Literature Music: Rhythm, Meter and Tempo
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  • Berry, W. (1985). Metric and Rhythmic Articulation in Music. Music Theory Spectrum, vii: 7-33.
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  • Boltz, M.G. (1998). Tempo discrimination of musical patterns: effects due to pitch and rhythmic structure. Perception and Psychophysics, 60: 1357-1373.
  • Borchgrevink, Hans M. (1982). Prosody and Musical Rhythm are Controlled by the Speech Hemisphere, in: Clynes, Manfred (ed.), Music, Mind and Brain: The Neuropsychology of Music, Plenum Press, New York.
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  • Clarke, E.F. (1985). Some Aspects of Rhythm and Expression in Performances of Erik Satie's "Gnossienne No.5". Music Perception, 2(3).
  • Clarke, E. (1987). Levels of structure in the organization of musical time. Contemporary Music Review. Vol. 2.
  • Clayton, Martin R.L. (1996). Free rhythm: Ethnomusicology and the study of music without metre Bulletin of the School of Oriental and African Studies, University of London, Vol. 59 (Issue 2): 323-332.
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  • Cooper, G. & L. Meyer (1960). The Rhythmic Structure of Music. Chicago: University Press.
  • Dannenberg, R. B. & B. Mont-Reynaud (1987). Following an Improvisation in Real Time. Proceedings of the 1987 ICMC.
  • Dannenberg, R. B., Desain, P., & Honing, H. (in press). Programming language design for music. In: G. De Poli, A. Picialli, S. T. Pope, & C. Roads (eds.), Musical Signal Processing. Cambridge, Mass.: MIT Press.
  • Darwin, C.J. & A. Donovan (1980). Perceptual studies of speech rhythm: isochrony and intonation. In: Simon, J.C. (ed., 1980). Proceedings of NATO ASI on Spoken Lnaguage Generation and Understanding. Dordrecht: Reidel.
  • Dauer, A.M.D. (1988). Derler 1: Ein system zur klassifikation von rhythmen. Jazzforschung/Jazz research, 20.
  • Davidson, J. (1991). The Perception of Expressive Movement in Music Performance. Ph.D. thesis, City University, London.
  • Dawe, L. & others (1993). Harmonic Accents in Inference of Metrical Structure and Perception of Rhythm Patterns. Perception and Psychophysics, liv: 194-207.
  • Desain, P. (1992a). A (de)composable theory of rhythm perception. Music Perception, 9(4): 439-454.
  • Desain, P. (1992b). Can computer music benefit from cognitive models of rhythm perception? In: Proceedings of the 1992 International Computer Music Conference: 42-45. San Francisco: International Computer Music Association.
  • * ! Desain, Peter (1993). A connectionist and a traditional AI quantizer, synbolic versus sub-symbolic models of rhythm perception. Contemporary Music Review, 9: 239-254.
  • * ! Desain, Peter & Henkjan Honing (1991a). Quantization of musical time: a connectionist approach. In: Todd, P.M. & D.G. Loy (eds.), Music and Connectionism. Cambridge: MIT Press.
  • Desain, P., & Honing, H. (1991b). Towards a calculus for expressive timing in music. Computers in Music Research, 3: 43-120.
  • Desain, Peter & Henkjan Honing (1992a). Music, Mind and Machine. Studies in Computer Music, Music Cognition and Artificial Intelligence. Amsterdam: Thesis Publishers.
  • Desain, P., & H. Honing (1992b). Musical machines: can there be? are we? Some observations on- and a possible approach to- the computational modelling of music cognition. In: C. Auxiette, C. Drake, & C. Gérard (eds.), Proceedings of the Fourth International Workshop on Rhythm Perception and Production: 129-140. Bourges.
  • * ! Desain, Peter & Henkjan Honing (1992c). The quantization problem: traditional and connectionist approaches. In: Balaban, M.; Ebcioglu, K. & O. Laske (eds.), Understanding Music with AI: Perspectives on Music Cognition: 448-463. Cambridge: MIT Press.
  • Desain, Peter & Henkjan Honing (1992d). A (de)composable theory of rhythm perception. Music Perception, 9(4): 439-454.
