In this interdisciplinary course, each student will find a different combination of readings useful. An overview of current and recent publications in music and other literature is compiled below.
Music Query, Analysis, and Style Simulation:
Reading List
(Music 254/CS 275b, Stanford University; last updated spring 2003)
In this interdisciplinary course, each student will find a different combination of readings useful. An
overview of current and recent publications in music and other literature is compiled below.
Please be aware that new material is appearing at a rapid rate. It is important to search all three of the following online databases [access from within Stanford]:
Music literature (history, theory, analysis; often incomplete for computer music) : RILM (http://www-sul.stanford.edu/catdb/hum.html ).
Psychology (perception and cognition, some work in acoustics, statistics, etc.): PSYCHINFO (http://www-sul.stanford.edu/catdb/ssi.html ).
Computer science and engineering (algorithms, query strategies, graphics, models, sound, neural nets, simulation, standards, typesetting):
Achilles' CS mega-site (http://liinwww.ira.uka.de/bibliography)
Citeseer (http://citeseer.nj.nec.com/cs)
Many journal articles, conference proceedings, and monographs treating hybrid subjects are missing from all three categories. Of the items cited below, most are available for consultation at CCARH (Braun #129) and quite a few are in the Music Library (some journals are in the CCRMA branch; others are in Braun):
Organization of Topics
1. Bibliographies and overviews
2. Music representation
a. General
b. Specific systems
c. Particular musical features
3.1. Music-based analysis: Specific approaches
a. Notation
b. Repertory analysis
c. Theoretical models and their validation
d. Elucidation of cognitive models
e. Harmony
f. Counterpoint
g. Rhythm and accent
h. Analysis of performance and expression
i. Artificial performance, expression
3.2. Music-analysis: Style
a. Style identification
b. Style simulation
3.3. Music-analysis: Query
a. Melodic similarity and comparison
b. Melodic and harmonic perception
c. Pitch perception
d. Rhythm and tempo
e. Algorithms
f. Summarization
g. Melody in non-Western music
4. Procedure-based analysis
a. Linguistics; Grammars
b. Mathematics; Quantitative studies
c. Formal systems and sets; Objects and object classes; Information theory
d. Artificial intelligence; Computer modelling; Neural networks
e. Rule systems and lexicons
f. Pattern recognition
g. Genetics: Selection and recombination
h. Perception, cognition, and expectancy
5. Miscellaneous subjects
a. Theories of musical computation
b. Data interchange and virtual editions
c. Physical and gestural modeling; Psychoacoustics
d. Intellectual Property (in relation to musical data)
e. Data acquisition and virtual restoration
i. Image recognition
ii. Image restoration
1. Bibliographies, general essays
Alphonce, Bo (1989). "Computer Applications: Analysis and Modeling," Music Theory Spectrum 11/1, 49-59.
Alphonce, Bo (1989). "Computer Applications in Music Research: A Retrospective," Computers in Music Research 1, 1-74.
Selfridge-Field, Eleanor (1990). "Reflections on Technology and Musicology," Acta Musicologica LXII/2-3, 302-14.
2a. Music representation: General
Balaban, Mira, Kemal Ebcioglu, and Otto Laske (1992). Understanding Music with AI: Perspectives on Music Cognition. Cambridge: AAAI Press/MIT Press.
Balaban, Mira (1992). "Music Structures: A TemporalHierarchical Representation for Music," Musikometrika 2 (1990), 1-51. Expanded version: "Music Structures: Interleaving the Temporal and Hierarchical Aspects in Music" in Balaban et al. (1992), pp. 110-139.
Balaban, Mira (1992). "Music Structures: Interleaving the Temporal and Hierarchical Aspects in Music" in Balaban et al. (1992), pp. 110-139.
Balaban, Mira (1996). "The Music Structures Approach to Knowledge Representation for Music Processing," Computer Music Journal 20/2, 96-111.
Brinkman, Alexander R. (1986). "Representing Musical Scores for Computer Analysis," Journal of Music Theory 30/2, 225-275.
Dannenberg, Roger B. (1993). "Music Representation Issues, Techniques, and Systems," Computer Music Journal 17/3, 20-30.
Harris, Mitch, Alan Smaill, and Geraint Wiggins (1991). "Representing Music Symbolically" in IX Colloquio di Informatica Musicale, ed. Antonio Camurri and Corrado Canepa (Genoa), pp. 55-69.
Huron, David (1992). "Design Principles in Computerbased Music Representation" in Marsden and Pople (1992), pp. 5-40.
Marsden, Alan, and Anthony Pople, eds. (1992). Computer Representations and Models in Music. San Diego: Academic Press.
Monaham, Caroline B., and Edward C. Carterette (1985). "Pitch and Duration as Determinants of Musical Space," Music Perception 3/1, 1-32.
Nettheim, Nigel (1993). "On the Accuracy of Musical Data, with Examples from Gregorian Chant and German Folksong," Computers and the Humanities 27/2, 111-120.
Popovic, Igor (1989). "The Analytical Object: ComputerBased Representation of Musical Scores and Analyses," Computers in Music Research 1, 103-116.
Roads, Curtis (1984). "An Overview of Music Representations" in Baroni and Callegari (1984), pp. 7-37.
Schnell, Christoph (1985). Die Eingabe musikalischer Information als Teil eines Arbeits-instrumentes. Bern: Peter Lang.
Selfridge-Field, Eleanor (1992). "A paradox of melodic representation," in Second International Conference on Music Perception and Cognition [Abstracts] (Los Angeles: UCLA), p. 40.
Selfridge-Field, Eleanor, ed. (1997). Beyond MIDI: The Handbook of Musical Codes. Cambridge: The MIT Press.
2b. Music representation: Specific systems
Huron, David (1995). The Humdrum Toolkit: UNIXbased Software Tools for Music Representation and Processing. Menlo Park: CCARH.
Huron, David (1999). Music Research Using Humdrum: A User's Guide. First draft, CCARH, 1999.
Kornstaedt, Andreas (1996). "SCOREtoHumdrum: A Graphical Environment for Musicological Analysis," Computing in Musicology 10, 105-122.
McLean, Bruce (1988). "The Representation of Musical Scores as Data for Applications in Musical Computing." [DARMS-based] Doctoral dissertation, State University of New York at Binghamton,.
Piché, Jan, and Alexandre Burton (1998). "Cecilia: A Production Interface to Csound," Computer Music Journal 22/2, 52-55.
Taube, Heinrich (1997). "An Introduction to Common Music," Computer Music Journal 21/1 (1997), 29-38.
2c. Music representation: Particular musical features
Barton, Louis W. G. (2002). "The NEUMES Project: Digital Transcription of Medieval Chant Manuscripts" in Proceedings Second International Conference on WEB Delivering of Music, ed. Busch, Arnold, Nesi, and Schmucker. (Los Alamitos: IEEE Computer Society), pp. 211-218.
