David Huron

List of Publications
Books:

________ (2006).
Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, Massachusetts: MIT Press, 512 pages.

________ (1999).
Music Research Using Humdrum: A User's Guide. Stanford, California: Center for Computer Assisted Research in the Humanities, 414 pages.
Also available online.

________ (1995).
The Humdrum Toolkit: Reference Manual. Menlo Park, California: Center for Computer Assisted Research in the Humanities, 552 pages, ISBN 0-936943-10-6.

Book Chapters:

________ (2003).
Is music an evolutionary adaptation? Chapter 5. In: Isabelle Peretz & Robert J. Zatorre (editors), The Cognitive Neuroscience of Music, Oxford: Oxford University Press, pp. 57-75.

________ (1997).
Humdrum and Kern: Selective feature encoding. In: Eleanor Selfridge-Field (editor), Beyond MIDI: The Handbook of Musical Codes, Cambridge, Massachusetts: MIT Press, pp.375-401.
Further information, including reviews online.

________ (1992).
Design principles in computer-based music representation. In: Alan Marsden & Anthony Pople (editors), Computer Representations and Models in Music, London: Academic Press, pp. 5-39.
Abstract online.

Peer-Reviewed Articles:
________, Kinney, D., & Precoda, K. (2006).
Influence of pitch height on the perception of submissiveness and threat in musical passages. Empirical Musicology Review, Vol. 1, No. 3, pp.170-177.

________ & Ommen, A. (2006).
"An empirical study of syncopation in American popular music, 1890-1939." Music Theory Spectrum, Vol. 26, No. 2, pp.211-231.

________ & Veltman, J. (2006).
"A cognitive approach to Medieval mode: Evidence for an historical antecedent to the major/minor system." Empirical Musicology Review, Vol. 1, No. 1, pp. 33-55.
Text online.

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

________ (2002).
"Music information processing using the Humdrum Toolkit: Concepts, examples, and lessons." Computer Music Journal, Vol. 26, No. 2, pp. 15-30.

________ (2001).
"Tone and voice: A derivation of the rules of voice-leading from perceptual principles."
Music Perception, Vol. 19, No. 1, pp. 1-64.
Text online.

________ (2001).
"Is music an evolutionary adaptation?"
Annals of the New York Academy of Sciences, Vol. 930, pp. 43-61.
Abstract. Earlier text online.

________ (2001).
"What is a musical feature? Forte's analysis of Brahms's Opus 51, No. 1, revisited."
Music Theory Online, Vol. 7, No. 4, July 2001.
Text online.

Aarden, B. & ________ (2001).
"Mapping European folksong: Geographical localization of musical features."
Computing in Musicology, Vol. 12, pp. 169-183.

von Hippel, P. & ________ (2000).
"Why do skips precede reversals? The effect of tessitura on melodic structure."
Music Perception, Vol. 18, No.1, pp. 59-85.
Abstract and full text online.

________ & Collins, D. (1999).
"Voice-leading in cantus firmus-based canonic composition: A comparison between theory and practice in Renaissance and Baroque music using computer-assisted inferential measures." Computers in Music Research, Vol. 6, pp.53-95.

________ (1996).
"The melodic arch in Western folksongs."
Computing in Musicology, Vol. 10, pp. 3-23.
Text online.

________ & Royal, M. (1996).
"What is melodic accent? Converging evidence from musical practice."
Music Perception, Vol. 13, No. 4, pp. 489-516.
Abstract online.

Simpson, J. & ________ (1994).
"Absolute pitch as a learned phenomenon: Evidence consistent with the Hick-Hyman Law."
Music Perception, Vol. 12, No. 2, pp. 267-270.
Abstract. Text online.

________ (1994).
"Interval-class content in equally-tempered pitch-class sets: Common scales exhibit optimum tonal consonance."
Music Perception, Vol. 11, No. 3, pp. 289-305.
Abstract online.

________ & Parncutt, R. (1993).
"An improved model of tonality perception incorporating pitch salience and echoic memory."
Psychomusicology, Vol. 12, No. 2, pp. 154-171.
Abstract and Text online.

