The course readings will following the schedule given below. Please note: readings listed in black and red (marked *) are required readings (everyone); readings listed in red* and blue (marked +) will be assigned to individual students (for class presentations).
Albert Bregman (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. Chapter 1; pp. 1-45. Cambridge, MA: MIT Press. [45 pages]
Norman Weinberger (1999). "Music and the auditory system." In: Diana Deutsch (editor) The Psychology of Music. (2nd edition). Chapter 3; pp. 47-87. San Diego: Academic Press. [41 pages]
Required reading: 86 pages.
George A. Miller & George A. Heise (1950). "The trill threshold." Journal of the Acoustical Society of America, Vol. 22, No. 5, pp. 637-638. [2 pages]
W. Jay Dowling (1973). "The perception of interleaved melodies." Cognitive Psychology, Vol. 5, pp. 322-337. [6 pages]
Leo van Noorden (1975). Temporal Coherence in the Perception of Tone Sequences. Doctoral dissertation, Technisch Hogeschool Eindhoven; published Eindhoven: Druk vam Voorschoten; Chapters 1 & 2; pp.1-17. [17 pages]
Diana Deutsch (1975). Two-channel listening to musical scales. Journal of the Acoustical Society of America, Vol. 57, pp. 1156-1160. [5 pages]
David Huron (1991). "The avoidance of part-crossing in polyphonic music: perceptual evidence and musical practice." Music Perception, Vol. 9, No. 1, pp. 93-104. Abstract [12 pages]
Required reading: 42 pages.
Warren, R.M., Obusek, C.J., & Ackroff, J. (1972). "Auditory induction: Perceptual synthesis of absent sound." Science. Vol. 176, pp. 1149-1151. [3 pages]
Leo van Noorden (1975). Temporal Coherence in the Perception of Tone Sequences. Doctoral dissertation, Technisch Hogeschool Eindhoven; published Eindhoven: Druk vam Voorschoten; Chapters 7; pp.68-81. [14 pages]
Rudolf Rasch & Reinier Plomp (1999). "The Perception of Musical Tones." In: Diana Deutsch (editor) The Psychology of Music. (2nd edition). Chapter 4; pp. 89-112. San Diego: Academic Press. [24 pages]
*David Huron (1989). "Voice denumerability in polyphonic music of homogeneous timbres." Music Perception, Vol. 6, No. 4, pp. 361-382. [22 pages] Abstract
*David Huron & Deborah Fantini (1989). "The avoidance of inner-voice entries: Perceptual evidence and musical practice." Music Perception, Vol. 7, No. 1, pp. 43-47. Abstract [5 pages]
Required reading: 68 pages.
W. Jay Dowling & Dane Harwood (1986). "Timbre, Consonance, and Dissonance." Chapter 3 in: Music Cognition. San Diego: Academic Press; pp.62-89. [28 pages]
Albert Bregman & Steven Pinker (1978). "Auditory streaming and the building of timbre." Canadian Journal of Psychology, Vol. 32, No. 1, pp. 19-31. [13 pages]
David Huron (1993). "Note onset asynchrony in J.S. Bach's two-part Inventions." Music Perception, Vol. 10, No. 4, pp. 435-443. Abstract [9 pages]
Steve McAdams (1984). "Spectral fusion and the creation of auditory images. In: M. Clynes (ed.), Music, Mind, and Brain: The Neuropsychology of Music. New York: Plenum Press, pp. 279-298. [30 pages]
+Bret Aarden & Paul von Hippel (2004). Rules for chord doubling (and spacing): Which ones do we need? Music Theory Online, Vol. 10, No. 2. http://www.societymusictheory.org/mto/issues/mto.04.10.2/mto.04.10.2.aarden_hippel_frames.html [30 pages]
Required reading: 77 pages.
David Huron (1993). "Tonal consonance versus tonal fusion in polyphonic sonorities." Music Perception, Vol. 9, No. 2, pp. 135-154. Abstract [20 pages]
David Huron & Peter Sellmer (1992). "Critical bands and the spelling of vertical sonorities." Music Perception, Vol. 10, No. 2, pp. 129-149. Abstract [21 pages]
*James Wright & Albert Bregman (1987). "Auditory stream segregation and the control of dissonance in polyphonic music." Contemporary Music Review, Vol. 2, pp. 63-93. [31 pages]
*David Huron (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 [6 pages]
+J. Van de Geer, Wim Levelt & Reiner Plomp (1962). The connotation of musical consonance. Acta Psychologica, Vol. 20, pp. 308-319. [12 pages]
+Reiner Plomp & Wim Levelt (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, Vol. 38, pp. 548-560. [13 pages]
Required reading: 78 pages.