  • * ! Desain, Peter & Henkjan Honing (1993). Tempo curves considered harmful. Time in contemporary musical thought. In: D. Kramer (ed.), Contemporary Music Review, 7: 123-138.
  • Desain, P., & Honing, H. (1993d). On Continuous Musical Control of Discrete Musical Objects. Proceedings of the 1993 International Computer Music Conference. San Francisco: International Computer Music Association.
  • Desain, P., & Honing, H. (1994a). Advanced issues in beat induction modeling: syncopation, tempo and timing. Proceedings of the 1994 International Computer Music Conference: 92-94. San Francisco: International Computer Music Association.
  • * ! Desain, P., & Honing, H. (1994b). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56: 285-292.
  • * ! Desain, Peter & Henkjan Honing (1994c). Foot-tapping: a brief introduction to beat induction. Proceedings of the 1994 International Computer Music Conference: 78-79. San Francisco: International Computer Music Association.
  • * ! Desain, Peter & Henkjan Honing (1994d). Can music cognition benefit from computer music research? From foot-tapper systems to beat induction models. Proceedings of the 1994 International Computer Music Conference: 397-398. LiAge: ESCOM.
  • Desain, P., & Honing, H. (1995a). Computational models of beat induction: the rule-based approach. Proceedings of IJCAI 1995. Montreal: IJCAI.
  • * ! Desain, Peter & Henkjan Honing (1995b?). Computationeel modelleren van beat-induction. In: Van frictie tot wetenschap. Jaarboek 1994-1995. Amsterdam: Vereniging van Academie-onderzoekers.
  • * ! Desain, Peter & Henkjan Honing (unpublished manuscript, 1995c). Music, Mind, Machine. Computational Modelling of Temporal Structure in Musical Knowledge and Music Cognition.
  • * ! Desain, Peter & Henkjan Honing (1997a). Structural Expression Component Theory (SECT), and a method for decomposing expression in music performance. Proceedings of the Society for Music Perception and Cognition Conference: 38. Cambridge: MIT.
  • * ! Desain, Peter & Henkjan Honing (1997b). How to evaluate generative models of expression in music performance. Issues in AI and Music Evaluation and Assessment. International Joint Conference on Artificicial Intelligence: 5-7. Nagoya: Japan.
  • Desain, P., & Vos, S. (1990). Autocorrelation and the study of musical expression. Proceedings of the 1990 International Computer Music Conference: 357-360. San Francisco: Computer Music Association.
  • * i Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo.
  • * ! Desain, Peter & Luke Windsor (2000b). Introduction: multiple perspectives on rhythm perception and production. In: Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: xi.
  • Doob, L.W. (1971). The patterning of time. Yale University Press.
  • Drake, C. (1993). Perceptual and Performed Accents in Musical Sequences. Bulletin of the Psychonomic Society, xxxi: 107-110.
  • Drake, C. & C. Palmer (1993). Accent Structures in Music Performance. Music Perception. 10 (3): 343-378.
  • Drake, C., Jones, M. R., Baruch, C. (2000) The development of rhythmic attending in auditory sequences: Attunement, Referent Period, Focal Attending. Cognition 77 (3): pp. 251-288.
  • * ! Drake, Carolyn; Penel, Amandine & Emmanuel Bigand (2000). Why musicians tap slower than nonmusicians. In: Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: 239-245.
  • Duke, R (1994). When Tempo Changes Rhythm: the Effect of Tempo on Nonmusician’s Perception of Rhythm. JRME, xlii: 27-35.
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  • Dunlap, K. (1916). Time and Rhythm. Psychological Bulletin, 13 (5): 206-208.
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  • Feldman, J.; Epstein, D. & W. Richards (1992). Force Dynamics of Tempo Change in Music. Music Perception, 10(2): 185-204.
  • Fraisse, Paul (1956). Les structures rythmiques. Louvain: Editions Universitaires.
  • Fraisse, Paul (1963). The psychology of time. NY: Harper and Row.
  • * Fraisse, P. (1982). Rhythm and Tempo. In: The Psychology of Music, edited by D. Deutsch. New York: Academic Press.
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  • Gabrielsson, Alf (1987). Action and Perception in Rhythm and Music; Papers given at a symposium in the Third International Conference on Event Perception and Action. Stockholm: Royal Swedish Academy of Music, No. 55 (with recorded disk).
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