________ (1993).
"Chordal-tone doubling and the enhancement of key perception."
Psychomusicology, Vol. 12, No. 1, pp. 73-83.

________ (1993).
"Note onset asynchrony in J.S. Bach's Two-part Inventions."
Music Perception, Vol. 10, No. 4, pp. 435-444.
Abstract online.

Orpen, K. & ________ (1992).
"The measurement of similarity in music: A quantitative approach for non-parametric representations."
Computers in Music Research, Vol. 4, pp. 1-44.
Text online.

________ & Sellmer, P. (1992).
"Critical bands and the spelling of vertical sonorities."
Music Perception, Vol. 10, No. 2, pp. 129-149.
Abstract online.

________ (1992).
"The ramp archetype and the maintenance of auditory attention."
Music Perception, Vol. 10, No. 1, pp. 83-92.
Abstract online.

________ (1991).
"Tonal consonance versus tonal fusion in polyphonic sonorities."
Music Perception, Vol. 9, No. 2, pp. 135-154.
Abstract online.

________ (1991).
"The avoidance of part-crossing in polyphonic music: Perceptual evidence and musical practice."
Music Perception, Vol. 9, No. 1, pp. 93-104.
Abstract online.

________ (1991).
"The ramp archetype: A study of musical dynamics in 14 piano composers."
Psychology of Music, Vol. 19, No. 1, pp. 33-45.
Abstract online.

_______ (1990).
"Crescendo/Diminuendo asymmetries in Beethoven's piano sonatas."
Music Perception, Vol. 7, No. 4, pp. 395-402.
Abstract online.

________ (1990).
"Increment/Decrement asymmetries in polyphonic sonorities."
Music Perception, Vol. 7, No. 4, pp. 385-393.
Abstract online.

________ (1989).
"Music in advertising: An analytic paradigm."
Musical Quarterly, Vol. 73, No. 4, pp. 557-574.
Abstract. Text online.

________ & Fantini, D. (1989).
"The avoidance of inner-voice entries: Perceptual evidence and musical practice."
Music Perception, Vol. 7, No. 1, pp. 43-47.
Abstract and Text online.

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

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

MacKenzie, B., VanEerd, D., Graham, E., ________ & Wills, B. (1986).
"The effect of tonal structure on rhythm in piano performance."
Music Perception, Vol. 4, No. 2, pp. 215-225.
Abstract online.

Conference Proceedings:

________ (2006). "Are scale degree qualia a consequence of statistical learning?" Proceedings of the International Conference on Music Perception and Cognition. Bologna, Italy, 2006, pp. 1675-1680.

Li, Y., & ________ (2006). "Melodic modeling: A comparison of scale degree and interval." Proceedings of the International Computer Music Conference. New Orleans, 2006.

________ (2005). "The plural pleasures of music." In: W. Brunson & J. Sundberg (editors), Proceedings of the 2004 Music and Science Conference, Stockholm: Kungliga Musikhögskolan Förlaget, pp. 65-78.

________ (2004). "Music-engendered laughter: An analysis of humor devices in PDQ Bach." In: S. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (editors), Proceedings of the 8th International Conference on Music Perception and Cognition. Evanston, Illinois, 2004, pp. 700-704.

________ (2004).
"Issues and prospects in studying cognitive cultural diversity." In: S. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (editors), Proceedings of the 8th International Conference on Music Perception and Cognition. Evanston, Illinois, 2004, pp. 93-95.

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

________ (2002).
"A six-component theory of auditory-evoked emotion." In: C. Stevens, D. Burnham, G. McPherson, E. Schubert & J. Renwick (editors), Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia, 2002.

________ (2002).
"A new theory of sensory dissonance: A role for perceived numerosity." In: C. Stevens, D. Burnham, G. McPherson, E. Schubert & J. Renwick (editors), Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia, 2002.

Veltman, J. & ________ (2002).
"A cognitive approach to the Medieval modes." In: C. Stevens, D. Burnham, G. McPherson, E. Schubert & J. Renwick (editors), Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia, 2002.