Brinkman, Alexander R. (1986). "A Binomial Representation of Pitch for Computer Processing of Musica Data," Music Theory Spectrum 8, 44-57.
Hewlett, Walter. B. (1992). "A Base-40 Number-Line Representation of Musical Pitch Notation," Musikometrika 5, 1-14.
Howell, P., R. West, and Ian Cross, eds. (1991). Representing Musical Structure. San Diego: Academic Press.
Tangian, Andranik (1992). "A Binary System for Classification of Rhythmic Patterns," Computing in Musicology 8 (1992), 75-81.
3.1.a. Notation
Belkin, Alan (1994). "Macintosh Notation Software: Present and Future," Computer Music Journal 18/1, 30-39.
Byrd, Donald Alvin (1984). "Music Notation by Computer." Ann Arbor: UMI (Ph.D. dissertation: Indiana University), 1985.
Byrd, Donald (1994). "Music Notation Software and Intelligence," Computer Music Journal 18/1, 17-20.
Correia, Edmund, Jr., and Eleanor SelfridgeField (1996). "Musical Information in Desktop Publishing" on Standards in Computer Generated Music [ CDROM], ed. Goffredo Haus and Isabella Pighi. Los Alamitos, CA: IEEE Computer Society Press
Diener, Glendon (1991). "Nutation: An ObjectOriented Notational System for NeXT," Computing in Musicology 7, 7071. [See also his SU thesis: Modeling Music Notation: A Three-Dimensional Approach. Ann Arbor: UMI, 1991.]
3.1.b. Repertory analysis
Burns, Lori (1993). "J. S. Bach's Mixolydian Chorale Harmonizations," Music Theory Spectrum 15/2, 144-172.
Binford-Walsh, Hilde M. (1991). "The Melodic Grammar of Aquitanian Tropes." Computing in Musicology 7, 4142. [More information in her SU thesis.]
Crerar, M. Alison (1985). "Elements of a Statistical Approach to the Question of Authorship," Computers and the Humanities 19, 175-182.
Ellis, Mark (1980). "Linear Aspects of the Fugues of J. S. Bach's `The Welltempered Clavier': A Quantitative Survey." Ph. D. dissertation, Nottingham University.
Gross, Dorothy (1984). "A Study in Rhythmic Complexity of Selected TwentiethCentury Works" in Baroni and Callegari (1984), pp. 337-344.
Halperin, David (1990). "A Segmentation Algorithm and its Application to Medieval Monophonic Music," Musikometrika 2, 107119.
Halperin, David (1986). "Contributions to a Morphology of Ambrosian Chant." Ph.D. dissertation: Tel Aviv University.
Halperin, David (1978). "A Structural Analysis of Troubadour Music." M.A. Thesis: TelAviv University.
Huron, David (1990). "Increment/Decrement Asymmetries in Polyphonic Sonorities," Music Perception 7/4, 385-393.
Huron, David (1990). "Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas," Music Perception 7/4 (1990), 395-402.
Huron, David. "The Melodic Arch in Western Folksongs," Computing in Musicology 10 (199596), 3-23.
Huron, David (1993). "NoteOnset Asynchrony in J. S. Bach's TwoPart Inventions," Music Perception 10/4, 435-444.
Mikumo, Mariko (1992). "Encoding Strategies for Tonal and Atonal Melodies," Music Perception 10/1, 7382.
Nettheim, Nigel (1993). "The Pulse in German Folksong: A Statistical Investigation," Musikometrika 5, 69-89.
Oura, Y. (1989). "Constructing a Melodic Representation; Transforming Melodic Segments into Reduced Pitch Patterns Instantiatied by Modifiers" in Proceedings of the First International Conference on Music Perception and Cognition (Oct. 1989), pp. 331-336.
Peiper, Chad Evan (1996). "Dissonance and Genre in Corelli's Trio Sonatas:A LISPBased Study of Opp. 1 and 2," Computing in Musicology 10, 34-48.
Plenkers, Leo J. (1984). "A Pattern Recognition System in the Study of the Cantigas de Santa Maria" in Baroni and Callegari (1984), xx-yy.
Pont, Graham, and Nigel Nettheim (1991). "Handel's Keyboard Music: A Computer Analysis of Style and Taxonomy of Characteristic Figures," Computing in Musicology 7, 48.
Rahn, John (1988). "Theories for Some Ars Antiqua Motets, With Attendant Methodological Considerations," Musikometrika 1, 191-213.
Rasmussen, Steven C. (1996). "Modality vs. Tonality in Bach's Chorale Harmonizations," Computing in Musicology 10, 49-58.
Schaffrath, Helmut (1992). "The Retrieval of Monophonic Melodies and their Variants: Concepts and Strategies for ComputerAided Analysis" i nMarsden and Pople (1992), pp. 95-110.
Selfridge-Field, Eleanor (1993). "Music Analysis by Computer: Approaches and Issues" in Music Processing, ed. Goffredo Haus (Computer Music and Digital Audio Series, 9). (Madison, WI: A-R Editions, Inc., and Oxford: Clarendon Press), pp. 3-24.
Trowbridge, Lynn (1984). "Style Change in the FifteenthCentury Chanson," Journal of Musicology IV/2 (1985-86), 146-70. [For more detail see the author's thesis: "The Fifteenth-Century French Chanson: A Computer-Aided Study of Styles and Style Change." Ph.D. dissertation: University of Illinois, 1982. Ann Arbor: University Microfilms International, 1984.]
3.1.c. Theoretical models and their validation
Gross, Dorothy Susan (1985). "A Set of Computer Programs to Aid Music Analysis." Ann Arbor: UMI.
Kassler, Michael (1975). "Proving Musical Theorems I: The Middleground of Heinrich Schenker's Theory of Tonality," Basser Department of Computer Science, School of Physics, University of Sydney, Technical Report No. 103.
Krumhansl, Carol L. (1995). "Music Psychology and Music Theory: Problems and Prospects," Music Theory Spectrum 17/1, 53-80.
Moll, Kevin N. (1996). "Vertical Sonorities in Renaissance Polyphony: A MusicAnalytic Application of Spreadsheet Software," Computing in Musicology 10, 59-77.
Narmour, Eugene (1983). "Some Major Theoretical Problems Concerning the Concept of Hierarchy in the Analysis of Tonal Music," Music Perception 1/2, 129-199.
Schottstaedt, Bill (1985). "Automatic Species Counterpoint." Stanford University, CCRMA Report No. STAN-M-19, 1984. [A shorter version appears as "Automatic Counterpoint" in Current Directions of Computer Music Research, ed. M. Mathews and J. Pierce (Cambridge: MIT Press, 1985), pp. 199-214.]
Thompson, William F., and Murray Stainton (1998). "Expectancy in Bohemian Folk Song Melodies: Evaluation of Implicative Principles for Implicative and Closural Intervals," Music Perception 15/3, 231-252.
Thompson, William Forde, and Murray Stainton (1996). "Using Humdrum to Analyze Melodic Structure: An Assessment of Narmour's Implication-Realization Model," Computing in Musicology 10, 24-33.
