "Timing in the performance of Erik Satie's 'Vexations',"
Acta Psychologica, Vol. 50 (1982) pp. 1-19.

Clarke, Eric "Categorical rhythm perception: An ecological perspective," in: A. Gabrielsson (ed.), Action and Perception in Rhythm and Music. Stockholm: Royal Swedish Academy of Music, No. 55, 1987; pp. 19-33.

Cohen, Annabel, Paul Isaacs, Samuel Flores, David Huron, and John Bradley "The computer as interdisciplinary catalyst: music and psychology,"
in: Serge Lusignan and John North (editors)
Computing in the Humanities, Proceedings of the Third International Conference (University of Waterloo Press, 1977), pp. 197-207.

Cohen, Annabel, Sandra Trehub and Leigh A. Thorpe "Effects of uncertainty on melodic information processing,"
manuscript, 40p.

Cohen, Anne and Norm Cohen "Tune evolution as an indicator of traditional musical norms,"
Journal of American Folklore, Vol. 86 (1973) pp. 37-47.

Cohen, Elizabeth A. "Fusion and consonance relations for tones with inharmonic partials,"
Journal of the Acoustical Society of America, Vol. 65, Supplement No. 1 (1979) p.S123. (Abstract only)

Cohen, Elizabeth A. "Some Effects of inharmonic partials on interval perception,"
Music Perception, Vol. 1, No. 3 (1984) pp. 323-349.

Cross, Ian, Robert West and Peter Howell "Linear salience in the perception of counterpoint,"
manuscript, 5p.

Crozier, J. B. "Verbal and exploratory responses to sound sequences varying in uncertainty level,"
In: D.E. Berlyne (editor), Studies in the New Experimental Aesthetics: Steps Toward an Objective Psychology of Aesthetic Approach, Washington, D.C.: Hemisphere, 1974.

Cuddy, Lola and Betsy Badertscher "Recovery of the tonal hierarchy: Some comparisons across age and levels of musical experience,"
Perception & Psychophysics, Vol. 41, No. 6 (1987) pp. 609-620.

Cuddy, Lola, Annabel J. Cohen and Janet Miller "Melody recognition: The experimental application of musical rules,"
Canadian Journal of Psychology/Revue Canadienne de Psychologie, Vol. 33, No. 3 (1979) pp. 148-157.

Curry, F.K. "A comparison of left-handed and right-handed subjects on verbal and nonverbal dichotic listening tasks,"
Cortex, Vol. 3 (1967) pp. 343-352.

Cutting, James E. "Auditory and linguistic processes in speech perception: inferences from six fusions in dichotic listening,"
Psychological Review, Vol. 83, No. 2 (1976) pp. 114-140.

Cutting, James E. and Burton S. Rosner "Categories and boundaries in speech and music,"
Perception & Psychophysics, Vol. 16, No. 3 (1974) pp. 564-570.

Damasio, Antonio R. Descartes' Error: Emotion, Reason, and the Human Brain
New York: G. P. Putnam's Sons, 1994.

Damasio, Antonio R., Tranel, D. and Damasio, H. "Somatic markers and the guidance of behavior: Theory and preliminary testing,"
In H.S. Levin, H.M. Eisenberg, and A.L. Benton (editors), Frontal Lobe Function and Dysfunction, New York: Oxford University Press, 1991; pp. 217-229.

Danly, M., and B. Shapiro "Speech prosody in Broca's aphasia,"
Brain and Language, Vol. 16 (1982) pp. 171-190.

Dannenbring, Gary L. and Albert S. Bregman "Effect of silence between tones on auditory stream segregation,"
Journal of the Acoustical Society of America, Vol. 59, No. 4 (1976) pp. 987-989.

Danner, Gregory "The use of acoustic measures of dissonance to characterize pitch-class sets,"
Music Perception, Vol. 13, No. 1 (1985) pp. 103-122.

Darwin, Christopher J. "Perceptual grouping of speech components differing in fundamental frequency and onset-time,"
Quarterly Journal of Experimental Psychology, Vol. 33A (1981) pp. 185-207.

Dasser, V., Ulbaek, I., and D. Premack "Perception of intention,"
Science, Vol. 243 (1989) pp. 365-367.