David Huron (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 [64 pages]
David Huron (2002). "The role of embellishment tones in the perceptual segregation of concurrent parts." Manuscript. Text [16 pages]
Required reading: 80 pages.
Richard Parncutt (1989). Harmony: A Psychoacoustical Approach. Berlin: Springer-Verlag. [90 pages]
David Huron (1991). "Review of Richard Parncutt's Harmony: A Psychoacoustical Approach." Psychology of Music, Vol. 19, No. 2, pp. 173-177. Text [5 pages]
+Ernst Terhardt (1974). Pitch, consonance and harmony. Journal of the Acoustical Society of America, Vol. 55, pp. 1061-1069. [9 pages]
+Richard Parncutt (1991). A model of the perceptual root(s) of a chord accounting for voicing and prevailing tonality. In: M. Leman (Ed.) Music, Gestalt, and Computing, Berlin: Springer-Verlag, pp. 181-199. [19 pages]
Required reading: 95 pages.
David Temperley (2001). The Cognition of Basic Musical Structures. Chapter 6 ("Harmonic Structure"); pp.137-165; Chapter 8 ("Revision, Ambiguity, and Expectation"); pp. 205-235; Chapter 9 ("Meter, Harmony, and Tonality in Rock"); pp.237-264. Cambridge, MA: MIT Press. [79 pages]
Required reading: 79 pages.
Carol Krumhansl. (1990). Cognitive Foundations of Musical Pitch., Oxford: Oxford University Press,. Chapter 8 ("Perceived Harmonic Relations"); pp. 188-212. [25 pages]
Jamshed Bharucha (1984). "Anchoring effects in music: The resolution of dissonance." Cognitive Psychology, Vol. 16, pp. 485-518. [34 pages]
Jamshed Bharucha and K. Stoeckig (1987). "Priming of chords: Spreading activation of overlapping frequency spectra?" Perception & Psychophysics, Vol. 41, pp. 519-524. [26 pages]
+M. Pineau and Emmanuel Bigand (1997). "Effet des structures globales sur l'amorcage harmonique en musique." [Effect of global structures on harmonic priming in music.] Anneé Psychologique, Vol. 97, No. 3, pp. 385-408. [24 pages]
+Emmanuel Bigand (1993). "The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas" in tonal musical phrases. Contemporary Music Review, Vol. 9, pp. 123-137. [15 pages]
Required reading: 85 pages.
Emmanuel Bigand and Richard Parncutt (1999). "Perceiving musical tension in long chord sequences." Psychological Research-Psychologische Forschung, Vol. 62, No. 4, pp. 237-254. [18 pages]
Emmanuel Bigand, Richard Parncutt and Fred Lerdahl (1996). "Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training." Perception & Psychophysics, Vol. 58, No. 1, pp. 125-141. [17 pages]
Emmanuel Bigand (1997). Perceiving musical stability: The effect of tonal structure, rhythm, and musical expertise. Journal of Experimental Psychology-Human Perception and Performance, Vol. 23, No. 3, pp. 808-822. [15 pages]
*Carol Krumhansl. (1990). Cognitive Foundations of Musical Pitch., Oxford: Oxford University Press,. Chapter 9 ("Perceiving Multiple Keys: Modulation and Polytonality"); pp. 213-239. [27 pages]
+Carol Krumhansl. (1990). Cognitive Foundations of Musical Pitch., Oxford: Oxford University Press,. Chapter 7 ("Quantifying Harmonic Hierarchies and Key Distances"); pp. 165-187. [23 pages]
+Daniel Werts. (1991). `Good', `Fair', and `Bad' chord progressions: A regression-analysis of some psychological chord progression data obtained in an experiment by J. Bharucha and C. Krumhansl. In: M. Leman (Ed.) Music, Gestalt, and Computing, Berlin: Springer-Verlag, pp. 200-213. [14 pages]
Required reading: 77 pages.
Total required reading: 770 pages (average of 77 pages per week).