3.1.d. Elucidation of cognitive models
Agmon, Eytan (1990). "Music Theory As Cognitive Science: Some Conceptual and Methodological Issues," Music Perception 7/3, 285-308.
Albright, Larry (1991). "Cognitive Measures of Musical Phenomena," Computing in Musicology 7, 86-89.
Cook, Nicholas (1994). "Perception: A Perspective from Music Theory" in Musical Perceptions, ed. Rita Aiello with John A. Sloboda (New York: Oxford University Press), 64-95.
Hiraga, Y. (1989). "A Computational Model of the Cognition of Melodic/Harmonic Progression." Proceedings of the First International Conference on Music Perception and Cognition (Kyoto), pp. 61-66.
Huron, David (1992). "The Ramp Archetype and the Maintenance of Passive Auditory Attention," Music Perception 10/1, 83-92.
Huron, David, and Deborah A. Fantini (1989). "The Avoidance of InnerVoice Entries: Perceptual Evidence and Musical Practice," Music Perception 7/1, 43-47.
Krumhansl, Carol (1990). The Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press.
Krumhansl, Carol (1983). "Perceptual Structures for Tonal Music," Music Perception 1/1, 28-62.
Lewin, David (1986). "Music Theory, Phenomenology, and Modes of Perception," Music Perception 3/4, 327-392.
Narmour, Eugene (1990; 1992). The Analysis and Cognition of Basic Melodic Structures: I. The Implication-Realization Model. Chicago: The University of Chicago Press, 1990. II: The Analysis of Melodic Complexity. Chicago: The University of Chicago Press.
Narmour, Eugene (2000). "Music Expectations by Cognitive Rule-Mapping," Music Perception 17/3, 329-398.
Rosner, Burton S., and Leonard B. Meyer (1986). "The Perceptual Roles of Melodic Process, Contour, and Form," Music Perception 4/1, 1-39.
Seifert, Uwe (1991). "Competence and Performance in Cognitive Science: On the Relation Between Music-Theoretical Research and the Modelling of Musical Cognition." Dissertation, University of Hamburg. See abstract in Computers in Music Research Conference Handbook (Belfast), pp. 73-76.
Sloboda, John A. (1987). The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press.
3.1.e. Harmony
Barthélemy, Jerome, and Alain Bonardi (2001). "Figured Bass and Tonality Recognition" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University), pp. 129-136.
Blombach, Ann K. (1995). "Determining Keys and Correct Pitch Notation in Tonal Melodies," Computers in Music Research 5/1, 67-102.
Jarvinen, Topi (1995). "Tonal Hierarchies in Jazz Improvisation," Musical Perception 12/4, 415-438.
Noll, Thomas (1998). "Harmonische Morpheme," Musikometrika 8, 7-32.
Parncutt, Richard (1988). "Revision of Terhardt's Psychoacoustical Model of the Root(s) of a Musical Chord," Music Perception 6/1, 65-93.
Swain, Joseph P. (1998). "Dimensions of Harmonic Rhythm," Music Theory Spectrum 20/1, 48-71.
Temperley, David (1997). "An Algorithm for Harmonic Analysis," Music Perception 15/1, 31-68.
Temperley, David (1999). "What's Key for Key? The Krumhansl-Schmuckler Key-Finding Algorithm Reconsidered," Music Perception 17/1, 65-100.
Vos, Peit G., and Erwin W. Van Geenen (1996). A ParallelProcessing KeyFinding Model," Music Perception 14/2, 185223.
3.1.f. Counterpoint
Aarset, Timothy C. (1991). "A Tool for Research on Improvised Counterpoint," Computing in Musicology 7(1991), 51-53.
Balzer, K., and K. Wegscheider (1992). "Counterpoint and Geometry" in Artificial Intelligence and Music: 10th European Conference on Artificial Intelligence, Workshop W12, ed. Gerhard Widmer (Vienna: 1992), pp. 1-7.
Schottstaedt, Bill (1984). "Automatic Species Counterpoint." Stanford: Center for Computer Research in Music and Acoustics, 1984.
Temperley, David (1999). "A preference rule system for contrapuntal analysis," in Society for Music Perception and Cognition 1999 Conference [Abstracts] (Evanston: Northwestern University), p. 50.
3.1.g. Rhythm, and Accent; Perception of rhythm
Agon, Carolos, Karim Haddad, and Gerard Assayag. "Representation and Rendering of Rhythm Structures" in Proceedings Second International Conference on WEB Delivering of Music, ed. Busch, Arnold, Nesi, and Schmucker (Los Alamitos: IEEE Computer Society, 2002), pp. 109-113.
Boroda, Moisei (1991). "Rhythmic Models in Music: Towards the Quantitative Study," Musikometrika 3 (1991), 123-162.
Breslauer, Peter (1988). "Diminutional Rhythm and Melodic Structure," Journal of Music Theory 32/1 (1988), 1-21.
Desain, Peter, and Henkjan Honing. "Towards a Calculus for Expressive Timing in Music," Computers in Music Research 3 (1991), 43-120.
Desain, Peter. "A (De)Composable Theory of Rhythm Perception," Music Perception 9/4 (1992), 439-454.
Foote, Jonathan, Matthew Cooper, and Unjung Nam (2002). "Audio Retrieval by Rhythmic Similarity" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 265-266.
Gottschewski, Hermann 1993). "Tempoarchitektur Ans`tze zu einer speziellen Tempotheorie oder: Was macht das 'Klassische' in Carl Reineckes Mozartspiel aus?" Musiktheorie 8 (1993), 99-118.
Huron, David, and Matthew Royal (1996). "What is Melodic Accent? Converging Evidence from Musical Practice," Music Perception 13/4 (1996), 489-516.
Kramer, Jonathan D. (1988). The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books, 1988.
Krebs, Harald. "Some Extensions of the Concept of Metrical Consonance and Dissonance," Journal of Music Theory 31/1 (1987), 99-120.
Nettheim, Nigel. "The Pulse in German Folksong: A Statistical Investigation," Musikometrika 5 (1993), 69-89.
Pardo, Bryan, and William Birmingham. "Encoding Timing Information for Musical Query Matching" in Third International Conference on Music Information Retrieval (Paris: IRCAM, 2002), pp. 267-268.
Parncutt, Richard (1994). "A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms,"Music Perception 11/4 (1994), 409-464.
Raphael, Christopher. "Automated Rhythm Transcription" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University, 2001), pp.99-107.
Rasch, Rudolf A. "Theory of Helmholtz-Beat Frequencies," Music Perception 1/3 (1984), 308-322.
Repp, Bruno H. (1990). "Composers' Pulses: Science or Art?", Music Perception 7/4 (1990), 423-434.
Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer Books, 1989.
Yako, Masato (1997). "The Hierarchical Structure of Time and Meter," Computer Music Journal 21/1 (1997), 47-57.