Davidson, Barbara, Roderick P. Power and Patricia T. Michie "The effects of familiarity and previous training on perception of an ambiguous musical figure,"
Perception & Psychophysics, Vol. 41, No. 6 (1987) pp. 601-608.

Davies, John Booth The Psychology of Music. Stanford: Stanford University Press, 1978.

Demany, Laurent, Beryl McKenzie and Eliane Vurpillot "Rhythm perception in early infancy,"
Nature, Vol. 266 (1977 April 21) pp. 718-719.

Deutsch, Diana "An auditory illusion,"
Nature, Vol. 251 (1974) pp. 307-309.

Deutsch, Diana "Two-channel listening to musical scales,"
Journal of the Acoustical Society of America, Vol. 57 (1975a) pp. 1156-1160.

Deutsch, Diana "Musical Illusions,"
Scientific American, Vol. 233, No. 4 (1975b) pp. 92-104.

Deutsch, Diana "Binaural integration of melodic patterns,"
Perception & Psychophysics, Vol. 25 (1979) pp. 399-405.

Deutsch, Diana "The octave illusion and the what-where connection,"
in R. S. Nickerson (editor), Attention and Performance VIII. Hillsdale, N.J.: Erlbaum press, 1980; pp. 575-592.

Deutsch, Diana "Octave generalization and the consolidation of melodic information,"
Canadian Journal of Psychology, Vol. 33, No. 3 (1979) pp. 201-204.

Deutsch, Diana "The processing of structured and unstructured tonal sequences,"
Perception & Psychophysics, Vol. 28, No. 5 (1980) pp. 381-389.

Deutsch, Diana "Musical Space,"
In: W.R. Crozier and A.J. Chapman (editors) Cognitive Processes in the Perception of Art. Amsterdam: Elsevier Science Publishers B.V., 1984; pp. 253-287.

Deutsch, Diana "The tritone paradox: Effects of spectral variables,"
Perception & Psychophysics, Vol. 41, No. 6 (1987) pp. 563-575.

Deutsch, Diana and Richard C. Boulanger "Octave equivalence and the immediate recall of pitch sequences,"
Music Perception, Vol. 2, No. 1 (1984) pp. 40-51.

Deutsch, Diana and John Feroe "The internal representation of pitch sequences in tonal music,"
Psychological Review, Vol. 88, No. 6 (1981) pp. 503-522.

Deutsch, Diana, F. Richard Moore, and Mark Dolson "Pitch classes differ with respect to height,"
Music Perception, Vol. 2, No. 2 (1984) pp. 265-271.

Deutsch, Diana and P. L. Roll "Separate `what' and `where' decision mechanisms in processing a dichotic tonal sequence,"
Journal of Experimental Psychology: Human Perception and Performance, Vol. 2 (1976) pp. 23-29.

DeWitt, Lucinda A. and Robert G. Crowder "Recognition of novel melodies after brief delays,"
Music Perception, Vol. 3, No. 3 (1986) pp. 259-274.

DeWitt, Lucinda A. and Robert G. Crowder "Tonal fusion of consonant musical intervals: The oomph in Stumpf,"
Perception & Psychophysics, Vol. 41, No. 1 (1987) pp. 73-84.

Dowling, Walter James (Jay) Rhythmic fission and the perceptual organization of tone sequences.
Harvard University: PhD dissertation, 1967.

Dowling, Walter James (Jay) "Rhythmic fission and perceptual organization,"
Journal of the Acoustical Society of America, Vol. 44 (1968) p. 369; (Abstract only).

Dowling, Walter James (Jay) "The perception of interleaved melodies,"
Cognitive Psychology, Vol. 5 (1973) pp. 322-337.

Dowling, Walter James (Jay) "Rhythmic groups and subjective chunks in memory for melodies,"
Perception & Psychophysics, Vol. 14, No. 1 (1973) pp. 37-40.

Dowling, Walter James (Jay) "Context effects on melody recognition: Scale-step versus interval representations,"
Music Perception, Vol. 3, No. 3 (1986) pp. 281-296.

Dowling, Walter James (Jay) and Diane S. Fujitani "Contour, interval and pitch recognition in memory for melodies,"
Journal of the Acoustical Society of America, Vol. 49, Part 2 (1971) pp. 524-534.

