Scarlet & Grey
Ohio State University
School of Music


Psychology of Rhythm: A Selected Bibliography

Cooper, G. & Meyer, L. B. (1960). The Rhythmic Structure of Music. Chicago: University of Chicago Press.

Barnes, R. & Jones, M.R. (2000). Expectancy, attention, and time. Cognitive Psychology, Vol. 41, pp. 254-311.

Benjamin, W. (1984). A theory of musical meter. Music Perception, Vol. 1, No. 4, pp. 355-413.

Brochard, R., Abecasis, D., Potter, D., Ragot, R. & Drake, C. (2003). The "ticktock" of our internal clock: Direct brain evidence of subjective accents in isochronous sequences. Psychological Science, Vol. 14, No. 4, pp. 362-366.

Brower, C. (1993). Memory and the perception of rhythm. Musical Theory Spectrum. Vol. 15, No. 1, pp. 19-35.

Chernoff, J.M. (1979). African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press.

Clarke, E.F. (1985). Some aspects of rhythm and expression in performances of Erik Satie's `Gnossienne No. 5'. Music Perception, Vol. 2, No. 3, pp. 299-328.

Clarke, E.F. (1987). Categorical rhythm perception: An ecological perspective. In: A. Gabrielsson (Ed.), Action and Perception in Rhythm and Music, Stockholm: Royal Swedish Academy of Music, pp. 19-33.

Clarke, E.F. (1999). Rhythm and timing in music. In: D. Deutsch (Ed.), The Psychology of Music. Revised edition. San Diego: Academic Press, pp. 473-500.

Clarke, E.F., & Krumhansl, C.L. (1990). Perceiving musical time. Music Perception, Vol. 7, pp. 213-252.

Cone, E.T. (1977/1989). Three ways of reading a detective story -- Or a Brahms Intermezzo. Georgia Review, Vol. 31, pp. 554-574. Reprinted in R. Morgan (Ed.), Music: A View from Delft. Selected Essays. Chicago: Chicago University Press.

Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming. Perception, Vol. 32, No. 3, pp. 341-365.

Desain, P., Honing, H. & Sadakata, M. (2003). Predicting rhythm perception from rhythm production and score counts: The Bayesian approach. Paper presented at the Society for Music Perception and Cognition 2003 Conference, Las Vegas, Nevada. 2003, June 18.

Deutsch, D. (1999). Grouping mechanisms in music. In: D. Deutsch (Ed.), The Psychology of Music. Revised edition. San Diego: Academic Press, pp. 299-348.

Dowling, W.J. & Harwood, D.L. (1986). Music Cognition. San Diego: Academic Press.

Fraisse, P. (1978). Time and rhythm perception. In: E.C. Carterette & M.P. Friedmans (Eds.), Handbook of Perception. Vol. 8. New York: Academic Press, pp. 203-254.

Fraisse, P. (1982). Rhythm and tempo. In: D. Deutsch (Ed.), The Psychology of Music. New York: Academic Press, pp. 149-180.

Fraisse, P. (1987). A historical approach to rhythm as perception. In: A. Gabrielsson (Ed.) Action and Perception in Rhythm and Music, Stockholm: Royal Swedish Academy of Music, pp. 7-18.

Frances.

Gabrielsson, A. (1974). Performance of rhythm patterns. Scandinavian Journal of Psychology, Vol. 15, pp. 63-72.

Gabrielsson, A. (2001). Emotions in strong experiences with music. In: P.N. Juslin & J.A. Sloboda (Eds.), Music and Emotion: Theory and Research. New York: Oxford University Press, pp. 431-449.

Getz, R.P. (1966). The effects of repetition on listening response. Journal of Research in Music Education, Vol. 14, No. 3, pp. 178-192.

Gjerdingen, Robert (1988). A Classic Turn of Phrase: Music and the Psychology of Convention, University of Pennsylvania Press.

Hasty, C. (1998). Meter as Rhythm. Oxford: Oxford University Press.

Huron, D. & Ollen, J. (2003). Agogic constrast in French and English themes: Further support for Patel and Daniele (2003). Music Perception, Vol. 21, No. 2, pp. 267-271.

Jones, M.R. (1981). Music as a stimulsu for psychological motion: Part 1. Some determinants of expectancies. Psychomusicology, Vol. 1, pp. 34-51.

Jones, M.R. (1982). Music as a stimulsu for psychological motion: Part 2. An expectancy model. Psychomusicology, Vol. 2, pp. 1-13.

Jones, M.R. (1992). Attending to musical events. In: M.R. Jones & S. Holleran (Eds.), Cognitive Bases of Musical Communication. Washington, DC: American Psychological Association; pp. 91-110.

Jones, M.R. & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, Vol. 96, pp. 459-491.