________ (1996).
"On the kinematics of melodic contour: Deceleration, declination, and arch-trajectories in vocal phrases." Proceedings of the 4th International Conference on Music Perception and Cognition, Montrèal: McGill University, pp. 133-138.

Simpson, J. & ________ (1993).
"The perception of rhythmic similarity: A test of a modified version of Johnson-Laird's theory."
Canadian Acoustics, Vol. 21, No. 3, pp. 89-90.

________ (1989).
"Characterizing musical textures."
Proceedings of the 1989 International Computer Music Conference, San Francisco: Computer Music Association, pp. 131-134.

Wills, B., Mackenzie, C., ________, Topper, T. & Walker, D. (1984).
"On the measurement of pianists' keyboard performance."
Biomechanics IX (Champaign, Illinois), pp. 206-210.

Cohen, A., Isaacs, P., Flores, S., ________ & Bradley, J. (1977).
"The computer as interdisciplinary catalyst: Music and psychology."
In: Serge Lusignan & John North (editors), Computing in the Humanities, Proceedings of the Third International Conference (University of Waterloo Press), pp. 197-207.

Published Reviews:

________ (2006).
"Empirical Musicology: Aims, Methods, Prospects. Statistics in Musicology [reviews of]."
NOTES: Quarterly Journal of the Music Library Association. Vol. 63, No. 1, pp.93-95.

________ (2006).
"Exploring how music works its wonders."
Cerebrum: The Dana Forum on Brain Science, Vol. 8, No. 4, pp. 1-6.
Text online.

________ (2006).
"John Sloboda: Exploring the Musical Mind: Cognition, Emotion, Ability, Function [review of]."
Musicae Scientiae, Vol. 9, No. 2, pp. 182-186.

________ (1999).
"Zohar Eitan: Highpoints: A Study of Melodic Peaks [review of]."
Music Perception, Vol. 16, No. 2, pp. 257-264.
Text online.

________ (1996).
"Commentary. Response to Robert Walker's "Can we understand the music of another culture?"" Psychology of Music, Vol. 24, No. 2, pp. 120-124.
Text online.

________ (1995).
"Nicholas Cook: Music, Imagination, and Culture [review of]."
Music Perception, Vol. 12, No. 4, pp. 473-481.
Text online.

________ (1992).
"Carol Krumhansl: The Cognitive Foundations of Musical Pitch [review of]."
Psychology of Music, Vol. 20, No. 1, pp. 180-185.
Text online.

________ (1991).
"Walter Klaassen and the Quest for Meaning in the Twentieth Century."
Conrad Grebel Review, Vol. 9, No. 3, pp. 219-222.

________ (1991).
"Richard Parncutt: Harmony: A Psychoacoustical Approach [review of]."
Psychology of Music, Vol. 19, No. 2, pp. 173-177.
Text online.

________ (1991).
"The Technological Bluff, by Jacques Ellul [review of]."
Conrad Grebel Review, Vol. 9, No. 1, pp. 89-91.

________ (1991).
"Albert S. Bregman: Auditory Scene Analysis: The Perceptual Organization of Sound [review of]." Psychology of Music, Vol. 19, No. 1, pp. 77-82.
Text online.

________ (1990).
"Stephen H. Barnes: Muzak, The Hidden Messages in Music: A Social Psychology of Culture [review of]." Psychology of Music, Vol. 18, No. 2, pp. 183-184.
Text online.

________ (1990).
"Mary Louise Serafine: Music As Cognition: The Development of Thought in Sound [review of]." Psychology of Music, Vol. 18, No. 1, pp. 99-103.
Text online.

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

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

________ (1988).
"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, pp. 110-114.

Letters to Editors:

________ (2006).
"On teaching voice leading from perceptual principles.
Journal of Music Theory Pedagogy, Vol. 20, pp. 163-166.

Published Abstracts:

________ (2004).
"Expanding the basket of analytic methodologies."
Proceedings of the Texas Society for Music Theory, Vol. 19, p. 13.
Abstract online.

