Book Review: Tonal Pitch Space

Bharucha J. J. (1984a). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, 16 (4), 485–518.

Bharucha J. J. (1984b). Event hierarchies, tonal hierarchies, and assimilation: A reply to Deutsch and Dowling. Journal of Experimental Psychology: General, 113, 421–5.

Bharucha J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework.

Music Perception, 5 (1), 1–30.

Bharucha J. J. Stoeckig K . (1986). Reaction time and musical expectancy: priming of chords.

Journal of Experimental Psychology: Human Perception and Performance, 12 (4), 403–10.

Bharucha J. J. Stoeckig K . (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception and Psychophysics, 41 (6), 519–24.

Bigand E. (1990a). Abstraction of two forms of underlying structure in a tonal melody. Psychology of Music, 18, 45–60.

Bigand E. (1990b). Perception et comprehension des phrases musicales. Universitd de Nanterre (Paris X), Paris Nanterre.

Bigand E. (1993a). Contributions of music to research on human auditory cognition. In McAdams S. Bigand E. (Eds), Thinking in Sound: the cognitive psychology of human audition (pp. 231–73). Oxford: Claredon Press.

Bigand E. (1993b). L'organisation perceptive d'oeuvres musicales tonales. Paris: Edition de la Maison des Sciences de l'Homme.

Bigand E. Lerdahl F . (1992). Perception of tension and relaxation in chord sequences. Paper presented at the Second International Conference on Music Perception and Cognition, Los Angeles.

Bigand E. Madurell E Tillmann B. Pineau M . (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25 (1), 184–97.

Bigand E. Parncutt R . (1999). Perceiving musical tension in long chord sequences.

Psychological Research/Psychologische Forschung, 62 (4), 237–54.

Bigand E. Parncutt R. Lerdahl F . (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception and Psychophysics, 58 (1), 124–41.

Bigand E. Pineau M . (1997). Global context effects on musical expectancy. Perception and Psychophysics, 59 (7), 1098–107.

Bigand E. Poulin B. Tillmann B. D'Adamo D . (2002). Cognitive versus sensory components in harmonic priming effects. Journal of Experimental Psychology: Human Perception and Performance, in press.

Blood A. J. Zatorre R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences USA, 98 (20), 11818–23.

Cook N. (1987). The perception of large-scale tonal closure. Music Perception, 5, 197–206.

Deutsch D. (1984). Two issues concerning tonal hierarchies: Comment on Castellano, Bharucha, and Krumhansl. Journal of Experimental Psychology: General, 113 (3), 413–6.

Dibben N. (1994). The cognitive reality of hierarchic structure in tonal and atonal music. Music Perception, 12, 3–17.

Frances R. (1958). La perception de la musique (2nd ed.). Paris: Vrin.

Huron D. Parncutt R . (1993). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 154–71.

Janata P. Birk J. L. Van Horn J. D. Leman M. Tillmann B. Bharucha J. J. (2002). The Cortical Topography of Tonal Structures Underlying Western Music. Science

298(5601), 2167–70.

Jones M. R. (1987). Dynamic pattern structures in music: Recent theory and research. Perception and Psychophysics, 41, 621–34.

Karno M. Konecni V. J. (1992). The effects of structural interventions in the first movement of Mozart's Symphony in G-Minor, K. 550, on aesthetic preference. Music Perception

10, 63–72.

Koelsch S. Gunter T. Friederici A. D. Schroger E . (2000). Brain indices of music processing: “nonmusicians” are musical. Journal of Cognitive Neuroscicnces, 12 (3), 520–41.

Koelsch S. Gunter T. C. von Cramon D. Y. Zysset S. Lohmann G. Friederici A. D. (2002). Bach speaks: A cortical “language-network” serves the processing of music. Neurolmage, 17 (2), 956–66.

Krumhansl C. L. (1996). A perceptual analysis of Mozart's Piano Sonata K. 282: Segmentation, tension, and musical ideas. Music Perception, 13, 401–32.

Krumhansl C. L. Bharucha J. Castellano M. A. (1982). Key distance effects on perceived harmonic structure in music. Perception and Psychophysics, 32 (2), 96–108.

Krumhansl C. L. Bharucha J. J. Kessler E. J. (1982). Perceived harmonic structures of chords in three related keys. Journal of Experimental Psychology: Human Perception and Performance, 8, 24–36.

Krumhansl C. L. Kessler E. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89 (4), 334–68.

Leman M. ,. (1995). Music and Schema Theory Berlin: Springer.

Leman M. (2000). An auditory model of the role of short-term memory in probe-tone ratings. Music Perception, 17 (4), 481–509.

Leman M. LesafFre M. Koen T . (2001). Introduction to the IPEM Toolbox for Perception-based Music Analysis. The Online Contemporary Music Journal, 7.

Leman M. Lessaffre M. Tanghe K . (2000). The IPEM Toolbox Manual University of Ghent, IPEM-Dept. of Musicology: IPEM.

