Papers

CHRONOLOGICAL LIST (Click here for listing by subject area)

____________ . 2024. “The Inverse Frequency Effect: An Exploratory Study.” International Journal of Corpus Linguistics, 29, 155–88. [PDF]

Matthew Chiu & ____________ . 2024. “Melodic Differences Between Styles: Modeling Music With Step Inertia.” Music & Science 7, 1–11. [PDF]

____________ . 2023. “Melodic Pattern Repetition and Efficient Encoding: A Corpus Study.” Empirical Musicology Review 18.2. [PDF] [HTML]

Joseph VanderStel & ______________ . 2022. “The Evolution of Syncopation in Twentieth-Century American Popular Music.” Journal of New Music Research 51, 162–185. [PDF]

____________ . 2022. “Music and Language.” Annual Review of Linguistics 8, 153–70. [PDF]

____________ . 2021. “The Origins of Syncopation in American Popular Music.” Popular Music 40, 18-41. [PDF]

____________ . 2019. “Second-Position Syncopation in European and American Vocal Music.” Empirical Musicology Review 14.1-2. [View online]

____________ . 2019. “Uniform Information Density in Music.” Music Theory Online 25.2. [View online]

Ivan Tan, Ethan Lustig, & ____________ . 2019. “Anticipatory Syncopation in Rock: A Corpus Study.” Music Perception 36, 353-70. [PDF]

____________ . 2019. “Rare Constructions are More Often Sentence-Initial.” Cognitive Science 43/2. [PDF]

____________ . 2018. “The Six-Four as Tonic Harmony, Tonal Emissary, and Structural Cue.” Intégral 31, 1-25. [PDF]

____________ & Daniel Gildea. 2018. “Minimizing Syntactic Dependency Lengths: Cognitive/Typological Universal?” Annual Review of Linguistics 4, 67-80. [PDF]

____________ . 2017. “Rhythmic Variability in European Vocal Music.” Music Perception 35, 193-9. [PDF]

____________ , Iris Ren, and Zhiyao Duan. 2017. “Mediant Mixture and ‘Blue Notes’ in Rock: An Exploratory Study.” Music Theory Online 23.1. [View online]

Daphne Tan & __________ . 2017. “Perception and Familiarity of Diatonic Modes.” Music Perception 34, 352-65. [PDF]

____________ & Daniel Gildea. 2015. “Information Density and Syntactic Repetition.” Cognitive Science 39, 1802-1823. [PDF]

____________ . 2014. “Information Flow and Repetition in Music.” Journal of Music Theory 58, 155-178. [PDF]

____________ . 2014. “Probabilistic Models of Melodic Interval.” Music Perception 32, 85-99. [PDF]

Stefanie Acevedo, ____________ , & Peter Pfordresher. 2014. “Effects of Metrical Encoding on Melody Recognition.” Music Perception 31, 372-386. [PDF]

____________ & Trevor de Clercq. 2013. “Statistical Analysis of Harmony and Melody in Rock Music.” Journal of New Music Research 42, 187-204. [PDF]

____________ & Leigh VanHandel. 2013. “Introduction to the Special Issues on Corpus Methods.” Music Perception 31, 1-3. [PDF] (Leigh and I guest-edited two special issues, 31/1 and 31/3, on corpus methods in music research.)

____________ & Daphne Tan. 2013. “Emotional Connotations of Diatonic Modes.” Music Perception 30, 237-57. [PDF]

Nicholas Temperley & ____________ . 2013. “Stress-Meter Alignment in French Vocal Music.” Journal of the Acoustical Society of America 134, 520-527. [PDF]

____________ . 2012. “Computational Models of Music Cognition.” In Diana Deutsch (Ed.), The Psychology of Music, 3rd edition, pp. 327-368. Amsterdam: Elsevier.

____________ . 2012. “Scalar Shift in Popular Music.” Music Theory Online 17.4. [View online]

Nicholas Temperley & ____________ . 2011. “Music-Language Correlations and the ‘Scotch Snap.'” Music Perception 29, 51-63. [PDF]

___________ . 2011. “Composition, Perception, and Schenkerian Theory.” Music Theory Spectrum 33, 146-68. [PDF]

___________ . 2011. “The Cadential IV in Rock.” Music Theory Online 17.1. [View online]

Trevor de Clercq & ___________ . 2011. “A Corpus Analysis of Rock Harmony.” Popular Music 30, 47-70. [PDF]

___________ . 2010. “Modeling Common-Practice Rhythm.” Music Perception 27, 355-376. [PDF]

Daniel Gildea & ___________ . 2010. “Do Grammars Minimize Dependency Length?” Cognitive Science 34, 286-310. [PDF]