3.1.h. Analysis of performance and expression
Bowen, Jose A. (1994). "A Computer-Aided Study of Conducting," Computing in Musicology 9, 93-103. [Also see his SU thesis.]
Clarke, Eric F. (1989). "The Perception of Expressive Timing in Music," Psychological Research 51, 2-9.
Cook, Nicholas (1987). "Structure and Performance Timing in Bach's CMajor Prelude (WTC I): An Empirical Study," Music Analysis 6/3, 257-272.
Desain, Peter, and Henkjan Honing (1992). "The Quentization Problem: Traditional and Connectionist Approaches" in Balaban et al. (1992), 449-463.
Gottschewski, Hermann (1992). "Graphic Analysis of Recorded Interpretations," Computing in Musicology 8, 93-96.
Gottschewski, Hermann (1993). "TempoarchitekturAns`tze zu einer speziellen Tempotheorie oder: Was macht das "Klassische" in Carl Reineckes Mozartspiel aus?" Musiktheorie 2, 99-118.
Morehen, John (1994). "Fingering in Elizabethan Keyboard Music," Computing in Musicology 9, 81-92.
Palmer, Caroline (1996). "Anatomy of a Performance: Sources of Musical Expression," Music Perception 13/3, 433-453.
Repp, Bruno H. (1989). "Expressive Microstructure in Music: A Preliminary Perceptual Assessment of Four Composers' 'Pulses'," Music Perception 6/3, 243-273.
Repp, Bruno (1994). "On Determining the Basic Tempo of an Expressive Music Performance," Psychology of Music 22, 157-67.
Repp, Bruno H. (1995). "Quantitative Effects of Global Tempo on Expressive Timing in Music Performance: Some Perceptual Evidence," Music Perception 13/1, 39-58.
Vantomme, Jason D. (1995). "Score Following by Temporal Pattern," Computer Music Journal 19/3, 50-59.
Windsor, W. Luke, and Eric F. Clarke (1997). "Expressive Timing and Dynamics in real and Artificial Musical Performances: Using an Algorithm as an Analytical Tool," Music Perception 15/2, 127-152.
3.1.i. Artificial performance
Berndtsson, Gunilla (1996). "The KTH Rule System for Singing Synthesis," Computer Music Journal 20/1, 76-91.
Camurri, Antonio (1993). "Applications of Artificial Intelligence Methodologies and Tools for Music Description and Processing" in Music Processing, ed. Goffredo Haus (Madison: A-R Editions, Inc.), pp. 233-266.
Clarke, Eric F., and W. Luke Windsor (2000). "Real and Simulated Expression: A Listening Study," Music Perception 17/3, 277-313.
Mathews, Max V. (1985). "The Conductor Program and Mechanical Baton" in Current Directions of Computer Music Research, ed. M. Mathews and J. Pierce (Cambridge: MIT Press), pp. 263-282.
Morita, Hideyuki, Shuji Hashimoto, and Sadamu Ohteru (1992). "A Computer Music System that Follows a Human Conductor," IEEE Computer, 24/7 (July 1992), 36-43.
Sundberg, J., A. Friberg, and L. Fryden (1991). "Threshold and Preference Quantities of Rules for Music Performance," Music Perception 9/1, 71-91.
3.2 Music-based analysis: Style
3.2.a. Style identification; perception
Perrott, David, and Robert O. Gjerdingen (1999). "Scanning the dial: An exploration of factors in the identification of musical style," in Society for Music Perception and Cognition 1999 Conference [Abstracts] (Evanston: Northwestern University), p. 88.
Snyder, John L. (1990). "Entropy as a Measure of Musical Style: The Influence of A Priori Assumptions," Music Theory Spectrum 12/1, 121-160.
Whitman, Brian, and Paris Smaragdis (2002). "Combining Musical and Cultural Features for Intelligent Style Detection" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 47-52.
3.2.b. Style simulation
Berggren, Ulf [Larnestam] (1995). "Ars Combinatoria: Algorithmic Construction of Sonata Movements by Means of Building Blocks derived from W.A. Mozart's Piano Sonatas." Uppsala: Uppsala University.
Cope, David (1991). Computers and Musical Style (The Computer Music and Digital Audio Series, 6). Madison, WI: AR Editions, 1991.
Cope, David (1996). Experiments in Musical Intelligence. Madison, WI: The Computer Music and Digital Audio Series, 12), 1996.
Cope, David (1992). "On the Algorithmic Representation of Musical Style" in Balaban et al. (1992), pp. 354-363.
Cope, David (1992). "Recombinant Music: Using the Computer to Explore Musical Style" in IEEE Computer 24/7 (July 1992), 22-29.
Cope, David (2001). Virtual Music: Computer Synthesis of Musical Style. Cambridge, MA: The MIT Press.
Larnestam, Ulf (1992). "Simulation of Keyboard Sonata Movements in the Style of Mozart," Computing in Musicology 8, 103-106. [See also under Berggren]
Selfridge-Field, Eleanor (1992). "David Cope: Computers and Musical Style" [review] in The Journal of the American Musicological Society, XLV/3 (1992), 535-48.
Selfridge-Field, Eleanor (2002). "Composition, Combinatorics, and Simulation: An Historical and Philosophical Enquiry" in Cope (2001), pp. 187-220.
Thompson, William F., and Murray Stainton. "Expectancy in Bohemian Folk Song Melodies: Evaluation of Implicative Principles for Implicative and Closural Intervals," Music Perception 15/3 (1998), 231-252.
3.3 Music-based analysis: Query
[This listing is a hybrid of music-based and procedure-based literature.]
3.3.a. Melodic similarity and comparison
Aucouturier, Jean-Julian, and François Pachet (2002). "Music Similarity Measures: What's the Use?" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 157-163.
Aucouturier, Jean-Julien, and Mark Sandler (2001). "Using Long-Term Structure to Retrieve Music: Representation and Matching" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University), pp. 1-2.
Bainbridge, David (1998). "MELDEX: A Web-based Melodic Index Service," Melodic Similarity: Concepts, Procedures, and Applications—Computing in Musicology 11, 223-230.
Bakhmutova, I. V., V. D. Gusev, and T. N. Titkova (1997). "The Search for Adaptations in Song Melodies," Computer Music Journal 21/1 (1997), 58-67.
Baroni, Mario, Rossana Dalmonte, and Carlo Jacoboni (1992). "Theory and Analysis of European Melody" in Marsden and Pople, pp. 187-206.
Bartlett, James C., and W. Jay Dowling (1988). "Scale Structure and Similarity of Melodies," Music Perception 5/3, 285-314.
Birmingham, William P., and Roger B. Dannenberg, et al. (2001). "Musart: Music Retrieval Via Aural Queries" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University), pp. 74-81.
Brinkman, Alexander (1986). "Johann Sebastian Bach's Orgelbuechlein: A Computer-Assisted Study of the Melodic Influence of the Cantus Firmus on the Contrapuntal Voices." Ann Arbor: UMI (PhD. Dissertation: University of Rochester, 1978).