________ (2001).
"Data mining large musical databases."
American Association for the Advancement of Science, 167th Program, p. A44.
Abstract online.

Iyer, N., Aarden, B., Hoglund, E. & ________ (1999).
"Effect of intensity on sensory dissonance."
Journal of the Acoustical Society of America, Vol. 106, No. 4, pp. 2208-2209.
Abstract online.

________ (1997).
"The enigma of musical progress."
Candian Journal for Traditional Music/Revue de musique folklorique Canadienne, Vol. 25, p. 36.

________ (1996).
"Hypothesis testing using musical databases: A resource for psychomusicology."
International Journal of Psychology, Vol. 31, Nos. 3-4, p. 2422.

________ (1993).
"A derivation of the rules of voice-leading from perceptual principles."
Journal of the Acoustical Society of America, Vol. 93, No. 4, p. S2362.
Abstract online.

VanEerd, D., MacKenzie, C., Graham, E., ________, Wills, B. (1986).
"Rhythmic precision: Variability in timing of piano scales as a function of tempo."
Society for Neuroscience Abstracts, 12.

________ (1976).
"Musical performance modification in differing acoustic environments."
Journal of the Acoustical Society of America Vol. 60, p. S121.

Published Software:

Vivaldi, Antonio. (1997). The Twelve Violin Concertos Opus 8 including `The Four Seasons'. E. Selfridge-Field (ed.) & D. Huron (electronic ed.). (Two computer disks, installation guide and research notes.) Stanford, CA: Center for Computer Assisted Research in the Humanities.

Schaffrath, Helmut. (1995). The Essen Folksong Collection. D. Huron (editor). (Four computer disks containing 6,255 folksong transcriptions and 34-page research guide.) Stanford, CA: Center for Computer Assisted Research in the Humanities.

Corelli, Arcangelo. (1995). Twelve Trio Sonatas Opus 1. Release 1.1. J. Joachim and F. Chrysander (eds.); E. Selfridge-Field & D. Huron (electronic eds.). (One computer disk containing 47 movements, plus research notes.) Stanford, CA: Center for Computer Assisted Research in the Humanities. Hard-copy published by Dover Publications Inc., New York, 1996.

Bach, Johann Sebastian. (1994). The Brandenburg Concertos. Six concertos with several instruments, dedicated to His Royal Highness Christian Ludwig, Margrave of Brandenburg, etc. etc. by His very humble and most obedient servant, ... Wilhelm Rust (ed.); E. Selfridge-Field & D. Huron (electronic eds.). (One computer disk plus research notes.) Stanford, CA: Center for Computer Assisted Research in the Humanities.

________ (1993). The Humdrum Toolkit: Software for Music Researchers. (Three computer disks and 16-page installation guide.) Stanford, CA: Center for Computer Assisted Research in the Humanities.

Other Software Publications:

________ (1996). Humdrum News; A Newsletter for Music Researchers Using the Humdrum Toolkit. Issue #3. 1996 February 29 (3200 words).

________ (1995). Humdrum News; A Newsletter for Music Researchers Using the Humdrum Toolkit. Issue #2. 1995 February 20 (7500 words).

________ (1994). Humdrum News; A Newsletter for Music Researchers Using the Humdrum Toolkit. Issue #1. 1994 September 23 (4500 words). (An electronic newsletter containing announcements, articles, and tutorials.)

Forthcoming and In Press:

________ & Berec, J.
"Characterizing idiomatic organization in music: A theory and case study." Journal of New Music Research. Accepted for publication, April 24, 2002.

Currently Under Review:

________
"The role of embellishment tones in the perceptual segregation of concurrent parts." Under review at Music Perception. Submitted February 1, 2002.
Text online.

Unpublished Writings:

________ (2001).
Music Cognition Handbook: A Dictionary of Concepts. Unpublished public web site, 57 pages.
Available online.

________ (1985).
The Language of Computer Music: A Glossary of Terms. Unpublished duplicated typescript, 91 pages.


Return to David Huron's Home Page
This document is available at http://dactyl.som.ohio-state.edu/Huron/publications.html