___________ . 2009. “In Defense of Introspectionism: A Response to Debellis.” Music Perception 2009, 131-138. [PDF]

___________ . 2009. “A Unified Probabilistic Model of Polyphonic Music Analysis.” Journal of New Music Research 38, 3-18. [PDF]

___________ . 2009. “Distributional Stress Regularity: A Corpus Study.” Journal of Psycholinguistic Research 38, 75-92. [PDF]

___________ . 2008. “Hypermetrical Transitions.” Music Theory Spectrum 30, 305-325. [PDF]

___________ . 2008. “A Probabilistic Model of Melody Perception.” Cognitive Science 32 #2, 418-444. [PDF]

___________ . 2008. “The Tonal Properties of Pitch-Class Sets.” Computing in Musicology 15, 24-38. [PDF]

___________ & Elizabeth West Marvin. 2008. “Pitch-class Distribution and the Identification of Key.” Music Perception 25 #2, 193-212. [PDF]

___________ . 2008. “Dependency Length Minimization in Natural and Artificial Languages.” Journal of Quantitative Linguistics 15, 256-282. [PDF]

___________ . 2007. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26 #2, 323-342. [PDF]

___________ . 2007. “Minimization of Dependency Length in Written English.” Cognition 105, 300-333. [PDF]

___________ . 2006. “Key Structure in ‘Das alte Jahr vergangen ist’.” Journal of Music Theory 50, 103-110. [PDF]

___________ . 2005. “The Dependency Structure of Coordinate Phrases: A Corpus Approach.” Journal of Psycholinguistic Research 34, 577-601. [PDF]

___________ . 2004. “Bayesian Models of Musical Structure and Cognition.” Musicae Scientiae 8 #2, 175-205. [PDF]

___________ . 2004. “An Evaluation System for Metrical Models.” Computer Music Journal 28 #3, 28-44. [PDF]

___________ . 2004. “Communicative Pressure and the Evolution of Musical Styles.” Music Perception 21 #3, 313-37. [PDF]

___________ . 2003. “End-Accented Phrases: An Analytical Exploration.” Journal of Music Theory 47 #1, 125-54. [PDF]

___________ . 2003. “Ambiguity Avoidance in English Relative Clauses.” Language 79, 464-84. [PDF]

___________ & Christopher Bartlette. 2002. “Parallelism as a Factor in Metrical Analysis.” Music Perception 20 #2, 117-49. [PDF]

___________ . 2002. “A Bayesian Approach to Key-Finding.” In C. Anagnostopoulou, M. Ferrand, & A. Smaill (Eds.), Music and Artificial Intelligence (pp. 195-206). Berlin: Springer-Verlag. [PDF]

___________ . 2000. “The Line of Fifths”, Music Analysis, 19 #3, 289-319. [PDF]

___________ . 2000. “Meter and Grouping in African Music: A View from Music Theory.” Ethnomusicology, 44 #1, 65-96. [PDF]

___________ . 1999. “Things I Think About, and Don’t Think About, When I Compose.” Current Musicology, 67/68, 431-42. [PDF]

___________ . 1999. “The Question of Purpose in Music Theory: Description, Suggestion, and Explanation.” Current Musicology, 66, 66-85. [PDF]

___________ . 1999. “What’s Key for Key? The Krumhansl-Schmuckler Key-Finding Algorithm Reconsidered.” Music Perception 17 #1, 65-100. [PDF]

___________ & Daniel Sleator. 1999. “Modeling Meter and Harmony: A Preference Rule Approach.” Computer Music Journal 15 #1, 10-27. [PDF]

___________ . 1999. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18 #2, 19-40. [PDF]

___________ . 1997. “An Algorithm for Harmonic Analysis.” Music Perception 15 #1, 31-68. [PDF]

___________ . 1995. “Motivic Perception and Modularity.” Music Perception 13 #2, 141-69. [PDF]

Daniel Sleator and ___________ . 1993. “Parsing English with A Link Grammar.” Proceedings of the Third Annual Workshop on Parsing Technologies. [PDF]

John Lafferty, Daniel Sleator and ___________ . 1992. “Grammatical Trigrams: A Probabilistic Model of Link Grammar.” Proceedings of the AAAI Conference on Probabilistic Approaches to Natural Language. [PDF]

Daniel Sleator and ___________ . 1991. “Parsing English with a Link Grammar.” Carnegie Mellon University Computer Science technical report CMU-CS-91-196. [PDF]

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