Dowling, Walter James (Jay) and Dane L. Harwood Music Cognition. London: Academic Press, 1986.

Dowling, Walter James (Jay) and Ava W. Hollombe "The perception of melodies distored by splitting into several octaves: Effects of increasing proximity and melodic contour,"
Perception & Psychophysics, Vol. 21, No. 1 (1977) pp. 60-64.

Dowling, Walter James (Jay) "Scale and contour: Two components of a theory of memory for melodies,"
Psychological Review, Vol. 85 (1978) pp. 341-354.

Dowling, Walter James (Jay) and James C. Bartlett "The importance of interval formation in long-term memory for melodies,"
Psychomusicology, Vol. 1 (1981) pp. 30-49.

Dowling, W.J., K.M. Lung and S. Herrbold "Aiming attention in pitch and time in the perception of interleaved melodies,"
Perception & Psychophysics, Vol. 41 (1987) pp. 642-656.

Duchene, G.-B. The Mechanism of Human Facial Expression, or an Electro-Physiological Analysis of the Expression of the Emotions. Translated by R. A. Cuthberton, New York: Cambridge University Press, 1990.

Edworthy, Judy "Interval and contour in melody processing,"
Music Perception, Vol. 2, No. 3 (1985) pp. 375-388.

Egan, James P. and Harold W. Hake "On the masking pattern of a simple auditory stimulus,"
Journal of the Acoustical Society of America, Vol. 22, No. 5 (1950) pp. 622-630.

Ehresman, David and David Wessel "Perception of timbral analogies," IRCAM Report 13/78, 1978; 29p.

Eiting, Mindert H. "Perceptual similarities between musical motifs,"
Music Perception, Vol. 2, No. 1 (1984) pp. 78-94.

Ekman, P. "Facial expressions of emotion: New findings, new questions,"
Psychological Science, Vol. 3 (1992) pp. 34-38.

Ekman, P., and R.J. Davidson "Voluntary smiling changes regional brain activity,"
Psychological Science, Vol. 4 (1993) pp. 342-345.

Ekman, P., Levenson, R.W., and W.V. Friesen "Autonomic nervous system activity distinguishes among emotions,"
Science, Vol. 221 (1983) pp. 1208-1210.

Elfner, Lloyd F. and Jerry L. Homick "Continuity effects with alternately sounding tones under dichotic presentation,"
Perception & Psychophysics, Vol. 2, No. 1 (1967) pp. 34-36.

Fabbri, Franco "Musical genres and their metalanguages,"
ISME Yearbook, Vol. 10 (1983) pp. 24-30.

Feld, S. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia: University of Pennsylvania Press, 1982.

Fiske, Harold E. "Music cognition: Serial process or parallel process?,"
Council for Research in Music Education, Bulletin, No. 80 (1984) pp. 13-26.

Fitzgibbons, Peter J., Alexander Pollatsek, and Ian B. Thomas
"Detection of temporal gaps within and between perceptual tonal groups,"
Perception & Psychophysics, Vol. 16, No. 3 (1974) pp. 522-528.

Foldi, N.S., Cicone, M., and H. Gardner "Pragmatic aspects of communication in brain damaged patients,"
In: Language Functions and Brain Organization, S. Segalowitz (ed.), New York: Academic Press, 1983.

Fraisse, Paul and Alain Lavit "Auditory evoked potentials and the perception of rhythms,"
International Journal of Psychophysiology, Vol. 4 (1986) pp. 85-89.

Francès, Robert "Tonal principles as teaching principles in music,"
Music Perception, Vol. 2, No. 3 (1985) pp. 389-396.

Francès, Robert La Perception de la Musique (1958);
translated by W.J. Dowling as The Perception of Music. Hillsdale, N.J.: Lawrence Erlbaum Associates, 1988.

Freedman, M. David "Analysis of musical instrument tones,"
Journal of the Acoustical Society of America, Vol. 41 (1967) pp. 793-806.

Frobenius, Wolf "Polyphony," In: Stanley Sadie (editor) New Grove Dictionary of Music and Musicians. (6th edition), London: Macmillan Publishers, 1980; Vol. 15, pp. 70-72.