Jones, M.R., Boltz, M. & Kidd, G. (1982). Controlled attending as a function of melodic and temporal context. Perception & Psychophysics, Vol. 32, pp. 211-218.

Jones, M.R., Kidd, G. & Wetzel, R. (1981). Evidence for rhythmic attention. Journal of Experimental Psychology: Human Perception and Performance, Vol. 7, pp. 1059-1073.

Jones, M.R., Moynihan, H., MacKenzie, N. & Puente, J. (2002). Temporal aspects of stimulus-driven attending in dynamic arrays. Psychological Science, Vol. 13, No. 4, pp. 313-319.

Kramer, J.D. (1988). The Time of Music. New York: Schirmer Books.

Krebs, H. (1999). Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. Oxford: Oxford University Press.

Kronman, U. & Sundberg, J. (1987). Is the musical ritard an allusion to physical motion? In: A. Gabrielsson (Ed.), Action and Perception in Rhythm and Music, Stockholm: Royal Swedish Academy of Music, pp. 57-68.

Large, E.W. & Jones, M.R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, Vol. 106, pp. 119-159.

Lerdahl, F. & Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambridge, MA: MIT Press.

Lester, J. (1986). The Rhythms of Tonal Music. Carbondale, IL: Southern Illinois University Press.

Longuet-Higgins, H.C. & Lee, C.S. (1982). Perception of musical rhythms. Perception, Vol. 11, pp. 115-128.

Marslen-Wilson, W. & Tyler, L.K. (1980). The temporal structure of spoken language understanding. Cognition, Vol. 8, No. 1, pp. 1-71.

Michon, J.A. (1985). The compleat time experience! In: J.A. Michon & J.L. Jackson (Eds.), Time, Mind, and Behavior. Berlin: Springer Verlag, pp. 21-52.

Mull, H.K. (1957). The effect of repetition upon the enjoyment of modern music. Journal of Psychology, Vol. 43, pp. 155-162.

Ng, Yuet-Hon. (2003). Temporal expectancy at the level of musical phrases: A study of expectancy length. Paper presented at the Society for Music Perception and Cognition, 2003 Conference, Las Vegas, Nevada.

Ollen, J. & Huron, D. (2003). Musical form and habituation theory. Poster presented at the Society for Music Percpetion and Cognition, 2003 Conference, Las Vegas, Nevada.

Ollen, J. & Huron, D. (2004). Listener preferences and early repetition in musical form. In: S.D. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition. Evanston, Illinois: Casual Productions, pp. 405-407.

Palmer, C. & Krumhansl, C. (1990). Mental representations for musical meter. Journal of Experimental Psychology: Human Perception and Performance, Vol. 16, No. 4, pp. 728-741.

Patel, A.D. & Daniele, J.R. (2003). An empirical comparison of rhythm in language and music. Cognition, Vol. 87, B35-B45.

Patel, A.D., Iversen, J.R. & Ohgushi, K. (2004). Cultural differences in rhythm perception: What is the influence of native language? In: S.D. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition. Evanston, Illinois: Casual Productions, pp. 88-89.

Povel, D.-J. (1981). Internal representation of simple temporal patterns. Journal of Experimental Psychology: Human Perception and Performance, Vol. 7, pp. 3-18.

Povel, D.-J. & Essens, P. (1985). Perception of temporal patterns. Music Perception, Vol. 2, No. 4, pp. 411-440.

Roeder, J. (2003). Beat-class modulation in Steve Reich's music. Music Theory Spectrum, Vol. 25, No. 2, pp. 275-304.

Rothstein, W. (1989). Phrase Rhythm in Tonal Music. New York: Schirmer Books.

Schaffer, L.H. & Tood, N.P.M. (1994). The interpretive component in musical performance. In: R. Aiello & J.A. Sloboda (Eds.), Musical Perceptions. London: Oxford University Press.

Smith, J. (1983). Reproduction and representation of musical rhythms: The effects of musical skill. In: D. Rogers & J.A. Sloboda (Eds.), Acquisition of Symbolic Skills. New York: Plenum.

Snyder, B. (2000). Music and Memory: An Introduction. Cambridge, MA: MIT Press.

Tekman, H.G. (1998). Effects of melodic accents on perception of intensity. Music Perception, Vol. 15, No. 4, pp. 391-401.

Tekman, H.G. (2001). Accenting and detection of timing variations in tone sequences: Different kinds of accents have different effects. Perception & Psychophysics, Vol. 63, No. 3, pp. 514-523.

Temperley, D. (2001). The Cognition of Basic Musical Structures. Cambridge, MA: MIT Press.

Woodrow, H. (1951). Time perception. In: S.S. Stevens (Ed.), Handbook of Experimental Psychology. New York: Wiley, pp. 1224-1236.



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