Eitan, Zohar (1993). "Melodic Contour and Musical Style: A Quantitative Study," Musikometrika 5, 1-68.
Cambouropoulos, Emilios (1998). Towards a General Computational Theory of Musical Structure. Ph.D. dissertation. University of Edinburgh, Faculty of Music and Department of Artificial Intelligence.
Clarisse, L. P., J. P. Martens, M. Lesaffre, B. De Baets, H. De Meyer, and M. Leman (2002). "An Auditory Model Based Transcriber of Singing Sequences" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 116-123.
Clausen, Michael, and Frank Kurth (2002). "A Unified Approach to Content-Based and Fault Tolerant Music Identification" in Proceedings Second International Conference on WEB Delivering of Music, ed. Busch, Arnold, Nesi, and Schmucker (Los Alamitos: IEEE Computer Society), pp. 56-65.
Cliff, Dave, and Heppie Freeburn (2000). "Exploration of Point-Distribution Models for Similarity-based Classification and Indexing of Polyphonic Music" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts), poster 5.
Cooper, Matthew, and Jonathan Foote (2002). "Automatic Music Summarization via Similarity Analysis" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 81-85.
Crawford, Timothy, Costas S. Iliopoulos, and Rajeev Ranam (1998). "StringMatching Techniques for Musical Similarity and Melodic Recognition," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 73-100.
Doraisamy, Shyamala, and Stefan Rüger (2002). "A Comparative and Fault-tolerance Study of the Use of N-grams with Polyphonic Music" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 101-106.
Doraisamy, Shyamala, and Stefan M. Rüger (2001). "An Approach Towards A Polyphonic Music Retrieval System" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University), pp. 187-193.
Eitan, Zohar (1998). "Melodic Contour and Musical Style: A Quantitative Study," Musikometrika 5, 1-68.
Foote, Jonathan (2000). "ARTHUR: Retrieving Orchestral Music by Long-Term Structure" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts), paper 7.
Howard, John (1998). "Strategies for Sorting Musical Incipits," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 119-128.
Huron, David (1996). "The Melodic Arch in Western Folksongs," Computing in Musicology 10, 3-23.
Jesser, Barbara (1991). Interaktive Melodieanalyse. Bern: Peter Lang.
Leppig, Manfred (1987). "Musikuntersuchungen im Rechenautomaten," Musica 2 (1987), 140-50.
Marsden, Alan (1993). "Musical Informatics: An Emerging Discipline," Revue Informatique et Statistique dans les Sciences humaines 29, 77-90.
Morris, Robert D. (1993). "New Directions in the Theory and Analysis of Musical Contour," Music Theory Spectrum 15/2, 205-228.
Ó Maidín, Donncha Sean (1998). "A Geometrical Algorithm for Melodic Difference," Melodic Similarity: Concepts, Procedures, and Applications—Computing in Musicology 11, 65-72.
Orpen, Keith S., and David Huron (1992). "The Measurement of Similarity in Music: A Quantitative Approach for Nonparametric Representations," Computers in Music Research, 1-44.
Pickens, Jeremy, J. P. Bello, G. Monti, T. Crawford, M. Dovey, M. Sandler, and D. Byrd (2002). "Polyphonic Score Retrieval Using Polyphonic Audio Queries: A Harmonic Modeling Approach" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 140-149.
Pollastri, Emanuele (2002). "Some Considerations About Processing Singing Voice for Music Retrieval" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 285-286.
Povel, Dirk-Jan, and René Van Egmond (1993). "The Function of Accompanying Chords in the Recognition of Melodic Fragments," Music Perception 11/2, 101-115.
Quinn, Ian (1999). "The Combinatorial Model of Pitch Contour," Music Perception 16/4, 439-456.
Schaffrath, Helmut (1992). "The Retrieval of Monophonic Melodies and their Variants: Concepts and Strategies for Computer-Aided Analysis" in Marsden and Pople (1992), pp. 95-110.
Schmuckler, Mark A. (1999). "Testing Models of Melodic Contour Similarity," Music Perception 16/3, 295-326.
Selfridge-Field, Eleanor (1998). "Conceptual and Representational Issues in Melodic Comparison," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 3-64.
Selfridge-Field, Eleanor (1997). "Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research," The Musical Quarterly 81/2, 291-310.
Smith, Lloyd, Rodger J. McNab, and Ian H. Witten (1998). "Sequence-Based Melodic Comparison: A Dynamic-Programming Approach," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 101-118.
Temperley, David (1995). "Motivic Perception and Modularity," Music Perception 13/2, 141-170.
Wiggins, Geraint A., Kjell Lemström, and David Meredith (2002). "SIA(M)ESE: An Algorithm for Transposition Invariant, Polyphonic Content-Based Music Retrieval" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 283-284.
Williams, J. Kent (1985). "A Method for the ComputerAided Analysis of Jazz Melodies in the Small Dimensions," Annual Review of Jazz Studies 3, 41-70.
3.3.b. Melodic and harmonic perception
Bharucha, Jamshed J. (1996). "Melodic Anchoring," Music Perception 13/3 (1996), 383-400.
Benguerel, André-Pierre, and Carol Westdal (1991). "Absolute Pitch and the Perception of Sequential Musical Intervals," Music Perception 9/1, 105-119.
Deutsch, Diana (1985). "Dichotic Listening to Melodic Patterns and Its Relationship to Hemispheric Specialization of Function," Music Perception 3/2, 127-154.
Deutsch, Diana (1988). "The Semitone Paradox," Music Perception 6/2, 115-131.
Dowling, W. Jay (1982). "Melodic Information Processing and Its Development" in The Psychology of Music, ed. Diana Deutsch (Orlando: Academic Press, Inc.), pp. 413-429.
Dowling, W. Jay (1994). "Melodic Contour in Hearing and Remembering Melodies" in Musical Perceptions, ed. Rita Aiello with John Sloboda (New York: Oxford University Press), pp. 173-190.
Dowling, W. Jay (1986). "Context Effects on Melody Recognition: Scale-Step versus Interval Representations," Music Perception 3/3, 281-296.
Dowling, W. Jay (1992). "Attention and Knowledge in Music Cognition" in Proceedings of the First International Conference on Music Perception and Cognition (Kyoto: Kyoto University Press), pp. 325-330.
Dowling, W. Jay (1986). "Context Effects on Melody Recognition: Scale-Step versus Interval Representations," Music Perception 3/3, 281-296.
Edworthy, Judy (1985). "Interval and Contour in Melody Processing," Music Perception 2/3, 375-388.
Eiting, Mindert H. (1984). "Perceptual Similarities between Musical Motifs," Music Perception 2/1 (1984), 78-94.
Krumhansl, Carol L. (1990). "Tonal Hierarchies and Rare Intervals in Music Cognition," Music Perception 7/3, 309-324.
Quinn, Ian (1997). "Fuzzy Extensions to the Theory of Contour," Music Theory Spectrum 19/2, 232-263.