Fucks, Wilhelm "Mathematical analysis of formal structure of music,"
I.R.E. Transactions on Information Theory, Vol. 8 (1962) pp. 224-228.

Gabrielsson, Alf "Similarity ratings and dimension analyses of auditory rhythm patterns. I.,"
Scandinavian Journal of Psychology, Vol. 14 (1973) pp. 138-160.

Gabrielsson, Alf "Adjective ratings and dimension analyses of auditory rhythm patterns,"
Scandinavian Journal of Psychology, Vol. 14 (1973) pp. 244-260.

Galambos, Robert and Hallowell Davis "Inhibition of activity in single auditory nerve fibers by acoustic stimulation,"
Journal of Neurophysiology, Vol. 7 (1944) pp. 287-303.

Geer, J. P. van de, W. J. M. Levelt, and R. Plomp "The connotation of musical consonance,"
Acta Psychologica, Vol. 20 (1962) pp. 308-319.

Goldstein, Avram "Thrills in response to music and other stimuli,"
Physiological Psychology, Vol. 8, No. 1 (1980) pp. 126-129.

Goodfriend, J. Jacket notes for a recording by Jean-Pierre Rampal of Flute Sonatas and Fantasies by J.S. Bach, Telemann, an C.P.E. Bach (Epic LC3899)

Gordon, H.W. "Degree of ear asymmetries for perception of dichotic chords and for illusory chord localization in musicians of different levels of competence,"
Journal of Experimental Psychology: Human Perception and Performance, Vol. 6 (1980) pp. 516-527.

Gotlieb, Heidi and Vladimir J. Konecni "The effects of instrumentation, playing style, and structure in the Goldberg Variations by Johann Sebastian Bach,"
Music Perception, Vol. 3, No. 1 (1985) pp. 87-102.

Greenwood, Donald "Critical bandwidth and consonance in relation to cochlear frequency-position coordinates,"
Hearing Research, Vol. 54, No. 2 (1991) pp. 164-208.

Gregory, Andrew "Perception of clicks in music,"
Perception & Psychophysics, Vol. 24, No. 2 (1978) pp. 171-174.

Gregory, Andrew "Ear dominance for pitch,"
Neuropsychologia, Vol. 20, No. 1 (1982) pp. 89-90.

Grey, John M. and James A. Moorer "Perceptual evaluations of synthesized musical instrument tones,"
Journal of the Acoustical Society of America, Vol. 62, No. 2 (1977) pp. 454-462.

Gruson, Linda M. "Rehearsal skill and musical competence: does practice make perfect?"
In: J. Sloboda (editor), Generative processes in music: The psychology of performance, improvisation, and composition, Oxford: Clarendon Press, 1988; pp. 91-112.

Guernsey, M. "The role of consonance and dissonance in music,"
American Journal of Psychology, Vol. 40 (1928) pp. 173-204.

Guilford, J. P. and H. M. Nelson "The pitch of tones in melodies as compared with single tones,"
Journal of Experimental Psychology, Vol. 30 (1937) pp. 309-335.

Guthrie, E. R. and H. Morrill "The fusion of non-musical intervals,"
American Journal of Psychology, Vol. 40 (1928) pp. 624-625.

Hall Donald E. "Piano string excitation V: Spectra for real hammers and strings,"
Journal of the Acoustical Society of America, Vol. 83, No. 4 (1988) pp. 1627-1638.

Halpern, Andrea "Auditory Imagery for Music,"
Manuscript from poster presented at the Symposium on Music and the Cognitive Sciences, Paris, 1988, 4p.

Handel, Stephen "Temporal segmentation of repeating auditory patterns,"
Journal of Experimental Psychology, Vol. 101, No. 1 (1973) pp. 46-54.

Handel, Stephen "Using polyrhythms to study rhythm,"
Music Perception, Vol. 1, No. 4 (1984) pp. 465-484.

Handel, Stephen and Gregory R. Lawson "The contextural nature of rhythmic interpretation,"
Perception & Psychophysics, Vol. 34, No. 2 (1983) pp. 103-120.

Handel, Stephen and James S. Oshinsky "The meter of syncopated auditory polyrhythms,"
Perception & Psychophysics, Vol. 30, No. 1 (1981) pp. 1-9.