Lerdahl F . (1988). Tonal pitch space. Music Perception, 5 (3), 315–49.

Lerdahl F . (1989). Structure de prolongation dans l'atonalite. In McAdams S. Deliege I. (Eds), La musique et les sciences cognitives (pp. 171–9). Liege: Mardaga.

Lerdahl F. (1991). Pitch-space journeys in two Chopin Preludes. In Jones M. R. Holleran S. (Eds), Cognitive bases of'musical communication (pp. 171–91): APA.

Lerdahl F. (1996). Calculating tonal tension. Music Perception, 13 (3), 319–363.

Lerdahl F. Jackendoff R . (1983). A generative Theory of Tonal Music. Cambridge: The MIT press.

Levinson J. (1997). Music in the moment. Ithaca: Cornell University Press.

Longuet-Higgins H. (1978). The perception of music. Interdisciplinary Science Review, 3, 148–56.

Maess B. Koelsch S. Gunter T. C. Friederici A. D. (2001). Musical syntax is processed in Broca's area: An MEG study. Nat Neurosci, 4 (5), 540–5.

Melen M. Deliege I . (1995). Extraction of cues or underlying harmonic structure: Which guides recognition of familiar melodies? European Journal of Cognitive Psychology, 7 (1), 81–106.

Meyer L. B. (1973). Explaining Music: Essay and Exploration. Berkeley: University of California Press.

Parncutt R. Bregman A . (2000). Tone profiles following short chord progressions: Top-down or Bottom-up ? Music Perception, 18, 25–58.

Patel A. D. Gibson E. Ratner J. Besson M. Holcomb P. J. (1998). Processing syntactic relations in language and music: An event-related potential study. Journal of Cognitive Neurosciences, 10 (6), 717–33.

Pineau M. Tillmann B . (2001). Percevoir la musique : une activiti cognitive. Paris: L'Harmattan.

Povel D. J. Jansen E . (2001). Perceptual mechanism in music processing. Music Perception, 19 (2), 169–98.

Regnault P. Bigand E. Besson M . (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context: Evidence from auditory event-related brain potentials. Journal of Cognitive Neurosciences, 13 (2), 241–55.

Serafine M.-L. Glassman N. Overbeeke C . (1989). The cognitive reality of hierarchic structure in music. Music Perception, 6, 397–430.

Shepard R. N. (1982). Geometrical approximations to the structure of musical pitch. Psychological Review, 89 (4), 305–33.

Sloboda J. (1986). Cognition and music: The music psychology comes of age. Psychologica Belgica, 26, 199–219.

Swinney D. (1979). Lexical access during sentence comprehension: Reconstruction of context effects. Journal of Verbal Learning and Verbal Behavior, 18, 645–60.

Tekman H. G. Bharucha J. J. (1992). Time course of chord priming. Perception and Psychophysics, 51 (1), 33–9.

Tekman H. G. Bharucha J. J. (1998). Implicit knowledge versus psychoacoustic similarity in priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 24 (1), 252–60.

Tillmann B. Bharucha J. J. Bigand E . (2000). Implicit learning of tonality: A self-organizing approach. Psychol Rev, 107 (4), 885–913.

Tillmann B. Bigand E . (1996). Does formal musical structure affect perception of musical expresiveness? Psychology of Music, 24, 3–17.

Tillmann B. Bigand E . (1998). Influence of global structure on musical target detection and recognition. International Journal of Psychology, 33 (2), 107–22.

Tillmann B. Bigand E. Pineau M . (1998). Effects of global and local contexts on harmonic expectancy. Music Perception, 16 (1), 99–117.

Vega D. (this issue). A perceptual experiment on harmonic tension and melodic attraction in Lerdahl's Tonal Pitch Space. Musica Scientia.

Bharucha J. J. (1996). Melodic Anchoring. Music Perception, 13, 383–400.

Bruner C. L. (1984). The Perception of Contemporary Pitch Structures. Music Perception, 2, 25–39.

Deliege I. (1987). Grouping Conditions in Listening to Music: An Approach to Lerdahl & JackendofFs Grouping Preference Rules. Music Perception, 4, 325–60.

Gjerdingen R. O. (1988). A Classic Turn of Phrase. Philadelphia: University of Pennsylvania Press.

Gjerdingen R. O. (1996). Courdy Behaviors. Music Perception, 13, 365–82.

Krumhansl C. (1990). The Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press.

Larson S. (1994). Musical Forces, Step Collections, Tonal Pitch Space, and Melodic Expectation.

Proceedings of the Third International Conference on Music Perception and Cognition, 227–9.

Narmour E. (1990). The Analysis and Cognition of Basic Melodic Structures. Chicago: University of Chicago Press.

Rosner B. S. Meyer L. B. (1986). The Perceptual Roles of Melodic Process, Contour, and Form. Music Perception, 4, 1–40.

Schellenberg E. G. (1997). Simplifying the Implication-Realization Model of Musical Expectancy. Music Perception, 14, 296–318.