3.3.c. Pitch perception
Deutsch, Diana, and Richard C. Boulanger (1984). "Octave Equivalence and the Immediate Recall of Pitch Sequences," Music Perception 2/1, 40-51.
Deutsch, Diana, Tom North, and Lee Ray (1990). "The Tritone Paradox: Correlate with the Listener's Vocal Range for Speech," Music Perception 7/4, 371-384.
Miyazaki, Ken'ichi (1993). "Absolute Pitch As an Inability: Identification of Musical Intervals in a Tonal Context," Music Perception 11/1, 55-72.
Miyazaki, Ken'ichi (1989). "Absolute Pitch Identification: Effects of Timbre and Pitch Region," Music Perception 7/1, 1-14.
Shepard, Roger N. (1982). "Structual Representations of Musical Pitch" in The Psychology of Music, ed. Diana Deutsch (Orlando: Academic Press, Inc.), pp. 343-390.
Shepard, Roger (1982). "Geometrical Approximations to the Structure of Musical Pitch," Psychological Review 89/4, 305-33.
Vos, Peit G., and Jim M. Troost (1989). "Ascending and Descending Melodic Intervals: Statistical Findings and Their Perceptual Relevance," Music Perception 6/4, 383-396.
Warren, Richard M. (1984). "Helmholtz and His Continuing Influence," Music Perception 1/3, 253-275.
Warren, Richard M., Daniel A. Gardner, Bradley S. Brubaker, and James A. Bashford, Jr. (1991). "Melodic and Non-melodic Sequences of Tones: Effects of Duration on Perception," Music Perception 8/3, 277-289.
3.3.d. Rhythm and Tempo
Paulus, Jouni, and Anssi Klapuri (2002). "Measuring the Similarity of Rhythmic Patterns" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 150-156.
Povel, Dirk-Jan, and Peter Essens (1985). "Perception of Temporal Patterns," Music Perception 2/4, 411-440.
3.3.e. Algorithms
Doraisamy, Shyamala, and Stefan Rüger (2002). "A Comparative and Fault-tolerance Study of the Use of N-grams with Polyphonic Music" in Third International Conference on Music Information Retrieval (Paris: IRCAM, 2002), pp. 101-106.
Lemström, Kjell, and Sami Perttu (2000). "SEMEX--An Efficient Music Retrieval Prototype" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts), paper 15.
Lemström, Kjell, Geraint A. Wiggins, and David Meredith (2001). "A Three-Layer Approach for Music Retrieval in Large Databases" in The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University), pp. 13-14.
Uidenbogerd, Alexandra L., and Justin Zobel (2000). "Music Ranking Techniques Evaluated" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts, 2000), poster 15.
3.3.f. Summarization
Pienimäki, Anna (2002). "Indexing Music Databases Using Automatic Extraction of Frequent Phrases" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 25-30.
3.3.g. Non-Western; cross-cultural melodic studies
Geekie, Gordon (2002). "Carnatic Ragas As Music Information Retrieval Entities" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 257-258.
Kippen, Jim, and Bernard Bel (1992). "Modelling Music with Grammars: Formal Language Representation in the Bol Processor" in Marsden and Pople (1992), pp. 207-238.
Krumhansl, Carol L. (2000). "Tonality Induction: A Statistical Approach Applied Cross-Culturally," Music Perception 17/4, 461-480.
Morris, Robert (2001)."Variation and Process in South Indian Music: Some Kritis and their Sangatis," Music Theory Spectrum 23/1, 74-89.
Perlman, Marc, and Carol L. Krumhansl (1996). "An Experimental Study of Internal Interval Standards in Javanese and Western Musicians," Music Perception 14/2, 95-116.
Rowell, Lewis (2000). "Scale and Mode in the Music of the Early Tamils of South India," Music Theory Spectrum 22/2, 135-156.
Yako, Masato (1998). "Rhythmic Elements of Melodic Process in Nagauta Shamisen Music," Melodic Similarity: Concepts, Procedures, and Applications—Computing in Musicology 11, 169-184.
Aiello, Rita (1994). "Music and Language: Parallels and Contrasts" in Musical Perceptions, ed. Aiello and John A. Sloboda (New York: Oxford University Press, 1994), pp. 40-63.
Baroni, Mario (1983). "The Concept of Musical Grammar," tr. Simon Maguire and William Drabkin, Music Analysis 2, 175-208.
Baroni, Mario and Laura Callegari, eds. (1984). Musical Grammars and Computer Analysis: Atti del Convegno (Modena 4-6 Ottobre 1982). Florence: Olschki.
Baroni, M., R. Brunetti, L. Callegari, and C. Jacoboni (1984). "A Grammar for Melody: Relationships between Melody and Harmony" in Baroni and Callegari (1984).
Binford-Walsh, Hilde M. (1991). "Applications in Historical Musicology: The Melodic Grammar of Aquitanian Tropes," Computing in Musicology 7, 41-42.
Blacking, John (1984). "What Languages do Musical Grammars Describe?" in Baroni and Callegari (1984), pp. 363-370.
Camilleri, Lelio (1984). "A Grammar of the Melodies of Schubert's Lieder" in Baroni and Callegari (1984), pp. 229-236.
Hughes, David W. (1991). "Grammars of Non-Western Musics: A Selective Survey" in Howell et al. (1991), pp. 327-362.
Lerdahl, Fred, and Ray Jackendoff (1983). A Generative Theory of Tonal Music, Cambridge, Mass.: MIT Press, 1983.
Pickens, Jeremy. "A Comparison of Language Modeling and Probabilistic Text Information Retrieval Approaches to Monophonic Music Retrieval" in International Symposium on Music Information etrieval (Plymouth: University of Massachusetts, 2000), paper 16.
Powers, Harold S. (1980). "Language Models and Computer Applications," Ethnomusicology 24 (1980), 1-60.
Roads, Curtis (1985). "Grammars as Representations for Music" in Foundations of Computer Music, ed. C. Roads and J. Strawn (Cambridge: MIT Press, 1985), pp. 403-442.
Steedman, Mark J. (1984). "A Generative Grammar for Jazz Chord Sequences," Music Perception 2/1, 52-77.
Stefani, Gino. (1984) "Musical Competence, Analysis, and Grammar" in Baroni and Callegari (1984), pp. 219-227.
Sundberg, Johan, and Bjørn Lindblom (1991). "Generative Theories for Describing Musical Structure" in Howell et al. (1991), pp. 245-272.
Wenk, Arthur B. (1988). "Parsing Debussy: Proposal for a Grammar of his Melodic Practice," Musikometrika I, 237-256.
Yi, Suk Won (1990). "A Theory of Melodic Contour as a Pitchtime Interaction: The Linguistic Modeling and Statistical Analysis of Vocal Melodies in Selected Lied Collections of Schubert and Schumann." Ph.D. dissertation, UCLA, 1990. Ann Arbor: UMI.