Hantz, Edwin "Studies in musical cognition: Comments from a music theorist,"
Music Perception, Vol. 2, No. 2 (1984) pp. 245-264.

Hare, R.D. and M.J. Quinn "Psychopathy and autonomic conditioning,"
Journal of Abnormal Psychology, Vol. 77 (1971) pp. 223-235.

Hargreaves, David J. The Developmental Psychology of Music, Cambridge: Cambridge University Press, 1986.

Hatten, R. S. "Semiotic and gestural bases for musical affective understanding,"
Paper presented at the 17th conference of the Society for Music Theory, Tallahase, Florida, 1994 Nov. 3.

Heilman, K.M., Scholes, R., and R.T. Watson "Auditory affective agnosia: disturbed comprehension of affective speech,"
Journal of Neurology, Neurosurgery and Psychiatry, Vol. 38 (1975) pp. 69-72.

Heilman, K.M. and R.T. Watson "Arousal and Emotions,"
In: F. Boller and J. Grafman (eds.) Handbook of Neuropsychology, Vol. 3, Amsterdam: Elsevier, 1989.

Heise, George A. and George A. Miller "An experimental study of auditory patterns,"
American Journal of Psychology, Vol. 64 (1951) pp. 68-77.

Helmholtz, Hermann L. von Die Lehre von der Tonempfindungen als physiologische Grundlage für die Theorie der Musik.
Braunschweig: Verlag F. Vieweg & Sohn, 1863; translated as: On the Sensations of Tone as a Physiological Basis for the Theory of Music. (1878); second English edition, New York: Dover Pub., 1954.

Heyduk, R. G. "Rated preference for musical composition as it relates to complexity and exposure frequency,"
Perception & Psychophysics, Vol. 17 (1975) pp. 84-89.

Hirsh, Ira J. "Auditory perception of temporal order,"
Journal of the Acoustical Society of America, Vol. 31, No. 6 (1959) pp. 759-767.

Hosokawa, Shuhei "The Walkman as urban strategy,"
ISME Yearbook, Vol. 10 (1983) pp. 129-134.

Houtsma, Adrianus J. M. "Pitch salience of various complex sounds,"
Music Perception, Vol. 1, No. 3 (1984) pp. 296-307.

Howard, J., A. O'Toole, R. Parasuraman and K. Bennett "Pattern-directed attention in uncertain-frequency detection,"
Perception & Psychophysics, Vol. 35 (1984) pp. 256-264.

Howell, Peter, Ian Cross and Robert West (editors) Musical Structure and Cognition. London: Academic Press, 1985.

Hunnicutt, Sheri "Acoustic Correlates of Redundancy and Intelligibility,"
manuscript; paper presented at the XIth ICPhS in Tallinn, Aug. 1987, Report No. STL-QPSR 2-3/1987, 14p.

Huron, David "Error categories, detection and reduction in a musical database,"
Computers and the Humanities, Vol. 22, No. 4 (1988) pp. 253-264.

Huron, David "Louise Duchesneau: The Voice of the Muse: A study of the Role of Inspiration in Musical Composition [review of],"
Music Analysis, Vol. 7, No. 1 (1988 March) pp. 110-114.

Huron, David "Alf Gabrielsson (ed.): Action and Perception in Rhythm and Music [review of],"
Psychology of Music, Vol. 16, No. 2 (1988 October) pp. 156-162.

Huron, David "Voice denumerability in polyphonic music of homogeneous timbres,"
Music Perception, Vol. 6, No. 4 (1989) pp. 361-382.

Huron, David "Music in advertising; an analytic paradigm,"
Musical Quarterly, Vol. 73, No. 4 (1989) pp. 557-574.

Huron, David "Characterizing musical textures,"
Proceedings of the 1989 International Computer Music Conference, San Francisco: Computer Music Association, 1989; pp. 131-134.

Huron, David "John Sloboda (ed.): Generative Processes in Music; The Psychology of Performance, Improvisation, and Composition [review of],"
Psychology of Music, Vol. 17, No. 2 (1989) pp. 158-164.

Huron, David "Crescendo/Diminuendo asymmetries in Beethoven's piano sonatas,"
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