4b. Mathematics; Quantitative Studies
Agmon, Eytan (1989). "A Mathematical Model of the Diatonic System," Journal of Music Theory 33/1, 1-25.
Balzer, K., and K. Wegscheider (1992). "Counterpoint and Geometry" in Artificial Intelligence and Music: 10th European Conference on Artificial Intelligence, Workshop W12, ed. Gerhard Widmer (Vienna), pp. 1-7.
Boeker-Heil, Norbert (1971). "Ein algebraisches Modell des durmolltonalen Systems" in Bericht ueber den 1. Internationalen Kongress f_r Musiktheorie Stuttgart 1971. Stuttgart, 1971.
Desain, Peter, and Henkjan Honing (1991). "Towards a Calculus for Expressive Timing in Music," Computers in Music Research 3, 43-120.
Lerdahl, Fred (1996). "Calculating Tonal Tension," Music Perception 13/3 (1996), 319-363.
Overill, Richard E. (1993). "On the Combinatorial Complexity of Fuzzy Pattern Matching in Music Analysis," Computers in the Humanities 27/2, 105-110.
Selfridge-Field, Eleanor (1996). "The Music of J. S. Bach: New Paradigms for the Age of Technology" in Neue Musiktechnologie II, ed. Bernd Ender (Mainz: Schott, pp. 133147.
Smith, Allan B. (1997). "A 'Cumulative' Method of Quantifying Tonal Consonance in Musical Key Contexts," Music Perception 15/2, 175-188.
4c. Formal systems and sets; Objects and object classes; Information theory
Batlle, Elio, and Pedro Cano (2000). "Automatic Segmentation for Music Classification using Competitive Hidden Markov Models" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts), poster 1.
Hasty, Christopher F. (1987). "An Intervallic Definition of Set Class," Journal of Music Theory 31/2 (1987), 183-204.
Huron, David (1994). "IntervalClass Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance," Music Perception 11/3 (1994), 289-305
Isaacson, Eric J. (1990). "Similarity of IntervalClass Content between PitchClass Sets: the IcVSIM Relation," Journal of Music Theory 34/1 (1990), 1-28.
Mason, Robert M. (1985). Modern Methods of Music Analyis Using Computers. Peterborough, New Hampshire, 1985.
Morris, D. Robert (1995). "Equivalence and Similarity in Pitch and their Interaction with Pcset Theory," Journal of Music Theory 39/2 (1995), 207-244.
Rhodes, James (1996). "Musical Data as Information: A GeneralSystems Perspective on Musical Analysis," Computing in Musicology 10 (1995-96), 165-180.
4d. Artificial intelligence; Modeling; Neural networks
Baffioni, Claudio, Francesco Guerra, and Laura Tedeschini Lalli (1984). "The Theory of Stochastic Processes and Dynamical Systems as a Basis for Models of Musical Structures" in Baroni and Callegari (1984), pp. 317-324.
Balaban, Mira (1992). "Music Structures: Interleaving the Temporal and Hierarchical Aspects in Music" in Balaban et al. (1992), pp. 110-139.
Gjerdingen, Robert O. (1990). "Categorization of Musical Patterns by SelfOrganizing Neuronlike Networks," Music Perception 7/4, 339-369.
Hoernel, Dominik (1998). "A Multiscale NeuralNetwork Model for Learning and Reproducing Chorale Variations," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 141-158.
Hsu, Kenneth, and Andrew Hsu (1991). "Self-Similarity in Music," Computing in Musicology 7 (1991), 98100.
Leman, Marc (1992). "Artificial Neural Networks in Music Research" in Marsden and Pople (1992), pp. 265-297.
Smoliar, Stephen W. (1990). "Lewin's Model of Musical Perception Reflected by Artificial Intelligence," Computers in Music Research 2 (1990), 1-37.
Stevens, Catherine (1992). "A Temporal BackPropagation Neural Network for the Study of Music Recognition by Human Listeners," Computing in Musicology 8, 120-122.
Stevens, Catherine (1991). "FeatureExtraction Processes in Musical Pattern Recognition," Computing in Musicology 7, 89-91.
Todd, Neil (1985). "A Model of Expressive Timing in Tonal Music," Music Perception 3/1, 33-57.
Tokuhiro, I., and K. Hashimoto (1989). "Stochastical Model and Emotional Response to Musical Melodies" in Proceedings of the First International Conference on Music Perception and Cognition (Oct. 1989), pp. 395-398.
Widmer, Gerhard (1995). "Modeling the Rational Basis of Musical Expression," Computer Music Journal 19/2, 76-96.
Witten, Ian H., Leonard C. Manzara, and Darrell Conklin (1994). "Comparing Human and Computational Models of Music Prediction," Computer Music Journal 18/1, 70-80.
Ebcioglu, Kemal (1992). "An Expert System for Harmonizing Four-Part Chorales," Computer Music Journal 12/3 (1988). A more comprehensive version is "An Expert System for Harmonizing Four-Part Chorales" in Balaban et al. (1992), 295-333. [See also Simulation]
Maxwell, H. John (1992). "An Expert System for Harmonic Analysis of Tonal Music" in Balaban et al. (1992), 335-53.
Cope, David (1992). "Pattern Matching as an Engine for the Simulation of Musical Style," Computing in Musicology 8, 107-110.
Cope, David (1998). "Signatures and Earmarks: Computer Recognition of Patterns in Music," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 129-138.
Dannenberg, Roger, and Ning Hu (2002). "Pattern Discovery Techniques for Music Audio" in Third International Conference on Music Information Retrieval (Paris: IRCAM), pp. 63-80.
Nettheim, Nigel (1998). "Melodic Pattern Detection Using MuSearch in Schubert's Die Schoene Muellerin," Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology 11), 159-168.
Overill, Richard E. (1993). "On the Combinatorial Complexity of Fuzzy Pattern Matching in Music Analysis," Computers and the Humanities 27/2 (1993), 105-110.
4g. Genetics: Selection and Recombination
Cope, David (1991). Computers and Musical Style (The Computer Music and Digital Audio Series, 6). Madison, WI: A-R Editions, 1991.
Cope, David (1996). Experiments in Musical Intelligence. Madison, WI: The Computer Music and Digital Audio Series, 12), 1996.
Cope, David (1992). "On the Algorithmic Representation of Musical Style" in Balaban et al. (1992), pp. 354-363.
Cope, David (1992). "Recombinant Music: Using the Computer to Explore Musical Style," IEEE Computer 24/7 (July 1992), 22-29.
4h. Perception, cognition, and expectancy
Narmour, Eugene (1991). The TopDown and Bottom-Up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax," Music Perception 9/1 (1991), 1-26.
Povel, Dirk-Jan, and Erik Jansen (2001). "Perceptual Mechanisms in Music Processing," Music Perception 19/2, 169-198.
Schellenberg, E. Glenn (2001). "Asymmetries in the Discrimination of Musical Intervals: Going Out-of-Tune Is more Noticeable Than Going In-Tune," Music Perception 19/2 223-248.
Schellenberg, E. Glenn (1997). "Simplifying the ImplicationRealization Model of Musical Expectancy," Music Perception 14/3 (1997), 295-318.
Snyder, Joel, and Carol Krumhansl (2001). "Tapping to Ragtime: Cues to Pulse Finding," Music Perception 18/4, 455-490.
Thompson, William Forde, and Murray Stainton (1996). "Using Humdrum to Analyze Melodic Structure: An Assessment of Narmour's ImplicationRealization Model," Computing in Musicology 10, 24-33.
5. Theories of Musical Computation
Camilleri, Lelio (1992). "Computational Theories of Music: Theoretical and Applicative Issues" in Computer Representations and Models in Music (San Diego: Academic Press, 1992), pp. 171-186.
Hiller, Lejaren, and Burt Levy (1984). "General System Theory as Applied to Music Analysis. Part I, in Baroni and Callegari (1984), pp. 295-316.
Rhodes, James (1996). "Musical Data as Information: A GeneralSystems Perspective on Musical Analysis," Computing in Musicology 10, 165-180.
Witten, Ian H., Leonard C. Manzara, and Darrell Conklin (1994). "Comparing Human and Computational Models of Music Prediction," Computer Music Journal 18/1, 70-80.
6. Data interchange and virtual editions
Anthony, Don, Charles Cronin, and Eleanor Selfridge-Field (2001). "The Electronic Dissemination of Notated Music: An Overview," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12 (2001), 135-166.
Barton, Louis W. G. (2002). "The NEUMES Project: Digital Transcription of Medieval Chant Manuscripts" in Proceedings Second International Conference on WEB Delivering of Music (Los Alamitos: IEEE Computer Society), pp. 211-218.
Bellini, Pierfrancesco, and Paolo Nesi (2001). "WEDELMUSIC Format: an XML Music Notation Format for Emerging Applications" in Proceedings First International Conference on WEB Delivering of Music, ed. Nesi, Bellini, and Busch (Los Alamitos: IEEE Computer Society), pp. 79-86.
Grande, Cindy, and Alan Belkin (1996). "The Development of the Notation Interchange File Format," Computer Music Journal 20/4 (1996), 33-43.
Barton, Louis W. G. (2002). "The NEUMES Project: Digital Transcription of Medieval Chant Manuscripts" in Proceedings Second International Conference on WEB Delivering of Music (Los Alamitos: IEEE Computer Society), pp. 211-218.
Dumitrescu, Theodor (2001). "Corpus Mensurablis Musice 'Electronicum': Toward a Flexible Electronic Representation of Music in Mensural Notation," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12, 3-18.
Good, Michael (2001). "MusicXML for Notation and Analysis," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12, 113-124.
Roland, Perry. "XML4MIR: Extensible Markup Language for Music Information Retrieval" in International Symposium on Music Information Retrieval (Plymouth: University of Massachusetts, 2000), paper 17.
Sloan, Donald (1993). "Aspects of Music Representation in HyTime/SMDL," Computer Music Journal 17/4 (1993), 51-59.
Sloan, Donald (1992). "HyTime/Standard Music Description Language and Computer-Aided Music Research," Computing in Musicology 8 (1992), 127-130.
7. Physical and Gestural Models
Lehmann, Andreas C., K. A. Ericsson, and R. H. Woody (1996). "VIBAFIN: A Tool for Capturing Fingerings in Piano Performance," 10, 155-162.
Parncutt, Richard (1988). "Revision of Terhardt's Psychoacoustical Model of the Root(s) of a Musical Chord," Music Perception 6/1 (1988), 65-93.
Parncutt, Richard S., John A. Sloboda, Matti Raikallio, Eric F. Clarke, and Peter Desain (1997). "An Ergonomic Model of Keyboard Fingering for Melodic Fragments," Music Perception 14/4 (1997), 341-382.
8. Intellectual property (in relation to musical data)
Arnold, Michael (2002). "Subjective and Objective Quality Evaluation of Watermarked Audio Tracks" in Proceedings Second International Conference on WEB Delivering of Music (Los Alamitos: IEEE Computer Society), pp. 161-167.
Cronin, Charles (2002). "The Music Plagiarism Digital Archive at Columbia Law Library; An Effort to Demystify Music Copyright Infringement" in Proceedings Second International Conference on WEB Delivering of Music (Los Alamitos: IEEE Computer Society), pp. 133-139.
Schmucker, Martin. "Using Musical Features For Watermarking Music Scores" in Proceedings First International Conference on WEB Delivering of Music, ed. Nesi, Bellini, and Busch (Los Alamitos: IEEE Computer Society, 2001), pp.20-27.
Smiraglia, Richard P. "Musical Works as Information Retrieval Entities: Epistemological Perspectives" The Second Annual Symposium on Music Information Retrieval (Bloomington: Indiana University, 2001), pp.85-91.
9. Data acquisition and virtual restoration
Fujinaga, Ichiro, Bruce Pennycook, and Bo Alphonce (1992). "Computer Recognition of Musical Notation" in Proceedings of the First International Conference on Music Perception and Cognition (Kyoto: Kyoto University Press), pp. 87-90.
Fujinaga, Ichiro (1991). "Automatic Recognition and Related Topics: Montréal, McGill University," Computing in Musicology 7 (1991), 112-113.
Selfridge-Field, Eleanor (1994). "How Practical is Optical Music Recognition as an Input Method?" Computing in Musicology 9, 159-166.
Selfridge-Field, Eleanor (1994). "Optical Recognition of Musical Notation: A Survey of Current Work," Computing in Musicology 9 (1993-94), 109-145.
Selfridge-Field, Eleanor, Walter B. Hewlett, and Craig Stuart Sapp (2001). "Data Models for Virtual Distribution of Musical Scores" in Proceedings First International Conference on WEB Delivering of Music, ed. Nesi, Bellini, and Busch (Los Alamitos: IEEE Computer Society), pp. 62-70.
Edge, Dexter (2001). "The Digital Imaging of Watermarks," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12, 261-274.
Planchart, Alejandro Enrique (2001). "Image-Enhancement Procedures for Medieval Manuscripts," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12 (2001), 227-240.
Wathey, Andrew, Margaret Bent, and Julia Craig-McFeely (2001). "The Art of Virtual Restoration: Creating the Digital Image Archive of Medieval Music (DIAMM)," The Virtual Score: Representation, Retrieval, Restoration—Computing in Musicology 12 (2001), 227-240.
Online bibliographies for music-information retrieval:
For researchers and digital library developers:
Don Byrd's http://mypage.iu.edu/~donbyrd/DonMusicIRBibliography.html
For music librarians:
Stephen Downey's http://music-ir.org/research_home.html
Stanford University
Music 254/CS 275B: Music Query, Analysis, and Style Simulation
(2003) Center for Computer Assisted Research in the Humanities, Stanford University
Last updated: 4/3/03